Picture clocks from the same century, mostly from Austria, inserted clocks into paintings. In many cases, the paintings would depict village scenes—the hands of the real clock would be strategically placed on the painting so that they were positioned on the exterior of, say, a church steeple. Vienna was also a center for regulator wall clocks, which were among the most accurate clocks of their time.

Wall clocks in 19th-century America evolved from these forms, as well as from English wag-on-the-wall clocks, whose weights and pendulums dangled and swung for all to see below the clock’s case. The most famous and sought-after antique American wall clock is Simon Willard’s banjo clock, which was so named for its resemblance to an upside-down banjo.

In the early part of the century, every American clockmaker worth his salt made a banjo clock. They were typically cased in mahogany and frequently had brass ornamentation on their sides to suggest frets on a banjo’s neck. Some were crowned with eagles, others were anchored by boxes that were decorated with paintings of everything from harbor scenes to grand estates. Still other variations replaced the banjo shape with that of a lyre.

The gallery clock was another popular type of American wall clock. Unlike the banjos, which had long cases to hide the clock’s pendulum, these were almost all dial, with hardly any casing beneath the clock’s face at all. Gallery clocks quickly became a favorite of churches, courthouses, and other public buildings.

Schools got their own design, the so-called schoolhouse clock, first appearing sometime between 1850 and 1860. Similar to a gallery clock but with more framing—usually wood—around the dial, schoolhouse clocks had short cases below their faces, often with a small pane of glass to reveal the pendulum inside.

Mirror clocks were a very popular form of American wall clock, and hard to find today given their fragility. Typically the dial would occupy the top quarter or third of the clock’s rectangular case, with the bottom section devoted to a mirror, behind which swung the clock’s pendulum. Frames ranged from plain birch to gilt pine.

Double-dial wall clocks from makers such as Jerome and Ingraham were another 19th-century favorite. In most cases, a clock giving the hours and minutes would fill the top section of the case, while hands pointing to the date, month, and/or day of the week filled the bottom. In some of these clocks, tumblers with the printed names of the days and months ("Monday," "January," etc.) poked through the dial, giving these antiques an almost digital appearance.

By the 20th century, many of these wall-clock styles were being mass-produced by Seth Thomas and others. With the advent of electrical wall clocks, manufacturers began adding neon to their products and making their clocks out of plastic, steel, and chrome.

For advertisers, electric clocks represented an exciting new way to pitch products to customers. Coca-Cola and Budweiser were some of the first companies to make advertising clocks, as were gasoline companies and manufacturers of radios and other consumer-electronics devices.

While advertisers chose not take full advantage of the miniaturization of clockworks (dials needed to remain large so that products could be promoted), designers did. One of the best and most collected clock designers of the 20th century was George Nelson, whose clever and even humorous Mid-century Modern sunflower, ball, and starburst wall clocks give new meaning to the phrase "wag on the wall."

About our sources | Got something to add?