In a Snail Shell

Hello Dear Readers!

I hope this finds you well. It’s hard to believe fall is already here. The summer seems to have passed in a blink. I love fall though – pumpkins and autumnal foliage abound, hence it’s that special time of year when we gather around to watch Over the Garden Wall.

Things at the workshop have been busy as usual with conservation work, guilloché commissions, and new making!

Following Segolene’s visit and work on Alphonsine, I found myself attempting to finish a project two years in the making! My first automaton.

I just returned from New York where I introduced the first automaton in my Medieval Bestiary series, Cochlea (Snail), as part of an exhibition on Craft at the Museum of Arts & Design. It will be on display there until March of 2019 – so if you’re in the New York area stop by! Here are a few photos and videos of it, as well as a short video from the opening night (I was pretty stoked!).

Thanks so much to the Horological Society of New York for their coverage of the exhibition!

 

 

 

 

 

 

 


 

Mechanical Mysteries | The Maillardet Automaton : Andrew Baron

I hope I’ve sparked your interest in learning more about automata. You won’t want to miss the final lecture in the Horological Lecture Series coming up on November 13th. Also held at the beautiful Stimson Green Mansion, this lecture promises to entertain adults and youngsters alike.

Clockmaker and paper engineer Andrew Baron will be discussing his work on the Maillardet writing and drafting automaton at the Franklin Institute. This iconic machine was the inspiration behind the book The Invention of Hugo Cabret and the Oscar winning motion picture Hugo.  Tickets and sponsorship available here.

 

Join us for an evening of horological enchantment, wine, hors d’oeuvres, and petit fours.

 

Tickets available here. 

 

Mechanical Mysteries | The Maillardet Automaton : Andrew Baron

 


New Horology Pins in the Memoria Technica Pin Line!

Two new enamel pins are coming to the shop soon, as well as the next edition of the workshop zine! For those of you subscribers, keep an eye on your post box in the following weeks.

To commemorate the first automaton in the bestiary series, I decided to make a limited run hard enamel pin of Cochlea.


snail

 

 

This pin is 35mm across and comes in nickel with white enamel and screen printed detail.

 

 


 

Pre-Order Cochlea Pin | USA

This limited edition nickel and white hard enamel pin with screen printed detail comes in at 35mm across and is finished with two pin backs and the Memoria Technica logo on the back. A celebration of the first automaton by Brittany N Cox, she is super proud of it and basically couldn’t stop herself from making a super cute pin version. Pin: $10 + $3 shipping

$13.00

Pre-Order Cochlea Pin | International

This limited edition nickel and white hard enamel pin with screen printed detail comes in at 35mm across and is finished with two pin backs and the Memoria Technica logo on the back. A celebration of the first automaton by Brittany N Cox, she is super proud of it and basically couldn’t stop herself from making a super cute pin version. Pin: $10 + $8 shipping

$18.00

The second pin has been in the works for some time and celebrates Jean Eugene Robert-Houdin’s marvelous mechanical orange tree trick. This soft enamel pin with green glitter detail has all the action of the original trick with vanishing and appearing handkerchief to boot!

 

 

 

Pre-Order Robert Houdin’s Orange Tree Pin | USA

This limited edition soft enamel pin with green glitter detail comes in at 62mm tall, as the handkerchief emerges. Just as in real life, as Houdin’s tree would produce a handkerchief carried by two butterflies, the pin features a movable component that conjures the past in the same fashion. As if appearing from the tree itself, the handkerchief rises to reveal the ring (or other article) vanished by the famous magician. Pin $15 + $3 shipping

$18.00

Pre-Order Robert Houdin’s Orange Tree Pin | International

This limited edition soft enamel pin with green glitter detail comes in at 62mm tall, as the handkerchief emerges. Just as in real life, as Houdin’s tree would produce a handkerchief carried by two butterflies, the pin features a movable component that conjures the past in the same fashion. As if appearing from the tree itself, the handkerchief rises to reveal the ring (or other article) vanished by the famous magician. Pin $15 + $8 shipping

$23.00


 

Sacred Geometry – Second Edition!

Al Collins and I went back to the drawing machine to add 17 patterns to the original book, making a total of 88 unique patterns. This is another limited run of 300. Now available for purchase here.

 

 


Publications, Print & Media

Keeper of Time Documentary

I’m excited to announce, I’ve been asked to be in a feature length documentary film called Keeper of Time. Documentary filmmaker Michael Culyba sets out to explore the history of horology, mechanical watchmaking, and the very concept of time itself. With interviews by watchmakers Roger W. Smith, Roland Murphy, F. P. Journe, and more! Check out the kickstarter and live events happening tomorrow here! I’ve made a few perks for backers, so if you’ve had your eye on a guilloché pen or pencil set, spinning top or the coloring book, check out the sponsorship packages.

 


Makers & Mystics Podcast

I also recently had the pleasure of discussing a few unique facets of horology with Stephen Roach of the Makers and Mystics podcast. If you’re like me and listen to way too many podcasts and want to learn more about magic, automata and more check out the episode here.

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The Naked Watchmaker

People: 12 Questions Interview Series

I was excited to give this interview, as it gave me a chance to talk about a few of the challenges and experiences in my career. It also delved a bit into my childhood, so have a read if you’ve ever been curious to know why I turned out so strange.

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Last, but not least, I am still working on my book for Penguin. I was given the opportunity to expand on the original outline, incorporating a lot more history and esoteric facets of this field I love with all my heart. As always, I can’t wait to share it with you, so I’ll be sure to keep you posted as a publication date nears!

Thank you so much dear readers for your continued support and encouragement. I couldn’t do this work without kind folks like you who share my love for horology.

Papier-mâché that barks : Woof ! Crack ! Woops…

Conservation of a mechanical pull-toy bulldog

by Ségolène Girard


Seg is speaking !

Remember me ? So much happens all the time in Nico’s workshop that my past articles about the conservation of a Horse Racing Game are far buried under other wonderful adventures…One of which I was part of just recently and I am going to tell you about !

When I met Nico in 2013, I was a second year student in paper conservation in Paris. I now graduated some time ago, and it happened that the development of a new product for conservation brought me to speak for AIC’s conservators annual meeting in Houston in May 2018. It is a long journey from home therefore I did not give it a second thought when I learned I was going: I told Brittany we should Skype ASAP, as I had the most exciting news !

Indeed, we never shared that piece of information with you dear readers, but Nico and I met online…and never in real life at that point. It started with a comment on her blog and we became Skype pen-pals. Actually we chatted so much at that point that it felt like we had visited each other’s workshop dozens of times and shared many coffee cups vs tisane’s (hour difference obliges).

We lost no time and decided I would come from Houston to her Seattle workshop Memoria Technica for a few weeks – once the AIC’s one week conference would be over. She had a great piece that needed the expertise of a paper conservator, and I expected no less from her !

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We would soon realize that if we already had very similar furniture taste, we were also clothes dopplegangers…if that is not long-term friendship investment !

 


 

CHAPTER 1: A SAFE KIND OF BEAST

The object in question is this papier-mâché bulldog barking pull-toy from the late 19th c. … with an unintended pulled apart head. The dog was never meant to look so scary and actually probably made the pride and joy of a small kid – which cracked us up every time we looked at it, I mean how scary would it be to cuddle now ? It would have taken a very brave kid to handle this dog, or a nice fixing, for which we would need all the bravery we could ask the conservation fairy for. Luckily I am always excited by a good challenge and I found myself in the best location to get inspiration from, in this new setting that a horologist conservation workshop is compared to the pristine white, minimalist, feng-shui paper conservation operating space.

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A view of the bulldog during conservation, in Memoria Technica Workshop

 

So let’s roll our sleeves up and start with the necessary understanding of what is on the slab, meaning knowing the origins and components of the bulldog, and what caused its arrival in the workshop.

« A late Victorian British Bulldog pull-along toy, flock finish, papier-mâché, with green/black glass eyes, opening mouth and bark operated by chain from collar, moving head, wooden castors, coconut hair in collar, 13″,25 » [1]

Would be the description of those sympathetic growling toys, very popular in the late 19th c. as pets for wealthy children. With no doubt we had a fine specimen before us, let alone for a few components differences, such as a collar made of horse hair instead of coconut fibers.

The explanation for this extravagant collar is a far-back French penchant for exotic animals that went wild in the 19-20th c., when beasts from foreign countries such as lions would be brought back to Paris and walked proudly in the streets. That way, Dali’s personal art critic Babou the ocelot would pee on his prints regularly, and Josephine Baker favorited sleeping with Chiquita the cheetah, while a sweet story tells how Rosa Bonheur’s lioness walked painfully in the stairs to call her mistress and make sure to die in her comforting arms.

Those who would rather walk a dog, accessorized their fierce looking pet with a long hairy collar evoking a mane, thus reducing risks. Naturally, toys followed the trend.

 


CHAPTER 2: A TERRIBLE ACCIDENT

Dismembering the bobble-head to inspect the insides of the bulldog, we found another both funny and interesting piece of information: the head is made of two hard papier-mâché parts, and covered with a thin cast paper “mask” that covers both parts and refines the face features.

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View of the head molds where they split in two parts, and where the diaphragm sits

 

On both parts a paper tag is pasted from the inside, on which is written on one side “Alphonsine… [date]” and on the other “Alphonsine… [different date]”. Alphonsine is a French soft-sounding girl name, particularly fashionable in the 19th c., which means….this would have been our bulldog’s model name ! Very fitting is it not? Both parts would be assembled thanks to this mark-up differentiating them from all the other heads on the toy maker’s bench. We can imagine there were several breeds, each with a different boy or girl’s name to disntiguish the toy model, as we still do today with dolls.

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Inside the papier-mâché jaw, a tag that reads “Alphonsine april 19th” in French

 

A hidden mechanism in the collar allows the dog to bark by pressing in your palm on the extremity of the leash, basically like a pump similar to that of a motorcycle making the distinctive “tac tac tac” or “bark bark bark” sound ! It is enhanced by a diaphragm hidden in the jaws, which also open up and close alongside the barking. Unfortunately, being one of the best feature of this toy, the use of the mechanism slowly caused pressure on the head and led to the cracking of a rigid papier-mâché head not big and strong enough to withstand those repetitive moves.

The right back foot also suffered pressure from the inside on the castor wheel and a too short paper mold. Cracks and deformation appeared here and there on strategic areas supporting the structure, such as the ribs or the twisted right front leg. The tail broke with another kind of pressure, and one we can imagine too well: the repeated pulling of small children on that fragile appendage.

 

Someone attempted repairs with glue at two different times, as characterized by different looking glues, each times on the tail and on the broken leg. Those repairs are irregular and dripping over the whole area, forming a thick oozing shell of shiny appearance around the cracks. Hair is caught in the hardened adhesives and the paper got darker.

 

The hair is missing in several areas because it is only flocked, and a lot of tears are naturally joined with paper flakes and entirely missing areas. There are major losses to the collar hair. Fun notes, if the collar hair is made of horse hair, Nico had doubts about the flocking origins. Regular diameter, shortly cut (around 5 mil.), fair and hard…it does not look like any other animal than one that is human ! Ahem…any thoughts about this? It will not impact our treatment thankfully.

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Horse hair from the mane is partly missing around the collar

 

 


CHAPITRE 3: ALPHONSINE GOES TO THE CONSERVATOR

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General view before treatment

 

After taking some photographs and reporting all of the above in details, we suggested the following operations.

 

1. Dry cleaning with a hepa filter vacuum

We removed the head from the neck and secured the detached parts with pillows and textile tape on the leash. Covering the mouth of the vacuum hose with fine mesh, we started dry cleaning the outside and inside of the object’s surface. With help from a soft brush in some instances to guide the dirt in the aspiration, and sometimes with a “metal air pump” from our conservator horologist’s workshop that we found helpful to avoid hair loss.

Indeed, the process was very slow and risky as the hairs were not very well fixed and those that were detached gathered in corners and grooves. We removed as much dirt as possible, but did not insist where no humidity would be needed during further treatment, as humidity fixes dirt and makes it harder to remove.

 

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Tools from other specialties often proove useful when having limited visibility, here a dental mirror helps guiding the cleaning process with a hepa filter vacuum

 

 

2. Dry cleaning and wet cleaning of the gesso covering the tongue and gums

Most of the dirt accumulated on the colored gesso was in the mouth as dirt tends to stick to gesso partially made with gelatine. After dry cleaning the mouth covering with rubber sponges, and erasers on paper and stable areas, we proceeded to wet cleaning with methylcellulose. Cleaning a mouth with synthetic saliva sounded appealing, and it proved to be efficient although used short term and followed with a quick water “rinse” with wet cotton swabs. Where dirt was really hard to remove, 5% methylcellulose gel was applied topically. It allowed the area of dirt to swell and remove it with a wet cotton swab afterwards.

 

 

3. Removing glue with synthetic clay

Removing glue with laponite and solvent can be pretty satisfying… but oil and scissors are still not part of the conservator’s toolbox, and removing what is close to chewing gum in hair became rather challenging with no user guide.

Soaking pieces of laponite with acetone or ethanol we made sample zones and with different timers, we were able to assess the following:

Layers of glues had been intertwined during two different old repair sessions, therefore steps would be taken to remove the glue and what would be residual.

 

We started with a laponite poultice with acetone to remove the first layers, applied through non-woven fabric and sealed around the tail. After 10 minutes, we were able to lift easily the first layer of glue, like nail polish chips. It had to be repeated a few times to access the second layer of different glue. But in places where it had no “second layer of glue” intermediary and was directly applied on hair, there was a pigment migration in the glue which loss could not be avoided through removal of the glue.

 

In order to remove the second layer of glue, we applied laponite soaked with ethanol and water – or it would dry too quickly following the same method as previously described. After 15 minutes, we were able to cut through the thick layers, but mechanical removal was dangerous and hard to control grabbing hair with the blade of the scalpel. Therefore we used pointy tweezers with which we would pull pieces of glue little by little. When it would harden again, we would soften it with the poultice to repeat the process. It was a long and repeated method, as the glue would harden very quickly once the poultice was removed. Softening it longer than 15 minutes did not help as the hair would then be caught in the really soft glue along with the painted paper underneath. In some places, to avoid loss of pigment and hair, residual glue was abraded dried, then smoothed with ethanol and a brush.

 

4. Repairs with strips structure

One of the biggest challenges was the crack on the head. As explained earlier, because of its direct relation to the way it was made, it meant we could not just mend it without taking into consideration the origin of the skull alteration. The inevitable crack would appear again under the pressure of  the mechanism on the two parts of the head mold if we just pretended nothing happened. This probably is one of the great and few occasions we have as conservators to make a point for what we do versus restoration.

Restoration would consist in covering up the default in the object, causing more tension on an already fragilized area, and dragging further damage and loss in time. Conservation here is the balance between: respecting the general overlook of the object, not repeating characteristics that could bring further damage, with care of not denying them for legacy.

Our job as conservators is to make sure to prevent the cause of alteration to strike again, without changing the first goal or intention of the object.


For that matter, we needed to find a way to consolidate the crack layer by layer, with a material that would be strong but still thin and flexible enough to put no stress on the tear. We pasted one sheet of 30 gms Japanese tissue on Tyvek with Lascaux that was cut into 15 x 5 mil. strips once dry.

 

With a mixture of Lascaux and wheat starch paste (50:50), they were adhered through the original laminated papier-mâché, starting from the bottom, drying with continuous pressure of a Teflon bone folder. Once a strip was applied it was sandwiched with a piece of 30 gms Japanese tissue pasted with thinned wheat starch paste until reaching the upper layers.

 

 

 

The inside of the skull where it splits in two naturally from the mold design, was reinforced with a large strip of the Tyvek repair material, pasted on the papier-mâché on the Japanese tissue side with the Lascaux + Wheat starch paste mixture (50:50).

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Applying a large strip of repair material along the split skull from the inside

 

5. Infills

Working in a horology conservation workshop, we found that using “too many different materials would be the enemy of well-made” so we kept using the 30 gms Japanese tissue we had at disposal. Pasted pieces were slits in some areas, and when the gap was to large, it was first stuffed with cotton linters.

 

To ease the process through and through we bandaged the head in strategic areas, using book conservator materials. Repairs were held still with first-aid bandages and artists clippers while the repairs would dry. Access was still pretty intricate and hard to access in many places, where we had to apply continuous pressure…by hand.

 

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Getting creative

6. Retouching

Infills were finished with a toned 17 gms Japanese tissue – the color of the papier-mâché – before final retouching.

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Toned Japanese tissue of the papier-mâché colore, levels the infill before retouches

 

We retouched using with 3% hydroxypropylcellulose in ethanol and raw pigments chosen for their stability characteristics. Both are picked from the tip of a medium hard brush and juxtaposed on the infill until desired color effect is reached.

 

7. Hair flocking

We found that hair flocking was not disrupting the general aspect of the object in areas of loss. Therefore, since we were unsure of the nature of the hair and with no definitive or unique solution yet for this field of conservation, we just did not add hair on the infills. However, the dog was the perfect cobaye for an idea we have had in our mind for a few years now…a future article will tell you all about our idea to make fake hair on such pieces. To be continued! (The link will appear here)

More before-after pictures:

 

 

 

And here are two sets of pictures Nico sent me after I left, that illustrate quite well our collaboration :

 

Above – right chop corner was mended and retouched by Nico, and the left one by myself. She looks less « crazy » now that her grin is back in shape, don’t you think ?

 

Here on the leg, I thinned down the glue and started aligning the gap while I was still in the workshop, and Nico completed the conservation treatment with the remaining infill layers and retouching.


CHAPITRE 4: AU REVOIR CHÈRE ALPHONSINE

Dear Alphonsine looks better now if I dare say of my own work. Although she came in very poor condition, it was possible to gain back some of her past lush with rounded-up conservation and keep her integrity intact.

Racing horses cannot be made from donkeys, therefore, some distortion is still present – but believe me when I say three weeks were not enough to shape the face into her past glory. More months would not have been enough either, as, remember: the head is made of two hard papier-mâché molds, covered with a thin papier-mâché “mask” which was not of the same shape exactly. When the thin mask broke in the middle, it had already changed shape from the pressure applied from behind with the other two parts, and elongated on the nose, thus a strange shape confined under paint.

We lift it up to a close appearance to was it used to look like (both parts of the face are asymmetrical on all the pull-toy bulldogs we found), but did not insist, as the client wanted the mechanism to work again – who knows for how long. Trying too hard to reshape the head would have just make it break again, eventually, as you remember the two small « mask » could not whistand the large « skull » pressure.

Therefore we compromised to bring the tear together but did not insist more than allowed. Leaving to a conservator with more time (if that exists) the possibility to shape it one day again, as all materials employed are removable, compatible, and durable in time.


As I was working there three weeks only, you will sadly not see in this article how to put back in place a crooked leg (which could have been graphic), or hear the bark (not suitable for all audience either) of Alphonsine. This is a mission for Nico and I know we will get a ticket for the show.

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General view shortly before I left after three weeks of work

 

I wish to thank her, once more and always for all the light and fun she brought me through this collaboration. Meeting her met all my best wishes, and working together on this really challenging and fun piece was the absolute cherry on top of the Twin Peaks famous pie. She introduced me to a lot of talented and kind people that went accross the shop for work or encouragement and I am glad to say she is well surrounded – and to say this to them that will recognize themselves, I cannot start naming them as I don’t have enough fingers to count them.

More than this, I made a great friend in Nico and confirmed a passion for my job, which I hope everyone can say also. Goodbye for now with a picture from the farmer’s market in Seattle (in case you still had doubts that the two of us really met). À bientôt ! – Yours truly, Ségolène

(to be continued when I am back in the studio)

[1] As seen in Hartley’s auction on September 27th 2014 : https://www.the-saleroom.com/en-gb/auction-catalogues/hartleys/catalogue-id-srhar10003/lot-a1b46a28-633f-4b31-84f1-a3f70167a3c2

Barbara Dumont, Anne-Laurence Dupont, Marie-Christine Papillon, Gaël-François Jeannel. Technical Study and Conservation-Treatment of a Horse Model by Dr Auzoux. Studies in Conservation, Maney Publishing, 2011, 56, pp.58 – 74. <10.1002/anie.200905131>.

Jeffrey Warda, Irene Brückle, Anikó Bezúr & Dan Kushel (2007) Analysis of Agarose, Carbopol, and Laponite Gel Poultices in Paper Conservation, Journal of the American Institute for Conservation, 46:3, 263-279 http://dx.doi.org/10.1179/019713607806112260

Summer Solstice at the Cooper Hewitt

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Engraving from Michael Maier’s Atalanta Fugiens (1618)

Hi All! A quick note about an event coming up this Saturday at the Smithsonian’s Cooper Hewitt Design Museum. Come join me in New York to explore how design has played a roll in how we engage with time. I’ll be presenting alongside Emily Orr, Assistant Curator of Modern & Contemporary Design at the @CooperHewitt, Lana Sutherland, CEO at @TeaLeavesco, & Albert Shum, CVP of design at @Microsoft. A live stream will also be available during the event for those of you who want to tune in.

Join us for conversation after the event over a cup of tea! 

The day’s festivities start at 10am and run into the night, ending at 9pm. You can register for the Solstice activities here.

Hope to see you there!

 

 

 

Craft – skill in making

Hello readers! Another round of updates as things move along at Memoria Technica.

I just finished up a pretty long stretch of classes at the shop. David Lindow joined me in teaching three of these – our intermediate and advanced levels. The results are really inspiring. I love seeing all of the different combinations students come up with. Check out the little video clips at the bottom of the photos. They really show off the glittery optical effects of the guilloché. The photos were taken throughout the series of classes – from Beginner’s turning up through Advanced.



The Horological Lecture Series is going strong! On May 15th, I hosted the second lecture in the series at the Stimson Green Mansion with the Washington Trust for Historic Preservation, which was another sold out event. David gave his presentation: The History of the Rose Engine from Kings to Craftsmen. It was a beautiful evening and I am very thankful to David for giving such an in depth and fascinating talk. I hope you’ll join us for the next one in August, which will be delivered by Master Goldsmith and Horologist Philip Peck.


In between all of this and my bench work, I completed the second edition of the Sacred Geometry coloring book with Al Collins. I’m excited to say it is now available for purchase. This edition is a little more robust than the first with over 20 bonus pages. The front and back are finished in white foil. The back features the MADE lathe technical drawing, with the front embellished with the same pattern as the first edition, but in silver foil. The binding is a white metal spiral to match the foil and allows the book to lay flat. I’m surprised at how different it feels when compared with the first edition. I’m still working on the receipt book to incorporate the new patterns, but that will be finished soon for those of you interested in the recipes.


The shop was also featured in the local Seattle news. That was a lot of fun to put together with Malia Karlinksy of Seattle Refined.


And! last, but not least, come see me this Friday at Seattle’s chapter of Creative Mornings. If you’re not familiar with Creative Mornings, I highly recommend checking them out. They host a free monthly event with breakfast and a short talk featuring a creative theme, designed to get you up, inspired, and off to work on time. This month’s theme is Craft. I feel honored to be Seattle’s speaker.

Where mechanics meet magic, birds, & music

Hello dear readers! I’ve had some great projects come in and out of the shop recently, so I thought I’d share with you one of my favorites.

Below is a beautiful clown magician by Gustav Vichy recently completed here at Memoria Technica.



Made to pay homage to magicians past and enchant viewers, the clown uses his handkerchief to transform the rat in his hat to a cat!


Magic has been a long standing theme in automata. This clip of the magician’s box from a recent sale at Sothebys is one of the finest examples of this type. Complete with a set of tokens that you insert to ask age old questions. What is most fleeting in life? ::love:: What is most precious? ::time::


Some of the worlds greatest magicians were also horologists. Take clockmaker and magician Jean Eugène-Robert Houdin (1805-1871) for example and his famous orange tree trick. Below is a clip from The Paul Daniels Magic Show, demonstrating a recreation of the famous tree. I urge you to watch full episodes of the Paul Daniels show. The nostalgia of the early ones is amazing….


I am sure many of you know the name Fabergé. Goldsmith and artisan Peter Carl Fabergé made a beautiful version of the orange tree, known as the Bay Tree Egg (1911), containing a singing bird. As you can see below, a very likely homage to the world renowned artisan and magician.

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Image from the Fabergé Museum


Hopefully that has peaked your curiosity a bit and now you are inspired to dig into the history of magic. The lecture I recently gave at the Stimson Green Mansion to kick off the Horological Lecture Series covered this and a lot more. The next one promises to be just as engaging. David Lindow will be coming out to deliver the history and development of the rose engine and talk about creating the world’s most versatile (and beautiful! if I don’t say so myself!) rose engine lathe. Come join us May 15th! There will be wine and hors d’oeuvres to enjoy, as well as beautiful turnings by David to admire.

Here are photos from the last event, so if you didn’t make it you certainly will be tempted to come this time around. Tickets are available here.

Become a sponsor and receive some extra perks. I couldn’t host this series without sponsorship, as it is organized and funded by Memoria Technica in an effort to promote these esoteric topics and make them available to a wider audience. I am very grateful to those who have already sponsored the series, making the first two lectures possible!

As a sponsor, enjoy reserved front row seats and other goodies, such as the reissue of the Sacred Geometry Coloring book. The original release of 300 has now sold out, so Al Colins and I teamed up again to create some new patterns for the second edition. It will have a few other bonuses as well, straight from Mike Stacey of the MADE lathe team! I’ve just picked up the covers, printed on thick black stock with silver foil and white leaf. It’s also available for pre-order here.  There will also be another limited special edition (of 24), which will be out this fall.


In other news, I recently returned from giving a talk to the Horological Society of New York on my work with bellows materials in smoking automata. If you’ve been curious about the smoker and the machine I made, the talk is available here to see, as well as a meeting recap. I urge you to join the society if you have an interest in horology. You don’t have to be a New Yorker to enjoy the lectures, as they are all available online with membership.


I also had the pleasure of speaking about my work and the art of guilloché to the Seattle Metals Guild last week. It was a lot of fun introducing the topic to so many new people. If you’re local to Seattle and are interested in anything metals, I highly recommend joining the Guild.


Speaking of guilloché, David and I still have a spot left in our intermediate and two in our advanced classes! I’m not sure when we’ll be able to offer these classes next, as we both have a lot on in our individual workshops for the foreseeable future. So this may be your last chance to come and take a class with the dynamic Mr. Lindow here at Memoria Technica for a little while. Now is the time; register here.

Below are some photos from our earliest classes at the shop and different student projects. Hope to see you soon!