This tall case clock brilliantly illustrates the impact of the United States’ new middle class on art and design in the early 19th century. The mesmerizing decoration on the clock case represents the height of experimental decorative design of the era, using the simple ingredients of paint and fire. Light gray paint was applied over a dry base layer of soft white; then a smoking tallow candle was passed by the wet surface, creating a random, translucent pattern with subtle tonal shifts. This decorating technique, along with other experimental applications of color and pattern, were popular elements of “Fancy,” a visually exuberant artistic style embraced by the rising U.S. middle class in the early 19th century. The dazzling case houses a clock mechanism created in Plymouth, Connecticut by Silas Hoadley, a pioneer in mass-production. Trained as a cabinetmaker, Hoadley was hired in 1807 by clockmaker Eli Terry, along with a third partner, Seth Thomas. The trio developed a system to mass-produce high-quality and durable wooden clockworks that were significantly less expensive than traditional brass clockworks. Their innovation led to the democratization of clocks in homes throughout the nation. Each of Hoadley’s partners continued to experiment with smaller clock technology, ultimately founding their own clock manufactories. Hoadley became the sole owner of the original Plymouth manufactory in 1814, and successfully produced primarily tall-case clocks for thirty-five years until 1849. The clock face of this example was likely painted by Nathan Beach who supplied clock faces to Hoadley, Terry, Thomas, and others in the area for 17 years. The Masonic symbols above the dial are found on multiple clocks bearing Hoadley’s name, showing the importance of the clockmaker’s longtime active membership in the Harmony Lodge No. 42 of Waterbury, Connecticut in connecting him with customers.

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