A few examples of appraisal values for
RHYTHM

• Senufo Female Figure, possibly Rhythm
  Senufo Female Figure, possibly Rhythm Pounder, South Africa, 20th century carved wood height 38.5 in — 97.8 cm
• TWO 20TH CENTURY AMERICAN SCHOOL WOOD
  TWO 20TH CENTURY AMERICAN SCHOOL WOOD ENGRAVINGS ON PAPER BY LYND WARD (1905-1985), AND BY HOWARD SIMON (1902-1979)Two 20th Century American School wood engravings, Two works: Lynd Ward (1905-1985) "Undercliff," 1948 Wood engraving on laid paper From the edition of 200 Signed and dated in pencil in the lower margin, at right: Lynd Ward; with the printed title, date, and edition information as part of the colophon on the verso of the presentation mat/folder; taped at the tips of the upper margin corners to the original wove paper presentation mat/folder; the Woodcut Society, Hicksville, NY, pub. Image: 8" H x 6" W; Sheet: 12.5" H x 9.5" W Howard Simon (1902-1979) "Rhythms of Men in the Wilderness," 1948 Wood engraving on laid paper From the edition of 200 Signed in pencil in the lower margin, at left: Howard Simon; with the printed title, date, and edition information as part of the colophon on the verso of the presentation mat/folder; taped to the original wove paper presentation mat/folder in two places at the upper margin edge; the Woodcut Society, Hicksville, NY, pub. Image: 7" H x 7" W; Sheet: 10.5" H x 10" W Provenance: The Collection of Frederick W. Davis Private Collection, Southern California, by descent from the above
• J. CHESTER ARMSTRONG (B.1948) OTTER
  J. CHESTER ARMSTRONG (B.1948) OTTER WOOD SCULPTURECarved wood sculpture, "Water Rhythm," signed J. Chester Armstrong (Oregon, b.1948), and dated 2000 on base, depicting a group of otters, approx 35"h, 20.5"w
• HONDA SYORYU "RHYTHM" MADAKE BAMBOO
  HONDA SYORYU "RHYTHM" MADAKE BAMBOO SCULPTURE Honda Syoryu (Japanese, b. 1951) "Rhythm" Ajiro diagonal fence woven Madake bamboo sculpture, upon a fitted black stand. 22" H x 9" W x 5" D. Provenance: From a 230 Central Park South estate; purchased from Tai Gallery / Textile Arts, Sante Fe, New Mexico, 2006.
• PAIR SENUFO PEOPLES FIGURES AND A SPEAR
  PAIR SENUFO PEOPLES FIGURES AND A SPEAR 20th c., Ivory Coast, original male and female couple of rhythm pounders, custom mounted; with a spear, 64"h x 7.25"w x 7.25"d (tallest, incl. stand)
• MIKE STIDHAM (B. 1954)A Lone Single
  MIKE STIDHAM (B. 1954)A Lone Single - Bonefish on a Fly, 2023 signed "M. Stidham" lower left oil on linen on board, 24 by 36 in. Mike Stidham spent his early years in Palm Desert, California, where he dreamed of becoming a desert painter. As a young teen, he began trout fishing in Colorado, selling his early watercolors through local fly shops, and he worked as a fishing guide in Idaho. Among his honors and accomplishments, in 1992 the artist produced the Saltwater Sportfishing Stamp for Texas and, for a time, held the IGFA record for a hammerhead shark taken on a fly rod. He says, “To me the painting is about the sense of place, the feeling of being there, the various colors of the rocks and rhythm and movement of the gravel bed.” Today, Stidham paints from his Sandy, Utah, studio as well as on the many fishing trips he takes to see, study, and pursue his subjects in their natural environment. Provenance: Literature: Norman Kolpas, “Artist Spotlight: Mike Stidham,” Western Art and Architecture, December 2022-January 2023.
• MIKE STIDHAM (B. 1954)Bass Chasing Popper signed
  MIKE STIDHAM (B. 1954)Bass Chasing Popper signed "Mike Stidham" lower left oil on board, 18 by 36 in. Mike Stidham spent his early years in Palm Desert, California, where he dreamed of becoming a desert painter. As a young teen, he began trout fishing in Colorado, selling his early watercolors through local fly shops, and he worked as a fishing guide in Idaho. Among his honors and accomplishments, in 1992 the artist produced the Saltwater Sportfishing Stamp for Texas and, for a time, held the IGFA record for a hammerhead shark taken on a fly rod. He says, “To me the painting is about the sense of place, the feeling of being there, the various colors of the rocks and rhythm and movement of the gravel bed.” Today, Stidham paints from his Sandy, Utah, studio as well as on the many fishing trips he takes to see, study, and pursue his subjects in their natural environment. Provenance: Private Collection, Texas
• MIKE STIDHAM (B. 1954)Permit on the
  MIKE STIDHAM (B. 1954)Permit on the Flats, 2022 signed "M. Stidham" lower left oil on canvas, 25 by 40 in. Mike Stidham spent his early years in Palm Desert, California, where he dreamed of becoming a desert painter. As a young teen, he began trout fishing in Colorado, selling his early watercolors through local fly shops, and he worked as a fishing guide in Idaho. Among his honors and accomplishments, in 1992 the artist produced the Saltwater Sportfishing Stamp for Texas and, for a time, held the IGFA record for a hammerhead shark taken on a fly rod. He says, “To me the painting is about the sense of place, the feeling of being there, the various colors of the rocks and rhythm and movement of the gravel bed.” Today, Stidham paints from his Sandy, Utah, studio as well as on the many fishing trips he takes to see, study, and pursue his subjects in their natural environment. Provenance: Literature: Norman Kolpas, “Artist Spotlight: Mike Stidham,” Western Art and Architecture, December 2022-January 2023.
• JUAN DOWNEY AWARNESS OF LOVE SUITE 6
  JUAN DOWNEY AWARNESS OF LOVE SUITE 6 ETCHINGSJuan Downey (Chile, 1940-1993). 6 colored etchings, the Awareness of Love portfolio (no text pages). A New Dimension of the Self, The Process of Communion, Three Stages of Awareness, Preceded By the Rhythm of the Cosmos, To Taste Eternity: Beyond Herself, The Breath of God: The Sound That Abandons Her. Each pencil signed Downey, dated 66, titled and numbered 27/50 in pencil in the lower margin. Images 17 1/2" x 10 3/4" (the Breath of God), sheets each 20" x 26 1/4". All with staining, foxing and discoloration in the lower margins and verso, The Breath of God some creasing visible in lower margin and a 1 1/8"L vertical tear from the bottom edge of the sheet.
• INTERNATIONAL STERLING 'SILVER RHYTHM'
  INTERNATIONAL STERLING 'SILVER RHYTHM' SPOONS, 20.7 OZTA 16-piece International Sterling Silver Rhythm spoon set, designed in 1953, including 8 table spoons and 8 tea spoons. Weighs 20.70 ozt. Condition Very good condition.
• WILLY ARACTINGI / UNTITLED OIL (1986)Willy
  WILLY ARACTINGI / UNTITLED OIL (1986)Willy Aractingi (Lebanon, 1930-2003) Untitled , 1986 Oil on canvas 35" x 47" A fantastical arrangement of wildlife from the vibrant vision and hand of Lebanese artist Willy Aractingi. Sometimes classified as a naive artist, the self-taught Aractingi's unique aesthetic is on full display here: graduations of bold color define rhythmic shapes, composing an imagined and primitively executed landscape. His work has been noted by both Christie's and Sotheby's for its similarities to that of Henri Rousseau, a comparison appropriate for their similarities in both style and subject. Willy Aractingi was born in New York, and was raised internationally before settling in Beirut. He painted throughout his life, but received no formal training. In the 1970s that Aractingi committed himself as an artist, when he opened a modern art gallery and began drawing and painting in earnest. He is best known for his depictions of flora, as well as his series Magnum Opus , a wide-ranging collection of oils based on Jean de la Fontaine's Fables , begun in 1989. In 2017, the Sursock Museum in Beirut held a definitive retrospective titled Les Mondes de Willy Aractingi, showcasing 120 highlights from Aractingi's renowned career. Signed and dated to the bottom right corner, and presented in a metal frame that measures 36 1/4" x 48 1/4". Provenance : From the estate of Edwin T. Long, whose daughter Laura married Willy Aractingi's son Ronald. Mr. Long acquired the painting directly from the artist during a visit to Aractingi's Paris studio. Condition The extreme edges of the canvas have been impressed by the frame, not visible when the work is in the frame. Otherwise, the work is in very good condition, with no damage found, including no issues or repairs visible under blacklight inspection.
• NICK VACCARO "RHYTHM & BLUES" (1967
  NICK VACCARO "RHYTHM & BLUES" (1967 OIL)Nick Vaccaro (Kansas, 1931-2002) Rhythm & Blues , 1967 Oil on canvas 68" x 66" Signed to the bottom right corner, and signed, titled, and dated to the reverse. Presented in the original thin wooden slat frame. Nick Vaccaro was a professor and chairman of the drawing and painting department at the University of Kansas. As an artist, Vaccaro was the recipient of purchase awards from the San Francisco Museum of Art (1958), the Dallas Museum of Fine Art (1961), and the Montgomery Museum of Fine Art, and his work has additionally been exhibited in the Nelson Gallery of Art, Oklahoma Arts Center, Wichita Art Museum, and Dallas Museum for Contemporary Arts. Condition Mildew to the back of the canvas. Some dry cracking to the golden areas of the paint layer.
• YAACOV AGAM "MULTI-MAG RHYTHM" (AGAMOGRAPH
  YAACOV AGAM "MULTI-MAG RHYTHM" (AGAMOGRAPH CA. 1980)Yaacov Agam (Israeli, b. 1928) Multi-Mag Rhythm (Silver) , circa 1980 Agamograph (serigraph) on silver-tone wove paper 28" x 28" (sight) Pencil-signed and numbered (#5/ 70) to the bottom margin. Presented behind plexiglass in a frame that measures 41" x 41". Condition Very good condition.
• SONIE JOI RUFFIN "SESSIONS" (2015 QUILT)Sonie
  SONIE JOI RUFFIN "SESSIONS" (2015 QUILT)Sonie Joi Thompson-Ruffin (Missouri, b. 1951) Sessions: synesthesiaroutesrhythmiccolours , 2015 Quilted cotton and silk 38" x 21" The work is accompanied by poet Sonia Sanchez's 6 Haiku (for Maya Angelou) printed on fabric, which was read as part of the exhibition opening that included this quilt. "Sonie" signature tag and title information tag each sewn to the reverse. The top is outfitted with Velcro as a means of wall-hanging. Sonié Joi Thompson-Ruffin is a celebrated contemporary fibers artist, author, and lecturer. Her work has been shown nationally and internationally, including exhibitions in the White House Rotunda and the Smithsonian Museum of Art, and in 2019, the Nelson-Atkins Museum of Art purchased her tour-de-force quilt “20 Odd.” Thompson-Ruffin is the author of The Soulful Art of African American Quilts (2007). Exhibition history : Midwest Metaphors: Studio Art Quilt Associates Regional Members Showcase , June 5, 2015, Leedy Voulkos Art Center. Condition Very good condition.
• DAVID YURMAN 18K WHEATON HINGED CUFF
  DAVID YURMAN 18K WHEATON HINGED CUFF CITRINE DIAMOND TIPSAn 18k yellow gold Wheaton hinged cuff bracelet by David Yurman with citrine and diamond tips. Includes the David Yurman branded box, Jewelry bag and cleaning cloth. David Yurman states that the Wheaton collection "Is a study in light and movement. It was originally inspired by the warm golden hues, fluid rhythm and graceful line of unharvested wheat." The collection uses slender strands of cable and brilliant gemstones. Diamond Attributes: Fourteen round full cut diamonds with approximately 0.56 carat total weight, VS1 clarity, G/H color. Gemstone Attributes: Two faceted citrines Setting Type: Bead set diamonds, inset citrines. Clasp Type: Hinged cuff Metal: 18k yellow gold. Weight: 43.1 dwt. Measurements: The interior opening measures 2 5/16" x 1 3/4". The cuff is 3/4" wide at the widest point. Markings: DY 750. Condition Excellent condition.
• (LOT OF 6) SAVA CVEK RHYTHM CHAIRS (lot
  (LOT OF 6) SAVA CVEK RHYTHM CHAIRS (lot of 6) Sava Cvek Rhythm chairs, 31"h
• PRINT, RON MOORE Ron Moore (American,
  PRINT, RON MOORE Ron Moore (American, 20th century), "Primitive Rhythm," screenprint, pencil signed lower right, titled lower left, edition #6, sheet (unframed): 16"h x 20.5"w
• (LOT OF 7) DANISH FLENSTED MOBILES WITH
  (LOT OF 7) DANISH FLENSTED MOBILES WITH BOXES (lot of 7) Danish Flensted mobiles with boxes, including 'Metamorphose'; (2) 'Flowing Rhythm'; 'Life & Thread', 'Futura'; 'Symphony' and 'Stella Nova'.
• PAINTING, HESSAM ABRISHAMI Hessam Abrishami
  PAINTING, HESSAM ABRISHAMI Hessam Abrishami (Iranian, b. 1951), "Rhythm in Red," 2000, oil on canvas, signed lower left, signed, titled, and dated verso, canvas: 20"h x 20"w, overall (with frame): 27"h x 27"w
• SENUFO TALL FIGURAL RHYTHM POUNDER (DEBLE)
  SENUFO TALL FIGURAL RHYTHM POUNDER (DEBLE) Senufo tall figural rhythm pounder (deble), Cote de Ivoire, probably third quarter 20th century, raised on stand, 47.25"h. Provenance: Collection of Vanna and N. Lee Lacy (Palm Springs, California)
• Raymond Loewy. Dinnerware service. c.
  Raymond Loewy. Dinnerware service. c. 1954, porcelain. 7¾ h × 7 w × 4¾ d in. result: $813. estimate: $1,200–1,800. 104 pieces total. Service includes three examples from the Rhythm Charcoal collection. Stamped manufacturer's mark to underside of most examples ‘Continental China designed by Raymond Loewy Germany’.
• Kseniia Zhizhiy. "In the rhythm of changes".
  Kseniia Zhizhiy. "In the rhythm of changes". 2021, fireclay mass, red fireclay mass, porcelain fireclay, wood-fired. 9¾ h × 9 w × 4¾ d in. result: $1,386. estimate: $1,000–1,500. Etched signature and date to underside ‘Zhizhiy 2021’. Provenance: The Artist
• Raymond Loewy. Dinnerware service. c.
  Raymond Loewy. Dinnerware service. c. 1954, porcelain. 7¾ h × 7 w × 4¾ d in. result: $693. estimate: $1,200–1,800. Service includes three examples from the Rhythm Charcoal collection; 104 pieces total. Stamped manufacturer's mark to underside of most examples ‘Continental China designed by Raymond Loewy Germany’.
• J. Paul Fennell. Mesquite Swirls (from
  J. Paul Fennell. Mesquite Swirls (from the Rhythmic Patterns series). 2008, turned mesquite. 12 h × 7 dia in. result: $5,040. estimate: $1,500–2,500. Carved signature, date and number to underside ‘J Paul Fennell 2008 Mesquite 581’. Provenance: Collection of Rina and Norman Indictor
• J. Paul Fennell. Spiral (from the Rhythmic
  J. Paul Fennell. Spiral (from the Rhythmic Patterns series). 2007, African sumac. 6½ h × 6½ dia in. result: $13,860. estimate: $2,500–3,500. Incised signature, date and number to underside ‘J. Paul Fennell 07 A. Sumac 575’.
• Yaacov Agam b.1928. Rhythm. 1965, screenprint
  Yaacov Agam b.1928. Rhythm. 1965, screenprint in colors. 12? h × 10? w in. result: $567. estimate: $300–500. Inscribed illegibly and numbered to lower edge ‘114/150’. This work is number 114 from the edition of 150. Provenance: Estate of Valerie Furth, New York
• Jon Kuhn. Blue Rhythm. 1997, ground,
  Jon Kuhn. Blue Rhythm. 1997, ground, polished, and laminated glass. 15¾ h × 11¼ w × 6 d in. result: $9,450. estimate: $8,000–12,000. Incised signature, title and date to underside 'John Kuhn 1997 Blue Rhythm'. Provenance: Private Collection, Chicago
• FOUR ANTIQUE GAS FLAT IRONS.Four Antique
  FOUR ANTIQUE GAS FLAT IRONS.Four Antique Gas Flat Irons. Diamond, Rhythm, Humphrey and unmarked.6-1/2"h. Condition: : Good with use wear. Condition: Condition: : Good with use wear.
• LLADRO PORCELAIN FIGURINE, BONGO BEAT
  LLADRO PORCELAIN FIGURINE, BONGO BEAT 01005157This piece is also known as Caribbean Rhythm. Boy playing a drum. Porcelain; gloss. Lladro backstamp. Does not include original box. Artist: Jose Roig Issued: 1982 Dimensions: 13"H Manufacturer: Lladro Country of Origin: Spain Condition: : Good
• DISNEY CLASSICS FIGURE, JUNGLE RHYTHM,
  DISNEY CLASSICS FIGURE, JUNGLE RHYTHM, TERK, TARZANTerk stands at the stove preparing to cook a delicious meal. Fabulous details on the stove, pots and pans. From the Disney film 'Tarzan'. #disney #tarzan
• ROYAL DOULTON FIGURINE, RHYTHM HN1903Bone
  ROYAL DOULTON FIGURINE, RHYTHM HN1903Bone China. She stands holding her skirt to both sides. Pink coloration. Royal Doulton backstamp. Artist: Leslie Harradine Issued: 1939 - 1949 Dimensions: 6.75"H Manufacturer: Royal Doulton Country of Origin: England Condition: Good.
• FRAMED ART PRINT ON BOARD, DANZASHoused
  FRAMED ART PRINT ON BOARD, DANZASHoused in a wooden frame depicting a man playing an instrument with a lady dancing to the rhythm. Printed on Cardboard. Frame size: 6in W x 8in H. Sight size: 4.5in W x 6.5in H. Condition: Age related wear.
• COBERT C. COLLINS "DOUBLE DANCERS" BRONZE
  COBERT C. COLLINS "DOUBLE DANCERS" BRONZE SCULPTUREDESCRIPTION: Cobert C. Collins "Double Dancers" Bronze Sculpture. Part of the Synergism The Relationship Series. Made of gold silica and silver bronze lost-wax casting. Reflects the synergistic rhythm between man and women. Sits on a black marble base. Also, comes with a black wood pedestal. CIRCA: 20th Century ORIGIN: USA DIMENSIONS:H:52" W:15" D:12", H:23" D:14" CONDITION: Great condition. See lot description for details on item condition. More detailed condition requests can be obtained via email (info@akibaantiques.com) or SMS (305) 333-4134. Any condition statement given, as a courtesy to a client, is only an opinion and should not be treated as a statement of fact. Akiba Antiques shall have no responsibility for any error or omission.
• STEUBEN AMETHYST QUARTZ FOOTED BOWLDESCRIPTION:
  STEUBEN AMETHYST QUARTZ FOOTED BOWLDESCRIPTION: Steuben Amethyst Quartz footed bowl. Designed with blue flecks and acid etched floral decoration. Satin finished with buffed highlights. Shape #6856. Cased, acid-etched, fumed lead glass with colorless applied ornament. Fleur-de-lis acid-etched factory signature on lower side. Reference: Shown in Fig. 4.20, p. 48 of Frederick Carder and Steuben Glass by Thomas P. Dimitroff. Also, shown in Plate XVIII of The Glass of Frederick Carder by Paul V. Gardner and p. 315. Also, at Ill. 122 p. 80 where Gardner notes it is crackled inside and satin finish has polished highlights and c. 1930. The author states: This glass resembles the mineral for which it was named, but in basic production technique it is similar to Cintra. Usually it was made in heavy glass forms about one-quarter to three-eighths of an inch in thickness. In addition to the powdered glass that gave the object its color, a crackled effect was added. Pictured Fig. 12, p. 46 of Steuben Seventy Years of American Glassmaking by Perrot, Gardner, Plaut. This rare bowl demonstrates a combination of several glassmaking techniques. The mottled amethyst color is from powdered glass Picked up from the marver in the same technique as that used in producing Cintra pieces. The leaves and feet are of crystal applied At the fire and are tooled while the glass is still hot to give the effect of veinings and bark. After the piece is annealed, the floral design in low relief is acid-etched and the entire surface and applied decorations given a satin finish with buffed highlights. Also, shown in 1932 Catalogue at p. V. Decoration is identified as Sculptured. Factory records show this piece priced at $20. Shows it in Rose, Amethyst and Blue. In Number 54 (Oct-Dec., 1998) of Collectors Choice Review Thomas P. Dimitroff states: (Quartz) is composite, resulting from the application of many glassmaking skills and techniques. The glass itself is cased and includes trapped particles mucin in the same vein as Carder=s Cintra, Cluthra, Lace Glass, and Florentia. The base glass is also crackled. The vase boasts wonderful applied decoration reminiscent of Venetian embellishments; yet, the leaves and vines undulate with a rhythm more attuned to the world of Art Nouveau. Once applied, these decorative elements have been fumed with acid to produce a smooth, satiny visual effect. Finally, the body of the piece itself has been acid-etched carrying further the floral theme of the piece. Pieces like this are magnificent examples of the design, workmanship, and quality of the glass produced at Steuben by Frederick Carder. These pieces also remind us of the unbroken tradition and skills of generations of glassmakers both here and abroad. Provenance: Estate of Mr. and Ms. Alan Shovers Acquired 1/11/03 at Early=s Winter Art Glass Auction in Cincinnati, OH CIRCA: 1927 DIMENSIONS: H:7.5" D:D:7.5" CONDITION: Good Condition: . Small chip on the rim. See lot description for details on item condition. More detailed condition requests can be obtained via email (info@akibaantiques.com) or SMS 305-332-9274. Any condition statement given, as a courtesy to a client, is only an opinion and should not be treated as a statement of fact. Akiba Antiques shall have no responsibility for any error or omission.
• STEUBEN ROSE QUARTZ VASEDESCRIPTION:
  STEUBEN ROSE QUARTZ VASEDESCRIPTION: Steuben Rose Quartz vase features baluster form cut with a design of leaves and flowers in cameo on an acid finished ground with applied carved satin handles and large entwining vine. Shape 6766, p.285 Gardner Engraved f-d-l on side at bottom. Reference: Full page picture p. 78 of Frederick Carder: Portrait of a Glassmaker by Paul V. Gardner where the caption reads: Rose Quartz vase, Reminiscent of Cintra and Moss Agate, the Quartz glasses (made in several colors) combined an inner layer of crackled Crystal covered by finely powdered Ruby, both enclosed in a Crystal casing ornamented with tooled Crystal leaves and stems. After annealing, an acid-etched decoration was added, and the entire exterior was give a satin finish with buffed highlights. Late 1920s Pictures at p. 153 of American Art Glass by John A. Shuman III. Shown in Fig. 4.20, p. 48 of Frederick Carder and Steuben Glass by Thomas P. Dimitroff. In The Glass of Frederick Carder by Paul V. Gardner at Ill. 122 p. 80 Gardner describes Rose Quartz as crackled inside and satin finish has polished highlights and c. 1930. The author states: This glass resembles the mineral for which it was named, but in basic production technique it is similar to Cintra. Usually it was made in heavy glass forms about one-quarter to three-eighths of an inch in thickness. In addition to the powdered glass that gave the object its color, a crackled effect was added. A bowl pictured Fig. 12, p. 46 of Steuben Seventy Years of American Glassmaking by Perrot, Gardner, Plaut described the technique. This rare bowl demonstrates a combination of several glassmaking techniques. The mottled amethyst color is from powdered glass Picked up from the marver in the same technique as that used in producing Cintra pieces. The leaves and feet are of crystal applied At the fire and are tooled while the glass is still hot to give the effect of veinings and bark. After the piece is annealed, the floral design in low relief is acid-etched and the entire surface and applied decorations given a satin finish with buffed highlights. Factory records show this piece priced at $25. “Crystal sculptured”. Pictured in Number 54 (Oct-Dec., 1998) of Collectors Choice Review Thomas P. Dimitroff states: (Quartz) is composite, resulting from the application of many glassmaking skills and techniques. The glass itself is cased and includes trapped particles much in the same vein as Carders Cintra, Cluthra, Lace Glass, and Florentia. The base glass is also crackled. The vase boasts wonderful applied decoration reminiscent of Venetian embellishments; yet, the leaves and vines undulate with a rhythm more attuned to the world of Art Nouveau. Once applied, these decorative elements have been fumed with acid to produce a smooth, satiny visual effect. Finally, the body of the piece itself has been acid-etched carrying further the floral theme of the piece. Pieces like this are magnificent examples of the design, workmanship, and quality of the glass produced at Steuben by Frederick Carder. These pieces also remind us of the unbroken tradition and skills of generations of glassmakers both here and abroad. Provenance: Estate of Mr. and Ms. Alan Shovers Acquired 5/7/07 from Richard Stark of Potomac, MD CIRCA: 1930-1932 DIMENSIONS: H11.5" W:6" CONDITION: Great Condition: . See lot description for details on item condition. More detailed condition requests can be obtained via email (info@akibaantiques.com) or SMS 305-332-9274. Any condition statement given, as a courtesy to a client, is only an opinion and should not be treated as a statement of fact. Akiba Antiques shall have no responsibility for any error or omission.
• 1930S MIESSNER RHYTH-O-PHONE METRONOME
  1930S MIESSNER RHYTH-O-PHONE METRONOME MUSIC BOXDESCRIPTION: An antique Miessner Rhyth-O-Phone metronome music player, designed to teach rythm. Features an ebonized wood foundation with internal revolving music playing mechanism. Includes original instruction book. The Rhyth-O-Phone requires the user to punch holes in circular paper discs, the placement and number of holes corresponding to the rhythm desired. The paper disc is placed on the instrument, and a small sickle-like arm is pulled around it by a spring tension mechanism. Whenever the arm reaches one of the holes punched in the paper, a circuit is connected and an electric doorbell makes a sound. CIRCA: 1930s ORIGIN: USA DIMENSIONS: H: 4.25" x W: 8.25" x L: 8.5" Have a similar item to sell? Contact: Info@Akibaantiques.com CONDITION: Great condition. See lot description for details on item condition. More detailed condition requests can be obtained via email (info@akibaantiques.com) or SMS(305)-332-9274. Any condition statement given, as a courtesy to a client, is only an opinion and should not be treated as a statement of fact. Akiba Antiques shall have no responsibility for any error or omission.