Null Picture clock with musical mechanism, Vienna 1850, plastered wooden frame, …
Description

Picture clock with musical mechanism, Vienna 1850, plastered wooden frame, secondary bronzed, top with built-in movement, glass lid, black enamel dial, pendulum movement (probably Karlstein a.d. Thaya), half-hour Strike on bell, pendulum spring suspension, possibility of starting the pendulum using a small chain hoist on the side, painting oil oncanvas, lined on cardboard, rest. with slight surface damage, lower stretcher frame inscribed, scene taking over a city with rich soldier outfits from various branches of arms,back cover/clockwork sec., roller mechanism mounted on the back wall according to: (illegible .... Vienna), two melodies (1 is Radetzky March, etc.), Comb approx. 85 tongues(8 pieces are missing), manual release, springlimiter removed, (similar to 'Old Clocks, bother/bird, p. 176), pendulum sec., H/W/D approx. 77x74x17cm, condition of movement 3 , housing 2-3

5364 

Picture clock with musical mechanism, Vienna 1850, plastered wooden frame, secondary bronzed, top with built-in movement, glass lid, black enamel dial, pendulum movement (probably Karlstein a.d. Thaya), half-hour Strike on bell, pendulum spring suspension, possibility of starting the pendulum using a small chain hoist on the side, painting oil oncanvas, lined on cardboard, rest. with slight surface damage, lower stretcher frame inscribed, scene taking over a city with rich soldier outfits from various branches of arms,back cover/clockwork sec., roller mechanism mounted on the back wall according to: (illegible .... Vienna), two melodies (1 is Radetzky March, etc.), Comb approx. 85 tongues(8 pieces are missing), manual release, springlimiter removed, (similar to 'Old Clocks, bother/bird, p. 176), pendulum sec., H/W/D approx. 77x74x17cm, condition of movement 3 , housing 2-3

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Attributed to the workshop Rigalt-Graell i Cia. "Coat of arms of the King of Aragon", ca. 1940. Leaded glass, painted with fire grisaille. With the legend attributed to Horace: "Multa renascentur qua iam cecidere". The wooden frame has xylophages. It needs restoration. Measurements: 151 x 67 cm; 162 x 78 cm (frame). Stained glass painted with grisaille on fire. It dates from the forties and the experts presume its possible origin from the prestigious Barcelona workshop Rigalt, Graell i Cia. It shows the coat of arms of the king of Aragon framed by architectural arches of lobed profile. It is accompanied by a legend written in Latin on a phylactery that includes an aphorism attributed to Horace: "many things will be reborn that had already fallen". It can be interpreted as meaning that customs, beliefs and fashions perish but are always reborn, albeit camouflaged with other names or other forms. In this context, it refers to the imperishable values of the royal family. The stained glass workshop constituted by members of the Rigalt and Granell families of Barcelona, was operational from 1890 to 1984. Its precedents are found in the draftsman and glazier Antoni Rigalt i Blanch (1850-1914), raised in an artistic environment, since he was the nephew of the painter and draftsman Lluís Rigalt i Farriols (1814-1894). He trained as a draughtsman at the Llotja school in Barcelona, teaching drawing until 1901. His move to glassmaker did not follow the traditional pattern starting as an apprentice in a workshop, but he did it after his artistic and theoretical training. Related to the most important artists and architects of the time, he was a regular collaborator in the works of the architect Lluís Domènech i Montaner. From the Rigalt and Granell workshop came some of the most important works of stained glass of Catalan modernism, such as those made for the Palau de la Música Catalana, the Casa Lleó Morera in Barcelona or the Casa Navàs in Reus. They worked on the works of architects Lluís Domènech i Montaner, Enric Sagnier, August Font i Carreras, among others. They also carried out a large number of restorations of medieval stained glass, such as those of the Cathedral of León or the monastery of Santes Creus. The workshop participated in numerous exhibitions, especially in the period under the direction of Antoni Rigalt, in many of which it received awards: the Universal Exhibition of Barcelona in 1888; the Exhibition of Fine Arts and Artistic Industries of Barcelona, in 1892, 1896 and 1898; the Exhibition of Fine Arts in Madrid in 1899; the National Exhibition of Art in 1900; the International Exhibition of Art in Barcelona in 1907 and 1911; the Universal Exhibition of Barcelona in 1929; the National Exhibition of Decorative Arts in 1947.