The clock bears no signature, but the extraordinary figures that allude to the myth of Orpheus and Eurydice, let us see the work of an artist of the highest quality, whose talents emerge in the suggestive and theatrical flourishes of the clothes and in the skill with which they are rendered. the details of the armor. The movement, with hour chime, is of the type called Paris, which remained in use with minimal variations from the end of the eighteenth century to the beginning of the twentieth century, thanks to industrial series production. From some documents found in the Coronini Archive we know that the clock, together with the two candlesticks that perhaps completed the whole, was part of the assets that Sophie de Fagan inherited in 1826 from her mother, who died in Paris. The clock and the candlesticks were embarked in Calais and reached Trieste by sea. The wooden base on which the clock rests is original and on it, as indicated by the groove, a glass bell was inserted which was broken during the journey. Sophie left the clock to her daughter Mathilde, who in turn gave it to the wife of her nephew Alfredo, Carolina Ritter de Zàhony.
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Details
Title:Shelf clock
Author:
Anonymous
Date:
Technique:Red marble; patinated and gilded bronze; white enamel