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ARCH.2003.25, Rendition: 794289
The image appears to be a page from a publication discussing a Simon Willard clock. The page is dated 1931, as indicated by the handwritten notation in the top left corner. It describes a long-case clock that R. Vernon Hall has loaned to the Fogg Art Museum. The clock, made by Simon Willard in Roxbury between 1806 and 1828, features a mahogany case with inlays, stringed satinwood, and a gilded eagle finial. The clock is eight feet, four inches high, not including the gilded eagle.
The article provides a detailed description of the clock's features, including the painted clock faces, which were often painted with eight to ten coats of paint and rubbed down to a polished finish. It mentions that the figures on the clock were painted by Charles Bullard, a notable clock-case maker, and that the designs were a combination of arabesque and scroll work. The clock also includes scenes depicting the four seasons, with the top left spandrel showing a woman in a leghorn hat, holding flowers, representing spring. The upper right-hand spandrel shows a woman reaping wheat with a sickle, representing autumn, and so on.
The page also includes a photograph of the clock, showcasing its intricate details and craftsmanship. The paper has a slightly aged look, with some wear and tear visible on the edges.
This image is a scanned page from a document or article titled "A Simon Willard Clock." The page appears to be from a historical or academic publication, possibly related to art or clockmaking.
The content describes a long-case clock made by Simon Willard, a renowned clockmaker from Roxbury, between 1806 and 1828. The document details the clock's features, including its mahogany case with satinwood inlays, brass mounts, and a gilded wooden eagle. It also mentions the clock's height and the intricate paintings on its dial face, which depict the four seasons.
At the center of the page, there is a black-and-white photograph of the clock. The clock is tall and slender, with a circular dial face showing Roman numerals. The dial features a stylized phoenix bird and various other decorative elements. The clock's case has a domed top and is adorned with brass finials and a gilded eagle.
The text also discusses the craftsmanship of the clock's dial, noting that it was painted with multiple coats of paint and carefully rubbed down to achieve a polished ivory finish. It mentions that the figures on the clock's dial were painted by an unknown English artist whom Willard employed.
The document provides additional information about other clockmakers of the time, such as William Fisk, Henry Willard, and Charles Crane Crehore, and mentions the high cost of the clock's dial painting.
The page has a slightly aged appearance, with some discoloration and wear, indicating it is a vintage document. There are also some handwritten notes at the top of the page.
This image displays a single, aged page from a printed publication—likely a museum bulletin, journal, or catalog—featuring an article titled “A Simon Willard Clock”.
The page is printed on cream-colored, slightly yellowed paper, suggesting it is an artifact from the early to mid-20th century. It has three punched holes along the left margin, indicating it was once filed or bound in a binder. The top right corner is slightly curled upward, adding to its physical, archival character. Handwritten markings, including “LIB MLC 25 F31,” are faintly visible near the top left hole.
The article provides a detailed description and history of a specific eight-foot-four-inch tall long-case (grandfather) clock made by Simon Willard in Roxbury between 1806 and 1828. The clock was loaned to the Fogg Art Museum by Mr. Vernon Hall.
Key details described:
Positioned in the center of the page is a black-and-white photograph of the clock. It shows a tall, dark wooden grandfather clock with an ornate hood topped by a decorative finial, a white dial with Roman numerals, and a rectangular body standing on a stepped base.
The article is set in two columns with a serif font, typical of early 20th-century scholarly publications. The title is bold and centered above the columns. The text flows around the central image, with paragraphs interrupted on either side to accommodate the photograph.
In summary, this is a historical artifact—a museum or scholarly document—offering detailed art-historical and technical information about a significant American-made clock by Simon Willard, with an accompanying photograph and contextual commentary on its craftsmanship and provenance.
The image is a scanned page from a book or magazine featuring an article titled "A Simon Willard Clock." The page has two columns of text and an image of a clock. The text describes a long-case clock made by Simon Willard, a renowned clockmaker from Roxbury, Massachusetts, between 1806 and 1828. The clock is described as being made of mahogany, with inlays of satinwood and fluted corners, and featuring brass mounts, a fretted and domed hood, and a brass gilded wooden eagle between two sides. The clock stands eight feet, four inches high, not including the gilded eagle. The clock's case was probably made for Willard by William Fisk (1770-1844) of Watertown, who ranked with Henry Willard (1802-1857) of Roxbury, and Charles Crane (1793-1879) as a notable clock-case maker. The dial, showing the time in the semi-circle at the top, is a stylized phoenix bird in an oval of gilt, with gilt scrolls at each side, and is exceptionally fine. The four spandrels formed by the circular face of the clock have scenes depicting the seasons. The clock's dials and timepieces were painted with paint, and each coat was rubbed down until the dial face was like polished ivory. The figures on Mr. Hall's clock, however, are so English in character that it seems certain they were done by the unknown English artist whom Willard employed. This Englishman was employed by Willard for the then exorbitant pay of from $10 to $20 a dial. His usual designs were a combination of arabesque and scroll work, with cross-hatching, done in gold leaf on a white ground. Miss Theodora Willard of Cambridge has an excellent example of this type. This artist, of whose name there seems to be no record, either died or moved away about 1828. Incidentally, Charles Bullard, who later did so much for Willard, was a pupil of the English lishman, but never approached his master in skill. The little scenes of the seasons with the square case have a woman in a leghorn hat seated beside an urn, holding flowers in her lap, representing spring. The upper right-hand spandrel, representing autumn, has another woman reaping wheat with a sickle under a tree, shown by a young girl asleep with a basket of fruit in her lap. Winter is shown by a young girl asleep with a basket of fruit in her lap.
The image depicts a page from a book or a catalog, featuring a detailed description of a Simon Willard clock. The text is written in a formal and descriptive style, providing information about the clock's design, materials, and historical context. The page includes a black-and-white photograph of the clock, which shows its intricate design and craftsmanship. The clock has a tall, narrow case with a decorative top and a dial featuring Roman numerals. The text mentions that the clock was made between 1806 and 1828 and is currently on loan to the Fogg Art Museum. The description highlights the clock's unique features, such as its mahogany case, satinwood and fluted corners, and brass mounts. The text also provides information about the clock's dial, which shows the stylized phoenix bird in an oval of gilt, with gilt scrolls at each side, and is exceptionally fine. The four spandrels formed by the circular face of the clock have scenes depicting the seasons, with each season represented by a different scene. The text also mentions that the clock's figures were painted with painstaking care, and the dials of Willard's case clocks and timepieces were painted with from eight to ten coats of paint, and each coat was rubbed down until the dial face was like polished ivory. The clock's case was probably made for Willard by William Fisk of Watertown, who ranked with Henry Willard and Charles Crane, and the dial was employed by Willard for the then exorbitant pay of from $10 to $20 a dial. The text also mentions that the clock's usual designs were a combination of arabesque and scroll work, with cross-hatching, done in gold leaf on a white ground. The clock is an excellent example of the artist's work, and its name seems to be no record, either died or moved away about 1828.
The image depicts a page from a publication or catalog detailing a Simon Willard clock, likely from a museum or historical archive. The page is titled "A Simon Willard Clock" and appears to be part of a descriptive article or exhibit label. Here is a breakdown of its content:
Introduction:
Case Description:
Dial and Hands:
Artistic Details:
Historical Context:
The page provides a detailed and scholarly description of the Simon Willard clock, emphasizing its craftsmanship, artistic design, and historical significance. It highlights the exquisite detailing of the clock, including its paintings, gilded elements, and seasonal spandrels, while also situating it within the broader context of Simon Willard’s work and the artistic influences of the time. The accompanying photograph reinforces the textual description, offering a visual representation of this historic timepiece.
The page appears to be from a museum catalog or exhibition guide, aimed at showcasing the clock’s artistic and historical value.
The image features a vintage newspaper clipping, titled "A Simon Willard Clock," showcasing a black-and-white photograph of a tall, dark wooden clock with a white face and Roman numerals. The article provides information about the clock's history, including its creation by Simon Willard in 1806-1828, and its subsequent loan to the Fogg Art Museum.
The clipping is attached to a piece of aged paper with three holes punched along the left side, suggesting it was once part of a larger document or scrapbook. The background of the image is a plain gray color, which helps to highlight the clipping and its contents.
Overall, the image presents a unique and interesting piece of historical ephemera, offering a glimpse into the past and the story of a remarkable clock.
The image depicts a page from an old newspaper or magazine, featuring an article about a Simon Willard clock. The page is yellowed and has a rough edge on the right side, with three holes punched along the left margin. The title of the article, "A Simon Willard Clock," is prominently displayed at the top of the page in large font.
The article itself is written in smaller text and provides information about the clock's history, design, and features. A black-and-white photograph of the clock is included in the center of the page, showcasing its intricate details and craftsmanship. The clock appears to be a tall, slender timepiece with a rounded top and a flat base, adorned with ornate carvings and decorative elements.
Overall, the image suggests that the article is a historical or educational piece, likely published in a publication focused on antiques, art, or history. The inclusion of the photograph and detailed description of the clock implies that the article is intended to inform readers about the significance and beauty of this particular timepiece.
The image is a vintage newspaper clipping featuring an article about a Simon Willard clock, accompanied by a black-and-white photograph of the clock.
Clipping Details:
Article and Photograph:
Background:
Overall, the image presents a nostalgic and informative glimpse into the past, showcasing a piece of historical significance and craftsmanship.
The image presents a vintage newspaper clipping or article, featuring a photograph of an antique clock and accompanying text. The clipping is yellowed with age and has three holes punched along its left edge.
In summary, the image showcases a vintage article about a Simon Willard clock, providing detailed descriptions of its features, history, and the artist who created it. The article highlights the clock's exceptional craftsmanship and its significance as a fine example of Willard's work.