David Wood of Newburyport, Massachusetts. A fine tall case clock. 222057
This tall clock case is constructed in cherry and retains an older, mellow surface. The case stands on four boldly formed ogee bracket feet. They are tall and shapely and include a deep return or spur in their design. The feet and the base molding are shaped from the same piece of wood. They are applied to the bottom of the base. The waist section of this case is fitted with finely reeded quarter columns that terminate in brass quarter capitals. The waist door is rectangular-shaped and trimmed with a simple molded edge. This door features a nice selection of wood grained better than most. The bonnet features a New England-style pierced fretwork pattern. The design is somewhat unusual. Three reeded plinths support the brass ball and spike finials. The bonnet columns are also reeded and flank the arched bonnet door. These columns terminate in brass capitals. The hood door is arched and fitted with glass. It opens to access a painted dial.
This colorfully painted iron dial is of local origin and was most likely painted by the Boston. This example is signed by the clockmaker, "David Wood," in script lettering below the center arbor. His working location, "NEWBURYPORT," is written in block lettering and is positioned below the signature. The lunette of this dial is decorated with florals. Geometric-shaped fans are positioned in the four spandrel regions. The time ring features Arabic-style five-minute markers. A dotted minute ring separates them from the large Roman-style hour numerals. A subsidiary seconds dial is displayed in the traditional location. This dial is fitted directly to the movement without the use of a flaseplate.
This fine weight-driven movement is constructed in brass and is of good quality. Four-turned pillars support the two brass plates. Hardened steel shafts support the polished steel pinions and brass gearing. The winding drums are grooved. The escapement is designed as a recoil format. It is weight-driven and designed to run for eight days on a full wind. It is a two-train or a time and strike design having a rack and snail striking system. As a result, it will strike each hour on the hour. This is done on a cast iron bell which is mounted above the movement.
This clock was made circa 1795 and stands approximately 89.5 inches tall to the top of the center finial.
Inventory number 222057.
David Wood was born to John Wood (1727–1805) and Eunice (Fellows) Wood (1737–1801) in Newburyport, Massachusetts, on July 5, 1766, during a period of burgeoning craftsmanship in early America. He likely apprenticed under either Daniel Balch Senior or a member of the Mulliken family—both recognized as influential clockmakers in colonial New England. These apprenticeships were critical pathways for transmitting specialized skills and sustaining the region’s reputation for horological excellence.
By June 13, 1792, David Wood had established his own shop in Market Square, as reported in the Essex Journal and New Hampshire Packet. His business was strategically located near Reverend Andrews' Meeting House, a hub of community activity, reflecting the importance of visible, central locations for artisans of the period. Three years later, he married Elizabeth Bird (1769–1846) of Newbury, further cementing his ties to the local community.
Wood’s career coincided with a transformative era in American clockmaking, marked by innovation and expanding markets. In addition to crafting clocks, Wood was an active retailer. His 1806 advertisement for "Willard's best Patent Timepieces"—well-known products of the pioneering Willard family—illustrates his connection to broader networks of American clockmakers and his responsiveness to consumer demand.
In 1818, partnering with local silversmith Abel Moulton, Wood moved his enterprise into the former shop of Thomas H. Balch, another figure in Newburyport’s artisan community. By 1824, he relocated to the west side of Market Square, opposite the Market House, demonstrating both business adaptability and the fluid nature of commercial life in early 19th-century New England towns. After Elizabeth’s death in 1846, Wood moved to Lexington to be near his son David.
David Wood’s legacy as a master clockmaker and retailer is evident in the many surviving examples of his work—wall, shelf, and tall-case clocks signed by his hand. His long career reflects not only personal success but also the broader evolution of American craftsmanship and commerce during the early republic.
