FOUR ELGIN POCKET WATCHES1: E.N. W.Co base metal three piece watch case with wear serial 877151 , porcelain multicolored dial with cracks, chip and loss, Elgin 17J three finger bridge pendant set and wind movement serial 8880786 2: S.W. C. Co "SCEPTER" three piece watch case with wear, Elgin Fancy multicolor porcelain dial with sunken seconds dial and crack to dial, Elgin 7J pendant set and wind movement serial 15965297 3: Nickel Alloy three piece case with wear serial 98535, Elgin metal dial with sub second register at 3 o'clock overall condition of dial is good, Elgin 7J pendant set and wind movement serial 1334886 4: nmarked base metal swiss hinged back case with high relief of women with some wear serial 79 , Egin porcelain dial with sunken second dial in good overall condition, Elgin 15J pendat set and wind movement serial 26298379; assorted sizes Condition:
E. Howard & Co. carved oak tall case clock circa 1900hood with griffins holding shield over corner griffins surrounding carved wood dial with enameled plaque numerals, housing 60 beat E. Howard & Co. time-only movement; case with foliate carving on sides and front, resting on carved feet; waist door opens to reveal 37 1/2" long wood pendulum rod with damascened brass bob before wood and tin chaseway housing single weight.H104 1/4" W23" D11 1/2"
Other Notes: A similar example is described and pictured on pgs. 39 - 40 of THE LURE OF THE CLOCK by D.W. Hering from the James Arthur Collection at New York University. The example in the Arthur Collection is 96" high, constructed of mahogany and also housing a Howard movement. The author describes the clock as "an example of high - class case building by an unknown maker." A copy of this book accompanies this lot.
Minor imperfections and shrinkage cracks. Secondary wood appears to be poplar. Clock was operating when removed from owner''s house and is operating in our gallery; we do not guarantee clocks to run once they leave our premises.
Frank Kleinholz, American, (1901-1988) Spring Fantasy, mixed media on paper signed lower right and signed, dated and titled verso. Biography from the Archives of askART: "Frank Kleinholz: A 20th Century American Modernist" by G. GROSSMAN Phd., Professor at the University of Georgia Frank Kleinholz was born in 1901 in Brooklyn, New York, the son of a blind father and hard-working mother who supported the family by running a delicatessen. At an early age Kleinholz learned the value of self-reliance and hard work as he aided in the support of his family by selling newspapers and running errands for neighbors and local businesses. This work ethic helped him later in life, and at the age of 23, he was admitted to the New York Bar, having attended Fordham Law School. Although Kleinholz practiced insurance law until 1945, he began painting and print-making seriously in the mid 1930's under the tutelage of well known contemporary artists such as Yasuo Kuniyoshi and Sol Wilson. He quickly achieved a high level of artistic respect and in 1941 his painting Abstractionists was one of 302 works chosen from a field of nearly 5000 for inclusion in the exhibition "Directions in American Painting" at the Carnegie Institute. Kleinholz's career quickly soared, and between 1941 and the 1980's he participated in many group exhibitions in highly respected venues (e.g. Philips Gallery, Carnegie Institute, National Academy of Design, Metropolitan Museum Art, Chicago Art Institute, Brooklyn Museum, Pennsylvania Fine Arts, Butler Institute, Moscow Museum Fine Art, Montclair Art Museum, Worcester Art Institute, Har Zion Temple, Library of Congress, and Jewish Center). In addition, he was invited to present one-man shows at both prestigious public and private galleries (e.g. Philips Gallery Washington D.C., American Artists Group Chicago IL , Palmer House Galleries Chicago IL, Park Gallery Detroit MI, Galerie de Ville Beverly Hills CA, ACA Galleries New York NY, Maxwell Galleries San Francisco CA, Akron Art Institute Akron OH, Four Winds Gallery Kalamazoo MI, Galerie 99 Miami Beach FL, Colby College Waterville ME). Kleinholz died sometime during the 1980's. Although Kleinholz's style is unique, his work is firmly based in a variety of 20th century artistic movements including Expressionism, American Social Realism, and the School of Paris. His artistic output was diverse including: paintings, black and white prints in a variety of media, hand-colored serigraphs, and full-color printed serigraphs. Thematically, Kleinholz's work focuses on interpretations of contemporary urban life as experienced by families. Human interactions and relationships obviously were of special interest to Kleinholz, in particular those of adults and children. Many of his best works focus on these bonds. Nonetheless, the influence of the Depression and World Wars were strongly evident in the somber expressions, low key palette, and muted tones of some of his early work (i.e. 1940's to 1950). These intensely personal paintings and prints (e.g. Keep Off the Grass, Day's End, Show Me That You Love Me), display the alienation and despair reminiscent of the works of the leaders of German Expressionism (e.g., Kathe Kollewitz and Eric Heckel). In the late 1940's Kleinholz's thematic interests broadened, and it is here that he begins to focus on family life and children, themes that would dominate his oeuvre until his death. Concomitant with these themes is a lightening of his palette via increased use of high key primary colors. This is most evident in his hand-colored prints of the 1950's-1970's. The last prints of his career (post-1975) were full color printed serigraphs that frequently depicted children in fantasy-like settings. Stylistically, Kleinholz's color prints and paintings are composed of geometric planes of color with shortened perspective. Their subject matter has been reduced to outlines filled with either monochromatic, or slightly varying hues, with occasional brush strokes to denote crucial aspects of detail. Adjacent objects frequently have strikingly different hues which shock the observer into acknowledging the boundaries between human and material existence. As with Chagall and Raul and Jean Dufy, Kleinholz's brushwork and palette are designed to convey emotion and sub-text rather than merely record their subjects. Although Kleinholz's work is representational, his purpose clearly is to emphasize the complex emotional content underlying everyday lives and objects. Submitted by Jacob Frank mixed media on paper 13" x 10", 18 1/2" x 14 1/2" (frame)
Late 19th century. Group of four 18S, KW&S/LS, Columbus Watch Co. watches consisting of: 11J, HC, hairlines, gilded movement, serial #26463, side wind, Wadsworth Referee case, currently in running condition - no guarantee; 15J, OF, hairlines and small chip on dial, nickel movement, serial #66879, currently in running condition - no guarantee; OF, 'E.H. Holter Oberlin, O' on dial, small hairlines, gilded movement, serial #26873, Keystone silveroid case, inscribed on back 'B.H. Broer 54 Toledo', currently in running condition - no guarantee; Together with 13J, Adj, HC, 2-tone movement, no serial #, Philadelphia case, stops and starts - no guarantee. Keys not included. Wear to watches commensurate with age and use.
PAUL COLIN (1892-1986) CHAMPS ÉLYSÉES / LES FÉERIES FANTASTIQUES DE LA LOÏE FULLER. 1925.
62 3/4x47 inches, 159 1/2x119 1/2 cm. H. Chachoin, Paris.
Condition B+: loss in upper left corner; unobtrusive vertical and horizontal folds; tears and creases at edges; minor abrasions in image. Paper.
Loïe Fuller (1862-1928) was the most acclaimed dancer of La Belle Époque. Her serpentine dance not only inspired some of the era's best artists, including Toulouse-Lautrec and Rodin, but also captivated many of the greatest poster artists, like Chéret, Pal and Orazi, who captured her movements with lithography. By 1925, at the age of 63, she was still performing and was still capable of transfixing artists with her performance. Eliminating unnecessary lines and playing with colors and shapes, Paul Colin demonstrates a sensuous, cubist style that appears in none of his other works, fully capturing the movement and colors of her féeries fantastique. One of Colin's masterpieces, and one of the rarest of all his posters. Colin 4, Colin / Spectacles 126.
E.M. GATTLE & CO. PLATINUM AND DIAMOND LADY’S WRISTWATCH APPROX. 7.95 DWT., WITHOUT DIAL AND MOVEMENT.E.M. GATTLE & CO. PLATINUM AND DIAMOND LADY'S WRISTWATCH, Seventeen-jewel movement numbered 41293. Arabic numeral dial. Case and bracelet set with diamonds. Length 6". Dimensions: Approx. 7.95 dwt., without dial and movement.
HOWARD NUMBER 4 BANJO TIMEPIECE. Third quarter 19th century, MA. E. Howard & Co., Boston, MA. Cherry case of typical form with simulated rosewood graining. Enameled dial with roman numeral chapter ring and time only aperture inscribed "E. Howard & Co. / Boston". Throat and box base eglomise panels, gilt decorated and with Holland maroon and black paint. Brass movement original and impressed "E. HOWARD & CO. BOSTON". Original pendulum with damascene brass clad bob, original weight impressed with the numeral 4. NOTE: Interior of throat frame with pencil inscription that reads "Cleaned and repaired by Jas. H. Haskell apprentice E. Howard Clock Co. Roxbury, Mass, July 1898." Inside the clock is a typed paper concerning the family history, in 1964 at the age of 93 Myra Cornforth willed the clock to the father of the current owner. The clock had belonged to her father Sherman Cornforth. SIZE: Overall 32" l. CONDITION: Roman numeral chapter ring and painted name appear to be heightened, brass movement appears clean and operational, eglomise glasses appear original, we believe that the background black has been re-touched and re-painted. Otherwise very good overall. 50740-1
212 Ball Hamilton “B of LF&E” mvt 18S 19J adj 5 pos DR, later dial and nickel case, initials FFC engraved into movement plate
This lot sold on September 24, 2006 for $650
1-38 Jewelry- Rings in 18K, 14K, diamond, sapphire, emeralds, etc. Necklaces, Cartier, Brooches, enameled, Bangle Bracelets, Victorian39-83 Multiple Wristwatches- Harwood, Tiffany, Girard Perregaux, LeCoultre, Omega,18K and 14K, Hamilton Electric, Elgin, Illinois, Waltham, Wittnauer, Longines, Double Dial, etc.84-121 Multiple Wristwatches- Jules Jurgensen, Longines, Movado, Wittnauer, 18K and 14K, Bulova, Hamilton, Elgin, Waltham, etc.122-176 Single Wristwatches- Patek Philippe, LeCoultre chrono, Rolex, Harwood, Hamilton Altair, Vacheron & Constantin, Omega 18K, LeCoultre Memovox, Courm, Longines, Jules Jurgensen, etc.
177-212 Pocketwatches- Patek Phillipe minute repeating split second chrono, Edward Howard #246, Longines minute repeaters, Elgin Father Time, Waltham Model 72, Patek Phillipe, Repeaters, Hamilton Model 36, Massy fusee, Howard & Rice, Jules Jurgensen 5 min repeater, Verge Fusee Repeaters, etc.213-217 Accessories- Singing Birdbox, Cane Watch, Miniature Portraits, etc.
218-248 More Pocketwatches- Verge Fusee with calendar, Agassiz chrono, Hamilton Ball, Frodsham, Howard Series III, Illinois 161A, Elgin wind indicators, Gold Box Hinged, Illinois Sangamo 23J, etc.249-288 More Pocketwatches- Tiffany & Co., Patek Phillipe, Movado Purse watch, French two-train alarm, English verge fusees, Peoria, Pouzzait, Repoussé, Vacheron & Constantin, Waltham, etc.
289-297a Movements and Dials and Watch Chains-Tiffany & Co., American Watch Co., Patek Phillipe, 14K chains, fobs, etc. 298-358 More Pocketwatches- Aggasiz, English fusees, Lady's V&C, Breitling-Laederich, Cornell, Elgin wind indicators and box hinged, Howard, Illinois, Waltham, Seth Thomas, Verge Painted Dials, Longines, etc.359-365 Carriage and Small Clocks- Carriage with alarm, Swiss ball form, travel clocks, car clocks, etc.366-399 More Pocketwatches- Aggasiz, Cartier Paris, English fusees, Elgin, Henry Capt, Illinois, Longines, Lancaster, Bigelow Kenard & Co, Waltham chrono, Waltham, etc.
400-419
Watchmaker's Tools and Accessories, and Clocks- Pivot Polisher, English Throw Lathe, Boley Staking Set, Lathes, Tall Clock Case, Ansonia, Multiple Clock Lots, etc. 420-461 More Pocketwatches- Agassiz, Ball, Elgin, English, German, Hamilton, Howard, Illinois, Longines, Omega, Rockford, South Bend, Swiss, Tremont, Waltham, etc.
462-468 PW Cases and Movements Only, Watchmaker's Parts- Illinois, Waltham, Keystone, Fahys, Wadsworth, Mvts and Parts, etc.
469-515 More Pocketwatches- Ball, Burlington, Courvoisier, Elgin, Gruen, Hamilton, etc.
516-565 More Pocketwatches- Hampden, Howard, Illinois, Longines, Audemars, Movado, South Bend, Swiss, Waltham, Zenith, etc.565a-611 Multiple Pocketwatches- 14K and 18K, Waltham, Jules Jurgensen, Lady's, Longines, Hamilton, Howard, Illinois, Jump Seconds, Swiss, Hampden, Gruen, Elgin, etc.612-664 Multiple Pocketwatches- 14K and 18K, Waltham, Elgin, Lady's, Swiss, English, Burlington, Illinois, Hamilton, Longines, Agassiz, Meylan, Silver, Trenton, etc. 665-708 Multiple Pocketwatches- Waltham, Columbus, Hampden, Elgin, Illinois, Swiss, Rockford, Longines, Lady's, etc.
Entire Auction List-without photos
Dear Customer,
Some photos may have distortions from light reflections. These distortions are not necessarily problems with the watches. If you are in question, please ask us .
Lots that contain multiple pieces are sold as is - we advise personal attendance or a representative at the live auction if you would like to bid on these multiple pieces.
We have tried to keep a format for taking photographs. In general, for open face pocket watches the dial is the first photograph, the case is the second photograph, the movement is the third photograph, and the hallmark is the fourth photograph. In general, for hunting case pocket watches the case is the first photograph, the dial is the second photograph, the movement is the third photograph, and the hallmark is the fourth photograph. In general, for wristwatches the front of the case and the dial is the first photograph, the back of the case is the second photograph, and the movement is the third photograph if available. -Thank you for your interest! Jones & Horan Auction Team
Here is a key to abbreviations listed alphabetically:
Here is a key to abbreviations listed alphabetically: “AN” = Arabic numerals “cal.” = caliber "CT" = carat "DMK" = damaskeening “DR” = double roller "DSD" = double sunk dial "DWT" = pennyweight "ET" = engine turned "GCW" = gold center wheel "GF" = gold-filled "GJS" = gold jewel settings “gr.” = grade "GWT" = gold wheel train "H" = Height “HB&B = hinge back and bezel "HC" = hunting case "hl" = hairlines “HWW” = Henry W. Wheeler "J" = jewels 14 "K" = karat "KW" = keywind "KS" = keyset "L" = length (L) = lever set "LS" = lever set “MB” = motor barrel "mm" = millimeter “Mvt” = movement “NOS” = New Old Stock "OF" = open face “oz” = ounces (P) = pendant set “pg” = page “PP” = plain polished "PS" = pendant set "PW" = pocket watch “ref.” = reference “RGF” = rose golled filled "RGP" = rolled gold plate "RN" = Roman numeral "RR" = rail road 16 "S" = size "S#" = serial number “SB&B = screw back and bezel “SO” = swing out “SS” = single sunk “SW” = stem wind “TP” = Total Production "TW" = total weight "W" = width "WG" = white gold “WI” = wind indicator "WW" = wrist watch "YG" = yellow gold
All items sold without Buyer's Premium or Sales Tax.
Walter Shirlaw, Illinois / Spain, Scotland, (1838-1909) untitled fishing village, watercolor on paper signed lower left. Biography from the Archives of askART: Walter Shirlaw, born on August 6, 1838, was only three (fourteen according to one obituary) when he came to Hoboken, New Jersey from his place of birth, Paisley, Scotland. As a young man, he found work as a bank note engraver, a profession that he continued in Chicago, where he lived between 1865 and 1870. But already in 1861 he was exhibiting genre paintings at the National Academy of Design. In 1868, Shirlaw was a member of the Chicago Academy of Design, which would become the Art Institute of Chicago, after changing its name from the Chicago Academy of Fine Arts. Shirlaw spent the years 1870-77 in Munich, at the height of the movement led by Wilhelm Leibl in which a low-keyed, dark palette, combined with bold, virtuoso brushwork, were applied to realist subject matter. Michael Quick (in Quick, Ruhmer, and West, 1978, p. 28) defined the time of Shirlaw's arrival (1870-73) as an especially experimental period in progressive German painting. Shirlaw's teachers, however, sided with tradition. The genre painter Arthur Ramberg (1819-1895) and Wilhelm von Lindenschmidt (1829-1895), his successor at the Munich Academy, taught Shirlaw composition. The painter of genre scenes and landscapes, Alexander von Wagner (1838-1919) was Shirlaw's teacher in painting. T. H. Bartlett (in American Artists and Their Works, 1889, vol. 1, p. 23) mentioned that Shirlaw regarded Leibl as too realistic. Shirlaw won a scholarship at the Academy in 1874, the year in which he executed Toning the Bell (Art Institute of Chicago). Meanwhile, he was active as one of the "Duveneck Boys" in Polling. Sheep Shearing in the Bavarian Highlands (Private collection), painted under Lindenschmidt's direction in 1876, is regarded as one of Shirlaw's most important pictures. He exhibited it upon his return to America at the National Academy in the following year; in 1878, it won an Honorable Mention in Paris. In 1877, the second school year of the Art Students League, Lemuel E. Wilmarth announced that he would be returning to teach at the NAD. Frank Waller (1842-1923) took over as president of the ASL, and Shirlaw was hired to teach painting and drawing. The appointment was endorsed by Waller: "In Munich . . . he was regarded as one of the strongest of the American students and had the strong personality which would attract and influence others to have confidence in him, was so genuine in his artistic impulses and in his interest in the development of art in this country. . . ." (quoted by Landgren, 1940, p. 32). The hiring of Shirlaw and William Merritt Chase seemed to signify a preference of Munich over Paris among the members of the Art Students League, however, while Chase was under Leibl's spell, Shirlaw was strictly academic. During the fourth season at the ASL, Shirlaw taught composition. Thomas Wilmer Dewing replaced Shirlaw in this position in 1880. Although an Associate of the National Academy of Design, Shirlaw resigned, explaining that the Academy was too much focused on exhibitions, at the expense of teaching. He turned to the Society of American Artists, a more liberal group founded in June of 1877 in the home of Richard Watson Gilder and his wife Helena de Kay. Shirlaw himself, Augustus Saint-Gaudens, and Wyatt Eaton were the artists-founders of the SAA. Within a year, there were twenty-two members (Fink and Taylor, 1975, p. 80). This new, mostly younger group of painters collectively expressed more liberal aesthetic tastes, compared to the less progressive members of the National Academy. Doll and Richards Gallery in Boston was the setting for Shirlaw's one-man exhibition in 1880. Meanwhile, he was active as an illustrator. The artist published drawings in Scribner's Monthly and Harper's Magazine, and did illustrations for various books. In 1889, Shirlaw visited Crow and Cheyenne reservations to illustrate scenes from the life of these tribes. He was also a muralist and a designer of stained-glass windows. Four murals, representing "The Abundance of Land and Sea," were painted for the dome of the Manufactures and Liberal Arts Building at Chicago's World's Columbian Exposition, where he showed popular favorites Toning the Bell and Sheep Shearing in the Bavarian Highlands, along with a pompous nude entitled Rufina (Century Association, New York). Later (1896-97), he executed Sciences, a mural for the Library of Congress. Walter Shirlaw was an American artist who helped the younger painters promote French impressionism, by founding the Society of American Artists. When Shirlaw died on December 26, 1909, another movement in American art was under way: the Ash Can School, an updated urban American realism, which utilized a painterly technique derived from the Munich School, where Shirlaw was inspired. Sources: Benjamin, S. G. W., Our American Artists [1879]. Boston: D. Lothrop and Co., 1886, pp. 88-103; Sheldon, George William, American Painters. New York: D. Appleton and Co., 1879, pp. 96-98; Benjamin, S. G. W., Art in America: A Critical and Historical Sketch. New York: Harper and Brothers, 1880, p. 207; Bartlett, T. H., 'Walter Shirlaw," American Art Review 2 (1881): 97-102, 145-149; American Artists and Their Works. Boston: Estes and Lauriat, 1889, vol. 1, pp. 19-32; Hartmann, Sadakichi, A History of American Art. Boston: L. C. Page and Co., 1902, vol. 1, p. 232; Caffin, Charles H., The Story of American Painting. New York: Frederick A. Stokes, 1907, pp. 114, 119; Huneker, James Gibbons, "Seen in the World of Art," New York Sun, 12 March 1911, sec. 3, p. 4; LaFollette, Suzanne, Art in America: From Colonial Times to the Present Day. New York: W. W. Norton and Co., 1929, p. 207; Isham, Samuel, The History of American Painting. New York: Macmillan, 1936, pp. 382, 445; Landgren, Marshal, Years of Art: The Story of the Art Students League of New York. New York: Robert M. McBride & Co., 1940, pp. 27-28, 32-34, 42; Weimer, Aloysius G., "The Munich Period in American Art," Diss., University of Michigan, 1940, pp. 151-161; Saint-Gaudens, Homer, The American Artist and His Times. New York: Dodd, Mead and Co., 1941, p. 160; Clark, Eliot Candee, History of the National Academy of Design. New York: Columbia University Press, 1954, pp. 105-106, 130, 172; Hayes, Bartlett H., Jr., American Drawings. Drawings of the Masters Series. Boston: Little, Brown and Co., 1965, pp. 58, 136; Gerdts, William H., The Great American Nude: A History in Art. New York: Praeger Publishers, 1974, pp. 110-111; Fink, Lois Marie and Joshua C. Taylor, Academy: The Academic Tradition in American Art. Washington, DC: Smithsonian Institution Press, 1975, pp. 153-155; National Academy of Design, A Century and a Half of American Art. New York: 1975, pp. 108-109; Sellin, David, American Art in the Making: Preparatory Studies for Masterpieces of American Painting, 1800-1900. Washington, DC: Smithsonian Institution Press, 1976, pp. 53, 58-59; Stebbins, Theodore E., American Master Drawings and Watercolors. New York: Harper and Row, 1976, pp. 212, 214; Quick, Michael, Eberhard Ruhmer and Richard V. West, Munich and American Realism in the 19th Century. Sacramento, CA: E. B. Crocker Art Gallery, 1978, cat. nos. 59-60; Quick, Michael, Artists by Themselves: Artists' Portraits from the National Academy of Design. New York: 1983, pp. 80, 82; Hirschl and Adler Galleries, The Arts of the American Renaissance. New York: 1985, cat. nos. 70-71; Spassky, Natalie, American Paintings in the Metropolitan Museum of Art. New York: 1985, pp. 529-530; Zellman, Michael David, 300 Years of American Art. Secaucus, NJ: Wellfleet Press, 1987, p. 294; Revisiting the White City: American Art at the 1893 World's Fair. Hanover: University Press of New England, 1993, p. 317; American Arts at the Art Institute of Chicago: From Colonial Times to World War I. New York: Hudson Hills Press, 1998, cat. no. 96; James C. Cooke, in Encyclopedia of American Art before 1914. Ed. Jane Turner. London: Macmillan, 2000, pp. 463-464; Dingwerth, Shawn and Leland G. Howard, "Walter Shirlaw: The Other American in Munich," Fine Art Connoisseur 4 (January-February 2007): 48-53. Submitted by Richard H. Love and Michael Preston Worley, Ph.D. watercolor on paper 11 3/4" x 18", 14" x 20 1/2" (sheet)
BELLMER, HANS. Les Jeux de la Poupée. Text by Paul Éluard. Illustrated with 15 hand-colored silver prints by Bellmer and 2 small mounted hand-colored cut-outs (on the title page and front cover). 4to, original publisher's black wrappers with mounted vignetted photograph, small pink title label affixed to spine and front panel of the pink bellyband affixed to front cover. Parr/Badger I 107. one of 142 numbered copies signed by bellmer on the colophon. (Paris): (Les Editions Premières), (1949)
From the Library of David Raymond.
The German-born artist Hans Bellmer is best known for his erotic photographs of life-size pre-pubescent female dolls. Bellmer''s lifelong artistic obsession was driven by childhood escapism and adult fantasies. A consummate draftsman, he constructed his first Doll, in 1933, after he became interested in doll making.
Bellmer''s first series of suggestive photographs was published as "Die Puppe," in 1934 (first in Germany, and then later in France, as "La Poupée"). He celebrated his invention of the doll in an enthusiastic essay titled "Memories of the Doll Theme:" "It was worth all my obsessive efforts," Bellmer wrote, "when, amid the smell of glue and wet plaster, the essence of all that is impressive would take shape and become a real object to be possessed."
"Les Jeux de la Poupée" was a more highly-charged presentation in which Bellmer''s sculptural object became more sexually-defined. The Doll''s exaggerated pudenda and limbs, which could be disassembled and rearranged due to the ball-joints, speak to the intensity of his artistic endeavor and chilling fetishization of the female form. This Doll seamlessly integrates Bellmer''s artistic exploration in a series of fifteen photographs that are childlike and brutal, sexual and intimate. Presented in book-form, these images acquire a peep-show quality, an aspect of the work that is indicative of Bellmer''s initial seclusion in Berlin as he developed this body of work during the Nazi''s rise to power.
Bellmer''s Doll, while a deeply personal object, was also championed as the epitome of the dual Surrealist concepts of desire and revulsion. Though he never officially joined the movement, Bellmer was applauded by its members and was in turn buoyed by the artistic community. He published work in the magazine Minotaure, exhibited, and eventually fled Nazi-Germany to Paris, the heart of the surrealist movement.
(lot of 3) American kitchen clocks, late 19th/ early 20thc., each in a "gingerbread" press carved wood case, retaining key and pendulum, comprising: (1) Ingram and Co., having time and strike movement, black Roman numerals to face, marked E. Ingraham and Co., Bristol, Connecticut to lower face, gilt transfer of foliate vines and dragon to hinged glass door, carved makers mark to interior, rising on stepped base, approx 21.5"h, 14.5"w, 5"d; (1) Ingram and Co., having time and strike movement, black Roman numerals to face, marked E. Ingraham and Co. to lower face, gilt transfer of interior ballroom to hinged glass door, retaining Albert Brothers instructions label verso, rising on carved stepped base, approx 22"h, 14.75"w, 4.75"d; (1) Ansonia, having time and strike movement, black Roman numerals to face, marked The Ansonia Clock Co., New York to lower face, silver transfer of bird and foliates to hinged glass door, rising on stepped base, approx 22.25"h, 14.5"w, 5"d; 8.75lbs total
FOUR ELGIN POCKET WATCHES1: E.N. W.Co base metal three piece watch case with wear serial 877151 , porcelain multicolored dial with cracks, chip and loss, Elgin 17J three finger bridge pendant set and wind movement serial 8880786 2: S.W. C. Co "SCEPTER" three piece watch case with wear, Elgin Fancy multicolor porcelain dial with sunken seconds dial and crack to dial, Elgin 7J pendant set and wind movement serial 15965297 3: Nickel Alloy three piece case with wear serial 98535, Elgin metal dial with sub second register at 3 o'clock overall condition of dial is good, Elgin 7J pendant set and wind movement serial 1334886 4: nmarked base metal swiss hinged back case with high relief of women with some wear serial 79 , Egin porcelain dial with sunken second dial in good overall condition, Elgin 15J pendat set and wind movement serial 26298379; assorted sizes Condition:
Two Silver Fusee Watches and two Additional Movements, England, a pair case watch marked on movement Chas. Raymond, #946, ---eroan, and marked on dial William Lane, Colnbrook, an open face engine-turned case with a swing-out movement marked E Tomlin No. 41, London, movement marked N. Sudderfield, London and another fusee movement from Liverpool. Estimate $200-250 Both dials have cracks. Movements may have broken or missing parts. The absence of a condition statement does not imply that the lot is in perfect condition or completely free from wear and tear, imperfections or the effects of aging. Condition requests can be obtained via email (lot inquiry button) or by telephone to the appropriate gallery location (Boston/617.350.5400 or Marlborough/508.970.3000). Any condition statement given, as a courtesy to a client, is only an opinion and should not be treated as a statement of fact. Skinner Inc. shall have no responsibility for any error or omission.
E. Howard & Company No. 80 Renaissance Revival Tall Clock, Boston, Massachusetts, c. 1890, the fully carved mahogany case with sarcophagus top and two carved finials, octagonal glazed dial opening flanked by engaged columns and carved leaf spandrels over the 15-in. cast brass dial inscribed E. Howard & Co./Boston within the seconds bit, applied raised Roman numeral chapters, cast decorated zone, the waist section capped by carved ram's heads, swags and a central winged cupid over the lancet-shaped beveled glass door flanked by three-quarter columns all on a raised and carved two-stage base, eight-day time, strike and quarter-hour Westminster chiming movement on coiled gongs with gilded wooden rod, dead-beat escapement, brass-faced pendulum bob, brass pendulum tie-down and three compounded brass-cased weights, ht. 106 in. Estimate $7,000-9,000 Small carved portion of extreme top of hood now gone, movement complete but wants a thorough cleaning and overhaul, probable original finish with age consistent imperfections., movement and gongs attach to the original cast iron plate mounted to the backboard, imperfections on original silvered dial finish. The absence of a condition statement does not imply that the lot is in perfect condition or completely free from wear and tear, imperfections or the effects of aging. Condition requests can be obtained via email (lot inquiry button) or by telephone to the appropriate gallery location (Boston/617.350.5400 or Marlborough/508.970.3000). Any condition statement given, as a courtesy to a client, is only an opinion and should not be treated as a statement of fact. Skinner Inc. shall have no responsibility for any error or omission.
Claude Viallat Abstract Painting 1977-1978: Claude Viallat (b. 1936). Large abstract acrylic on fabric painting featuring Viallat's iconic abstract geometric pattern. Published on the back cover of "Art in America, " Summer 1981. The lot includes a copy of the magazine. Provenance: Ace Galleries, Venice, California, purchased 1981; Private collection, Minnesota Born in Nîmes, France, Claude Viallat he grew up in Aubais, a French village with a strong bull tradition. In 1955, he joined the École des Beaux-Arts (Fine Arts School) in Montpellier, where he met André-Pierre Arnal, Vincent Bioulès, Daniel Dezeuze, Toni Grand, François Rouan, and Henriette Pous, whom he married in 1962. After doing his military service in Algeria from 1958 to 1961, he joined the École Nationale Supérieure des Beaux-Arts (the National Fine Arts School) of Paris, where he met fellow students Joël Kermarrec, Pierre Buraglio, and Michel Parmentier. He discovered American art in Paris, notably the works of Kenneth Noland, Morris Louis, Sam Francis, and Mark Rothko. As soon as 1963, he was attracted to abstraction. He was appointed as a teacher in the École des Arts Décoratifs (Decorative Arts School) of Nice in 1964 and decided to create a new formal language questioning the conventions of classical painting. He then started working systematically with one shape affixed on canvas without stretchers. His first personal exhibition took place at Nice’s Galerie A in 1966. He also participated in several collective exhibitions that year. In 1967, he was appointed as a teacher in the École des Beaux-Arts (School of Fine Arts) in Limoges, where he met Raoul Hausmann. In 1968, in Paris, Viallat had his first personal exhibition at the gallery led by Jean Fournier – who remained his gallerist for nearly thirty years. He then participated in an exhibition that arguably originated the “Support/Surfaces” movement at the ARC, in the Modern Art Museum of Paris. His works were in most of the exhibitions of the movement from 1969 to 1971. Although he initiated this group and influenced it aesthetically through his pictorial works, he resigned on May 3, 1971 as he disagreed with the political and theoretical orientations imposed by Louis Cane and Marc Devade. In 1972, during his first trip to the United States, he discovered Jackson Pollock's paintings and the art of Native Americans. The same year, he participated in the “Amsterdam-Düsseldorf-Paris” exhibition at the Solomon R. Guggenheim Museum of New York, and the “Douze Ans d'Art Contemporain en France” exhibition (Twelve Years of Contemporary Art in France) at the Grand Palais in Paris. In 1973, he was appointed as an instructor at the École des Beaux-Arts (the Fine Arts School) of Luminy (located at avenue de Luminy, in Marseille), and moved to Marseille. In 1974, the first ever Viallat exhibition in a museum was organised in Saint-Étienne's Musée d'Art et d'Industrie (Museum of Art and Industry). In 1979, Claude Viallat became director of the École des Beaux-Arts (Fine Arts School) of Nîmes. He started collecting objects related to bulls. His collection was the starting point of the Musée des Cultures Taurines (Museum of Bull Tradition) of Nîmes, opened in 1986. The Centre National d'Art et de Culture Georges Pompidou (the National Modern Art Museum of Paris) hosted a Viallat retrospective in 1982. He represented France at the Venice Biennial in 1988. The same year, he made the stained-glass windows of the Gothic Choir in Nevers Cathedral. In 1991, he became a teacher at the École Nationale Supérieure des Beaux-Arts (National Fine Arts School) of Paris and participated in the Supports/Surfaces historical and retrospective exhibition at the Musée d'Art Moderne (Modern Art Museum) of Saint-Étienne. In 2006, he was awarded with the Fine Arts Academy's Fondation Simone et Cino del Duca (Simone and Cino Del Duca Foundation) prize for painting . In France he is represented by Galerie Daniel Templon Paris/Brussels since 1998 and by Ceysson & Bénétière (Paris, Saint-Étienne). Claude Viallat is also represented internationally in Tokyo by Gallery Itsutsuji and in New York by Ceysson & Bénétière. Source: "Claude Viallat, " Wikipedia, Jan. 2019 Dimensions: Height: 117 in x width: 107 in. SKU: 02723 Condition Please contact us for a detailed condition report. Please note that the lack of a condition statement does not imply perfect condition. Email condition@revereauctions. com with any condition questions.
CIVIL WAR ARCHIVE, INCL. GEN. BATE ON DEATH OF POLK, CA...Confederate Civil War archive of twenty-two (22) items, pertaining to the Fulton brothers of Fayetteville, Tennessee, specifically Colonel John S. Fulton, 44th Tennessee Infantry Regiment, Johnson's Division; Colonel Alfred S. Fulton, 8th Regiment, Tennessee Infantry; Robert Fulton, 41st Regiment, Tennessee Infantry, Company C; and James Fulton, Pay Director in the United States Navy. The documents include autographed signed letters (ALS) from General William Brimage Bate (1826-1905), CSA Congressman James McCallum (1806-1889), and others. Subjects include the death of Lieutenant-General Leonidas Polk (1806-1864), the Battle of Fort Henry, the Battle of Fort Donelson, the capture of Nashville, the Overland Campaign, the Richmond-Petersburg Campaign, the Atlanta campaign, and more. 1st item: ALS. Double-sided one-page handwritten letter from General William Brimage Bate, front lines of the Atlanta Campaign, to Colonel John S. Fulton, undated, written circa June 14, 1864 in regards to the death of Lieutenant-General Leonidas Polk. The brief letter states that "Lt Gen'l Polk was killed yesterday on my front line--", en verso, while the main body of the letter urges Fulton to "...have it filed in...[the] War's Office at once--& get some friend to take it to the President--I have an interview with him..." he also writes that "...Gen'l Johnson is the man...". He explains that the letter has been delayed due to his frequent movements along the front lines of the Atlanta Campaign. 2nd item: ALS. Three page bifolium handwritten letter from General Bate, from his headquarters to Colonel John S. Fulton, dated April 28, 1864. He begins his letter by stating that he has not heard from Fulton for some time, writing "...I do not know now whether you are in Va. or near Bristol East Tenn. We did hear that your Brigade was with Longstreet...". Bate also mentions that if Fulton was to receive a promotion that he would like to be kept informed and that he "...regrets very much that [Fulton] is not in [Bate's] command...". Bate also reflects upon the state of the Confederate army and the importance of taking back Tennessee from the Union army, writing, "...it is the 'promised land' now in sack cloth and ashes 'mourning for the loss of her children'...". He also mentions his interest in the career of Captain M.W. Cluskey of Preston Smith Brigade, who fought in the Battle of Shiloh, April 6-7, 1862; that his division has now absorbed the Kentucky Brigade and Finley's (Florida) Brigade; and that a soldier by the name of McWinchester, who was the author to the reply of Ed Erwin's Amnesty letter, is still in prison. 3rd item: ALS. Double-sided bifolium handwritten letter from John R. Bright, Fayetteville, TN, writing to his cousin Colonel Alfred S. Fulton, dated February 21, 1862. The letter describes the Battle of Fort Henry, fought February 6, 1862; the Battle of Fort Donelson, fought from February 11-16, 1862; and the capture of Nashville on February 25, 1862. Bright writes, "...the excitement here has been so great since the fight at Fort Donelson...you cannot realize the intense agony which pervades our community--Donelson has fallen--Nashville is doubtless in the hands of the enemy--Gen[eral John Buchanan] Floyd who was at Nashville after the surrender of has burnt the Rail Road & Wire bridges acro[s]s the Cumberland...". He mentions the Union gunboats, stating, "...the gunboats were at a considerable distance and done no damage..." while later stating, "...the Gun Boats came up to within 200 yds of the Fort and shelled the Fort with 50 rounds of cannister...". Bright also gives estimations of the number of casualties and the number of soldiers involved in the fighting, writing, "...the loss on our side was comparatively small--the best estimate of the enemy's loss in killed is from 4000 to 6000 whilst our loss in killed and wounded does not exceed 600--it seems the enemy was receiving reinforcements, and on Saturday night their reinforcements swelled their army up to about 80,000 whilst our army at no time exceeded 16,000...". Returning to his description of the Battle and ultimate surrender of Fort Donelson, Bright writes "...Saturday night the enemy's whole force moved up and surrounded the Fort--about 1 o'clock Sunday morning the fact became known that the Fort must surrender, and our Generals...[Gideon Johnson] Pillow & Floyd left on a Steamboat...[Simon Bolivar] Buckner was left in command and surrendered with about 8,000 men...". After describing the events of the surrender in additional detail, Bright then relays General Albert Sidney Johnston's part in the events, writing "...Johnson[sic] was at Nashville all the time of the fight but it seems that Pillow telegraphed him that they did not need re-enforcements--Johnson's[sic] army had left Bowlingreen[sic]...and was in the neighborhood of Nashville Saturday when the news reached Nashville on Sunday that Fort Donelson had fallen...Johnson[sic] marched his army through Nashville on Sunday evening falling back to Murfreesboro...". Bright then also describes the fear that overcame the citizens of Nashville, stating that the pandemonium was "...equal if not greater than the retreat from Manassas...". Bright ponders if the Generals or the citizens of Nashville are more to blame for the city's fall, stating that while Johnston did not have to troops to defend the city and that there were many Union sympathizers in Nashville, he finds that "...there are too many [men]...so panic-stricken that they have not the nerve to stand up or never were true Southern men...". He concludes his letter by stating that McDonald's Regiment was not in the fight, that Albert's brother Colonel John Fulton returned from a few day's visit home, and that "these are gloomy times for us...the army may fall back to Lookout Mountain, if so Tenne[s]see is overrun...". 4th item: ALS. Double-sided bifolium handwritten letter from one of the Fulton brothers, Drewrys Bluff, VA, writing to his brother, dated May 29, 1864. He writes of the Overland Campaign, a series of battles fought in Virginia during May and June 1864, stating, "...Lee and Grant are now confronting each other. They may be fighting at anytime Lee has already killed wounded and captured between 50 & 7500 men--The Yankees...about 35 or 45,000...". He also mentions Maj. Gen. Benjamin Butler's army, writing, "...Butler...has made a signal failure--He came up the Penisula & sought to take Richmond on the south side--but they have been repulsed. He now has his army between the James and Appomattox rivers--". Unsigned. 5th item: Confederate States Secretary of War James Seddon signed military commission document conferring on John S. Fulton, the position of Colonel in the 44th Tennessee Infantry Regiment, dated May 5, 1862. Includes envelope addressed to Fulton with one blue 10 cent Jefferson Davis stamp. 6th item: ALS. Three page bifolium handwritten letter, from Colonel John S. Fulton, Bean Station, Tennessee, to Colonel Alfred S. Fulton, Bibb City, AL, dated December 17, 1986. He mentions the movements of his division near Knoxville, TN, writing "...We attempted to take Fort Loudon at the edge of Knoxville in the morning of the 29th--but failed--it is one of the strongest forts I ever saw--I think Gen Longstreet acted on this rashly in attacking the fort--We lost some 150 men killed & saw some several hundred wounded-it was a very fatal little fight...". 7th item: ALS. Double-sided one page handwritten letter from James R. Bright, Quartermaster's Office, Granbury's Brigade, to his cousin Mrs. E. L. Rogers, dated May 31, 1864. He begins by referencing a letter that he received, quoting, "...'Some think that [Lt. Colonel John L. McEwen, Jr.] will die, Col Fulton will soon be able to be with the command'...". He also mentions the state of the Army and Nathan Bedford Forrest's movements, writing, "...I am pleased to see that in every encounter our men have nobly sustained our cause and inflicted heavy injury upon the enemy--we are very anxious to hear from Forrest who is believed to be in the enemy's [territory]--if he succeeds in destrying the enemy's stores &c. it will make our success certain...". 8th item: ALS. One page bifolium handwritten letter from E.D. Baker, Captain and A.Q.M., Pulaski, TN, to an unidentified recipient, possibly one of the Fulton Brothers, dated January 17, 1864. The letter mentions that two rooms are now available for occupation and includes an ink inscription by Union General Richard W. Johnson with his signature, dated January 7, 1865, with later pencil inscriptions, en verso. 9th item: ALS. Two and one half-page bifolium handwritten letter from Congressman James McCallum, Richmond, VA, to Colonel John S. Fulton, dated June 6, 1864. The letter acknowledges Fulton's previous letter in which Fulton recommended a Colonel Keeble, possibly Colonel Richard H. Keeble, 23rd Tennessee Infantry Regiment, for an undisclosed appointment. McCallum mentions that Colonel Abram Fulkerson, 63rd Tennessee Infantry Regiment, is also up for consideration. 10th-11th items: Two (2) ALS. Double-sided bifolium and double-sided one-page handwritten letters, including one (1) from Colonel John S. Fulton, Headquarters of Johnson's Brigade near Petersberg, VA, to Captain R. E. Foote, dated June 28, 1864, and one (1) from the Head Quarters of the 44th and 25th Tennessee Infantry Regiments, possibly to a Captain Wein(?), dated June 21, 1864. The letters serve as reports regarding the movements of Johnson's Brigade from June 15, and 17-18, 1864, during the Richmond-Petersburg campaign, a series of battles around Petersburg, Virginia, fought from June 9, 1864, to March 25, 1865. 12th item: ALS. One page handwritten letter from Colonel John S. Fulton, Drewry's Bluff, VA, to the Editors of the "Atlanta Register", dated May 20, 1864, prior to the closure of the newspaper office in response to General Sherman's impending Atlanta Campaign. Fulton writes in regards to an article written by a reporter named Giles in the "Atlanta Register", in which the performance of Johnson's Brigade during that Battle of Chickamauga was mentioned. 13th item: ALS. Double-sided bifolium letter from Robert Fulton, 41st Regiment, Tennessee Infantry, Company C, Enterprise, MS, writing to his brother Colonel John S. Fulton, dated August 27, 1863. He begins his letter by expressing regret about the deaths of two family members, mentions that they have moved the position of their camps, and also indicates that they have been having nice weather. He also references several officers, including Captain Tierney, Colonel Ferguson, Adjutant Anthony, and others. 14th-15th items: Two (2) ALS. Double-sided bifolium handwritten letters, including one (1) from Mrs. E. L. Rogers, a sister of the Fultons, written near Jacksonville, AL, and one (1) written by an unidentified source, written from a Camp near Chattanooga, TN, both written to one of the Fulton brothers to inform them of the injury and subsequent death of their brother Robert Fulton, dated October 9-12, 1863. Both letters include handwritten or typed transcriptions. 16th item: ALS. Two and one half bifolium handwritten letter from James R. Bright, Quartermaster's Office, Smith's Brigade, Near Atlanta, GA, to his cousin Mrs. E. L. Rogers, dated July 20, 1864. Writing during the Atlanta Campaign, he begins the letter by expressing his condolences for the death of Colonel John S. Fulton, who died on July 4, 1864 during the Richmond-Petersburg Campaign. He also mentions other soldiers who have been wounded, including Edwin Drake and John Drake, and Tobe Edmondson and Tom Miller, whom he states have been captured by the Yankees who he thinks "...will probably execute them...". 17th-20th items: Four (4) ALS. Double-sided bifolium and double-sided one-page handwritten letters written between Colonel Alfred S. Fulton, Bibb County, AL, to R. G. Cross, Adjutant, 44th Tennessee Infantry Regiment, dated July 18, September 3 and 23, and November 17, 1864. The letters were written in response to the recent death of Colonel John S. Fulton, including discussions pertaining to the disposal of his remains and financial matters. 21st item: ALS. One handwritten page from John Frizzell, Transportation Office, Atlanta, GA to Captain Jim C. Francis, Augusta, GA, dated February 22, 1864. The letter introduces Colonel John S. Fulton to Francis. Includes one envelope. 22nd item: Piece of Confederate-made letter paper with ink inscription dated 1862 and pencil inscription of two lines of verse titled "The Conquered Banner".
Property of the Lincoln County Museum, Fayetteville, TN; Bequest of Mary Bright Wilson (1909-2004), formerly of Fayetteville, and descended in her family.
Condition:
All items in overall good, legible condition with toning/acid burn, tears, staining, foxing spots, areas of loss, including to sections of letters, to be expected from age and manner of use.
517. A 14k Gold Howard Pocket Watch, American, ca. 1872; and a 14k Gold Hampden Pocket Watch
14k yellow gold polished round case, white dial marked with black Arabic numerals, red minutes, and "Howard." Secondary seconds dial. The case is stamped "Howard/ 14k/ 121514," and engraved "E. Howard Watch Co./ The Cleveland Stone Company to P. J. Morrissey/ Twenty Five Years of Faithful Service/ 1886-1911/ Boston." 17 Jewel movement stamped "E. Howard Watch Co, Boston USA/ 1087367." Overall measures approx. 1-7/8" in diameter. Second watch is a 14k yellow gold polished case Hampden pocket watch, engraved with a block monogram "EPB", has a white face marked with black Arabic numerals for hours, and red numerals for minutes; secondary seconds dial;
the movement stamped "Gen. Stark 2205821". Overall measures approx. 1-3/4" in diameter.
150/250 Sold: $494.50
An E. Howard 17 jewel pocketwatch. Open face, stem wound, swing-out movement. Metal dial with subsidiary seconds marked "Howard". Model 1908 Series 7 movement marked "E. Howard Watch Co. Boston, U.S.A. 1334902 17 Jewels Pat'd '12 Temperature 3 Pos." with horizontal damaskeening. Keystone Extra white gold filled case #1523926 marked "E. Howard Watch Co. Boston.". Outside case monogrammed "GHS". Housed in a wood Howard box (not original to watch but of the period) with goldfilled watch chain and tie bar. Circa 1916. MEASUREMENTS: 12 size. 2" diameter. CONDITION: Running but not timed. Minor discoloration to dial. Box with light wear.
E. HOWARD OPEN FACE POCKET WATCHE. HOWARD OPEN FACE POCKET WATCH, model 1908 having hour/minute dial plus second sub dial, 17 jewel movement, grade series 7, size 12s, movement serial #142120, manufactured 1912. Set in 14 karat yellow gold case by E. Howard Watch Co. case serial 134448.
VERY FINE AESTHETIC MOVEMENT BRASS SHELF CLOCK. VERY FINE AESTHETIC MOVEMENT BRASS SHELF CLOCK.Last third 19th century, England. The dial inscribed with the retailer's name "Thomas Armstrong & Brother". 1868 - Thomas took his brother, George Booth, into partnership and changed the company's name to Thomas Armstrong & Brother. The silver dial centering a rondel cast with a scene of a woman with attendant seated in a landscape with buildings in the distance. The dial also inscribed "Paris". Clock surmounted by a brass and silvered dome in the Eastern taste. Raised and set within a foliate gallery above a bollection molded cornice. The case front beautifully carved caste and chased with a scene of a tiger hunt, the hunters firing from the Howdah as the tiger mounts the hind quarters of the elephant in pursuit of the hunters. Another hunter on the opposing side of the scene in the act of reloading with his attendants and rifle bearer. The carved hunt scene may very well have been done with the use of mixed metals, i.e. silver, copper, etc. The scene is framed beneath the dial and flanked by a pair of ornately carved pillars beneath an arabesque arch cast with rondels and flower heads in the Indian architectural style. Continuing to a molded base cast with leaptips and flower heads on a conforming rectangular plinth, raised on outswept legs with scrolled feet. The eight day brass time and strike movement striking on a coiled gong at the hour and half-hour. The movement stamped on backplate "HP & CIE". Additionally stamped with the serial number "2301" on left lower corning facing. The bottom right of plate stamped "19 3". Additionally, impressed with award medal which reads "JAPY FRERES & CO Med. D'Honneur." Clock is accompanied by pendulum and winder. SIZE: 19-1/2" h overall x 10-1/2" w x 6-1/2" d. CONDITION: Spring and gears appear in good order. Suspension spring is broken. Case surface very good. Very good overall. 52011-3
Two American Open-face Watches: Two American Open-face Watches, an E. Howard with multi-tone silver dial, 17-jewel stem-wind, stem-set movement marked "E. Howard Watch Co. Boston/1391096/3 Pos. /Temperature/Pat'd 12, " in a 14kt gold Keystone case, with cuvette and case back engraved; and a Waltham with enameled arabic numeral dial and 15-jewel, stem-wind, stem-set, damascened movement no. 2168927. . Estimate $200-300 . . . Items may have wear and tear, imperfections, or the effects of aging. Any condition statement given, as a courtesy to a client, is only an opinion and should not be treated as a statement of fact. Skinner shall have no responsibility for any error or omission.
Two Patent Timepiece or "Banjo" Clock Movements, E. Howard & Company and an unsigned example, the Howard re-issue with Geneva stop, maintaining power and recoil escapement, the unsigned example, probably by Horace Tifft, Attleborough, Massachusetts, with barbed steel hands.
E. HOWARD SERIES 7 GOLD FILLED POCKET WATCH E. Howard Watch Co. (American), c. 1912. Open face series seven pocket watch having 17 jewels in Keystone gold filled case. Marked to case and movement, serial number for movement 1192156. Provenance: From the Lifetime Collection of Billy S. Arant, Jr., Chattanooga, TN. Approx. diam. 1.75".
L - E.N. Welch Ardita Model Shelf Clock. D.J. Gale patent. Walnut case with original finish. Original paper dials, some overpaint on top dial. 8 day time & strike calendar spring driven movement. Partial labels.
Lot 23: R - E.N. Welch Ardita Model Shelf Clock. D.J. Gales Patent. Walnut case with old patina. Original dials, top dial professionally restored. 8 day time & strike calendar spring driven movement. Original labels.
Dated 1831 Sterling Fusee Double Cased WatchA fine Fusee sterling double cased pocket watch and matching fob manufactured by H.Beurn watch and clock maker R.Y.E. possibly the city additional information on paper label reads tempus fugit the case with three hallmarks including lion passant a zero within a hallmark and a head of an animal unknown to us additionally stamped IMH the watch stamped IG with two hallmarks including lion passant the watch fob appears to have the same hallmarks in two or three locations white porcelain dial with roman numerals the watch hands appear to be rose gold but not tested the movement is marked Henry Bourn R.Y.E. serial number 46792 the movement appears to be fined tooled brass with beautiful filagree work the watch measures 3.25'' H including the post and ring the outer case measures 2.5'' D and the watch fob measures 21.5'' L. Total weight of the watch and fob is 248 grams. Condition physically the watch appears to be in excellent condition the fob slightly tarnished mechanically the watch is not running for reasons unknown to us a fabulous and early piece Private collection Gregory Michigan
Howard 16 Size 19-jewel Pocket Watch, E. Howard Watch Company, Boston, Illinois Watch Case Co. open face, gold-filled case, double-sunk enameled dial with Arabic numerals, crown-set movement marked E. Howard Watch Co., Boston, USA and 1057505.
Movement recased, dial damage at lever set area, hairline @ 4:30.
1868 E. Howard & Co. 18k Hunt Cased Pocket Watch E. Howard & Co. (American (Boston), 1858-1881). An 18k yellow gold hunt cased gentleman's pocket watch circa 1868, series III, size N (18s), with 3/4 plate movement bearing serial number 44155. The white porcelain watch face with black roman numeral enamel dial within an Arabic numeral 60 second dial, with a 60-sec sub dial stopwatch at the 6. 55mm case with engine turned back and front plates with heraldic shield to front bearing monogram "GWR". Accompanied with later hook fob in 14k yellow gold. Case marked "Warranted / 18k / US Assay / 27184". Movement marked "E. Howard & Co. / Boston / 44155 / N". Total approximate weight 153 grams.
ASSORTED AMERICAN MILITARY AVIATION PICTURES AND LETTERS Circa 1930-1950Includes thirty large signed photos of Rear Admiral F.C. Sherman, Col. Pownall, DeWitt Ramsey (soiled), two of H.H. Arnold, Maj. Gen. F.L. Anderson, A.C. Read, Maj. Gen. J.W. Jones, A.W. Hent, G.B. Saville, Maj. Gen. P. Quesada, Maj. Gen. W.E. Kepner, Lt. Gen. I.C. Eaker, Maj. Gen. O.P. Echols, Maj. Gen. G.E. Stratemeyer, Maj. Gen. Davenport Johnson, Brig. Gen. Eraus, Admiral Aubrey W. Fitch, Maj. Gen. Hugh Knerr, James Farstoll, Captain E.V. Rickenbacker, Capt. Boris Sergievsky standing beside his biplane dated 1917 (signature, if present, is illegible), signed small photo of E.V. Rickenbacker (some soiling), photo of Lt. Col. G.W. Settle USN and Major C.L. Fordney USMC signed and inscribed by Fordney with attached photo of Settle, signed small photograph of Bill McCormick, large signed photo of Bud Morris, Edward P. Warner signature on card. T.L.S. include: J.H. Doolittle, T.D. Davis USN, Maj. Gen. E.R. Quesada, Maj. Gen. W.E. Kepner, Lt. Gen. Ira C. Eaker, Lt. Gen. B.K. Yount, L.P. Arnold, Maj. Gen. Robert W. Douglass Jr., Maj. Gen. H.C. Davidson, Brig. Gen. D.R. Hutchinson, Lt. Gen. Dan I. Sultan, Brig. Gen. Miles Coeulez, First Lt. Mary A. Martin for General Evans, Maj. Gen. L.S. Kuter, Lt. Gen. Robert Harper, Maj. Gen. N.F. Twining, Maj. Gen. H.B. Sayler. T.N.S. include: Curtis E. Lemay, Carl Spaatz (first Air Force Chief of Staff), Maj. Gen. Junius W. Jones, Maj. Gen. G.E. Stratemeyer, Maj. Gen. O.P. Echols, Lt. Gen. M.F. Harmon (lost in the Pacific), Maj. Gen. H.A. Craig with signed small photo, B.G. Grandison, Maj. Gen. St. Claire, Maj. Gen. H.B. Saylor, Lt. Gen. WH Simpson, Lt. Gen. Dan I. Sultan, signature of Hugh Knerr. A.L.S. include: Brig. Gen. Gordon P. Saville, Maj. Gen. P.B. Wurtsmith. L.S. include: Maj. Gen. Davenport Johnson, A.N.S. include: Brig. Gen. F.M. Andrews, Lt. Gen. Matthew Ridgeway, U.S. Embassy stationery by Elizabeth C. Morrow (Anne Morrow Lindberg's mother), Clara Adams' signed luggage label on the first round-the-world flight, with a G. (Pappy) Boyington autographed and inscribed card with a small photo. Together with several other items.Lot #36-53, 55-59, 63, and 66 are part of a collection of signed letters, documents and photographs that belonged to the late George Ingham of Pennsylvania, a Boy Scout leader who spent his free time collecting autographs. He wrote to important people requesting a signed photo as well as a note or letter commenting on the importance of the Boy Scout movement in America. He received many positive responses from high-ranking generals, Presidents, politicians and civil leaders. Many wrote in glowing terms of the Boy Scouts’ importance while some wrote nothing at all, but few said anything of a negative nature. Items are mainly from 1930 to 1950, with a few earlier pieces.
Lady's platinum wristwatch, J.E. Caldwell & Co. circa 1920 Rectangular face framed by petite round cut diamonds, Roman numeral and dash design dial, stamped "J.E. Caldwell & Co.", platinum mesh band featuring a diamond clasp. L: 6 1/2 in., 20.0 dwt including movement PROVENANCE: Property of a Northern Pennsylvania lady. Case is stamped "Made for J.E. Caldwell & Co. by Audemars Piguet & Co. in Switzerland". Movement is stamped as no. 17931, case no. 13348. Watch face has no crystal, and does not appear to be working at this time. Property of a Northern Pennsylvania lady. Case is stamped "Made for J.E. Caldwell & Co. by Audemars Piguet & Co. in Switzerland". Movement is stamped as no. 17931, case no. 13348. Over all good condition, normal wear missing watch hands.
Two Boxed Howard Watches With Papers and a Coin Silver Howard, Boston, a double sunk matte silver dial marked Howard, 17-jewel, damascened nickel movement No. 45942, in a 14kt white gold case with a pocket knife marked 10K, all in a wooden Howard box with paper-work matching the movement and case numbers, a 17-jewel movement No. 859568, in a J. Boss, fully engraved, open face case, in a Howard box with matching paper-work, and a porcelain Roman numeral dial with sunk seconds marked E. Howard & Co.,Boston, with N size "hound" movement No. 210902, in a Dueber coin silver open face case, dia. 44 to 59 mm. Estimate $300-500 All watches are currently running. The dial in the J. Boss case has hairlines and an edge chip. The absence of a condition statement does not imply that the lot is in perfect condition or completely free from wear and tear, imperfections or the effects of aging. Condition requests can be obtained via email (lot inquiry button) or by telephone to the appropriate gallery location (Boston/617.350.5400 or Marlborough/508.970.3000). Any condition statement given, as a courtesy to a client, is only an opinion and should not be treated as a statement of fact. Skinner Inc. shall have no responsibility for any error or omission.
LOUIS XVI ORMOLU-MOUNTED TORTOISESHELL, PARQUETRY AND E...Louis XVI Ormolu-mounted Tortoiseshell, Parquetry and Ebonized Wood Music Box, circa 1785, the mechanical musical instrument was created to support a clock or timepiece; mounted atop it, music was set in play by means of a trip linkage. The movement plays eight melodies on a 17-key organ that employs stopped pewter pipes; a tune change and repeat control manually activates the organ at will. A hand-wound double fuse spring drives the movement. The cabinet case is of black oak with parquetry top, tortoiseshell and ebonized veneer sides applied with faux alabaster colonnettes; front, sides and back feature hinged drop panels that provide access to controls as well as allowing spectators to watch the movement in action. The musical movement with pinned wooden cylinder is of French/Swiss type and though unmarked as to maker, is similar to those attributed to J. Robert et Fils of La Chanx de Fonds, Switzerland. Several inscriptions made by repairers include a "Batley" in 1804, and an "A. Kieser, fevrier" 1907, Paris. This clock organ was conserved by Jere Ryder in 2016.
Height 16 in. Width 17 ¾ in. Depth 9 ½ in.
Condition:
Items may have wear and tear, imperfections or the effects of aging. Please contact the gallery for further details prior to bidding. Any condition statement given as a courtesy should not be treated as fact.
DWARF JAPANNED CHIMING TALL CLOCK, J.E. CALDWELL, F.W. ELLIOTT MOVEMENT, DIMINUTIVE TALL CLOCK, CHINOISERIE DECORATION WITH GOLD AND...Dwarf Japanned chiming tall clock, J.E. Caldwell, F.W. Elliott movement, diminutive tall clock, Chinoiserie decoration with gold and red japanning on black lacquer, dial marked "J.E. Caldwell & Co., Philadelphia, Made in England, Swiss Escapt"; five chime movement marked "Made in England By F.W. Elliott, Ltd. Lever Movt., 13 jewel, Swiss Escapt. 134.", arched bonnet over arched dial door opening to black, decorated dial, silvered chapter ring with Strike/Silent selector, all above a japanned waist and base with four gold colored bun feet, scattered loss to finish, 65 1/2" tall.
THREE POCKET WATCHESHoward, 44mm case, inside case stamped "Guaranteed 14K, 585 Fine, The K.W.C.Co, 215161, E. Howard Watch Co., Boston", yellow gold, movement marked "E. Howard Watch Co., 16647, Boston, USA", 2-1/8 x 1-3/4 in., 51.9 grams; Waltham, 49mm case, inside case stamped "10K Rolled Gold Plate, Illinois Watch Case Co., 7755739", movement marked "23 jewels, Vanguard, Waltham Mass, USA, 27538347", 2-1/2 x 1-7/8 in., 82.9 grams; Tavannes, 52mm case, inside case stamped "84, 0, 875, 516921" and with hallmark, silver, movement not visibly marked, 2-3/4 x 2 in., 86.2 grams
Note: Brunk Auctions makes no warranty or guarantee whatsoever regarding the jewelry, its colored stones, diamonds, other gem materials, or metals, or as to their status as natural, treated, ?earth mined?, manmade or other. Appraisals, descriptions, photographs, are offered as a service and are not intended to be a complete analysis of the qualities and conditions of the jewelry. All identifications, information, weights, quality, cut, value and other estimates, are opinions, limited by examination and grading the mountings, the condition and the cleanliness of the items. All gems, colored stones, diamonds, ?cultured or natural pearls, fresh water, South Sea, Tahitian pearls?, and other materials used in jewelry, may be enhanced by a variety of treatments. Brunk makes no warranties or guarantees that any clock or watch is in working order.
Provenance: Private Collection, Kingsport, Tennessee
Condition:
Howard, seconds hand moving and keeping time when inspected, dent on outside of case, wear and discoloration to dial, wear and scratches; Waltham, second hand moving and keeping time when inspected, cracks and chips to dial, rust on minute hand, dents and most of design on back of case worn/polished off, wear to plating on bow, wear around edge of case; Tavannes, second hand moving and keeping time when inspected, tarnish, small dents and spots of corrosion on back of case, dents around edge of case
J.E. CALDWELL & CO. PLATINUM, SAPPHIRE, AND DIAMOND WRISTWATCHJ.E. CALDWELL & CO. Platinum, Sapphire, and Diamond Wristwatch, ca. 1930; enclosing a manual-wind movement signed C.H. Meylan and numbered 41277; the bezel set with full-cut diamonds and French-cut sapphires; flanked by two emerald-cut sapphires and three baguette-cut diamonds; completed with a mesh platinum bracelet flanked by a border of alternating groupings of French-cut sapphires and full-cut diamonds; inside back case numbered 45657; signed on dial; case 25.00 x 13.25 mm.; 27.80 dwts.; lg. 6 5/8 in. Provenance: By Descent in the duPont Family, Wilmington, Delaware. Condition: movement appears to be in overall working condition - winds, sets, ticks; some toning and discoloration to dial; minor surface scratches and abrasions to sapphires; back case inscribed E. duP. 1930. Please note: All property is sold "AS IS" and any statement, whether oral or written, is given as a courtesy and shall not be deemed as a guarantee, warranty, or representation of the authenticity of authorship, physical condition, size, quality, rarity, importance, provenance, exhibitions, literature or historical relevance of the property or otherwise. The absence of a condition report does not imply the item is in perfect condition.
E. Howard No. 7 Figure Eight Regulator, Boston, Massachusetts, c. 1875, walnut case with carved cresting, full-length glazed door with printed Directions for Putting up the Clock...E. Howard & Co./Boston opening to the 12-in. painted Roman numeral dial signed E. Howard & Co. /Boston in shadow block lettering, blued steel diamond hands, black, gold, and maroon tablets with apertures to reveal the gilded pendulum rod and damascened pendulum bob, eight-day rectangular timepiece movement stamped E. Howard & Co./Boston with recoil escapement, and cast iron weight, ht. 50 in. Estimate $5,000-7,000 Lacking pendulum tie-down, dial original and undisturbed including signature, movement is mounted on the original walnut block, weight cast with "2" although no evidence of association. The absence of a condition statement does not imply that the lot is in perfect condition or completely free from wear and tear, imperfections or the effects of aging. Condition requests can be obtained via email (lot inquiry button) or by telephone to the appropriate gallery location (Boston/617.350.5400 or Marlborough/508.970.3000). Any condition statement given, as a courtesy to a client, is only an opinion and should not be treated as a statement of fact. Skinner Inc. shall have no responsibility for any error or omission.
Swiss, 2nd half - 19th century. 18K gold Charles E Jacot pocket/pendant watch, KW & S (key not included), with white enamel dial, subsidiary seconds dial at 6 o'clock. Movement marked ' No. 24586 Chas. E. Jacot'
Patented Oct. 1867', case #54679. Dust cover engraved 'Chaux-de-Fonds' No. 24586 Chas. E. Jacot'; inside front cover marked 'Jacot & Gerard 18K'; inside back cover marked '54679', incised TS and K18 within diamond shaped border. Movement diameter 33mm, case diameter 40mm. Engine turned case with black enamel work. Together with 14K gold link chain (tested) , round slide with black enamel flower and engraved detailing, completed with a swivel clasp, approx. 32"l, 32gr. Original fitted wood box.
Condition: latch button to open watch does not depress, minor wear to watch case, currently in running condition - No Guarantee. Wood box with repairs.
E. HOWARD & CO. #10 GALLERY CLOCK WITH MARBLE FACE. E. HOWARD & CO. #10 GALLERY CLOCK WITH MARBLE FACE.Circa 1898, Boston, Massachusetts. The square 24" marble dial with painted inscription: "Gift of Gilbert Alden Tolman 1898" above the hands aperture. Additionally painted in gold "E. Howard & Co. ". The dial with applied brass Arabic numerals and seconds markers in the chapter ring, all with painted surface. The eight day brass movement marked "E. Howard & Co", driven by a single weight. SIZE: 24" square. CONDITION: Dial with original undisturbed surface. Nicely patinated. Brass movement original and has been cleaned, bushed, and oiled. Very good overall. 52137-2
Rosewood Miniature Venetian Shelf Clock by E. Ingraham and an Empty Case, Bristol, Connecticut, bronze-painted half-columns flanking the 3 1/2 in. dia. paper on zinc dial and lower transfer decorated tablet, maker's label inside backboard, 30-hour time and strike movement, ht. 13 in., with a smaller additional case only, gilt half-columns flanking the 3 in. paper on zinc dial, gold leaf and painted tablet, maker's label on backboard and now fitted with a small battery operated movement, ht. 11 5/8 in
Bronze paint now on columns, lower tablet restored, movement great wheel restored; empty case lacking movement, gilt columns and lower glass in original condition, label pristine, refinished.
GEORGE FREETH ROPER (1843-1892) OR E.W. GODWIN (1833-1886) ATTRIBUTED DESIGNER)
AESTHETIC MOVEMENT CABINET, CIRCA 1880 walnut, with leaded and glazed panels, brass fittings and mirrored glass83.7cm wide, 223.5cm high, 35cm deepLiterature: Soros, Susan, Aesthetic Movement Architect and Designer, New Haven, 1999, p. 209, no. 333; pp. 226-7, pls 369 and 369.1; p. 199 pl. 319; p. 188 pl. 309.II.Note: Having worked as an assistant to E. W. Godwin, Freeth Roper then worked for Collinson & Lock, Gillow & Co. and Kendal Milne & Co. designing furniture in an Anglo-Japanese style. His work appeared in The British Architect vols 10 (1878) and 15 (1881), and Building News in 1873 and 1878. This current work owes much to Godwin as can be seen from the curved and extending tapered uprights on the upper section, the ring handles with square backplates and the brass strap hinges and moulded timber elements. The pierced circular openings can be seen in a sketch by Godwin for a drawing room cabinet of circa 1874 (V&A PD E. 235-1963, fol. 32), and are not noted in any of Freeth Roper's other designs. This is one of two known examples of this form, the other is held in a private collection in the UK. Significantly, the other cabinet is ebonised and has the same pierced detail, again a characteristic finish and design feature used by Godwin and not known in any designs recorded by Freeth Roper.
E. Howard No. 21 Gallery Clock, E. Howard & Co., Boston, Massachsetts, c. 1920, 24-in marble Roman numeral dial inscribed in red, E. Howard & Co./Boston, steel trefoil hands, eight-day nickel-plated movement with recoil escapement, Geneva stops, hand counterbalance on intermediate wheel, 11 1/2-in. pendulum with damascened pendulum bob and lead weight, all housed in a painted wooden case, max. dia. 24 in. Estimate $1,000-1,500 Movement complete but wants an overhaul, original weight, pendulum, hands, case and dial, case in old off-white paint, dial undisturbed. The absence of a condition statement does not imply that the lot is in perfect condition or completely free from wear and tear, imperfections or the effects of aging. Condition requests can be obtained via email (lot inquiry button) or by telephone to the appropriate gallery location (Boston/617.350.5400 or Marlborough/508.970.3000). Any condition statement given, as a courtesy to a client, is only an opinion and should not be treated as a statement of fact. Skinner Inc. shall have no responsibility for any error or omission.
CHARLES JACOT 18K HUNTING CASE POCKET WATCH. Swiss, 2nd half - 19th century. 18K gold Charles E Jacot pocket/pendant watch, KW & S (key not included), with white enamel dial, subsidiary seconds dial at 6 o'clock. Movement marked ' No. 24586 Chas. E. Jacot'
Patented Oct. 1867', case #54679. Dust cover engraved 'Chaux-de-Fonds' No. 24586 Chas. E. Jacot'; inside front cover marked 'Jacot & Gerard 18K'; inside back cover marked '54679', incised TS and K18 within diamond shaped border. Movement diameter 33mm, case diameter 40mm. Engine turned case with black enamel work. Together with 14K gold link chain (tested) , round slide with black enamel flower and engraved detailing, completed with a swivel clasp, approx. 32"l, 32gr. Original fitted wood box.
Condition: latch button to open watch does not depress, minor wear to watch case, currently in running condition - No Guarantee. Wood box with repairs.
Dwarf Japanned chiming tall clock, J.E. Caldwell, F.W. Elliott movement, diminutive tall clock, Chinoiserie decoration with gold and red japanning on black lacquer, dial marked "J.E. Caldwell & Co., Philadelphia, Made in England, Swiss Escapt"; five chime movement marked "Made in England By F.W. Elliott, Ltd. Lever Movt., 13 jewel, Swiss Escapt. 134.", arched bonnet over arched dial door opening to black, decorated dial, silvered chapter ring with Strike/Silent selector, all above a japanned waist and base with four gold colored bun feet, scattered loss to finish, 65 1/2" tall.
(3) AMERICAN OAK CASED KITCHEN SHELF CLOCKS(lot of 3) American Victorian kitchen clocks, each in an oak "gingerbread" case, paper dials with roman numerals, time and strike movements, including: (1) E.N. Welch Manufacturing Company, with stenciled heron design, (1) with E.N. Welsh Company movement, William L. Gilbert Clock Company dial, in an Ansonia Clock Company "Bedford" case, with worn stenciled design of bird and butterfly, (1) Attleboro Clock Company "Lenox," retaining barometer, lacking thermometer, largest: approx 25"h, 15"w, 4.5"d; 21.5lbs total
(3) AMERICAN GINGERBREAD KITCHEN SHELF CLOCKS(lot of 3) American kitchen clocks, late 19th/ early 20thc., each in a "gingerbread" press carved wood case, retaining key and pendulum, comprising: (1) Ingram and Co., having time and strike movement, black Roman numerals to face, marked E. Ingraham and Co., Bristol, Connecticut to lower face, gilt transfer of foliate vines and dragon to hinged glass door, carved makers mark to interior, rising on stepped base, approx 21.5"h, 14.5"w, 5"d; (1) Ingram and Co., having time and strike movement, black Roman numerals to face, marked E. Ingraham and Co. to lower face, gilt transfer of interior ballroom to hinged glass door, retaining Albert Brothers instructions label verso, rising on carved stepped base, approx 22"h, 14.75"w, 4.75"d; (1) Ansonia, having time and strike movement, black Roman numerals to face, marked The Ansonia Clock Co., New York to lower face, silver transfer of bird and foliates to hinged glass door, rising on stepped base, approx 22.25"h, 14.5"w, 5"d; 8.75lbs total
332. An Eclectic Group of Silver Items
A sombrero shape ashtray made by Plateria, Mexico; stamped "Plateria/925/Mexico" and "Hecho in Mexico", "Sterling 925", measures approx. 1-1/4"T x 5-1/2"W; weight approx. 5.3 troy oz. A set of glove and sweater clasps by Webster Company, measure approx. 9"L. A sterling silver bracelet set with various polished stones, marked "1 Citilal Castillo/ 925 mex", toggle clasp, measures approx. 7-1/2"L. A vintage E. Howard pocket watch, 17 jewel movement, marked inside the case "E. Howard Watch Co./ Keystone/ Extra/ 1607465/ Boston", movement number 1402413; please note metal on this watch is not marked or tested. Measures approx. 1-3/4"D.
150/250 Sold: $97.75
TWO STERLING SILVER HOWARD POCKET WATCHESthe first: marked 800 coin silver (with wear to back of case and crown is not silver), Howard porcelain dial with sunken seconds dial, with no cracks, E. Howard movement 17J, pendant set and winding stem serial 1195323; the second: Jagot Watch Co. rolled plate stamped and engraved case (good condition), Howard porcelain dial with sunken seconds dial (no cracks), E Howard movement 17J pendent set and wind movement serial 1088700 Condition:
A THREE PIECE AESTHETIC MOVEMENT BELGE NOIR AND VERDE A...A THREE PIECE AESTHETIC MOVEMENT BELGE NOIR AND VERDE ANTICO METAL MOUNTED MARBLE CLOCK GARNITURE, PARIS, 1880-1890, the flaming chalice patinated metal finial on a circular base over a stepped frieze with applied Verde Antico green marble frieze, above an enameled Arabic numeral dial with two escapements, the clockworks marked with a pastille, "Medaille d'Argent, Vincenti, 1855," and with numbers 6586 and 5-2; the clock face flanked by string inlaid and incised gilt stylized flowers, raised on a stepped plinth with restrained starbursts and inlaid motif, raised on splayed acanthine feet, with two matching compotes on like gilt incised and inlaid stepped bases. Height: 20 1/2" Width: 12" Depth: 6 1/2" Note: The manufacture of this clock, though marked Vincenti, was most likely made under the supervision of Amédée Roux. Vincenti & Cie.'s origin dates back to 1823, when watchmaker/mechanic Jean Vincenti founded the company in Montbeliard. The company fell into financial bankruptcy and dissolved in 1828, giving way to another business in October 1829, still called Vincenti et Cie, with which Albert Roux, father of Amédée Roux, officially joined as leading shareholder. Quite quickly, annual production reached 8,000 watch movements. In addition to large volumes, in 1830 the factory mounted mechanisms for music boxes, carcel oil lamps, metronomes, spinning counters, and lark mirrors. In November 1833, Albert Roux established a large-scale watch and clock factory. Besides a house located opposite the original factory, Albert Roux had new workshops and offices built, and moved in early 1834. The factory in 1840 had a water wheel. The prefectural decree of February 26, 1846 authorized the maintenance of a 6 hp steam engine to operate the metal lathes of the watchmaking factory, replaced by a more powerful machine in 1858 (10 hp). A workers' housing and a house are built, respectively in 1850 and 1856. Amédée Roux succeeded his father in 1858, year of creation of the new company Amédée Roux et Cie, which continued to manufacture pendulum and chime movements, travel alarm clocks, Morse receivers, railway regulators, cogs for water and gas meters, etc. The factory was enlarged in 1864. At the end of this year, the factory produced 5,500 pendulum movements per month. Around 1890, she launched into the production of phonograph movements, prepayment counters, then automobile counters, taximeters, speed indicators, recording cylinders, igniter-extinguishers, pigeon-passenger arrival constators. They were awarded medals at the Paris exhibitions of 1834, 1839, 1844, 1849, 1855 and 1867, the pastille marks apparently still used well into the late 19th century, as seen here. A foundry and a brass rolling workshop were built around 1895. In 1902, the factory was again enlarged and equipped with a room for the steam engine. The factory closed in 1929. Aesthetic Movement was a short-lived decorative, architectural, and literature style popular from 1880-1890. Elements of modernism can be seen herein by way of the functionality and simplicity of line and form, while retaining some old world embellishments. A predecessor in some ways of modernism, this is a lovely example of Aestheticism in this garniture. Provenance: Lifelong Collection of Clocks and Antiques, Navasota, Texas.
Condition:
Some apparent repairs throughout, side handles replaced, replaced pendulum, top finial possibly with some pieces lacking, a foot loosened, but overall in good to very good condition, wear commensurate with age. Simpson Galleries does not guarantee any timepiece or clock mechanism. Simpson Galleries strongly encourages in-person inspection of items by the bidder. Statements by Simpson Galleries regarding the condition of objects are for guidance only and should not be relied upon as statements of fact and do not constitute a representation, warranty, or assumption of liability by Simpson Galleries. All lots offered are sold "AS IS." NO REFUNDS will be issued based on condition.
1870 E. N. WELCH COLUMN & CORNICE CLOCK: Gilded columns, original reverse painted glass with dog on log over river and painted zinc dial. 8 day movement with chime. Original hands, label, signed movement. E.N. Welch Manufacturing was founded in 1864, succeeding E. N. Welch Clocks. Measures 25'' x 14 3/4'' x 4 1/2''CONDITION: Note flaking to face.
E. Murio Aesthetic Movement Style Cabinet E. Murio (Filipino, founded 1984) for Pierce Martin, circa 2014. An Aesthetic Movement style bamboo motif cabinet, having a black lacquered finish with a single drawer over two glass cabinet doors, with interior shelving and saber legs. Stamped mark to interior. Approximate height 43", width 26.5", depth 14.25".
E. HOWARD OPEN FACE POCKET WATCH, model 1908 having hour/minute dial plus second sub dial, 17 jewel movement, grade series 7, size 12s, movement serial #142120, manufactured 1912. Set in 14 karat yellow gold case by E. Howard Watch Co. case serial 134448.