AFA Autumn 2018

Autumn 106 www.afamag.com | w ww.incollect.com Tall clock, Nathan Lumbard, Sturbridge, 1801. Cherry, mahogany banding, light- and dark-wood inlay, white pine. H. 911⁄16, W. 21⅛, D 113⁄16 in. Inscribed “Top/December 9 [or 7]th 1801/N Lumbard/Maker” in pencil on inner backboard. Philip and Betsey C. Caldwell Collection. Photo by Gavin Ashworth. Nathan Lumbard inscribed this tall clock in December 1801, one of only three pieces inscribed with his name or with other words in his distinctive handwriting. The case documents a rich vocabulary of inlay seen on numerous pieces that can now be attributed to Lumbard. Because the case is constructed with several unusual features, we can also attribute some unmarked clock cases to his hand. These same quirky features are found on a case signed by Oliver Wight in Sturbridge in 1791, adding credence to the theory that Lumbard trained with Oliver Wight. The elegant swirling paterae, often encased in diamond-shaped banding, classical cups or urns holding tapered stems of meandering flowers and leaves, and the ubiquitous mahogany feather banding surrounding the main sections of the facade typify Lumbard’s characteristic inlay and veneering. Though other makers used it, chevron stringing (with light and dark angled segments) is routinely seen on Lumbard’s furniture. The reticulated fret of abstracted scrolling leaves and vines is original and relates closely to the pediment on the desk and bookcase from 1798–1802 shown below. The ogee feet are replacements; the case probably had “French” style feet originally, similar to those on the swell-front secretary from 1800–1810, also shown here.