|Type:||Timekeeping Device; Furniture|
|Materials:||wood: mahogany veneer, mahogany, sylvestris pine, birch, spruce, white oak.|
|Place Made:||United States; Virginia|
|Measurements:||overall: 12 1/2 x 6 5/8 x 5 1/4 in.|
|Accession Number: ||HD 2003.21.29|
|Credit Line:||Gift of the Estate of Mrs. W. Scott Cluett||
Small bracket clock with a molded and domed square case; arched brass dial. From Phil Zea's notes: "Blind frets with brass at top, mahogany, and oak, pine, not much wear on bottom, but no holes to attach bracket base. Originally had 4 finials, unusual size for a striker. Fair amount of escapement work, brass panel obscures false pendulum slot. Threaded hole at top of front plate biggest(?) strike/intent mechanism (lost), no evidence of re dial. English: star wheel to trip rail for strike / engraved back plate Engish clocks with Walkers name. materials were English quality. Both  probably new. Marketed by Walker in VA."
George Alfred Cluett (1873-1955), of Troy, New York, and Williamstown, Massachusetts, collected American furniture from around 1901, shortly after he and Edith Tucker were married, through the mid-1920s. Cluett was prominent among early collectors. For the first museum exhibition of American furniture, The Hudson-Fulton Exhibition, opened at the Metropolitan Museum of Art in 1909, Cluett loaned 22 objects. Cluett, whose family business became Arrow Shirts, finished collecting before Henry Francis DuPont began to amass objects for what became the core of the Winterthur Museum in Delaware. The Cluett family donated most of its collection to Historic Deerfield beginning in 1960, with its last gifts given in 2003. Cluett’s keen connoisseurship, focused on Classical objects (contemporary to his grandparents’ lives) is notable as he collected before the publication of the first seminal reference books on American antiques. Moreover, the early twentieth-century collectors focused on the so-called Pilgrim Century, which predates the Classical era by over one hundred years. Cluett was particularly intrigued by the work of craftsmen including Seymour, McIntire, Phyfe, and Lannuier. Cluett’s desire for privacy, and reverence for times past has long obscured his creative connoisseurship and legacy as one of the earliest and influential collectors of American furniture.