Watch Collecting

It’s been over fifty years since I first became fascinated with watches and how they work. Hold in the palm of your hand these few ounces of metal and witness a machine whose tiny shiny parts fit together in a nifty way, while all the parts work in harmony they also illustrate all the laws of physics and the bonus is that they tell time with some accuracy day after day, and year after year! Awesome!

While my classmates in school were pre-occupied with repairing cars or airplanes, I was happy enough working on what seemed like a greater challenge: repairing tiny watches while trying to understanding how all the parts come together to work and tell time. I always thought that someday I would lose interest in pursuit of this esoteric (and, now, out-dated) art of watchmaking but never have.

You may have discovered from looking over our website for this month that you do not have to spend a fortune to start with a collection of watches. Many of the watches listed in this auction are not of high value; some few will likely achieve prices driven more by their precious metal content than the marvels of the art of watchmaking.

Many of these watches are late 19^th or early 20^th century. Although they may run satisfactorily, all need service to give their best possible performance and appearance possible. Here’s the opportunity for the beginning collector who can enjoy the thrill (and frustration!) of taking a pocket watch and giving it a new life, despite that fact that the watch has already given years and years of service and wear.

In the coming months we have scheduled the sale of a number of restorable watches and clocks and even the tools and parts that no longer available through jewelry and watch and clock repair suppliers.

Thanks for visiting our website this time!

Good luck with your bidding!

Gordon S. Converse

JAPANESE NETSUKE: The Tie That Binds

Netsukes were toggles used to solve an apparel problem for Japanese men. Since the Kimoto, or gown, had no pockets, a pouch for keeping money, tobacco, medicine or tinder was necessary and was hung from the man’s girdle. The string attached to the pouch was fit with an end device to secure the string: the Netsuke. The first Netsukes appeared in the Japanese Edo Period (1600- 1867), about 350 years ago.

Netsuke became an increasingly popular focus for artistic expression, taking on a multitude of designs and forms. Later the simple carrying pouches evolved into a different accessory called the Inro, or medicine pouch. The bead between the Netsuke and Inro, used to secure the Inro, was the Ojimi.

The need for Netsukes evolved from exclusive upper class Japanese, such as the Samurai, to include everyday tradespeople and farmers. As the demand increased, and artisans began creating ever more fanciful Netsukes and the art became more formalized. Fine Netsukes detailed, in miniature, depictions of a variety of animals, ordinary people, folk heroes or Gods as well as everyday objects. Materials such as ivory, hardwoods, ceramics and even metal were used their making. As years passed, competition for creating these engaging miniatures grew, reaching its peak in the early to mid-1800s; but then as the Kimono costume was replaced due to Western wear influences, demand decreased.

Despite the decreasing demand for the useful aspects of these old fashioned devices, Netsuke are still eagerly sought today by art connoisseurs. In fact, the Japanese art of carving miniatures has become so popular that today fine ivory carving in miniature is still done, with recent examples lacking the telltale two connecting cord holes (known as himotoshi), one much larger than the other.

There three basic forms of Netuske art. A small carving in the Katabori form depicts figures, either human or animal. The Kagamibuta forms are Netsuke containers with lids, while the Manju form take on a bun shape depicting almost anything. Better quality items express the essence of the object being depicted and will have few or no appendages sticking out of the mass. High degree of detail, many times with incised engraving colored into the sculpture, is another sign of high quality in Netsuke. Still another feature sought after by collectors is the patination of wear, something which is very hard to fake and enhances the beauty of the object, while always offering proof of its substantial age. But probably the most important single feature for a desirable Netsuke is the charm, wittiness and amusement that still captures the fancy of a collector even hundreds of years after it was made. Many Netsuke are signed, often in small characters somewhere on the bottom or back of the items.

In this sale we offer over twenty carved ivory items, with six of which are Netsukes. The detail and workmanship on all is superb, and we invite you to go to the live auctioneers sight to examine these highly collectable items.

RARE WALTHAM GIRANDOLE SERIAL #1

“The most beautiful of all American clocks”

Last week, the consignor of our Waltham Girandole clock, called to point out that his clock was the first Girandole made by the Waltham Company. This was just confirmed with the discovery of the stamped serial # 1 on the case in at least four places, under the throat and on the throat. The Waltham Clock Company, associated throughout its corporate life with the better-known Waltham Watch Company, made relatively few clocks between 1897, when they were first established, and the 1930s when, after some name changes, they dissolved.

The Girandole clock design (Lemuel Curtis has been credited for making the first) has been copied over and over ever since they first appeared in the 1820s. Waltham tackled making this complex clock with high expectations, yet it is believed that Waltham made fewer than 50 of these Girandoles altogether. We know of the number 21 as the highest number.

Waltham produced a variety of highly decorative clocks that have become recognized as true hand craftsmanship more than manufactured timepieces. Although best known for their Hall clocks with tubular chimes (many of which we now know were obtained through Walter Durfee, the patentee of the tube chimes), Waltham also made a line of large wall regulators (we know of four different models). Also were reproductions of the Simon Willard banjos (we have one in our sale, lots # 352), smaller weight driven wall regulators including two marble front models, others styled after Howard Clock Company’s classic rosewood cased wall regulators, and even mantel clocks and ships clocks.

The word “Girandole” may come from the Italian “girandola” who’s archaic meaning is something like “around and around” or “pinwheel”, perhaps a fitting description for the swirl-like design and reflective qualities of the accouterments of this wall clock.

The Girandole has been described by some scholars as the most beautiful of all American clocks.

Traditionally the Waltham Girandole timepieces have brought the most money over other fine models made by Walter Durfee, Elmer Stennes, John Burleigh, Foster Campos and the like. The condition of our example is excellent, and there just are no restorations or replacements that we can see, although we do not promise the original key.

Having the opportunity to bid on this clock in this excellent condition is about as rare as the clock itself.

Chelsea Clocks

In our next online auction we will be selling 14 clocks by the Chelsea Clock Company.

The Chelsea Clock Company was established in 1897 in Chelsea Massachusetts, and their quickly became the pride of foreign and domestic dignitaries; have served our armed forces with reliable clocks and instruments on both land and sea; as instruments of a variety of uses have been indispensable for countless government projects; and all the while being a popular clock to own for either the office or home. And Chelsea clocks are also of keen interest to collectors of antiques and vintage instruments.

Collectors’ items have common traits: their design may be a seminal art form; they may be useful as everyday objects; their age, if old, would add to their value; and, if applicable, their historic provenance further the value even more. And with clocks made by Chelsea there is one more trait: size. With Chelseas size matters and the larger the model, the rarer and more collectable they are.

Although the Chelsea Company made clocks for domestic use almost since their inception just before 1900, it may be that the sudden lack of demand for their ships clocks after the termination of World War II (during which their production was at its height) and their recognition of the large domestic market for their products, they decided to accelerate their marking of clocks for the public. The Chelsea Company took on a new life with their renewed domestic production with making a vast array of clocks for home and office.

I have repaired and restored a number of Chelsea Clocks throughout my career so I often stop to ask myself why people who own these clocks value them so highly. I think there are two reasons: the performance as timekeepers and their beauty as everyday objects.

Many of the Chelsea clocks we have repaired date to the early 20^th century. Except for routine maintenance, many have run since their original purchase. Because they were so popular few were ever put into storage the next generation to find, they were constantly running or at least on display. Unless some previous repairer damaged it, the original platforms were intact and without difficulties. The most they needed were bushings and possibly a mainspring. My grandmother was given a Chelsea “Admiral” model as a wedding gift in 1909 and as a youngster I remember it as it ran in their dining room. My father inherited it and I received it from him at his passing. I now have it displayed, still running and keeping time. Chelsea clocks deserve their reputation for reliable and durable performance.

But probably what attracts collectors the most about Chelsea clocks is their appearance. Their desk clock sets such as the Claremont with its ships wheel design and the use of both polished brass and anodized brass set a standard of mannish beauty and high quality. While their solid brass castings, such as the Admiral series, while using engraved dials has always been admired as a bold and straightforward standard design, yet their more elaborate designed cases were always done with restrained taste and pleasant proportions.

Please take the time to look over the fine Chelsea clocks we have in our sale. There are some nice large brass cased ships clocks; some desk sets, having ships bells clocks or just timepieces, both with barometers. Included is a very rare mantel model with a solid brass case which we have not seen before.

Thanks for reading and good luck with your bidding.

Simon Willard Banjo Timepiece

In our up-coming September 10th auction we’re offering a banjo timepiece attributed to Simon Willard. I’m familiar with this clock. It’s one I sold some years ago, and it’s fun to revisit this clock and to re acquaint myself with the consignors who have sought my help in finding a new caretaker for this fine early American antique attributed the most celebrated of all American clockmakers.

Since Simon Willard* (1753-1848) is probably America’s most celebrated clockmaker, there has always been a mystique surrounding his clocks. Beginning in 1802 when he patented and made his first banjo timepiece (and throughout the rest of his long career) he made three basic case models of his patented timepiece:

1. the “crossbanded” case with crossbanded veneer and string inlay,
   


2. the “reeded” case with panels that were reeded,
   


3. the “presentation” banjo timepiece with rope molded panels, with a bracket below the pendulum box, and gold leaf finish.
   

It was the crossbanded case that has stayed most popular throughout the years since its beginnings in 1802. Also we note that Simon Willard was one of the first to use reverse painted glasses in clocks, an innovative design idea, giving the impression of actual enamel and therefore making for colorful timepiece of real lasting beauty. Often a theme of commemorative interest was depicted on glasses, or a landscape, or plain geometric designs.

This is an early crossbanded model, with plain yet elegant proportions that includes the bold white dial with Roman numerals held short and at the edge, making for a design that makes telling time easier. The reverse painted glasses are in yellow, green and black and white and are simpler than many of the Simon’s timepieces. Remarkable is the patriotic theme depicted on the pendulum box, and as Lady Liberty points to the United States on the globe she waves an American flag with a banner: “Willard’s Patent”.

Other details commonly found on Simon’s patented timepieces are also illustrated in the detail photographs. Along with a list if technical details, his actual patent included the “T” bridge with a stepped train geared movement, as this example has. The dials were attached with slotted “L” shaped screws; the throat was (oddly, we think) held on with screws that went through the paneling. The pendulum box was secured with the winding key.

Please take a few minutes to look at the items we ill be selling in our September 9th sale and our September 10th sale.

* Picture credit: http://www.kellscraft.com/EarlyAmericanCraftsmen/EarlyAmericanCraftsmenCh06.html

A Word About Oriental Porcelain

19th Century Yellow Glaze Charger	Double Gourd Vase	Edo Period Imari Charger

Our next sale contains numerous Chinese and some Japanese porcelain articles.

As I cataloged these 100 plus articles, examining them all, each different, all interesting, I recalled how I had marveled at their beauty years ago when an older friend of my parents brought some porcelain from an antique show to show the family, but I had not realized until now just how diverse the arena of Oriental arts was. Porcelains from China and Japan have been of interest to Westerners for centuries, and recently they have had a revival of interest with collectors.

Although the first Chinese porcelain wares date as early as 1600 BC, the intrigue to Westerners with Chinese porcelain goes back to when the early “blue and white” items were exported to Europe during the 17th century (the Ming Dynasty, 1368-1644). Further expansion brought porcelain wares into Europe via the Silk Road trade. And soon Europeans’ esteem for Chinese porcelain led to their success in duplicating Chinese porcelain in centers of Meissen and Dresden in the early 1700s.

Porcelain might be separated from what I call “paste” or “pottery” because it is a ceramic brought to a high degree of hardness by, the turning of kaolin clay and other mixed-in ingredients into glassy substances. The actual formula for porcelain has always been elusive, but it involves the use of Kaolin and other ingredients such as feldspathic minerals, quartz, silica and even bone ash (for making “Bone” China). When fired at the very high temperature of 2,462 degrees F., vitrification occurs and this ceramic differs from pottery or paste primarily because it is harder and stronger as well as immune to sudden temperature changes.

To anyone not familiar with the Chinese language, understanding Chinese porcelain must present an intimidating challenge. There is a confusing array of terms used to describe different objects and their styles, dynasties and reigns within, dating objects and cypher like signatures that may or may not define the actual maker or region of origin. Just because a certain kind of porcelain was first made at a certain time does not mean it was not abundantly produced in later times. Styles and signatures are often borrowed from makers working hundreds of years earlier, to the point where experts routinely argue about a certain object’s real age and origin. There’s something of a cultural difference between our western notion of “faking” or “reproducing”, but the Chinese way of simply producing objects in the spirit of old-time beauty, and using a false signature might be their way of giving honor or credit to the original master other than for pure financial gain.

In the course of cataloging our September 9th sale we spotted a few terms and a little history background which we feel would add depth and pleasure to understanding some of these lots. As a guide to putting this article together, I referred to a number of sources, including the thoughtfully written website of www.gotheborg.com.

WUCAI

Qianlong Wucai Glaze Vase	Fine Qianlong Bowl	Wucai Porcelain Urn

The term wucai has been used to describe porcelain with multi-color glazes. Translated literally wucai means “five color wares”, referring to the number of different colored glazes used in decorating porcelain. This ties in with the sacred Chinese and Buddhist belief of the number five as being almost sacred to the Chinese culture. The technique of decorating with five colors was especially popular during the Ming period (1368-1642) by Emperors who commissioned them during the years 1522- 1619. In our upcoming sale we have a number of good examples of wucai. Some, such as lot 96, are real “eye-bangers” with a stunning array of colors and patterns applied in great detail; others are more subtle, yet bold and engaging in there illustrative qualities, such as lot 149; while still others, such as lot 78, seem to have both qualities of busy detail coupled with storytelling illustrative qualities.

CELADON

Celadon Charger	Fine Blue-Green Celadon Porcelain Vase	Green Porcelain Celadon Flask

There are several of Celadon glazed items. The term “Celadon” refers to a family of ceramics with a certain type of glaze, usually green but is also seen in other colors such as white, grey, blue and yellow. Colors and their tonal qualities are achieved by the glaze thickness, the clay’s sculptural qualities, and of course the makeup of the glaze itself. Many times examples in green, the most common, remind me of jade. The presence of a crackle finish is considered desirable in celadon and one such example, lot 110 in our collection, shows this well, with two series of crackle patterns creating bold divisions all around the vase. The Celadon family of porcelain, where green glazes are laid over porcelain was extremely popular between 1860 and 1920.

FAMILLE ROSE

Chinese Famille Rose Vase	Chinese Polyglase Famille Rose Vase	Famille Rose Chinese Bowl

Famille Rose literally means something close to “pink family”, although other terms describe the same style. One term used in place of Famille Rose was Yangcai meaning “foreign colors” implying the style was made for export, while another name used was ruancai, meaning “soft colors”. These terms all refer to the color pallets that evolved from the Yoagzheng period of 1723-1735. Originally Famille Rose depicted figures and flowers with luster gold. This style later evolved into off-shoots or sub categories of the Famille Rose: 1) the “Rose Medallion” style of the 19th century, whose designs are distinctive for having four divided panels decorated in flowers, butterflies and birds; or 2) the Rose Mandarin which depicts figures, and even 3) the Rose Verte whose green glazes are coordinated with blue, red, and yellow. The rose colors in the glaze come from colloidal gold, and otherwise very rich in color and realistic in style.

FAMILLE VERTE

Famille Verte Wucai Style Ginger Vase	Famille Verte Antique Chinese Vase

The French term “Famille Verte” means “the green family", a group of porcelain with a green glaze incorporated into its decoration. This group of porcelain wares was developed during the Ming dynasty from multicolored decorations with translucent enamels, applied during secondary firings on glazed porcelain. By the end of the 16th century it began an evolutionary process into Kangxi wucai and what is recognized as Famille Verte. The colors are usually also include red, yellow, blue and black. Blue was first only used as an underglaze, but it later made possible to overglaze the blue which fully developed the ceramic.

A favorable aspect of famille verte is iridescence on top of the glazes, especially the blue enamels surrounding the enamels which are particularly evident around the blue enamels. This is described by Gotheborg as “… similar to oil on water and can be seen when the light falls on the glaze in a certain way.” Our lot 119 depicts fierce, highly detailed dragons, with one in verte; lot 92 shows an robed Emperor surrounded by advisers, where the subtle greens cause the eye to wander about intricate patterns of reds, blues and yellows.

JAPANESE PORCELAIN

Besides the manufacture of their own porcelain products, many of which were exported throughout Asia, Japan also imported porcelain wares from China, Korea and Southeast Asia. Relatively speaking, Japan came late to the manufacture of porcelain, with its beginnings in the Arita area in the 17th century. Most examples from this era were glazed in blue and white. Since then Imari wares have evolved into both bold and intricately designed examples whose 19th century color schemes are often dominated by the red toned iron oxide glazes for which they are popularly known. To this day, Arita is still considered the heart of porcelain production for Japan.

ARITA WARE

Imari Charger	Arita Style Vessel	Pair of Imari Porcelain Plates

Porcelain was first made in some quantities as early as the 17th century with the establishment of a community of kilns in the Arita area of Japan. Wares were exported to China and Southeast Asia. Since then and even until today most porcelain wares of Japanese origin come from the Aria area, and therefore are called “Arita” or “Arita ware”.

IMARI WARE

Imari is the name often given as a general term to apply to any Japanese porcelain. The name actually comes from the port in Japan from where the Imari was shipped for export. In fact most all Imari examples are produced in Arita, so in that sense the terms are synonymous. Earlier Imari porcelain is actually blue & white only, sometimes overglazed with gold and enamels, a style derived from Chinese late Ming porcelain.

Shoki-Imari is the earliest Imari made, dating from 1620 to later when they began exporting to the Near East in 1659. These usually have a blue underglaze and were somewhat influenced by the Chinese taste depicted in their imports. Some collectors feel there is elegant charm in these designs, but they are not often easily found outside of Japan. This “Shoki” period of production was succeeded by the “Ko-Imari” period marked by the exporting of Imari directly to Europe. Export Imari is decorated with underglaze blue heightened with gold and red, and sometimes green and blue enamels in a style meant to appeal to the Western taste. This continued until 1757 after which all shipments were private.

Collectors today find the porcelains of the 19th century, the Edo (1800-1868) and Meiji (1868-1912) periods, collectable because of their highly decorative appeal. Most feature bold colorations, including iron oxide reds and deep blues with clear hard edged designs and pleasing forms of floras, birds, animals, and people.

Although earlier Imari are often objects of utilitarian use, 19th century Imari tends to have more decorative objects, such as the 15” vase shown in lot 188. Other examples such as lot 178 seem to mimic these exotic qualities with an exceptionally large 18” charger. Except for the rich use of colors, another example, lot 189a, which includes two Japanese in playful poses with a rice bowl and chop sticks, has an almost folk-art like quality.

Go to our website or click on one of the images in this blog or go to our website to look and read more about this interesting opportunity to collect high quality Chinese porcelains.

And…….good luck in bidding!

Gordon Converse