Gold Watch and Frame c. 1936

Editor: This is Harry G. Aberdeen’s “Gold Watch and Frame,” a drawing from around 1936. It shows the front, back, and side of a pocket watch with incredible precision. There's something almost scientific about it. What stands out to you about this piece? Curator: I’m drawn to the seemingly contradictory aspects of the work. We see the depiction of a luxury item, a gold watch no less. However, it’s presented not as a status symbol, but as a technical illustration. Notice how it’s presented almost like a patent design, with different views labelled "front", "back," and "side," and noting it’s "exact size". Who was the audience for this piece, do you think? Editor: Perhaps watchmakers themselves? Or even someone interested in the mechanics of timekeeping. Curator: Precisely! And in the context of the 1930s, during the Great Depression, this image presents an interesting duality. While luxury goods still existed, there was also a heightened awareness of labor and production. The precision of the drawing, combined with the technical labels, elevates the everyday and perhaps implies a hidden complexity behind such a fancy consumer item. The watch’s price is even displayed right there. Editor: So you’re saying it’s less about flaunting wealth and more about examining the socio-economic implications of mass production. Curator: In part, yes. It makes me question what purpose this artwork fulfilled during its time. Was it commentary, a celebration of design, or purely functional? Or even a sly reflection on worth during economic hardship? Editor: I hadn't considered the Depression-era context, it’s added a layer of meaning I completely missed before. I came in seeing only a pretty drawing, now I see the complexities around wealth and design it hints at. Curator: Exactly. It highlights how something seemingly simple can carry so much historical weight and speak to the complex relationship between art, industry, and society.