PLAYING THEIR PARTS

Sunday, November 20, 2005Lots 1-161

November 20, 2005 in Morristown, NJ


Automata, musical boxes, and singing birds are featured in this fabulous book. Included are detailed descriptions of each of the movements, names of music, and other historical background references. Exceptional for reference, or just to enjoy reading about and seeing these superb antique treasures. 9" x 12". Hardbound. 180 full-color pages.

Live Auction

Showing 1 - 161 of 161

French Automaton "Ethiopian Flutist" by Gustav Vichy

French Automaton "Ethiopian Flutist" by Gustav Vichy

Lot #1

32" Ethiopian Flutist by Gustave Vichy, Deposed Model. A handsome standing figure of ebony-complexioned black man has early style paper-mache head constructed with a thin layer of kidskin under the oil-painted complexion and facial features. He has brown glass eyes, mohair lashes, ivory teeth, black fleecy hair, moustache, goatee and brows, carton torso and paper mache legs. He is standing casually with one knee bent, toes posed and bare feet, arranged upon an original velvet covered wooden base. His hands are made of gutta percha so as to be subtle, yet firm enough to mount and support all the interior linkages and springs for finger animation. He wears a bronze silk shirt with blue silk tie, magenta silk satin jacket with silk collar and lapels, silk short trousers, earrings, and carries a maple wooden flute. Marked G.V. on the winding key. Movements: He raises the flute to his lip while lowering his head, and his fingers play the flute, each finger independently of the other. Then he lowers the flute, blinks both eyelids as though in reverence for the music, turns his head from side to side, and moves his lips as though announcing the next tune. The movements of the fingers are extraordinarily lifelike. Music plays in accordance with the action. Historical References: The automaton appeared as "Flutiste Ethiopien" in the Vichy historical catalog and was described as a deposed model by that firm. It is likely that the luxurious model was aimed at the wealthy international clientele that visited Paris during the 1878 World Exhibition.

 
French Automaton "Vive la France, Vive la Russie" by Leopold Lambert

French Automaton "Vive la France, Vive la Russie" by Leopold Lambert

Lot #2

20" Vive la France, Vive la Russie by Leopold Lambert. A bisque-headed girl with swivel head on bisque shoulder-plate has blue glass paperweight eyes, closed mouth, original blonde mohair wig over cork pate, carton torso and legs, wire upper arms, bisque forearms, and is posed upon a velvet tapestry covered wooden base that contains musical and mechanical works. The doll wears an elaborate traditional silk Russian folklore costume of vibrant colors with detailed edging and trim including "jeweled" head-dress and necklace. She holds a French silk flag with gold lettering "Vive La Russie, Vive La France" with silk streamers lettered "Cherbourg", "Paris" and "Chalons"; the flag staff is topped by a brass figural with Russian and French painted flags. The doll is marked "Depose Tete Jumeau 4" and the key is marked "L.B." The paper tune program is marked "LB Modele Depose" and the tune name, "La Czarina Nazartia", is hand lettered on the label, "LB Modele Depose".Movements: The doll nods her head, turns head side to side, blows kisses with her right hand, and waves the flag she holds in her left hand while music plays. Historical References: Close-knit ties between Russia and France reached a crescendo in the 1890's. In 1894 the Franco-Russian Alliance formalized their close ties, and in the ensuing decade the popular Czar Nicholas II and Czarine Alix, along with their five children, virtually made Paris their second home. Lavish purchases from doll, toy and automata makers during that time are well documented including a presentation model of the Lioret Phonographe Jumeau with Russian tunes. It is likely that this automata "Vive La France, Veve La Russie" was created to celebrate the allegiance, probably as a one-of-a-kind commemorative piece. The musical tune, "La Czarine Nazartia", may have been a pet name for the actual Czarine or for one of her four daughters.

 
16" House,"Scenes of Daily Life in Old Basel", The Mechanical House of Emil Wick

16" House,"Scenes of Daily Life in Old Basel", The Mechanical House of Emil Wick

Lot #5

16" House, A three-story wooden residence or hotel particuliere, representing a typical edifice of Basel, Switzerland in the early 1800's is constructed with rich architectural details including shuttered windows mirrored for reflection of the exterior scenes and backed with old French-language paper, set-back columned porch on the third floor, extended columned porch on the ground floor with a balcony above, water pump, turrets, carved shingles, flag pole, chimneys, gable windows, and caretaker's attic apartment. The entire house is peopled in a manner designed to portray the active occupational and social life of Basel, circa 1810. Each of the people is of carved wood with superbly detailed carved and painted costumes and features.The ground floor represents the working class including six carpenters working in the shade of the porch, their carpentry tools arranged on the wall behind them, while nearby a woman draws water from the well pump, and at the other side of the house is a peg-legged Napoleonic war veteran with cane in one hand and hat in the other begging for a morsel of food from the woman who stands in the doorway.The second floor features a tavern scene peopled by soldiers in regimental uniforms sitting at tables alongside some village folks, apparently in an animated political discussion, while in the doorway calmly sits a woman at her spinning wheel. The third floor features six well-dressed waltzing couples and a three-person orchestra with instruments. There are other small vignettes that add to the sense of busy town life: dove birds in the chimney that move independently from each other but come together in a kiss, a chimney sweep that climbs in and out of the chimney, and a woman leaning in and out of the attic window as though to see what the hubbub is all about.There are, in all, 30 figures (counting the waltzing couple as one figure each, and including the doves) and every figure has mechanical animations; in addition, the "water" pours from the pump spout. The scene appears to be one of random activities because there are so many figures and they are animated at different times, but actually the movements are synchronized. Creative and complex strings, threads, pulleys, counter-balance weights, and cams provide the movement of the animated figures when wound.A two-tune miniature cylinder musical movement is wound from the front with a separate key. The musical movement is appropriate to the era, but may not be original as the tune-change lever indicates an original manual tune lever, and the existing cylinder is automatically changing. The house rests upon a beautifully grained fruitwood cabinet with three faux-drawers and brass escutcheon, and the house, itself, is enclosed in a lift-off glass cabinet of matching woods. The mechanisms of the house are visible from the glass-enclosed rear side. Historical References: Emil Wick of Basel, Switzerland, born in 1816, was raised in an affluent and artistic family. Educated and of a curious mind, he traveled throughout European art centers for many years, keen on escaping the monotony of only one profession. For a time he was apprenticed in horology, then he studied architecture, then the optician's art and then he became immersed in the development of the daguerreotype. Emil Wick is said to have had an acerbic view of life to which he had no hesitation in giving voice. Upon receiving a daguerreotype that Wick had produced of her, a society dowager asked if Wick could maker her look better. Wick replied, "Of course, of course, just let me photograph you from behind."This multi-faceted background and wry humor served him well. Upon returning to Basel toward the end of his busy life, he set about creating a mechanical masterpiece for each of his five godchildren. The five mechanical vignettes each depicted daily life in old Basel. With Wick's masterful eye toward architectural details and his mechanical skill at integrating a multitude of different actions, he created five houses and street scenes, each extraordinary in its details and workmanship, and insightful in its vision of daily life. Each is unique. And each is an extraordinary living document of early 19th century village life. The houses of Emil Wick and his fascinating history were documented in an entire chapter in the 1928 treatise, Le Monde des Automates, by Chapuis and Gelis. The authors summed up the man's work in a sentence that is truly ironic, considering Wick's love of photography. The houses"...portray what photography can never render, that is animated life and emotions...each of these little actors playing his part, over and over again, …with good humor and patience." One of the houses, and its animations, was shown in an amazing 1928 documentary film, La Feerie des Automates. When Le Monde des Automates was written in 1928, the authors documented the location of all five pieces. Today, the whereabouts of three of the five houses is known, one at the Musee International d'Horlogerie in La Chaux-de-Fonds, Switzerland, one in a private collection in Paris, and this house, from the collection of Paul Gendre.

 
Swiss Sectional Comb Cylinder Musical Box with Early Fusee Drive

Swiss Sectional Comb Cylinder Musical Box with Early Fusee Drive

Lot #6

Presented in a fine fruitwood box with dove-tailed construction, the comb consisting of seven sections of ten teeth per section, with fusee movement. The bottom of the case has ink inscription indicating that the case was restored in 1859 by B.A. Bremond. Another inked inscription on the bottom of the case indicates the serial number and the name of three tunes: Overture de la Rose Blanche de Rossini, Valse de Ch, and Cavatine de Taneride de Rossini. The music functions nicely and has a lovely sound.Historical References: This very musical box was shown and described in History of Musical Box and of Mechanical Music by Alfred Chapuis, page 187 with the notation "This is an experimental model". Chapuis did not explain the comment but may have been referring to the 10-teeth per section that would have been considered advancement in 1820. The use of Rossini tunes is interesting. Cavatine de Tancredi, for example, was wildly popular after its 1820 premiere at Kings Theatre in London, so it was a natural to appear on a musical box of the era. The 1859 notation concerning Bremond enhances the historical trail of this unusual piece that has been carefully cherished and tended for nearly 200 years. The musical box was created by an unknown maker about 1820, was restored by Bremond in 1859, later belonged to the collection of Foucou (according to Chapuis) and is now being sold from the collection of Paul Gendre.Sectional combs and fusee drives evolved over a long transition period. c. 1814 through the mid-1800's. The sectional comb was an attempt to group ever-larger pieces of steel into a semblance of a musical scale. The disappearance of the sectional comb resulted when makers gained greater access to consistent quantities of rolled steel plate, allowing them to create single-piece combs of larger size. The component on the left-end of the musical movement, resembling a wound-up bicycle chain, is known as a fusee drive. This chain drive ensured that the spring could wear down in a more regulated manner, allowing a steadier tempo to the music. For economic reasons, the fusee drive was eventually discarded in favor of directly-wound spring barrels of every-growing dimensions.

 
French Musical Automaton "The Monkey Conjuror" by Phalibois

French Musical Automaton "The Monkey Conjuror" by Phalibois

Lot #8

Arranged upon an ebony wooden base, under oval glass dome, is a paper mache headed monkey standing behind a wooden table, the entire scene framed by a garden arbor decorated with fabric leaves and flowers. The monkey has brown glass movable eyes, hinged lower jaw, double row of teeth, mohair wig, beard and moustache, carton torso, carved wooden hands. He is costumed as a mystical Conjuror in elaborate silks and velvets with gold ormolu paper edging and conical shaped crown, lorgnette at his right eye. The table is decorated with velvet drapes edged with metallic fringe and upon the table are arranged various objects including two silver cups that the monkey clasps. The original music label on base lists two airs with English names, "Sweet By and By" and "Mabel Waltz".Movements: the monkey turns his head to one side, nods, then to the other side and nods again. In synchronic movements with the nods, he lifts the silver cups to reveal one of five different possibilities: green, orange or white balls, die, or nothing. Sometimes both cups are lifted simultaneously, sometimes in sequence. Throughout, he blinks his eyes and opens and closes his mouth as though calling for wagers. Music occurs from a separate pull-string and lever. Historical References: a nearly identical piece appeared in Silber and Fleming of London trade catalog, circa 1880. The English language names on the music label indicate its production for the English or American market. The tune Sweet By and By, written by Fillmore department store Lyons & Healey in 1868 and it is possible that the automaton, with that tune listed on its program label, was sold by that store. The Monkey Conjuror appears to have been a popular theme with Phalibois for a number of years despite its somewhat complicated. Another example is documented as having been used for actual gambling purposes at the Iron Front Gambling Saloon of Austin, Texas in the late 1880's.

 
French Clock by Vincenti & Cie with Animated Tableau

French Clock by Vincenti & Cie with Animated Tableau

Lot #10

28". A fine ebonized wooden clock case lavishly inlaid in the Boulle manner with brass, mother-of-pearl and tortoise shell decorations contains a silk thread suspension clock along with an animated scene and music. The scene, rendered in vivid superbly preserved colors, depicts the interior of a village blacksmith shop with six people, horse and dog, and a well-detailed village scene with with church steeple, houses and mountains in the background. The music plays two tunes, compartment door at the side. The musical, animation and clock movements are all independent with separate windings. The rare piece is entirely original. The clock is marked Vincenti & Cie, Medaille d'Argent.Movements: The blacksmith shop has five movements depicting the busy activities of the village blacksmith including hammering at the anvil, bellows, and the amusing wagging of the dog's tail as he watches a horse being shod.Historical Notes: The blacksmith scene was a popular theme, reflecting the sophisticated Parisian's romantic vision of the French countryside; an identical scene also appeared in larger mechanical tableaux (see #39 of this book with Tharin signature). Vincenti & Cie clockmaker won silver medals at the Paris Expositions of 1834 and 1855 for his highly decorative mantel clocks including those with inlay Boulle cabinet work which was enjoying a revival in France in the mid-19th century. However , few other examples of his clocks that also include animated scenes with music are known to exist.

 
French Musical Automaton "Shepherdess with Lamb" by Roullet

French Musical Automaton "Shepherdess with Lamb" by Roullet

Lot #12

24". Standing upon a flat red-velvet covered platform is a bisque-headed woman with a portrait like elegant expression, brown glass paperweight eyes, closed mouth, brown human hair, separate bisque shoulder plate, carton torso that contains a clockwork mechanism, shapely paper mache legs, bisque lower arms. A hidden metal rod from side torso supports the lidded wicker basket at her side that she appears to be holding with her right hand. She wears superb Watteau-style silk taffeta gown of green and ivory stripes with matching bonnet, cream ruffles, rose-edged apron and ruffle, and carries a silk covered shepherdess crook in her left hand. The doll is marked Depose Tete Jumeau Bte SGDG 7.Movements: She turns to the right as though gazing at the countryside, then nods and lifts her crook as though to shepherd the lambs. Then the lid of the basket starts to open as though the baby lamb is awakening, so she turns her head to see what is happening, nods toward the lamb whose head is turning right to left and whose mouth is opening and closing. The shepherdess moves her crook toward him as though to say, "go back to sleep, go back to sleep". The lamb bleats and tucks back into the basket. The basket lid closes.Historical Comments: The automaton appeared in an early Roullet catalog named Bergere Watteau, in homage to the French painter Jean-Antoine Watteau whose early 18th century romantic paintings of the idyllic life of the French countryside had remained the Parisian's vision of that scene. In his paintings, Watteau's women cavorted in the countryside, costumed in elegant silk gowns, blissfully unaware of mud or thorns or the real nature of miscreant lambs.

 
25" French Automaton "The Marquis Monkey Smoker" by Gustave Vichy

25" French Automaton "The Marquis Monkey Smoker" by Gustave Vichy

Lot #14

25" Standing upon a flat ebonized wooden platform is a paper-mache headed monkey with brown glass eyes, artistically-rendered painted face, hinged jaw with movable upper lip, row of painted teeth, white mohair periwig, carton torso and legs, and metal hands. The monkey is costumed as an aristocratic gentleman with beautifully embroidered silk jacket and vest, lace jabot, silk pants, black leather buckled shoes, Marquis feathered hat, and holding a lorgnette in left hand, and Meerschaum cigarette holder in right hand. An internal system of rubber tubing emanating from his right arm to his mouth allows a smoking action.Movements: He turns his head toward the right and lifts the cigarette tohis mouth, inhales five times, lowers his arm, exhales slightly, turns his head to the center, pauses, turns to the left, lifts his lorgnette, surveys the scenes, exhales deeply as though satisfied, turns back and repeats the process. Historical Notes: From mid-19th century until about 1885, the monkey as aristocrat was a popular theme with French automaton makers, as well as with designers of other objets d'art and French paintings. Certainly, personifying the monkey was charming and amusing in itself, but amusement was not the only end. Evolutionary theories had emerged in France in the early 1800's and culminated in the publication of Darwin's the Evolution of Species in 1859. These radical ideas caused shock waves throughout Europe as they were considered a serious threat to the established social order. The idea that French aristocrats had not always been thus, that they originated as monkeys just like the common folk, was not to be taken lightly in certain circles. Yet the automaton makers did just that, relishing in "making monkeys" of fancy folks. The decades-long popularity of the Monkey-People automaton symbolized powerfully that the social order had changed.

 
French Automaton "Acrobat Clown with Two Chairs" by Vichy

French Automaton "Acrobat Clown with Two Chairs" by Vichy

Lot #19

36". Posed upon a large wooden platform with green velvet floor is an acrobat clown with paper mache head, artistically painted white complexion highlighted by blushed cheeks, two beauty spots and inverted V-shaped eyebrows. He has brown glass eyes, a row of painted teeth, brunette mohair wig, and paper mache body. He wears a rich stylized costume of yellow silk with perfectly fitted sleeves and bodice, matching tights, with lavish paillette and fringe decoration. He stands centered by two white chairs. Movements: The acrobat stands silently as tough waiting for the crowd to hush, then lifts his right arm, lowers it, grasps a white chair and lifts it, all the while flexin ghis arm and wrist and nodding his head. He then re-sets the chair on the stage. Then he balances his full weight on the backs of the chairs and slowly lifts his body, first perpendicular with the floor and finally completely upside down. While he is upside down, he lifts his head up and down, then lowers one chair, and finally, lowers himself.Historical Notes: A series of gymnast clowns were created by Vichy at the end of the 19th century. This model, named gymnast, No. 517, was described in the Vichy catalog as a deposed model. Parisian society was enthralled at this time with live performances at the Cirque Nouveau and Moulin Rouge, and the creation of acrobat automata found a ready audience. However the sophisticated mechanisms and music, and couturier-quality costuming of Gymnast, placed it in the luxury class and, thus, few models were ever made, making it a great rarity today.

 
French Automaton "The Waltzing Couple" by Gustave Vichy

French Automaton "The Waltzing Couple" by Gustave Vichy

Lot #23

23". An exceptionally handsome couple, the Marquise and Marquis, are posed as for a formal dance, he with bisque head having rare portrait like features, brown glass eyes, closed mouth, white mohair wig, carton body, legs and hands. The lady has bisque swivel poupee head on bisque shoulder plate, small blue glass eyes, closed mouth, long blonde mohair wig, carton upper torso, beautifully shaped bisque arms to above the elbows with sculpted elbow dimples, metal cone-shaped base under the skirt that contains the clockwork mechanism. The man and woman are attached by a metal rod from torso to torso; she has small gliding wheels on bottom of her base, and he is slightly lifted from the floor so he will glide easily on her support. The costumes are totally original, she wearing patterned silk taffeta gown with Alencon lace trim and rich braid of metallic beads, he wearing ivory taffeta suit with metallic bead braid, lace jabot, tricorn hat, heeled shoes. Marked G. Vichy Paris (metal plaque on cone) and original paper tune label on underside of cone skirt. Movements: The couple glides and twirls in an elegant waltz-like fashion while music plays.Historical Notes: The waltzing couple automaton had been made for several decades before this model, most particularly by Theroude about 1850, using dolls with paper mache heads. The construction was clever by hiding the mechanism under the woman's skirt, Vichy was able to pose his dolls without the need of a platform, lending them a more lifelike expression. This couple is preserved in remarkable all-original condition, originating from a French estate in the Province where it has lived since its 1880 production.

 
French Automaton "Clown on the Full Moon" by Roullet & Decamps

French Automaton "Clown on the Full Moon" by Roullet & Decamps

Lot #24

24 1/2". A bisque-headed clown is jauntily posed atop a full-moon. The clown has paper mache wings, brown glass eyes, closed mouth, painted clown features, auburn fleecy wig, carton torso and legs, bisque forearms, and wears ivory and gold clown costume with pleated ruffles at throat and cuffs, sequin beads, and matching cap. The dimpled-face full moon has movable brown glass eyes, open mouth with movable tongue, painted teeth, red nose, brown curly hair and brows, and wears a small brown top hat upon which the clown is resting his foot. The arrangement is presented upon a velvet covered wooden base that contains mechanisms.Movements: The clown nods his head downward and then teases the moon by lowering a beetle on a string that he holds in his right hand. The clown's wings flutter back and forth to draw further attention to his mischievous act. The moon, however, is delighted and tries to capture the beetle in its mouth, moving his tongue back and forth. Periodically, the moon's eyes move, coming together as though cross-eyed from trying to focus on the beetle. At times the clown and moon move in sequence, at other times simultaneously. Music plays.Historical References: The automaton appeared in the Roullet et Decamps catalog as #325 described as Clown sur pleine lune (clown on a full moon) and was described as "tres mouvemente" (very animated). The head, by Emile Jumeau, is the rare model Paris Bebe head, with character-like expression that lends extra panache to the presentation. The automata is a felicitous blending of the Parisian's delight in theatrics, fantasy, circus and the moon as a life-like figure. Few examples of this rare piece are known to exist; it likely was produced by commission only. Circa 1895.

 
French Automaton "The Magician" by Leopold Lambert

French Automaton "The Magician" by Leopold Lambert

Lot #31

29". A paper-mache head gentleman is standing upon a velvet covered wooden platform, behind a wooden table. The handsome man has brown glass eyes, leather eyelids with mohair lashes, hinged jaw, two rows of teeth, moustache, brunette mohair wig, carton torso and legs, and paper mache hands with expressively posed fingers. He wears a silk shirt, beautifully embroidered silk vest, silk jacket, black silk pants, shoes, and black velvet conjuror hat with emblems. The table is covered in green wool felt with metallic fringe, and has embroidered conjuror symbols as shown in the original Vichy catalog. Two silver cups, decorated with faux-jewels, are on the table, hiding a compartment with revolving action that allows different "surprises" to appear in sequence. The original tune label on the front of the base has stamped insignia J.C. with illustration, and lists two tunes: Le Voyage de Suzette Valse, and Genevieve Bell Duo.Movements: The Magician turns right to left as though calling attention, his eyes blink several times, he nods his head forward and pauses. He lifts the silver cups sometimes singly, and sometimes together. Various surprises are hidden beneath the cups: bisque doll, two decorated balls, coins, elephant, silver cup, die, and nothing. The surprises are revealed in different patterns as the performance ensues. The man has hinged jaw with sculpted teeth, but talking mechanism needs adjustment. Music plays. Historical References: Named Escamoteur, the automaton appeared in an early Lambert catalog, and was available black (#33) or white-complexioned (#33bis). The table embroidery is shown in detail in that catalog illustration just as it appears here. This example has a particularly handsome face with strong facial planes that engance the mechanical action. The musical box maker was Jules Cuendet of St. Croix whose initials and logo appear on the program label. Circa 1880.

 
French Automaton "Little Girl with Her Toys" by Leopold Lambert

French Automaton "Little Girl with Her Toys" by Leopold Lambert

Lot #33

15". Upon a wooden platform with tapestry cover to appear as a carpet is seated a bisque-headed doll with blue glass eyes, mohair lashes, slightly open mouth, blonde mohair wig, carton torso and lower legs, bisque forearms. She is wearing her original aqua silk dress with lace collar and hem trimmed with silver beads, matching bonnet, and is holding a little all-bisque doll in matching costume. In her right hand she holds a rattle. Arranged around her are toys comprising another all-bisque doll seated on a nodding head donkey, and a carved bone ball and cup game. The base has original red paper label "L.B. Brevet Paris" and original tune label with intertwined initials GD and ink script name of tune "Petit Paysanne".Movements: The doll looks to the left and leans forward, blinking her eyes, and lifting her little doll several times. She sits back and nods back and forth, then lifts her right hand to shake rattle. Her right foot kicks up and down in delight. Music plays. Historical References: The model was actually deposed by Lambert, indicating his preferences for its myriad of activities and childlike charm. This automaton is a departure from his classic pieces featuring beautifully costumed Bebes with two or three motions. The motions here are more complicated and the presentation most unusual. The automaton was deposed by Lambert on May 1, 1894. In his patent Lambert described his design process that included observation of an actual child: "I placed a child on the floor and surrounded him with his toys. I took careful note of the movements made by the child and I have managed to imitate the entire range of these movements." Interestingly, he used the pronoun "him" and the patent illustration depicted a boy, yet every example found of this model has shown a girl at play. Likely Lambert considered a pretty little girl to have more marketability. Circa 1895.

 
37" Mechanical Musical Tableau with Clock by Tharin

37" Mechanical Musical Tableau with Clock by Tharin

Lot #39

37"w x 32" h x 9"d. A fine painting with rich vivid colors depicting a bustling village blacksmith shop is set within a gilded gesso-over-wooden frame with scroll and foliage decorations. The blacksmith shop is seen from the inside, looking over the workings of the shop and out through a wide arched open door into the town with winding narrow streets, mountains and blue sky in the background. Sunlight pours into the shop from the doorway and upper windows creating an excellent effect and highlighting the mechanical action. There is a working porcelain-face clock in the village tower that is seen through the open doorway. The clock has silk thread suspension pendulum that strikes the hours and half-hours. The two-tune musical movement from 1890 period winds separately from the right side, but is set into play at the same time as the animation motor is started. The clock is signed Tharin a Paris. Movements: There are six people, a horse and a dog in the highly animated scene that includes motions of the bellows, the workers, the horse being shod, and the wagging tail of the dog. Historical References: The painting was one of the most favored themes of makers of mechanical tableaux, and appeared in many variations ranging from gilt-framed paintings, to clocks, to paintings with clocks. the clock, #10 of the book, features the identical painting. Still another example is the National Museum in Utrecht, Netherlands. The painter of the scene is not known as none of the paintings were signed, but it is documented that a certain Charles Riviere (1848 - 1920) was recorded as working with Tharin and specialized in tableaux mecaniques. In an 1785 book by Hervieux, the author noted that the serinette had become as useful for entertaining persons as for teaching canaries, and when on to add "Ordinarily the cases are made of walnut wood which is the best wood for this and the most uniform".

 
French Automaton Buffalo Bill Smoker by Gustave Vichy, Deposed Model

French Automaton Buffalo Bill Smoker by Gustave Vichy, Deposed Model

Lot #40

28". A tall and slender gentleman, posed in dandified manner, with paper mache head, brown glass eyes, leather eyelids, hinged jaw with two rows of teeth, strongly characterized features, long human hair, mohair moustache and beard, carton torso and legs, stands upon a velvet covered platform. he wears tan suede jacket with beaded decorations, matching fitted trousers, black leather tall boots with straps and buckles, black leather fitted gloves flaring widely at the wrists, silk shirt, silk tie, wide leather belt, pressed wool felt cowboy hat, carries wooden rifle with leather strap, and holds a cigarette holder between his thumb and one finger. The classic figural Vichy key and stop lever are at his side. The interior works are marked Vichy.Movements: He opens and closes his eyelids as though anticipating the smoke he is about to take, turns his head from side to side, leans his head down, lifts the cigarette holder to his mouth, inhales. Then he lowers his arm and cigarette, tilts his head back in satisfaction, and exhales. The smoking system moves through an internal system of rubber tubing, but does appear as though he actually inhales and exhales. Historical References: Described as Buffalo Bill, the automaton appeared in the Vichy catalog as #421, and was noted as being a deposed model. The description did not note music. Beginning in 1886 and throughout the 1890's, Buffalo Bill and his Wild West Show toured Europe to the special delight of Parisians where he was celebrated not only for his extraordinary gun-toting, horse-riding performances, but also for his vigorous personality. So exceptional was his celebrity, that this is the only automaton made by Vichy that depicted an actual named living person. Circa 1890.

 
28" French Mechanical Musical Tableau "Knife Grinder and His Dog" by Tharin

28" French Mechanical Musical Tableau "Knife Grinder and His Dog" by Tharin

Lot #41

A wooden frame with velvet cover and gold-leaf edges surrounds the mechanical tableau and clock. The paper board scene depicts the local knife-grinder at a grinding stone, honing a knife while his faithful dog looks on. The painting is superbly rendered with details including a characterized face, scarf tucked into pocket, wisps of hair under the well-worn hat. A porcelain-faced clock is set into the background. The clock, signed Tharin a Paris, has suspension springs pendulum, and string hours and half hours. The tableau mechanism is completely original. The musical movement is wound separately from the outside. Movements: The man nods his head, his hand holds with knife to the grinding wheel, his arm moves up and down, his leg pumps the wheel and his foot moves up and down. The dog moves up and down. Historical References: An unusual subject matter for Tharin depicting a simple occupational theme. The simplicity of the piece, yet housed in a fine frame with clock, suggests that it may have been a specially commissioned presentation pieve for a prestige knife store or its owner. During the 19th century knives were a serious affair, and, in France, an important industry. The village of Thiers, for example, had already been making knives for more than 300 years. Its nearby village of Laguiole became famous for their capuchado knife in the early 1800s, (which the knife in this scene resembles) and other notable knives were the Auberac, Vendetta and Roquefort.

 
30" French Automaton "Farmer and His Pet Pig" by Vichy

30" French Automaton "Farmer and His Pet Pig" by Vichy

Lot #42

Seated on the back rung of a wooden slat-back chair with rush seat is a handsome gentleman with paper mache head, brown glass eyes with leather eyelids and mohair lashes, ruddy complexion, upturned nose, hinged lower lip, painted teeth, brunette mohair wig, carton torso and legs, hinged right hip, and paper mache hands with expressively posed fingers. He holds a paper mache pig on his left knee. The pig, who is posed in seated position as though a human baby, has artistically painted features, glass eyes, double-curled tail, and a moveable tongue between open lips. The gentleman wears his original costume of silk vest and shirt, velvet jacket, silk tie and cummerbund, plaid silk pants, wool felt hat, and a wonderful fitted leather shoes. He carries a silk tied knapsack with treats for the pig, and holds a pastry tart in his hand. Movements: The Farmer offers the pastry to the pig who tries to eat it. The pig inclines his head, turns his head and hungrily moves his tongue in and out four or five times. But the farmer is not satisfied with the pig's performance and he withdraws the tart, shrugs his shoulders and stamps his right foot as though angry. The farmer's eyes blink throughout, and he constantly chatters to the pig as his bottom lip opens and closes. The neck mounting is somewhat loose on the farmer impeding the head turning to some degree. Music plays.Historical References: The automaton appeared in the Vichy catalog named Paysan et Nourisson, number 511. The detailed description of the movements in the Vichy catalog indicates the maker's special delight in the piece. Vichy's attention to detail included a special sculpt of the superbly painted gentleman's face with its ruddy country complexion, the man's body posed in a harmonious blend of solicitude and scorn, and a perfectly delightful piglet who is really trying to get that tart. Circa 1890.

 
20" French Automaton "Little Girl with Mirror and Puff" by Lambert

20" French Automaton "Little Girl with Mirror and Puff" by Lambert

Lot #52

Posed upon a green velvet covered base is a bisque-head doll with brown glass enamel eyes, closed mouth, especially beautiful painting of features, blonde mohair wig, carton torso and legs, and bisque forearms. She is wearing her original ivory silk satin dress with textured design to the fabric, very delicate lace cutwork overlay skirt with diamond points, matching bonnet, and holds a puff and mirror. The doll is marked Depose Tete Jumeau Bte SGDG 4, and the brass key is the unlettered Lambert model. The automata is presented under its original glass dome, on wooden platform, accounting for the fine preservation of the costume. Movements: She turns her head to the right, nods, and lifts her right arm to powder her nose, then turns her head to the left and gazes into the mirror to see her flawless beauty. Music plays.Historical References: The model appeared in the Lambert catalog as No. 26, Bebe Poudreuse. The costume was created in the Lambert ateliers under the direction and creation of Eugenie Bourgeois Lambert, wife of Leopold. A seamstress by trade at the time of their marriage, she held a position of prominence in the firm throughout its tenure. A contemporary account of the Lambert firm noted "the elegant workshop where seamstresses, milliners, and painters sit in bright daylight, giving the final touches to a masterpiece...thanks to the domestic collaboration in which [Eugene Lambert] plays such an important role." Circa 1890.

 
20" French Automaton "Astronomer Showing the Moon" by Roullet & Decamps

20" French Automaton "Astronomer Showing the Moon" by Roullet & Decamps

Lot #55

Posed upon a velvet covered wooden platform is a bisque-head astronomer with glass eyes, open mouth, brunette hand-tied human hair wig, carton torso and legs, bisque arms, along with a smaller bisque doll, portraying the student, with glass eyes, open mouth, brunette short hair, carton torso and legs, bisque arms. The astronomer is dressed in mystical fashion with star-gilded silk gown, green velvet robe with purple and gold edging, purple silk cap with gilded metal symbols, and holding a teacher's rod in left hand, and a long rod with slice of moon in the other. The student is wearing simple schoolboy costume, leather shoes, velvet cap, and is peering into a gilded carved wooden telescope as though to see the moon. Each of the figures is signed SFBJ 301 Paris. Movements: The astronomer appears to be teaching the student about the moon and stars. She nods and turns her head, and alternately lowers and raises the rod in her left hand, and the rod in her right hand. When she lowers the right hand rod, the moon slice appears in front of the telescope. The student leans forward and back as though peering into the telescope, his hands posed as though in delight at what he sees. Historical References: The automaton featured in the Roullet & Decamps catalog, named Astronome montrant la lune, No. 264. First appearing in the catalog during the late 1890's, it continued to be made on special commission until about 1915. The rare presentation is a unnique twist to the subject of mysticism and astronomy that was popular with automaton makers. Few examples are known to exist.

 
18" French Automaton "Exotic Black Lady with Lyre" by Vichy

18" French Automaton "Exotic Black Lady with Lyre" by Vichy

Lot #59

A figural bust displayed upon its original ebonized wooden base portrays a very beautiful dark brown complexioned lady playing a lyre. The beautifully-feathered paper mache head has highly characterized features, rich complexion with gleaming patina, brown glass eyes, leather eyelids, open mouth with single row of teeth, and black mohair wig in original coiffure. She has carton torso and brown paper mache hands with fingers realistically sculpted as though to play the lyre. She wears her original blue silk kimono with embroidered edging, ivory silk sleeves and bodice. The lyre of fine maple wood has hand painted floral designs and original strings. The mechanism is activated by original attached Vichy key and pull lever. There is an original brass label on the front, "G. Vichy, Paris, Modele Depose" with the additional insignia of a triangle containing the words "Marque Depose, Article Francais" enclosing the number 5.Movements: She nods and turns her head in a series of realistic and complicated nods, her eyes blink and she plays the lyre with movements of both her elbow and her wrist in an elegant manner. Music plays. Historical references: From a series of parlor display automata created by Vichy, this example portraying an elegant woman from his Ethiopian or Moorish series, and clearly designed to appeal to the wealthy aristocrats who flocked to Paris from those exotic places in the late 19th century, eager to spend their wealth on luxurious objects. This example has appeal of beauty, lovely motion and beautiful music. The "5" in the brass label referred to Vichy's assigned position in the Chambre Syndicale of Paris, whose purpose was to unify and strengthen French doll and toy makers; Vichy was an early member. The style of the mark indicates that this piece was produced after 1897, probably for the 1900 Paris International Exposition.

 
17" French Automaton "Little Girl with Pet Mouse" by Rambour

17" French Automaton "Little Girl with Pet Mouse" by Rambour

Lot #68

Standing upon a velvet covered platform with wooden ball feet is a bisque-head doll with blue glass paperweight eyes, closed mouth, blonde mohair wig, carton torso and legs, bisque forearms. She stands behind a box-shaped table in which a special mechanism for the mouse is hidden; the table has fancy black pedestal and gold cloth cover, and a heavy board mouse cage with decorative painting is resting on top. The girl wears a blue silk embroidered dress with gold ball edging, and holds a rod in her right hand and the door to the mouse trap in her left hand. The doll is marked M, and there is a pencil inscription "souris" (mouse) inside the box base. Movements: Two mechanisms operate in synchronism. Via the 1st mechanism, the girl lifts her head and then lifts her left arm to open the door of the cage. In perfect timing, the 2nd mechanism then operates: the mouse timidly emerges from the cage, pauses, whirls around and scurries back into the cage. At the same time the 1st mechanism causes the girl to lift her right arm as though chasing the mouse back inside. Music plays. Historical References: The lineage of the French firm of Charles Eugene Rambour is more illustrious than one might imagine. When Leon Casimir Bru had sold his doll firm in 1884, he retained the rights to his articles de Paris patents, most of which featured mechanical "surprises". In 1891 Bru sold the articles de Paris business to Grandepierre & Souers who, in turn, transferred the business to Rambour in 1893. For the next seven years, Rambour continued the Bru articles de paris business, creating a series of delightful automata notable for "surprise" elements (such as a mouse emerging from its cage), many of which he illustrated in his advertising. Rambour's fin-de-siecle automata, whose lineage traces back to the great Bru, had all of the charm, if not the sophistication, of earlier automata markers.

 
24" French Musical Globe de Mariee with Original Tune Label

24" French Musical Globe de Mariee with Original Tune Label

Lot #71

Arranged upon an ebonized wooden platform, under a glass dome, is an elaborate presentation in gilded ormolu centered by a tufted red velvet cushion. At the back are three mirrors with etched glass designs of grapes and vines, surmounted by a winged dove with wreath of harmony in its beak, two smaller doves, nine clusters of grapes, leaves, and two elaborate columns with rose bouquet finial. The cushion, with gold star tufting pins, is surrounded on the sides and below with five additional mirrors(one with bird etching) and other symbolic images of a fruitful marriage. Resting upon the velvet cushion is the bride's coronet of wax orange blossoms, and pinned to the cushion are several medallions including one embossed "Souvenir du Tirage au Sort" and dated 1901. There is an original paper tune label listing Chanson de Mouster, and a pull-string for activating the music. Historical References: The tradition of presenting the bride and groom with a Globe de Mariee was particular to provincial France during the second half of the 19th century. The globe was highly personal as the bride and groom chose various symbols that designated their hopes for the future (and, also, the limits of their purse strings). As the marriage transpired the couple added symbols of their life together. The inclusion of a music box was considered a luxury that few young couples could afford, and thus it is quite rare to find. Circa 1900.

 
23" Swiss Automaton "Thomas Jefferson" by Michel Bertrand

23" Swiss Automaton "Thomas Jefferson" by Michel Bertrand

Lot #80

A vignette arranged upon a carpeted wooden floor depicts Thomas Jefferson seated at a table writing the Declaration of independence. He is perched on the edge of a curved back wooden chair, behind a nicely shaped table. He has a paper mache head with glass eyes, leather eyelids, painted complexion, closed mouth with well-rendered benevolent smile, grey hair, and wears black woolen suit with lace ruffled cuffs and jabot, silk vest, black shoes, stockings. His right hand that holds a quill is sculpted to appear as though he is writing, and his left hand is posed reflectively. on the table are arranged a brass inkwell, brass lantern, American flag, and the Declaration of independence. Movements: A sequence of movements is designed to show Jefferson laboring over the writing of the Declaration of Independence. The lamp is lit. He leans over his work, writes hurriedly, then slowly, then rapidly again, then pauses, appears to contemplate, then writes again. Eventually the lamp burns out, the light flickers, his eyes close and he falls asleep over his work. Then the light comes back on, he opens his eyes, raises his head, and begins to work again. Historical References: Michel Bertrand had worked as a model maker and technician for the successors of the old Vichy firm from 1955 until 1967 when the firm finally closed. An apt student of the carefully guarded techniques used by Vichy, he then undertook to create a series of one-of-a-kind automaton that were inspired by models of the 19th century. One of this series was Jefferson Writing the Declaration of Independence, inspired by Vichy's 1895 Pierrot Writing. The Jefferson piece was especially prized by its creator who exhibited it in America prior to the Bicentennial Years. It eventually found its way back to France and into the collection of Paul Gendre. It is unique. Circa 1970.

 
19" French Automaton "Le Soldat au Clairon" by Vichy with Lioret

19" French Automaton "Le Soldat au Clairon" by Vichy with Lioret

Lot #81

Arranged upon a wooden platform is a composition "stone" fort with working door, architectural details, and a wide stairway at the side upon which is climbing a French soldier in full regalia, posed as though he has just climbed his way to the peak of the fort and is about to place the bugle call to his fellow soldiers. The soldier has an oil-painted paper mache head whose sculpted face has a stalwart expression, blue glass eyes, brunette wig, carton torso and legs, and cast metal painted hands. He wears his original blue, ivory and red uniform with brass buttons, kidskin leggings over brown shoes, black tricorn hat with French rosette, and carries a silver bugle with red, white and blue tassels. Inside the fort in an original wax phonograph cylinder which, when activated, sounds several different bugle calls. The cams control not only the figure's animations, but also the running of the wax recorded cylinder and its engagement, disengagement, and the reproducer's return to the beginning of the recording. The "fort" is constructed to allow the sound to escape via the open door, side window, and open-top tree stump. There is an attached Vichy key and pull lever. A brass plaque on the base reads "Le soldat au Clairon, Automate du XIX siecle". Movements: The soldier turns his head from side to side, then brings the trumpet up to his mouth. In matching time, the phonograph plays bugle sounds and songs. When the bugle is lowered, the bugle sound stops. Historical References: The French inventor Henri Lioret was not only interested in the development of the "new" phonograph, he wished to incorporate it into various objects such as dolls or toys or automata so they could seem to virtually come alive. He formed an alliance with Emile Jumeau to create the Bebe Phonographe. And he formed an alliance with Vichy for the creation of automata with sounds that would complement and enhance the automata action. Thus, the French Soldier bugler is fitted with a Liorret phonograph that actually plays bugle sound and songs. The alliance appears to have been very short-lived for few of these Vichy-Lioret automata are known to exist. Another example of this model is shown in Les Automates by Chapuis/Droz, page 294.

 
12" French Automaton "Little Girl Training Her Puppy" by Rambour

12" French Automaton "Little Girl Training Her Puppy" by Rambour

Lot #87

A brown velvet covered base displays an amusing vignette that features a bisque-head girl with blue glass eyes, open mouth, brunette mohair wig, carton torso and legs, and bisque arms, standing alongside her paper mache pup and a balancing stool. She holds a ribbon-decorated training baton in one hand and a wooden hoop in the other. The pup, with wonderfully sculpted bulldog features and painting, and glass eyes, stands upward on two back feet, his front paws in begging position. The girl wears her original aqua green silk dress with lace trim, lace cap, matching shoes. The dog wears a silk costume.Movements: The girl alternately raises the training rod and then the wooden hoop, and turns her head side to side, as though imploring the pup to "jump, jump". The movements of the pup are humorous. He tilts his head and his body (independently) back and forth, moves his front paws with elbow hinges as though about to leap, then retreats. Throughout, his tail wags back and forth. Music plays. Historical References: Although this series of fin-de-siecle automata has previously been attributed to Renou, new historical research by Francois Theimer, published in "Encyclopedia of French Dolls", proves the actual maker was Rambour, successor to the Leon Casimir Bru novelties business and patent designs. Rambour, during a seven year period at the end of the 19th century, introduced a series of charming, childlike scenes with amusing and timeless appeal that are very rare to find today.

 
28" French Automaton "Fruit Seller with Surprises" by Vichy

28" French Automaton "Fruit Seller with Surprises" by Vichy

Lot #92

Standing upon a velvet-covered base is a handsome black man who displays a tray of fruit. He has an oil-painted face of kid-skin over paper mache, glass eyes, leather eyelids, hinged jaw, two rows of painted teeth, long bushy moustache, carton torso and legs, and paper mache hands. A metal rod and turning cams extend from his torso to the tray. The tray has a very refined gilded metal filigree fence, velvet surface and holds three oil-painted paper mache fruits. The man is wearing an elaborate Moroccan costume of rich silks and trim, including beaded turban. Inside one fruit is a paper mache monkey head with glass eyes and hinged jaw; inside the pear is a miniature bisque waltzing man and woman, and inside the apple is a little mouse. Movements: The man turns his head side to side, while his eyelids blink and his mouth opens and closes, lending an overall impression of a street vendor calling out to sell his fruit. But the fruit has a surprise because each has a little treat hidden beneath, and they alternately open to show the surprises: a monkey Marquis who turns his head side to side and opens and closes his mouth; a waltzing couple who twirl around in a graceful manner; and a little mouse who chases his tail around and around in a circle. Music plays throughout. Historical References: The performer or seller with suprises was a favorite motif of Vichy. The on-looker would be enjoying the action of the main character, but then the little surprise action would occur, adding bountiful elements of surprise to the scene. Added detail of ornamentation gave even further panache to the intricate and surprise-filled automaton. Circa 1875.

 
14" Mechanical Musical Vignette by Rzebitschek of Prague

14" Mechanical Musical Vignette by Rzebitschek of Prague

Lot #95

A wooden platform with faux-rosewood finish is decorated with beautifully painted flowers and scroll on top and sides. On the top is arranged a lovely vignette featuring a lady seated at the pianoforte while her music instructor sits nearby, and a little child dances in front. The pianoforte is beautifully decorated in the same manner as the box, the lady has a porcelain head with sculpted black hair, block torso, wooden hands, and an original costume, the instructor has a paper mache head, body and limbs, and is wearing a well-decorated silk costume with long tails. They each sit upon a fancy salon chair. The little carved wooden child has loosely jointed limbs and is suspended from the floor by a thin metal rod that allows her to pivot as though dancing. The original tune label is affixed to the underside listing two tunes in ink script: Cher der Bischofe a Afrikanerin, and Frohliches Weiderschen Walser. The label is numbered Zahl 45874 and musik 3766. There is also a pencil script notation with names on the underside. Movements: The lady runs her hands across the piano keys in a realistic manner, while the instructor waves his teaching rod and nods his head in time to the music. The little girl dances and twirls about. Music plays, of an especially fine quality. Historical References: The Rzebitschek family of Prague were small but industrious makers of music boxes and musical automata in Prague during the mid-19th century. An identical piece (except for decorations and lacking the dancing child) is known to have the Rzebitschek imprint on the comb; this piece has not been examined for that signature, but is indubitably from the same hand. Circa 1850.

 
14" French Animated Tableau with Music by Tharin

14" French Animated Tableau with Music by Tharin

Lot #101

Within a wooden frame with ebony finish is a delicate painting of a village scene, a country road with farmers and animals in the foreground, a canal with arched bridge with railroad trestle, boats, village building onto the hillside including homes, church, and windmill. The painting is constructed in two dimensions with the railroad trestle framing the front section and disguising the mechanical track upon which the train runs. There are several original and rare paper labels on the backside indicating the deposed system of animation developed by Xavier Tharin le 20 Juin, 1843, Borel Successor". Another label indicates two tunes, Pauline Valse and Le Bord du Lac Leman. Movements: When the string is pulled it activates the music and movement simultaneously. The railroad crosses the bridge, and the windmill turns. Music plays. Historical References: Xavier Tharin was creating his mechanical sand, pull-string and clockwork animated scenes as early as 1843. By that date he had already been awarded a Medal of Honor for his designs. Sometime during the 1860's Tharin was succeeded by his apprentice, Henri Borel. The animated tableau shown here was produced during the Borel period, and it is an indication of Tharin's fine reputation that Borel continued to use Tharin's name. In devising the mechanism of this tableau, the Tharin firm was challenged to find a system that would simultaneously start and stop the animation and the music, each of which required an independent wind-spring. Tharin solved the problem with a simple drawstring that connected all the mechanisms. Another example of this rare labeled piece with a different scene is to be found in the Murtogh D. Guinness collection at the Morris Museum. Circa 1860.

 
French Musical Clock Painting with Tune Program and Angelus

French Musical Clock Painting with Tune Program and Angelus

Lot #104

Within a fine wooden frame with gesso molded details and gilded overlay, is an oil painting on canvas of a pastoral village scene with stream, country folk and their cattle in the foreground, valleys, mountains and the family home in the background, and the prominent feature of simple village church with enamel-faced mechanical clock in the tower. The concealed clock and musical movements, both unmarked, operate independently of each other. The French clock movement is original with spring suspension pendulum, that strikes on the hour, and an angelus that strikes as an attention getter just prior to the striking of the hour. The Swiss cartel musical movement renders eight tunes on a 57-note comb with full body sound that is amplified further when the hanging is hung on a wall. The music start and tune change controls are manually operated from the bottom of the frame. Historical References: The painting has an unusual slanted downward perspective that enhances the superbly painted sunlight that seems to bathe the painting. The original tune program is inside listing the eight tunes that include Gounod's Faust (1859), an aria from Verdi's II Trovatore (1853), Fatinitze March by Suppe (1876), La Belle Lunette by Offenbach (1880) and, of particular interest to this painting, Les Cloches de Corneville by Planquette (1877) which refers to the chimes in a church tower. A nearly identical piece was shown in the Bagatelle (Paris) exhibition of automata, and still another is exhibited in the Musee des Arts & Metiers in Paris.

 
39" Early 19th Century Wooden Mechanical Drummer

39" Early 19th Century Wooden Mechanical Drummer

Lot #109

Posed upon a wooden cabinet that contains the mechanical movement is a highly characterized man with carved wooden head and hands. He is standing with drumstick in each hand, a drum suspended from his shoulders. The man has a loosely jointed carved wooden head, featuring carved tousled hair, carved definitions of ruddy large nose, wrinkles, two warts, and closed mouth. He has movable glass eyes. The torso, legs and arms are of heavy paper mache over a cast metal armature for strength, and his hands and feet are carved wood. The man wears an early costume comprising velvet jacket, silk vest with trapunto stitching, and velvet pants. His shoes and stockings are sculpted and painted. The mechanism winds from a handle at the side. The mechanical works are visible from the hinged cabinet door at the back. Movements: He nods and turns his head, causing the eyes to move back and forth. He beats the drum, each arm moving independently of the other, although in synchronism. The movement is prolonged. Historical References: An exceptional and important carved mechanical piece, probably the late 18th/early 19th century, whose highly stylistic carving is in the manner of Neopolitan figures of the late 18th century. The large size of the piece suggests its purpose as an exhibition model, as does the repetitive drumming action and sound that would certainly serve to attract the passer-by. The carving and original oil-painted features and complexion are superbly achieved and preserved. Circa 1800.

 
12" French Waltzing Couple by Alexandre Theroude

12" French Waltzing Couple by Alexandre Theroude

Lot #111

A pair of dolls, representing a man and woman posed and ready for the dance, each having wax-over-paper mache head with delicately painted facial features, hand-tied human hair wig, carton torso and painted metal hands. The woman has cobalt blue glass enamel inset eyes, and the man has brown enamel eyes. The woman has a shapely figure and wears her original costume of black satin bodice, cream silk skirt, each trimmed with Alencon lace and hand-made rick-rack over a green tinplate cone-shaped frame that contains the mechanism. Her hair is elegantly braided and ribboned. The man wears pale blue silk costume trimmed with delicate pink braid and ribbons, with matching cap and stockings trim. He is attached to the woman by a metal rod at the torso. The original brass labels, A. Theroude, Paris, and Brevete SGDG, appear on the metal cone. Movements: The couple twirls around and around in waltz-like fashion, periodically pausing, then gliding forward, then twirling again. music plays. Historical References: The waltzing couple, a deposed model by Theroude according to the attached brass label, was a splendid presentation and remained a favorite offering of the firm for many years. In his 1842 catalog he offered Grande Valse a 2 Figures at the astonishing price of 180 fr, nearly ten times the cost of any of his other pieces. The automaton was still being made at least as late as 1860 when it was one of four Theroude pieces described and illustrated in La Revue des Modes. A bit later, Vichy appropriated the concept and created his splendid Waltzing Couples (see #23 of this book). Circa 1850.

 
26" French Automaton, "The Smoking Gentleman" by Vichy