Ephraim Willard's tribute to George Washington. This Boston, Massachusetts, inlaid mahogany case tall clock, a significant piece of history, features George Washington's portrait in the lunette of the dial. DDD-42.
This remarkable tall clock is not only a testament to fine craftsmanship but also a reflection of the patriotic spirit that shaped early America. The painted iron dial features a portrait of General George Washington in the lunette, capturing the reverence Americans held for their Revolutionary leader. The eagle, long a symbol of the newly established United States, is depicted carrying Washington's portrait out of the storm and into sunnier skies, representing hope and national renewal after the trials of war. Washington appears in his military uniform, with a laurel wreath—a classical emblem of victory and honor—holding back his hair, symbolizing both his triumph and the young nation's aspirations. General Washington's status as commander of the Continental Army, a guiding force behind the U.S. Constitution, and the first president of the United States made him a figure of enduring national significance, and his image on the clock would have evoked pride and unity among its owners.
The dial’s artistry extends to lacy gilt patterns, raised on applied gesso in each of the four spandrel areas, reflecting the neoclassical design influences popular in the early 19th century. Arabic numerals at the five-minute markers are separated from the Roman-style hour numerals by a dotted minute ring, integrating both European and American horological traditions. A subsidiary seconds dial is placed below the Roman numeral XII, and a calendar date display sits below the center arbor. The dial is signed just below the calendar aperture, reading "E. WILLARD," authenticating its creation by Ephraim Willard, a figure linked to both American industry and the nation’s formative years. Nicely shaped steel hands complete the dial’s functional elegance.
Behind the dial is the brass eight-day time-and-strike movement, a testament to fine craftsmanship. It is designed to strike each hour on the hour on a cast-iron bell mounted above the movement. This clock is weight-powered and wound with a key.
Boston tall clocks, made during the Colonial period, are as beautiful as they get. Their form becomes the standard by which all New England clocks are judged. This is a fine example that exhibits excellent narrow proportions. The mahogany wood selected for this case's construction is nicely figured and exhibits varying coloration. The shellac finish presents the wood in a medium brown coloring. The cabinet is alive.
This early example is elevated on four applied ogee bracket feet. These are mounted below a double-stepped molding attached to the base. The base is decorated with a line inlay that forms a box around the panel's perimeter. The corners of the inlaid box are fitted with quarter fans comprising five individual petals. Each petal is sand-shaded on one side, providing visual depth to the inlay design. The base panel is nicely grained and positioned horizontally.
The transition from the base to the waist section is achieved with flared molding. This middle section is long and relatively narrow, accentuating the case's pleasing proportions. The tombstone-shaped waist door exhibits an outstanding cascading grain pattern. The door is fitted with applied molding along its perimeter and lined with inlaid design elements that conform to the door's shape. The waist door provides access to the case's interior. The interior space offers a protected area for the two drive weights and the pendulum swing. The front corners of this case are fitted with fluted quarter columns that are stopped with brass and terminating in brass quarter capitals.
The waist section supports the hood section with a traditionally formed flared throat molding. This bonnet features a traditional pierced and open lacy fretwork design and is surmounted with three brass finials. Each finial is mounted on a capped plinth. The line inlaid bonnet door is arched and fitted with glass. The two smoothly turned, and brass stop-fluted bonnet columns are positioned on either side of this door. These are free-standing and mounted into brass capitals. They provide the illusion of supporting the upper bonnet molding. Tombstone-shaped sidelights are fitted into the sides of the bonnet. Each is equipped with a glass panel that provides a view of the mechanism.
This clock was made while Ephraim lived in Boston before moving to New York. This dates back to about 1804 and may have been one of the last clocks he made, based on the styling of this case. It stands approximately 7 feet 11.5 inches tall to the top of the finial. It is approximately 19.5 inches wide and 9 inches deep.
Inventory number DDD-42.
Ephraim Willard was born in Grafton, Massachusetts, on March 18, 1755, during a period of significant change in colonial America. His parents, Benjamin Willard and Sarah (Brooks) Willard, had 12 children; four of them became clockmakers, reflecting the era’s growing demand for skilled artisans in the colonies. Little is known about Ephraim’s early life in Grafton, but he likely learned clockmaking from his older brothers, Benjamin (1743–1803) and Simon (1753–1848), at a time when the craft was central to local economies and technological advancement. Simon Willard would become America’s most prominent clockmaker, shaping the emerging identity of American craftsmanship. Ephraim also practiced clockmaking, probably working closely with Simon and their younger brother, Aaron (1757–1844), as the family contributed to New England’s reputation for fine timepieces.
Ephraim’s life intersected with major events in early American history. According to the History of the town of Sutton, Massachusetts, from 1704 to 1876, including Grafton until 1735; Millbury until 1813; and parts of Northbridge, Upton, and Auburn, Simon was hired by Joseph Rockwell to build a machine for cutting and shaping the teeth of a carding machine, an example of how New England artisans adapted to the early stirrings of the Industrial Revolution. Records also show that Ephraim marched with his brothers in response to the Lexington Alarm on April 19, 1775, serving during the opening days of the American Revolution. This direct involvement in the war highlights the Willard family’s commitment to the colonial cause.
In 1777, Ephraim moved to Medford, Massachusetts, where he was listed as a clock and watchmaker. By 1784, a lawsuit identified him as a trader living in Boston, reflecting the mobility and economic challenges many artisans faced following the Revolution. From 1795 to 1801, Roxbury tax records list him as a resident of Roxbury. In 1801, he bought land and a house on Sheaf’s Lane in Boston; the deed described him as a "Merchant." Over the next two years, he faced financial difficulties and was described as a clockmaker. In 1804, Boston tax records list him as a clockmaker on Elliot Street. In 1805, Ephraim moved to New York City, where he was occasionally recorded as a watchmaker until 1832. Like his brother Benjamin, Ephraim moved frequently, a testament to the shifting landscape of post-Revolutionary America and the challenges of maintaining a trade. He produced far fewer clocks than his three brothers, and only a small number of tall clocks bearing his signature are known to exist. Notably, the cases for his clocks range from simple and understated to examples considered among the finest made by Boston-area cabinetmakers, reflecting both the evolving tastes of the period and the influence of a changing nation.
