Viennese Column Clock Portal Clock Biedermeier era min flower showcase ar. 1840

""~!~** STRAIGHT **~!~** Baroque round-lidded chest, also known as a dome top chest, solid oak, with heavy fittings, around 1750. The chest is in a "refined for the home condition...

A Tea Service by CARSTENS UFFRECHT 1930s (and not Carstens Tönnieshof which emerged from this company and was founded later) Serie HAWAI All items on photos are included in this off...

Six mid-century stools designed and made in Vienna around 1950 by J. A. Talos, Vienna XII. Bezirk , Dörfelstraße 6-8 . The architectually significant and quite representative building is still existing and under monument protection - the company existed until between 1976 and 1978 according the senior Owner the Cabinet Maker Anton Griessler - just opposite the road who´s son was so kind to give me those informations on the phone. - ... we love to do researches ! designed by Günter Talos. The company produced high quality iron furniture and was having the honour in taking part in the Werkbundausstellung 1930 The triangular seat is covered with its original red leatherette and as a special featuret they have a solid round and rounded straight chromed ornament in its middle - solid steel chromed hairpin legs Vintage condition is very good with some signs of age. Dimensions: Width 40cm Depth 40 cm Height 46 cm Seat height 46 cm. Weight: 4.5 Kg / each shipped in 2 custom made boxes 3 stools each for a maximum of safety For people interested in the fascinating Viennese History of Art / Art and Design of the early 20th Century: Werkbund Exhibition 1930 Werkbund Vienna The Werkbund Wien was an association of artists, industrialists and craftsmen that split off from the Österreichischer Werkbund, founded in 1912, in 1921 under the leadership of Josef Hoffmann and reunited with it in May 1928. The latter was dissolved by the National Socialists in 1938. History In 1920, on the occasion of an exhibition in the Vienna Museum of Art and Industry, the fundamental discussion flared up again as to whether the Austrian Werkbund should be oriented towards arts and crafts or whether serial, industrial production based on artistic designs should be the decisive factor. This discussion had been initiated by the art critics Arthur Rössler and Hans Tietze; the latter spoke of "a thousand cute things...

A giving joy beautiful French Fayence Floor Vase fantastic Art Nouveau pattern - Impressing Colours Manufacturer unknown - marked Design Period 1915 - 1925 Country of Manufacture : France H / height: 46 cm ~ Gew. / weight: 4550 grs DM / diameter max: 28 cm ~ DM oben / diameter inner rim: 19.8 cm .... an ode to Southern France A Legend of Provence by Adelaide Anne Procter (30 October 1825 – 2 February 1864) The lights extinguished, by the hearth I leant, Half weary with a listless discontent. The flickering giant-shadows, gathering near, Closed round me with a dim and silent fear. All dull, all dark; save when the leaping flame, Glancing, lit up a Picture's ancient frame. Above the hearth it hung. Perhaps the night, My foolish tremors, or the gleaming light, Lent power to that Portrait dark and quaint, — A Portrait such as Rembrandt loved to paint, — The likeness of a Nun. I seemed to trace A world of sorrow in the patient face, In the thin hands folded across her breast: — Its own and the room's shadow hid the rest. I gazed and dreamed, and the dull embers stirred, Till an old legend that I once had heard Came back to me; linked to the mystic gloom Of that dark Picture in the ghostly room. In the far south, where clustering vines are hung; Where first the old chivalric lays were sung; Where earliest smiled that gracious child of France, Angel and knight and fairy, called Romance, I stood one day. The warm blue June was spread Upon the earth; blue summer overhead, Without a cloud to fleck its radiant glare, Without a breath to stir its sultry air. All still, all silent, save the sobbing rush Of rippling waves, that lapsed in silver hush Upon the beach; where, glittering towards the strand The purple Mediterranean kissed the land. All still, all peaceful; when a convent chime Broke on the mid-day silence for a time, Then trembling into quiet, seemed to cease, In deeper silence and more utter peace. So as I turned to gaze, where gleaming white, Half hid by shadowy trees from passers' sight, The Convent lay, one who had dwelt for long In that fair home of ancient tale and song, Who knew the story of each cave and hill, And every haunting fancy lingering still Within the land, spake thus to me, and told The Convent's treasured Legend, quaint and old: — Long years ago, a dense and flowering wood, Still more concealed where the white convent stood, Borne on its perfumed wings the title came: " Our Lady of the Hawthorns " is its name. Then did that bell, which still rings out to-day, Bid all the country rise, or eat, or pray. Before that convent shrine, the haughty knight Passed the lone vigil of his perilous fight; For humbler cottage strife or village brawl, The Abbess listened, prayed, and settled all. Young hearts that came, weighed down by love or wrong, Left her kind presence comforted and strong. Each passing pilgrim, and each beggar's right Was food, and rest, and shelter for the night. But, more than this, the Nuns could well impart The deepest mysteries of the healing art; Their store of herbs and simples was renowned, And held in wondering faith for miles around. Thus strife, love, sorrow, good and evil fate, Found help and blessing at the convent gate. Of all the nuns, no heart was half so light, No eyelids veiling glances half as bright, No step that glided with such noiseless feet, No face that looked so tender or so sweet, No voice that rose in choir so pure, so clear, No heart to all the others half so dear, So surely touched by others' pain or woe, (Guessing the grief her young life could not know,) No soul in childlike faith so undefiled, As Sister Angela's, the " Convent Child. " For thus they loved to call her. She had known No home, no love, no kindred, save their own. An orphan, to their tender nursing given, Child, plaything, pupil, now the Bride of Heaven And she it was who trimmed the lamp's red light That swung before the altar, day and night; Her hands it was whose patient skill could trace The finest broidery, weave the costliest lace; But most of all, her first and dearest care, The office she would never miss or share, Was every day to weave fresh garlands sweet, To place before the shrine at Mary's feet. Nature is bounteous in that region fair, For even winter has her blossoms there. Thus Angela loved to count each feast the best, By telling with what flowers the shrine was dressed. In pomp supreme the countless Roses passed, Battalion on battalion thronging fast, Each with a different banner, flaming bright, Damask, or striped, or crimson, pink, or white, Until they bowed before a newborn queen, And the pure virgin Lily rose serene. Though Angela always thought the Mother blest Must love the time of her own hawthorn best, Each evening through the years, with equal care, She placed her flowers; then kneeling down in prayer, As their faint perfume rose before the shrine, So rose her thoughts, as pure and as divine. She knelt until the shades grew dim without, Till one by one the altar lights...

BESPOKE HUGE & HEAVY STUDIO KERAMIK FLOOR VASE - ARCHAIC AMPHORA amazing blue/brown luster overglaze Manufacturer unknown Design Period 1968 to 1978 Production Period 1968 to 19...

STUDIO KERAMIK FLOOR VASE Atelier Herta Huber Roethe Landshut 1950s (it´s been created by an artist who has worked in their Atelier : marked "BR") Manufacturer ATELIER HUBER ROETHE...

A lovely and very manly neoclassic styled clock, in working order. The case is mahogany with ebony details, alabaster columns with bronze fittings, all in front of a three panel age...

A work of exceptional detail, this magnificent Viennese clock takes the art form of enameling to new heights. The elaborately fashioned timepiece rests atop the head of a soldier, who stands on a pedestal populated by sphinxes. Exceptional details encase the entire piece, from the rooster finial to the gem-studded base. A hand-painted portrait of the heroic soldier on the reverse completes this stunning piece. Particularly popular during the 19th century, Viennese enamels...

Austrian Biedermeier period gilt and polychromed wood clock. Chiseled gold Swiss movement, signed: P.Francois a' Nion.

We present you this highly unique clock from the 1st half of the 19th century. The mechanism is spring, with winding. The clock strikes full hours and halves. Furthermore, the case...

A traditional Austrian Biedermeier wall clock featuring a rectangular carved and gilded wood frame clock face; surmounted by a gilt bronze winged eagle. The decorations on the frame ...

Rosewood with tendril and thread inserts. Rectangular base with four columns and the clock hung under the architrave. Dial Email. Gold-plated brass bezel and decorated gold compensat...