Comtoise Clocks: Morez and Morbier
THE NAME: MOREZ, COMTOISE, MORBIER
Known in Portugal as Morez clocks and in France as Comtoise, this is a form of provincial, weight-driven clock originally made in the area around Morbier, in the Franche-Comté region (old spelling: Contée), near the Swiss border, from the late 17th century to the early 20th century. They are called Comtoise because they originate from the French region of Franche-Comté (old spelling: Franche Contée), whose name literally means “free county” — a territory that for centuries enjoyed autonomous fiscal and administrative status.
The adjective comtois (comtoise in the feminine) means precisely “of the Comté”, that is, “from Franche-Comté”. Thus horloge comtoise literally means “clock of the Comté”.
HISTORY
Origins in the 17th Century
The origins of these clocks go back to around 1680, when local farmers began making clocks during the winter months. These craftsmen used resources that were plentiful in the region, such as wood for the frames and water to power their tools, combining the skills of locksmithing, founding and joinery with a remarkable ingenuity for building precision mechanisms.
Production was initially home-based, with each family specialising in one part of the clock — wheels, cases, dials or pendulums — which gave rise to a decentralised yet effective proto-industrial production system.
Consolidation in the 18th Century
During the 18th century, the production of Comtoise clocks spread throughout France. The name “Comtoise” refers precisely to the Franche-Comté region, where these clocks were produced in large numbers. The first organised workshops appeared in Morbier and Morez, with master clockmakers coordinating the work of dozens of craftsmen.
Clocks from this period had plain wooden cases and white enamel dials. The movement struck the hours on a bell and often repeated the strike two minutes later.
Boom in the 19th Century
In the 19th century, especially after the railway reached Morez in 1855, production reached a new level. Easier transport made it possible to ship thousands of clocks all over Europe, North Africa and even to the Americas.
At this stage cases became more ornate, with friezes, painted panels and rustic motifs in gilded relief. Variants with automata or with minute repeating also appeared.
Between 1850 and 1915, it is estimated that more than 300,000 Comtoise clocks were produced, across several generations, with varying levels of finish and technical complexity.
Decline and Heritage
With the advent of industrial clockmaking and electricity, demand for pendulum clocks fell sharply. The last workshops closed their doors in the first decades of the 20th century. Nevertheless, the historical and decorative value of Comtoise clocks endured, and today they are the subject of restoration, research and collections in museums and private homes. The Comtoise clock is a symbol of regional identity, popular ingenuity and the living memory of traditional European clockmaking.
Versions of Comtoise Clocks
Over more than two centuries of continuous production, Comtoise clocks evolved both technically and aesthetically. This evolution allows them to be classified into several generations or styles, based on chronology, decoration and mechanical features. Here are the main versions:
First Generation (c. 1680–1750) – Rustic and handcrafted
Case: usually plain wood, with little ornamentation.
Dial: white enamel or metal, with Roman numerals and wrought-iron hands.
Movement: sturdy construction, with large-diameter wheels; simple striking on a bell.
Features: heavy models with long cords and counterweights; verge escapement with crown wheel and foliot oscillator.
Rarity: today they are very rare and highly prized by collectors.
Second Generation (c. 1750–1820) – Baroque and decorative
Case: decorative elements begin to appear on the side columns and upper panels.
Dial: more elaborate, often with hand-painted scenes or floral decoration.
Pendulum: longer and more decorative pendulums are introduced.
Movement: improved striking systems and greater reliability of the movement.
Spread: increasingly found in prestigious middle-class and rural homes.
Third Generation (c. 1820–1850) – Industrial transition
Case: more standardised manufacture, but still with many handcrafted elements.
Decoration: brass friezes are introduced; religious or military themes.
Movement: more durable systems, with improvements to the drums and the hour-repeat system.
Pendulum: now lyre-shaped or with symbols embossed in relief. The first pendulums with industrially stamped bobs appear, though still hand-finished.
Fourth Generation (c. 1850–1915) – Mass production and exuberance
Case: often absent, as the clock was sold with the movement and dial ready to be fitted into locally made furniture.
Dial: highly elaborate, with flowers, landscapes, pastoral scenes or flags (especially after 1870, reflecting the nationalist mood after the Franco-Prussian War).
Pendulum: showy pieces with large bobs (up to 35 cm), gilded or engraved.
Varieties:
With automata (moving figures above the dial);
With perpetual calendar;
With repeat striking every 2 minutes;
With double striking (two bells or gongs).
Distribution: exported all over the world, including to Portugal and Spain.
Post-1915 – Decline and end of production
Comtoise clockmaking all but disappears with the First World War.
A few workshops hold out until the mid-1920s, making only spare parts or simplified models.
Taste turns to mantel clocks, column chiming clocks and, later, electric and quartz clocks.
Variations on Today's Market
Today, the versions most commonly found on the antiques market are those of the fourth generation, above all models with a lyre pendulum, gilded friezes and repoussé brass decoration. Older examples, especially from the first and second generations, are hard to find and require specialist restoration.
In Portugal, it is common to find models without their original case, fitted into adapted furniture or hung on purpose-made frames — a common practice in the 19th century.
Design and Aesthetics of Comtoise Clocks
Beyond their practical function, Comtoise clocks, also known as Comtoise or Morbier, were always conceived as decorative objects with a strong presence. Their stateliness, ornamental variety and symbolic richness made these clocks centrepieces in many middle-class and rural homes from the 18th century to the early 20th century. This section explores the visual elements that define their design.
Dial
The dial is, in many cases, the most striking element of the clock:
White enamel: with black Roman numerals and an outer minute track in Arabic numerals, usually with blued hands in forged or pierced steel.
Hand-painted decoration: from the 19th century onwards, landscapes, rural scenes, religious motifs, national flags or agricultural allegories appear.
Shape: round, set into a rectangular or shield-shaped panel, often with engraved brass surrounds.
Signature: many dials bear the name of the clockmaker and the place of manufacture (e.g. “Moitessier à Morez”).
Upper Frieze
Set above the dial, the upper frieze is a brass plate with artistic relief work, typical of 3rd- and 4th-generation models:
Common motifs:
Rural: harvesters, shepherds, ears of wheat, animals.
Religious: crosses, sacred hearts, images of saints.
Patriotic: flags, Gallic roosters, soldiers.
Style: from neoclassical to folk baroque, depending on the period.
Technique: the brass is worked in bas-relief with hammer and punches, in a process similar to chasing.
Pendulum
The pendulum is a functional but also a decorative element:
Shape:
Simple (early generations): a metal rod with a plain round bob.
Lyre (golden age): a lyre-shaped structure with interlaced rods and pierced details.
Bob: can measure between 25 and 35 cm in diameter, in polished brass or engraved with symbols (flowers, stars, crosses).
Decoration: often combines brass and steel, creating visual contrast and sparkle.
Case
In models with a case (above all those of the 1st, 2nd and 3rd generations), the wooden housing adds to the aesthetic presence:
Woods: pine, oak or walnut, sometimes with inlays.
Height: usually between 1.8 m and 2.3 m.
Shapes: from straight, austere cases to models with curved bases, projecting mouldings and carved friezes.
Adaptations: many 19th-century models were installed in Portuguese or Spanish furniture, taking on a hybrid character.
Additional decorative elements
Automata: moving figures such as crowing roosters, angels or miniature bells.
Colours: gold (brass) and white (enamel) predominate, with touches of blue, green, red and black.
Symbols: the clock also served as a reflection of moral, religious or national values.
The overall look
A well-preserved Comtoise clock impresses with its balance between engineering and folk art: the lyre pendulum traces an elegant vertical line, the enamel dial provides contrast and brightness, and the upper frieze adds character and visual narrative. It was, and still is, a centrepiece of the home, almost always placed in a prominent position.
How Comtoise Clocks Work
Beyond their aesthetic richness, Comtoise clocks are remarkable for the robustness and technical ingenuity of their movement. Built to last for centuries with minimal maintenance, they combine simple construction with reliability. This section describes the main elements of how they work.
General Layout
The movement of a Comtoise clock generally consists of two main parts, which work independently:
Going train (on the left): responsible for measuring and indicating time.
Striking train (on the right): sounds the bell on the hour (and sometimes also on the half-hour or with a repeat).
Both trains are driven by weights hanging from cords or chains, whose gravity provides the necessary energy.
Escapement and Oscillator
Anchor escapement: the oldest Comtoise models use verge or spindle escapements, but most 19th-century examples use an anchor escapement combined with a pendulum.
Pendulum:
Length usually between 1 m and 1.3 m, varying with the model.
Slow, regular swing, with a period of between 1 and 1.25 seconds per complete cycle.
Large metal bob, often decorative.
Striking System
Bell of iron or bronze, mounted above the movement, sounding every hour.
Hammer operated by a cam and levers, controlled by a count wheel.
Many models include:
Hour repeat: two minutes after the hour, the clock repeats the number of strokes, useful for hearing the time in the dark.
Half-hour strike: a single stroke or two, depending on the version.
Cords and Weights
Two separate weights:
One drives the going train (the timekeeping part proper).
The other drives the striking system.
Cords or steel chains wound on drums.
The weights must be raised by hand every 7 to 8 days, giving the clock a week's autonomy.
Regulation
The rate is regulated:
By changing the length of the pendulum (moving the bob up or down).
By adjusting the escapement, on older models.
Well-regulated Comtoise clocks can keep time to within a few minutes a week — remarkable for 19th-century instruments.
Technical Peculiarities
Reversed layout of the trains (going train on the left and striking on the right), unlike most European clocks of the period.
Modular movement: movements were made to be easily assembled and dismantled, allowing quick repairs.
No excessive lubrication: built to run with little maintenance, the materials used tolerated friction well.
Simplicity and Durability
The technical philosophy of the Jura clockmakers was clear: to make clocks that were “good, simple and long-lasting”. Hence the use of large-diameter wheels, low friction and mechanisms sized with generous clearances, which allowed reliable operation even when worn.
RESTORATION AND CONSERVATION OF COMTOISE CLOCKS AT THE IPR
With more than two centuries of history, surviving Comtoise clocks require specific care to ensure their longevity and authenticity. Many examples are in good working order thanks to the robustness of their movement, but others need careful interventions, both technical and aesthetic. This section covers the main aspects of the restoration and conservation of these historic instruments, which we follow rigorously at the IPR.
Initial Assessment
Before any intervention, a thorough assessment of the clock's general condition is essential:
Check whether the movement runs and whether both trains (going and striking) are working.
Inspect the pendulum, weights, cords/chains and wheels.
Assess the condition of the dial, the brass decoration and the bridges.
Confirm the presence of a signature (where there is one), dates or marks of origin.
Mechanical Restoration
Restoration of the movement must respect its original operation:
Complete dismantling, cleaning and lubrication with oils suitable for medium-sized clockwork.
Replacement of damaged cords or chains.
Repair or remaking of wheels, pivots or bushes.
Adjustment of the escapement and regulation of the pendulum.
Checking and fine-tuning of the striking system (hammer, cam, count wheel).
Avoiding modernisations (such as electric movements) that would alter the character of the piece.
Aesthetic Restoration
The visual side of the clock calls for historical sensitivity:
Hammered brass: can be carefully cleaned to remove oxidation, without aggressive polishing that would strip the original patina.
Enamel dial: cracks and losses should be assessed by specialists; interventions should be minimal.
Pendulum and bob: cleaning with mild products, avoiding abrasives; remaking only if absolutely necessary.
Friezes and medallions: restoration of damaged surrounds must respect the original repoussé technique.
Case (where present): wood cleaned and treated with natural waxes or oils; never painted or varnished with modern materials.
Mistakes to Avoid
Replacing parts with non-original components without justification.
Modern paint or gilding over old elements.
Use of industrial lubricants or too much oil.
Altering the aesthetic character (such as adding modern dials or removing the brass friezes).
Authenticity vs Functionality
The balance between preserving authenticity and restoring functionality must be weighed case by case. Sometimes a Comtoise clock can retain greater heritage value even with signs of wear than after excessive restoration.
Preventive Maintenance
To keep the clock in good condition over time:
Clean the exterior regularly with a dry, soft cloth.
Avoid direct sunlight, damp or extreme changes in temperature.
Raise the weights carefully, avoiding sudden jolts, but without leaving too much slack, so that the cord does not wind onto the arbor outside the drum.
Have the movement serviced every 5–10 years by a qualified clockmaker.
Distribution and Presence in Portugal
Although Comtoise clocks are a French creation, they had a significant presence in Portugal from the 19th century onwards, especially in urban areas and among the well-off in the countryside. Their import was helped by the railway link between France and the Iberian Peninsula and by the ease of transporting and installing the movements.
Main routes of entry:
Importers and merchants in Lisbon and Porto, who sold the clocks with or without a case.
Via Spain: through Ourense and Salamanca, many movements reached Trás-os-Montes and the Beiras overland.
Missionaries and religious congregations, who brought decorative models to parish houses, schools and convents.
Typical places of installation:
Rural manor houses and stately homes: as a symbol of status and modernity.
Sacristies and convent refectories: for the reliability of their striking.
Pharmacies, shops and cafés: as a showpiece in middle-class settings.
In some cases, the French movement was fitted into Portuguese furniture, adapted to local taste. There are examples with cases made by Portuguese cabinetmakers, keeping only the original movement and dial.
Market and Valuation
Comtoise clocks are still sought after by collectors, decorators and horology enthusiasts. Their value depends on several factors:
Factors that influence value:
Generation: models from the early generations (17th–18th centuries) are extremely rare and highly prized.
Condition: complete, working pieces, with original dial, frieze, pendulum and weights.
Decoration: friezes with unusual themes (soldiers, saints, automata) are more sought after.
Provenance: clocks with documentation or a well-established provenance history.
Average prices (in Portugal):
Common 19th-century models: €500 to €1,200
Examples with a complete restored case: €1,500 to €3,000
Early generations or pieces with automata: over €5,000
Museum pieces: value undetermined, depending on rarity.
Curiosities and Symbolism
The brass upper frieze was sometimes personalised: farmers had symbols of their trade engraved on it, such as sickles, ears of wheat, hoes, or crosses.
Many Comtoise clocks repeated the strike two minutes after the hour, to make it easier to tell the time in the dark or in noisy surroundings.
In the 19th century it was common to say that “a house without a clock is a house without a voice”, a tribute to the commanding, regulating role of its strike.
During the Franco-Prussian War (1870–71), models appeared with nationalist friezes, roosters, flags and soldiers, now rare and much sought after.
Museums and Places of Interest
France
Musée de l’Horlogerie de Comtoise (Jura): devoted to local clock and eyeglass production, with one of the largest collections of Comtoise clocks in the world.
Musée du Temps (Besançon): housed in the Palais Granvelle, it displays French clocks, automata and scientific instruments.
Spain
Museo del Reloj (Jerez de la Frontera): holds Comtoise examples and Iberian pieces of French influence.
Museu de la Tècnica de l’Empordà (Figueres): with a collection of monumental clockmaking, including movements from the Jura.
Portugal
Museu Medeiros e Almeida: the museum's Clock Room displays around 200 pieces from the collection, arranged chronologically to illustrate the technical and aesthetic evolution of European clock- and watchmaking.
Casa Museu Frederico de Freitas (Funchal): includes several 19th-century European wall clocks.
Private collections: such as the one in Marinha Grande, where a Comtoise more than 300 years old was identified.
Antiques fairs: such as those in Estremoz or Santarém, where Comtoise models regularly turn up.
Restoration of the Comtoise clock in the Salão Nobre of the Câmara Municipal de Sernancelhe by the IPR - Instituto Português de Relojoaria
At the request of the Mayor of Sernancelhe, Carlos Manuel Ramos dos Santos, the IPR repaired the clock in the municipality's Salão Nobre. This is an excellent way of enhancing and preserving heritage.
Technical Data
Designation: Comtoise clock (also known as Morez or Morbier)
Origin: France, Jura region (probably Morez or Morbier)
Approximate date: Second half of the 19th century (c. 1850–1890)
General Features
Type: Wall clock or fitted in a tall wooden case (rustic large clockmaking)
Movement:
Weight-driven movement with two drums (one for timekeeping, the other for striking)
Anchor escapement
Combination of two separate trains: going and striking
Dial:
White enamel on copper
Roman numerals for the hours and Arabic numerals on the inner ring for the minutes (in 5-minute intervals)
Two winding holes (one for each function)
Pierced Louis XV-style hands
Calendar:
Scale indicating the day of the month, numbered 1 to 31, in the upper circle of the dial
Aesthetics and Iconography
Cast and gilded brass pediment (patinated bronze or ormolu):
Depicts a religious or educational scene: female figures praying or reading, with children and a central cross
Figurative, symmetrical style, very typical of post-1870 taste, influenced by the nationalist and educational spirit that followed the Franco-Prussian War
Side door in black-painted wrought iron, with inlaid geometric ornaments (gives access to the pendulum)
Movement
Horizontal escape wheel (anchor type)
Drum with cord for the weight
Brass wheels
Steel bars forming the frame of the trains
Striking by hammer on a bell
Striking
Hour strike with possible half-hour (usual in Comtoise clocks)
Some variants from this period include a 2-minute repeat (cannot be confirmed without video)
Condition
Dial well preserved, with no visible enamel losses
Pediment complete, with no oxidation
Movement serviced by the IPR, clean and working
Classification
Category: French large clockmaking
Subtype: Comtoise with figurative pediment
Functions: Hours, minutes, day-of-month calendar, striking
Style: Romantic / Eclectic (rustic post-baroque)
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