T&N -Telefonbau und Normalzeit –  Master Clock – 6 x 13 x 35 in. (15 x  33 x 90 cm)

This example of a T&N (Telefonbau und Normalzeit) electric master clock could have been manufactured in the 1960s or 70s. It has a blue enamelled steel case with a fully glazed door. The clock will drive a number of alternating polarity, one minute slave dials.

The escapement is a good quality dead-beat, and the 3/4 second pendulum rod is of wood with  a spun brass bob. There is a seconds subsidiary dial.

Graf Zeppelin Postcard

Kodak Vollenda 620 + 1:4,5F/10,5cm  Salmoiraghi ALCYON Ser.No.3131464

clean Salmoiraghi ALCYON rare Kodak 6×9 cm camera for 120 Film

Kodak Vollenda 620 camera. Camera is a rectangular box with rounded ends. Door at rear allows film to be loaded. Door is marked with inscription. Leather carry strap is attached at one end by two metal rings. Camera is covered in black leather. Door at front of camera folds open to reveal lens, shutter and bellows focusing mechanism. Shutter lever is mounted above shutter to the right. Viewfinder is mounted above shutter to the left. Inscription surrounds lens as well as shutter. Small plaque on front door of camera is also marked with inscriptions.

Inscription on rear door of camera reads:”VOLLENDA 620″. Inscription on front of camera reads:”KODAK”. Inscription surrounding lens reads:”SAMOIRAGHI – ALCYON 1:4.5 F= 10.5CM”. Inscription on shutter reads:”KODAK COMPUR”.

n° 1 – lithography, Numbered 14/35, embossed stamp ”NEMO GALLENI”, 19,7 in. (50 cm.) x 27,6 in. (70 cm.), with frame and glass

n° 2 – lithography, P.d.A. (Test for Artist), embossed stamp ”NEMO GALLENI”, 27,6 in. (70 cm.) x 19,7 in. (50 cm.), with frame and glass

n° 3 –  lithography, Numbered 3/26 embossed stamp ”NEMO GALLENI”, 19,7 in. (50 cm.) x 27,6 in. (70 cm.), with frame and glass

n° 4 – lithography, Numbered 74/100, 31,5 in. (80 cm.) x 23,6 in. (60 cm.), with frame and glass

n° 5 – lithography, P.d.S. (Test for Studio), embossed stamp ”NEMO GALLENI”, 27,6 in. (70 cm.) x 19,7 in. (50 cm.),with frame and glass

n° 6 –  lithography, P.d.S. (Test for Studio), embossed stamp ”NEMO GALLENI”, 19,7 in. (50 cm.) x 27,6 in. (70 cm.), with frame and glass

n° 7 – lithography, P.d.A. (Test for Artist), embossed stamp ”NEMO GALLENI”, 19,7 in. (50 cm.) x 27,6 in. (70 cm.), with frame and glass

n° 8 – lithography, P.d.S. (Test for Studio), embossed stamp ”NEMO GALLENI”, 19,7 in. (50 cm.) x 27,6 in. (70 cm.), with frame and glass

n° 9 – lithography, P.d.A. (Test for Artist), embossed stamp ”NEMO GALLENI”, 19,7 in. (50 cm.) x 27,6 in. (70 cm.), with frame and glass

n° 10 – lithography, P.d.A. (Test for Artist), embossed stamp ”NEMO GALLENI”, 27,6 in. (70 cm.) x 19,7 in. (50 cm.), with frame and glass

for sale on ebay

Biography of Mino Maccari
Born in Siena in 1898, at the age of nineteen Mino Maccari fought in the First World War as an artillery officer. On his return to Siena in 1920, he graduated in law and started working at the legal practice of a lawyer named Dini, in the Colle Val d’Elsa region. It was during these years that he first tried his hand at painting and etching.
Maccari’s public debut was with the Labronico Group. In 1922 he took part in the march on Rome.
In 1924 he was asked by Angiolo Bencini to take charge of printing Il Selvaggio, the periodical in which his first etchings were published. In 1926 he gave up his law career to take over as director, a position he held until 1942. In 1925, publication of Il Selvaggio moved to Florence, and its contributors included Ardengo Soffici, Ottone Rosai and Achille Lega. In 1927 Maccari took part in the Second International Exhibition of Modern Etchings and in the Third Exhibition of the Tuscan Union of Art and Design. The following year he went to the XVI Venice Biennial. In 1929, Il Selvaggio moved to Siena, and Maccari exhibited dry-points at the Second Exhibition of the Italian Twentieth Century in Milan. In the early Thirties, he became editor-in-chief of La Stampa in Turin, working alongside the director, Malaparte. In 1931 he took part in the first Quadrennial in Rome (which he was to repeat in 1951 and in 1955). In 1932 Il Selvaggio moved to Rome. In 1938 he was invited to the XXI Venice Biennial, where he had his own exhibition room. In the same year he contributed to Longanesi’s Omnibus and also held an exhibition of his work at the Arcobaleno in Venice. In 1943 he had a one-man exhibition at Palazzo Massimo in Rome and at the Dux Exhibition in Cinquale di Montignoso. In 1948 he again exhibited at the Venice Biennial where he was awarded the international prize for etching (which he was to win again in 1950, 1952, 1960 and 1962). At the end of the Forties he started contributing to the liberal magazine Il Mondo, directed by Pannunzio, which he continued to do until 1963. In 1955 he exhibited at the Biennial of São Paulo (Brazil). In 1962 he was appointed president of the Accademia dei Lincei. Then, in 1963, he held a personal exhibition in New York at Gallery 63, and in 1967 he took part in the Mostra d’Arte Moderna in Italia 1915-1935 (Exhibition of Modern Art in Italy from 1915-1935″), held in the Strozzi Palace in Florence. There followed a series of personal exhibitions and international exhibitions of graphic design, including the 1977 exhibition in Siena, where a one-man exhibition dedicated to his work was held at Palazzo Pubblico. He died in 1989 in Rome.