Gilbert clocks were one of the most famous pieces of technology during the late 19th-century to the early 20th-century.

1. Vintage Gibson Banjo Identification
2. Antique Banjo Identification
3. Vintage Banjo Identification Numbers

Not only were they a useful way to tell time, but featured stunning embellishments. Unlike many clocks of the era, Gilbert clocks were very inexpensive making them a sought-after option for those on a budget.

Vintage banjo in nice shape 29¾' long overall. 20' scale length, 11' diameter head. I believe the tailpiece is a waverly. Grover bridge, from the inlay on the head it appears to be a gretch mfg, brand names could be rex or clarophone, no marking on the backside, inside or anywhere that i can find.

1. Founded in 1972, Elderly Instruments started as a small store with a handful of instruments. Over 40 years later, we’ve grown into one of the world’s most respected sellers of new, used, and vintage fretted instruments.
2. This 1800s wall clock resembles the shape of a banjo. At the top is a large clock face that is topped with a brass eagle. This is attached to a long wooden body that connects to a base that displays a country farm painting. Ornate Mantel Clock.
3. In 1926 Gibson introduced the L-series guitars with the L-0 at $35 and the L-1 at $50 (1928 prices). The L-series is very difficult to properly identify and date as they were inconsistent in their appointments and the catalog descriptions do not always agree with the actual instruments produced.

Today, Gilbert clocks have soared back in their popularity. Due to the massive amount of clocks produced by this company, it can be difficult to tell the time period when one was made. Below you’ll discover more about this intriguing piece of history and how you can date a Gilbert clock.

History of the Gilbert Clock

Gilbert clocks were designed by the Gilbert Clock Factory starting in 1828. The brand was founded by William Lewis Gilbert who bought a small brick building in Winchester, Connecticut to serve as his factory.

Over time, the company went through various owner changes and visions. It wasn’t until the late 1800s that Gilbert clocks started to boom. The business began to create various models for consumers to enjoy and soon expanded to larger factories.

In 1907, a recession hit which almost caused the company to go bankrupt. It soon recovered and continued to sell its clocks through the 1920s.

Eventually, the company’s popularity started once again to dwindle, especially after the Great Depression struck. To prevent further losses, they decided to focus on creating smaller and cheaper clocks, including those that used paper mâché pieces rather than metal. Despite this adjustment, the new clocks never gained traction and the company went into bankruptcy. The business was later sold in 1964 to Spartus Corporation.

How to Date a Gilbert Clock

The best way to tell a Gilbert clock’s age is to inspect the back of it. You should see a label displaying the name of the company.

Because this company changed its name various times throughout its duration, the name engraved on the back will help you identify the time period it was constructed in. One of the names you might see include:

• Marsh, Gilbert & Company
• Birge, Gilbert & Company
• Jerome, Grant, Gilbert & Company
• Clarke, Gilbert & Company
• Gilbert & Clarke
• W.L. Gilbert & Company
• The Gilbert Manufacturing Company
• William L. Gilbert Clock Company

By finding the name, you’ll be able to see how long that specific one was in duration. This will help you to narrow down the age of the clock.

Tips for Identifying a Gilbert Clock

A Gilbert clock is usually easy to identify thanks to the Gilbert name displayed on it. However, there are a few other ways you can tell if the clock is from this brand or if it has been modified.

Look at its Dials and Plates

To check a Gilbert clock, do a quick inspection of its dials and plates. Unlike many clockmakers of the time, this company used steel for these pieces. Sometimes the old clock plates also have a rough pivot because of their rapid factory production.

Listen to its Sound

A Gilbert clock also stands out because of its distinctive tunes, especially if you have their grandfather clock. Depending on the model, the clocks were designed to copy famous sounds, including the brand’s Normandy chimes which were meant to mimic the music of Normandy’s iconic cathedrals.

Check for a Winding Key Hole

This company is best known for its brass winding clock key. This tool is necessary to reset the clocks because they’re designed with spring-loaded gears that move the hands. If these gears aren’t reset, they won’t display the proper time and could damage the clock. On the back of Gilbert clocks you’ll find a small hole where this winding key is to be inserted.

Gilbert Clock Styles

Banjo Clock

This 1800s wall clock resembles the shape of a banjo. At the top is a large clock face that is topped with a brass eagle. This is attached to a long wooden body that connects to a base that displays a country farm painting.

Ornate Mantel Clock

As its name suggests, the Gilbert ornate mantel clock was fabricated to be a stunning addition to a home’s mantle. The ornate mantel clocks came in a variety of designs making them all distinct from each other. Some were made to resemble church steeples while others had intricate nature scenes etched into their glass.

Schoolhouse Clock

The Gilbert schoolhouse clock is a device that was to be hung on a schoolhouse’s walls. It was produced in 1910 and constructed out of a sturdy oak frame. Beneath the clock’s face was a long pendulum that swung back and forth to track time.

Office Drop Calendar Clock

This magnificent clock features some of the most detailed work of any Gilbert clock. Its large disc has Roman numerals to monitor the time as well as the days of the week and month.

A small red arrow slowly winds around the clock as the days change. Beneath it is a tiny glass case that shows the tip of the clock’s pendulum and is decorated with scroll carvings.

Alarm Clock

Gilbert’s alarm clocks were first manufactured in the 1900s and included a popular model known as Winlite. The clock was built to be similar to a pocket watch and has small bells at the top that ring when the desired time is reached.

Over time, their alarm clocks went from being sturdy and handmade to a bit flimsy and more generic. Gilbert alarm clocks were very popular during World War II because they were cheap. Unlike Gilbert’s previous alarm clocks that were molded out of metal, later ones were made with a strong paper mâchécasing.

The Color Clock

The Color Clock was a unique line of devices designed by the company to move away from dark clock designs during the Victorian age to lighter and more cheerful ones. While this series varies in its colors, many of its models feature vibrant side pillars.

Vintage Gibson Banjo Identification

The Gilbert brand was one of the first to mass-produced clocks in the United States. Despite their affordability, they were made with elaborate designs and sounds that graced many homes. Today, the clocks are sought-after by collectors thanks to their beautiful craftsmanship.

Top Image Credit: Auckland Museum, CC BY 4.0, via Wikimedia Commons

DATING A.C. FAIRBANKS AND VEGA BANJOS

For an in depth discussion about important dating information visit the Fairbanks Research article.

The A.C. Fairbanks Company (incorporated 1875) was succeeded in 1903 by the Vega Company (established 1889). Vega continued to mark their banjos 'A.C. Fairbanks' until the middle teens.

During 1880-1890 Fairbanks joined with William A. Cole, a successful performer and teacher, and produced approximately 9000 banjos as Fairbanks & Cole. They split in 1890 and Fairbanksstayed at the 187 Tremont Street address where they had moved, and advertised his new company as 'The Only Successors of Fairbanks & Cole.'

Fairbanks restarted the numbering at about 1, as did W.A. Cole. From 1890 to 1914 Fairbanks (later Vega) made Fred Bacon banjos. Between 1903 and 1914 Vega made some S.S. Stewart banjos. The years matched to the serial numbers are an educated approximation; they are accurate within a year or two, and even the dates of introduction of major improvements are based on ads, catalogs, and contemporary news releases.

In the 1960s, urban renewal in Boston forced Vega to move from the Columbus Avenue location where they had been from 1917 to c1961, to Leon Street in Boston, where they stayed until 1966. They moved to Needham Heights, where the owners were closer to home. They weren't there for long before selling to Martin.

Vega continued in business in the Nelson Family until March 15, 1970 when the name, equipment, and all the rights were sold to C.F. Martin, a respected guitar manufacturer, in Nazareth, PA. Martin made some banjos, and marketed import instruments, under the Vega brand name until March, 1979 when they sold the Vega rights to the Galaxy Trading Company, an Asian conglomerate. All Vegas from the Galaxy period are imported. In the mid-1980s, The Deering Banjo Company purchased the Vega name and rights from Galaxy and brought this venerable banjo name back to the US and their Spring Valley, CA factory.

For a listing of instrument models and a discussion of some of Fairbanks' and Vega's products, visit the FAQ (Frequently Asked Questions) article and the web sites listed at the end of this article.

To use the chart below, find the serial number closest to yours and interpolate between the listed numbers to get a best approximation.

Antique Banjo Identification

Q:What years was the flower pot headstock inlay available on the Tubaphone style 3, 5 string banjo? DL
A: Roughly 1909 to 1913, the last serial number seen was 30441.

Q:When did Vega (Fairbanks plate models) switch the Whyte Laydie models from a grooved/slotted stretcher band to a notched one? Fairbanks plate to F-V stamp to Vega stamp? Ferrule? Hooks? Rims? Fingerboards?
A: Although there are no absolutes where Vega is concerned, several years of research have led me to these conclusions about when certain changes were made (see Fairbanks Research article for data):

• Electric, Whyte Laydie & Tubaphone Models: The Fairbanks Electric tone ring, was introduced in 1890; the earliest reported is serial #65. The earliest reported Whyte Laydie (which is the Electric tone ring with the addition of the bracket band) is #20343. The earliest reported Tubaphone is #25052. Double stamped Tubaphones with earlier numbers are WL's that were returned to the factory for retro-fitting.
• Grooved vs. Notched Stretcher bands: The crossover on WL#2s happens between #24939 and #24945. Earlier WL#2s with notched stretcher bands probably were retro-fitted. WL#7s and one TU#9 continued to have grooved stretcher bands and cobra hooks until at least #25241. (One banjo, #24567, has a notched band on a heavily engraved Fairbanks Electric, full silver wrapped banjo with round hooks and a #7 style neck. Since this was a custom order, anything is possible, including having sent it back to the factory for later enhancement or modification.)
• Name plate vs. F-V vs. Vega stamp: Plate (introduced circa #14900) to F-V seems to have happened between #26019 and #26023. F-V to Vega stamp, between #52669 and #52684. Vega stamp to yellow stick-on labels between 99369 and 99686.
• Long vs. short ferrule: switchover is between #23721 and #23800.
• Hooks: Cobra hooks first appear circa 1881 on Fairbanks & Cole banjos. The earliest reported is F&C #1000. They were used on Fairbanks Special Electrics, which appear in 1897 circa #17607, later they are only found on WL#7s up to and including #24939 and one TU#9 serial #25241.
• Rim: Thin rims are approximately 3/8'. Thick rims (7/16' to 1/2') appear about the time of the introduction of the Tubaphone, with a few earlier WL's having the thicker rims, but none earlier than about #24939.
• Fingerboards: There is no pattern to when and whether they used dyed wood or ebony on WL#2s, although the #7s seem to be all ebony. From the introduction of the Tubaphone, all WLs and TUs seem to have ebony fingerboards, but dyed fingerboards appear on the lesser instruments into the 1940s.
• Reversed facing Gryphons: Most reported examples are in the mid 24000's serial numbers. These are not 'errors' but, I believe, Vega using up inventory in anticipation of the changed WL pegheads co-incident with the release of the new Tubaphone banjos. The reversed Gryphons were intended for the backs of WL#7 pegheads. Ever frugal, Vega used them on the fronts of WL#2s and Regents.
• More research is needed to narrow the field. If you have a Whyte Laydie or Tubaphone within the serial number ranges stated above, or a Tubaphone with a serial number earlier than that listed, please let me know. Your confidentiality will be respected. Email Mike Holmes.

Q:Did Vega make any banjos before buying out Fairbanks? BR
A: There are a very few Fairbanks made banjos (several of them Regents) with pre-fire serial numbers circa 22900, stamped simply 'Vega' in an oval border. There is no evidence that Vega actually made banjos prior to buying out Fairbanks.

Vintage Banjo Identification Numbers

Q:At what point did Vega go from ball end to open end bracket nuts? JC
A: The earliest one I have recorded with open end nuts is #87058.

Q:At what point did Vega go to 'through the rim' bracket bolts on its WL and TPH banjos?
A: Serial #91892 is the earliest collected banjo with the bolts through the rim. It seems to coincide roughly with the introduction of the Vox models, the earliest serial number of which I have recorded is 93828.

Q:Which flanges came first on Vega banjos, was it the 4 piece or the 28 piece? I was under the impression it was the 28 piece but according to the Tsumura red book it was the 4 piece. KS
A: There are several errors in the otherwise excellent Tsumura Red Book. Vega offered banjos in many sizes, so it stands to reason the 28 flanges would predate the 4 pieces, since they could go on a greater variety of sizes. The patent for the individual flange plates was filed 10/30/1923 and issued to Carl Nelson 08/11/1925. The patent for the 4 piece Vega Vox flange, with its trapezoidal shaped soundholes, was filed 03/21/1927 and issued to William Nelson on 03/12/1929. The Nelsons were the owners of, and assigned their patents to, Vega. According to banjo historian Stu Cohen, checking the relevant catalogs, 'The Vegaphone (a Tubaphone model with the 28 piece flange and resonator) was introduced in August, 1923. The 4 piece flange was introduced in August, 1928, along with the Vega Vox and the addition of Pearloid on the resonator wall.' Information added by Stan Werbin, 'the individual flanges continued on several models (including sometimes on the Vegaphone Professional), gradually appearing only on lesser models, until they disappeared for good sometime in 1932.'

Much of the information included in this article is the result of my own research, and therefore any errors are mine to claim. However, I am grateful for having received (and continue to receive) help and support from Jim Bollman, Stu Cohen, George Gruhn and Stan Werbin plus too many readers to mention all of them here, but all of whom have contributed information that either added to or confirmed what we now know. The serial numbers and dates are, however, at best approximate. MIH