Musical Boxes in Prague and Vienna 9783700184324, 3700184328

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HELMUT KOWAR MUSICAL BOXES FROM PRAGUE AND VIENNA

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Helmut Kowar

Musical Boxes from Prague and Vienna English Translation Helmut Kowar and Pamela Cordell



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Impressum

Veröffentlicht mit Unterstützung / Published with the support of The Musical Box Society of Great Britain & Musical Box Society International

Übersetzung finanziert durch die   /  Translation with the support of Stiftung der Familie Philipp Politzer bei der Österreichischen Akademie der Wissenschaften & DDr. Franz Josef Mayer-Gunthof-Stiftung bei der Österreichischen Akademie der Wissenschaften

Cover: Movement by Alois Maly, Prague nos. 7669 / 2028 Cover back: Movement by Anton Olbrich, Vienna Private collection O. Seemann, Vienna. © Helmut Kowar The paper used in this publication is DIN EN ISO 9706 certified and meets the requirements for permanent archiving of written cultural property. Alle Rechte vorbehalten. All Rights reserved. ISBN 978-3-7001-8432-4 Copyright © 2019 by Österreichische Akademie der Wissenschaften, Wien Austrian Academy of Sciences, Vienna Gestaltung / Layout: Barbara Ebeling, Vienna Druck / Printing: Wograndl Druck, Mattersburg https://epub.oeaw.ac.at/8432-4 https://verlag.oeaw.ac.at Made in Europe

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Contents

Foreword

7

I. General remarks and basics II. The manufacturers in Prague and Vienna

11

III. Typology: development and design

37

IV. The musical arrangement V. Catalogue

73

21

161

Epilogue

241

Bibliography

243

Photo credits

246

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Fig. 1 Two-tune movement by Rzebitschek in Prague no. 30709, in a picture clock.

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foreword

Any evidence to be found referring to musical boxes

cord3, offered by a reputable art dealer or a friendly

fashioned by skilled artisans in Prague and Vienna

expert, or simply stumbled upon among the dust and

th

during the better part of the 19 century is exceedingly

detritus from a bygone era in an out-of-the-way attic or

rare. Such mechanical devices designed to produce

antique shop.

music by means of activating a spring-driven cylinder

The contemporary information we do have on the

whose pins pluck the tuned teeth of a steel comb, are

makers in Prague and Vienna is therefore sparse, frag-

usually considered the world over to be of necessi-

mentary and at times simply inaccurate, as for instance

ty Swiss. This foregone, albeit erroneous conclusion

the erroneous information, that Franz Rzebitschek,

has thus quite understandably led to their, i.e., to those

one of the most prominent makers to be discussed in

devices which are in fact actually Swiss, already having

this book, had started production in Prague as early

been described at length. On the other hand, the

as 1813, a biographical detail which was handed down

production of musical boxes in two of the Austrian

unquestioned throughout the sources from the middle

Monarchy’s main capital cities remained, astonishingly

of the 19th century on. We are fortunate to have more

given their quality, widely unnoticed, even though their

accurate information due to the publications of

makers engaged in lively competition with their Swiss

Weidom-Claterbos, Lunardi and Kaltenböck4 which

counterparts throughout the 19th century.

are for the most part based on a short article by Alois

Among others, the Dutch collector Luuk Goldhoorn

Kipper from 1924 and on an unpublished catalogue

has done much to ameliorate this lack of knowledge,

located in the Viennese clock museum, which was

1

publishing a book devoted to this subject in 1999 , and

compiled by Rudolf Kaftan, a former director of that

I released two CDs dedicated exclusively to the music

institution. Finally, Luuk Goldhoorn in his above-men-

played by Austrian musical boxes in 1999 and the year

tioned work has increased our knowledge on selected

2

2000 . Additionally, one may also have had the im-

items, i.e., on hitherto unknown writings as well as on

probable good fortune to occasionally come upon a

certain documents and research results, especially that

few remarks included in monographs or encyclope-

on the makers’ biographies and in particular on the

dias, or infrequently in articles and notices scattered

extensive history of the Rzebitschek family.

in various journals. One may also have come across rare sound recordings on the odd gramophone re1 Luuk Goldhoorn: Die österreichische Spielwerkemanufaktur im 19. Jahrhundert, [Utrecht 1999]. 2 Helmut Kowar: Kammspielwerke aus Wien und Prag: Tanzmusik (Mechanische Musikinstrumente vol.1) OEAW PHA CD 6, Vienna: Austrian Academy of Sciences Press 1999; id.: Kammspielwerke aus Wien und Prag: Opernmelodien (Mechanische Musikinstrumente vol.2) OEAW PHA CD 10, Vienna: Austrian Academy of Sciences Press 2000.

3 I am aware of three records: Musik mechanisch und von Meisterhand (LP), Österreichische Phonothek ÖPH 10028, Vienna 1972; Staropražské Hrací Strojky (LP), Supraphon 1 19 1530, Prague 1975; Disc (Single), VT VEB Verlag Technik 490010, supplement to Horst Landrock: Alte Uhren – neu entdeckt, 2.edition, Berlin 1983. 4 Heinrich Lunardi: Alte Wiener Uhren und ihr Museum (Wiener Themen), Vienna 1974; Frederick Kaltenböck: Die Wiener Uhr. Wien, ein Zentrum der Uhrmacherkunst, Munich 1988; F.    H. van Weijdom Claterbos: Viennese Clockmakers and what they left us, Schiedam 1979.

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Musical boxes from Prague and Vienna

The present publication enables the reader to visit a

their music as well as to a definition of their position

select group of artisans active in the Prague and Vienna

in the context of the international market and of the

th

of 19 century Austria, and is designed to offer assist-

Swiss in particular. Newly discovered historical data

ance in the reader’s discovery of the more than 1400

expands on the biographical information on the makers

Prague and Viennese musical box movements I have

already published.

managed to uncover. All the information contained in

In chapter four, detailed analyses of the musical

this work was gathered during an extensive research

arrangements of quite a number of examples from the

project at the “Phonogramm” archives of the Austrian

main musical repertoire (waltzes and operatic airs) illus-

Academy of Sciences which I began in 1980. To the

trate the specific quality of the musical performance, a

extent the playing movements I uncovered were acces-

point for which these movements were so highly praised

sible and were at least in some semblance of playing

by the listening public of the time. These analyses have

condition, I made audio recordings and took photo-

been undertaken in order to point up the chief concern

graphs. In addition, I collected details, pictures and

on the part of the makers, i.e., to provide an equally

even sound and video recordings which were kindly

pleasing rendition of the popular music of the day to be

provided by auction houses, private collectors as well

enjoyed in their customers’ homes.

5

as by antique dealers. Consequently, the present-day

I would like to express my deep thanks to more than

“Phonogramm” archives not only house a large collec-

80 private collectors, and approximately 60 antique

tion of sound recordings but are also home to some

dealers, clock makers, auction houses and museums

3000 photographs. This comprehensive documentation

in Austria and abroad for helping me in my search for

is of considerable significance in as much as most of

musical clocks and allowing me to do documentation

the movements dealt with are today in private owner-

on the instruments in their possession. I have been for-

ship, i.e., I found them in the hands of antique dealers,

tunate in that my activities over the years have led to a

clock makers as well as ready for sale at auction. Thus

number of lasting friendships with those who were so

in the meantime, many of these old-world treasures

helpful in my endeavors. My research has even induced

have disappeared yet again into the hands of unknown

some collectors to develop a special focus on such ins-

buyers.

truments within their own activities.

The makers in Prague and Vienna produced musi-

My thanks go to Robin Biggins (Rancho Palos

cal box movements for approximately 120 years (1819

Verdes CA), Christian Eric (Costa Mesa CA) and Hans

to ca. 1940), although it seems very unlikely that they

W. Schmitz (Stuttgart) for providing information and

made large quantities, if any at all, during the final

photographs, as well as to the Technical Museum in

decades. Overall, they made ca 110.000 but certainly

Vienna, the Museum for Applied Arts in Vienna and

not more than 120.000 movements – a mere percentage

the “Musikautomaten Museum” in Seewen (Switzerland)

in comparison to the production of the leading Swiss

for sending me pictures and permitting their repro-

makers. Those movements I found represent slightly

duction. For helpful information on new findings as

more than one percent of the entire output, which pro-

well as insights and inspiring communication over

vides us nonetheless with a surprisingly precise picture

many years I would like to thank Ernst Bundle (Fürth),

of the Austrian movements as regards their construc-

Hans-Jürgen Eisel (Reichenbach), Wolfgang Guhswald

tion and their respective musical repertoire. Collating

(Vienna), Otmar Seemann (Vienna), and the auction

this body of information led to the outlining of a

house „Dorotheum“ in Vienna. I am especially grateful

typology of the movements, to the characterization of

to Silvia Mandic, the granddaughter of Gustav Rebicek. She was kind enough to let me study the documents

5 Phonogrammarchiv, Austrian Academy of Sciences (https://www.oeaw.ac.at/en/phonogrammarchiv/)

relating to her family – some of which I have published here – and she even gave me a portrait of her grand-

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Foreword

father as a present, included in the chapter on the

language, would entail more than the simple transfor-

manufacturers. Mrs. Mandic died in September 2015 in

mation of descriptive prose into its English equivalent.

Vienna, 96 years of age.

In the chapter on the typology, for example, where

I would especially like to express my gratitude to the

the mechanical playing works referred to for the most

Austrian Academy of Sciences for supporting my re-

part as ‘mechanisms’ or ‘movements’ can be seen to

search and the Austrian Academy of Sciences Press for

range from the simple to the masterful in their varying

their assistance in the production of this book.

degrees of complexity, I was fortunate in that the author

This English version of the book (the German

proved to be a proficient partner, patiently explaining,

edition appeared in March 2017) owes its existence to

clarifying, doing in fact, as elsewhere in the book, much

the initiative and therefore the funding of the printing,

of the actual rough translation himself. The incentive

50% each by the Musical Box Society of Great Britain

on my part was therefore considerable to create a final

and the Musical Box Society International. Moreover,

English version whose clarity would be commensurate

my thanks go to the commission in charge of managing

with the skill he had displayed in finding ways to bring

the Academy’s foundations, who kindly gave their

readers of the original German ‘into the box’, in order to

approval that the costs for translation be taken over by

‘see’ how those technical processes had actually develo-

two foundations, the Franz-Josef Mayer-Gunthof Wissen-

ped, which were material in bringing to life the music of

schafts- und Forschungsstiftung and the Stiftung Familie

the day in a form which had been at once ingenious and

Philipp Politzer. I am deeply grateful to Pamela Cordell

at the same time available to one and all, regardless of

for assisting me with the translation.

their social class. In all cases, I relied on the author‘s inter-

This edition has been fully revised and expanded,

disciplinary expertise completely. In the other chapters,

adding several details on historical and biographical

particularly in the one providing biographical informa-

facts. Furthermore, it was possible to include infor-

tion on the manufacturers themselves as well as in that

mation on quite a number of musical box movements

in which the author analyzes the structure of each of

that have come to light in Viennese auction houses and

the pieces he included in the ‘Musical Arrangement’,

private collections since March 2017 (among them a re-

my task as I came to perceive it was to set the tone, to

cently discovered, very early musical box by A. Olbrich).

create an appropriate atmosphere in language, sufficient

Moreover, I added data on some movements I was

to encourage those reading the book in English to feel

thankful to receive from Marc Boon (Belgium), Luuk

competent enough on finishing, just as the readers of

Goldhoorn (Utrecht) and Timothy Reed (Galloway, NJ).

the original German might, armed with the author’s consummate scholarship and their own appreciation of the subject gained from the book, to venture into

Note to the Translation

an antique shop themselves, perhaps in Cornwall, Mel-

The act of translation, if it is to be deemed at all worthy

bourne, Shanghai, Chicago or Toronto, and inquire

of that trust readers place in our skills in interpreting

as to whether there might be an old ‘Swiss’ musical

the author’s at times even unavowed intentions, nearly

clock in the establishment somewhere. Imagine that

always involves a leap of faith. As regards the work at

competent reader’s pleasure on being shown just such a

hand, the first, brief glance at the early chapters made

find, languishing on the back shelf among the porcelain,

it clear that should I be working alone, this task would

especially if it had a rare, ‘Austrian’ signature. It is my

indeed be daunting. Presenting the lifework of these

hope that experts in the field and art enthusiasts alike

virtually unknown 19th century master craftsmen and

will feel a kinship with the author and an equal fascina-

women in English, whose working vocabulary (which

tion for his subject when the final page has been turned.

they were inventing literally while they worked) was so intimately woven into the fabric of the German

Pamela Cordell, October, 2018

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Musical boxes from Prague and Vienna

Fig. 2 Two-tune movement by A. Olbrich in Vienna, “10 AO” stamped on the bedplate, in a picture clock dated 1824.

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I. General remarks and basics

It goes without saying that musical boxes have traditi-

sisted of just a few single steel spikes right up to large

onally been associated with Switzerland – but the fact

instruments having combs with many more than 200

that a considerable production of such instruments

teeth. The naming of the respective instrument some-

existed within the Austrian monarchy as well has re-

how mirrored its absolute novelty. Antoine Favre de-

mained virtually unknown. This circumstance becomes

scribed his invention made in 1796 as a “carillon sans

noteworthy when one takes a closer look at the Austrian

timbre ni marteau“, and as the new instruments came

oeuvre: it turns out not to have represented a simple

from Geneva, in the beginning they were simply called

extension of the Swiss style after all. In fact, the makers

“Musique de Genève“. They were built into small jewelry

in Prague and Vienna gradually came to develop a style

boxes, snuffboxes and cases of all kinds, and from this

which was keenly individual and this in more than one

the term “boîte à musique” came into general use.

respect. Apart from a unique clarity in the construction

Hence, the English-speaking world spoke of a

of the Austrian playing works, one can easily distinguish

“music box” or “musical box”; in the German-speaking

their particular use and the eventual market which

countries it was called “Musikdose” or “Spieldose”. As

was aimed for, as well as appreciate their representing

late as 1855, the instruments were being referred to in

a specific musical repertoire and style of musical arran-

Germany as “Musikwerke, Musikspielwerke, or Stahl-

gement.

spielwerke“, literally music works, i.e. mechanisms,

Nevertheless, it remains clear that Switzerland was

music playing works, or steel playing works1. The gra-

the country of choice for musical boxes – as this ins-

dual improvements in their construction led to the im-

trument eventually came to be called – and this simply

plementation of technical refinements which allowed

(for the reason of its having originated from there) due

for a dynamic shading of the performance, the ex-

to its Swiss heritage. Moreover, the inconsistencies and

tension of the playing duration, the exchange of the

regional specialties one finds in the naming of this type

cylinders, and as regards the variety of sound charac-

of instrument also derived from this fact so that the

teristics, the musical boxes were equipped with zither

th

general degree of confusion at the turn of the 18 to th

effects, bells, drums, castanets and reed pipes. The Swiss

the 19 century as well as for some time thereafter can

makers produced huge quantities chiefly for export,

also be said to have originated in Switzerland too. This

selling their musical boxes to customers all over the

in turn led to the development of a German, English

world. In the mid-19th century for example, the district

and French terminology, as well as to the creation of

of Sainte-Croix alone had reached an output of 34.000

a specific vocabulary, for use in describing technical aspects of production that came into use in Austria in the process. This type of “comb”- playing musical device developed within the last years of the 18th century, starting with miniature formats in the beginning that con-

1 Bericht der Beurtheilungs-Commission bei der allgemeinen deutschen Industrie-Ausstellung zu München im Jahr 1854, München 1855 p. 207.

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Musical boxes from Prague and Vienna

instruments per year2. In comparison, Anton Olbrich, Josef Olbrich and Anton Olbrich junior together did not come close to this figure their entire working lives, and the Rzebitscheks’ company in Prague had only made ca. 52.000 movements by the time the factory closed in 1897 after almost 80 years in business. An official report on the international exposition in London 1851 probably offers the most concise but also most appropriate characterization of the function, importance and development of the Swiss musical boxes: “The fabrication of mechanical music-playing mechanisms is of great national-economic importance.

Fig. 3 Movement by A. Olbrich no. 12855, fixed to the oval bottom board of a wedding clock (mantle clock).

Initially they were designed for boxes of the smallest proportions, later being incorporated into bracket clocks

called Turkish music [is possible], imitating the snare

and finally being sold as independent works. With

sound of the military drum, as well as the tinkling of

their greater size, their musical and mechanical scope

the bell-furnished half-moon, also the clickety-clack

could be amplified. As is generally known, the tones are

of the castanets”3.

produced by steel reeds, which are of such thickness,

Consequently, these so-called musical boxes began

that they can sound without the help of a frame when

to develop a rich and manifold musical repertoire. The

they touch a body that is able to resonate. As is known,

favorites ranged in time from Swiss folk tunes, over-

the whole scale [of tones] comes from a single piece of

tures, melodies from operas and operettas to pieces of

steel having cuts sawed into it, by means of which it is

salon music, fantasies, variations, marches, waltzes,

dissected like a comb into any desired number of steel

passages from oratorios (especially for the English

strips [reeds] which are free on three sides. These strips

clientele), folk songs and traditional music from various

were not able to vibrate at a speed slow enough to create

countries. Every kind of musical box became available.

the lower tones required; hence the deeper reeds at their

From the more reasonable to the most expensive, ela-

front end needed a form of ballast with the help of a

borate instruments, everything could be had, custom-

lead weight soldered onto them. A brass cylinder with

made items as well as mass-produced movements, and

pins activates the reeds, similar to the [functioning of]

among the customers of their day we find the Shah

barrel organs. The amplified playing mechanisms now

of Persia availing himself of the same type of object as

play several pieces, most recently even being fashioned

simple people on a modest income.

with separate teeth for piano and forte. In addition so-

The Swiss musical box makers, e.g., L’Epée in Sainte-Suzsanne4 and two other manufacturers in the

2 Jean-Claude Piguet: Die Geschichte der Musikdosenindustrie in Sainte-Croix, in: KlangKunst. 200 Jahre Musikdosen. Katalog von Eduard Saluz. Schweizerisches Landesmuseum s.l. 1996, p. 49. The report of the international exposition in Paris, 1867, estimates the value of the musical boxes produced in Switzerland every year with 2,2 million Swiss francs (Berichte über die Betheiligung der Schweiz an der internationalen Ausstellung von 1867, Bern 1868, Classe 10 Musikinstrumente, p. 32). The catalogue for the Swiss department at the international exposition Vienna, 1873 reports that the output of musical boxes ran up to 100.000 items per year (Katalog für die Schweizerische Abtheilung der Wiener Welt-Ausstellung 1873, Winterthur 1873, p. 54).

French Jura, who may be classified as Swiss had to face only the competition of musical box movements coming from Prague and Vienna. Independently from

3 Amtlicher Bericht über die Industrie-Ausstellung aller Völker zu London im Jahre 1851, von der Berichterstattungs-Kommission der Deutschen Zollvereins-Regierungen, 1. Teil, Berlin 1852, p. 896 4 Auguste L’Epée was born in Dombresson near Neuchâtel and moved with his family to France. He opened his manufactory producing clocks and musical boxes in Sainte-Suzsanne in 1839.

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I. General remarks and basics

each other, Franz Rzebitschek (in 1819), and Anton and

After some initial efforts, Anton Olbrich in Vienna

Josef Olbrich (in about 1821) started making musical

and Franz Rzebitschek, as from 1828 along with Alois

box movements in the style of the Swiss. They oriented

Willenbacher in Prague, developed a standard model

themselves towards an already well-engineered cons-

of musical box movement with a cylinder 10 cm in

truction type, which finds its expression in those

length playing two tunes. How and why, and when they

terms applied to the new instruments. Anton Olbrich

finally arrived at this amazing conformity has remained

created the precise term “steel spring harmony”

completely unclear thus far. To date, nothing has come

(“Stahlfeder-Harmonie“) in 1824, but this name did

to light about a meeting or any correspondence between

not find its way into the general vocabulary; however,

Olbrich and Rzebitschek in this respect. It does bear

as late as 1859 he was still referring to his business as

mentioning that Franz Rzebitschek did in fact come

a “steel spring-playing works factory” (“Stahlfedern-

to Vienna in 18706, and that his son Gustav stayed at

Spielwerk-Fabrik“). But soon, in Bohemia as well as to

the Sacher Hotel in Vienna, arriving on June 28, 18907,

the south in Vienna, the terms “music playing works”

but this information does not throw any light on the

or just “playing works” (mechanism) (“Musikspielwerk“,

eventual development of the movements.

“Spielwerk“) became established, in the early years

All succeeding Austrian manufacturers were to

mostly followed by the explanation “in the style of

adopt this standard model. One may however observe

5

the Swiss” . At the same time the terms “steel-playing

some differences in construction concerning minor

works/mechanism” (“Stahlspielwerk“), “reed-playing

details and varying dimensions within a few millimeters.

works” (“Zungenspielwerk“) and “cylinder  /  barrel play-

Apart from the two-tune movements, the makers pro-

ing works” (“Walzenspielwerk“) came into use, but from

duced movements playing three, four and more melo-

the thirties on the term “playing works” (“Spielwerk”) be-

dies. All of these movements reflect the same structure,

came generally accepted. Sometimes we find the musical box movements also called “playing clock” (“Spieluhr”) or “musical clock” (“Musikuhr”). With respect to the makers, they and their profession were called “playing clock makers“ (“Spieluhrmacher”), or sometimes “musical clock makers” (“Musikuhrmacher”), or even “musical mechanism makers” (“Spielwerkmacher”) – the “box” was not essential in Austria, the movements being made primarily to be incorporated into clocks. The term “comb-playing movement” (“Kammspielwerk”) was brought up towards the end of 20

th

century in

the descriptive literature. In addition, the terminology

Fig. 4 Lid of a case with printing “memento of my mother 7 May 1889”, written below “memento of my father … year 1933”, below “memento of my mother…” (case with movement by A. Olbrich no. 23524).

as pertains to the different parts of the movement is diverse. The pinned cylinder is known as a barrel, the

but with each varying dimension one finds increasing

comb is often referred to as claviature or clavier, and

diversity from one maker to another (see the chapter

the teeth of the comb are called reeds or springs.

on the typology). With that, the development process had already reached its completion, nothing more being

5 At that time almost every kind of self-playing musical instruments were called “playing works“ (“Spielwerke”) or “music works“ (“Musikwerke”), as for instance flute clocks or barrel organs. Hence, the common term “playing clock“(“Spieluhr”) could designate musical boxes as well as flute clocks. The term “clock“(“Uhr”) was generally used to denote some kind of automatic device.

6 The “Neues Fremden Blatt“ May 24, 1870, p. 11, reports that Franz Rebicek stayed at the inn “Baierischer Hof “, district Leopoldstadt (Vienna). 7 Wiener Zeitung, June 28, 1890, p.10, lists persons who had arrived: “Director G. Rebick from Prague“.

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Musical boxes from Prague and Vienna

added – no effects, no other instruments (except for

to southeastern European states as well. Apparently, the

some bells, and this occurring extremely rarely). Tech-

volume of movements needed within this restricted mar-

nical improvements and innovations on the part of the

ket could be covered by a handful of small enterprises

Swiss, e.g. steel wire dampers, were not implemented;

including Rzebitschek’s, the only actual factory in this

the Austrian makers stuck with dampers made of

field. It is hardly surprising that the number of move-

vellum or quills. The standard model and the bigger

ments manufactured here represents just a small output

instruments were manufactured unaltered until the end

compared to that of the Swiss production. The rather

th

of production in the early 20 century. One gets the

modest demand for Austrian movements certainly also

impression that instruments playing more than two

led to Anton Olbrich’s insolvency in 1865 and to the

tunes do not appear more frequently until towards the

closing of Rzebitschek’s business in 1897. Very few ma-

th

end of the 19 century.

kers were active into the first decades of the 20th century.

For the most part the movements were intended

The musical repertoire clearly reflects the spread of

to be incorporated in mantle clocks, frame clocks and

musical boxes, the instruments playing the music that

picture clocks. Here the clock released the music eve-

was in favor with the local customers. As the move-

ry hour. However, the movements were also built into

ments were not so expensive, it was not only the rich

plain wooden cases, and these musical boxes obviously

who could afford this entertainment. As a result we can

were favored presents en famille (fig. 4). Later on it be-

also have a look nowadays at the musical preferences

came fashionable to produce cases with a glass window

of the lower social classes of the time. It is noteworthy

in the lid and to decorate the cases (mostly the bigger

that the simple musical boxes playing the popular music

ones) with some inlay work or even some applications

of the day were also much in favor with the nobility and

(nevertheless the term “musical box” did not come into use). Bigger instruments in cases that call to mind Swiss musical boxes appeared in the second half of the 19th century. As there are only a few larger items extant, it is difficult to speak of a development or a trend. During this entire era movements of extraordinary size were made. These rare items are all to be found either in clocks or in cases. Some reports from the middle of the 19th century state that Austrian movements, in particular those by Rzebitschek, were sold to America, France and Russia, but the export to foreign countries obviously did not reach quantities worth mentioning. Although the

Fig. 5 Musical box by Rzebitschek no. 43164.

Austrian musical boxes won prizes at international expositions and juries praised them for their music

even with royalty. A letter from archduchess Sophie (the

and quality of sound, the Swiss makers and their novel-

mother of Emperor Franz Josef) serves as a compell-

ties gained international popularity, and their musical

ing source: in a letter from March 29, 1851 she writes

boxes prevailed worldwide. The Austrian makers could

that she and her little son Ludwig Viktor, then 9 years

not or did not want to cope with the developments

old, enjoyed dancing a Styrian folk dance (“Ländler”)

introduced by the Swiss; accordingly, their sales were

played by a musical box8. Musical boxes were articles of

limited. The makers in Prague and Vienna produced primarily for customers in those countries within the Austrian empire and the market seems to have extended

8 Gabriele Praschl-Bichler: Unsere liebe Sisi. Die Wahrheit über Erzherzogin Sophie und Kaiserin Elisabeth. Aus bislang unveröffentlichten Briefen. Wien 2008, p. 123.

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I. General remarks and basics

fashion as concerns the musical repertoire; they provide

enjoy lasting success. Thus we find the entire, extended

us with an accurate picture of contemporary musical

repertoire in continuous demand right up to the final

trends and often went hand in hand with changes in

days of the manufacturing of musical boxes.

public taste, presenting the latest musical creations and novelties. To give just three examples:

Unlike with the Swiss movements, the repertoire of the Austrian musical boxes is clearly structured, and

Anton Olbrich’s movement no. 9878 plays two

this structure remained unaltered over the decades.

operatic airs: 1) the minuet from “Don Giovanni”

One can identify three main groups: operatic music,

by Mozart (that piece must have been ordered by a

dance music and folk music. Occasionally art songs,

special enthusiast, as Mozart is hardly ever present on

some piano and chamber music, national anthems

Austrian musical boxes), 2) duet from the opera “Linda

and church songs appear; one could in fact summarize

Chamounix” by Gaetano Donizetti, which was per-

pieces from these genres in a separate fourth group.

formed for the first time on May 19, 1842 at the Kärntnertor Theater in Vienna. The serial number of

1. Operas:

this movement coincides perfectly with the time period

Excerpts and arrangements of overtures, arias, cho-

during which that opera was being staged in Vienna.

ruses, etc. ranging from operas by Gioachino Rossini

Franz Einsidl made his three-tune movement no.

up to Richard Wagner. It is obvious, that those musical

1172 ca. 1856, but the low music number 381 certainly

pieces set on the cylinders were excerpts from those

comes from a few years earlier. This assumption may

operas being staged at the opera houses within the

be confirmed by a striking temporal closeness of the

Austrian monarchy. Among them there are a not in-

musical pieces’ origin: the musical box movement plays

significant number that are practically forgotten today

the “Attaque Quadrille“, op. 76 and “Frauen Käferl

but were performed then with the greatest success at

Walzer“ op. 82. by Johann Strauss jun. (both composed

the opera houses in Vienna, Prague and Budapest etc.

in 1850), and Anton Emil Titl’s “Slavjanka-Polka“ com-

E.g. Meyerbeer’s “Vielka”, or Erkel’s “Hunyadi Laszlo”

9

posed early in 1851 .

are still performed in Budapest today. In addition, we

The musical repertoires on the movements reflect

find numerous pieces from local musical comedies and

social as well as political developments and events. The

farces as well as operettas performed at theatres in the

revolutionary year 1848 – as an example – gave rise to

suburbs of Vienna during the second half of the 19th

the compositions of several musical works, e.g. the

century. Obviously, Richard Wagner’s “Lohengrin” and

“Radetzkymarch“ op. 228 and the ”Quadrille in military

“Tannhäuser” were popular with the buyers of musical

style“ op. 229 by Johann Strauss sen., or the “National

boxes as well.

guard march“ by Heinrich Proch. Almost immediately all these pieces show up in the musical repertoires of 10

2. Dance music:

the movements . It is certainly true that a great num-

The most prominent here are the well-known ländler,

ber of favorite pieces did exist but many new additions

waltzes, marches, polkas, quadrilles etc. (and many

to the repertoire became famous as well and were to

rarities of course) by Josef Lanner, Johann Strauss sen. and jun., Josef Strauss, Carl Michael Ziehrer, Jacques

9

The “Slavjanka Polka” by Titl – especially composed for the Slav Ball, held on February 17th 1851 at the Sofiensäle in Vienna – was performed for the first time on Feb. 7, 1851 at a public rehearsal where it was highly acclaimed by the audience (Der Wanderer, Nr. 67, 9. Februar 1851, Morgenblatt [p. 3]). 10 Helmut Kowar: Die Revolution im Wohnzimmer, in: Musik und Revolution. Die Produktion von Identität und Raum durch Musik in Zentraleuropa 1848/49, ed. by Barbara Boisits. Wien: Hollitzer 2013, pp. 433 – 456.

Offenbach, Franz von Suppé, Emil Titl, Philipp Fahrbach, Adolf Müller etc., as well as dances by unknown composers. We find quite a number of Czardas, as Hungarian music forms a rather substantial part of the repertoire.

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3. Folk music:

Erkel’s operas). Likewise, programs containing a tune

Operatic airs and dance music clearly dominate the

(waltz or opera) and a national anthem were popular.

repertoire, but the amount of folk music, small as it is,

Frequently to be found are favorite pieces such as the

is noteworthy; there are several yodelers as well as

Radetzky march, Hunyadi march, the chorus from “Les

Austrian, German, Czech, Hungarian, Croatian or Ro-

Huguenots” by Meyerbeer, the cavatina and duet from

manian folk songs and dances. In 1859 Anton Olbrich

“Norma” by Bellini, or “The last rose” from “Martha”

announced his movements playing “all songs, dances

by Flotow.

etc. from all nations and of the Orient”; this was not an empty phrase.

As a matter of course, movements with three or more tunes play a more varied combination of musical

The mention of the Near East may draw our atten-

numbers, but often provide the usual mixed programs.

tion to the market Olbrich wanted to serve and also

For example, the tunes on Olbrich’s four-tune move-

actually served.Thus, more findings that are interesting

ment, music number 2239, are the duet from “Norma”

with respect to this part of the repertoire may be ex-

by Bellini, “Sphärenklänge” waltz by Josef Strauss,

pected.

the aria from “Il trovatore” by Verdi, and “Lock Polka” polka francaise by Josef Strauss.

4. Group:

Just as with the technical construction and the mu-

Art songs, church songs, and pieces of piano music are

sical programs, the arrangements of the tunes are very

rare. More frequently, we find the Czech, Polish, and

similar and consistent with all makers of movements

Russian national anthems. The original Austrian natio-

in Prague as well as in Vienna. The formal structure of

nal anthem  / present-day German national anthem (by

the musical arrangements reveals remarkable creati-

Joseph Haydn) appears quite often.

vity in forming a new entity that makes musical sense.

It is refreshing to have a look at the customers’

One can observe skillful and artistically pleasing trans-

tastes as reflected in the musical program offered on

formations of the original music which conform to

the single movements; one can detect a typical, popular

the needs of the musical box having a playing duration

ordering of the musical pieces, just as they were of-

of approximately one minute. The musical setting con-

ten requested by the customers. With the two-melody-

centrates on an easily distinguishable melodic line, yet it

movements in many cases one comes upon the com-

avoids a simplification of the music. In most cases, the

bination of an operatic air and a waltz (or ländler, polka,

arrangements take care of the middle and accompany-

march, czardas), or the combination waltz – polka (or

ing voices and adhere closely to the original, i.e., to the

march). People obviously also liked “pure” programs

score. Thus, the Viennese arrangements do not reflect

consisting of two operatic melodies (I even managed to

those decorative elements and additions known from

find a pure “Richard Wagner – program”), or two länd-

later Swiss boxes or disc musical boxes. Long notes

ler or waltzes (possibly also two marches or polkas).

are played as single tones and they are not prolonged

We find a great number of downright “Viennese” pro-

by repetitions, trills or other embellishments. Rests

grams as well as “Hungarian programs” (containing two

as well are not filled up by arabesques or runs. Some-

czardas, or a czardas followed by a tune from one of

times small ornaments are added, as for instance tied trills, but these are only applied for emphasis and to accentuate certain notes as a kind of dynamic substitute. Structure and setting of the musical arrangements did not change throughout the years. It is only with some later movements made by Gustav Řebiček that one comes across a few additional embellishments. The manner of arranging music for the movements differs

16

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I. General remarks and basics

considerably to that of the Swiss, as their musical style

tained their tonal quality. The musical arrangements

changed greatly over the course of time.

and the tone of Bartel’s movements, to name just one

Remarkably enough, the Austrian movements were

of the late makers, are in no way inferior to the earlier

appreciated especially for their musical qualities, where-

works of Olbrich or Rzebitschek. Even so, one must

as musical boxes in general were not considered to

emphasize that the makers in Vienna and Prague aimed

possess any significant artistic value as regarded their

at different tonal colors. Rzebitschek filled the cylinders

musical arrangements. On the occasion of the inter-

and achieved a soft and smooth tone over the entire

national exposition in Vienna 1873 one could read the

tonal range. The other Prague makers seemed to have

following:

followed these ideas. In Vienna, we find a different

“The automatic musical works (playing clocks,

approach. Olbrich’s movements are often much louder,

musical boxes etc.) have a more industrial than artistic

producing a distinct, high-pitched, sometimes even

importance, they are more the task of the mechanist and

sharp and rough sound, but yet clear and precise. He

the clockmaker than of a musician […] As is well known

mostly left his cylinders empty except for a piece of

even today Switzerland is on top with its splendid

bottle cork and a thin layer of shellac. Nevertheless,

industry and export of those playing mechanisms.

there are also movements by Olbrich which reveal a

Anyone visiting the pavilion of Heller from Bern will

smooth and darker sound. Bartel’s movements deliver

have appreciated the variety and elegance of these Swiss

a strong but soft tone, Einsidl’s movements produce a

products, from the lovely singing bird of paradise to

rather similar but quieter sound. The report on the ex-

the musical boxes equipped with a rich repertoire. From

position in Paris 1855 raised this issue:

a mere musical viewpoint, concerning the correct and

“As the best instruments of that kind at the exposi-

tasteful arrangement of the musical pieces, the best

tion, the jury approved those of the named F. Řebiček

Prague and Viennese movements appeared superior to

from Prague and praised them especially for the

the Swiss; they are made more artistically, but never-

balanced harmony between bass and upper register,

theless are more expensive on average. Notably the

being rich, manifold and tasteful. On the contrary, the

movements by Řebiček in Prague are exemplary; […]

snapping-off of the pins from the reeds with the move-

their products had already surpassed all similar items

ments by A. Olbrich in Vienna seemed to be too noisy,

11

at the world expositions in Paris and London” . It is

which however was less noticeable at a distance, as we

therefore quite reasonable that Gustav Řebiček began

could observe this from the gallery at the exposition,

announcing his movements accordingly: “Prague mo-

where the tone could be perceived as clear-sounding

vements, far superior to every yet as much praised Swiss

and strong”13.

product, are recommended to clockmakers for their Christmas business at very cheap prices by the musical box factory of Gustav Rebicek in Prague”12. The construction of the movements, their dimensions, the structure of the musical program and the manner of arranging the music, all these features remained unchanged over time, and equally the movements re-

11 Internationale Ausstellungszeitung, Beilage zur Neuen Freien Presse, 21. August 1873, p.  3. Gustav Řebiček received a medal of merit at the exhibition in Vienna, 1873, see Blätter für Musik, Theater und Kunst, 5. September 1873, p. 1. 12 Advertisment in: Allgemeines Journal der Uhrmacherkunst, Leipzig 14. Dezember 1878, p. 408.

13 Bericht über die allgemeine Agricultur- und Industrie-Ausstellung zu Paris im Jahre 1855, hg. v. Eberhard A. Jonák, vol. 3, Wien 1857/58 p. 128f; see also Helmut Kowar: Zur Klangfarbe von Kammspielwerken. Ein Versuch, in: Klangfarbe. Vergleichend-systematische und musikhistorische Perspektiven, hg. v. August Schmidhofer und Stefan Jena (Vergleichende Musikwissenschaft vol. 6), Frankfurt am Main: Lang 2011, p. 295-314.

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The tonal characteristics of the Austrian movements did

popular demand for movements to be incorporated

not change, whereas the Swiss boxes underwent consi-

into clocks, which meant that the construction and the

derable modification and that not only by adding other

dimensions of the movements had to be retained, whilst

instruments: “The softly-toned combs were replaced

the Swiss expanded their production to encompass

by harder steel combs which sacrificed sweetness and

large stand-alone instruments. Certainly then, during

musical quality for sheer volume of sound. The typical

the 2nd half of the 19th century, when the taste for

cylinder musical box of 1900, with its raspy tone, simply

mantle and picture clocks in Austria and neighboring

arranged music, and cheap cases, was but a musical

countries gradually decreased, it no longer made

14

shadow of the fine cylinder boxes of decades earlier” .

sense to change production lines; and – to put it at its

The Austrian artisans had pursued a distinct pro-

simplest – the small workshops would not have been

duction procedure that may be characterized by the

able to afford any changes. Thus, it becomes clear that

maintenance of a particular type once it had been

the use of the movements determined the develop-

created and established. It remains unclear whether

ment of this type of musical boxes and led to the rather

these fine craftsmen knowingly withdrew from the

modest range of output. These circumstances were less

international market when faced with the over-

than auspicious for any international relevance or the

whelming productivity on the part of the Swiss. One

dissemination of Prague and Viennese movements. On

could imagine that they were very well aware of the

the other hand, an exceptional and unusual unity and

fact that they – running just small workshops except

structure of the musical repertoire evolved, and the

for the only big company owned by the Rzebitscheks –

qualities of tone and of the musical arrangements be-

could not compete with the developments introduced

came recognizable features, generally acknowledged

by the Swiss. Moreover, there was the ongoing local

and lasting unaltered until the end of production.

14 Bowers, Q. David: Encyclopedia of Automatic Musical Instruments. New York: Vestal Press 1972, p. 17. Moreover, the additional ins truments often drown the tone of the comb. With some musical genres the arrangements may be questionable as for instance the rendition of Händel’s „Halleluja“ played by an orchestra muscial box (Nicole Fréres, Geneva ca. 1903), see Musical Instrument Museum Phoenix, Arizona (http://mim.org/exhibits/collection/mechanical-music-gallery/).

18

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I. General remarks and basics

Fig. 6 Four-tune movement in case (G. Řebíćek no. 50302)

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II. The manufacturers in Prague and Vienna: historical and biographical details Prague The distinction of having brought forth perhaps the th

most prominent artisans making 19 -century musical boxes outside of Switzerland belongs to Bohemia: Franz Rzebitschek was the first in a renowned line of makers

Contribution to the history of the music-playing mechanism production in Austria The production of music-playing works in Prague goes back to the twenties of the last century.

of musical box movements whose qualities were speci-

My father Franz Řebiček, a clockmaker by professi-

fic to regions of the former Austrian monarchy, located

on and at the same time a good musician in Dašic near

in Rzebitschek’s case in present-day Czech Republic.

Pardubic, had even as a young man attempted to make

He was also the only one in this field throughout

such a playing mechanism, and had been rather success-

the monarchy, who – along with Alois Willenbacher –

ful in doing so. He then took to the road as was cus-

eventually set up a factory for producing musical box

tomary then in order to improve his professional skills (on

movements in greater quantities. His son Gustav,

foot of course on account of his poor resources) and in

who was to introduce the Czech spelling of the name

1820 he arrived in Mariaschein near Teplitz, where he

(Řebiček or Řebíček) later assumed the running of

entered service with the clockmaker Willenbacher, who

the firm. There were also a number of other makers

had immigrated from Württemberg. He made good use of

who managed to distinguish themselves. Among others

his [skills and] intelligence and soon managed to make

these included Alois Maly, Joachim Slawik and Anna

himself indispensable to his master, in as much as he

Preiszler (the first names are uncertain), as well as

[Willenbacher sen.] gave him one of his daughters as a

Anton Novak and Johann Florian Salisch (his first name

wife. Together then with his brother-in-law, a former

is doubtful as well) in Josefstadt.

lieutenant in the infantry, Alois Willenbacher, he founded

In 1915, Franz Rzebitschek’s son Gustav wrote

the firm of Willenbacher & Rzebitschek, which concen-

a short history of the production (which according to

trated partly on the family business of making clocks and

all historical accounts started with his father) from its

their component parts, but mainly on the manufacture

very beginnings, up to the closing of the business in

of music-playing mechanisms. He relocated the business

1

1897 :

a few times, first to Josefstadt, then to Theresienstadt after which he finally settled in Prague, where the establishment was to remain from 1828 till 1842 under the name Willenbacher & Řebiček; from then on after Alois Willenbacher’s leaving the firm until 1870 [it operated] using the name F. Řebiček and finally from 1870 till 1897, i.e., up to the liquidation of the business, under my name.

1

I want to thank Silvia Mandic, Gustav Řebiček’s granddaughter, who gave me a copy of this document. Unfortunately it was not possible to locate the feuilleton by Eduard Hanslick mentioned in this document.

Immediately upon my father’s arrival in Prague (1828) he began operating the business as a manufactory, constructing special machines, e.g. for the production of the

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II. The manufacturers in Prague and Vienna

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Musical boxes from Prague and Vienna

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II. The manufacturers in Prague and Vienna

fan gear (one example is kept in the collection devoted to the development of technology at the Technical University of Vienna [Technische Hochschule in Wien]), as well as additional machines for cutting the individual tonereeds of the steel claviature, but mainly those machines [needed] for setting the music pieces onto the cylinder. Here he placed particular emphasis on pursuing the most economical division of labor [required] in order to achieve the highest possible level of perfection in fashioning each individual unit of the music-playing mechanism. The quality of the playing works being produced in this manufactory was now the best that it was possible

Fig. 7 Label in the case of a movement by Rzebitschek nos. 28964/2319

to achieve in this field. This has also been acknowledged in [their] having been awarded the top prize at all ex-

It follows from this information that Franz Rzebitschek

hibitions, e.g. on the occasion of the Vienna International

(born in 1801, died on December 12, 1889, 89 years of

Exposition in the year 1873, at which the progress medal

age2) made his first musical box movements in 1819.

(Fortschritts-Medaille) was conferred. Moreover, a special

This fact also corresponds to the details given in the

essay [commemorating this event] by Hofrat Professor

report on the exhibition of Bohemia’s industrial pro-

Hanslik in Vienna appeared at that time as a “feuilleton”

duction for the year 1831, which states: “Alois Willen-

in the „Neue Freie Presse“.

bacher & Franz Rzebitschek, musical clock makers

The “Prague playing works”, as such very well known

in Prague N.C. 126-II., have been making larger and

all over the world, have been sold to [customers] in all

smaller music playing mechanisms in the Swiss style

parts of the world, as for instance to those in Australia

since 1819”3. The year is correct, but – as to Gustav

(Melbourne), New York, Brazil, Alexandria (Egypt),

Řebiček‘s chronicle – the actual cooperation with Alois

St. Petersburg, Bombay etc. These playing mechanisms

Willenbacher was not to come until some years later.

were also delivered to the sovereign court of her majesty

The report dealing with the second Austrian exhibi-

Empress Elisabeth, as well as to the court chamber of the

tion of commercial products in 1839 places the be-

sons of Archduke Carl Ludwig. In the thirties of the last

ginning of production back to the year 1813, obviously

century our establishment was honored by the visit of three

a mistake – Franz Rzebitschek would then have been

archdukes (one of them the future Emperor Franz Josef).

only 12 year old! Nevertheless, the report does pro-

As soon as playing mechanisms with discs which

vide the accurate information that Willenbacher and

could be inserted [or removed]went on sale, the produc-

Rzebitschek moved to Prague in 18284. All later sources

tion of the playing mechanisms with cylinders declined greatly (ca. in beginning of the eighties), only to cease completely after the perfection of the gramophone, which also delivered the final blow to all disc-playing mechanisms. In the year 1897 I felt compelled to close down the production of music-playing mechanisms altogether, not only due to lack of orders but also because of the increase in palpably unpleasant working conditions.

Prague February 1915



Gustav Řebiček

2 See the obituary and the conscriptions list of 1850, Prague house no. 251/1, as published by Luuk Goldhoorn: Die Österreichische Spielwerkemanufaktur im 19. Jahrhundert [privately published, Utrecht 1999] p. 134f. The Řebiček family lived most of the time in Prague, Bethlehem Platz 2, for the addresses see Goldhoorn ibid. p. 67f. 3 „Alois Willenbacher & Franz Rzebitschek, Spieluhrmacher in Prag N.C. 126-II., verfertigen seit dem Jahre 1819 größere und kleinere Musikspielwerke nach Art der Schweizer“ (Bericht der BeurtheilungsCommission über die Ausstellung der Industrie-Erzeugnisse Böhmens vom Jahre 1831. Prag 1833, p. 174). 4 Bericht über die zweite allgemeine österreichische Gewerbs-Pro ducten-Ausstellung im Jahre 1839, Wien 1840 p. 449.

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repeat the year for the beginning of production, having been incorrectly given as 18135. The exhibition reports reveal several, most probably accurate details on the history of the business: The report from the year 1831 states: “Alois Willenbacher & Franz Rzebitschek […] have been making larger and smaller music-playing mechanisms in the Swiss style since 1819. They are the first in the regions [of the Austrian Empire] who have established such an enterprise along with an active trade in a business that was formerly dependent on foreign production. 27 persons are presently employed, and 4199 mechanisms have already been produced, which were sold in large contingents via Vienna to foreign countries”. The quality of their products was acknowledged significantly, in that they received a bronze medal at this exposition6. In the exhibition report of 1836 we read that 47 workers were employed at the factory, and that 8821 ins-

Fig. 8 Gustav Řebíćek, photograph, Prague ca. 1880

truments had been sold since 1824. This time the manufacturers were awarded the gold medal7. At the same time, an overview as regarded the sta-

Swiss style. With claviatures made from one piece of

tus as well as the achievements of Bohemian industry

steel, applicable for boxes, clocks, goblets, caskets etc.

in general appeared, which paid particular attention to

[these products] distinguished themselves through the

the production of musical box movements in a separate

pureness of their tone, precision of play and intonation,

paragraph:

[along with their] excellent pinning and good solid work-

“Another estimable establishment, that of Willen-

manship. The owners’ considerable business acumen

bacher & Rzebitschek in Prague, provides aside from

has already made itself felt, even outside the monarchy,

astronomical pendulum-clocks and other art-clocks,

aiding them in competing against the famous products

above all many musical playing mechanisms in the

from Switzerland, as well as in asserting themselves in the market in Turkey, Russia, America, and even in

5 E.g.: Bericht über die allgemeine Agricultur- und Industrie-Ausstellung zu Paris im Jahre 1855, hg. v. Eberhard A. Jonák, 3. Band, Wien 1857/1858, p. 127, and all the following notices on Rzebitschek. 6 „Alois Willenbacher & Franz Rzebischtek […] verfertigen seit dem Jahr 1819 größere und kleinere Musikspielwerke nach der Art der Schweizer. Sie sind die ersten, welche ein solches Geschäft in den k.k. Staaten etabliert und für diesen, früher vom Auslande abhängig gewesenen Geschäftszweig einen Aktivhandel begründet haben. In ihrer Fabrik arbeiten 27 Individuen, aus welcher bereits 4199 Werke hervorgingen, die über Wien zahlreich ins Ausland abgesetzt werden.“ (Bericht der Beurtheilungs-Commission über die Ausstel lung der Industrie-Erzeugnisse Böhmens vom Jahre 1831. Prag 1833, pp. 22,174f). 7 Bericht der Beurtheilungs-Kommission über die im Jahr 1836 statt gefundene vierte öffentliche Ausstellung der böhmischen Gewerbs produkte, Prag 1837, p. 133. The statement, that every day 30 instruments are produced (ibid.), must be a mistake. See also Wiener Zeitung 7. Oktober 1837, p. 1287.

Paris. At present they have yearly sales of up to 1500 movements with 2 - 6 music pieces each at the price of 15 - 300 fl. [guilders], and employ 40 individuals in their workshop, whose broad range of equipment is exemplary, containing whatever device is required for the production of all parts…”8, (see also fig. 7). The next bit of information we have comes from the exhibition of commercial products in Vienna, 1839. Here we learn that Willenbacher & Rzebitschek had

8 K. J. Kreutzberg: Skizzirte Uebersicht des gegenwärtigen Standes und der Leistungen von Böhmens Gewerbs- und Fabriksindustrie in ihren vorzüglichsten Zweigen, Prag 1836, p.115.

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II. The manufacturers in Prague and Vienna

Fig. 9a Movement affixed to the bottom board of a mantle clock (Rzebitschek no. 17094)

45 workers in their employ and were producing 1600 movements per year, which the makers sold at home as well as abroad. For their prowess shown at this exhibition they were awarded the gold medal9. Soon after, on July 9, 1841, they were granted a patent (Privilegium) [by the imperial and royal Ministry for trade, industry and public buildings] for a period of two years, based on their “improvement of the gear of the ordinary musical playing machines” which replaced the “conventional double intermediate gear, by means of which the movement of the music cylinder is transmitted to the fan, using an endless gear with double windings”, which makes the mechanism “simpler and more approp-

Fig. 9b Mantle clock with movement Rzebitschek no. 17094

riate”. The report especially mentions that Willenbacher & Rzebitschek had specifically not applied to have this 10

invention kept secret .

all the top Swiss manufacturers; those sent to the Munich industrial exposition seemed to have been

At the exposition of industrial products in Munich

made less skillfully, or they had suffered in transport,

in 1854 Rzebitschek presented movements playing two

as their playing was not clear and precise enough”.

airs for 16 fl. [guilders], with three airs for 23 fl., with

Rzebitschek went away empty handed, whereas Josef

4 airs for 40 fl. and with 6 airs for 80 fl. The commen-

Olbrich from Vienna was awarded an honorary coin

tary states the following: “This is a well-established firm.

(see below). His movements “played excellently with

The movements which they sent to London had sur-

all clarity and precision, and they were all possessed of

passed in accuracy and roundness of playing [quality]

good intonation”11. Franz Rzebitschek also appeared with his movements at international expositions. In London in 1851,

9 Bericht über die zweite allgemeine österreichische Gewerbs-Producten-Ausstellung im Jahre 1839, Wien 1840, p. 449. 10 „… wobey das bisher gebräuchliche doppelte Vorgeläge, wodurch die Bewegung der Musikwalze auf den Windfang übertragen wird, durch ein Getriebe ohne Ende mit doppelten Windungen ersetzt werde“ (Wiener Zeitung 7. September 1841 p. 3, und 11. September 1841, Amtsblatt p. 409. See also Goldhoorn, pp. 41-43).

he is said to have won the gold medal, whereas the

11 Bericht der Beurtheilungs-Commission bei der allgemeinen deutschen Industrie-Ausstellung zu München im Jahr 1854, München 1855, p. 206.

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II. The manufacturers in Prague and Vienna

Swiss manufacturers were left without awards12. The

employees celebrated: in 1886 Emperor Franz Josef

official report commented: “From Austria was to be

bestowed the Silver Cross of the Order of Merit upon

found a firm F. Rzebitschek from Prague with four move-

the shop foreman Johann Hauptmann in recognition

ments of that kind, playing from two to six pieces

of his continuous work in this company for more than

each. With respect to the pureness of the musical per-

55 years18.

formance and sound this deserved the prize before all 13

others” . In Paris 1855, Franz Rzebitschek won second

Alois Maly enjoyed a close relationship with Franz Rzebitschek. He was born Mai 25, 1840, and his god-

prize (Medaille zweiter Klasse) , and in addition, his

fathers were Alois Willenbacher and Franz Rzebitschek.

brother Josef Rzebitschek received an honorable men-

He is named as a maker of musical boxes in the years

14

tion . Subsequently Franz Rzebitschek sent musical

1875 and 1876, and even as late as 1910 he is listed as

boxes to the exposition in London, 1862 as well as to

being resident in Prague19.

15

the exposition in Paris, 186716. At the exposition in Vienna 1873, Gustav Řebiček won a medal of merit17.

There are two additional manufacturers of note to be

Gustav Řebiček (fig. 8) operated the business from 1870

found in Bohemia:

to 1897; he died on May 1, 1916 (see the obituary).

Four movements bear the signature „Salisch und

The Rzebitscheks’ production was distinguished

Anton Nowak in Josefstadt“ (Josefov). Goldhoorn dis-

by an exceptional degree of continuity, manifested no-

covered the clockmakers Anton Novak, born on Septem-

tably on a very special anniversary which one of the

ber 25, 1819 in Vyškove, and Johann Florian Salisch, born on May 6, 1804 in Velkém Třebešově. However, they are not expressly declared as musical box makers20. Quite a number of movements by „Slawik and Preiszler“ (Prague) are extant. In 1859 we find the mechanic and clockmaker Joachim Slawik in the second district of Prague, Karlshofgasse no. 7, and Anna Preiszler, referred to as a musical box maker, at the address second district, Karlsplatz no. 28821.

Fig. 10 Movement by Slawik & Preiszler (no. 2988) mounted in a frame clock.

Vienna The production in Vienna was carried out by far more

12 Valeria Legena: Beteiligung der Musikdosenproduzenten an Ausstellungen, in: KlangKunst. 200 Jahre Musikdosen. Sonderausstellung des Schweizerischen Landesmuseums, catalogue ed. by Eduard Saluz, [Basel] 1996, p. 69, the awarding of the gold medal is not traceable. 13 Amtlicher Bericht über die Industrie-Ausstellung aller Völker zu London im Jahre 1851, von der Berichterstattung-Kommission der Deutschen Zollvereins-Regierungen, 1. Teil, Berlin 1852, p. 896. 14 Die Presse, 8. Dezember 1855, p. 3323 (announcement repeated on Dec. 10, 1855). 15 Agramer Zeitung, 28. Dezember 1855, p. 1, Joseph Rzebitschek, brother of Franz, maker of musical box movements, born 1814 in Daschitz, died 1867, stayed and worked at his brother’s house / business (see the conscriptions list from 1850, published in Goldhoorn p. 136f). 16 Announcements in: Wiener Zeitung, 8. Jänner 1862, p. 22 and Wiener Zeitung, 16. Februar 1866, p. 2. 17 Blätter für Musik, Theater und Kunst, 19. Jg., 5. September 1873, p. 119 (Gustav Řebiček in his chronicle speaks of a „progress medal”).

makers, but none of these artisans seems to have run an actual workshop with more than a few employees. The modest quantities in their output make this obvious.

18 Wiener Zeitung, Nr. 87, 16. April 1886, p. 1; and: Das Vaterland. Zeitung für die österreichische Monarchie 27. Jg., Nr. 107, 17. April 1886, p. 10; Johann Hauptmann, born 1816, entered the company then under the direction of Franz Rzebitschek in 1830 (Prager Tagblatt, 10 Jg., Nr. 122, 3. Mai 1886, p. 2). 19 Goldhoorn pp. 63-65; Narodni archiv, Prague, conscriptions lists (residence registry) 1850-1914. 20 Goldhoorn pp. 68f. 21 Adreßbuch der Königlichen Hauptstadt Prag, der Stadtgemeinden Karolinenthal, Smichow und der Bergstadt Wyšehrad, hg. v. Nikolaus Lehmann, Prag 1859, Abt. 1, pp. 144, 179.

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The most important makers were the Olbrich brothers, Anton and Josef; we may add to these two the names those of Anton Olbrich junior, Franz Einsidl (who worked alongside Johann Sagan for a short time), Karl Schidlo, August and Edmund Bartel, the “Brüder Stern“ company, Karl Kantek, Josef Wyskocil, Barbara Wyskocil, Josef Barbolany and Alois Kipper. Kipper published a very brief historical overview in 1924, stating that Anton and Josef Olbrich had started making movements in 1823, parted company in the sixties and from then on worked independently, with Anton

Fig. 11 Label on the back of a picture clock with a movement by Anton Olbrich nos. 3823/156.

making as many as 30 movements and Josef up to 15 movements per week. Kipper ends his account sadly: “Then the others came, namely Alois Bartl, Josef Schidlo,

musical clocks existing would lead one to that conclu-

Franz Einsidl, B. Kantek, Ed. Bartl, Josef Wyskocyl, Fr.

sion (see the following chapter on the technical design).

Agazzi, J. Barbolani and myself, and now after 100 years

It is only in 1831, 1834 and 1838 that he is referred to

the profession is dying; only the two of us are left. Alois

as an “artistic clockmaker” who also makes “musical

22

mechanisms”25. Götz never appeared or was named as

Kipper, Wien V. ” Here it does bear mentioning that prior to these

a maker of musical box movements or as someone who

developments, i.e., as from ca. 1806, some Viennese

produced musical boxes separately. His instruments

clockmakers had been credited with having copied

seem to be outliers in the history of Viennese musical

23

Swiss musical boxes . Yet, checking these names in the

boxes. One is at a loss to detect with Götz himelf or

commercial directories of those early years turns up

with any other – yet to be discovered – makers from

little if anything in this regard. Only one remark exists,

an earlier era anyone who exerted any influence on the

stating that Frantz Schuester [sic] had been commis-

development of the Austrian movements26.

sioned with the order to produce a pocket watch, which 24

One may add a slight addition to Kipper’s article

was to have a musical mechanism . Peter Götz is also

as follows: as early as 1821 Anton Olbrich is listed at

worth noting in this context as he equipped his mantle

the address “auf der Windmühl 34“, with the addition,

clocks with customized musical box movements. No

“also makes playing clocks”27. Helmut Ottner in his book

written information states unequivocally that he made

mentions the existence and activity of Olbrich as a manu-

such movements in these early years, although the

facturer of playing clocks for the year 1824, citing an announcement in the local paper (Wiener Zeitung of

22 Alois Kipper: Über Erzeuger der Spieluhren. Österreichische Uhrmacher Zeitung 1924 Nr.12 p. 275. See also Helmut Kowar: Einige Ergänzungen zur Biographie des Spielwerkherstellers Anton Olbrich in Wien. Studien zur Musikwissenschaft 47, 1999, pp. 243248. Please note: the names given by Kipper differ from the names and makers actually found. 23 Stephan von Keeß names Franz Schuster, Anton Ulbrich, Wenzel Götz, Heinrichson “and others“, and lists the going prices for a mechanism (without clock) in 1822: movements playing 2 pieces cost 50, 70 up to 90 fl.[guilders], with 4 pieces 145 fl., with 6 pieces 250 fl. (Stephan von Keeß, Beschreibung der Fabricate, welche in den Fabriken, Manufacturen und Gewerben des österreichischen Kaiserstaates erzeugt werden, vol. 2, Wien 1823, p. 208). 24 Heinrich Lunardi, Alte Wiener Uhren und ihr Museum. WienMünchen 1973, p. 50 (Lunardi does not give the source).

25 Anton Redl: Adressen-Buch der Handlungs-Gremien und Fabriken in der kais. kön. Haupt- und Residenz Stadt Wien […] für das Jahr 1831, Wien 1831, p. 227; J. B. Schilling: Adressen-Buch der HandlungsGremien und Fabriken der kais. kön. Haupt und Residenzstadt Wien  … für das Jahr 1834, Wien 1834, p. 342; See also Johann J. Czikann, Franz Gräffer: Österreichische National-Enzyklopädie, 5. Band, Wien 1838, p. 462: „Peter Götz, nächst der kaiserl. Burg, verfertigt vorzügliche Kunst- und Spieluhren“. 26 Helmut Kowar, Die Anfänge der Spielwerkerzeugung in Wien, in: International Forum on audio-visual Research. Jahrbuch des Phonogrammarchivs 8, Wien 2017, pp. 82-91. 27 Anton Redl: Handlungs Gremien Schema der kaiserl. Haupt und Residenzstadt Wien, Wien 1821, p. 228.

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II. The manufacturers in Prague and Vienna

Fig. 12a and b. Record of the residents in the house Laimgrube no. 138/6 in 1821 listing Anton and Josef Olbrich.

March 9, 1824) and giving his address for the year 1833.

scription lists with entries listing Anton Olbrich. The

In the announcement from 1824 Olbrich’s address is

list from 1821 with his address being “Laimgrube Nr.

“Vorstadt Laimgrube, Kothgasse Nr.138“; in 1833 it is

138/6” states that he was born in 1790, and that he came

28

“Laimgrube, obere Gestättengasse Nr.132“ . A picture

from Wünschelburg in the Prussian district of Silesia.

clock dated and signed “C.   L. Hoffmeister 1834“ not only

It is also stated that he had been acknowledged as a pro-

is equipped with a movement by Olbrich but also bears

fessional clockmaker since January 1, 1821. Also listed

29

a label on the back with his address: Laimgrube Nr.132

are his wife Magdalena, born in 1794, his son Anton,

(fig. 11). The archives of the city of Vienna keep con-

born in 1821, and his daughter Franciska, born in 1819. Moreover, Josef Olbrich, who was said to have been born in 1801 (obviously his brother) is listed at this

28 Helmut Ottner, Der Wiener Instrumentenbau 1815-1833, Tutzing 1977, p. 108. 29 D&S, Antike Wiener Uhren, catalogue of the sales exhibition 18.9.31.10.1998, Wien 1998, p. 156f.

address with the comment added “student of … [illegible] from Wünschelburg in Prussian Silesia” (fig. 12a, b). A list of the residents of this house which has been

31

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attached registers Josef Olbrich’s year of birth as 1797, but the added comment (student from Wünschelburg in Prussian Silesia) makes it clear that both entries denote the very same person. In addition, a chart also exists listing the foreigners in this house from 1830, again showing Josef Olbrich, born in 1797, thus repeating the comment on his place and date of birth. A conscription list from 1830 also exists for the building at Laimgrube no. 132 registering all the data pertaining to the Olbrich family, with the surname wrongly spelled “Ulbrich”. The profession of Anton Olbrich is now specified as “bürgerlicher Spieluhrmacher” (licensed playing-clock maker). Josef Olbrich does not appear – in 1830 he was still living on the premises at no. 138/6. In 1834 we find Anton Olbrich

Fig. 13 Movement by Josef Olbrich (no. 16503) fitted into the frame of a picture clock.

still at no. 13230, whereas in 1837 he is found living at house no. 13831, and then from 1839 on he lived in his 32

own house at “Neubau, Hauptstrasse 256” . Olbrich 33

that on January 1, 1843 the tax amounted to 10 guilders, on January 1, 1852 to 20 guilders, on January 1, 1853

is listed as the owner of this house as per 1837 . As of

to 40 guilders and on January 1, 1860 to 30 guilders.

1847 Olbrich lived at Gumpendorf, Hauptstrasse 70, in

On July 1, 1861 we find the remark: terminated 6/61;

a house owned by Joh. B. Marchetti; then from 1858

certainly this indicates that Olbrich’s business had been

he is to be found at Gumpendorf, Hauptstrasse 33, and

closed by June 186136. Four years later, on November

in 1863 he moved to Kasernengasse 5 (6th district)34. He

1, 1865 the liquidation of his property was initiated37.

obviously had sold his house as he no longer shows up

Olbrich seems to have died soon thereafter. There are

35

as the owner as of 1847 .

no records available on his year of death. In any case,

The tax registries shed some more light on Olbrich’s

one may notice that the directories for the years 1859

economic advancement. A first entry was made on

up to 1864 list both Anton Olbrich senior and junior.

January 1, 1828; his income tax at the time was set

But from 1867 on, only one Anton Olbrich appears.

at 5 guilders. As to the following entries, one can read

This may indicate that Anton Olbrich senior died in the mid-sixties. Obviously, Olbrich’s business was successful and his musical box movements became widespread

30 J. B. Schilling: Adressen-Buch der Handlungs-Gremien und Fabriken der kais. kön. Haupt und Residenzstadt Wien für das Jahr 1834, Wien 1834, p.344. 31 Franz B. Fray, Allgemeiner Handels Gremial Almanach für den österreichischen Kaiserstaat, Jahrgang 1837, Wien, p. 409. 32 Franz B. Fray. Allgemeiner Handlungs Gremial Almanach für den österreichischen Kaiserstaat, Jahrgang 1839, p.457. 33 Neuester, verbesserter Schema aller in der k.k. Haupt- und Residenzstadt Wien und in ihren Vorstädten befindlichen Häusern. Wien für die Jahre 1837, 1838 und 1839, p.189. 34 Adolph Lehmann, Allgemeines Adreß-Buch nebst Geschäfts-Hand buch für die k.k. Haupt- und Residenzstadt Wien und dessen Umgebung, 1. Jahrgang Wien 1859 and subsequent years; Handels- und Gewerbe Adressenbuch der österr. Monarchie hg. v. d. nied. österr. Gewerb-Verein 10. Jg. Wien 1853, p. 156. 35 Neuer, verbesserter Häuser-Schema der k. k. Haupt- und Residenzstadt Wien ed. by Carl Schwab, Wien 1847 and subsequent volumes.

throughout the eastern regions of the monarchy. His movements (for 22 guilders per unit) were also offered in Budapest and Debrecen by a Viennese firm for metal goods running outlets with its products in these cities38.

36 Wiener Stadt- und Landesarchiv, Steuerkataster (Archives of the city of Vienna, tax registry), Assignationsnummern 19019 and 64073. 37 Announced in Wiener Zeitung, 5. November 1865, p. 29, again ibid. 7. Dez 1865, 10. Dez 1865 (Amtsblatt 1865, Vol. 2, no. 282), 13. Dez. 1865; Die Presse, 7. Dez. 1865, p. 15. 38 Advertisement of the „k.k. priv. Pakfong-Metall-Waren-Niederlage des Franz Frank aus Wien“, in: Pesther Handlungszeitung. Kommerzial- und Industrie-Anzeiger 14. Jg. (1841) p. 51. Numerous ads also appeared in the following years.

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II. The manufacturers in Prague and Vienna

Much less is known about Josef Olbrich. He shows

“Spieluhrmacher” (maker of musical clock move-

up in the early directories only sporadically, from 1853

ments)44.

living at Gumpendorf, Mariahilferstrasse 33039, whe-

We also find musical boxes by Anton and Josef

re he remained until 1863. From that year on he is to

Olbrich at the following expositions: at the “industry

40

be found living at Mariahilferstrasse 103 . The “Wie-

exposition” in Munich, 1854 Josef Olbrich received an

ner Zeitung” from March 6, 1857 lists him as having

honorary coin “for his excellent musical box move-

died on February 28, 1875. Joseph Olbrich died of

ments”, and Anton Oblrich was awarded an honorable

41

old age, at 75 . We find but two entries with reference

mention at the “agricultural, industrial and art expositi-

to him in the tax registries: on January 1, 1848 his in-

on” in Paris 185545. In 1865 Josef Olbrich participated

come tax was set at 20 guilders, on January 1, 1849 it

in the “International Exhibition of Arts and Manufac-

42

was set at 10 guilders .

turers“ in Dublin where he presented “music boxes playing Irish, Scotch, English, German and Italian

Anton Olbrich senior and Anton Olbrich junior

melodies“46. The sources do not give any information

(born in 1821) are both listed in the directories up to

on whether he was awarded any distinction.

1864: Anton senior is registered as a “Spieluhrenfabri-

Anton and Joseph Olbrich worked together for

kant” (maker of playing clocks) and Anton Junior as

many years. Initially, and then later on, Joseph appeared

“Uhrmacher” (clockmaker); additionally, Anton senior

with individually signed movements. But even when

is listed in the section designated as “music machinists”.

they produced separately the brothers always num-

In 1865 and 1866 no one named Olbrich appears in

bered their movements jointly, which was certainly

the directories at all. Then in the years 1868 until 1892,

advantageous, especially in the treatment of the existing

once again, an Anton Olbrich is registered as a maker

musical repertoire and the creation and use of new mu-

of musical box movements and as a music machinist –

sical arrangements. It seems obvious that Anton Olbrich

apparently Anton junior had taken over the business

junior carried on his father’s and uncle’s production

from his father. We find him at different addresses:

and continued the numbering. Perhaps with the final

in 1857 at Gumpendorf 33, in 1861 at Bürgerspital-

numbers made by Joseph Olbrich, one can distinguish

gasse 429, from 1868 until 1873 at Kasernengasse 18, in

the transition to Anton Olbrich junior. This would

1874 at Kasernengasse 20, in 1875 at Andreasgasse 5, in

make sense, but here there is no definitive proof. Anton

1877 at Esterhazygasse 28, in 1880 again at Kasernen-

Olbrich junior was granted a patent on August 31,

gasse 18, 1881 and 1882 at Kasernengasse 6, 1883 until

1875: he had invented a specific machine for the exact

1889 at Mariahilferstraße 76, 1890 at Nelkengasse 5,

graduation of straightedges, tools, milling machines,

43

1891 and 1892 at Mariahilferstraße 110 . Josef Olbrich

etc.47. His invention is explained in detail, and a clear

died on March 30, 1892, his address then being 6th district, Hirschengasse 5. His profession is given as

39 Handel-und Gewerbe Adressenbuch hg. v. d. nied. österr. GewerbVerein 10. Jahrgang, 1853 p.156. 40 Adolph Lehmann‘s allgemeiner Wohnungs-Anzeiger nebst Handelsu. Gewerbe-Adressbuch für d. k.k. Reichshaupt- u. Residenzstadt Wien u. Umgebung. Wien 1861 S. 228 (and the following volumes). 41 Wiener Zeitung, 6. März 1875, p. 8. 42 Archiv der Stadt Wien, Steuerkataster (Archives of the city of Vienna, tax registry), Assignationsnummer 82077. 43 See Adolph Lehmann‘s allgemeiner Wohnungs-Anzeiger: nebst Han dels- u. Gewerbe-Adressbuch für d. k.k. Reichshaupt- u. Residenz stadt Wien u. Umgebung. Wien, 1859 and the subsequent volumes.

44 Die Presse Nr. 90, 30. März 1892, p. 3; Wiener Zeitung Nr. 79, 6. April 1892, p. 14. 45 Wiener Zeitung, 11. November 1854, p. 2; Die Presse, 15 November 1855, p. 3; Wiener Zeitung, 12. Dezember 1855, p. 3; Die Presse, 12. Dezember 1855, p. 11. 46 Dublin International Exhibition of Arts and manufactures, 1865. Official Catalogue, Fourth Edition, Dublin 1865, p. 59; Henry Parkinson, Peter Lund Simmonds (ed.): The illustrated record and descriptive catalogue of the Dublin International Exhibition of 1865. London 1866, p. 394. A report on that appeared in: Neues FremdenBlatt, Nr. 65, Wien 18. Juli 1865 p.14, und Nr. 66, Wien 19. Juli 1865, p. 13-14. 47 Wiener Zeitung, 22. Dezember 1876, Amtsblatt Nr. 292, p. 1384. Document published in Goldhoorn, pp. 150-157.

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Musical boxes from Prague and Vienna

no. 46 (6 th district), 1878 at Richtergasse 8, 1879 again at Mollardgasse 46 50. Einsidl died on March 20, 1880 51. The tax registries show that his income tax was set at 10 guilders on January 1, 1849, at 30 guilders on January 1, 1853, at 20 guilders on July 1, 1855, and at 10 guilders on January 1, 1859 52. Another entry in the registries states that his tax number had been cancelled as of July 1, 187853. As early as 1876 he is no longer listed as a craftsman. At first Einsidl worked alongside Johann Sagan. Sagan was born in Vienna on March 1, 1816 and started out working as a turner before going on to produce metal goods. In the years 1854 to 1856 he is named as Fig. 14 Movement by F. Einsidl (no. ?045, the number has not fully been preserved as the corner has been cut off) affixed to the bottom board of an anniversary clock (mantle clock).

a maker of music mechanisms for playing clocks, staying in the same house as Einsidl at Pelikangasse 5154. The cooperation ended when Einsidl moved to another address (see above), and from 1857 on, Sagan’s

reference with respect to the manufacture of musical

profession is merely registered as that of turner. If one

box movements is obvious, although not expressly stated. Franz Einsidl, another of the prominent artisans living and working in Vienna, was born on March 3, 1820 in Großharras (Lower Austria). In 1851 he and his family are listed as residents in Vienna, Pelikangasse 21, located in the suburb of St. Ulrich. The records name him as having been a licensed maker of musical box movements since November 11, 184948. From 1851 his profession is also given as that of clockmaker and maker of “steel-spring playing mechanisms”. Often as a supplement the term “music-playing clockworks factory” (Musik-Spieluhrwerk-Fabrik) is added. In 1856 he moved to Neubau, Hauptstrasse 28249. He

Fig. 15 Movement by Schidlo (no. 552) affixed to the bottom board of an anniversary clock.

seems to have moved house several times. We find him living variously e.g., in 1864 at Richtergasse 3 (7th district), 1865 at Andlergasse 2, 1867 at Richtergasse 5, 1868 at Richtergasse 8, 1870 again at Andlergasse 2, 1873 at Richtergasse 8. In 1875 his name is missing in the directories. In 1876 and 1877 he lived at Mollardgasse 48 Wiener Stadt-und Landesarchiv, Konskriptionsbogen St. Ulrich 21, Blatt 18. 49 Handels und Gewerbe-Adressenbuch der österreichischen Monarchie, herausgegeben von dem nied. österr. Gewerb-Verein, Wien, 8. Jg. 1851, S.762, ebd. 13. Jg. 1856, p. 349.

50 Adolph Lehmann, Allgemeines Adreß-Buch nebst Geschäfts-Hand buch für die k.k. Haupt-und Residenzstadt Wien und dessen Umgebung, 1. Jahrgang Wien 1859 and subsequent volumes. 51 Wiener Stadt- und Landesarchiv (archives of the city of Vienna), Totenbeschauprotokolle vol. 355 fol. 426. 52 Wiener Stadt- und Landesarchiv, Erwerbsteuer Konten Assign. Nr. 85377. 53 Wiener Stadt- und Landesarchiv, Erwerbsteuerkataster, Einsiedl Franz. 54 Wiener Stadt- und Landesarchiv, Konskriptionsbogen St. Ulrich 21 Blatt 14 and 15, undated; Franz B. Fray, Allgemeiner HandlungsGremial Almanach für den österreichischen Kaiserstaat, Wien 1848, p. 374; Handels und Gewerbe-Adressenbuch11. Jg. 1854 p. 165; id. 1855 p. 171; id. 1856 p. 72.

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II. The manufacturers in Prague and Vienna

estimates that Einsidl made ca. 10.000 movements

From 1867 on we find the company belonging to the

over 30 years, it then seems realistic that he and Sagan

Stern brothers, “Brüder Stern“, at Hoher Markt 13.

cooperated on about 1.200 movements during those

The brothers Adolf and Anton Stern ran a company

years. It becomes completely clear from the sources

dealing in tools for clockmakers. Starting in 1872 they

that Sagan only worked for a few years together with

are listed as clock dealers and from 1876 on, their busi-

Einsidl and never produced musical box movements

ness is referred to as a factory making clock cases and

55

56

independently  . Franz Einsidl’s son, Joseph Einsidl  ,

pendulum clocks, by that time located at Fischhof 3.

eventually took up the trade as well, joining his

From 1881 on, only Adolf Stern is listed as a dealer of

father in the family business as a maker of musical box

clocks, parts of clocks and tools (at the same address).

movements. He died at the age of 26 on January 30,

In 1883 he is again listed as a manufacturer of clock

57

1875  , and never appeared as a maker in his own right.

cases and pendulum clocks, the last entry dating from the year 188660. Although the “Brüder Stern” company

Taking the makers chronologically, the next Viennese

is never expressly mentioned as having made musical

playing-works manufacturer is Karl Schidlo in the

box movements, it is the only company bearing this

district of Hernals, at Petersgasse 357. From 1864 on

name in Vienna and a connection or relationship to

th

we find him in the 7  district at Kaiserstrasse 12. In

musical box movements seems natural. Perhaps they

1876 he moved to Zieglergasse 92 and thereafter until

made movements as a side line to their main business.

1903 he is identified as a maker of melodions (hand-

In any case, all other persons named “Stern” at that time

cranked reed organs) and barrel organs, living at

had nothing to do with musical boxes or clocks, and the

58

various addresses  . Hence, he was active as a maker

signatures on the movements as well as the numbering

of musical box movements only until 1875. Hardly

point towards an independent production. It is unlikely

any of his instruments have surfaced so far.

that Brüder Stern only resold instruments made by other makers and had their numbers and name stamped on

August Bartel is listed during the years 1865-

the movements.

1881 in the section on music machinists as a fashioner of playing movements (“Spielwerkverfertiger”), his th

From 1876 until 1881 we find another maker, Karl

address being 6   district, Schmalzhofgasse 16. In 1882

Kantek, in the directories at Tigergasse 33 (8th dis-

his name is missing, and from 1883 until 1928 we

trict), listed as a maker of musical box movements61. Two

find Edmund Bartel – obviously his son – at this

movements bearing his signature have surfaced so far.

59

very address, as a maker of musical clocks . However, no movements bearing Edmund Bartel’s signature have

Starting in 1882 Josef Wyskocil is recorded as a

been found.

maker of musical clocks at Mariahilferstraße 103 in the 6th district62, and in 1886 he moved to Mariahilferstraße 63. As from 1889 he began referring to himself

55 Helmut Kowar, F. Einsidl and J. Sagan in Vienna. In: Mechanical Music (Musical Box Society international), vol. 51, spring 2005, pp. 24 – 31. 56 Joseph Einsidl was born on February 29, 1848 (Wiener Stadt- und Landesarchiv, Konskriptionsbogen St. Ulrich 21 Blatt 18, entry made 1851). 57 Wiener Zeitung Nr. 27, 4. Februar 1875, p. 8; Das Vaterland Nr. 35, 4. Februar 1875, p. 3; Neues Fremdenblatt Nr. 37, 6. Februar 1875 p. 16. 58 Adolph Lehmann‘s allgemeiner Wohnungs-Anzeiger nebst Handelsu. Gewerbe-Adressbuch für d. k.k. Reichshaupt- u. Residenzstadt Wien u. Umgebung. Wien 1859 p. 693, and subsequent issues. 59 Lehmann op. cit. 1865, p. 547, and subsequent issues.

as Josef Olbrich’s successor (“Josef Olbrich’s Nachfolger“), – this being 14 years after Josef Olbrich’s death! From 1901 his address is given as Mariahilferstraße 43, in 1905 he adds to his name “formerly Josef Olbrich” (“vormals Josef Olbrich“). In 1906 his widow Barbara Wyskocil took over the business and moved to Ziegler60 Lehmann op. cit. 1867, p. 283 and 807, and subsequent issues. 61 Lehmann op. cit. 1876, p. 283 and 807, and subsequent issues. 62 Lehmann op. cit. 1882, p. 1042, and subsequent issues.

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gasse 36 in the 7th district. Her business was now referred to as a music mechanisms maker, with the addition “formerly Josef Olbrich“. The last entry of this kind comes from 1925. She is, however, still to be found at this address in 1926, but is registered as a cleaning woman. Most probably, she had closed her business in 1925. In 1890 the Austrian-Hungarian clock makers’ journal mentions, apart from Anton Olbrich, Edmund Bartel

Fig. 16 Stamp (signature) on the comb base of the movement no. 10335 by Anton Olbrich.

and Josef Wyskocil, a certain Josef Barbolany, who was living in the Fünfhaus district, at Lichtgasse no. 6 63.

ker“)69. It was not possible to confirm as it stands,

In 1890 Josef Barbolany (also spelled Barbolani) is

Kipper‘s listing of the makers in Vienna who came after

recorded at this address as a background actor active

Anton and Josef Olbrich – or perhaps it merely contains

at the court theater. From 1891 on, his profession is

some minor errors: Alois Bartl, Josef Schidlo and B.

64

given as a maker of musical clocks . As from 1901 he

Kantek do not appear, and it might very well be that some

is listed as living at Mariahilferstraße 142, in 1909 at

confusion occurred concerning their first names. The

th

Grünberggasse 6 (12 district), and in 1910 at Zeno-

persons recorded are probably identical with August

gasse 6. As late as 1913 he is listed as a maker of musical

Bartel, Karl Schidlo and Karl Kantek. At least for now,

clocks, but in the following years his profession is no

only one person, Fr. Agazzi, has remained untraceable.

longer recorded. In 1918 he moved to Hietzinger Haupt-

Kipper died in 1952 at the age of 78. He was buried

straße 127 where we can find him until 1921.

on July 19, 1952, in the cemetery in Meidling (Vienna)70. The advertisements (the example taken is from „Das

On searching through the advertisements in Viennese

interessante Blatt“) make it perfectly clear: at the be-

newspapers and journals one comes across Alois

ginning of the 20th century it was no longer possible to

Kipper, listed as a maker of musical mechanisms and

make a living exclusively from making musical boxes.

in addition to being a salesman of gramophones and orchestrions from 1900 on. At first we find him in the 5th district at Siebenbrunnengasse 5865, 1902 in the 12th district at Margaretengürtel 3366, 1903 at Arbeitergasse 867 and from 1912 on in the 5th district at Schönbrunnerstraße 14968. The directory of Adolph Lehmann lists Kipper from 1913 until 1941 at this address, giving his profession as that of a “music mechanisms maker and mechanic” (“Musikwerk-Erzeuger und Mechani-

63 Österreichisch-ungarische Uhrmacher-Zeitung, 9. Jg., Mai 1890, p. 92; Lehmann 1890, p. 237. 64 Lehmann op. cit. 1891, p. 237, and subsequent issues. 65 Neues Wiener Journal 8. Juli 1900, p. 20. 66 Das interessante Blatt Nr. 44, 4. November 1902, S. 21 (The advertisement is repeated in the subsequent issues of the journal until 1910). 67 Neues Wiener Journal 24. Dezember 1903, p. 16. 68 Illustrierte Kronen Zeitung 2. Juni 1912 p. 31, and other newspapers (Kipper is named here as a member of the Austrian talking machine retailers association).

69 Lehmann op. cit. 1913, vol. 1 p. 1049, vol. 2 p. 604, and subsequent issues. 70 Burial registry: http://www.friedhoefewien.at/eportal2/

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In the formative years of musical clock making as a

ted on the left side of the comb, as is customary with

craft, we encounter Peter Götz, a clockmaker in early

Swiss musical box movements of the time, although it

19 century Vienna, who seems to have been a law un-

would be more typical for these Austrian movements

to himself while the general development of the art and

to have the bass on the right side. One movement con-

its trade was already well underway elsewhere, inde-

sists of 42 tones; the cylinder is 9.1 cm long and has a

pendent of his activities: and here we need to name four

diameter of 2.9 cm. The cylinder of the other move-

particular musical clock movements, each with a

ment (playing 48 tones) measures 6.6 cm in length and

completely different type of construction, which he

is 2.5 cm in diameter1. A grid pattern is engraved on

integrated into his clocks, three of which are signed

the cylinder (reminiscent of that found in Swiss mecha-

th

“Peter Götz in Wien” on

nisms), and the sections of

the bedplate. Two of the

the comb are screwed onto

four movements, which

a wedge-shaped base, hence

are built into the base of

the teeth point slightly up-

mantle clocks, are on dis-

wards, this being a rare

play in the “Geymüller-

feature and in addition, re-

schlössel” (a department of

presentative of the specific

the Museum for Applied

construction style of this

Arts in Vienna). With

maker. Another of the four

both of these movements,

movements can be found

the comb consists of sec-

in the base of a kind of

tions of two teeth each,

carriage clock (private col-

thin oscillating reeds, and

lection, Vienna), with Peter

in the case of one clock,

Götz’ signature on the bed-

two tracks on the cylin-

plate. The comb consists

der govern the motions of

of 22 sections, their teeth

two cupids busily engaged

arranged in pairs (44 tones),

in working in a forge (fig.

the cylinder displays a grid

17a, 17b). The bass is loca-

pattern and the spring bar-

Fig. 17a Mantle clock with automaton and musical box movement by Peter Götz (Vienna). Coll. Sobek, Geymüllerschlössel, Museum for Applied Arts, Vienna (MAK)

1 Helmut Kowar: Spielwerke. Musikautomaten des Biedermeier aus der Sammlung Sobek und dem MAK. Wien: MAK – Österreichisches Museum für angewandte Kunst 1999, pp.100-103 (MAK, Sammlung im Geymüllerschlössel Inv. Nr. Br. 1534, Br. 1535); Erika Hellich: Alt-Wiener Uhren. Die Sammlung Sobek im Geymüllerschlössel 1750-1900, München: Callwey 1978, pp. 68, 79.

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as well as with respect to the way they were intended to be assembled. At some point a standard model with a two-tune movement emerged which was gradually to be adopted by all makers in both Austrian capital cities, with virtually no variants discernable from one maker to the other. All larger mechanisms as well, playing three or more tunes followed the same technical principles of this standard model. To be sure, with such movements it is possible to find more and greater variFig. 17b Movement by Peter Götz in a mantle clock.

ations within the standard dimensions of the individual components. In most cases, the musical box move-

rel is positioned between two plates. Its movement plays two melodies from Mozart’s The Magic Flute, and on the clock the figure of Papageno can be seen playing his flute, leaning against a central birdcage with two birds inside, with the dial forming the lower part of the birdcage. This clock is said to have been fashioned around 1810. One can find a similar clock with an identical movement, a comb with 44 tones having sections with 2 teeth each, in the clock museum in Bratislava (Slovakia), but this clock does not bear any signature2. It is important to emphasize that these movements developed by Götz were hardly designed to form standalone units, having been individually adjusted and fitted onto the base, inside of the clocks. Obviously, Peter Götz not only created the clockworks but also designed the musical movements. Perhaps he had even started making musical movements before Olbrich and Rzebitschek entered the business. However, Götz seems not to have continued to fashion his musical works of art and as a result, he turns out not to have been particularly significant historically in the development of Viennese musical box movements that was to follow. We may distinguish two chapters in the history of the construction of Prague and Viennese musical

ments bear a signature on the comb, it sometimes being repeated on the bedplate or on the comb’s base. Usually, two numbers can be found, stamped on the bedplate in two lines, the upper line bearing the so-called “music number” denoting the movement’s musical program, with a lower line listing the “figure” (Zahl), or current serial number, i.e. the production number of the instrument3. These numbers were occasionally written on the tune sheet by hand as well, meaning that in the fortunate case part of the sheet may still be affixed to the housing, the music number visible can be considered beyond dispute. However, some tune sheets still exist with the one or the other number missing. Towards the end of the 19th century, when cast-iron bedplates came into use (not with Rzebitschek in Prague), the numbers were no longer stamped onto the bedplate. Instead, they were scratched on the cap of the cylinder, or sometimes stamped on the bearing of the cylinder’s axle, as these were still being made of brass. Often, it is only the scratched music number which remains. The typical positioning of the bass teeth on the right end of the comb became a general feature of the Austrian movements, one’s vantage point being determined by the position of the signature / lettering,

box movements. On looking at the trajectory of their development, we find a number of component parts which, from their inception, varied in size and design

2 Peter Fritsch: „Wiener“ Reiseuhren, Wien (FCP Eigenverlag) 2010, pp. 80, 446. Another, similar-looking „Papageno“ clock is in the Smidt Múzeum in Szombathely (Hungary); with this clock the ground board is missing. Possibly there was a musical movement fitted to it.

3 This is the terminology as it was used by the Austrian manufacturers. It differs to the Swiss numbering systems which give a production – or serial number and a Gamma number. Starting with a number for each tune, Nicole later on began using the system of Gamma num bers designating the tuning of the comb and the repertoire of a musical box (Paul Bellamy, Arthur Cunliffe, Roy Ison: The Nicole Factor in mechanical music, [s.l.] Musical Box Society of Great Britain, 2006, p. 92f). The “music number” always refers to the mu sical program, which is set on the cylinder.

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Fig. 18 Movement by Josef Olbrich (nos. 19566 / 3748) playing 4 tunes, the case itself is new.

located either on the comb or on the bedplate (fig. 18)4. An additional, distinctly Austrian feature manifested itself in the construction of the start/stop mechanism, as its construction differs from that of the Swiss products significantly (fig. 19a-d). Initially – with the exception of Peter Götz – the entire production of musical box movements throughout the Austrian monarchy originated with Franz Rzebitschek (in cooperation with Alois Willenbacher) in Prague and with Anton Olbrich (in cooperation with his brother Josef) in Vienna. Amazingly, some very early movements by Olbrich have come to light, whereas the earliest pieces signed “Rzebitschek” or “Willenbacher & Rzebitschek” are already examples of the standard model or its slightly smaller forerunner, bearing more or less high production and music numbers. Apparently, Rzebitschek dispensed with signing his earlier movements, but due to their method of construction along with their numbers, they can be attributed to him with a considerable degree of certainty. A series of similarly early, unsigned movements with sectional combs exists, which were made either in Prague or Vienna. All the other makers who were to follow simply emulated the example of Olbrich and Rzebitschek.

4 For deliberations and speculation on economic, political and trade measures which could have affected the construction of musical boxes in Austria see Arthur W.J.G. Ord-Hume: Viennese Cylinder Music Boxes, in: Mechanical Music 40, no. 1, spring 1994 pp. 20-24; id.: Viennese-Style Musical Boxes. Why are they so different? In: The Music Box vol. 16, no. 5 (1994), pp. 132-134;

Fig. 19a-d Start/stop mechanism a) Einsidl no. 2209 (Vienna), b) Olbrich no. 62 (Vienna), c) Slawik & Preiszler no. 2687 (Prague), d) Rzebitschek no. 28008 (Prague)

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The instruments’ typology may be structured in chap-

work. It was greeted with much acclaim by the estab-

ters as follows:

lishment’s regular guests and [the brothers] received a considerable number of orders. Now they had to im-

a) early Olbrich movements and the two-tune movements by Olbrich b) early Willenbacher & Rzebitschek movements and the two-tune movements by Rzebitschek, c) early and unsigned movements, which could have originated either in Prague or Vienna, d) two-tune movements made by other manufacturers,

prove on it [their creation] and made machines based on their own construction type; then they put 2, 3, 4, 5, tones together and attached them, and in the years 1836-1840 they made combs of one piece […]” (sic)5. Another source names Olbrich as a maker of movements as early as 18216. Musical box movements with combs actually as-

e) general characteristics of the two-tune standard

sembled of single teeth have not yet come to light. Up

model,

to now seven movements have turned up, which have

f) movements playing three or more tunes as well as

combs having sections with two teeth each. They are

specially designed, ad hoc constructions.

signed by Olbrich and two of them may be dated with some degree of accuracy:

Two additional topics are essential and characteristic as concerns the appearance of the Austrian musical boxes:

1. Christian Eric fills us in on the particulars of a movement he restored (fig. 20). This comb consists of 94

g) the housing, i.e. the clockworks and their cases,

teeth having 47 sections with 2 teeth each; its cylinder

h) the tune sheets.

is 20.9 cm long (3 cm in diameter) and bears the letters “AO” on its surface, meaning Anton Olbrich, as

a) Anton Olbrich

becomes clear on observing comparable movements (see the following examples). The fusée drive (with string and worm) is uncommon; it is only customary

We are told that Olbrich started making playing works

in early Swiss musical boxes. Eric found “vecit (!) F. Feick

in 1823: “Movements were not made in Vienna until

1823/3 Win (!) “, scratched on the inside of the spring

1823; in fact the Olbrich brothers, Anton and Josef, who

housing. No clock maker of this name was known in

had come from Silesia, Anton a clockmaker, Josef a mu-

Vienna at that time, but in any case, the maker of the

sician, made a small movement, screwed on each tone

drive or merely of the spring housing immortalized

separately and went off to the inn ‘to the Red Cock’

himself there along with the date “March 1823”; this

(7 district, Kanalgasse) and there displayed their handi-

most probably refers to the time the movement as a

Fig. 20 Movement by Anton Olbrich, signed “AO” on the cylinder surface.

5 „Spielwerke sind erst im Jahre 1823 in Wien gemacht worden, und zwar haben die Brüder Anton und Josef Olbrich, aus Schlesien stammend, Anton ein Uhrmacher, Josef ein Musikant, ein kleines Spielwerk gemacht, jeden Ton angeschraubt und sind in das Gasthaus ‚Zum roten Hahn‘ (VI. Bezirk, Kanalgasse), gegangen und ließen dort ihr Musikwerk spielen. Es hat unter den dort verkehrenden Bürgern einen großen Beifall gefunden, und sie haben mehrere Bestellungen bekommen. Jetzt mußten sie es verbessern und haben auch Maschinen nach eigener Konstruktion gemacht, dann haben sie 2, 3, 4, 5 Töne zusammen gemacht und angeschraubt, im Jahre 1836-1840 haben sie ganze Stimmkämme gemacht […]“ (Alois Kipper, Über Erzeuger der Spieluhren. Österreichische Uhrmacher Zeitung 1924 Nr.12, p. 275). 6 Anton Redl: Handlungs Gremien Schema der kaiserl. Haupt- und Residenzstadt Wien, Wien 1821, p. 228.

th

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whole was made. As to the communication to me from Christian Eric, he even succeeded in identifying one of the melodies as the “hunters’ chorus” from the opera “Der Freischütz” by Carl Maria von Weber (1821). The movement is placed in the base of a mantle clock7. 2. In 1997 the auction house “Dorotheum” in Vienna put a painting up for bidding, which displayed a musical picture clock by the famous painter, Carl Ludwig Hoffmeister. The painting is signed “C.L. Hoffmeister 1824” and shows a typical scene drawn from the Vienna of the time, where we see in the foreground the emperor arriving in his carriage being drawn by six horses. The musical movement is located behind the picture and is affixed to the backing. The comb has 78 teeth with sections of two teeth each, the cylinder is 11 cm long and has a diameter of 2.5 cm. “AO” is stamped on the cylinder’s surface as well as on the edge of the bedplate, and here the “AO” is preceded by the number “10”8. The movement plays two tunes, its fan being adjustable and the toothed rim of the spring housing engages a cogwheel on the cylinder axle. The combination of picture clock and musical movement seems to be original, as there are no signs of later alterations. The dating of the painting makes sense with respect to the movement (fig. 21 a-c). The significance of the number 10 is unclear, as it could either be the production number or perhaps the music number. Despite this lack of clarity, it seems to be the lowest number discovered so far and in any case represents one of Olbrich’s earliest pieces. One may note in passing that the question does arise as to whether Olbrich ever made

Fig. 21a-c Movement by Anton Olbrich stamped “10 AO” on the bedplate edge and “AO” on the cylinder.

combs with single teeth at all as Kipper stated in 1924. 3. In his book on Austrian playing works production in the 19 century, Luuk Goldhoorn presents a virtually th

identical musical movement playing two tunes: its comb also has 78 teeth divided into sections with

two teeth each; its cylinder measures 11.2 cm with a 2.5-cm diameter. “AO” is stamped on the surface of the cylinder, with no accompanying number9 (fig. 22). This movement presents perhaps the earliest example of a cylinder driven by a lantern wheel.

7 Christian Eric: Anton Olbrich’s Unique Viennese Musical Clock, in: Mechanical Music vol. 59, no. 6 (2013), pp. 12-19. 8 Helmut Kowar: Two very early Anton Olbrich movements found in Vienna, in: Mechanical Music vol. 44 no. 2 (1998), pp. 11-13.

9 Luuk Goldhoorn: Die österreichische Spielwerkemanufaktur im 19. Jahrhundert, [Utrecht 1999], p. 48f, 76f.

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be equipped exclusively with lantern-drives”. The new machine designed by Altmütter allowed for a higher level of precision production of this kind of gear, as Altmütter explains: “it is practically impossible to drill the holes in the two discs by hand at the proper distance from each other in such a way that they face each other exactly, i.e., are placed together correctly in general, even should an accurate measurement have been attempted.”11.Yet this Fig. 22 Movement by Anton Olbrich stamped “AO” on the cylinder.

development seems not to have extended to Prague, as with the Prague movements, only cogwheels remained in use.

Excursus: The lantern wheel represents a unique feature in the development of Viennese musical box movements. Anton Olbrich used them almost exclusively, although towards the end of his production, he increasingly began replacing them with ordinary cogwheels. Here we frequently find lantern wheels with movements made

4. A very similar movement showed up in the auction of the “Dorotheum” in Vienna on April 4th 2018 (fig. on back cover). The cylinder measures 11.2 cm in length with a diameter of 2.5 cm, with its comb again consisting of 78 teeth organized in pairs. The fan is adjustable and again we find a lantern wheel. The “AO” is stamped

by Josef Olbrich and Franz Einsidl as well. As early as 1825, Karl Karmarsch refers to the widespread use of the lantern drive10 and even provides us with an illustration of it: Georg Altmütter, professor of mechanical engineering at the Polytechnic Institute in Vienna starting in 1816, described the particulars of the lantern drive in the institute’s yearbook in 1826, and even designed a machine that made it possible to produce lantern wheels with a high degree of precision. In his description of a lantern wheel he states: “Such a device consists of two – mostly

Fig. 23 Movement with the engraving “Anton Olbrich in Wien” on the bedplate (underneath the comb) and “AO” stamped on the comb’s base and on the cylinder.

brass – discs; they are connected by a central component, to which the steel axle of the whole piece is attached […] The required number of holes is drilled through both discs, and into these holes well-polished steel sticks are inserted, replacing the teeth of the cogwheel [...] Such lantern-drives are much easier to produce than the solid ones, indeed, they [the solid ones] cause too many difficulties [so that the choice of a more sophisticated device speaks for itself]. Thus, the running gear of the larger musical clocks, automata and similar machinery tends to

10 Karl Karmasch: Einleitung in die mechanischen Lehren der Technologie, erster Band, Wien 1825 pp. 153f, Taf. IX Fig. 30.

11 „Ein solches besteht aus zwei, meistens messingenen, Scheiben; diese sind durch ein Mittelstück verbunden, in welchem wieder die stählerne Achse des Ganzen befestigt ist […] Durch beide Platten wird die nöthige Anzahl Löcher gebohrt, und in diese setzt man die wohlpolirten, statt der Zähne dienenden runden Stahlstäbe fest ein. […] Solche Laternen-Getriebe sind sehr viel leichter zu verfertigen, als die massiven, ja diese machen meistens so viele Schwierigkeiten, dass man jene nothgedrungen wählen muss. So haben die Laufwerke der größeren Spieluhren, der Automaten und ähnlicher Maschinerien, fast durchaus Laternen-Getriebe“ […] „Die Löcher in beide Platten in der gehörigen Entfernung, so, dass sie einander genau gegenüber, und überhaupt richtig stehen, durch die gewöhnlichen Mittel aus freier Hand, auch wenn eine genaue Eintheilung vorausginge, zu boh ren, ist ebenfalls praktisch unausführbar“. Georg Altmütter: Beschreibung einer neuen Vorrichtung zur Verfertigung der hohlen, oder sogenannten Laternen-Getriebe, in: Jahrbücher des k.k. polytechnischen Instituts in Wien, achter Band, Wien 1826, p. 54f. (the whole article appears on pp. 53-74, Taf. IV Fig. 1-9).

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on the cylinder’s surface as well as on the front edge of the bedplate. The movement is built onto the base of the mantle clock. 5. A private collection in Vienna contains a somewhat smaller movement, its comb having 68 teeth, again in sections set in pairs. The cylinder is 9.1 cm long with a diameter of 2 cm and the instrument plays two melodies, its axle having a solid cogwheel. On the bedplate beneath the comb, we find a beautifully engraved inscription: “Anton Olbrich in Wien”. In addition, the letters “AO” are stamped on the surface of the cylinder amidst the pins and on the comb’s base. Hence, with that movement the meaning of “AO” becomes perfectly clear (fig. 23). This elaborate signature has not shown up a second time so far, leading one to speculate that the movement may well be a very early one. There are no numbers to be found, but some remarks are scratched on the bedplate, possibly indicating later repair work undertaken in 1844 and again in 1849: “10 [?] 9/849 Jos. Stelzer rep 7 [?]/844“12. 6. This movement bears a similar but smaller engraving on the bedplate (“Anton Olbrich in Wien”), the letters “AO” are stamped on the cylinder and on the surface of the bedplate along with the number 56. The cylinder is 16.8 cm long and measures 3 cm in diameter; on the axle we find a cogwheel. The comb has 84 teeth consisting of 42 sections set in pairs. The fan is adjustable and the movement plays three melodies (fig. 24 a-d). 7. Very similar to the former, this movement has a 16.9-cm-long cylinder with a diameter of 3.1 cm, a sectional comb with 86 teeth (43 sections set in pairs). A small silver plate is affixed to the front of the comb’s base which bears the inscription “Anton Olbrich in

Fig. 24 a-d “Anton Olbrich in Wien” with no. 56 on the bedplate and “AO” on the cylinder.

Wien”, the letters “AO” being stamped on the cylinder’s surface. The cylinder is driven by a lantern wheel. There are no numbers to be seen (fig. 25a, b).

On March 3, 1824, Olbrich published an assessment of himself which was in some respects quite astonishing; he actually placed an advertisement in the leading

12 Helmut Kowar: Two very early Anton Olbrich movements found in Vienna, in: Mechanical Music vol. 44 no. 2 (1998), pp. 11-13.

Viennese newspaper of the day, referring to it as an “artmusic-announcement” (“Kunst-Musik-Anzeige”):

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“The undersigned has the honor to announce to all admirers and connoisseurs of art – of every station in life, that he has been so fortunate as to have succeeded in expanding the heretofore common small steel-spring harmony [music boxes] considerably, specifically for use in larger pieces of furniture, and that he, [moreover], has achieved outstanding beauty and volume of sound; that he has now made it possible to perform every kind of music, not only pieces of ordinary length but overtures, rondos etc. as well, and that he has in addition succeeded in making movements with several cylinders, which may be inserted and removed by one and all with ease. In order to facilitate the acquisition of such movements in connection with good clocks, with caskets, or other pieces of furniture, by all esteemed lovers of art, Anton Olbrich, art-clockmaker, Suburb Laimgrube Kothgasse Nr. 135, first floor, recommends himself for direct orders”13. Many examples confirm Olbrich’s Fig. 25 a-b “Anton Olbrich in Wien” on the label fixed to the comb base and “AO” stamped on the cylinder.

information concerning different dimensions of movements, yet his remarks on interchangeable cylinders are surprising. With such a development, Olbrich would have been far ahead of the Swiss. However, such movements with interchangeable cylinders by Olbrich have not yet come to light14. I also have yet to come across movements by Olbrich with sectional combs set in groups of 3 or 4 teeth each as mentioned by Kipper.

Fig. 26a “A. Olbrich in Wien” on the comb, “Jodler 42” scratched on the edge of the bedplate.

Fig. 26b “A. Olbrich in Wien” on the comb, “Jodler 42” scratched on the edge of the bedplate.

13 „Der Unterzeichnete gibt sich die Ehre, allen resp. Kunstliebhabern und Kunstkennern jedes Standes ergebenst anzuzeigen, dass er so glücklich gewesen sey, die bereits bekannte kleine StahlfederHarmonie schon bis zu bedeutender Größe, besonders zur Anwendung in größeren Meubeln ausgedehnt, und vorzügliche Schönheit und Stärke des Tones erreicht zu haben; daß er es dahin gebracht habe, jede vorgelegte Musik, sowohl Stücke von gewöhnlicher Länge, als auch Ouverturen, Rondos u.d.gl. auszuführen, und daß er im Stande sey, Werke mit mehreren Walzen herzustellen, wo jede Hand das Aus- und Einlegen bequem verrichten kann. Um den geschätzten Kunstfreunden den Ankauf solcher Werke in Verbindung mit guten Uhren, mit Schatullen oder andern Meubeln zu erleichtern, empfiehlt sich zu directen Bestellungen dieser Art Anton Olbrich, Kunstuhrmacher, Vorstadt Laimgrube, Kothgasse Nr. 135, im ers ten Stock.“In: Wiener Zeitung, Allgemeines Intelligenzblatt, 9. März 1824, p. 421. 14 In this respect only Etienne Blyelle remarks: „I might add that I have seen one Austrian box with interchangeable cylinders“, see Etienne Blyelle-Horngacher: An early Austrian Musical Box, in: The Music Box vol. 12 no. 7 (1986) p. 264.

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Subsequent movements with the signature “A. Olbrich in Wien” do have combs in one piece. Initially, he obviously made smaller movements with cylinders of ca. 9 cm in length (playing two tunes), and with combs having ca. 70 teeth (mostly 73 teeth), their combs being attached with three screws. These instruments bear the signature “A. Olbrich in Wien” on the comb and on the comb’s base. Two interesting movements of this kind have turned up in Vienna but with no numbers stamped on the bedplate: The first one has the inscription “Jodler 42” [yode-

Fig. 27 “A. Olbrich in Wien”, serial number 1013, music number 64

ler] scratched on the edge of the bedplate; its cylinder measures 8.3 cm and the comb has 72 teeth (fig. 26a, b). The movement plays two melodies. I managed to identify one of them, the well-known “Archduke Johann” yodeler. With the second movement we find “Dudler 46”, scratched in exactly the same place; its cylinder is 9.1 cm long and the comb consists of 73 teeth. In addition, I found yet another Olbrich-movement which has the number 62 stamped on the bedplate, a 9 cm cylinder and a comb with 73 teeth. On the edge of the bedplate a scratched mark can be seen, possibly a “W”, which one may assume might have stood for “waltz”.

Fig. 28 The numbers on the bedplate, and above, the lantern wheel, which is characteristic for Olbrich (A.Olbrich no. 10813).

The following instruments are examples which from that time on have two numbers stamped on the bed-

he adopted the slanting on both sides – the comb’s base

plate, the current/serial number and the music number.

becoming ever more conical. This shape became charac-

The earliest movement discovered so far has 1013 as

teristic for all movements made in Vienna (fig. 30a-c).

its current number and 64 as its music number (9-cm

From the current number 4048 on, Olbrich proceed-

cylinder, comb with 73 teeth); it is noteworthy that the

ed to produce movements of only 10-cm cylinders or lar-

numbers on the bedplate are set at right angles (fig. 27).

ger. When we examine the numbering, number 1013 is

The movement with the current number 1082 and the

the first definite “current” number, numbers in double

music number 46 has a 10-cm cylinder and its comb

digits are already stamped on the earliest movements

is attached using four screws. It follows from this that

with sectional combs and then on movements having

these formats alternate between 9 and 10 cm, whereby

combs made of one piece as well. Subsequently the

the 9-cm movements clearly predominate; additionally

two-digit numbers are to be found with the higher

several larger movements with three or more tunes exist.

current numbers. This continuity makes it reasonable

From this point on, the numbers on the bedplate are al-

to assume that individual two-digit numbers on the ear-

ways to be found arranged in two lines (fig. 28). All the

liest movements could indeed be the music numbers.

9-cm movements have the signature both on the comb

The “standard” model makes use of a cylinder 10

and on the comb’s base, as is also the case with many of

cm in length (sometimes 9.9 cm or slightly more than

the larger instruments up to the current number 12000

10 cm) and a comb attached using 4 screws consisting

(fig. 29). Previously, Olbrich had made the comb’s base

of 78, 79, 80, or (later on virtually without exception)

either rectangular in shape or with one side slanted. Soon

81 teeth. With the numbers above 22000, combs also

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Fig. 29 Stamp (signature) on the comb and on the comb’s base.

Fig. 30a Rectangular shaped comb base

Fig. 30b Comb base with one side straight, the other side slanted.

Fig. 30c Comb base with both sides slanted, tapered downward.

exist with 82 and 83 teeth. Movements with the current

Josef Olbrich appears for the first time with a move-

numbers 9175, 9878 (fig. 31) and 10009 have combs

ment bearing the numbers 2106 / 596, a movement with

with 91 teeth, movements with numbers in between

a 10-cm cylinder. Obviously, Anton and Josef numbered

exhibit the common type of comb with 81 teeth;

their instruments jointly. It becomes clear from the find-

with movements having higher numbers, combs with

ings made so far, that Josef Olbrich did not make 9-cm

such an extraordinary number of teeth have not been

movements at all, and that he worked as an independent

found.

maker later on as well. The dimensions of his standard

Olbrich generally did not fill the cylinders; he left

model remain basically equal to those of Anton

them hollow, applying just the thinnest layer of shellac

Olbrich’s, e.g., as regards the length of the cylinders we

before inserting a bottle cork; but he did in fact fill a few

find examples with up to 10.5 cm, and combs having

cylinders as well.

82 teeth are very common, some even having 85 teeth.

Fig. 31 “A. Olbrich in Wien”, the standard model with a 10-cm cylinder playing two airs. The movement no. 9878 has a comb with 91 teeth.

Fig. 32 “Rzebitschek Prag”, serial number 6075, music number 690.

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76 teeth, the cylinder’s axle has a cogwheel. The numbers are stamped on the bedplate at right angles, and lettering spelling out “Willenbacher & Rzebitschek Prag“ is stamped on the bedplate. The catalogues for the exhibitions in Prague state, that Willenbacher & Rzebitschek had made 4199 movements up to the year 1831 and that they had produced a total of 8821 movements by the year 1836. These 9-cm movements Fig. 33 Unsigned movement from Prague, nos. 6793 / 434, 9-cm cylinder, attributable to Rzebitschek

have cylinders of 9 to 9.2 cm in length and their combs have up to 78 teeth (fig. 34a, b). Increasingly “10-cm movements” appear and from

b) Willenbacher & Rzebitschek in Prague, Franz Rzebitschek, Gustav Řebiček.

the current number 9816 on, only movements with 10-cm

Accordingly, the earliest known movement by far which

conformity when placed alongside those by Olbrich in

exhibits a signature bears the numbers 6075 (cur-

Vienna; yet, Olbrich always attached the comb using

rent number) and 690 (music number); it is marked

three screws, with Rzebitschek using three or four screws.

cylinders have been discovered (apart from larger instruments playing three or more tunes); the era of the manufacture of 9-cm musical playing works had come to an end. It was remarkable enough that the 9-cm movements had already achieved a close degree of

“Rzebitschek” on the bedplate – the name is put together using single letters, as opposed to being a stamp as was common later on – and with “Prag” on the comb, again composed of single letters (fig. 32). The cylinder is 9.1 cm long, its comb has 77 teeth and three screws and the numbers on the bedplate are positioned at right angles. Near this signed movement, there are movements of similar dimensions and construction having their numbers also positioned at right angles: 5304/297, 6502/433, 6793/434 (fig. 33), 7128/422. It must be emphasized that the combs of these 9-cm movements are attached with either three or four screws respectively.

Fig. 34a “Willenbacher & Rzebitschek in Prag” nos. 8745 / 602

At the same time, movements with 10-cm cylinders were being made as well (for example nos. 7201/455). These characteristics appear again with the movements marked „Willenbacher & Rzebitschek Prag“. The earliest movement so far, signed „Willenbacher & Rzebitschek Prag“, bears the current number 8045 and the music number 657. Its cylinder has been lost (it was most probably 9 cm in length); the comb has 76 teeth and is attached using four screws. The subsequent movement with the numbers 8046 and 532 is almost identical, the cylinder is 9.2 cm long, its comb has

Fig. 34b The numbers on the bedplate and the cogwheel on the cylinder’s axle.

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lower than the current numbers. Accordingly, the numbers of an unsigned movement would have to fit into these series of numbers. The movement no. 6075 plus the above-mentioned features suggests, that the unsigned movements with the numbers 7051/394, 7201/455, 7316/454 come from Willenbacher & Rzebitschek, and considering moveFig. 35 Rectangular shaped comb base with straight sides, Rzebitschek no. 25324.

ment no. 6075, those movements with the numbers 3482/116, 3822/100, 5439/328, 5486/339 along with a number of others were most likely made by Franz

In case they show the following characteristic features

Rzebitschek.

one may with some degree of certainty attribute un-

Movement no. 10340 has its numbers on the bed-

signed 9-cm (and 10-cm) movements” to “Rzebitschek”

plate at right angles; from then on the layout changes:

or “Willenbacher & Rzebitschek“:

at the latest from no. 10965 on, Rzebitschek stamped the

The lowest and broadest bass tooth in most cases has two tips

numbers in two lines, on the first line the music number and on the line below the current number. The 10-cm

The numbers are positioned at right angles

movements have cylinders between 9.8 and 10.2 cm

The cylinder is ca. 9 (or 10) cm long

in length; their diameters vary between 2.4 and 2.5 cm

The comb has three or four screws

and their combs consist of 81 teeth. From no. 1871

The axle has an ordinary cogwheel

on, combs with 82 teeth are more and more frequent,

The comb’s base is rectangular in shape (in contrast

eventually becoming the standard. From the 39000-

to the Viennese movements). Sometimes there is a

numbers onwards the cylinders often show a slight in-

rectangular cut-out on the right side, allowing

crease in their dimensions: their length goes up to 10.2

enough space for the screw in the bedplate (fig. 35).

and 10.3 cm, the diameter measures 2.6 cm, and aside

Along with current numbers, the music numbers

from that the combs now have 83 teeth. This configu-

increase in turn, although of course, lower music

ration was maintained up to the end of production.

numbers do appear again with higher current num-

Gustav Řebiček’s note in his own handwriting saying

bers. In general, the music numbers are significantly

that “movements for two pieces have 84 springs“ has not

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Fig. 36 Rzebitschek no. 29748, “3” stamped on the comb, two holes of the comb revealing positioning pins, slanted governor cock, signature on the comb and on the bedplate, numbers on the bedplate.

Fig. 37a The lead weight of the lowest bass tooth displays the music number 1405 and “Rz”.

yet been borne out, based on instruments which have come to light so far15. Many combs display a numeral, 0 to 9, engraved on their lower left side. Evidently, these numerals appeared after Alois Willenbacher had left and Franz Rzebitschek had taken over the firm. The significance of these digits remains unclear (fig. 36). Sometimes they had a star stamped there instead of the numeral. Often the lead weight of the lowest bass tooth has the music number

Fig. 37b Comb base with two positioning pins and a comb with lead weights in sound condition.

scratched on it, sometimes with “Rebicek” or just “R” or “Rz” added; it is interesting to note that the lead weights exist in very different states of preservation (fig. 37 a-d). Rzebitschek (later on spelled Řebiček) always filled the cylinders with cement, the axle being wrapped with paper and then tied up with a thread.

c) Unsigned early     movements from     Prague or Vienna.

Fig. 37c Comb with partially corroded lead weights, the vellum dampers are glued to the teeth with shellac.

By all accounts from the very beginning, Olbrich “signed” all his movements at least with the mark “AO”, which accordingly would open the door for one to conclude that all the unsigned movements with a sectional comb must then have been made by Rzebitschek et al. 15 Slip of paper with handwriting by Gustav Řebiček. My thanks go to Silvia Mandic (Vienna), his grand-daugther, who allowed me to use the documents belonging to her family. Apparently, the number of teeth of a comb is variable: movement no. 43686 (two tunes) has a comb with 84 teeth, whereas movement no. 49233 has a comb with 81 teeth.

Fig. 37d Lead weights destroyed by corrosion, all dampers are missing.

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Such reasoning would have the facts in its corner, i.e., the relative certainty that these unsigned movements found so far all exhibit a comb base which is rectangular in shape along with the typical Austrian start/stop mechanism. This construction surely had its origins in the concept that the music had to be released by the clock itself as part of its time-keeping function,16 whereas in order to start the music at will by hand one has to pull a thread fastened to the starter lever (fig. 38). These early movements have combs consisting of sections

Fig. 38 Start    /  stop mechanism with an early unsigned Austrian movement

set in pairs, or groups of three, four or five teeth. It is noteworthy that the form of the teeth may vary from one item to another, and that quality of workmanship varies. In addition, the construction of the movements had not yet become standardized, with the spring barrel perhaps still being placed on either side, but all the movements to a one make use of the typical release mechanism. Nonetheless, taking this particular group of artisans and their oeuvre as a whole, were there in fact actual, identifiable phases in the development of the art works they created which are clearly discernible?

Fig. 39 Movement with a sectional comb in pairs of 2 teeth, with a typical start/stop mechanism and governor cock, 63 mm cylinder, 18 mm in diameter, playing two airs; in a picture clock.

Unfortunately, movements actually signed by Prague makers do not seem to exist, and the features mentioned above do not provide us with enough evidence to assign such movements to a particular maker with certainty. Thus, it would be too speculative just to name Rzebitschek as their maker, or to simply ascribe them to Olbrich or others belonging to the Viennese school of clockmakers and be done with it (fig. 39-42)17. Fig. 40 Movement with a sectional comb (3 teeth per section), with a typical start/stop mechanism, 85 mm cylinder, 18 mm in diameter, playing two airs; in a mantle clock.

16 A detailed description gives Arthur W.J.G. Ord-Hume: Czech an Viennese Musical Movements, in: The Music Box vol. 3 no. 8 (1968) p. 539, repeated in parts in the article „Rzebitschek in Prag“ (The Music Box vol. 7 no. 4 (1975), pp. 140-142). This point is emphasized by L. Goldhoorn in his book p. 79, as well as Etienne Blyelle-Horngacher: An early Austrian Musical Box, in: The Music Box vol. 12 no. 7 (1986), p. 263-265. Blyelle in this article presents also a typi cal early movement, which is unsigned, has a sectional comb and a cylinder which is not filled with cement. 17 Helmut Kowar: Die Anfänge der Spielwerkerzeugung in Wien, in: International Forum on audio-visual Research. Jahrbuch des Phonogrammarchivs 8, Wien: VÖAW 2017, pp. 82-91.

Fig. 41 Movement with sectional comb (4 teeth per section), with a typical start/stop mechanism, 80 mm cylinder, 18mm in diameter, playing two airs.

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Fig. 42 Movement with sectional comb (5 teeth per section), with a typical start/stop mechanism, playing four airs; the case is new.

Fig. 43 F. Einsidl and J. Sagan no. 446, in a mantle clock

d) Two-tune movements made by other manufacturers. All the manufacturers after Olbrich and Rzebitschek had the good fortune to begin their production using the fully developed, standard Olbrich/Rzebitschek model.

Fig. 44a Two-tune movement by A. Bartel with a cast-iron bedplate.

Those future producers merely reproduced what the pioneers had developed. Franz Einsidl, in the beginning working together with J. Sagan (Vienna): In general his two-tune movements have cylinders of 10 to 10.2 cm in length, measuring from 2.5 to 2.8 cm in diameter. The range extends from one movement found with a cylinder 10.6 cm in length (no. 7001) to another one with a cylinder of 9.6 cm in length (no. 4014). The combs have 81 or 82 teeth. Einsidl used lantern wheels first, then cogwheels as well. The early movements have

Fig. 44b Music paper and thread: the wrapping around the cylinder’s axle of the Bartel movement no. 1306

their signatures on the bedplate, later only on the comb. In his final years he changed over to cast-iron bedplates, putting the numbers in different places, e.g. on the bearing of the cylinder’s axle and on the cylinder cap

The length of the cylinders measures 10.6 cm, the dia-

(fig. 43).

meter is 2.5 cm except for one movement which has a diameter of 3.1 cm. In most cases the numbers are

August Bartel (Vienna):

scratched on the cylinder cap. The name of the maker

Current scholarship would indicate that his movements

is stamped on the comb’s base or on the bedplate. The

were mounted on cast-iron bedplates without excep-

cylinders are filled with cement and the axle is wrapped

tion. The combs have 81, 83, and – mostly – 85 teeth.

in strips of paper (fig. 44a, b).

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Fig. 46a Unsigned movement from Prague nos. 386 / 20, the slimly shaped letters “No” indicate A. Maly as maker, the numbers are placed at right angles.

Fig. 45a and b, Movement with a cast-iron bedplate by “Brüder Stern”, nos. 9463 / 2058. Both numbers scratched onto the cylinder’s cap, no. 9463 is visible, the music number stamped on the base of the bearing of the cylinder’s axle as well.

Fig. 46b Movement made most probably by A. Maly, the numbers placed in two lines.

Brüder Stern (Vienna):

Alois Maly (Prague):

These movements have cast-iron bedplates, the num-

His movements are identical to those made by

bers being stamped on the bearing of the cylinder’s axle

Rzebitschek. Very few of his instruments are signed and

or scratched on one cylinder cap. The cylinder is 10

rare signatures are stamped on the bedplate. Maly was

to 10.5 cm long and the comb consists of 82 teeth (fig.

in the habit of using a characteristic letter: The “No.”

45a, b).

preceding the number has a peculiar slim shape (fig. 46a, b). Here one can easily observe that the current

Other Viennese makers:

numbers and the music number do not fit into the

The few movements by Schidlo and (most likely) by

series of numbers found on Rzebitschek’s movements.

Wyskocil do not display any peculiarities. A two-tune

Moreover, the current numbers are very low, and if one

movement by Kantek has not been discovered to date.

were to attribute them to Rzebitschek, the movements would had to have been produced far too early with respect to the music they play, i.e., the music would not yet have been composed. These features may also help to confirm Maly as the maker of quite a number of movements.

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Slawik and Preiszler (Prague): In general, these movements display all the characteristics of Rzebitschek movements; occasionally one may, however, detect minor variations: The combs have 82 or 83 teeth, and the width of the two lowest bass teeth may be similar to Olbrich’s combs. With some movements one finds the comb’s base with both sides slanted (as with Olbrich’s combs’ bases); and it bears mentioning as well, the fan blades are considerably larger than those by Rzebitschek. Should the movements not bear as a signature an attenuated letter “N”, followed by widely spaced numerals, this would

Fig. 47 Slawik & Preiszler nos. 3277 / 491

inevitably point towards Slawik and Preiszler as makers (fig. 47). The signatures on later movements name only “Slawik”. The few movements by Salisch and Nowak extant (Josefstadt) can be identified as “Prague”-style movements, although they display a comb base with slanted sides, and the broad letter “N” as with the Slawik and Preiszler-movements, yet the numerals are small and their spacing is narrow (fig. 48a-c). Unsigned movements displaying these features therefore could come from Salisch and Nowak. Admittedly, some movements by Slawik have surfaced showing the numerals closely spaced, hence one does well to consider an attribution carefully and with all due reservation. Nonetheless, some degree of cooperation among the manufacturers could also have been possible, – or Salisch and Nowak

Fig. 48b Salisch and Nowak in Josefstadt nos. 7019 / 718

were perhaps only active in marketing the movements.

Fig. 48a Salisch & Ant. Nowak in Josefstadt, nos. 7048 / 743

Fig. 48c The letter “N” is similar to the “N” with Slawik & Preiszler but the small numerals and their narrow spacing point to Salisch & Nowak .

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e) General characteristics of the two-tune   standard model.

tune, or for leaving the wheel untouched, where upon the tune is repeated (fig. 49a, b). On examining the varying idiosyncrasies in construction style, one is in a better position as regards being able to identify those characteristics particular

All two-tune movements present a uniform appearance,

to the manufacturers in Prague as opposed to those in

i.e. with respect to design, structure and their roughly

Vienna, which they were to maintain over the entire

equal dimensions. The fan is fixed and not adjustable

period of production. Such construction traits are of

(in contrast to the early Olbrich-movements). A hook

course discernable with the larger movements as well.

engages a stepped star-wheel that operates the shifting

And it is these distinguishing features that enable the

of the cylinder in order to switch tunes. This hook

modern-day scientist, owner, or simply someone who

is fixed using a screw placed in the desired position,

loves fine pieces of art to accurately attribute these

either for activating the wheel for a constant change of

movements to their appropriate makers as well as to the times in which they lived and were active. Prague: The comb has two holes, with the positioning pins of the comb’s base plugged into them. The governor cock has a clearly tapered shape. On its right side the rectangular-cut base of the comb has (in many cases) a rectangular space left free for the screw in the bedplate. (We find some exceptions with movements by Slawik & Preiszler or Salisch and Nowak). The lowest bass tooth has two peaks (tips) – almost

Fig. 49a Tune-changing mechanism, movement by A. Olbrich no. 62, cylinder removed.

without exception; in case the second tip is missing, it has been broken. The axle of the cylinder has a cogwheel. The width of all teeth is equal except for the lowest bass tooth, which has approximately twice the width of the others; sometimes the second-lowest bass tooth is wider as well (as with some W&R, Franz Rzebitschek and Slawik & Preiszler – movements). The highest treble teeth, mostly 7-10 teeth or more are tapered. Some combs were also made with the highest 4 to 6 teeth tapered. Other combs were also made which even had the highest teeth with stepped peaks (e.g. Rzebitschek no. 25234). The bedplate is made of brass (even with the final Rzebitschek-movements, Maly-movements etc.); in any case, no cast-iron bedplate has come to light to date.

Fig. 49b Tune-changing mechanism, Rzebitschek no. 27222.

The cylinders are filled with cement.

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Vienna: The combs do not have holes for inserting position pins. The governor cock is rectangular in shape, or only very slightly tapered.

the movements playing three or more tunes made by Bartel and Josef Olbrich (probably also by Wyskocil), the bedplate “grew” semicircular projections (“ears”) for three screws (see fig. 54d, 57a). The cylinders by Olbrich (Anton junior and senior

The comb’s base is slanted on both sides, thus having

and Josef Olbrich) as well as Einsidl are hollow and

a conical form and leaving room for the screw in the

those of the Olbrichs are filled with a ca. 2 cm-long

bedplate.

piece of bottle cork. A thin layer of shellac, which

The lowest bass tooth has only one peak (tip). Anton and Josef Olbrich generally used lantern

stabilizes the pins, often coats the inside of these hollow cylinders. Bartel filled his cylinders with cement.

wheels. Initially, Anton Olbrich’s movements had had cogwheels and then, with their later movements,

Additional characteristics of many movements from

Anton and Josef returned once more to cogwheels.

Prague and Vienna:

Einsidl almost exclusively used cogwheels. With

One frequently comes across the following features,

movements by Stern, Bartel and Schidlo, only cog-

but they do not show up consistently; hence it is not

wheels have appeared to date. The teeth are all of equal width except for the two

possible to state with any degree of certainty that they are typical for a certain manufacturer:

lowest bass teeth. The second to last is considerably

Movements by Einsidl, Olbrich and Stern some-

broader than the others, the lowest bass tooth yet

times have roman numerals on the cap of the spring

again a bit broader. Sometimes the two lowest bass

housing, rarely also on the spike for winding up the

teeth are of equal width.

spring.

The highest 7 to 10 treble teeth are tapered (as with the combs from Prague).

Spring barrels of early Olbrich-movements (ca. up to no. 5210) often display a circular groove.

The bedplate is made of brass. Towards the end of the

The cap of the spring barrel often has a small open-

19 century Olbrich, Bartel, Einsidl etc. used cast-

ing cut into it which facilitates the opening of the

iron bedplates. At first the bedplate had a rectangular

housing: With movements by Willenbacher &

form and was attached with four screws to the bot-

Rzebitschek, Maly and Einsidl this cut-out has a

tom of the clock or case. Later on, especially with

V-form, with Olbrich- and Einsidl-movements it is

th

a circular opening, with Franz Rzebitschek-movements it is semicircular. In addition, we find letters and numbers scratched or stamped on the sides of the bedplates (fig. 50), as well as on the fan blades. Music numbers and current numbers are frequently scratched on the cylinder caps (see fig. 45b), and they can be found on the inner side of the comb’s base or to the side on the bedplate. With all movements, the melody changer is attached with a screw; sometimes devices were made that allowed for the adjusting of the melody changer Fig. 50 That comb base displays a lot of information, but what do the inscriptions mean? Movement from Prague with a 9-cm cylinder, nos. 7316 / 454: perhaps an early Rzebitschek? Design and numbers would seem to fit.

(push rods that can be manipulated from outside the case, as for example with the four-tune movement by Rzebitschek no. 37094).

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Finally, it bears mentioning that many of the manufacturers ordered the springs for their movements from the company of Martin Miller & Son in Vienna; as concern Olbrich, Rzebitschek, Bartel and Stern there is evidence to support this fact. It would make sense to assume that the makers also obtained the steel for the combs from Miller, but no evidence has borne this out18.

Fig. 51a Three-tune movement by Rzebitschek (nos. 26021 / 2151), in a picture clock, the movement is affixed to the back panel.

f) Musical box movements    playing three or more      tunes along with specific musical boxes. Olbrich offered musical boxes playing “2 up to 12 pieces”19; Rzebitschek’s output comprised movements with 2, 3, 4, 6, and 8 tunes (see his handwritten leaflet earlier), and a 12-tune movement has in fact been discovered. With the larger movements (in Prague as well as in Vienna) the treble teeth are significantly thinner (dis-

Fig. 51b Three-tune movement by A. Bartel (nos. 1296 / 469), in a case.

playing greater distances between the teeth as a consequence) and tapered. In most cases, the second-tolast bass tooth is already broader, or the teeth become broader gradually, or section by section; – with the bigger instruments, one may notice several variants in their construction, whereas their layout does not follow such a rigid framework as with the two-tune movements. Some of these larger instruments have adjustable fan blades; the three-tune movements do not incorporate this device.

Fig. 51c Three-tune movement by Karl Kantek (nos. 5262 / 196)

The three-tune movements made by Anton and Josef Olbrich feature three different dimensions: the cylinders are 1) 12.4 to 13 cm long, 2), ca. 14.4 cm

Fig. 51d Three-tune movement by Josef Olbrich (nos. 17480 / 2931), screwed onto the frame of a picture clock.

18 Martin Miller had produced steel and steel goods in Vienna since 1799 (Österreichisches Biographisches Lexikon und biographische Dokumentation, Verlag der Österreichischen Akademie der Wissenschaften, Wien 2003-2015, http://www.biographien.ac.at/oebl/oebl_ M/Miller_Martin_1769_1833.xml). His product line explicitly lists springs for musical box movements (Franz Gräffer, Johann J. Czikann: Österreichische National-Enzyklopädie, vol. 6, Vienna 1837, p. 555). 19 Adolph Lehmann, Allgemeines Adreß-Buch nebst Geschäfts-Hand buch für die k.k. Haupt-und Residenzstadt Wien und dessen Umgebung, 1. Jahrgang, Vienna 1859, p. XI (advertisment).

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III. Typology: development and design

long, 3) and 16.1 to 16.5 cm long. The diameters of the

17.4-cm cylinder may be seen as exceptions. There

cylinders measure 3 to 3.3 cm, their combs consisting of

is one four-tune movement by Einsidl with a 20.4-cm

81 up to 98 teeth.

cylinder, and one by Bartel with a 17.5-cm cylinder. With

Three-tune movements by Einsidl have cylinders of

the makers in Prague we find completely standardized

14.3 cm and are 16.4 cm in length, their combs having

proportions: Rzebitschek built four-tune movements

90 teeth. Bartel produced three-tune movements

with cylinders measuring 19.6 cm to 20.3 cm in length

with cylinders of 12.9 to 13.3 cm in length (the combs

(mainly 19.8 or 19.9 cm in length), the diameter is

have 86 teeth). One movement made by Schidlo exists

3.2 cm to 3.4 cm, the comb having 103 teeth. The four-

which has a 12.4-cm cylinder (comb of 82 teeth), and

tune movement by Maly has a 19.9-cm long cylinder as

two movements by Stern have been found, one with a

well (Fig. 52a-c).

14.3-cm cylinder, the other with a 16.7-cm cylinder. Their diameters are ca. 2.5 to 3.1 cm.

Six-tune movements are rare. From A. Olbrich’s early

Rzebitschek’s three-tune movements generally ha-

period one instrument with a 22.5-cm cylinder and an-

ve cylinders of 13.2 to 13.7 cm in length and a diameter

other with a 30.3-cm cylinder have turned up. Later

of ca 2.9 cm, the combs having 93 to 95 teeth. Cylinders

on, perhaps it was Anton Olbrich jun., who fashioned

with 12.5 cm or 12.8 cm in length (with combs having

one instrument with a 32 cm-long cylinder. Then the

85 teeth) seem to be singular examples (Fig. 51a-d).

maker turned to uniformly made movements with 37 cm, i.e., 37.2 cm-long cylinders. The diameters vary

Amazingly, four-tune movements by Anton and Josef

between 4 and 5 cm, the combs have 105 or 111 teeth.

Olbrich are more frequently to be found than their

With Rzebitschek, the cylinders are 30.9 to 31.2 cm

three-tune movements, and in addition their measure-

long, having diameters of ca. 4.6 cm and combs of 100

ments are quite consistent: the cylinders are 19.2 to 20 cm long (most of them 19.7 to 19.9 cm) having diameters of 2.9 to 3.8 cm and a comb with 97 teeth. Two movements by A. Olbrich with a 22-cm cylinder (no. 22955 and another one showing just the music number 147), and one by Josef Olbrich (no. 19566) with a

Fig. 52b Four-tune movement by Rzebitschek (nos. 16825 / 1470) with adjustable fan blades, placed inside the pedestal of a mantle clock (wedding clock).

Fig. 52a Four-tune movement by Anton Olbrich (nos. 11013 / 463), in its original case with a tune sheet; Coll. Sobek, Geymüllerschlössel, Museum for Applied Arts, Vienna (MAK).

Fig. 52c Four-tune movement by Einsidl (nos. 4915 / 1377), with adjustable fan blades.

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Musical boxes from Prague and Vienna

Fig. 53a Six-tune movement by Anton Olbrich (nos. 22022 / 1526), in its original case

Fig. 53c Six-tune movement by Rzebitschek (nos. 22022 / 1526), in a picture clock

Fig. 53b Six-tune movement by Anton Olbrich (nos. 20933 / 1318), in its original case, playing 6 Romanian airs.

Fig. 53d Six-tune movement by Karl Kantek (nos. 22022 / 1526), in its original case with a glass window lid.

to 110 teeth. A late, six-tune movement by Gustav

An eight-tune movement by Gustav Řebiček (no.

Řebiček (no. 50276) has a 28 cm-long cylinder. A six-tune

46624) exists which is kept in a case with a glass win-

movement made by Karl Kantek (Vienna) also exists

dow lid: its cylinder is 31.7 cm long with a diameter of

(Fig. 53a-c).

5.4 cm21. Three eight-tune movements made by Bartel have

Eight-tune movements:

been discovered22, one with a 26.5-cm cylinder (5.5 cm

The Museum for Applied Arts in Vienna (collection in

in diameter), the other having a 37.2-cm cylinder; no

the “Geymüllerschlössel”) owns a picture clock (Inv.

dimensions for the third one are available.

Nr. Br.1476) incorporating a movement by A. Olbrich

Furthermore, two unsigned Viennese movements

(no. 23174) playing eight tunes. The cylinder measures

exist playing eight tunes (two per turn), one having

28.1 cm in length and 6.4 cm in diameter and the comb

an 18.4-cm cylinder with a 5.3-cm diameter, the other

has 139 teeth. The cylinder shifts to four positions play-

movement having a 24.7-cm cylinder, 6 cm in diameter

ing two tunes per turn . 20

20 Helmut Kowar: Spielwerke. Musikautomaten des Biedermeier. (Exhibition catalogue), Vienna: MAK Museum für angewandte Kunst 1999, p. 116f.

21 Larry Karp, Maggie Young: A Rebicek Cartel Cylinder Box with Parchment Dampers and Other Unusual Construction Features, in: Mechanical Music. Journal of Mechanical Music, Autumn 1998, vol. 44/2, pp. 23-26. 22 Private collections in Austria, Germany, Switzerland.

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III. Typology: development and design

Fig. 54a Eight-tune movement by Anton Olbrich (nos. 32147 / 1604), in a picture clock; Coll. Sobek, Geymüllerschlössel, Museum for Applied Arts, Vienna (MAK).

Fig. 54c Signature of Bartel stamped on the bearing of the spring.

Fig. 54b Eight-tune movement by August Bartel (music no. 164), in a Swiss case, not the original.

Fig. 54d Unsigned Viennese eight-tune movement, 24.7 cm cyl., 6 cm diameter, comb in two parts.

and a cast-iron bedplate with three screws; the comb (87 teeth) consists of two parts23 (Fig. 54 a-d). There even exists a twelve-tune movement made by A. Olbrich (fig. 55). It is mounted on a cast-iron bedplate and has a 25 cm-long cylinder with a diameter of 6.2 cm. The cylinder is shifted six times and plays two tunes per turn. The musical repertoire (see the tune sheet) offers the typical blend of dance music and operatic airs.

Fig. 55 Twelve-tune movement by Anton Olbrich.

Movements with a special type of construction:

The Technical Museum in Vienna owns a musical box

Several movements of unusual construction and di-

made by Willenbacher & Rzebitschek in 1836. This

mensions also bear mentioning:

piece was included in 1837 in the “Fabriksproduktenkabinett” (a sample collection of factory-made, commercial products manufactured in the Austrian Empire,

23 Private collections, Vienna.

founded by Emperor Franz I. in 1807). The cylinder

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of this movement is 34.7 cm long with a diameter of 9.5 cm and its comb has 266 teeth. The movement is a three-tune movement with the duet Adina – Nemorino from the opera “L’ elisir d’amore” by Gaetano Donizetti on the first turn, and on the second and third turn of the cylinder it plays the overture to “La gazza ladra” by Gioachino Rossini – divided into two parts. The current number of this movement is 8812; it does not possess a music number. From this it becomes clear that this movement was unique, made on special order for the imperial collection. The handling of the start  / stop mechanism as well as of the tune changer is designed in the manner of the Swiss musical boxes. The moveFig. 56 Rzebitschek no. 8812 (Technical Museum Vienna Inv. No. 15228)

ment is fitted into a wooden case made by the renowned Viennese piano manufacturers Seuffert & Seidler. They display their name on a framed card on the inside of the lid24 (Fig.56). The two-tune movement no. 16544 represents another singular piece made by Willenbacher & Rzebitschek. The cylinder is 26 cm long and its diameter measures 7.8 cm. The duration of one piece of music is about 2 minutes. With this movement as well, only the current number is stamped on the bedplate. The movement is placed in a meticulously fashioned, albeit plain wooden case. A number of other movements with unusual dimen-

Fig. 57a Unsigned movement from Vienna, 220 mm cylinder, 80 mm in diameter, probably by Josef Wyskocil.

sions have also been found: 1) A movement with the number 5503 stamped on the bedplate has 611 scratched on the cylinder cap. The cylinder is 11.9 cm long and has a diameter of 5.2 cm. It plays four tunes, two tunes per turn. The movement has a cogwheel on the axle, a rectangular-shaped base of the comb, a tapered governor cock and holes in the comb for the positioning sticks; thus, this piece certainly comes from Prague. 2) A movement with a 13.2-cm cylinder, 4.7 cm in diameter, playing two tunes per turn. The construction basics (rectangular governor cock, no holes in the

Fig. 57b Unsigned movement from Vienna, its cylinder with a very large diameter, perhaps by Josef Wyskocil.

24 Hans-Jürgen Eisel: Das Kammspielwerk von Willenbacher & Rzebitschek im Technischen Museum Wien, in: Das mechanische Musikinstrument, Nr. 114, August 2012, pp. 17-22.

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III. Typology: development and design

Fig. 58a and b Movement by Anton Olbrich with a cast-iron bedplate, with bells.

Fig. 59a Mantle clock with Josef Olbrich no. 16387 in its pedestal.

comb, cast-iron bedplate) point towards a Viennese manufacturer. This view is encouraged by the remnants of a typical Olbrich-tune sheet. 3) There is another movement having an unusual “fat” cylinder and a cast-iron bedplate, a construction which could be typical for instruments made by Wyskocil, although we also find this form in a later movement by Josef Olbrich and in movements by August Bartel (fig. 57a). Wyskocil could also have made a rather similar movement with a cylinder of 22 cm in length and 8 cm in diameter (fig. 57b). 4) Blyelle-Horngacher provides a short description along with a photo of a four-tune movement by A. Olbrich with a large cylinder playing two tunes per turn25. And finally, a movement with additional bells by A. Olbrich has come to light. The comb consists of three parts: the third part has six teeth playing three, bowl-shaped bells; each bell is rung by two hammers (fig. 58a, b). 25 Etienne Blyelle-Horngacher: An early Austrian Musical Box, in: The Music box vol. 12 no. 7 (1986), p. 264f

Fig. 59b Anniversary clock with movement of Franz Einsidl no. 3010 in its pedestal.

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g) Housings: Primarily, the intention was to fashion movements to be installed in clocks. There are three types of clocks which were much in favor throughout all regions of the Austrian monarchy during the Biedermeier period, continuing into the second half of the 19th century:

1) mantle clocks in all their fanciful variations, comprising the popular “anniversary” and “wedding” clocks – these are protected by a glass dome covering (fig. 59a, b); 2) frame clocks, having their face/dial framed as a painting (fig. 60), 3) picture clocks: the early type from the Biedermeier era displays a small clock face integrated in views of cities, landscapes, buildings, and rural or domestic scenes, e.g. as a church clock (fig. 61). The picture clocks of the second half of the 19th century have a much bigger clock which is incorporated as a finial into the ornately decorated frame of a painting (fig. 81)26. Furthermore, with elaborate mantle clocks and frame clocks we find automata added, e.g. bell ringers (jacque-marts), or “smith and grinder”; and with the picture clocks the painted scene is sometimes animated by one or the other or even several automata (flowing wells, fountains, rivers, turning mill wheels, blacksmiths or sawyers at work, etc.)27. These movements were placed in the base of mantle clocks, and with the frame clocks and picture clocks the movements were affixed to the inside of the backing or to the frame. The starting mechanism of the movements is connected to the clock, prompting the movement to play on the hour. As mentioned earlier an additional feature enables one to prompt the music to play at will

Fig. 60 Frame clock with A. Olbrich no. 17696

by pulling a thread which is connected to the release lever and runs to the outside of the clock. The wooden frames, backings and bases of these clocks are highly efficient as resonators and are essential for the development and quality of the sound. The movements were also placed in cases. Generally, these are plain wooden cassettes with four very low feet at the corners and a hole through the base for the string to be threaded through, hence making it possible to release the movement with the lid of the case closed. Some-

Fig. 61 Picture clock with Rzebitschek no. 26160 (the clock’s hands are missing).

26 See: Uhrenbilder- Bilderuhren, D&S Antiquitäten, Vienna s.a. 3 Volumes (vol. 3 Vienna 2001); Antike Wiener Uhren, D&S Antiquitäten Vienna, 1994 – 2008 (annual sales exhibition catalogues). 27 One may note that Austrian picture clocks are painted on sheet iron, unlike the French where canvas is used, aside from other differences regarding the construction.

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III. Typology: development and design

times, but rarely, the makers also provided other devices, e.g. levers, for the manipulation of the release mechanism. Cases were made for every size of movement. In the second half of the 19th century, cases with a glass window in the lid became popular. The wood is stained light or dark brown, but we do find cases varnished in black as well. The makers also fashioned cases with veneer, and sometimes ornaments and decorative elements were applied. Altogether, the decorations tended to be rather modest and we miss the rich adornment and marquetry made famous by the Swiss boxes. As with the clocks, their cases are indispensable for the resonance and quality of sound being produced

Fig. 62b Case with a glass window lid (movement probably by Edmund Bartel)

by the movements (fig. 62a-c).

Fig. 62a The usual plain case (Jos. Olbrich no. 16113)

Fig. 62c Case with an art nouveau ornament, with its movement probably by Wyskocil.

h) Tune sheets Rzebitschek, Slawik, Olbrich, Einsidl and Bartel used

movements at least four variously decorated tune sheets

preprinted slips of paper and entered music number,

have turned up), but both tended to stick to one version

current number and the title of the music pieces by

most frequently.

hand; sometimes they neglected to write down the one

These slips of paper were glued onto the inside of

or the other number. Other times the information about

the lid or on the underside of the bottom of the cases,

the musical repertoire contains inconsistencies as well

on the backing, even on the frame of the frame clocks

as outright errors, or they used names, abbreviations

and picture clocks, on the bottom of the mantle clocks

and designations which were common at the time, but

or on the wooden board which closes the back of the

are difficult to identify nowadays. The tune sheets used

pedestal of the mantle clocks. With bigger instruments,

by all manufacturers are very much alike except for the

specially fashioned tune cards or labels were applied.

decorative borders. Olbrich as well as Rzebitschek used

Next we find tune sheets written entirely by hand, – which

tune sheets with a variety of borders (with Rzebitschek-

probably do not originate from the manufacturer –,

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Musical boxes from Prague and Vienna

inscriptions in pencil or ink on the cases themselves or on the backing of picture clocks which name the musical program or give some other information (e.g. dedications, information on persons, remarks on repair work etc.). In addition, retailers and stores applied their own labels. Well-preserved tune sheets are very rare, often only illegible parts or remnants in poor condition are left. One also has to consider that the owners, dealers etc. exchanged or removed movements; hence, one may come upon orphaned tune sheets, or a tune sheet, which does not correspond to the movement contained.

A. Olbrich Music no. 366 Serial no. 7351

The transcriptions of the music titles are provided in the catalogue (chapter V.), along with the appropriate movements, and in the list of the tune sheets for those without any movement. The pictures (fig. 63/64/65) are arranged according to their respective music numbers, as the current numbers are sometimes missing. The current numbers are also of no importance regarding the musical repertoire. Fig. 63 Tune sheets from Olbrich movements

A. Olbrich Music no. 375 Serial no. 7591

A. Olbrich Music no. 198 Serial no. 4913

A. Olbrich Music no. 463 Serial no. 11013

A. Olbrich Music no. 323 Serial no. 6942

A. Olbrich Music no. 468 Serial no. unknown

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III. Typology: development and design

A. Olbrich Music no. 973 Serial no. 11048

A. Olbrich Music no. 505 Serial no. 9262

A. Olbrich Music no. 1142 Serial no. 11814

A. Olbrich Music no. 553 Serial no. 9338

A. Olbrich Music no. 1409 Serial no. 13210

A. Olbrich Music no. 721 Serial no. 9878 A. Olbrich Music no. 1526 Serial no. 22022

A. Olbrich Music no. 858 Serial no. 10513

A. Olbrich Music no. 2038 Serial no. 17273

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Musical boxes from Prague and Vienna

A. Olbrich Music no. 2933 Serial no. 22779

A. Olbrich Music no. 2151 Serial no. unknown

A. Olbrich Music no. 3640 Serial no. 22099

A. Olbrich Music no. 2176 Serial no. unknown

A. Olbrich Music no. 3736 Serial no. unknown

A. Olbrich Music no. 2370 Serial no. 18170

A. Olbrich Music no. 4315 Serial no. 28830

A. Olbrich Music no. 2915 Serial no. unknown

A. Olbrich Music no. 4596 Serial no. unknown

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III. Typology: development and design

A. Olbrich without numbers, 6 tunes

A. Olbrich without numbers, 12 tunes

A. Olbrich Music no. 6008 Serial no. 22955

Josef Olbrich Music no. 5564 Serial no. 22661

A. Olbrich Music no. 2519

Fig. 64 Tune sheets from Rzebitschek movements

Rzebitschek Music no. 1116 Serial no. 13131

Rzebitschek Music no. 1229 Serial no. 14301

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Musical boxes from Prague and Vienna

Rzebitschek Music no. 1305 Serial no. 15365

Rzebitschek Music no. 1915 Serial no. 22455

Rzebitschek Music no. 1462 Serial no. 16919

Rzebitschek Music no. 1930 Serial no. 23163

Rzebitschek Music no. 1470 Serial no. 16825

Rzebitschek Music no. 2245 Serial no. 27429

Rzebitschek Music no. 1527

Rzebitschek Music no. 2301 Serial no. 29935

Rzebitschek Music no. 1897 Serial no. 22041

Rzebitschek Music no. 2319 Serial no. 28984

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III. Typology: development and design

Rzebitschek Music no. 2327 Serial no. 29237

Rzebitschek Music no. 2959 Serial no. 43650

Rzebitschek Music no. 2525 Serial no. 30047

Rzebitschek Music no. 2999 Serial no. 34864

Rzebitschek Music no. 2813 Serial no. 33900

Rzebitschek Music no. 3039 Serial no. 35241

Rzebitschek Music no. 2906 Serial no. 47900

Rzebitschek Music no. 3168 Serial no. 36437

Rzebitschek Music no. 2931 Serial no. 33996

Rzebitschek Music no. 3388 Serial no. 49638

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Musical boxes from Prague and Vienna

Rzebitschek Music no. 3459 Serial no. 40870

Rzebitschek Music no. 3693 Serial no. 41634

Rzebitschek Music no. 3530 Serial no. 41006

Rzebitschek Music no. 3707 Serial no. 43388

Rzebitschek Music no. 3568 Serial no. 39637

Rzebitschek Music no. 3833 Serial no. 43187

Rzebitschek Music no. 3627 Serial no. 40443

Rzebitschek Music no. 3941 Serial no. 45452

Rzebitschek Music no. 3656 Serial no. 46124

Rzebitschek Music no. 3954 Serial no. 50570

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III. Typology: development and design

Rzebitschek without no.

Fig. 65 Tune sheets of other makers

Bartel Music no. 1296

Bartel Music no. 959 Serial no. 1750

Bartel Edmund

Bartel without no. (1)

Bartel Music no. 666

Bartel without no. (2)

Bartel Music no. 401 Serial no. 595

Einsidl Music no. 701 Serial no. 2638

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Musical boxes from Prague and Vienna

From an unsigned movement from Prague, Music no. 107 Serial no. 380

Slawik Music no. 243 Serial no. 2028

From an unsigned movement from Prague, Music no. 215

Slawik Music no. 738 Serial no. 4221

From an unsigned movement from Vienna

Wyskocil Serial no. 6913

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IV. The musical arrangement

The compact nature of the musical repertoire and its

The standardization of the playing works being used in

typical construction has already been dealt with in the

Vienna and Prague led to a certain extent to a standar-

first chapter. The titles of those melodies for which a

dization of the music, or more precisely to a stan-

written record of titles exists or which on hearing them

dardization of the musical arrangement. This meant, as

can be recognized are noted in the catalogue of docu-

concerns those products being made in Vienna and

mented pieces under the heading ‘remarks’. Here, the

Prague, that throughout a number of decades, the

details on the tune sheets are noted in italics. Regarding

music chosen was being arranged according to identi-

the remaining pieces of music it is usually possible to

cal technical requirements. Moreover, the producers

state with some certainty, whether the piece in question

maintained the same style and form of musical arrange-

is a waltz, ländler, czardas, or operatic melody etc. Even

ment during the entire period of production. The

if the identification of all the melodies preserved most

remarkable degree of continuity here seems indeed

probably must be left to a future project, the above-

unique, one which in any case is not to be found among

mentioned, characteristic distribution of repertoire will

the Swiss musical boxes of the time.

in all likelihood remain virtually unchanged.

Any actual notation of any of the arrangements has

The dimensions of the playing works, i.e., the musi-

yet to be found; merely a few hand-written excerpts

cal box movements, were the determining factor in the

have been discovered2. These show for example, the

choice of music used. Their structural conditions and

configuration of a typical ascending, broken triad in

limitations essentially dictated the length of the arrange-

the accompaniment, which is often to be heard. A num-

ment, as well as the creation of the respective musical

ber is assigned next to each tone corresponding to the

setting which had to manage with the number of teeth

tooth on the comb to be played. These pages come most

available on the comb, i.e., with the number of tones for

probably from Olbrich (Josef or Anton?) and the num-

which enough space was available. At the same time the

bers listed obviously correspond to the pieces of music

piece of music chosen determined for its part the choice

in order, beginning with the lowest and moving up in

of tones required, as well as a particular scale according to

turn to all those others that make up the musical pro-

which the comb was to be tuned .

gram in which the particular melody is again made use

1

1 The range encompasses slightly over five octaves. The scale is not chromatic throughout but contains just those tones needed. Many tones are to be found repeatedly (twice, threefold or fourfold) thus enabling fast tone repetitions. E.g. the comb with 81 teeth (Einsidl, music number 1238, current number 4420) goes from F to g““, the tones being: F G G c c d e f f# g g a b c‘c‘ d‘ e‘ e‘ f ‘ g‘ g‘ a‘ b‘ b‘ c“ c“ d“ d“ e“ e“ f “ f#“ g“ g“ g“ g#“ a“ a“ b“ b“ b“ c“‘ c“‘ c“‘ d“‘ d“‘ d“‘ d#“‘ e“‘ e“‘ e“‘ f “‘ f “‘ f “‘ f#“‘ g“‘ g“‘ g“‘ g“‘ g#“‘ a“‘ a“‘ a“‘ a“‘ b“‘ b“‘ b“‘ c““ c““ c““ c““ d““ d““ d““ e““ e““ f ““ f ““ f ““ e““(!) g““, see: Helmut Kowar: Videotaping a Musical Box: An Attempt to Transcribe and Analyze Its Music, in: Mechanical Music vol. 58/1 (2012), pp. 19-22.Gustav Řebiček describes a scale of a comb as having 75 teeth in a handwritten document (reproduction published in Goldhoorn’s book p. 166), a scale which is completely

of. In one of the movements ascribed to Josef Olbrich, with the music number 5564, we find the waltz “El Furia”, and 2 manuscripts of virtually identical versions

different: F G G A A B c c a a c’ c’ f ’ f ’ g’ g’ a’ a’ b’ b’ c” c” c” g” d” d” e” e” e” e” f ” f ” g” g” a” a” b” b” c”’ c”’ c”’ c”’ d”’ d”’ e”’ e”’ e”’ e”’ f ”’ f ”’ f ”’ g”’ g”’ g”’ g”’ a”’ a”’ a”’a”’b”’b”’b”’ c”” c”” c”” d”” d”” d”” e”” e”” e”” f ”” f ”” g”” g””. 2 Archiv Hans W. Schmitz (Stuttgart), I would like to thank Hans W. Schmitz for this information and for allowing me to use the documents.

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Musical boxes from Prague and Vienna

Fig. 66a El Furia, Waltz by Granada, first version

Fig. 66b El Furia, Waltz by Granada, first version

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IV. The musical arrangement

Fig. 66c El Furia, Waltz by Granada, second version

Fig. 66d El Furia, Waltz by Granada, second version

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Musical boxes from Prague and Vienna

Fig. 67a Polish song

Fig. 67b Polish song

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IV. The musical arrangement

Fig. 68a Polonaise „Les Adieux a la Patrie“ by Michal Oginski

Fig. 68b Polonaise „Les Adieux a la Patrie“ by Michal Oginski

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Musical boxes from Prague and Vienna

of this waltz exist which, although they do not bear the

The artistic skill involved in ‘composing’ the arrange-

exact same number 5564, are designated similarly (fig.

ments was on full display, with its unique combination

66a-d). ‘The Polish Song’ (Das Polnische Lied), with

of summarizing and combining characteristic passages,

the music number 3707 (fig. 67 a, b), is most surely

i.e., reducing pieces from an opera or a waltz to

also from Josef Olbrich, whereas a completely different

their musical essence. This process did not result in a

piece deriving from Rzebitschek can be heard using mu-

mere abridged version of the original but created in-

sic number 3707 (comp. Rzebitschek number 43388).  

stead a new and self-contained unit. Melodic line and

The arrangement of the polonaise “Les Adieux a

accompaniment intertwine in such a way that – in most

la Patrie” by Michal Oginski who died in 1833, surely

cases – a multifaceted, musically interesting arrange-

also stems from Olbrich (fig. 68a, b). The higher num-

ment is revealed. In this respect, the accompaniment

bers point to Josef Olbrich or Anton Jr., possibly also

plays a crucial role in structuring the arrangement.

to Josef Wyskocil, who was Josef Olbrich’s successor.

A number of details in the musical setting and even

The significance of the figures added in lower case is

different tonal shadings (this indeed is surprising with

unclear; it is possible that they refer to the number of

these small movements) conspire to form a lively mu-

melodies on the cylinder. 

sical flow, well worth being listened to many times

To begin with it may be pointed out, that the con-

over. Two primary aspects bear mentioning: with the

ditions with reference to the two-tune movements re-

operatic airs, rhythmically free solo cadenzas were

garding the duration of play, the individual melodies

preserved in the arrangements, and with the waltzes we

and the tones available - and this is mostly true for the

find creative modifications of the original as well as

three- and four-tune movements - apply. On all of these

unexpected selections and more often than not a whole

movements we find a playing duration of ca. 50-60

new order of the themes. With the operatic airs, the

seconds. Some arrangements are also shorter and thus

length (i.e. the number of bars) of the arrangements

do not completely fill out the space allotted on the

may vary considerably due to the respective tempo of

cylinder. The tempo depends on the respective elastic

each aria, chorus etc.; with the waltzes the arrangements

resilience of the spring, on the degree of dirt in the

on the two-, three- and four-tune movements usually

works, and on other technical considerations as well;

consist of 64 bars, sometimes a few bars shorter or

thus, one piece of music may run only 40 to 50 seconds,

longer in case a 4-bar introduction had been added

others may run well over a minute . It was not until

or dispensed with. Needless to say, arrangements on

the development of larger movements that these con-

larger movements are longer (e.g. the six-tune move-

ditions changed. The following analyses deal with the

ment by Anton Olbrich, music number 1526, current

structuring and style of the musical arrangements to

number 22022, has a cylinder 37.2 cm long, 5 cm in

be found on the overwhelming majority of two-, three-

diameter and plays an arrangement of Johann Strauss’

and four-tune movements displaying the most striking

waltz op. 192 “Wien mein Sinn” consisting of 72 bars).

features of a kind of standardization of the arrange-

The stylistic and aesthetic features of the arrange-

ment. These features will be pointed up on the basis

ments are a functional tour de force in themselves. All

of several examples taken from operatic airs as well as

things considered, i.e., the judiciously chosen cuts to

waltzes, as both these genres are represented most

the original along with the careful setting of the music

frequently with respect to the 19 century Austrian

to the needs of the musical box movements, each of these

movements dealt with here.

arrangements is the embodiment of a new and, albeit

3

th

abbreviated, yet completely satisfying ideal of a musical piece. The melodic line is preserved for the ear as the 3 With some movements the fan blades have been shortened, hence they play the pieces at a faster tempo than the original.

most prominent part of the arrangement, whereby in addition, details of the different original voices as well

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IV. The musical arrangement

as of the accompaniment are also maintained. It is precisely this detail that makes it apparent that the arrangers scrupulously adhered to the original without any loss of substance. The listener will also notice that the arrangers considered each addition or omission of an ornament with care as these were included, i.e., whether it was in the original score or in the arrangement, in order to guide the voices clearly by placing accents and emphasizing certain passages. The following analyses refer to sound recordings4 as their source and discuss three main aspects: 1) the formal structure of the arrangement and the modifications of the harmony as compared to the original, 2) the design of the melodic line as well as of the other voices, 3) the structure of the accompaniment, demonstrated in detail through the use of several examples.

4 The recordings are archived in the ‘Phonogrammarchiv’ of the Austrian Academy of Sciences and have been published (see footnote 1 of the foreword). Scores and piano arrangements served as printed sources. In the case of the waltzes it was possible to revert to the first editions of the piano arrangements. I would like to extend a special word of thanks to the music collection of the Library of the City of Vienna (Wien Bibliothek) who kindly provided copies and permitted their reproduction within this book.

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Musical boxes from Prague and Vienna

Operatic airs5:

to this genre. Taking one aspect at a time, we note first

Cavatina

“Largo al factotum“ from the opera “Il

tween the dotted quarter and eighth notes (in bar 4 and

barbiere di Siviglia“ by Gioachino Rossini (1816), a

its respective repetitions). In bar 43 three eighth notes

two-tune movement by F. Rzebitschek, Prague, music

are then added to the accompaniment in order to con-

number 1730, current number 27499.

nect it with the following piu mosso, whereupon grace

that the arrangement does away with the ligatures be-

notes are added within the first four bars of the piu Figaro’s famous cavatina originally comprises 273 bars

mosso, enhancing the tonal quality of the final part of the

and its performance takes some 4 minutes and 35 se-

arrangement. In bar 8 of the piu mosso the two eighth

conds. On the movement the piece was reduced to 50

notes of the melody are placed up a third, thus enabling

bars playing barely one minute. Any musical enjoyment

a smooth connection to the following note after the leap

would therefore have been impossible, had shortening

to the closing section. In bars 26 and 28 the arranger ob-

the original for the arrangement of the piece not been

viously preferred a melodic line which differed from the

carried out with an equal measure of skill and rigor. In

original. In the second to last chord the third was cho-

fact, only the first theme and its repetition are presen-

sen as the highest note as opposed to the higher tonic.

ted to the listener in their entire length (bars 1-16). The

Within the accompaniment all chords – almost with-

second theme (8 bars) is played without repetition, fol-

out exception – are replaced by broken triads. It is note-

lowed by the next 8 bars leading to the first cadence

worthy that accompanying notes are played in the

(bars 42 and 43), which has been shortened as well

second half of the bars 1 and 2 only on the first and

by eliminating bar 41. Subsequently, the arrangement

fourth eighth. This feature is repeated in similar places

continues with the closing section of the cavatina (piu

and in bars 24 and 37-40 as well, providing a sense of

mosso). Within this piu mosso, repetitions and extend-

clarity for the listener, as it serves to emphasize the

ing phrases were omitted, thus the number of bars has

melody. Although the arrangement maintains the dura-

been reduced from 37 to 17. We now find the cavatina

tion and succession of the accompanying chords in

in its transformation represented by two characteristic

bars 5 and 6, the accompaniment chords only sound

themes, with all repetitions omitted. Here it is im-

together with the first of each group of four sixteenth

portant to note that Rossini’s typical dynamic pro-

notes in the descending melodic line. As the final

gressions (crescendos) are merely based on multiple

chords of the original are all repeated twice in quick suc-

repetitions. As a small musical box movement is un-

cession, they sound accordingly as single chords in the

able to produce differently shaded dynamics, numerous

arrangement, as fast tone repetitions cannot be played

repetitions would simply have seemed monotonous to

on combs providing only single teeth for lower notes.

even the most patient of listeners.

Unlike the original, the arrangement reveals flow-

On examining the arrangement in detail we dis-

ing transitions between its sections; not even the caesura

cover that each melodic line as well as those of the ac-

before the piu mosso survived the arranger’s rigor. A

companying voices displays precisely those features unique

completely new entity had been created.

5 The music examples have been taken form IMSPL Petrucci Music Library (Free Public Domain Sheet Music) http://imslp.org/

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IV. The musical arrangement

Cavatina from Il barbiere di Siviglia

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Musical boxes from Prague and Vienna

Cavatina from Il barbiere di Siviglia

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IV. The musical arrangement

Preghiera “Dal tuo stellate soglio“ (Finale of Act III)

reduced to its first bar, where upon the arrangement

from the opera “Mose in Egitto“ by Gioachino Rossini

then follows the score as far as bar 29. The repetition is

(1818), a four-tune movement by Anton Olbrich,

left out and the closing bars are attached immediately.

Vienna, music number 463, current number 11013.

As this cut also eliminates the modulation the arrangement closes in the relative key. The final six bars

The original Preghiera in the Finale from the third

are shortened as well: bar 59 is left out. In bar 60 the

act comprises 62 bars and its duration is 4 minutes

melodic line follows the score of the original and not

and 42 seconds (in the recording with the conductor

the piano arrangement.

Arturo Toscanini). The arrangement on the musical box

The accompaniment played by the harp in the ori-

movement takes barely a minute and manages with a

ginal work experienced modification in two respects:

mere 27 bars. The popular “preghiera” was also published

the ascending and descending motion was replaced

in its time as a piano arrangement (see the printed

by ascending broken triads (every half bar), and ac-

example) .

cordingly, the continuous motion took on an inter-

6

The whole piece was assembled using several repe-

mittent character. The arrangement introduces ferma-

titions of the theme (by the solo voices and the chorus);

tas as well. In the closing bars of the themes (bars 15

hence, shortening the piece did not involve any loss of

and 21) the motion stops and the accompaniment

musical substance. The introduction (7 bars) has been

pauses in the second half of the bar. The melodic line

Fig. 69 A. Olbrich no. 11013

6 Piano score for piano two hands, ca. 1839 (Ricasoli Collection, Uni versity of Louisville Music Library), http://imslp.org/wiki/Special: ImagefromIndex/274813, (viewed 7.10.2013)

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Musical boxes from Prague and Vienna

in bars 15 and 29 follows the score and not the piano

the melodic line of the solo voice (soprano) in bar 19

arrangement (with its figuration in sixteenths in the

and that of the chorus (bar 20). These details are mis-

right hand). This is also the case in bars 19 and 20. The

sing in the piano arrangement – the arranger of the

arrangement maintains the motifs played by the flute,

playing movement had obviously decided to consult a

oboes and clarinets (in thirty-second notes) as well as

more comprehensive source!

Fig. 70 Tune sheet A. Olbrich no. 11013

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IV. The musical arrangement

Preghiera from Mose in Egitto

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Musical boxes from Prague and Vienna

Cavatina from the opera “Norma“ by Vincenzo Bellini

and some final chords, a common formula which can

(1831), a four-tune movement by Anton Olbrich,

be found in many pieces arranged to be performed by

Vienna, music number 463, current number 11013.

playing works. We find that the melodic line in the arrangement

The arrangement does not select the famous Andante

was altered ever so slightly, with certain ornaments

form the fourth scene of the first act but turns to the

having been added in bars 10, 12, 13, 20 and 22. The

subsequent Allegro, “Ah! Bello a me ritorna del fido

ornament is especially noticeable in bar 13 where the

amor primiero“. This section with its numerous repeti-

melody is played in thirds. The melody was also altered

tions comprises 127 bars in the original. In the arrange-

in bar 18 – perhaps the new melodic line seemed to

ment it has been reduced to 30 bars. All parts originally

sound more logical to the arranger: Bar 22 is the repe-

sung by the chorus (piu mosso) have been left out and

tition of bar 20; as a result, bars 20-23 display a more

the lengthy closing has been dropped completely. The

balanced, almost symmetrical structure, whereas the

arrangement concentrates on the solo voice and avoids

original is characterized by a stepwise motion at the be-

the four-bar cadence altogether along with a 12-bar

ginning of each bar. The accompaniment uses ascend-

repetition. The soprano cadenza is connected directly to

ing broken triads and the first and third beats are often

all voices sounding in unison followed by the final two

accentuated by chords or bass notes. All the rests are

and a half bars. They represent just a simple cadence

strictly observed as printed in the score.

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IV. The musical arrangement

Cavatina from Norma

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Musical boxes from Prague and Vienna

Cavatina from Norma

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IV. The musical arrangement

Cavatina from Norma

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Musical boxes from Prague and Vienna

Cavatina from the opera “Gemma di Vergy“ by

played by the movement in the upper octaves). An

Gaetano Donizetti (1834), a two-tune movement by

ascending motif has already been placed in bar 22 (in

Anton Olbrich, Vienna, music number 470, current

eighth notes) and broadens out in bar 23 (with quarters

number 8442.

coming on the third and fourth beats). Then the melodic line does not go to the F-sharp (with the first

This cavatina from “Gemma di Vergy“ closes the final

inversion of F-sharp-major) but instead uses a harmo-

scene of the first act. The arrangement confines itself

nically simpler variant and goes on to the G-sharp with

to the end of the scene (Allegro marziale), comprising

the appropriate dominant seventh chord of E major.

99 bars, simply by lifting the theme sung by the bari-

With the triplets that have already been presented with-

tone out of its original context and beginning with it

in the theme, an elegant connection to bar 25 emerges.

immediately, using an unaccompanied upbeat. The re-

Three bars were then added (26-28) in order to con-

petition of the solo, the prelude, the parts sung by the

clude appropriately, freely making use of some of the

chorus and the finale are omitted entirely, hence the

original motifs.

whole piece is only 28 bars in length.

The accompaniment dispenses with the distinctive

As a result, the musical structure has been modi-

marching character found in the original. It simply

fied considerably, with no loss of charm when compa-

plays ascending broken triads in eighths notes. Just as

red with the original. The rhythm of the melody in bar 2

in bar 12 accompanying chords are played only on the

has been adjusted, replacing the original uniformity of

first and second beat. From bar 13 to bar 21 broken

the dotted rhythm at the end of bars 1 and 2. Bars 1 to 4

chords follow. In bars 22 and 23 the accompaniment

are repeated without modification and the original leap

reinforces the melody, playing in parallel sixths. Broken

of a sixth is dispensed with. The tone repetitions in bars

chords again appear in bars 24 – 26. From then on,

9 and 11 are transformed into a paraphrase and in bar

chords follow only on the third beat of bar 26, continue

10 the leaps in the melody are adapted to form a pleas-

on the first and third beats of bar 27, and finish on the

ing line which descends stepwise. Bar 12 has been

first, second and third beat of the final bar.

modified considerably, both in its melodic shape and

The marching character manifests itself solely in the

in the harmony as well: the B-sharp of the melody (ac-

melodic line. Nonetheless, the accompaniment is in fact

companied by a G-sharp-major chord) is not sustained

instrumental in structuring the piece by introducing a

as is indicated in the score, but goes on to the B on

constant change of passages consisting either of chords or

the second beat, which is accompanied by a dominant

broken triads. In all probability, technical exigencies

seventh chord. Hence, the arrangement inserts a brief

led to these modifications as well. The original, accom-

pause for effect before the theme is repeated. In bar 14

panying figuration makes use of many tone repetitions

the melodic line is modified similarly as in bar 2. Start-

in the lower instrumentation. As the comb in that re-

ing with bar 22 a number of significant modifications

gister does not provide the teeth that would be required

appear, leading to the closing of the arrangement (see

(two or more teeth tuned to the same tone needed for

the transcription of the melody; it is written in the ori-

quick repetitions), it would simply have been impossible

ginal vocal register and does not represent the tones

to perform the original figuration on this comb.

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IV. The musical arrangement

Cavatina from Gemma di Vergy

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Musical boxes from Prague and Vienna

Cavatina from Gemma di Vergy

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IV. The musical arrangement

Cavatina from Gemma di Vergy

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Musical boxes from Prague and Vienna

Sextet from the opera “Lucia di Lammermoor“ by

modified as well, which seems to have been prompted

Gaetano Donizetti (1835), a three-tune movement by

by the previous upbeats. Those in bars 8 and 10 consist

Anton Olbrich, Vienna, music number 1148, current

of notes which are repeated, and the arranger apparently

number 19424.

wanted to introduce a melodic variation for the third upbeat.

This arrangement presents the Larghetto from num-

The accompaniment adheres mostly to the original

ber 8 of the second act (scene and sextet). The original

and is set in a number of variations. Up to bar 8 it copies

sextet is 83 bars in length, whereas the movement

the rhythmic structure of the original (played pizzi-

plays a shortened version consisting of 28 bars. The

cato by the strings); from that point until bar 13 we find

arrangement provides a section of the sextet: it be-

ascending broken triads (in eighth notes). Bar 14 is

gins in bar 18 of the Larghetto with the upbeat of the

played as printed. In bar 15 and 16 an ascending broken

melody (this being virtually the repetition of the theme)

triad (sixteenth notes) sounds on the first beat followed

and goes on until bar 44. There, a very simple conclusi-

by eighth notes, i.e. the original rest in bar 15 is there-

on, two bars in length, was attached. The shortened

fore filled, the fermata is not held and thus the second

version does not really suffer from a lack of thematic

theme is connected seamlessly. From bar 16 on, the

material, as the original version consists merely of a

accompaniment runs in triplets (eighth notes), which

repetition of the second theme and cadences along with

frequently correspond to the melodic line. These triplets

a few repetitive closing bars.

are also maintained in the two bars added at the end,

The melodic line is prominent throughout the

with the exception of the final chord.

whole piece (see the arrows in the example). The first

The arrangement also includes middle voices,

theme’s melodic line has been slightly altered (bars 2

specifically in bar 10. The printed music provides an

and 5 of the arrangement). Bar 8 presents a simplifica-

ascending sequence of tones (in triplets) on the third

tion of the melody and the upbeat in bar 8 and again

and fourth beats, and the arrangement changes this in-

in bar 10 is repeated. The upbeat in bar 12 has been

to a run of sixteenth notes. Original:

Arrangement:

Fig. 71 A. Olbrich no. 19424

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IV. The musical arrangement

Sextet from Lucia

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Musical boxes from Prague and Vienna

Sextet from Lucia

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IV. The musical arrangement

Sextet from Lucia

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Musical boxes from Prague and Vienna

Sextet from Lucia

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IV. The musical arrangement

Sextet from Lucia

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Musical boxes from Prague and Vienna

Sextet from Lucia

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IV. The musical arrangement

Duet “Mira, o Norma“ from the opera “Norma“ by

It bears mentioning that the rubato passages of

Vincenzo Bellini (1831), a three-tune movement by

the solo cadenza (bars 4 and 5 of the un poco meno)

Rzebitschek, Prague, music number 3459, current

had been taken into account. The sextuplet’s last two

number 40870.

notes slow down considerably before being followed by the fermata, which is held out, as well as by the

This duet is part of a longer scene from the second act.

fermata on the rest (an eighth) in the next bar. The

It consists of an Andante followed by an Allegro. The

arrangement adds accompanying chords on the first

arrangement makes use of the Andante only, which is

and second beats of bar 5, and the chord on the third

reduced from 33 to 20 bars. The theme is played only

beat (fortissimo) is emphasized somewhat by being

once (which saves 8 bars), whereupon as with the

executed as an arpeggio.

original setting, the un poco meno and a repetition of

The accompaniment throughout consists of ascen-

the theme follow. Another bar with three chords ends

ding broken triads in triplets (every half bar), mostly

the piece (see the notes in red in the example).

complemented by a bass note or chord on the first and

The arrangement starts with an unaccompanied

third beat of each bar. Here, it bears mentioning that

upbeat and the melody set in two parts (note that

the accompanying triplets do not appear in the original

originally, the two-part melody is only to be found in

score until the un poco meno.

its repetition). However, the two-part setting of the me-

Although this extraordinarily slow, quiet piece is

lody is not maintained throughout and the melodic line

played a bit faster by the movement, the performance

of the arrangement contains but slight modifications-

nevertheless retains its original tranquil character. Its

when compared to the original composition . In bar 17

arranger obviously was trying to achieve an agreeable,

the arrangement retains the dotted rhythm as with the

pleasing adaptation. The longer notes of the melody

previous passages and in bar 19 the two-part setting of

sound longer to the ear due to the unobtrusive ac-

the melody is changed in such a way, that the upper

companying figurations and certainly, the phenome-

voice ends on the tonic.

non of resonance (the instrument’s housing) helps to

7

prolong the sound of the melodic notes as well.

Fig. 72 Rzebitschek no. 40870

7 The sixteenth note ‘e’ in bar 2 of the arrangement is a mistake in the piano score. The original score has an ‘f ’ in this bar.

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Musical boxes from Prague and Vienna

Duet from Norma

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IV. The musical arrangement

Duet from Norma

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Musical boxes from Prague and Vienna

Duet from Norma

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IV. The musical arrangement

Duet from Norma

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Musical boxes from Prague and Vienna

Chorus “A fosco cielo“ from the opera “La Sonnambula“

sequent 8 bars of the melody. In the first bar of this

by Vincenzo Bellini (1831), a two-tune movement by

part a tied trill is inserted and in the third bar the melo-

Willenbacher & Rzebitschek, Prague, music number

dic line does not run over to the A-flat but goes instead

1305, current number 15365.

directly to G, which is ornamented by a grace note. Thereafter the arrangement leaves out 12 bars (the main

This chorus, number 7 from the first act, is 88 bars

theme and 4 bars of its continuation) and adds the

long in its original form, whereas on the movement it

second part of the theme’s continuation (4 bars) directly.

consists of 27 bars. With this economy of arrangement

Again a tied trill has been added, and the end has

the listener can enjoy both the ingenious method the

been modified in order to facilitate its repetition. The

arranger used in abbreviating the original substance,

following closing solo cadenza which is 11 bars long in

all the while marveling at the ingenuity with which

the original has been reduced to 3 bars by shortening

the arranger managed to preserve the main thematic

passages, rests and long notes. Nevertheless, the fer-

parts of the composition, as well as hanging on to its

mata has been retained.

characteristic, rhythmically free solo cadenza at the end.

The accompaniment of the arrangement does not

The arrangement leaves out the introduction al-

preserve the original triplets but makes continuous

together and begins with an unaccompanied upbeat,

use of broken triads (in eighth notes). All these broken

the grace note becoming a tied trill. The repetition of

triads are ascending triads, always comprising one

the motif a half step lower in bars 5 and 6 is not con-

bar; occasionally this ascending figure encompasses

sidered in the arrangement. The theme is not repeated

just half a bar. Accompanying chords are saved for the

and the arrangement simply continues with the sub-

closing bars.

Original:

Arrangement:

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IV. The musical arrangement

Chorus from Sonnambula

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Musical boxes from Prague and Vienna

Chorus from Sonnambula

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IV. The musical arrangement

Chorus from Sonnambula

Fig. 73 Rzebitschek no. 15365

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Musical boxes from Prague and Vienna

Canzone “La donna e mobile” from the opera

(not the original) closing passage. The accompaniment

“Rigoletto“ by Giuseppe Verdi (1851), a two-tune

follows that of the original composition.

movement by Anton Olbrich, Vienna, music number 2370, current number 23062.

A differently designed arrangement of this aria is to be found on the two-tune movement by Gustav Řebiček (nos. 2397/49400). With Řebiček’s arrangement the

This piece from the opera’s third act has 117 bars in the

main theme has not been modified either. The first part

original, the movement by Olbrich plays for 44 bars.

consists of 25 bars (as with Olbrich’s movement). The

It must certainly have been an interesting task to pro-

lengthening in the second section is done by repeating

duce an arrangement of this popular melody. The theme

the closing passage (6 bars long) which is followed

itself consists of 24 bars, the virtuoso final passage

by two additional bars. As a result, Řebiček’s arrange-

lasts 10. 34 bars (or 35 if we take the opening bar into

ment is 42 bars long. It bears mentioning that this

account) would be too short and a repetition of the

arrangement displays a most effective accelerating run,

whole passage would be too long. Repeating just a part

leading up to the top note. In the second to last bar

of the theme obviously seemed inappropriate as well –

the melodic line (in eighth notes) is accompanied by

it would have ruined the unity of the musical invention.

ascending broken triads (in sixteenth notes). As for the

Hence the arranger extended the second part, the closing

rest, Řebiček’s arrangement adheres to the original as

passage, in order to fill the 9 empty bars. The detailed

well, yet the accompanying chords often differ in their

structure of the closing passage lends itself easily to

setting from the chords played by Olbrich’s movement.

such an adaptation.

On comparing those two arrangements it becomes

The arrangement plays the whole theme plus its

obvious that Olbrich offered a more refined and me-

introductory bar (25 bars). In the subsequent passage

ticulously designed assembly. His arrangement aimed

the first four bars and the last two bars are repeated.

towards the climax of the aria (con forza), altering the

The melodic line follows the instrumentation in the

subsequent descending motif simply by repeating it

orchestra (see the arrows in the music examples). In

in the lower octave. The movement by Řebiček plays a

the repetition, the last two bars of the melody are

somewhat simpler version, the climax along with its pre-

played one octave lower (designated loco in the music).

paratory bars are played twice without any alteration.

Thus, this section has been expanded to 16 bars. As

In both arrangements the A-sharp (con forza) is not

there was still some room left, another two bars were

preceded by playing the original F-double sharp but

added.

instead by extending the melodic line: Olbrich intro-

The melodic line does not show any major alter-

duces an alternating note whereas Řebiček inserts a run.

ations. Grace notes were added in bars 7 and 9 (and

In both cases the passage gains weight by the addition of

in corresponding places). When reaching the top note

a few notes. One may also feel inclined to consider these

(A-sharp), an octave F-sharp to F-sharp is played in

modifications as having been influenced by a specific

the closing passage, and the subsequent eighth note

manner of performance a certain singer of the day

(F-double sharp) is transformed into two sixteen notes

preferred, but these thoughts must remain in the realm

(E-sharp to F-sharp). The turns just appear in the added

of speculation.

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IV. The musical arrangement

Rigoletto Version Olbrich

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Musical boxes from Prague and Vienna

Rigoletto Version Olbrich

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IV. The musical arrangement

Rigoletto Version Olbrich

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Musical boxes from Prague and Vienna

Rigoletto Version Rebicek

Fig. 74 A. Olbrich no. 23062

Fig. 75 Gustav Řebíček no. 49400

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IV. The musical arrangement

Cavatina “Il cor non basta a reggere“ from the opera

ries played by the flute, oboe or clarinet (see the arrows

“Saffo“ by Giovanni Pacini (1840), a two-tune move-

in the music). The voices are hereby blended econo-

ment by Willenbacher & Rzebitschek, Prague, music

mically (e.g. in bars 28-30) into a single melodic line

number 1358, current number 15490.

which is almost virtuoso in style. The arrangement takes into account all passages played in thirds by the singing

Climene’s cavatina (Allegro moderato) proved parti-

voice and one of the wind instruments respectively.

cularly suitable for adaptation to the needs of a move-

The following changes to the original composition can

ment. The composition (124 bars long) consists of a 16-

easily be recognized: the trill in bar 10 is extended by

bar introduction, Climene’s aria (bars 17-51), followed

a grace note and in bar 26 the chromatic run is turned

by a passage with chorus (bars 52-67), the repetition of

into an ornamented diatonic passage. Additionally,

the aria itself (bars 68-102) and its closing section (bars

fermatas have been placed on the C and C-sharp in

102-124). The arrangement takes a mere 35 bars: the

bar 30, whereas the fermata on the B has been dis-

introduction falls by the wayside and the aria then starts

pensed with. Thus, the arrangement creates a new inter-

directly with the upbeat. Rather than being shortened,

pretation of this bar which is rhythmically free, placing

the 4 bars before the repetition of the theme are simply

the emphasis on notes which are completely different

left out. Subsequently the passage with the chorus and

from those in the original setting.

the repetition of the aria are omitted completely and

The accompaniment does not follow the original.

six bars are added, closing the piece. The very last two

Instead, it consists of broken triads in eighth notes, as-

bars were composed by the arranger himself. Thus the

cending in each bar. Occasionally the last two eighth

listener is happily confronted with an economical

notes are again descending. In bar 17 where the singing

arrangement which starts with the repetition of the aria,

voice performs an octave leap a chord is only played on

which is then directly connected to the closing passage

the first beat, followed by a bass note on the second beat.

(see the music example).

In addition to the broken chords an arpeggio is played

The arrangement of the melody displays a constant

in the beginning of bar 27 and a chord is added on its

interweaving of the singing voice with solo commenta-

third beat. The final two bars have chords on each beat.

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Musical boxes from Prague and Vienna

Cavatina from Saffo

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IV. The musical arrangement

Cavatina from Saffo

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Musical boxes from Prague and Vienna

Cavatina from Saffo

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IV. The musical arrangement

Waltzes8: “Die Badner-Ring’ln“, waltz op. 64 by Josef Lanner

total. The melodic line is slightly modified at the end

(1832), a two-tune movement by Anton Olbrich,

of each part. The accompaniment plays broken triads

Vienna, music number 105, current number 2150.

ascending over one or more bars, supported by bass notes on the first beat of every bar. At the beginning of

The work consists of eight parts: an introduction, six

the second part of the first waltz the octaves are filled

waltzes and a finale. The movement plays the com-

in with chords; apart from that, long notes or rests are

plete first waltz (its first part takes 16 bars, its second

not embellished. In the cadences of the second part

part is only 8 bars long), followed by the second waltz

of the first waltz and the last bar of the second part a

(32 bars), hence the arrangement comes to 56 bars in

descending broken triad has been added.

Badner Ringln

8 Some of the analyses have already been published (Helmut Kowar: Tanzmusik auf Kammspielwerken von Olbrich, Rzebitschek und Stern. Einige Bemerkungen zur Form und Satztechnik der musikalischen Arrangements, in: Die Fledermaus, Mitteilungen des Wiener Instituts für Strauss-Forschung 20, Tutzing, April 2008, pp. 7-56). This article also provides analyses of polkas and quadrilles. Analyses of marches have been published in: Helmut Kowar, Die Revolution im Wohnzimmer, in: Musik und Revolution. Die Produktion von Identität und Raum durch Musik in Zentraleuropa 1848/49, ed. Barbara Boisits. Wien 2013, p. 433-456.

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Musical boxes from Prague and Vienna

Badner Ringln

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IV. The musical arrangement

“Die Haimbacher“, waltz op. 112 by Josef Lanner

second waltz (without repetitions), adding up to 64 bars

(1836), a two-tune movement by Willenbacher &

in total. The melody does not display any modifications.

Rzebitschek, Prague,

The accompaniment has been changed generally to broken

music number 711, current

number 9556

triads (in quarter notes), except for bars 1 and 9 of the first waltz which employ the original setting, and in bars 17 to

This composition consists of an introduction, five walt-

24 of the first waltz where the original chords have been

zes and a finale. The arrangement plays the first and the

retained.

Haimbacher

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Musical boxes from Prague and Vienna

Haimbacher

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IV. The musical arrangement

“Liebesträume“, waltz op. 150 by Josef Lanner (1839),

Structure of waltz no. 3:

a two-tune movement by Willenbacher & Rzebitschek,

Bars 1-2, 3-4, 5-6, 7-8, 9-10, 11, 12, 13, 14, 15, 16

Prague, music number 1091, current number 12963.

without accompaniment, 17-18, 19-20, 21-22, 23-24, 25-26, 27-28, 29-30, 31 and 32.

The arranger selected waltz no. 1 (32 bars) followed by waltz no. 3 (32 bars) from Lanner’s op. 150 (intro-

The result of this two-bar configuration is that the

duction, five waltzes and finale). Although one may

lowest note (and lowest note of the harmony) acting

speculate as to the arranger’s reasoning, the combina-

as an accentuation of the first beat appears only every

tion does seem most suitable, as waltz no. 3 is the only

third bar: the character of the waltz is thus modified

one which starts with an upbeat, enabling a skillfully

considerably. The typical pattern of accentuating the

chosen continuity of the parts which follow. As regards

first beat of every bar is replaced in the arrangement

the melody, one may notice that slides have been added

by a greater fluidity. The scheme outlined above pro-

to the first eighth notes of bars 17, 18, 19 and 20 (and to

vides an overview of the sequence of harmonies on

their repetitions).

the basis of which one may quite easily detect those

The accompaniment uniformly consists of ascend-

passages which are either monotonous or harmonic-

ing broken triads (quarter notes) starting on the tonic

ally more interesting. It becomes obvious that endings

of each chord. These broken chords usually run over

and cadences operate with broken chords changing

two bars encompassing two octaves, occasionally

every bar, while the themes display a quieter har-

descending in the second bar depending on the melo-

monic layout. Due to the fact that the changing of

dic line. The structure of the accompanying figure in

the harmony results in accentuations structuring the

waltz no. 1 is as follows:

musical flow, the arrangement thus reveals yet an-

Bars 1-2, 3-4, 5-6, 7-8, 9-10, 11, 12, 13-14, 15, 16, 17-18, 19, 20, 21-22, 23, 24, 25-26, 27, 28, 29, 30, 31, 32.

other quality which is not to be found in the original score.

Liebesträume

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Musical boxes from Prague and Vienna

Liebesträume

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IV. The musical arrangement

“Die Talismane“, waltz op. 176 by Josef Lanner (1841),

This means that the original accent on the second beat

a two-tune movement by Anton Olbrich, Vienna,

has been dispensed with.

music number 470, current number 8442.

The arrangement does not adhere to the ligatures of bars 18-19, 26-27, and 30-31; the respective notes

The arrangement offers per se no surprises. From the

on the first beat are played again each time. The tied

original material (introduction, 5 waltzes and a coda)

trills in bars 20 and 28 as well as the trill in bar 30

the movement plays the first and the second waltz (with-

are missing, although a turn has been added in bar 31.

out repetitions), thus forming 64 bars altogether.

In bar 32 a chord on the second beat completes the ar-

On the other hand, we do find the melody altered

rangement.

in detail in several places. In the first waltz the tied trills

In the accompaniment we discover ascending bro-

in bars 4, 8 and 31 are not played, and in bars 13, 14 and

ken triads in each bar; sometimes the broken triads are

15 the repetition of certain notes is replaced by octave

continued in the upper octave within the following bar.

leaps. In bar 32 an upbeat has been introduced in order

This structure prevails in the first part of the second

to create a connection to the second waltz; this cor-

waltz and – together with the hemiolas played in the

responds to the connection from bar 8 to bar 9. In the

melody – breaks up the typical rhythmic concept of a

second waltz the repetition of the theme is not set in

waltz, creating a charming sense of disorientation on

the upper octave (as it is done in the original music, bars

the part of the listener, especially if they are not familiar

6 to 8). The rhythm in bar 16 (second cadence) has

with this piece.

been changed:

Talismane

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Musical boxes from Prague and Vienna

Talismane

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IV. The musical arrangement

“Die Schönbrunner“, waltz op. 200 by Josef Lanner

In bars 15 and 16 the melodic line has been altered in

(1842), a two-tune movement by F. Rzebitschek,

order to form an appropriate bridge to the ending. An

Prague, music number 1605, current number 18771.

additional doubling of the melody one octave higher underlines the cadence of the final passage:

This beautiful waltz, for that matter one of the more popular of the waltzes composed by Josef Lanner, consists of an introduction, five waltzes and a coda. The arranger employed considerable selective finesse

In part two of the second waltz we find tied trills on

in combining the various sections that make up the

the second beats of bars 2 and 10, and ascending broken

original. At the beginning, the first waltz is played with-

triads in bar 15,

out repetition (32 bars). This is followed by the first part of the fifth waltz (16 bars) and then by the second part of the second waltz (16 bars), making 64 bars in total. The first waltz ends with an added arpeggio; in bar

replacing tonal repetitions and emphasizing the ending.

32 some eighth notes have been inserted which lead to

The arrangement does not follow the original

the first part of the fifth waltz. Moreover, in bars 1-2 and 8 -10 of this part the melodic line has been modified:

modulations and uses the same key in every part. The figuration of the accompaniment is clearly composed of broken triads ascending over two bars (especially from the second part of the first waltz onward), lending a fluid character to the whole piece.

Schönbrunner

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Musical boxes from Prague and Vienna

Schönbrunner

Schönbrunner

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IV. The musical arrangement

Schönbrunner

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Musical boxes from Prague and Vienna

“Heimatklänge“, waltz op. 84 by Johann Strauss sen.

in bars 23 and 24 are apparently intended by the ar-

(1836), a two-tune movement by Anton Olbrich,

ranger to express accentuation, and we find repetitions

Vienna, music number 200, current number 4837.

of notes replaced by ornamentation, thus creating a kind of melodic motion:

From the musical material of this piece (introduction, five waltzes and a coda) the arranger chose the first waltz (32 bars), followed by the first part of the second waltz (16 bars) and the second part of the fourth waltz (16 bars), making 64 bars in total. Remarkably enough, the arrangement starts with an effective slide which is not repeated at correspond-

In bar 32 a chord is inserted on the second beat, the second waltz begins with an upbeat and the rhythmic design of bar 15 has been changed:

ing points. Moreover, a grace note has been added on the second beat of bar 6. The middle voice of bar 4, 8 and 12 features a motif imitating a preceding phrase of the melody. These motifs can be identified as inter-

In bar 16, in which the melody is unaccompanied, the

jections of the trumpets – designated “Solo” in the writ-

arranger incorporated the second cadence of the first

ten parts. It should be noted that the piano score pub-

part of the fourth waltz, thereby creating a smooth con-

lished at the time does not contain these interjections,

nection to part 2 of the fourth waltz. This part ends with

and that the arranger obviously had to rely, either on a

its second cadence. The run in bar 15 is doubled one

particular contemporary performance or perhaps he

octave higher, thus ending with a flourish.

had the good fortune to avail himself of handwritten parts themselves?

9

The arrangement does not retain the ligatures in bars 19-20 and corresponding passages. The quick slides

The accompaniment clearly uses broken chords in every bar (in waltz one and two), whereas in the fourth waltz the broken chords extending over two bars prevail.

Heimatklänge

9 There is no original score extant; only the original handwritten parts signed “Flatscher 1836” are preserved in the Library of the City of Vienna (Wien Bibliothek, Musiksammlung MH 4342).

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IV. The musical arrangement

Heimatklänge

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Musical boxes from Prague and Vienna

Heimatklänge (trumpet’s part)

Heimatklänge (trumpet’s part)

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IV. The musical arrangement

“Berggeister“, waltz op. 113 by Johann Strauss sen.

Bar 1 to 4: ascending broken chords comprising one bar,

(1839), a two-tune movement by Willenbacher &

bars 5-6, 7-8, 9-10, 11-12, 13-16; ascending broken

Rzebitschek, Prague, music number 1091, current

chords running through bars 13 and 14, descending in

number 12963.

bars 15 and 16. Bar 17-18, 21-22, 24-25, and 26-27: ascending broken

The waltz consists of an introduction, five waltzes and

chords; bars 19, 20, 23: single bass notes on the first beat

a coda, and the arrangement is a combination of the

only, the other bars use broken chords.

first and fifth waltzes, which makes 64 bars altogether. Noticeable modifications to the melody are rare, i.e., in

One may observe that the melody contrasts to the

bars 15 and 16 of the fifth waltz the tonal repetitions

accompaniment in that the bass notes of the harmony

have been changed to broken chords.

do not coincide with the main notes of the melody or

The accompaniment provides an appealing con-

the beginnings of the motifs. In addition, the figura-

trast: in the first waltz, broken chords comprise one bar,

tion of the accompaniment is not continuous. It is inter-

in the fifth waltz the broken chords mostly run over two

rupted and incomplete, e.g. in bars 11-12 and 26-27,

bars (from bar 5 on). The structure of the accompani-

no notes of the accompaniment are played on the

ment (fifth waltz) may be outlined as follows:

third beat in bar 12 or 27. Without an accentuation of the first beats and in combination with the hemiolic structure of the melody this design somehow breaks up the rhythmic pattern of the waltz.

Berggeister

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Musical boxes from Prague and Vienna

Berggeister

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IV. The musical arrangement

“Rosen ohne Dornen“, waltz op. 166 by Johann Strauss

the theme; at the same time they carry on the motion

sen.(1844), a two-tune movement by Anton Olbrich,

of the melody. In bars 14 to 16, the tonal repetitions are

Vienna, music number 821, current number 10469.

transformed into a melodic movement:

The waltz (introduction, five waltzes and a coda) has been arranged as follows: the first waltz – the piano score gives the repetition of the theme in octaves (32 bars); the first part of the second waltz (16 bars) and the

In the first part of the second waltz considerable

second part of the fourth waltz (16 bars), make 64 bars

changes have been made: The structure of bars 11 and

altogether.

12 is now similar to bars 9 and 10; the ascending me-

One may note several modifications which intro-

lodic line of bar 13 is maintained in bar 14 as well. In

duce new elements to the melodic line. To begin with,

bar 15 the melody is positioned in the lower octave, thus

two eighth notes are to be found in the middle voice (in

the melody does not exceed the tonal range of the

bar 8 of the first waltz) which lead to the repetition of

whole passage.

This modification led to a balanced musical flow in every respect; probably it was better suited for the musical abilities of the musical box movement than the original melodic line would have been. In bar 16 an upbeat on the third beat introduces the second part of the fourth waltz. In the last bar, we find a chord on the second beat ending the piece, encompassing the whole tonal range of the instrument. Broken chords characterize the accompaniment, appearing as they do in each bar. In bars 14 and 15 of the first waltz only chords on the first beats are played, in bar 25 the original accompaniment is maintained. In the second waltz chords are added, accentuating the first beat of almost every bar. This arrangement thus preserves a pronounced waltz character as regards every component part the original contained.

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Musical boxes from Prague and Vienna

Rosen ohne Dornen

Rosen ohne Dornen

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IV. The musical arrangement

Rosen ohne Dornen

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Musical boxes from Prague and Vienna

“Die Landjunker“, waltz op. 182 by Johann Strauss

Nevertheless, this does not happen in bar 22, where only

sen. (1846), a four-tune movement by Anton Olbrich,

the tied trill is missing; and in bar 30 the same note is

Vienna, music number 463, current number 11013.

played on the first and third beats. In bar 31 a melodic motif is repeated which may be seen as a parallel to bar 23:

This arrangement displays no surprises regarding its formal structure: waltz 1 (32 bars) and waltz 2 (32 bars) are played successively. However, we find a new introduction of four bars: In the beginning of the second waltz, an upbeat is added in bar 16. In the second part all tied trills on the third beats of bars 19, 20, 23, 24, 27 and 28 are omitted. In the last bar, a chord is added on the second beat. Perhaps the added bars were derived from the last two

Virtually throughout the piece, the accompani-

bars of the original introduction. In any case, the whole

ment consists of a one-bar structure, occasionally being

arrangement consists of 68 bars.

reinforced by chords. Broken chords running over two

The melody presents some remarkable modifica-

bars appear in the second part of the first waltz only,

tions: in the first part of the first waltz all grace notes

somehow supporting the hemiolic effect of the melody.

are broadened to eighth notes, which changes the cha-

This style of accompaniment also leads to an opposing

racter of the melody significantly. In the second part,

motion towards the descending melody in the second

the rhythmic structure and the melodic line in bars 17

part of the second waltz.

and 18 (as well as in 25 and 26) are harmonized:

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IV. The musical arrangement

Landjunker

Landjunker

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Musical boxes from Prague and Vienna

“Ländlich, sittlich“, waltz op. 198 by Johann Strauss sen.

part of the first waltz (16 bars), followed by the whole

(1847), a two-tune movement by Franz Rzebitschek,

second waltz (32 bars) and closes with the second part

Prague, music number 1915, current number 22455.

of the third waltz (16 bars), 64 bars in total. Even though in bar 15 of the first waltz the melody

The arrangement of this waltz (with an introduction, 5

is played an octave higher, and bar 16 consists merely of

waltzes and a coda in the original) consists of the first

the final chord, modifications of the melody can hardly be detected. The last bar of the second waltz contains the upbeat of the following second part of the third waltz. The third waltz then has been transposed to the key of the previous parts. The accompanying broken triads (in each bar) are often completed by chords on the first beat; this can be observed clearly in the third waltz. The broken triads are also maintained in bars 17-20 and 25-28 of the second waltz where an ascending figuration is played in the bass. An accompanying figuration encompassing two bars is to be found in bars

Fig. 76 Rzebitschek no. 22455

13-14 of the second waltz.

Ländlich sittlich

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IV. The musical arrangement

Ländlich sittlich

Ländlich sittlich

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Musical boxes from Prague and Vienna

“Myrthen-Kränze“, waltz op. 154 by Johann Strauss

of bar 12. Bar 13 has eighths on the third beat which is

jun.(1854), an unsigned two-tune movement from

similar to the rhythmical structure of bar 14; in bars 15

Prague (possibly by Alois Maly), music number 498,

and 16 the melodic line has been changed completely:

current number 1724. The melodies of this waltz as an arrangement (consisting of an introduction, 5 waltzes and a coda in the original) were assembled from its waltz number one and waltz

These bars carry over to the repetition from bar 9 on.

number five. The arrangement starts with the first

Again bars 14 and 15 are modified in order to form a

part of the first waltz (24 bars), whereupon the second

cadence and the bass line has a descending broken

part including bar 38 is played, followed immediately

chord ending on the first beat of bar 16:

by the second cadence (the piano score notates the complete repetition, so the second cadence is notated in bars 55 and 56) – making 16 bars in total. Then the first 16 bars of the first part of the fifth waltz follow, concluding with a repetition of the theme (bars 9-16), here

Note:

with a newly designed ending. Hence, the whole piece

The original score has eighth notes from the beginning

contains 64 bars.

of waltz five played by the harp and bar 13 and 14 are

The second cadence of the first waltz presents a

notated as follows:

contrary motion of the bass line towards the descending melody, which appears neither in the piano score nor in the original. Might this perhaps be an “improvement” added by the arranger? Moreover, these two bars make

harp

violin

a smooth transition to the first part of the fifth waltz (with the upbeat missing of course). Then 16 bars of the

The accompaniment throughout consists of broken

fifth waltz are played. We find a tied trill on the first beat

chords comprising two bars.

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IV. The musical arrangement

Myrthen-Kränze

Myrthen-Kränze

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Musical boxes from Prague and Vienna

Myrthen-Kränze

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IV. The musical arrangement

“Wiener Kinder“, waltz op. 61 by Joseph Strauss

broken chords and in the second part of the first waltz,

(1858), a four-tune movement by Franz Rzebitschek,

chords accentuate the hemiolic effect. Obviously, the

Prague, music number 3238, current number 37094.

unaccompanied beginning of the waltz appeared too thin to the arranger, so he added accompanying chords

The arrangement consists of 64 bars playing the first

to the first bar (the added chords are not written in the

and the second waltz without repetitions, shortening

example given).

the ending of the second waltz (leaving out bars 30 to 33). Hence, both waltzes have 32 bars.

In bar 8 of the second waltz the melodic line does not descend on the last eighth. In the second part the

The melodic line has been altered repeatedly. We

notes of the melody are doubled in the upper octave

find variances in bars 3, 5, 11, and 13 of the first part

in bars 19 / 20, 23 / 24, and 27 / 28, which alters the

of the first waltz: originally, the rhythmical structure of

character completely. The original passage shows a con-

bar 3 has the same line as in bar 1, but the arrangement

tinuously descending line underscoring these four bars

plays quarter notes, and in bar 5 the arrangement changes

with a hemiola. This quietly flowing passage is broken

the tonal repetition into a melodic movement intro-

up in the arrangement: the hemiolas are eliminated

ducing a third. In consequence, these variances show

and two motifs, each two bars in length, are contrasted

up again in the repetition of the theme with a further

on different tonal levels. The character has shifted to a

modification in bar 13. The melody is also modified

lively alternation of groups of two bars. Finally, bar 34

in bar 21 of the second part of the first waltz. The

provides another minor variant within the melody (see

transparent design of the accompaniment consists of

the music example).

Fig. 77 Rzebitschek no. 37094

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IV. DASboxes MUSIKALISCHE ARRANGEMENT Musical from Prague and Vienna

Wiener Kinder Kinder Wiener

Wiener Kinder Kinder Wiener

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147

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IV. The musical arrangement

“Flattergeister“, waltz op. 62 by Josef Strauss (1859), a

the first waltz as well as in its final bar has the rhythmic

two-tune movement by Anton Olbrich, Vienna, music

structure been changed. In the second part of the

number 2916, current number 22298.

fifth waltz a tied trill appears in the fourth bar with a descending motif of eighths on the third beat, somehow

The arrangement consists of a combination of the first

forming a connection to the repetition of the theme,

and the fifth waltz. Each waltz is played without

very similar to bar 12. The trill in bar 12 is short. A chord

repetition, resulting once again in 64 bars plus one

played in the upper octave accentuates the final note of

quarter note. With this piece, the arrangement hardly

the piece. The accompaniment uses broken chords in

introduces any modifications. Only in bars 32 and 33 of

quarter notes, whereas the printed music uses chords.

Fig. 78 A. Olbrich no. 22298, fixed to the bottom board of a wedding clock.

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IV. DASboxes MUSIKALISCHE ARRANGEMENT Musical from Prague and Vienna

Flattergeister Flattergeister Flattergeister

Flattergeister Flattergeister Flattergeister

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149 149

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IV. The musical arrangement

“Kuß-Walzer“, waltz op. 400 by Johann Strauss jun.

of the embellishment in the middle voices (bar 5), as

(1882), an unsigned three-tune movement most prob-

written in the printed notes. At the end of this part the

ably by Anton or Joseph Olbrich; the fragmentary

last note is accentuated by means of several repetitions.

tune sheet gives the music number 5633.

We find a complex and differentiated accompaniment adding considerably to the tonal structuring of

The arrangement combines three themes from this com-

the performance of this piece. In bars 1-6 of “Nur

position which in its original is laid out as a rhapsody.

für Natur” the accompaniment consists of ascending

It dispenses with an introduction, the arrangement

broken chords in every bar reinforced by chords on

starting with “Nur für Natur” (16 bars), followed by

every first beat. From bar 7 on the broken chords are

“Ihr Cousin” (32 bars), repeats – in accordance with the

ascending and descending and no more chords are

original text – “Ihr Cousin” (16 bars) and passes over

added. The bass line contains the following structure,

to “Piff, paff, puff ”, leaving out the four bars of the

the harmony is given in brackets:

bridge. The last section ends with its second cadence (16 bars). The whole arrangement consists of 80 bars,

bar 7 ascending, bar 8 descending (I, tonic)

simply due to the fact that this late movement has a

bar 9 ascending, bar 10 descending (VI, seventh chord

slightly thicker cylinder, hence allowing its maker to

with high-altered third)

include more music on it. The section “Piff, paff, puff ” has been transposed to the key of the preceding passage. Thus, the original four bars of the bridge that

bar 11 descending, bar 12 ascending (II, the bass note of the chord/harmony appears only in the second bar)

were used for the appropriate modulation are done

bar 13 ascending, bar 14 descending (V, dominant

away with, and the arrangement ends in the same key it

seventh chord)

began with. In the section “Nur für Natur”, trills (to be precise

bar 15 ascending triads, bar 16 last chord (I, tonic).

just tied trills which are a bit longer) are played on the

Bars 1-6 show a pronounced rhythmic structure of a

long notes (four beats) of bars 1, 3, 5 and 7. Obviously,

waltz which is completely dissolved in bars 9-14. Bars 15

these extraordinarily long notes were intended to serve

and 16 demonstrate the typical character of a cadence.

as emphasis. On the other hand, we can observe that similar notes of that length in the section “Piff, paff,

The section “Ihr Cousin” uses a clearly structured ac-

puff ” are not embellished. The reason may be that

companiment as well: the upbeat is unaccompanied,

in this case an arpeggiated chord in the accompani-

and a broken chord ascends through bars 1 and 2 of

ment helps to prolong the notes of the melody. The

the D-major part. In bar 3 we find an arpeggiated

ending of “Nur für Natur”, bars 15 and 16, is especially

chord in eighths, a substitute for the embellishment of

emphasized through the use of ascending triads. The

the melody – making any further accompaniment re-

repetition of the “Nur für Natur” section later on is

dundant. Bar 4 is left without accompaniment, bars 5

identical. The long note of the melody in the following

to 8 follow the pattern of the preceding passage. Broken

section (“Ihr Cousin”, bar 3 of the D- major part and

chords ascend in bars 9-12 over two bars, bars 13 and

all parallel places) bears an embellishment in the origi-

14 – due to their changing harmony – play ascending

nal. This is replaced in the arrangement by an ascend-

broken chords in each bar plus an additional chord on

ing broken chord in eighths. We find this kind of trans-

the first beat and bars 15 and 16 are arranged according

formation again in the section “Piff, paff, puff ” (bar 4

to the original score. The repetition of the theme is set

of this section and the first bar of the second cadence).

similarly, in the final bars of the bridge the accompa-

The arrangement does not make use of the continuation

niment is reduced to single chords on the first beats.

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Musical boxes from Prague and Vienna

The section “Piff, paff, puff ” takes over the pattern of

remain unaccompanied (bars 9, 11, 13), only bar 11 has a

the accompaniment of “Ihr Cousin”, as the layout of

chord on the first beat. The other bars are accompanied

the melody is rather similar with its upbeat and the

by the usual one broken chord per bar.

longer notes in the middle voices: bar 1 (upbeat) is un-

This differentiated accompaniment is much more

accompanied, the two following bars have broken

interesting than the printed piano score. As musical

chords. In bar 4 an arpeggiated chord (in eighths)

box movements are very limited with respect to dy-

serves both as embellishment and as accompaniment.

namic shadings, this kind of structural arrangement

Bar 5 is unaccompanied – the original middle voice has

is essential for achieving a musically recognizable ex-

been left out. This scheme is repeated and carried out

perience which is equally satisfying yet compositionally

consistently in the second cadence: all upbeat figures

unique.

Kuß-Walzer

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IV. The musical arrangement

Kuß-Walzer

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Musical boxes from Prague and Vienna

Kuß-Walzer

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IV. The musical arrangement

“Lagunen-Walzer“, op.411 by Johann Strauss jun.

In bar 16 the bass plays a – g – e (while the printed score

(1883), a two-tune movement by Gustav Řebiček in

has a – f-sharp – e), and in bar 48 we find a rest on the

Prague, music number 4258, current number 50519.

second and third beats. The accompaniment uses broken chords through-

The waltz consists of an introduction, 4 waltzes and a

out, ascending over two bars, most often accentuating

coda. The arrangement takes its entire thematic mate-

the first beat by adding a bass note or a chord on the first

rial from the first waltz. After playing the first 48 bars

beat of every other bar. The ascending broken chords

the arrangement repeats the main theme (8 bars), i.e.

are also played in bars 31-32, whereas the piano score

it jumps to bars 71 – 78 of the printed score. Then

has a descending bass line. In bar 26 the accompani-

the closing passage, bars 95 – 102 follows, making 64

ment pauses on the second and third beats; perhaps this

bars in total.

interruption of the accompaniment was intentional,

Regarding the melodic line, in bar 3 we find (as in

as it allows the melody to come through more clearly,

all corresponding bars) the ligature cancelled between an

rising to the top note of the theme in this very bar. In

eighth and a following half note, whereas the half note

the second theme (from bar 23 on) arpeggiated chords

itself is repeated:

on the first beat of bars 24, 26, 28, 30, 32 and 34 are added to the ascending bass figuration, a contrast placed deliberately in relation to the ligatures of the melody. In bar 47 the original rhythmic structure is maintained through the use of two eighths on the first beat. The closing passage (from bar 95 on) plays ascending broken chords in every bar.

Fig. 79 Gustav Řebíček no. 50519

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Musical boxes from Prague and Vienna

Lagunen-Walzer

154

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IV. The musical arrangement

Lagunen-Walzer

155

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Musical boxes from Prague and Vienna

“Mein Lebenslauf ist Lieb’ und Lust“, waltz op. 263 by

of this figure the melodic line has been expanded. The

Josef Strauss (1869), a two-tune movement by Brüder

motif, which in the original proceeds in step-wise

Stern in Vienna, music number 1071, current number

fashion becomes more interesting by means of the intro-

10067.

duction of a seventh.

The original score of the waltz consists of an introduction, 5 waltzes and a coda. The arrangement starts with the first waltz which is played without repetition

In bar 14 the tonal repetition is changed into a leap of

(32 bars). Then the first part of the third waltz (16

a sixth:

bars) and the second part of the fourth waltz (16 bars) follow, which makes 64 bars in total. The second part of the fourth waltz has been transposed down to the key of the preceding passage creating a pleasing connection

The listener can easily detect the general adjustment

of the parts.

of the motifs in this passage. The second part of the 4th

The melody exhibits some modifications: from bar

waltz contains no modifications and the arrangement is

3 to bar 4 of the first waltz the melody makes a step to

directly linked to the second cadence. A chord reaching

the ‘c’ (and not a leap of a fifth to ‘g’ as in the original),

up to the descant emphasizes the final note of the piece.

bar 4 sounds as follows (perhaps the arranger wanted

As for the accompaniment, the upbeat is left un-

to avoid being too repetitive?):

accompanied. The whole first waltz uses ascending broken chords in every bar. Bar 9 again is played without accompaniment. Bar 32, the last bar of the first waltz is played with chords on the first and third beats

In the subsequent bars (5 – 8) the melodic line is

as written in the printed score. In the third waltz the

doubled in the upper octave, thus the tonal shading is

ascending broken chords in every bar are continued.

more effective here than in the piano score. The tied

This is repeated in bar 14 as well, but bar 15 once again

trills have been left out in the second part of the first

contains chords on the first and third beats. The fourth

waltz. The third waltz displays considerable melodic

waltz again uses ascending broken chords. The last note

changes. In the first bar and within all the repetitions

is accentuated using a chord.selection of six operatic airs and six waltzes has been prepared and is available online: …

Fig. 80 Brüder Stern no. 10067 / 1071

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IV. The musical arrangement

Mein Lebenslauf

Mein Lebenslauf

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Musical boxes from Prague and Vienna

Mein Lebenslauf

Note: In order to enable the reader to listen to some of the abovementioned pieces a selection of six operatic airs and six waltzes has been prepared and is available online: https://hw.oeaw.ac.at/Musical-Boxes-from-Prague-andVienna/music-examples

158

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IV. The musical arrangement

159

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Musical boxes from Prague and Vienna

Fig. 81 Picture clock with Rzebitschek no. 30709

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V. Catalogue

Description: Serial/current number and music number: the numbers

Explanatory notes: constructional features, dimensions,

are stamped on the bedplate unless otherwise specified.

musical repertoire, inscriptions etc.

The music number is given in the first line, the serial

Abbreviations frequently used are: cyl. (cylinder),

number in the second line. The numbers may also be

and diam. (diameter). The inscriptions and texts on the

placed at right angles (early movements by Willenbacher-

tune sheets or other inscriptions, which deal with the

&Rzebitschek, Anton Olbrich and Alois Maly). The tune

musical repertoire, are given in italics as completely as

sheets on Olbrich’s movements list the music number

possible, depending on the legibility and state of pre-

first, on Rzebitschek’s tune sheets the serial number is

servation of the tune sheet.

in the first position. For this catalogue all movements

The amount of information provided here varies

are listed according to their serial number, if it is not

according to the extent it was possible to examine the

available the movements are sorted according to their

instruments, i.e., if inquiries with owners or other

music number.

sources helped to unearth further details. Aside from

Signature: stamped on the comb (c), comb base (cb), bedplate (b), cylinder (cyl), unless otherwise specified. Provenance: place of discovery, location (museum, collection, dealer, clockmaker, auction house etc.), and

that, a detailed or an in-depth description becomes superfluous with standard model movements. The museums, clockmakers, antique dealers, auction houses etc. are listed at the end of this chapter.

publication.

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Musical boxes from Prague and Vienna

Anton Olbrich Signature

Provenance; remarks, notes

AO (cyl)

Mechanical Music vol. 59/6 (2013), p. 12-19; 20.9 cm cyl., 3 cm diam., sectional comb à 2, 94 teeth, 4 tunes, inside the barrel of the spring scratched: “vecit F. Feick 1823/3 Win“(!), fusee and cord

Anton Olbrich in Wien (cb), AO (cyl)

Reich; Signature on silver plate affixed to the comb base, cylinder 16.9 cm long, diameter 3.09 cm, 3 tunes, sectional comb à 2, 86 teeth

Anton Olbrich in Wien (b), AO (cyl, cb)

Private collection; 9.1 cm cyl., 2 cm diam., sectional comb à 2, 68 teeth, cogwheel, 2 tunes, adjustable tune changer, “F.K.“ engraved on bedplate, “10(?) 9/849 Jos.Stelzer rep 7(?)/844“ scratched on bedplate

AO (cyl)

Private collection; 11.2 cm cyl., 2.5 cm diam., sectional comb à 2, 78 teeth, lantern wheel, bedplate 182 x 79 mm, 2 tunes

AO (cyl, b)

Dorotheum auction 4.4.2018 no. 67; 11.2 cm cyl., 2.52 cm diameter, sectional comb à 2, 78 teeth, adjustable fan, lantern wheel, 2 tunes, “AO“ stamped on side of bedplate, bedplate 18 x 8 x 0.69 cm, comb 11.3 cm long, spring barrel 3.35 cm wide, 5.2 cm diameter; in mantle clock

AO (b, cyl)

Dorotheum auction 22.3.1997; 11 cm cyl., 2.5 cm diam., sectional comb à 2, 78 teeth, cogwheel, 2 tunes, in picture clock

144 21

A.Olbrich / in Wien (c, cb)

Techn. Museum Vienna; 8.1 cm cyl. lantern wheel, comb with 3 screws, numbers scratched on bedplate and comb base, one could also read as 14 421, unidentified word scratched on comb base

42

A.Olbrich / in Wien (c, cb)

Private collection; 8.3 cm cyl., 2.5 cm diam., 7.9 cm comb with 3 screws, “Jodler 42“ scratched on edge of the bedplate, “42” on comb base (inside) and cyl. cap; two yodelers, including the “archduke Johann yodeler“

46

A.Olbrich / in Wien (c, cb)

Private collection; 9.1 cm cyl., 2.4 cm diam., comb with 3 screws, “Dudler 46“ (?) scratched on the edge of the bedplate, lantern wheel, 2 tunes (dudler, yodeler, ländler?)

56

Anton Olbrich in Wien (b), AO (cyl)

Reich; 16.8 cm cyl., 3 cm diam., sectional comb à 2, 84 teeth, cogwheel, 3 tunes

59

A.Olbrich / in Wien (c, cb)

Private collection; 9 cm cyl., comb with 3 screws, nos. also scratched on cyl. cap, 2 tunes

62

A.Olbrich / in Wien (c, cb)

D&S; 9 cm cyl. 2.5 cm diam., comb with 3 screws, “62” also on cyl. cap, cyl. filled with bottle cork

A.Olbrich in Wien (c)

Kainerstorfer; 9 cm cyl., 73 teeth, 3 screws, lantern wheel, 2 tunes, in picture clock

A.Olbrich/in Wien (c, cb)

Private collection; 8.3 cm cyl., 2.4 cm diam., comb with 3 screws, “JSt 13 (or 19013?) 1/9 1893“ scratched on underside (note of repair?), fan missing, groove on the spring barrel

A.Olbrich/in Wien (c, cb)

Private collection; Comb with 3 screws, 9.5 cm cyl., cogwheel, music title on the board: 1.Vergißmeinicht Walzer, 2. Romanze v. Rossini

Serial no. and music no.

10

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V. Catalogue

1013 64

A.Olbrich in Wien (c)

Sopron; comb with 3 screws, nos. at right angles, 2 tunes, in frame clock

1049 62

A.Olbrich/in Wien (c, cb)

WienMuseum; comb with 3 screws, 9 cm cyl., nos. at right angles, 2 tunes, in miniature merry-go-round “Tivoli“ (fully coated with mother of pearl)

1082 46

A.Olbrich in Wien (c)

Seewen; 10 cm cyl., comb with 4 screws, 2 tunes, in mantle clock

1120 65

A.Olbrich/in Wien (c, cb)

Dorotheum auction 4.4.2018 no. 58; comb with 3 screws, 2 tunes (waltz. march), in mantle clock.

1122 64

A.Olbrich in Wien (c)

Private collection; 10 cm cyl., comb with 3 screws, 2 tunes, lantern wheel

1214

A.Olbrich/in Wien (c)

Bratislava; comb with 3 screws, 2 tunes, in mantle clock ca 1835 (?)

1298 64

A.Olbrich/in Wien (c)

Dorotheum auction 21.3.2007 no. 92; 9 cm cyl., comb with 3 screws, 2 tunes, in mantle clock

1310 92

A.Olbrich/in Wien (c)

Dorotheum auction 23.4.2014 no. 63; 9 cm cyl., 2.5 cm diam., comb with 3 screws, 2 tunes, in picture clock

1350 20

A.Olbrich/in Wien (c, cb)

Private collection; 9.1 cm cyl., comb with 3 screws, 2 tunes (including “Rákóczi-march“)

1412 238

A.Olbrich in Wien (c)

Private collection; 10 cm cyl., 2 tunes

1490 92

A.Olbrich/in Wien (c, cb)

Private collection; 9 cm cyl., comb with 3 screws, 2 tunes

1574 63

A.Olbrich/in Wien (c, cb)

Private collection; 9 cm cyl. 2.4 cm diam., comb with 3 screws, “Mg40“ scratched on the edge of the bedplate, groove on the spring barrel, 2 tunes (ländler and “Rákóczi-march“),

1637

A.Olbrich in Wien (c)

Clock museum inv. no. 2909; 13.4 cm cyl. 2.4 cm diam., 2 tunes, lantern wheel, in frame clock

1728 77

A.Olbrich/in Wien (c, cb)

Private collection; 9 cm cyl., comb with 3 screws, bedplate 14 x 6.5 cm, 2 tunes, lantern wheel

1751 99

A.Olbrich/in Wien (c)

Private collection; 9.1 cm cyl., comb with 3 screws, 2 tunes

1766 77

A.Obrich in Wien (c)

Private collection; 9 cm cyl., comb with 3 screws, lantern wheel, 2 tunes

1817 98

A.Olbrich/in Wien (c, cb)

Surber’s museum; 9 cm cyl., comb with 3 screws, lantern wheel, 2 tunes (waltz, Hungarian tune), “R“ scratched on the edge of the bedplate, in mantle clock

1960 49

A.Olbrich/in Wien (c)

Private collection; ca 18 cm cyl., comb with 6 screws, in case

1960 (?)

A.Olbrich/in Wien (c, cb, b)

Private collection; dated 24 jan.1843 (repair), 19 cm cyl., 95 teeth

2150 105

A.Olbrich in Wien (c, cb)

Utrecht; s-shaped blades of the fan, lantern wheel, comb with 3 screws, 2 tunes: Piece der Ouverture aus Zampa, Die Badner Ringl Deutsche v. Jos. Lanner

2156 100

A.Olbrich/in Wien (c)

D&S; 10 cm cyl., lantern wheel, in picture clock

2160 103

A.Olbrich in Wien (c, cb)

D&S; 2 tunes

2252 103

A.Olbrich in Wien (c, cb)

Dorotheum auction 23.3.2011; 9 cm cyl., comb with 3 screws, in picture clock, 9 teeth (treble) broken

163

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Musical boxes from Prague and Vienna

2268 60

A.Olbrich/in Wien (c, cb)

Private collection; 9.2 cm cyl., 2.5 cm diam., 2 tunes, “60 Bt“ on the edge of the bedplate, “2268” on comb base, groove on spring barrel, comb with 3 screws

2386 116

A.Olbrich/in Wien (c, cb)

Private collection; 9 cm cyl., 2.5 cm diam., 2 tunes (“9980” written in red ink on the spring cap)

2423

A.Olbrich in Wien (c)

Private collection; 2 tunes

2478 123

A.Olbrich in Wien (c)

Suppan auction 9.12.1003 no. 318; comb with 3 screws, 2 tunes

2512 116

A.Olbrich/in Wien (c, cb)

Private collection; “116” scratched on cyl. cap, 9.1 cm cyl., 2.5 cm diam., 73 teeth, 2 tunes (waltzes)

2558 119

A.Olbrich/in Wien (c)

Budapest Inv. no. 95.165; 10 cm cyl., 2 tunes (including “Rákóczi-march”)

2622 127

A.Olbrich/in Wien (c, cb)

Private collection; 9 cm cyl., comb with 3 screws, 2 tunes, in picture clock, written on the back: 1. Original Bürger Marsch von Joh. Strauhs / 2. Mein schönster Tag in Baden Walzer von Ds [ibd.].

2665 121

A.Olbrich/in Wien (c, cb)

Clock museum; 9.2 cm cyl., 2.4 cm diam., lantern wheel, 2 tunes, in mantle clock

2747 129

A.Olbrich/in Wien (c, cb)

Clock museum (depot); 9 cm cyl., 2 tunes, comb with 3 screws, in mantle clock

2770 123

A.Olbrich in Wien (c, cb)

Private collection; 9.1 cm cyl., 2.4 cm diam., lantern wheel, comb with 3 screws, 2 tunes

2979 45

A.Olbrich in Wien (c)

Private collection; bedplate 20.2 x 7.2 x 0.7 cm, 14.4 cm cyl., 2.5 cm diam., 14.4 cm comb with 86 teeth, lantern wheel, 3 tunes

3049   138

A.Olbrich

Information provided by Marc Boon; 2 tunes

3225 144

A.Olbrich /in Wien (c)

Dorotheum auction 25.10.2011; 9.1 cm cyl., 2 tunes, comb with 3 screws, “144“ scratched on the edge of the bedplate, in mantle clock.

3329 92

A.Olbrich in Wien (c, cb)

Dorotheum auction 12.6.1996; 10 cm cyl., 2 tunes: 1. Einzugsmarsch aus der Stummen von Pordini [Portici] von Aubert, 2. Fra Diavolo Cottilon von Joh. Strauß

3351 147

A.Olbrich /in Wien (c)

Dorotheum auction 18.10.2012; 9 cm cyl., comb with 3 screws, 2 tunes, in picture clock.

3372 147

A.Olbrich /in Wien (c, cb)

Private collection; 9.2 cm cyl., 2 tunes

3463 138

A.Olbrich /in Wien (c, cb)

Private collection; 2 tunes, comb with 3 screws, in mantle clock

3482 147

A.Olbrich in Wien (c)

Utrecht/The Music Box vol. 7/7 (1976), p. 255; s-shaped blades of the fan, 9 cm cyl., 2.4 cm diam., comb with 3 screws, lantern wheel, 2 tunes

3716 159

A.Olbrich /in Wien (c, cb)

Private collection; 9 cm cyl., comb with comb with 3 screws, 2 tunes (Couplet?, waltz)

3759 151

A.Olbrich /in Wien (c)

Grzegorczyk; 9.2 cm cyl., 2.5 cm diam., lantern wheel, 9 cm comb with 3 screws, 2 tunes,

3783 994 or 940

A.Olbrich /in Wien (c)

Private collection; 10 cm cyl., 2 tunes, in new case

164

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V. catalogue

3823 156

A.Olbrich /in Wien (c, cb)

D&S; 9 cm cyl., comb with 3 screws, lantern wheel, 2 tunes, in picture clock with label: Anton Olbrich/Bürger. Spiel-Uhrmacher/in Wien/ Verfertiget alle Gattungen Stahlfeder-Spielwerke/wohnt Laimgrube Gestätten/Gahse Nr. 132. In picture clock signed “C.L.Hoffmeister 1834“

3868 161

A.Olbrich /in Wien (c, cb)

Private collection; 9.1 cm cyl., 2 tunes

3887 163

A.Olbrich /in Wien (c, cb)

Private collection; 9.1 cm cyl., 2.5 cm diam., 2 tunes (2 waltzes)

3893 163

A.Olbrich /in Wien (c, cb)

Dorotheum auction 10.3.2014 no. 93; comb with 3 screws, 9 cm cyl., 2 tunes, in picture clock.

3948 149

A.Olbrich in Wien (c)

D&S; 2 tunes

3975 165

A.Olbrich/in Wien (c)

Private collection; comb with 3 screws, lantern wheel, 2 tunes, in picture clock

3999 161

A.Olbrich/in Wien (c)

Dorotheum auction 11.12.2002 no. 23; 9 cm cyl., comb with 3 screws, 2 tunes, in mantle clock

4001 160

A.Olbrich/in Wien (c, cb)

Dorotheum auction 27.5.2009 no. 73; 9 cm cyl., comb with 3 screws, 2 tunes, in frame clock

4084 170

A.Olbrich/in Wien (c)

Weinmann; 10 cm cyl., 2 tunes

4145 174

A.Olbrich/in Wien (c)

Dorotheum auction 31.10.2012 no. 44; 10 cm cyl., 79 teeth, 2 tunes, in mantle clock

4249 74

A.Olbrich/in Wien (c)

Private collection; 9.26 cm cyl., 2.5 cm diam., comb with 3 screws, 73 teeth, bedplate: 17.4 x 6.58 x 0.69 cm, spring barrel with groove, “74“ on lead weight and on cylinder cap (right), “4229“ on cylinder cap (left), cyl. filled with bottle cork, dampers (vellum and quills) original condition

4333 62

A.Olbrich in Wien

Private collection; 14.5 cm cyl., 2.53 cm diam., 3 tunes

4364 156

A.Olbrich/in Wien (c, cb)

Private collection; 10 cm cyl., 73 teeth, 2 tunes, in mantle clock

4397 181

A.Olbrich in Wien (c, cb)

Dorotheum auction 26.5.2000 no. 417; 10 cm cyl., 2 tunes

4456 189

A.Olbrich/in Wien (c)

Dorotheum Auction 25.10.2011 no. 96; 10 cm cyl., 2 tunes, in picture clock

4473 189

A.Olbrich/in Wien (c, cb)

Clock museum (depot); 10 cm cyl., 2 tunes, in picture clock

4500 184

A.Olbrich in Wien (c)

Geymüller Inv. Nr. 1550; 2 tunes

4542 189

A.Olbrich/in Wien (c, cb)

Dorotheum auction 27.10.2004 no. 29; 10 cm cyl., lantern wheel, 2 tunes, in frame clock

4555 193

A.Olbrich in Wien (c, cb)

Dorotheum auction 26.5.2000 no. 418; 10 cm cyl., 2 tunes (serial no. could also be read as 4556 or 4558)

4622 146

A.Olbrich/in Wien (c)

Dorotheum auction 18.4.2012 no. 1118; 10 cm cyl., 2 tunes, in picture clock

4669 162

A.Olbrich/in Wien (c, cb)

Private collection; 10 cm cyl., 2 tunes

4735 189

A.Olbrich in Wien (c, cb)

Weinmann; 2 tunes

4748 205

A.Olbrich/in Wien (c, cb)

Private collection; 10 cm cyl., 2 tunes, “II“ on the spike of the spring

4837 200

A.Olbrich in Wien

Private collection; 2 tunes: Heimatklänge v. Strauß, Norma (written on the wooden lid of the clock)

165

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Musical boxes from Prague and Vienna

4899 207

A.Olbrich in Wien (c, cb)

Dorotheum auction 12.5.1998, 10 cm cyl., lantern wheel, 2 tunes

4913 198

A.Olbrich/in Wien (c)

Private collection; 10 cm cyl., lantern wheel, 2 tunes: 1. Gratien Walzer v. Strauß, 2. Merkurs Fliegel Ländler v. Strauß

5030 209

A.Olbrich/in Wien (c, cb)

Rechberger; 10 cm cyl., 2 tunes, in picture clock

5078 220

A.Olbrich/in Wien (c)

Dorotheum Auction 29.4.2002 no. 54; 10 cm cyl., 2 tunes, in picture clock, written on the back board: “1. Meerfee a.d. Oper Die Mitternacht / J. Strauß“

5210 222

A.Olbrich/in Wien (c, cb)

Private collection; 9.88 cm cyl., 2.52 cm diam., comb with 79 teeth, bedplate 15.27 x 6.54 cm, 7 mm thickness, 2 tunes, groove on spring barrel, in case

5438 193

A.Olbrich in Wien (c)

Private collection; 10 cm cyl., lantern wheel, 2 tunes, many pins are missing

-

193

A.Olbrich in Wien (c)

Private collection; picture clock signed “Piegler 830“, tune sheet: 1.Romanze “Ein Schütz bin ich“ a.d. Op. Das Nachtlager In Granada, 2. Gratien Walzer von J. Strauss

5583 236

A.Olbrich/in Wien (c)

Dorotheum auction 9.5.2005 no. 56; 10 cm cyl., 2 tunes, in picture clock

5745 223

A.Olbrich/in Wien (c, cb)

Private collection; 2 tunes (cyl. missing)

5759 253

A.Olbrich/in Wien (c)

Kalivoda; 10 cm cyl., 2 tunes

5781 200

A.Olbrich/in Wien (c, cb)

Hegenbart; 10 cm cyl., 2 tunes, lantern wheel, in frame clock

5877 214

A.Olbrich/in Wien (c)

Private collection; 10 cm cyl., 2 tunes, in case

6029 267

A.Olbrich/in Wien (c, cb)

Private collection; “267“ on cylinder cap, 9.9 cm cyl., 2 tunes

6077 1840

A.Olbrich in Wien (c)

Bratislava; 2 tunes, 10 cm cyl. (music no. doubtful)

6178 227

A.Olbrich/in Wien (c, cb)

Private collection; 10 cm cyl., 2 tunes, in frame clock

6197 281

A.Olbrich in Wien (c)

Private collection; 10 cm cyl., 2 tunes

6301 123

A.Olbrich in Wien (b) A.Olbrich/in Wien(c)

Seewen; from a private collection for repair work (14.3.1997), 15 cm cyl., lantern wheel

6367 291

A.Olbrich/in Wien (c)

Private collection; 2 tunes, lantern wheel

6439 275

A.Olbrich in Wien (c)

Bratislava; 2 tunes

6449 296

A.Olbrich/in Wien (c, cb)

Private collection; 2 tunes, nos. also on cylinder cap

6533 284

A.Olbrich in Wien (c)

D&S; 10 cm cyl., 2 tunes, in picture clock

6536 309

A.Olbrich in Wien (c, cb)

Museum of Music History Budapest; 10 cm cyl., 2.5 cm diam., 2 tunes, tune sheet: 1 National Ungarischer nach Bÿhary von Hebenstreit/ 2 Die Petersburger.Walzer von Joseph/Lanner [1839], in mantle clock

6635 645

A.Olbrich in Wien (c, cb)

Private collection

6700 314

A.Olbrich in Wien (c, cb)

Private collection; 9.8 cm cyl., 2.5 cm diam., 2 tunes

6701 249

A.Olbrich in Wien (c, cb)

Private collection; 9.8 cm cyl., 2.5 cm diam., 2 tunes

6738 308

A.Olbrich in Wien (c, cb)

Bonhams Auction London 17.12.2001; 10 cm cyl., 2 tunes, in mantle clock

6817 260

A.Olbrich in Wien (c, cb)

Private collection; 10 cm cyl., 2 tunes

166

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V. catalogue

6866 328

A.Olbrich in Wien (c)

Private collection; lantern wheel, 10 cm cyl., 2 tunes, in case

6868 144

A.Olbrich in Wien (c)

Private collection; bedplate: 25.5 x 8.0 x 0.72 cm, 19.2 cm cyl., 2.95 cm diam., comb with 96 teeth, adjustable fan, 4 tunes (no 1. from “Norma“, Bellini), in case, inscribed on the bottom: “Nach meinem Tod gehört diese Spieldose meiner guten Tochter Roza Haindl, Wien 20.2.1842“

6910 451

A.Olbrich/ in Wien (c)

Private collection; 10 cm cyl., lantern wheel, 2 tunes, nos. at right angles

6942 323

A.Olbrich/ in Wien (c)

Private collection; 10 cm cyl., lantern wheel, 2 tunes, in picture clock, tune sheet: 1. Victoria Walzer von … / 2. Mayländer Krönungs Walzer von J. Pixis

7025 281

A.Olbrich/in Wien (c)

Private collection; 10 cm cyl., lantern wheel, 2 tunes, in case

7072 170

A.Olbrich

Information provided by Luuk Goldhoorn; 4 tunes

7141 349

A.Olbrich in Wien (c)

Neidhart; 2 tunes, in mantle clock

7268 362

A.Olbrich

Information provided by Luuk Goldhoorn; 2 tunes

7302 168

A.Olbrich in Wien (c) A.Olbrich/in Wien (cb)

Private collection; 14.5 cm cyl., 3 cm diam., 3 tunes (opera, two waltzes), adjustable fan and tune changer, “168“ also scratched on cylinder cap, “129“ and “L.R.“ on the edge of the bedplate

7318 346

A.Olbrich in Wien (c, cb)

Private collection; 10 cm cyl., lantern wheel, 2 tunes,

7351 366

A.Olbrich/in Wien (c)

Private collection; 2 tunes, in picture clock, written on the back: “840 von Johann Kralik gekauft“, tune sheet: No. 366./National Mazurka von Dabrovsky / Pagliona Walzer von Johann / Strauhs

7359 2396

A.Olbrich/in Wien (c)

Private collection; 10 cm cyl., “LL“ stamped on the edge of the bedplate, “22” scratched on the edge of the bedplate, 2 tunes (“Radetzky-march“, waltz)

7388 352

A.Olbrich/in Wien (c, cb)

Weinmann / Lilly’s Art; 10 cm cyl., 80 teeth, 2 tunes, in picture clock

7515 5*5

A.Olbrich in Wien (c)

Private collection; no. unreadable because of drilled hole, bedplate 140 x 68.5 x 7.5 mm; 9.15 cm cyl., 2.55 cm diam., 8.8 cm comb with 3 screws, 73 teeth, 2 tunes,

7588 223

A.Olbrich/in Wien (c)

Dorotheum Auction 10.11.08 no. 337; 19 cm cyl., 4 tunes, in mantle clock

7591 375

A.Olbrich/in Wien (c)

Kalivoda; 10 cm cyl., tune sheet: 1 Duett aus der Oper Norma von Bellini [1835] / 2 Marien Walzer von Lanner [1839]

7597 196

A.Olbrich/in Wien (c, cb)

Seewen; 4 tunes, in mantle clock

7630 380

A.Olbrich/in Wien (c)

D&S; 10 cm cyl., lantern wheel, 2 tunes, in picture clock with automaton (fountain)

7650 2005

A.Olbrich in Wien (c)

Private collection; 22.5 cm cyl., 6 tunes: Palibor /“Kdyz Zalennr“/ Prirdanna menista / Hubicka / Kralovnna / Tannhaurs / Roroka Valcik

7673 380

A.Olbrich in Wien (c)

Private collection; 2 tunes

7768 231

A.Olbrich/in Wien (c, cb)

Dorotheum Auction 27.10.2004 no. 31; 16.1 cm cyl., lantern wheel, comb with 5 screws, , “231“ also on the bearing of the cyl., in picture clock, 3 tunes (no. 1 “Carnival of Venice“)

7930 193

A.Olbrich

Information provided by Luuk Goldhoorn; 3 tunes

167

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Musical boxes from Prague and Vienna

8000 410

A.Olbrich/in Wien (c, cb)

Private collection; 10 cm cyl., 2 tunes (ländler)

8054 384

A.Olbrich in Wien (c)

Private collection; 9.9 cm cyl., 2 tunes, tune sheet. 1. Introduzione … Norma del Maistre Bellini 2. Duett “Deh! Con te, conte li prendi“ aus Norma

8068 352

A.Olbrich/in Wien (c, cb)

Private collection; 9.8 cm cyl., 2.6 cm diam., “248“ scratched on the edge of the bedplate, 2 tunes, previously in mantle clock

8088 375

A.Olbrich/in Wien (c, cb)

D&S; 10 cm cyl., lantern wheel, 2 tunes

8137 348

A.Olbrich in Wien (c)

Private collection; 9.9 cm cyl., 80 teeth, 2 tunes, in case

8427 465

A.Olbrich/in Wien (c, cb)

Private collection; 10 cm cyl., 2 tunes

8442 470

A.Olbrich/in Wien (c, cb)

Budapest Inv. no. 9427 ; 10 cm cyl., lantern wheel, 2 tunes, tune sheet: 1 Cav. Nell op. Gemma di Vergy von Donizetti / 2. Der Talismann, Walzer von Lanner

8454 470

A.Olbrich/in Wien (c, cb)

Surber’s museum; 10 cm cyl., lantern wheel, 2 tunes, incorporated in pendulum clock.

8644 466

A.Olbrich in Wien (c)

Dorotheum Auction 21.3.2001 no. 768; 10 cm cyl., lantern wheel, 2 tunes, in picture clock

8660 426

A.Olbrich/in Wien (c, cb)

Private collection; 10 cm cyl., 2 tunes (including “Rákóczi-march“)

8689 352

A.Olbrich in Wien (c)

Private collection; lantern wheel, adjustable fan, 14.4 cm cyl., 3 tunes (including “Rákóczi-march”)

A.Olbrich in Wien (c) A.Olbrich/in Wien (cb)

Private collection; 16.3 cm cyl., adjustable fan, 3 tunes (“Rákóczi-march“, opera, waltz), the bedplate bears only the music number

8886 296

A.Olbrich/in Wien (c, cb)

Private collection; 19.6 cm cyl., adjustable fan and tune changer, 4 tunes (two waltzes, opera, “Preghiera“ from “Guillaume Tell“ by Rossini), in mantle clock

431

A.Olbrich/in Wien (c, cb)

Private collection; 10 cm cyl., 2 tunes, in mantel clock, tune sheet: No 431 / 1.) Mazur elegant par un amateur / 2.) Mazur par la comtesse J.P., the serial no. is unknown

8893 442

A.Olbrich in/Wien (c)

Private collection; 10 cm cyl., 2 tunes

8919 442

A.Olbrich in/Wien (c)

Dorotheum auction 5.10.2015 no. 68; 10 cm cyl., lantern wheel, 80 teeth, 2 tunes, in picture clock

9046 480

A.Olbrich in/Wien (c)

Dorotheum auction 12.11.1999 no. 440; 10 cm cyl., 2 tunes, cylinder filled with bottle cork

9175 512

A.Olbrich/in Wien (c, cb)

Private collection; comb with 91 teeth, 10 cm cyl., 2 tunes (fan comes from a movement from Prague, repair work)

9182 313

A.Olbrich in Wien (c) A.Olbrich/in Wien (cb)

Private collection; 16.3 cm cyl., adjustable fan, 3 tunes (operas, waltz)

9269 592

A.Olbrich/in Wien (c, cb)

Dorotheum auction 6.10.2014 no. 91; 10 cm cyl., comb with 81 teeth, 2 tunes (csárdás, polka), in picture clock

9296 505

A.Olbrich/ in Wien (c)

Dorotheum auction 2.4.2009 no. 691; 10 cm cyl., in picture clock, tune sheet: 1. Carneval-Quadrill von Joh. Strauhs / 2. Apollo Walzer von Johann Strauhs

352

168

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V. catalogue

9338 553

A.Olbrich/ in Wien (c)

Dorotheum Auction 21.3.2012 no. 48; 10 cm cyl., 2 tunes, in picture clock, tune sheet “1. Grohser Parade=Marsch von Haslinger / 2. Ober Östereicher Echo Ländler von / Joseph Lanner“

9351 582

A.Olbrich/in Wien (c, cb)

Information provided by Timothy Reed; 10 cm cyl., 2 tunes (operas), in clock

9422 611

A.Olbrich in Wien (c)

D&S; 10 cm cyl., 2 tunes, in picture clock

9484 614

A.Olbrich in Wien (c)

Private collection; 10 cm cyl., 2 tunes,

9608 661

A.Olbrich/ in Wien (c)

Private collection; 10 cm cyl., 2 tunes, in automaton (lady playing the piano)

9675 673

A.Olbrich/ in Wien (c)

Private collection; 10 cm cyl., 2 tunes

9693 646

A.Olbrich in Wien (c, cb)

Private collection; 10 cm cyl., lantern wheel, “829 Juli A“ scratched on bedplate, 2 tunes, in picture clock “Schönbrunn“, tune sheet (only the nos. readable)

9832 330

A.Olbrich in Wien (c) A.Olbrich/in Wien (cb)

Private collection; 16.3 cm cyl., adjustable fan, 3 tunes (“Rákóczi-march“, waltz, opera)

9835 709

A.Olbrich / in Wien (c, cb)

Private collection; 10 cm cyl., 2 tunes (ländler)

9878 721

A.Olbrich / in Wien (c, cb)

Private collection; 9.8 cm cyl., 2.5 cm diam., “721“ on cylinder cap, lantern wheel, comb with 91(!) teeth, in original case, 2 tunes: 1. Menuett aus Don Juan v. Mozart / 2. Duett aus Linda v. Donizetti

9899 678

A.Olbrich

Information provided by Luuk Goldhoorn;

9905 719

A.Olbrich / in Wien (c, cb)

Smidt Muzeum; 10.1 cm cyl., 2.6 cm diam., 2 tunes, in mantle clock

9920 717

A.Olbrich / in Wien (c, cb)

Private collection; 10 cm cyl., 2 tunes, in mantle clock

10009 741

A.Olbrich in Wien (c, cb)

Private collection; 9.98 cm cyl. and 2.48 cm diam., comb with 91 teeth, bedplate 15.35 x 6.5 cm, 6.6 mm thickness, 2 tunes: 1. Rakoczy-Marsch v. Berlioz, 2. Sextett a. Lucia di Lammermoor v. Donizetti, in case

10072 761

A.Olbrich in Wien (c) A.Olbrich/in Wien (cb)

D&S; 10 cm cyl., 2 tunes (including “Rákóczi-march“)

10178 760

A.Olbrich /in Wien (c)

Private collection; 10 cm cyl., 2 tunes

10205 377

A.Olbrich in Wien (c)

D&S; 4 tunes

10335 780

A.Olbrich/in Wien (c, cb)

Private collection; 10 cm cyl., 2 tunes

10432 401

A.Olbrich in Wien (c)

Utrecht; 19.5 cm cyl., 3.1 cm diam., lantern wheel, comb with 6 screws, 4 tunes, adjustable fan and tune changer

10439 404

A.Olbrich

Information provided by Luuk Goldhoorn; 4 tunes

10448 769

A.Olbrich/in Wien (c, cb)

Private collection; 10 cm cyl., 2 tunes

10469 821

A.Olbrich in Wien (c)

Private collection; 10 cm cyl., lantern wheel, 2 tunes, tune sheet: 1. Cavatina nell´opera Nabucodonosor “Salgo gio del trono“ del Maestro Donizetti, 2. Rosen ohne Dornen, Walzer von Joh. Strauß

10478 760

A.Olbrich/in Wien (c, cb)

Private collection; 10 cm cyl., lantern wheel, 2 tunes

169

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Musical boxes from Prague and Vienna

10513 858

A.Olbrich /in Wien (c)

Dorotheum auction 21.3.2007 no. 64; 10 cm cyl., in picture clock, tune sheet: Glöckchenduett a.d. Oper die Vier Haimonskinder v. Balfe / Odeon Walzer v. J. Strauß sen.

10724 414

A.Olbrich /in Wien (c)

D&S; 3 tunes, in picture clock

10725 862

A.Olbrich/in Wien (c, cb)

Private collection; 10 cm cyl., 78 teeth

10737 914

A.Olbrich/in Wien (c, cb)

Information provided by T. Reed; 10 cm cyl., lantern wheel, 2 tunes, in old but not fitting case

10813 890

A.Olbrich /in Wien (c)

Dorotheum auction 23.3.2011 no. 67; 10 cm cyl., 2 tunes, in picture clock with inappropriate tune sheet

10899 948

A.Olbrich /in Wien (c)

Dorotheum auction 5.6.1999; 2 tunes

10904 463

A.Olbrich in Wien (c) A.Olbrich/in Wien (cb)

D&S; 19.5 cm cyl., 97 teeth, lantern wheel, adjustable fan und tune changer, 4 tunes

10960 936

A.Olbrich/in Wien (c, cb)

Private collection; 10 cm cyl., 2 tunes

10977 965

A.Olbrich/in Wien (c, cb)

Dorotheum auction 19.12.1995 no. 131; 11 cm cyl., lantern wheel

10981 871

A.Olbrich/in Wien (c, cb)

Private collection; 10 cm cyl., 2 tunes

11013 463

A.Olbrich/in Wien (c)

Private collection; 19.5 cm cyl., 97 teeth, in case, 4 tunes, tune sheet: Preghiera aus Moses v. Rossini / Die Landjunker, Walzer v. Strauß / Cavatine aus Norma v. Bellini / Rakozy Marsch

11048 973

A.Olbrich in Wien (c)

Dorotheum Salzburg auction 8.4.2009 no. 444/Dorotheum Wien auction 21.4.2010 no. 081; 2 tunes, in picture clock, tune sheet: 1. Kar Hunyadi Laszlo Magyar es Erkel / 2. Glockenduett aus der Oper: die vier Haimonskinder von Balfe

11093 993

A.Olbrich in Wien (c, cb)

Dorotheum auction 31.10.2012 no. 71; 10 cm cyl., 2 tunes, in frame clock

11121 495

A.Olbrich in Wien (c, cb)

D&S; Lantern wheel, 3 tunes, in frame clock

11123 983

A.Olbrich/in Wien (c)

Sopron; 10 cm cyl., 2 tunes

11232 983

A.Olbrich/in Wien (c)

Dorotheum auction 11.12.2002 no. 17; 10 cm cyl., 2 tunes, in mantle clock

11259 1020

A.Olbrich in Wien (c)

D&S;

11384 1044

A.Olbrich/in Wien (c, cb)

Budapest Inv. No. 53.2212; 10 cm cyl., lantern wheel, 2 tunes, tune sheet: Zigeuner Quadrille v. Strauß /Alföldi Czardas v. Gáspár Bánat

11693 1042

A.Olbrich in Wien (c, cb)

Private collection; 10 cm cyl., 2 tunes

11707 1693

A.Olbrich/in Wien (c)

Dorotheum auction 5.10.2015 no. 53; 10 cm cyl., lantern wheel, 2 tunes, in mantle clock

11814 1142

A.Olbrich in Wien (c, cb)

Zorn; 10 cm cyl., in mantle clock, 2 tunes, tune sheet: 1.Verklärungs Scene a.d. Oper Vielka [1847] / 2.Herztöne Walzer von Strauhs [1847]

11925 1124

A.Olbrich/in Wien (c, cb)

Clock museum (depot); 10 cm cyl., 2 tunes, in mantle clock

12033 1086

A.Olbrich/in Wien (c)

Hirsch; 10 cm cyl., lantern wheel, 2 tunes,

12057 1199

A.Olbrich/in Wien (c)

Dorotheum 1997; 10 cm cyl., 2 tunes, lantern wheel, in mantle clock

170

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V. catalogue

12082 1367

A.Olbrich in Wien (c)

D&S; 10 cm cyl., 2 tunes

12084 1126

A.Olbrich/in Wien (c)

Private collection; 10 cm cyl., 2 tunes

12194 1201

A.Olbrich/in Wien (c)

Horovice; 10 cm cyl., 2 tunes, in frame clock

12249 582

A.Olbrich/in Wien (c)

Geymüller Inv. No. 1530; 19.6 cm cyl., 3.2 cm diam., comb 97 teeth, 4 tunes, in mantle clock

12311 1098

A.Olbrich/in Wien (c)

Private collection; 10 cm cyl., 2 tunes, in mantle clock

12366 1140

A.Olbrich/in Wien (c)

Surber’s museum; 10 cm cyl., 2 tunes, in automated scene (combination not original)

12394 1166

A.Olbrich/in Wien (c)

Weinmann; 10 cm cyl., 2 tunes

12399 1266

A.Olbrich/in Wien (c)

Private collection; 10 cm cyl., 2 tunes, in mantle clock

12474 1058

A.Olbrich/in Wien (c)

Grzegorczyk; 10 cm cyl., 2.8 cm diam., 2 tunes, lantern wheel

12495 1294

A.Olbrich/in Wien (c)

Private collection; 10 cm cyl., 2 tunes, in frame clock

12601 1327

A.Olbrich/in Wien (c)

Private collection; 10 cm cyl., 2 tunes, in wedding clock

12608 1327

A.Olbrich/in Wien (c)

Dorotheum auction 29.4.2002 no. 26; 10 cm cyl., 2 tunes: National Marsch v. Proch / Steyrische Tänze v. Kantzner

12617 1337

A.Olbrich in Wien (c)

Private collection; bedplate 155 x 65 x 7 mm, 10 cm cyl., 2.88 cm diam., 9.8 cm comb, 81 teeth, lantern wheel, 2 tunes, in mantle clock

12761 1251

A.Olbrich/in Wien (c)

D&S; 2 tunes, in mantle clock

12833 1366

A.Olbrich/in Wien (c)

Clock museum Inv. No. 90; 10 cm cyl., 2.5 cm diam., 2 tunes, in mantle clock

12844 1036

A.Olbrich/in Wien (c)

Private collection; 9.6 cm cyl., 2.5 cm diam., 2 tunes, fan, gear and two teeth are missing

12855 1371

A.Olbrich/in Wien (c)

Private collection; 10 cm cyl., 2 tunes, in mantle clock

12907 1346

A.Olbrich/in Wien (c)

Private collection; 10 cm cyl., 2 tunes

12928 1377

A.Olbrich/in Wien (c)

Private collection; 10 cm cyl., 2 tunes, in case

12954 1388

A.Olbrich/in Wien (c)

Clock museum Inv. No. 92; 10 cm cyl., 2.5 cm diam., 2 tunes, in mantle clock

12974 1399

A.Olbrich/in Wien (c)

Private collection; 10 cm cyl., 2 tunes

12983 1399

A.Olbrich in Wien (c)

Dorotheum auction 16.11.2005 no. 52; 10 cm cyl., 2 tunes, in mantle clock

13023 1365

A.Olbrich/in Wien (c)

Private collection; 10 cm cyl., 2 tunes

13028 1383

A.Olbrich/in Wien (c)

Dorotheum auction 8.10.1998 no. 336; 10 cm cyl., 2 tunes, in frame clock

13085 1377

A.Olbrich in Wien (c)

Rechberger; 10 cm cyl., 2 tunes, in frame clock

13223 631

A.Olbrich in Wien (c)

Private collection; 16.5 cm cyl., lantern wheel, 3 tunes

13313 1091

A.Olbrich/in Wien (c)

D&S; 19.4 cm cyl., 3.2 cm diam., adjustable fan, 4 tunes

171

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Musical boxes from Prague and Vienna

13521 662

A.Olbrich in Wien (c)

Museum of Music History Budapest; 19.8 cm cyl., 3 cm diam., 4 tunes, tune sheet: Rakoczy Marsch/ Lebe wohl Walzer von Strauss [1848]/ Kossuth Marsch/ Romanze aus Nachtlager, in picture clock

13557 972

A.Olbrich/in Wien (c)

Private collection; 10 cm cyl., 2 tunes, in picture clock, music no. could also be “978“

13688 1523

A.Olbrich/in Wien (c)

Information provided by Timothy Reed; 10 cm cyl., 2 tunes

14023 1671

A.Olbrich

Information provided by Luuk Goldhoorn;

14025 1565

A.Olbrich/in Wien (c)

Veszprém; 10 cm cyl.

14065 1585

A.Olbrich/in Wien (c)

Weinmann; 10 cm cyl., 2 tunes,

14090 1552

A.Olbrich in Wien (c)

D&S; 10 cm cyl., 2 tunes Private collection; 3 tunes, 1. Lebe wohl v. Strauß, 2. Steirische Tänze, 3. Polka v. Suppé

14262 679 14368 1601

A.Olbrich in Wien (c)

Dorotheum Linz auction 14.5.2003, no. 171; 2 tunes, in frame clock

14415 604

A.Olbrich/in Wien (c)

Dorotheum auction 9.11.2009 no. 136; 10 cm cyl., 2 tunes, some treble teeth missing

14448 1579

A.Olbrich/in Wien (c)

Private collection; 10 cm cyl., 2 tunes, in mantle clock

15169 1654

A.Olbrich in Wien (c)

Private collection; 2 tunes,

15446 1736

A.Olbrich/in Wien (c)

Private collection; 10 cm cyl., 2 tunes

15521 756

A.Olbrich in Wien (c)

Geymüller; 12.3 cm cyl., 3 cm diam., adjustable tune changer, 3 tunes

14589 1606

A.Olbrich

Information provided by Luuk Goldhoorn;

15154 1673

A.Olbrich

Information provided by Luuk Goldhoorn;

15461

A.Olbrich

Information provided by Luuk Goldhoorn; 4 tunes

15749 1664

A.Olbrich/in Wien (c)

Dorotheum auction 28.10.2013 no. 55; 10 cm cyl., 2 tunes, in mantle clock

15768 1781

A.Olbrich in Wien

Das mechanische Musikinstrument no. 102, August 2008, p.13; 2 tunes, in frame clock

15913 1797

A.Olbrich/in Wien (c)

Private collection; 10 cm cyl., 2 tunes

16086 1784

A.Olbrich/in Wien (c)

Private collection; 10 cm cyl., 2 tunes

16260 1876

A.Olbrich/in Wien (c)

Clock museum (depot); 10 cm cyl., 2 tunes, in mantle clock

16282 1832

A.Olbrich/in Wien (c)

Private collection; 10 cm cyl.,

16421 1902

A.Olbrich/in Wien (c)

Sopron; 10 cm cyl., 2 tunes,

16609 833

A.Olbrich in Wien (c)

Private collection; 16.4 cm cyl., 3.3 cm diam., comb with 5 screws, lantern wheel, adjustable fan, 3 tunes

16689 1671

A.Olbrich/in Wien (c)

Private collection; 2 tunes, (including “Radetzky-march“)

16723 955

A.Olbrich in Wien (c)

Schinko; ca. 12 cm cyl., comb with 5 screws, 3 tunes, in picture clock

16733 1825

A.Olbrich/in Wien (c)

Dorotheum auction 14.12.1998 no. 55; 10 cm cyl., 2 tunes, in picture clock,

16742 1826

A.Olbrich/in Wien (c)

Private collection; 10 cm cyl., 2 tunes (waltz, “Radetzky-march“)

172

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V. catalogue

16853 1750

A.Olbrich/in Wien (c)

Dorotheum auction 30.5.01 no. 473; 10 cm cyl., unusual cogwheel on the cylinder axle (repair work?)

16861 1399

A.Olbrich in Wien (c)

D&S; 10 cm cyl., 2 tunes

16865 1855

A.Olbrich/in Wien (c)

Private collection; 10 cm cyl., 2 tunes

17069 1987

A.Olbrich/in Wien (c)

Zorn; 2 tunes, lantern wheel

17176 882

A.Olbrich/in Wien (c)

Private collection; 12.4 cm cyl., 3 cm diam., 81 teeth, 3 tunes

17219 883

A.Olbrich/in Wien (c)

Private collection; 12 cm cyl., 81 teeth, 3 tunes, music no. could be “885“

17245 1855

A.Olbrich/in Wien (c)

Private collection; 10 cm cyl., 2 tunes (couplet, waltz), in frame clock

17273 2038

A.Olbrich/in Wien (c)

Private collection; 10 cm cyl., tune sheet: 1. Ouverture a.d. Oper Ilka v. Doppler 2. Frühlings Knospen Walzer v. Lanner

17442 1496

A.Olbrich/in Wien (c)

Weinmann; 10 cm cyl., 2 tunes, in picture clock

17457 2016

A.Olbrich

Information provided by Luuk Goldhoorn;

17470 2019

A.Olbrich/in Wien (c)

Private collection; 10 cm cyl.,

17486 2035

A.Olbrich in Wien (c)

D&S; 10 cm cyl., 2 tunes

17639 2094

A.Olbrich/in Wien (c)

Pallamar Kunsthandel; 10 cm cyl., 2 tunes, in mantle clock

17696 2018

A.Olbrich/in Wien (c)

Private collection; 10 cm cyl., 2 tunes, lantern wheel, in frame clock

17783 887

A.Olbrich in Wien (c)

Sternat; 12.4 cm cyl., 3 cm diam., 3 tunes (“Coronation march“ from “Le prophète“ by Meyerbeer, “Last rose“ by Flotow, 3rd piece unidentified)

17841 1958

A.Olbrich/in Wien (c)

Dorotheum auction 23.4.1996 no. 218; lantern wheel, 10 cm cyl., 2 tunes, blued screws

18186 991

A.Olbrich in Wien (c)

Dorotheum auction 28.4.2004 no. 30; comb with 5 screws, 3 tunes, in mantle clock, tune sheet: 1. Huszar dal es [?] Cardas/ 2. Rateplan aus den Hugenotten / 3. Cavatina aus Ernani v. Verdi

18211 2089

A.Olbrich

Information provided by Luuk Goldhoorn;

18280 2069

A.Olbrich /in Wien (c)

Private collection; 10 cm cyl., 2 tunes (opera, “Radetzky-march”), cyl. filled with bottle cork, in mantle clock

18313 1021

A.Olbrich /in Wien (c)

D&S; 19.6 cm cyl., 3.2 cm diam., 97 teeth, cyl. filled with bottle cork, nos. scrachted also on cylinder cap, 4 tunes (waltz, aria from “Hunyadi Laszlo“ by Erkel, unidentified tune, “Rákóczi-march“)

18454 2069

A.Olbrich in Wien

Private collection; 10 cm cyl., 2.5 cm diam., 2 tunes, tune sheet: Radetzky Marsch, second title unreadable

18534 2233

A.Olbrich/in Wien (c)

Dorotheum auktion 6.12.2018; 10 cm cyl., 2 tunes

18625 2215

A.Olbrich/in Wien (c)

Private collection; 10 cm cyl., “13“ on the spring cap, “12“ on the fan, 2 tunes (czardas, “Ernani involami” from “Ernani“ by Verdi), in frame clock

18635 1899

A.Olbrich/in Wien (c)

Dorotheum auction 27.5.2009 no. 78; 10 cm cyl., 2 tunes, some teeth broken, in picture clock

18651 2149

A.Olbrich/in Wien (c)

Private collection; 10 cm cyl., 2 tunes, in picture clock

173

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Musical boxes from Prague and Vienna

18789 2276

A.Olbrich/in Wien (c)

Dorotheum auction 11.12.2002 no. 44; 10 cm cyl., 2 tunes, in mantle clock

18989 2201

A.Olbrich/in Wien (c)

Private collection; 10 cm cyl.,

19065 1093

A.Olbrich in Wien (c)

D&S; 12.4 cm cyl., 3 tunes

19185 2049

A.Olbrich in Wien (c)

Neidhart; 2 tunes (aria from “Hunyadi Laszlo“ by Erkel, “La Donna è mobile“ by Verdi) , in mantle clock

19311 2540

A.Olbrich/in Wien (c)

Private collection; 10 cm cyl., 2 tunes, in picture clock

19349 1129

A.Olbrich in Wien (c)

Private collection; 37 cm cyl., 3.5 cm diam., 6 tunes, in case

19387 2322

A.Olbrich in Wien (c)

Private collection; 2 tunes, in clock

19424 1148

A.Olbrich in Wien (c)

Private collection; 12.3 cm cyl., 2.5 cm diam., 2 tunes, “50“ on the barrel cap, in case

19637 2320

A.Olbrich/in Wien (c)

Weinmann; 10 cm cyl., 2 tunes,

19856 2370

A.Olbrich/in Wien (c)

Clock museum Inv. no. 3054; 10 cm cyl., 2.4 cm diam., 2 tunes, picture clock

19955 2339

A.Olbrich in Wien (c)

Private collection; 2 tunes

20065 2482

A.Olbrich in Wien (c)

Private collection; 2 tunes

20235 2407

A.Olbrich/in Wien (c)

Dorotheum auction 25.10.2011 no. 101; 10 cm cyl., 2 tunes, (including aria from “La Traviata“ by Verdi), in picture clock

20261 2482

A.Olbrich/in Wien (c)

Private collection; 10 cm cyl., 2 tunes

20319 2397

A.Olbrich/in Wien (c)

D&S; 10 cm cyl., 2 tunes, lantern wheel, frame clock

20378

A.Olbrich

Information provided by Luuk Goldhoorn;

20424 1676

A.Olbrich/in Wien (c)

Private collection; 10 cm cyl., 2 tunes (aria from “Hunyadi Laszlo“ by Erkel, “Rákóczi-March“)

20455 2402

A.Olbrich/in Wien (c)

Dorotheum auction 24.3.2010 no. 16; 10 cm cyl., 2 tunes, in mantle clock

20659 2393

A.Olbrich/in Wien (c)

Private collection; 10.1 cm cyl., 2.5 cm diam., 2 tunes

20898 1305

A.Olbrich/in Wien (c)

Clock museum; 24.2 cm cyl., 6.2 cm diam., 3 tunes, adjustable fan

20933 1318

A.Olbrich in Wien (c)

Private collection, Mechanical Music 57/3 (2011) p. 17-19; 37.2 cm cyl., 4.1 cm diam., comb with 111 teeth, in case, 6 tunes, tune sheet: 1. Goenguletz, 2. Kentek National. 3. Volentier, 4. La Sobhese, 5. Kentek national en zadaz a punio, 6. Ans au leu si nu al mon

21009 2548

A.Olbrich/in Wien (c)

Rechberger; 10 cm cyl., 2 tunes, in frame clock

21247 2404

A.Olbrich/in Wien (c)

Dorotheum auction 27.5.2009 no. 67; 10 cm cyl., 2 tunes, in frame clock

21544 4813

A.Olbrich/in Wien (c)

D&S; 2 tunes, in picture clock signed “Pigler 836“

21547 2767

A.Olbrich/in Wien (c)

Dorotheum auction 6.12.2018; 10 cm cyl., 2 tunes (waltz, polka), in mantle clock (wedding clock)

21686 2762

A.Olbrich in Wien (c)

Private collection; 10 cm cyl., 2 tunes

21690 2770

A.Olbrich/in Wien (c)

Private collection; 10 cm cyl., 2 tunes (“Radetzky-march“, opera)

174

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V. catalogue

21810 2680

A.Olbrich/in Wien (c)

Surber’s museum; 10 cm cyl., 2 tunes, in frame clock

21977 1969

A.Olbrich in Wien (c)

Private collection; 2 tunes, tune sheet: 1. Radetzkymarsch, 2. Großer Gott wir loben dich

21980 1430

A.Olbrich in Wien (c)

Private collection; 14.5 cm cyl., 3 tunes (march, polka, opera), in picture clock, fan later added (repair work)

22022 1526

A.Olbrich in Wien (c)

Geymüller Inv. no. 1567; 3.2 cm cyl., 5 cm diam., comb 110 teeth, 6 tunes, tune sheet: 1.Hunyadimarsch v. Erkel [from “Hunyadi Laszlo“ by Erkel] 2.Wien mein Sinn, Walzer v. Strauß 3. Bettlerlied aus Verschwender 4. Molinetpolka von Strauß 5. Die schönsten Augen, Lied von Stigel 6. Die letzte Rose, in case

22216 2903

A.Olbrich/in Wien (c)

Dorotheum auction 21.3.2007 no. 109; 10 cm cyl., 2 tunes, in frame clock

22298 2916

A.Olbrich/in Wien (c)

Weinmann; 10 cm cyl., 82 teeth, 2 tunes (first piece: “Flattergeister“, waltz by Josef Strauss op. 62, 1859), in wedding clock, inappropriate tune sheet without numbers: “Mai-Rohsen Walzer“ [Josef Strauß op.34, 1857] / “Eine Grille – Schottisch“ [Philipp Fahrbach sen., op. 205].

22300 1426

A.Olbrich in Wien (c)

D&S; 3 tunes

22307 2983

A.Olbrich

Information provided by Luuk Goldhoorn; 2 tunes, case with a glass window lid

22368 1500

A.Olbrich in Wien (c)

D&S; 19,6 cm cyl., adjustable fan, 4 tunes

22420 2916

A.Olbrich/in Wien (c)

Clock museum (Depot); 10 cm cyl., 2 tunes, tune sheet: 1, Jux-Brüder, Walzer v. Joh. Strauhs / 2, Waldröslein, Polka Mazur v. Jos. Strauhs, in mantle clock

22436 1503

A.Olbrich in Wien (c)

Private collection; 13 cm cyl., 3 tunes

22449 2876

A.Olbrich/in Wien (c)

Private collection, 10 cm cyl., 2 tunes

22455 3906

A.Olbrich/in Wien (c)

Private collection; 10 cm cyl., 2 tunes

22460 1511

A.Olbrich in Wien (c)

Dorotheum auction 5.12.2003, no. 64; 3 tunes, in case, tune sheet: 1. Steirische Tänze von Lanner,/ 2. Ballo Marinerisco No. 1 u. 2, / 3. Drin Drin Monferin

22585 2769

A.Olbrich/in Wien (c)

Private collection; 10 cm cyl., 2 tunes. (Stretta from “Il trovatore“, aria from “La Traviata“), in mantle clock

22593 2997

A.Olbrich/in Wien (c)

Private collection; 10 cm movement, cyl. and fan lost

22639 2910

A.Olbrich/in Wien (c)

Private collection; 10 cm cyl., 2 tunes, in wedding clock

22641 1533

A.Olbrich in Wien (c)

Budapest Inv. no. 531998; 37 cm cyl., 4 cm diam., 6 tunes, comb in 2 parts, in picture clock “King Matthias“

22740 3036

A.Olbrich in Wien (c)

D&S; 10 cm cyl., 2 tunes

22779 2933

A.Olbrich/in Wien (c)

Private collection; 10 cm cyl., 2 tunes, tune sheet: “1. Hernalser Jodler / 2. Ach Herr Jegerl“, in mantle clock

22798 1560

A.Olbrich in Wien (c)

Dorotheum Favoriten auction 23.5.2011 no. 545; 12.5 cm cyl., comb with 5 screws, 3 tunes, many pins missing, in mantle clock

22933 3018

A.Olbrich in Wien (c)

D&S; 10 cm cyl., 2 tunes

175

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Musical boxes from Prague and Vienna

22955 6008

A.Olbrich/in Wien (c)

Private collection; 19 cm comb, 22 cm cyl., 3 cm of the cyl. without pins, 4 tunes, in mantle clock, tune sheet: Walzer aus der Operette “Der lustige Krieg“ v. Strauss/ Radetzki Marsch v. Strauss / La Marseillaise / D’Banda kommt Marsch v. Schild

22990 3063

A.Olbrich/in Wien (c)

Private collection; 2 tunes, in mantle clock

22993 3783

A.Olbrich/in Wien (c)

Private collection; 10 cm cyl., nos. also on cylinder cap, music no. also on comb base, cast-iron beplate, 2 tunes

23062 2370

A.Olbrich in Wien (c)

Hirsch; 10 cm cyl., lantern wheel, in case, “Stöckl 12/72“ written on the bottom, 2 tunes: 1. Sextett aus Lucia di Lammermoor 2. Trinklied aus Rigoletto v.Verdi

23163 3077

A.Olbrich in Wien (c)

Suppan auction 9.12.2003 no. 316; 10.2 cm cyl., 2.8 cm diam., 2 tunes, lantern wheel

23174 1604

A.Olbrich in Wien (c)

Geymüller Inv. no. Br. 1476; 28.1 cm cyl., 6.4 cm diam., comb in two parts, 139 teeth, 8 tunes, in picture clock

23239

A.Olbrich

Information provided by Luuk Goldhoorn;

23400 3078

A.Olbrich/in Wien (c)

Dorotheum auction 9.12.1997; 10 cm cyl., lantern wheel, 2 tunes,

23492 307

A.Olbrich in Wien (c)

Private collection; lantern wheel, comb with 5 screws, 3 tunes, in case

23524 2462

A.Olbrich/in Wien (c)

Hirsch; 10 cm cyl., lantern wheel, 2 tunes,

23528 3120

A.Olbrich/in Wien (c)

Private collection ; 10 cm cyl., 2 tunes, in wedding clock, tune sheet: Steirische Tänze v. Lanner, Preghiera a. Guillaume Tell v. Rossini

23577 3078

A.Olbrich/in Wien (c)

Budapest (without inv. no.); mantle clock with automaton (smith and grinder), 10 cm cyl., 2.4 cm diam., 2 tunes, tune sheet: Rákóczi-Marsch nach Hector Berlioz, “Szozat“ von Béni Egressy [after a poem by Mihály Vörösmarty]

23627 1653

A.Olbrich/in Wien (c)

Private collection; 19.7 cm cyl., 4 tunes; tune sheet: 1 Carmen – Marsch v. Bizet, 2 Guillaume Tell – Preghiera v. Rossini, 3 Martha – Letzte Rose v. Flotow, 4 Ernani – Ernani involami v. Verdi.

23637 3029

A.Olbrich/in Wien (c)

Private collection, 10 cm cyl., 2 tunes

23644 1658

A.Olbrich/in Wien (c)

Weinmann; 19.7 cm cyl., adjustable fan, 4 tunes (operas, waltzes), in frame clock

23682 3131

A.Olbrich/in Wien (c)

Weinmann; 10 cm cyl., 2 tunes

23746 1969

A.Olbrich/in Wien (c)

Dorotheum auction 29.4.02 no.18; 10 cm cyl., 2 tunes (“Radetzkymarch“, church song “Großer Gott wir loben dich“)

23802 2305

A.Olbrich/in Wien (c)

Dorotheum auction 5.5.2000/Private collection; 10 cm cyl., 2 tunes, in mantle clock

23928 1968

A.Olbrich in Wien (c)

Geymüller Inv. no. 1614; 10 cm cyl., 2 tunes, blued screws

24193 3192

A.Olbrich in Wien (c)

Dorotheum auction 23.3.2011 no. 68; 10 cm cyl., 2 tunes, in picture clock

24375 1759

A.Olbrich in Wien (c)

D&S; 13 cm cyl., 3 tunes

24464 3236

A.Olbrich/in Wien (c)

Reich: lantern wheel, 10 cm cyl., 2 tunes

24846 1817

A.Olbrich/in Wien (c)

Private collection; 4 tunes, in mantle clock

176

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V. catalogue

24893 3092

A.Olbrich/in Wien (c)

Private collection; 10 cm cyl., 2 tunes

24950 3161

A.Olbrich

Information provided by Luuk Goldhoorn; 2 tunes

25031 3324

A.Olbrich/in Wien (c)

Private collection; lantern wheel, 10 cm cyl., 2 tunes, many teeth broken

25085 3066

A.Olbrich/in Wien (c)

Dorotheum auction 28.9.2017 no. 65; 10 cm cyl., 2 tunes (waltz, march), in frame clock

25184 3363

A.Olbrich in Wien (c)

Zorn; 10 cm cyl., lantern wheel, 2 tunes

25224 1250

A.Olbrich/in Wien (c)

Bergmann, Erlangen, autumn auction 2006 no. 1005; 10 cm cyl., 2 tunes, in frame clock, music no. unclear

25527 1927

A.Olbrich in Wien

Das mechanische Musikinstrument no. 102, August 2008, p.16; 4 tunes, in case with glass window lid

25528 1920

A.Olbrich in Wien (c)

Private collection; 32 cm cyl., 6 tunes

25653 3441

A.Olbrich/in Wien (c)

Hofmobiliendepot Inv. No. MD 42481; 10 cm cyl., 2 tunes

25677 3482

A.Olbrich

Information provided by Luuk Goldhoorn;

25907 1924

A.Olbrich

Information provided by Luuk Goldhoorn; 2 tunes

26099 3356

A.Olbrich in Wien (c)

Neidhart; 10 cm cyl., 2 tunes

26377 3682

A.Olbrich/in Wien (c)

Dorotheum auction 14.12.98 no. 61; 10 cm cyl., cast-iron bedplate, lantern wheel, 2 tunes, in mantle clock, nos. also engraved on the cylinder cap

26888

A.Olbrich in Wien (c)

Dorotheum auction 13.9.2018 no. 36; 16.7 cm cyl., cast-iron bedplate, lantern wheel, number scratched on cyl. cap, XI on the cap of spring housing and on the spike, 3 tunes (Radetzky march, operatic air, waltz), in mantle clock

27169 4138

A.Olbrich

Information provided by Marc Boon; numbers scratched under the comb (not visible), also indicated “AO” under the comb base, cylinder 13.2 cm, comb in 2 pieces, 12 teeth  on the left side, original case with glass lid, 3 tunes (“Oh, schöner Mai”, “Telefon Polka”, Preghiera from Norma)

27244

A.Olbrich/in Wien (c)

Dorotheum auction 27.5.2009 no. 60; 10 cm cyl., cast-iron bedplate, lantern wheel, 2 tunes, in mantle clock, no. scratched on the cylinder cap

27435 2231

A.Olbrich/in Wien (c) A.Olbrich (b, under the comb)

Private collection; nos. on cylinder cap, 19.85 cm cyl., 3.2 cm diam., comb with 98 teeth, bedplate 19.47 x 7.42 cm, 4 tunes (1. “Loreley“, 2. and 3. unidentified, 4. “the trout“ by Schubert), in case.

28302 2419

A.Olbrich/in Wien (c)

Private collection; cast-iron bedplate, nos. scratched on the cylinder cap, 19.8 cm cyl., 3.1 cm diam., cogwheel, 4 tunes

28533 4245

A.Olbrich/in Wien (c)

Private collection, cast-iron bedplate, nos. scratched on the cylinder cap, additional “4220“ (?), cogwheel, 10 cm cyl., 83 teeth, 2 tunes

28760

A.Olbrich in Wien (c)

Private collection; cast-iron bedplate, no. scratched on the cylinder cap, cogwheel, 4 tunes

28793

A.Olbrich/in Wien (c)

Private collection; cast-iron bedplate, no. scratched on the cylinder cap, additional “429“ (?); 10 cm cyl., 2.5 cm diam., cogwheel, “VI“ stamped on spring cap, 2 tunes

177

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Musical boxes from Prague and Vienna

28821 4335

A.Olbrich/in Wien (c)

Private collection; cast-iron bedplate, nos. scratched on the cylinder cap, cogwheel, 10 cm cyl., 2 tunes

28830 4315

A.Olbrich/in Wien (c)

Private collection; cast-iron bedplate, nos. scratched on the cylinder cap, cogwheel, 2 tunes, 10 cm cyl., in case with a tune sheet: 1. Fesche Geister Walzer von Straus / 2. Aus der Heimath Polka Mazur

28880 4011

A.Olbrich/in Wien (c)

Private collection; cast-iron bedplate, nos. scratched on the cylinder cap, cogwheel, 10 cm cyl., 2 tunes

28889 4021

A.Olbrich/in Wien (c)

Private collection; cast-iron bedplate, nos. scratched on the cylinder cap, 10 cm cyl., 2.5 cm diam., cogwheel, 2 tunes (“Blue Danube” waltz, Chorus from “Les Huguenots“ by Meyerbeer), “XI“ stamped on the spring cap and spike

28891 4353

A.Olbrich/in Wien (c)

Private collection; cast-iron bedplate, nos. scratched on the cylinder cap, “4138” on comb base and bass teeth, “I” on the spring cap, 10 cm cyl., 2.5 cm diameter, 2 tunes (“Blue Danube” waltz , “Lohengrin”)

29178 4331

A.Olbrich/in Wien (c)

Private collection; cast-iron bedplate, nos. scratched on the cylinder cap, cogwheel, 10 cm cyl., 2 tunes,

29194 4406

A.Olbrich/in Wien (c)

Private collection; cast-iron bedplate nos. scratched on the cylinder cap, “4406“ on the the edge of the bedplate and inside on comb base, “2308“ inside of comb base, cogwheel, 10 cm cyl., 2 tunes,

29289 4399

A.Olbrich in Wien (c)

Private collection; 13 cm cyl., 3 cm diam., nos. scratched on the cylinder cap, cast-iron bedplate, 3 tunes, in case with a glass window lid

29456 4262

A.Olbrich/in Wien (c)

Private collection; cast-iron bedplate, nos. scratched on the cylinder cap, “41128“ on underside of the bedplate, cogwheel, 10 cm cyl., 2 tunes (including “Blue Danube” waltz)

-

1005

A.Olbrich in Wien (c)

D&S; 13.2 cm cyl., 3.4 cm diam., 3 tunes (2 hungarian tunes and “La Donna è mobile“ from “Rigoletto” by Verdi)

-

2151

A.Olbrich in Wien (c)

Private collection; cast-iron bedplate, “6156” stamped on bedplate (perhaps meaning serial no. 26156), in case with Swiss style levers; 30.3 cm cyl., 6 tunes, tune sheet, music no. 2151 written on the tune sheet: 1. Flugschriften Walzer v. Strauhs, 2. Duett a.d. Oper Der Troubadour v. Verdi, 3. Mamsell Übermuth Polka franc v. Ziehrer, 4. Cavatine a.d. Oper Margaretha v. Gounod, 5. Frauenherz Polka Mazur v. Strauhs [Jos., op. 166, 1865], 6. Piece a.d. Helenen Quadrille v. Offenbach

-

2176

A.Olbrich in Wien (c)

Private collection; cast-iron bedplate, 16.7 cm cyl., 4 tunes, in case, tune sheet showing the music no. 2176: […] Zde domov muj / […] mnesicek spanile switi a nenita / […]enize swejtem wladnon / [Lob] den Frauen Polka Mazur

-

2239

A.Olbrich / in Wien (c)

Private collection; cast-iron bedplate, 19.9 cm cyl., 3.2 cm diam., lantern wheel, 4 tunes, in original case with a glass window lid, tune sheet: Duett aus der Oper Norma von Bellini/Sphärenklänge Walzer von Strauhs [Josef Strauss 1862]/Arie aus der Oper der Troubadour von Verdi/ Lock Polka francaise von Strauhs [Josef Strauss 1862]

-

2462

A.Olbrich in Wien (c)

Private collection; cast-iron bedplate, cogwheel, no. scratched on the cylinder cap and corrected to “2461“, 12.5 cm cyl., 3 tunes

178

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V. catalogue

2519

A.Olbrich in Wien (c)

Iaşi; cogwheel, no. stamped on brass bedplate, 6 tunes, in case with tune sheet: 1. Duett aus der Oper Lucia 2. An der schönen blauen Donau Walzer 3. Arie aus der Oper Rigoletto 4. In die Heimath Polka Mazur 5. Krönungs Marsch aus der Oper Prophet 6. I und mein Bua Lied

-

2802

A.Olbrich in Wien (c)

Private collection; cast-iron bedplate, 19.4 cm cyl., 83 teeth, 3 tunes (including “Last rose“ from “Martha“ by Flotow)

-

2909

A.Olbrich/in Wien (c)

Private collection; cast-iron bedplate, 10 cm cyl., 2 tunes, no. scratched on the cylinder cap, in picture clock

-

2949

A.Olbrich/in Wien (c)

Private collection; cast-iron bedplate, cogwheel, no. scratched on the cylinder cap, additional “426“ (?) on the cylinder cap, “IV“ stamped on spring cap, 10 cm cyl., 2.5 cm diam., 2 tunes (including “Blue Danube waltz“)

-

3623

A.Olbrich/in Wien (c)

Private collection; cast-iron bedplate, lantern wheel(!), no. scratched on the cylinder cap, 10 cm cyl., 2 tunes, in case

-

3720

A.Olbrich/in Wien (c)

Surbers’s museum; cast-iron bedplate, 10 cm cyl., lantern wheel, no. scratched on cyl. cap, “VI” on spring cap, in case, tune sheet (shows the music no.) 1. Walzer 2. Kärntner Lieder Walzer.

-

3736

A.Olbrich/in Wien (c)

Dorotheum auction 9.11.2009 no. 43; cast-iron bedplate, 10 cm cyl., 2 tunes, tune sheet (showing only the music no.): “1. Helenen Walzer von Straus / 2. Etiquette Polka france von Straus“, in mantle clock

-

3860

A.Olbrich/in Wien (c)

Schmollgruber; 10 cm cyl., cast-iron bedplate, tune sheet (the music no. inscribed): 1. Marsch aus der Großherzogin von Gerolstein 2. Allerlei Polka von Strauss [Jos., op. 219, 1867]

-

4596

A. Olbrich in Wien (c)

Dorotheum auction 23.4.2014 no. 47; cast-iron bedplate, 2 tunes, tune sheet showing the music number 4596 (third digit doubtful, – 45?6) written on the tune sheet: 1. Boga[…] Marsch 2. Walzer aus dem lustigen Krieg, in frame clock

-

4995

A. Olbrich in Wien (c)

Private collection, no. stamped on cylinder cap, “2865“ scratched on cyl. cap, cast-iron bedplate, “247 S“ scrachted on inside of comb base, 10 cm cyl., 2 tunes, in mantle clock (not originally mounted in this clock)

A.Olbrich in Wien (c)

Bratislava; cast-iron bedplate, 10 cm cyl., 3 tunes

A.Olbrich/in Wien (c)

Clock museum Inv. no. 2609; cast-iron bedplate, 10 cm cyl., 2.5 cm diam., 2 tunes, mantle clock with figures

A.Olbrich in Wien (c)

Private collection; cast-iron bedplate, Swiss type of ratchet, “5323“ on the cylinder cogwheel and on the cylinder bearing, 21.5 cm cyl., 5.25 cm diam. “R“ stamped on cyl., in case

A.Olbrich/in Wien (c)

Nics; cast-iron bedplate, 10 cm cyl., cogwheel, 2 tunes, in case signed additionally “Lehmann 1899“ on governer cock and on the lock of the case

A.Olbrich in Wien (c)

Private collection; cast-iron bedplate, 10 cm cyl., 2 tunes

A.Olbrich/in Wien (c)

Ernst Galleria; cast-iron bedplate, 10 cm cyl., 2 tunes, in frame clock

A.Olbrich/in Wien (c)

Weinmann; cast-iron bedplate, 10 cm cyl., 2 tunes,

A.Olbrich in Wien

Private collection; cast-iron bedplate, 17.8 cm cyl., 3.1 cm diam., fan, gear and spring are missing

179

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Musical boxes from Prague and Vienna

-

147

A.Olbrich/in Wien (c, cb)

Dorotheum auction 24.3.2010, no. 39; brass bedplate without nos., 10 cm cyl., 2 tunes, in mantle clock

Anton Olbrich (cb, inside)

Private collection; cast-iron bedplate, 4 tunes

A.Olbrich in Wien

Private collection; 2 tunes, in wedding clock, without nos.

A.Olbrich in Wien (c)

Private collection; cast-iron bedplate, 25 cm cyl., 6.2 cm diam., comb 85 teeth, 2 tunes per turn, 12 tunes, in case with a tune sheet: 1. Marsch a.d. Op. Tannhäuser 2. Duett a.d. Op. Norma / 3. Neu Wien Walzer v. Straus 4. Cavatine aus Ernani. / 5. Duett aus der Oper Lucia. 6. Frohsin Polka v. Straus. / 7. Trinklied aus Rigoletto. 8. Duett aus Hugenotten. / 9. Gebeth aus Wilhelm Tell, 10. In die Heimath Polka Mazur. / 11. Duett aus Trovatore. 12. Ave Maria.

A.Olbrich/in Wien (c)

Private collection; 10 cm cyl., cast-iron bedplate, no. on cylinder cap, unreadable, 2 tunes (operas), in case

A.Olbrich/in Wien (c)

Private collection; 10 cm cyl., cast-iron bedplate, lantern wheel, no. on cylinder cap, unreadable, 2 tunes (operas, including air from “La Traviata” by Verdi), not original installation in much earlier frame clock

A. Olbrich in Wien (cb)

Private collection; brass bedplate without nos., no. scratched on the cylinder cap, 22 cm cyl., 2 cm diam., 4 tunes





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V. catalogue

Josef Olbrich 2106 596

Jos.Olbrich in Wien (c)

D&S; 10 cm cyl., 2 tunes

3529 834

Jos.Olbrich in Wien (c)

Private collection, The Music Box 16/5 (1994) p. 21; 10.5 cm cyl., 2.5 cm diam., 83 teeth, 2 tunes

12620 3761

Jos.Olbrich in Wien (c)

D&S; 17.2 cm cyl., 2.7 cm diam., 3 tunes

13099 1420

Jos.Olbrich/in Wien (c)

D&S, 10 cm cyl., lantern wheel, 2 tunes

13394 1526

Jos.Olbrich in Wien (c)

Private collection; 10 cm cyl., lantern wheel, bedplate 154 x 65 mm, 9.7 cm comb with 82 teeth, 2 tunes (including “coronation march“ from “Le prophète“ by Meyerbeer).

13477 1588

Jos.Olbrich/in Wien (c)

Zorn; ca 22 cm cyl., lantern wheel, 4 tunes

13573 1421

Jos.Olbrich/in Wien (c)

Kinsky auction 26.11.2014 no. 787; 10 cm cyl., 2 tunes, in picture clock.

13710 1651

Jos.Olbrich in Wien (c)

Private collection; comb in 3 parts, adjustable fan, 4 tunes (including 2 waltzes), in case

13807 1445

Jos. Olbrich/in Wien (c)

Tech. Museum Wien; 10.1 cm cyl., cogwheel, 2 tunes

13848 1686

Jos.Olbrich in Wien (c)

Private collection; 3 tunes (“Linda v. Chamounix”, “Le prophète” by Meyerbeer, third tune unidentified), in mantle clock

13891 1708

Jos.Olbrich in Wien (c)

Private collection; 19.9 cm cyl., 3.8 diam., lantern wheel, adjustable fan, new bearing for the spring, 4 tunes

13900 1027

Jos.Olbrich in Wien (c)

Private collection

13912 1679

Jos.Olbrich in Wien (c)

Private collection; 2 tunes

13951 1716

Jos.Olbrich in Wien (c)

Private collection; 16.3 cm cyl., 3 tunes

13953 1716

Jos.Olbrich in Wien (c)

Private collection; comb with 5 screws, 3 tunes

13959 1714

Jos.Olbrich in Wien (c)

Private collection; 16.3 cm cyl., 3.2 cm diam., 98 teeth, 3 tunes, case not original

14000 1424

Jos.Olbrich in Wien

Information provided by Luuk Goldhoorn;

14081 1744

Jos.Olbrich/in Wien (c)

Dorotheum auction 4.4.2018 no. 121; 10 cm cyl., 2 tunes (operas), in frame clock

14106 1522

Jos.Olbrich/in Wien (c)

Dorotheum auction 27.5.2009 no. 70; 10 cm cyl., 2 tunes, in frame clock

14128 1727

Jos.Olbrich/in Wien (c)

Private collection; 10 cm cyl., 2 tunes, lantern wheel

14175 1756

Jos.Olbrich/in Wien (c)

Private collection; 10 cm cyl., 2 tunes

14191 1634

Jos.Olbrich in Wien (c)

Kinsky auction 24.10.2007 no. 943; lantern wheel, 2 tunes, in frame clock

14224 1445

Jos.Olbrich in Wien (c)

Private collection; 10.2 cm cyl., comb with 4 screws, comb in two parts (treble), fan not original (repair work), 2 tunes, in case

14227 1684

Jos.Olbrich/in Wien (c)

Private collection; 10.2 cm cyl., 2.5 cm diam., lantern wheel, 2 tunes

14252 1769

Jos.Olbrich/in Wien (c)

Dorotheum auction 5.10.2015 no. 62; 10 cm cyl., 82 teeth, 2 tunes, in picture clock

181

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Musical boxes from Prague and Vienna

14282 1779

Jos.Olbrich in Wien (c)

Private collection; 2 tunes, with tune sheet: Klapka [?], 1. Marsch, 2. Mazurka

14285 1776

Jos.Olbrich in Wien (c)

Geymüller Inv. No. 1624; 10 cm cyl., 2 tunes

14307 1769

Jos.Olbrich in Wien (c)

Geymüller Inv. No. 1559; 10 cm cyl., 2.6 cm diam., 2 tunes

14443 1662

Jos:Olbrich in Wien (c)

Private collection; 10 cm cyl., 2 tunes, in wedding clock

14468 1755

Jos.Olbrich/in Wien (c)

Kinsky, auction 23.2.2016 no. 565; “8“ on spring cap, 10 cm cyl., 2 tunes, in mantle clock

14573 1829

Jos.Olbrich/in Wien (c)

Clock museum (Depot); 10 cm cyl., 2 tunes, “Anfang 1655“ scratched on spring cap, in picture clock

14817 1880

Dorotheum Salzburg auction 18.11.2004 no. 538; 10 cm cyl., 2 tunes, tune sheet: Satanella Quadrille von Strauß [1853], Spulen Polka von Adolf Müller

14860 1947

Jos.Olbrich in Wien (c)

Rasch; 2 tunes, lantern wheel, in mantle clock

14861 1957

Jos.Olbrich in Wien

Information provided by Luuk Goldhoorn;

14911 1952

Jos.Olbrich/in Wien (c)

Private collection, 10 cm cyl., 2 tunes in mantle clock

14965 1952

Jos.Olbrich in Wien (c)

Dorotheum auction 16.11.2005 no. 64; 10 cm cyl., lantern wheel, 2 tunes, in frame clock

15002 2009

Jos.Olbrich/in Wien (c)

Dorotheum Prague; 10 cm cyl., 82 teeth, 2 tunes, in picture clock

15014 1634

Jos.Olbrich/in Wien (c)

Private collection; 10.2 cm cyl., 2.5 cm diam., 2 tunes (ländler, polka?)

15145 1898

Jos.Olbrich/in Wien (c)

Private collection; 10 cm cyl., 2 tunes

15172 2083

Jos.Olbrich/in Wien (c)

Dorotheum auction 4.4.2018 no. 72; 10 cm cyl., 2 tunes, in mantle clock

15202 647

Jos.Olbrich/in Wien (c)

Private collection; 10 cm cyl., 2 tunes

15243 2116

Jos.Olbrich/in Wien (c)

Dorotheum auction 12.11.1999 no. 435; 10 cm cyl., 2 tunes

15329 2155

Jos.Olbrich in Wien (c)

Private collection; 20 cm cyl., 97 teeth, 4 tunes (including “coronation march“ from “Le prophète“ by Meyerbeer)

15336 2125

Jos.Olbrich/in Wien (c)

Dorotheum auction 21.3.2007 no. 97; 10 cm cyl., 2 tunes, in mantle clock (with inappropriate tune sheet)

15385 2116

Jos.Olbrich in Wien (c)

Utrecht / The Music Box vol. 7/7 (1976), p. 255; 10 cm cyl., 2,5 cm diam., 82 teeth, 2 tunes

15464 2070

Jos.Olbrich/in Wien (c)

Dorotheum auction 27.10.2004 no. 30; 10 cm cyl., lantern wheel, 2 tunes, in picture clock

15493 1520

Jos.Olbrich/in Wien (c)

Private collection; 10 cm cyl., 2 tunes

15575 2298

Jos.Olbrich/in Wien (c)

Surber’s museum; 10 cm cyl., 2 tunes, in mantle clock

15647 2216

Jos.Olbrich/in Wien (c)

Private collection; 10 cm cyl., 2 tunes

15807 2388

Jos.Olbrich/in Wien (c)

Grzegorczyk; 10.2 cm cyl., 2.8 cm diam., 10 cm comb, 2 tunes, lantern wheel

15849 2339

Jos.Olbrich in Wien (c)

Private collection; 2 tunes

15954 2350

Jos.Olbrich in Wien (c)

Private collection; 2 tunes

182

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V. catalogue

15969 2455

Jos.Olbrich in Wien (c)

Kalivoda; 10 cm cyl., 2 tunes

16025 2475

Jos.Olbrich in Wien (c)

Dorotheum auction 13.9.2018 no. 50; 20 cm cyl., 3.5 cm diam., lantern wheel, 4 tunes (two operatic airs, polka, “Radetzky-march”), in frame clock

16052 2454

Jos.Olbrich in Wien

Information provided by Luuk Goldhoorn;

16121 2432

Jos.Olbrich/in Wien (c)

Private collection; 10.3 cm cyl., 2 tunes

16113 2512

Jos.Olbrich in Wien (c)

Private collection; 12.6 cm cyl., 3 tunes (march, opera, polka), in case

16303 1416

Jos.Olbrich in Wien (c)

Dorotheum auction 24.3.2010 no. 106; 10 cm cyl., 2 tunes, in picture clock

16358 1898

Jos.Olbrich/in Wien (c)

Private collection; 10.4 cm cyl., 2 tunes

16387 2560

Jos.Olbrich/in Wien (c)

Dorotheum Autkion 24.3.2010, no. 40; 10 cm cyl., 82 teeth, 2 tunes, in mantle clock

16412 2565

Jos.Olbrich in Wien (c)

Private collection; 10 cm cyl., 2 tunes

16511 2615

Jos.Olbrich/in Wien (c)

Private collection; 14 cm cyl., 3 tunes

16584 2669

Jos.Olbrich in Wien (c)

D&S; 12.5 cm cyl., 2.6 cm diam., comb with 5 screws, 3 tunes, in picture clock

16702 1862

Jos.Olbrich/in Wien (c)

Budapest Inv. No. 69.385; 10 cm cyl., 2 tunes

16898 2333

Jos.Olbrich in Wien (c)

D&S; 3 tunes

17088 2745

Jos.Olbrich/in Wien (c)

Dorotheum auction 5.10.2015 no. 63; 10 cm cyl., 2 tunes, in picture clock

17115 2773

Jos.Olbrich/in Wien (c)

Weinmann; 10 cm cyl., 2 tunes (opera, waltz), in frame clock

17149 2841

Jos.Olbrich in Wien (c)

D&S; 10.4 cm cyl., 2,6 cm diam., 3 tunes

17244 2852

Jos.Olbrich in Wien (c)

Kalivoda; 10 cm cyl., 2 tunes

17293 2875

Jos.Olbrich in Wien (c)

D&S; 20 cm cyl., 3 cm diam., 4 tunes

17334 2848

Jos.Olbrich in Wien (c)

D&S; 10 cm cy., 2 tunes

17379 2909

Jos.Olbrich/in Wien (c)

Ernst Galeria; 10 cm cyl., 2 tunes, in picture clock

17480 2931

Jos.Olbrich in Wien (c)

Dorotheum auction 6.11.2007; comb with 5 screws, 3 tunes, in picture clock

17591 2962

Jos.Olbrich/in Wien (c)

Private collection; 10.1 cm cyl., 2.5 cm diam., lantern wheel, 2 tunes (including czardas)

17680 2995

Jos.Olbrich in Wien (c)

Private collection; 19.9 cm cyl., 3.7 cm diam., 4 tunes, “4750“ stamped on cogwheel next to cyl., “50“ stamped on cyl. surface, lantern wheel, adjustable fan, 4 tunes (“Rákóczi-march“, Hungarian dance by Brahms(?), two more Hungarian style tunes), in oval clock base

17901 3061

Jos.Olbrich/in Wien (c)

Private collection; 10 cm cyl., 2 tunes (Hungarian style)

18014 1634

Jos.Olbrich/in Wien (c)

Private collection; 10.2 cm cyl., 2.5 cm diam., 2 tunes (czardas, polka?)

18028 2949

Jos.Olbrich in Wien (c)

Rasch; 10 cm cyl., 2 tunes

18140 3132

Jos.Olbrich/in Wien (c)

Utrecht; 10 cm cyl., lantern wheel, adjustable tune changer, 2 tunes

18162 3170

Jos.Olbrich in Wien

Murau Fa. Klauber; 12.6 cm cyl., 3 cm diam., 3 tunes

18170 2370

Jos.Olbrich in Wien (c)

Musée Baud; 2 tunes,

183

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Musical boxes from Prague and Vienna

18459 3305

Jos.Olbrich/in Wien (c)

Private collection; 10.2 cm cyl., 2.5 cm diam., lantern wheel, 2 tunes

18596 3208

Jos.Olbrich in Wien (c)

Private collection; 2 tunes, lantern wheel

18862 3034

Jos.Olbrich in Wien (c)

Reichardt; 83 teeth, 10.3 cm cyl., 2.6 cm diam., 2 tunes, in mantle clock

18899 3417

Jos.Olbrich/in Wien (c)

Surber’s museum; 10 cm cyl., lantern wheel, 2 tunes, in frame clock

18904 4181

Jos.Olbrich in Wien (c)

Reich; 4 tunes

18949 3441

Jos.Olbrich in Wien (c)

Private collection; lantern wheel, 10 cm cyl., 2 tunes, in case

18958 3453

Jos.Olbrich /in Wien (c)

Dorotheum auction 10.11.2008; 10 cm cyl., 2 tunes

19229 3567

Jos.Olbrich in Wien (c)

D&S;

19258 3530

Jos.Olbrich in Wien (c)

Private collection; 12.5 cm cyl., 3 tunes, in case with remains of the tune sheet on the lid (unreadable)

19261 3515

Jos.Olbrich /in Wien (c)

Dorotheum auction 28.9.2017 no. 44; 10 cm cyl., 2 tunes, in mantle clock

19279 3450

Jos.Olbrich/in Wien (c)

Private collection; 10.3 cm cyl., comb with 84 teeth, 2 tunes

19293 3597

Jos.Olbrich/in Wien (c)

Private collection; 19.9 cm cyl., 3.8 cm diam., adjustable fan, 4 tunes,

19381 2876

Jos.Olbrich in Wien (c)

Private collection; 10.2 cm cyl., 2.4 cm diam., lantern wheel, 2 tunes (2 ländler), in case

19395 3647

In Wien Jos.Olbrich (c) [sic!]

Surber‘s museum; comb with 83 teeth, 3 tunes (including Hunyadi Laszlo by Erkel?, La Traviata), frame clock (Hansjörg Surber: Wiener Rahmenuhr mit Spielwerk, in: SFMM Journal no. 112, Dec. 2011, p. 6f).

19477 3228

Jos.Olbrich in Wien (c)

D&S; Lantern wheel, 12.9 cm cyl., comb with 5 screws, 3 tunes, in picture clock

19566 3748

Jos.Olbrich in Wien (c)

Private collection; 17.4 cm cyl., 2.94 cm diam., comb with 85 teeth, bedplate 23.4 x 7.7 cm, 4 tunes (including “Radetzky-march“, “La Donna è mobile“ from “Rigoletto“ by Verdi), in case

19577 3679

Jos.Olbrich/in Wien (c)

Private collection; 10 cm cyl., 2 tunes

19589 3744

Jos.Olbrich/in Wien (c)

Private collection; 10 cm cyl., 2 tunes,

19590 3741

Jos.Olbrich / in Wien (c)

Dorotheum Graz auction 16.11.1998 no. 302; 10 cm cyl., lantern wheel, 2 tunes, in frame clock

19620 3764

Jos.Olbrich in Wien (c)

D&S; 4 tunes

19705 3794

Jos.Olbrich in Wien

Information provided by Luuk Goldhoorn; 2 tunes

19726 3819

Jos.Olbrich in Wien (c)

D&S; lantern wheel, 12.9 cm cyl., comb with 5 screws, 3 tunes, in picture clock

19747 3830

Jos.Olbrich in Wien (c)

Private collection; 12.5 cm cyl., 3 tunes

19797 3830

Jos.Olbrich in Wien

Information provided by Luuk Goldhoorn; 3 tunes

19983 3963

Jos.Olbrich in Wien

Information provided by Luuk Goldhoorn; 6 tunes

20097 4011

Jos.Olbrich / in Wien (c, b under the comb)

Private collection; 10 cm cyl., 2 tunes, tune sheet: 1. Magyar Indulo No 2 / 2. Makuli Csárdás, in mantle clock

184

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V. catalogue

20194 4091

Jos.Olbrich in Wien (c)

Private collection; lantern wheel, 13 cm cyl., 3 tunes

20198 4094

Jos.Olbrich in Wien (c)

D&S; 13 cm cyl., 3 tunes

20236 4124

Jos.Olbrich / in Wien (c)

Dorotheum auction 27.5.2009 no. 158; 10 cm cyl., 85 teeth, 2 tunes

20319 4200

Jos.Olbrich in Wien (c)

Private collection; 10 cm cyl., lantern wheel, 2 tunes

20514 4256

Jos.Olbrich in Wien (c)

Private collection; 3 tunes

20556 2959

Jos.Olbrich in Wien (c)

Private collection; 10 cm cyl., 2 tunes

20667 4336

Jos.Olbrich in Wien (c)

D&S; 3 tunes

20768 4412

Jos.Olbrich in Wien (c)

Dorotheum auction 6.11.2007 no. 388; 10 cm cyl., 2 tunes, in case

20837 4454

Jos.Olbrich in Wien (c)

Private collection; 12.8 cm cyl., comb with 5 screws, 3 tunes, in case

20883 2239

Jos.Olbrich in Wien (c)

Dorotheum auction 23.3.2011 no. 65; “4352“ stamped on bedplate, 2 tunes, in frame clock

21232 4678

Jos.Olbrich/in Wien (c)

Private collection; 10.3 cm cyl., 2.5 cm diam., “4678“ scratched on cyl. cap, cogwheel, 2 tunes,

21298 4703

Jos.Olbrich in Wien (c)

Private collection; bedplate 184 x 74 x 8 mm, 12.7 cm comb with 85 teeth, comb with 5 screws, 12.8 cm cyl., 3.04 cm diam., 3 tunes, in frame clock

21389 4747

Jos.Olbrich in Wien (c)

D&S; 13 cm cyl., 3 tunes (“Rákóczi-march“, aria from “Hunyadi Laszlo“ by Erkel, waltz)

21420 4754

Jos.Olbrich in Wien (c)

Dorotheum auction 8.10.1996 no. 283; 10 cm cyl., 2 tunes

21455 4184

Jos.Olbrich in Wien (c)

D&S; 10.3 cm cyl., 2.5 cm diam., 2 tunes

21544 4813

Jos.Olbrich in Wien (c)

D&S; 10 cm cyl., 2 tunes, in picture clock

21672 4864

Jos.Olbrich in Wien (c)

Private collection; 10 cm cyl., 2 tunes

21736 1666

Jos.Olbrich/in Wien (c)

Private collection; 10 cm cyl., 2 tunes, in case with a glass window lid, tune sheet: “.. Aus Luzia di Lammermoor / .. aus Sonnambula v. Bellini“

21775 4946

Jos.Olbrich in Wien (c)

Budapest Inv. No. 62.640; 14 cm cyl., 3 tunes

21810 4806

Jos.Olbrich in Wien

Information provided by Luuk Goldhoorn; 2 tunes

21824 4981

Jos.Olbrich in Wien

Information provided by Luuk Goldhoorn; cast-iron bedplate

21922 5044

Jos.Olbrich in Wien (c)

D&S; 10 cm cyl., 2 tunes, in picture clock

22089 1875

Jos.Olbrich/in Wien (c)

Reich; 10 cm cyl., 82 teeth, 2 tunes

22099 3640

Jos.Olbrich/in Wien (c)

Private collection; cogwheel, 10 cm cyl., in case, tune sheet: 1. “Hey Slovani“ / 2. “Kde domov muj! Lied v. Kraup“

22137 5215

Jos.Olbrich in Wien

Information provided by Luuk Goldhoorn; 4 tunes, cast-iron bedplate

22172 5345

Jos.Olbrich/in Wien (c)

Private collection; 10 cm cyl., 2 tunes, in picture clock

22298 5430

Jos.Olbrich/in Wien (c)

Private collection; 10 cm cyl., 2 tunes, cogwheel

22397 5570

Jos.Olbrich in Wien

Information provided by Luuk Goldhoorn; cast-iron bedplate

185

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Musical boxes from Prague and Vienna

22661 5564

unsigned

Private collection; 10 cm cyl., cast-iron bedplate, cogwheel, “5564“ scratched on cyl. cap, nos. on the tune sheet: Musik no. 5564 Zahl no. 22661 / 1. Apajune Marsch v. Millöcker / 2. El Furia! Walzer v. Granada

5625

Jos. Olbrich (cb, underside)

Private collection; 10 cm cyl., cast-iron bedplate, cogwheel, “5625“ scratched on cyl. Cap, “4196” on comb base, 2 tunes (including “Last rose” by Flotow), fan with shortened blades

5633

unsigned

Kainerstorfer; cast-iron bedplate, 85 teeth, in case, remains of the tune sheet: Musik no. 5633 […]. 1.Arie aus der Operette […]. 2.Walzer aus der Operette ‘Der [lustige] Krieg’ von Strauss, 3.Studenten Walzer von Brandl

22840 5934

unsigned

Private collection; in photo album, dated “13.Okt.1887“, cast-iron bedplate, 3 tunes, nos. written on the tune sheet: Marsch aus Tannhäuser von Wagner/ Mädchenchor aus Die Hugenotten v. Meyerbeer / Walzer von Chopin

24558 4342

Jos.Olbrich in Wien

Information provided by Luuk Goldhoorn; 3 tunes

6216

Jos.Olbrich in Wien

Information provided by Luuk Goldhoorn; 2 tunes, cast-iron bedplate, (Speelklok Museum Utrecht)

-

-

Jos.Olbrich in Wien (c)

Hüttler; 12 cm cyl., 3 tunes, cast-iron bedplate

-

-

Jos.Olbrich in Wien (c)

Private collection; 17.7 cm cyl., 3.3 cm diam., cast-iron bedplate

186

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V. catalogue

Rzebitschek According to Gustav Řebiček’s manuscript: 1819

Franz Rzebitschek began making movements

1828 – 1842 “Willenbacher&Rzebitschek“ 1842 – 1870

business under the direction of Franz Rzebitschek

1870 – 1897

business under the direction of Gustav Řebiček

Note: According to the exhibition report from Prague in 1831 (published in Prague in 1833) Rzebitschek had 27 workers in his employement. Up to this year he had produced a total of 4199 movements. In 1836 the overall output amounted to 8821 movements (report on the exhibition in Prague in 1836, published in Prague in 1837). The report on the exhibition in Vienna in 1839 (published in Vienna in 1840) states that Rzebitschek produced 1600 movements per year with 45 employees. 6075 690

Rzebitschek (b), Prag (c)

Private collection; 9.1 cm cyl., 2 tunes, nos. at right angles, comb with 3 screws, 77 teeth,

8045 567

Willenbacher&Rzebitschek in Prag (b)

Private collection; cyl. missing (9 cm cyl.), comb with 4 screws, nos. at right angles, 2 tunes,

8046 532

Willenbacher&Rzebitschek in Prag (b)

Seewen; 9.2 cm cyl., nos. at right angles, 2 tunes, from a picture clock

8282 612

Willenbacher&Rzebitschek in Prag (b)

Private collection; 10 cm cyl., nos. at right angles, 2 tunes, in mantle clock

8314 574

Willenbacher&Rzebitschek Prag (b)

Dorotheum auction 6.10.2014 no. 89; 10 cm cyl., nos. at right angles, 2 tunes, in picture clock

8440 635

Willenbacher&Rzebitschek in Prag (b)

Clock museum Inv. No. 2553, 10 cm cyl., 2.5 cm diam., 2 tunes, picture clock

8558 540

Willenbacher&Rzebitschek

Information provided by Luuk Goldhoorn;

8568 523

Willenbacher&Rzebitschek in Prag (b)

Private collection; 9 cm cyl., 2.4 cm diam., 2 tunes, nos. at right angles

8642 633

Willenbacher&Rzebitschek in Prag (b)

Dorotheum auction 28.4.2004 no. 34; 10 cm cyl., nos. at right angles, in mantle clock

8745 602

Willenbacher&Rzebitschek in Prag (b)

Dorotheum auction 9.11.2009 no. 137; 9 cm cyl., comb with 4 screws, 2 tunes, nos. at right angles, “Suttner“ and “I“ engraved on bedplate

8812

Willenbacher&Rzebitschek (b)

Technical Museum Vienna; in case, 1836, 2 tunes (overture from “La gazza ladra” by Rossini, duet from “L’elisir d’amore” by Donizetti)

8814 584

Willenbacher&Rzebitschek (b)

D&S; 10 cm cyl., 2 tunes

8827 313

Willenbacher&Rzebitschek in Prag (b)

Private collection; 2 tunes (waltz, ländler), nos. at right angles

8895 675

Willenbacher&Rzebitschek in Prag (b)

Private collection; 2 tunes, nos. at right angles

187

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Musical boxes from Prague and Vienna

8922 583

Willenbacher&Rzebitschek (b)

Seewen Inv. No. LM 74950; 9.2 cm cyl., nos. at right angles, 2 tunes, in frame clock

8947 674

Willenbacher&Rzebitschek in Prag (b)

Dorotheum auction 8.5.2001 no. 27; 2 tunes,

9037 583

Willenbacher&Rzebitschek

Information provided by Luuk Goldhoorn;

9059 679

Willenbacher&Rzebitschek in Prag (b)

Private collection; 9 cm cyl., 2.5 cm diam., 78 teeth, nos. at right angles, 2 tunes, in frame clock,

9114 601

Willenbacher&Rzebitschek

Private collection; 2 tunes

9330 209

Willenbacher&Rzebitschek in Prag (b)

Dorotheum auction 2.10.2003 no. 623; 10 cm cyl., 2 tunes, nos. at right angles

9354 710

Willenbacher&Rzebitschek in Prag (b)

Private collection; 9.1 cm cyl., 2 tunes,

9420 711

Willenbacher&Rzebitschek (b)

Private collection; 9 cm cyl., nos. at right angles, 2 tunes,

9540 718

Willenbacher&Willenbacher in Prag [sic] (b)

Private collection; 9 cm cyl., 2.4 cm diam., 77 teeth, nos. at right angles, 2 tunes (arias from “Belizar“ by Donizetti, “Semiramis“ by Rossini), in picture clock,

9548 723

Willenbacher&Rzebtischek (b)

The Music Box vol.3 no 8 (1968) p. 540-543; 9.1-cm comb with 4 screws, 2 tunes

9556 711

Willenbacher&Rzebitschek (b)

Private collection; 9 cm cyl., 2.4 cm diam., 77 teeth, nos. at right angles, in picture clock, 2 tunes, tune sheet: Aria a.d. Oper Ugo Conte de Parigi v. Donizetti / Hainbacher Walzer v. Lanner

9638 729

Willenbacher&Rzebitschek

Information provided by Luuk Goldhoorn;

9702 750

Willenbacher&Rzebitschek in Prag (b)

Private collection; 10.1 cm cyl., nos. at right angles, 2 tunes

9816 759

Willenbacher&Rzebitschek in Prag (b)

Märkisches Museum Berlin; nos. at right angles, 10 cm cyl., 2 tunes, in picture clock

9819 744

Willenbacher&Rzebitschek in Prag (b)

Dorotheum auction 12.11.1999 no. 452, 10 cm cyl., 2 tunes

9931 763

Willenbacher&Rzebitschek in Prag (b)

Private collection; nos. at right angles, 10 cm cyl.,

9942 771

Willenbacher&Rzebitschek in Prag (b)

Private collection; nos. at right angles, 10 cm cyl., 2 tunes,

10020 779

Willenbacher&Rzebitschek (b)

Private collection; 4 tunes

10026 762

Willenbacher&Rzebitschek in Prag (b)

Private collection; 10 cm cyl., 2.5 cm diam., 9.6-cm comb with 80 teeth, bedplate 150 x 70 x 7.5 mm, 2 tunes

10060 762

Willenbacher&Rzebitschek in Prag (b)

Private collection; nos. at right angles, 10 cm cyl.,

10151 802

Willenbacher&Rzebitschek

Information provided by Luuk Goldhoorn;

188

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V. catalogue

10321 823

Willenbacher&Rzebitschek in Prag (b)

Dorotheum Favoriten auction 14.11.2005 no. 132; 10 cm cyl., 2 tunes, nos. at right angles, in mantle clock

10340 745

Willenbacher&Rzebitschek in Prag (b)

Private collection; 9.9 cm cyl., 81 teeth, 2 tunes, nos. at right angles

10377 826

Willenbacher&Rzebitschek in Prag (b)

Private collection; 2 tunes

10594 842

Willenbacher&Rzebitschek

Das Mechanische Musikinstrument no. 71 (April 1998), p. 71; 2 tunes

10819 863

Willenbacher&Rzebitschek

Information provided by Luuk Goldhoorn;

10852  863

Willenbacher&Rzebitschek

Information provided by Marc Boon; 2 tunes

10912 824

Willenbacher&Rzebitschek in Prag (b)

Kinsky auction 25.4.2018 no. 502; 10 cm cyl., 2 tunes, in picture clock

10965 808

Willenbacher&Rzebitschek in Prag (b)

Dorotheum auction 21.3.2007 no. 85; 10 cm cyl., 2 tunes, in mantle clock.

10968 864

Willenbacher&Rzebitschek in Prag (b)

Private collection; 10 cm cyl., 2 tunes, (ländler, waltz)

11006 819

Willenbacher&Rzebitschek in Prag (b)

Private collection; 10 cm cyl., 2 tunes

11070 875

Willenbacher&Rzebitschek in Prag (b)

Private collection; 10 cm cyl., 2 tunes, in mantle clock

11340 860

Willenbacher&Rzebitschek in Prag (b)

Private collection; 10 cm cyl., 2 tunes,

11351 587

Willenbacher&Rzebitschek in Prag (b)

Rasch; 2 tunes, in picture clock

11367 840

Willenbacher&Rzebitschek in Prag (b)

Private collection; 10 cm cyl., 2 tunes (including “Preghiera“ from “G. Tell“ by Rossini), V-shaped notch of the spring cap

11629 801

Willenbacher&Rzebitschek

Information provided by Luuk Goldhoorn;

11633 957

Willenbacher&Rzebitschek in Prag (b)

Information provided by Timothy Reed; 10 cm cyl., 2 tunes, tune sheet: 1. Arie a. d. Op. Lukrezia Borgia v. Donizetti / 2. Rococo Walzer v. Lanner, in case

11795 965

Willenbacher&Rzebitschek in Prag (b)

Private collection; 10 cm cyl., 2 tunes

11797 962

Willenbacher&Rzebitschek in Prag (b)

Private collection; 10 cm cyl., 2 tunes, comb missing

12048 848

Willenbacher&Rzebitschek in Prag (b)

Private collection; 10 cm cyl., 2 tunes (waltz), in picture clock

12141 925

Willenbacher&Rzebitschek (b)

Private collection; 10 cm cyl., 2 tunes, in mantle clock

12349 1002

Willenbacher&Rzebitschek in Prag (b)

Weinmann; 10 cm cyl., 2 tunes, in picture clock

12400 1239

Willenbacher&Rzebitschek in Prag (b)

Private collection; 10 cm cyl., 81 teeth, 2 tunes,

189

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Musical boxes from Prague and Vienna

12616 1019

Willenbacher&Rzebitschek (b)

Dorotheum Salzburg auction 20./21.12.2007 no. 709; 10 cm cyl., 2 tunes, in picture clock

12689 1018

Willenbacher&Rzebitschek (b)

Dorotheum auction 11.12.2002 no. 15; 10 cm cyl., 2 tunes, in mantle clock

12747 1041

Willenbacher&Rzebitschek

Information provided by Luuk Goldhoorn;

12819 968

Willenbacher&Rzebitschek (b)

D&S; 10 cm cyl., 2 tunes

12885 1008

Willenbacher&Rzebitschek

Information provided by Luuk Goldhoorn;

12894 1082

Willenbacher&Rzebitschek

Information provided by Marc Boon; 2 airs (including tune from “Guillaume Tell” by Rossini)

12963 1091

Willenbacher&Rzebitschek (b)

Utrecht; 10 cm cyl., 2.5 cm diam., adjustable tune changer, 2 tunes, tune sheet: Liebesträume Walzer v. Lanner / Die Berggeister Walzer v. Strauß, tune sheet dated “9/7 40“ (date of making?)

13131 1116

Willenbacher&Rzebitschek in Prag (b)

Dorotheum auction 14.12.1998 no. 54; 10 cm cyl., 2 tunes tune sheet: Arie a.d.Op. Belizar v. Donizetti / Arie a.d. Oper Semiramis v. Rossini, in picture clock

13333 1112

Willenbacher&Rzebitschek in Prag (b)

Oberhofen; 79 teeth, 10 cm cyl., 2 tunes

13373 1136

Willenbacher&Rzebitschek in Prag (b)

Private collection; 10 cm cyl., 2 tunes

13555 1090

signature missing

Dorotheum auction 17.5.2006 no. 105; 10 cm cyl., 2 tunes, nos. at right angles, additional no. “7501“ on bedplate, in picture clock, bass tooth with two tips, (most probably Rzebitschek)

13689 1169

Willenbacher&Rzebitschek in Prag(b)

Dorotheum auction 6.10.2014 no. 75; 10 cm cyl., 2 tunes, in wedding clock

13759 1176

Willenbacher&Rzebitschek

Information provided by Luuk Goldhoorn;

13824 1131

Willenbacher&Rzebitschek in Prag (b)

Private collection; 2 tunes, 10 cm cyl.

13834 1116

Willenbacher&Rzebitschek in Prag (b)

Dorotheum auction 12.11.1999 no. 460, 10 cm cyl., 2 tunes

13853 1188

Willenbacher&Rzebitschek in Prag (b)

Private collection; 10 cm cyl., 2 tunes, in case

14012 1211

Willenbacher&Rzebitschek

Information provided by Luuk Goldhoorn; 3 tunes

14301 1229

Willenbacher&Rzebitschek in Prag (b)

Private collection; 10 cm cyl., 81 teeth, tune sheet: 1. Arie a.d. Oper Norma […] / 2. Arie a.d. Oper […]

14354 1239

Willenbacher&Rzebitschek in Prag (b)

Reich; 10 cm cyl., 2 tunes

14433 1189

Willenbacher&Rzebitschek in Prag (b)

Private collection; 10 cm cyl., 2 tunes, in picture clock

14511 1210

Willenbacher&Rzebitschek in Prag (b)

Dorotheum auction 20.10.2010 no. 40; 10 cm cyl., 81 teeth, 2 tunes (including aria from “Il barbiere di Siviglia“ by Rossini), in mantle clock

190

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V. catalogue

14556 1249

Willenbacher&Rzebitschek in Prag (b)

Private collection; 10 cm cyl., 2 tunes

14770 1239

Willenbacher&Rzebitschek (b)

D&S; 10 cm cyl., 2 tunes

14814 1072

Willenbacher&Rzebitschek in Prag

Private collection; 10 cm cyl., 2 tunes, in picture clock

14902 1297

Willenbacher&Rzebitschek in Prag (b)

Suppan auction 9.12.2003 no. 317; 2 tunes

14944 940

Willenbacher&Rzebitschek in Prag (b)

Private collection; 10 cm cyl., 2.5 cm diam., 2 tunes (“Preghiera” from “Guillaume Tell” by Rossini, “Casta diva“ from “Norma“ by Bellini)

15003 1303

Willenbacher&Rzebitschek in Prag (b)

Dorotheum auction 27.11.2000 no. 532; 10 cm cyl., 2 tunes, in mantle clock

15041 1085

Willenbacher&Rzebitschek in Prag (b)

Private collection; 10 cm cyl., 2 tunes

15206 1319

Willenbacher&Rzebitschek in Prag (b)

Private collection; 10 cm cyl., 2 tunes (operas), “2“ on the bedplate

15230 1336/

Willenbacher&Rzebitschek in Prag (b)

Dorotheum auction 23.4.2014 no. 43; 2 tunes, in mantle clock

15293 1310

Willenbacher&Rzebitschek

Private collection; 2 tunes, in case

15304 1313

Willenbacher&Rzebitschek in Prag (b)

Clock museum Inv. No. 3062; 10 cm cyl., 2.4 cm diam., 2 tunes, frame clock

15365 1305

Willenbacher&Rzebitschek/in Prag (b)

Dorotheum auction 15.11.2006 no. 91; 9.96 cm cyl., 2.55 cm diam., comb with 81 teeth, bedplate 15.02 x 6.48 cm, 2 tunes, tune sheet: Aria a.d. Oper Lucia di Lammermoor / Chor a.d. Op. Die Nachtwandlerin, originally in mantle clock

15418 1353

Willenbacher&Rzebitschek in Prag (b)

Private collection; 2 tunes, in case

15430 1310

Willenbacher&Rzebitschek in Prag (b)

Private collection; 10 cm cyl., 2 tunes,

15474 1342

Willenbacher&Rzebitschek in Prag (b)

Dorotheum auction 3.12.1999 no. 802; 10 cm cyl., 2 tunes, in mantle clock

15490 1358

Willenbacher&Rzebitschek in Prag (b)

Private collection; 10 cm cyl., 2 tunes, tune sheet: Arie aus Saffo v. Pacini / Guittara – span. Tanz.

15555 134?

Willenbacher&Rzebitschek

Information provided by Luuk Goldhoorn;

15623 1337

Willenbacher&Rzebitschek (b)

Private collection; 2 tunes, tune sheet: Hans Jörgl Polka v. Lanner / Egerien Tänze Walzer von Strauss

15749 1339

Willenbacher&Rzebitschek in Prag (b)

Private collection; 10 cm cyl., 2 tunes

15781 1343

Willenbacher&Rzebitschek in Prag (b)

Private collection; 10 cm cyl., 2 tunes

15855 1310

Willenbacher&Rzebitschek in Prag (b)

D&S; 2 tunes, in frame clock

191

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Musical boxes from Prague and Vienna

16011 1388

Willenbacher&Rzebitschek in Prag (b)

Private collection; 10 cm cyl., “1“ stamped on the comb, 2 tunes

16064 1363

Willenbacher&Rzebitschek (b)

Private collection; 4 tunes

16131 1391

Willenbacher&Rzebitschek in Prag (b)

Private collection; 9.8 cm cyl., 2.5 cm diam., “2“ on the comb, 2 tunes

16193 1393

Willenbacher&Rzebitschek in Prag(b)

Private collection; 10 cm cyl., 2 tunes (waltzes), in mantle clock

16375 1445

Willenbacher&Rzebitschek in Prag (b)

Dorotheum auction 27.11.2000; “4“ on the comb, 10 cm cyl., 2 tunes, in richly ornate silver case

16497 1452

Willenbacher&Rzebitschek in Prag (b)

Dorotheum auction 6.11.2007 no. 255; 10 cm cyl., 2 tunes, in mantle clock

16536 1454

Willenbacher&Rzebitschek in Prag (b)

Private collection; 10 cm cyl., 2 tunes

16544

Willenbacher&Rzebitschek in Prag (c)

Private collection; 26 cm cyl., 7.8 cm diam., 2 tunes (including “Introduction“ to “Norma“ by Bellini), in a case

16602 1433

Willenbacher&Rzebitschek in Prag (b)

Private collection; 10 cm cyl., 2.5 cm diam., 2 tunes (including “Die Schönbrunner“, waltz by Lanner), “32“ scratched on underside of the bedplate

16619 1443

Willenbacher&Rzebitschek

Information provided by Luuk Goldhoorn;

16704 1424

Willenbacher&Rzebitschek in Prag (b)

Private collection; 10 cm cyl., 2.5 cm diam., 2 tunes

16712 1427

Willenbacher&Rzebitschek in Prag (b)

Private collection; 10 cm cyl., 2 tunes (including a waltz), in mantle clock

16825 1470

Willenbacher /Rzebitschek/in Prag (c, b)

Hüttler; 19.8 cm cyl., 4 tunes, in mantle clock (wedding clock), tune sheet: Grohser Parade Marsch von Reznitschek / Preghierah aus d. Op. Beatrice di Tenda v. Bellini / Abschiedsgesang aus d. Zauberschleier / Die Schönbrunner Walzer von Lanner

16893 1476

Willenbacher&Rzebitschek in Prag (b)

Private collection; 10 cm cyl., 2 tunes

16940 1481

Willenbacher&Rzebitschek

Information provided by Luuk Goldhoorn; 6 tunes

16960 1481

Willenbacher&Rzebitschek

Dorotheum auction 6.11.07 no. 272; ca. 20 cm cyl., comb with 107 teeth, 6 tunes, in picture clock

17094 1458

Willenbacher&Rzebitschek in Prag (b)

Weinmann; 10 cm cyl., 2 tunes, in mantle clock

17178 1509

Willenbacher&Rzebitschek (b)

Private collection; 2 tunes

17194 1424

Willenbacher&Rzebitschek in Prag (b)

Geymüller Inv. No. 1475; 10 cm cyl., 2 tunes (ländler)

17208 1443

Willenbacher&Rzebitschek in Prag (b)

Krakau; 10 cm cyl., 2 tunes, in case

192

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V. catalogue

17320 1515

Willenbacher / Rzebitschek / in Prag (c)

Private collection; 30.9 cm cyl., 4.6 cm diam., 6 tunes, comb with 108 teeth, in new case

1405

Rzebitschek in Prag (c)

Private collection; comb of a two-tune movement (only the comb extant), “4“ stamped on the comb, “1405 Rz“ scratched on the lead weight of the bass tooth

17353 1514

Rzebitschek in Prag (c)

Private collection; 2 tunes, in picture clock

17381 1286

Rzebitschek in Prag (c)

Private collection; 2 tunes, in picture clock

17405 1433

Rzebitschek in Prag (b)

Private collection; 9.9 cm cyl., 2.5 cm diam., 2 tunes,

17452 1427

Rzebitschek in Prag (b)

Private collection; 9.8 cm cyl., 2.5 diam., 2 tunes

17530 1314

Rzebitschek

Das mechanische Musikinstrument no. 102, August 2008, p. 13; 2 tunes, in case

17650 1558

Rzebitschek/in Prag (c) Rzebitschek Prag (b)

Private collection; 10 cm cyl., 2 tunes

17757 1430

Rzebitschek (or W&R?)

Private collection; 81 teeth, 2 tunes, tune sheet: 1. La Muette de Portici v. Auber, Barcarole “Amis, la matinée est belle“, 2. Windsor Schottisch, Juliano [?]

17831 1456

Rzebitschek in Prag (c, b)

Dorotheum Favoriten auction 3.12.2002 no. 321; 10 cm cyl., 2 tunes (including “Preghiera“ from “Guillaume Tell“ by Rossini), in mantle clock

18029 1596

Rzebitschek in Prag (b)

Private collection; bedplate 15 x 6.5 cm, 10 cm cyl., 2.5 cm diam., comb with 81 teeth, (on the board written: “.. J. Zintberu 1857 …“)

18159 1584

Rzebitschek in Prag (b)

Information provided by Timothy Reed; 10 cm cyl., 2 tunes, comb missing

18225 1468

Rzebitschek in Prag (c)

Dorotheum 22.4.2002; 10 cm cyl., 2 tunes,

18281 1596

Rzebitschek/in Prag (c) Rzebitschek Prag (b)

Private collection; 10 cm cyl., “0“ on the comb, 81 teeth, 2 tunes

18474 1614

Rzebitschek in Prag (c, b)

Private collection; 10 cm cyl., comb with 80 teeth, 2 tunes, in mantle clock

18517 1611

Rzebitschek/in Prag (c) Rzebitschek Prag (b)

Private collection; 10 cm cyl., 2 tunes

18540 1634

Rzebitschek in Prag (c)

Private collection; adjustable fan, 100 teeth, in case, 6 tunes, tune sheet: Arie aus de Op. Nabucodonosor von Verdi / Arie Finale a.d. Op. Don Pasquale v. Donizetti / Duetto aus der Op. Linda di Chamounix v. Donizetti / Die Rosensteiner, Walzer von Lanner / Volksgarten Quadrille von Strauß

18554 1603

Rzebitschek/in Prag (c) Rzebitschek Prag (b)

Dorotheum auction 4.4.2018 no. 71; 10 cm cyl., 2 tunes, in mantle clock

18648 1627

Rzebitschek in Prag (c, b)

Dorotheum auction 31.3.2000 no. 725, 2 tunes, in mantle clock

18741 1635

Rzebitschek in Prag (c, b)

Private collection; bedplate 150 x 65 x 7 mm, 9.9 cm cyl., 2.5 cm diam., 9.7 cm comb with 82 teeth, 2 tunes

193

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Musical boxes from Prague and Vienna

18771 1605

Rzebitschek in Prag (c)

Geymüller inv. No. Br. 1622; 10 cm cyl., 2 tunes (including “Die Schönbrunner”, waltz by Lanner), in mantle clock

18781 1649

Rzebitschek in Prag (b)

Private collection; 10 cm cyl., 2 tunes

18823 1617

Rzebitschek/in Prag (c)

Private collection; 10 cm cyl., 2 tunes, (operas)

18826 1370

Rzebitschek/in Prag (c)

Dorotheum auction 6.10.2014 no. 89; 10 cm cyl., 2 tunes, in picture clock

18850 1603

Rzebitschek/in Prag (b, c)

Märkisches Museum Berlin; 10 cm cyl., 2 tunes, in picture clock

18860 1465

Rzebitschek/in Prag (b, c)

Dorotheum auction 6.5.1998; 10 cm cyl., 2 tunes, in frame clock

18873 1602

Rzebitschek/in Prag (c)

Private collection; 9.8 cm cyl., 2.5 cm diam., 2 tunes (ländler, waltz)

18952 1668

Rzebitschek in Prag (b)

Private collection; 10 cm cyl. 2 tunes, in new case

19003 1657

Rzebitschek/in Prag (c) Rzebitschek Prag (b)

Private collection; 10 cm cyl., “S“ stamped on governor cock, 2 tunes (including “Rákóczi-march“)

19082 1683

Rzebitschek in Prag (b, c)

Phillips auction 6.9.2000 no. 108; 31 cm cyl., 110 teeth, 6 tunes (including airs from “Lucia die Lammermoor“ by Donizetti, “Don Giovanni“ by Mozart, “Il barbiere di Siviglia“ by Rossini, “Ständchen“ by F. Schubert)

19152 1690

Rzebitschek in Prag (b, c)

Private collection; 10 cm cyl., 2 tunes, tune sheet: 1. Arie aus der Oper Nabucodonosor von Verdy / 2. Wiener Früchterln, Walzer von Strauß

19507 1720

Rzebitschek/in Prag (b, c)

Private collection; 2 tunes, (inappropriate tune sheet Z.Nr. 928 M.Nr.193.: Olmützer Polka v. Labitzky, Minos Klänge Walzer v. Strauß), in mantle clock

19569 1720

Rzebitschek in Prag (b, c)

Dorotheum auction 24.3.2010 no. 35; 10 cm cyl., 2 tunes, in wedding clock

19577 1658

Rzebitschek/in Prag (c) Rzebitschek Prag (b)

Private collection; 10 cm cyl., modified fan (repair work), 2 tunes, in case

19582 1445

Rzebitschek in Prag (c)

Private collection; 9.9 cm cyl., 2.5 cm diam., 82 teeth, 2 tunes

19642 1529

Rzebitschek

Information provided by Luuk Goldhoorn;

19655 1388

Rzebitschek/in Prag (c) Rzebitschek Prag (b)

Private collection; 10 cm cyl., 2 tunes

19727 1692

Rzebitschek in Prag (b, c)

Private collection; 2 tunes

19776 1512

Rzebitschek in Prag (b, c)

D&S; 2 tunes (including “Hobellied“ from “Der Verschwender“ by F. Raimund)

19781 1306

Rzebitschek in Prag (c)

Geymüller I.N.1477; 2 tunes (ländler and Haydn’s “Kaiserlied“ – Austrian anthem)

19937 962

Rzebitschek in Prag

Dorotheum Salzburg auction 7.4.2004, no. 519; 3 tunes, in wedding clock

20069 1603

Rzebitschek/in Prag (c) Rzebitschek Prag (b)

Information provided by Timothy Reed; “1“ stamped on the comb, 10 cm cyl., 2 tunes

194

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V. catalogue

20236 1752

Rzebitschek/in Prag (c)

Neidhart; 10 cm cyl., 2 tunes, in automaton (lady playing the piano)

20414 1785

Rzebitschek

Information provided by Luuk Goldhoorn;

20524 1805

Rzebitschek/in Prag (c) Rzebitschek in Prag (b)

Information provided by Timothy Reed; 4 tunes, in case

20550 1778

Rzebitschek/in Prag (c)

Kinsky auction 26.11.2014, no. 787; 10 cm cyl., 2 tunes, in picture clock.

20597 1802

Rzebitschek in Prag (c)

Dorotheum auction 27.11.2002 no. 466, 2 tunes (Hungarian airs), in picture clock

20712 1607

Rzebitschek

Information provided by Luuk Goldhoorn; 2 tunes

20894 1830

Rzebitschek/in Prag (c, b)

Hirsch; 10 cm cyl., 2 tunes, in case with a glass window lid

20908 1829

Rzebitschek in Prag (c, b)

Dorotheum auction 5.5.2000, no. 109, 10 cm cyl., 2 tunes, in mantle clock

20938 1800

Rzebitschek/in Prag (c) Rzebitschek Prag (b)

Private collection; 10 cm cyl., 82 teeth, dot stamped on governor cock

20975 1762

Rzebischek in Prag

Private collection; 10 cm cyl., in mantle clock

21037 1808

Rzebitschek/in Prag (c) Rzebitschek Prag (b)

Private collection; 10 cm cyl., “1“ on the comb, 2 tunes (operas), in case

21100 1849

Rzebitschek/in Prag (c)

Private collection; 10 cm cyl., 2.5 cm diam., “1“ on the comb, 2 tunes

21204 1830

Rzebitschek

Information provided by Luuk Goldhoorn;

21275 1785

Rzebitschek/in Prag (c) Rzebitschek Prag (b)

Antikvity Praha auction 27.5.2017 no. 90; 10 cm cyl., “2” on the comb, 2 tunes

21344 1862

Rzebitschek in Prag (c)

Private collection; 10 cm cyl., 2 tunes, in picture clock

21378 1859

Rzebitschek

Information provided by Luuk Goldhoorn;

21400 1859

Rzebitschek in Prag (c)

Private collection; 10 cm cyl., 2 tunes

21457 2161

Rzebitschek

Information provided by Luuk Goldhoorn;

21577 1849

Rzebitschek/in Prag (c)

Dorotheum auction 29.10.2001 no. 15; 10 cm cyl., 2 tunes, in frame clock

21588 1798

Rzebitschek in Prag (c, b)

Dorotheum auction 24.3.2010 no. 37; 10 cm cyl., 2 tunes, in wedding clock

21614 1798

Rzebitschek in Prag (c, b)

Kinsky auction 24.10.2007 no. 943; 10 cm cyl., 2 tunes, in frame clock

21748 2195

Rzebitschek in Prag (c)

Private collection; “3“ on the comb; 2 tunes

21794 1828

Rzebitschek/in Prag (c)

Aichholzer Antiquitäten; Private collection; “3” on the comb, 10 cm cyl., 2 tunes

21860 1862

Rzebitschek/in Prag (c) Rzebitschek Prag (b)

Private collection; “3” on the comb, 10 cm cyl., 2 tunes

22041 1897

Rzebitschek in Prag (c)

Private collection; 10 cm cyl., 2 tunes

195

Kowar_Kern_engl.indd 195

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Musical boxes from Prague and Vienna

22112 1893

Rzebitschek in Prag (c)

Private collection; “3“ on the comb, 3 tunes, in case, remains of a tune sheet

22154 1915

Rzebitschek/in Prag (c)

Information provided by Timothy Reed; 10 cm cyl., 2 tunes, tune sheet: 1. Mädchen Chor aus Hugenotten v. Meyrbeer, 2. Ländlich sittlich Walzer v. Strauss, in mantle clock

22273 1722

Rzebitschek/in Prag (c)

Private collection; “2“ on the comb, 10 cm cyl., 82 teeth, 2 tunes

22308 1798

Rzebitschek/in Prag (c) Rzebitschek Prag (b)

Dorotheum auction 10.11.2008 no. 364; 10 cm cyl., 2 tunes, in picture clock

22455 1915

Rzebitschek in Prag (c)

Private collection; 10.1 cm cyl., 2 tunes, tune sheet: Mädchenchor a.d. Op. Die Hugenotten, Ländlich sittlich, Walzer von Strauß

22492 1809

Rzebitschek in Prag (c, b)

Private collection; 10.1 cm cyl., bedplate 151 x 65 mm, 2 tunes, (both from “I due Foscari” by Verdi)

22516 1938

Rzebitschek /in Prag (c)

Dorotheum auction 6.11.2007 no. 270; 10 cm cyl., 2 tunes, in picture clock

22531 1912

Rzebitschek in Prag (c)

Private collection; bedplate 151 x 65 x 7 mm, 10 cm cyl., 2.6 cm diam., 9.9 cm comb with 82 teeth, 2 tunes, in mantle clock

22579 1874

Rzebitschek /in Prag (c, b)

Kinsky auction 19.6.2013; 10 cm cyl., 2 tunes, in picture clock

22617 1933

Rzebitschek /in Prag (c)

Private collection; 10 cm cyl., 2.5 cm diam., lantern wheel, 2 tunes (“Rákóczi-march“, opera)

22767 1954

Rzebitschek/in Prag (c) Rzebitschek Prag (b)

Private collection; 9.9 cm cyl., 2.5 cm diam., 2 tunes

22872 1808

F.Rzebitschek/Musikwerk/Fabrik/ in Prag (c)

Mechanical Music vol. 53 no.1 (2007) p. 26; 2 tunes, unusual signature as concerns the low serial no., in case with a glass window lid

22902 1906

Rzebitschek in Prag (c, b)

Private collection; bedplate 150 x 65 x 7 mm, 10 cm cyl., 9.8 cm comb with 82 teeth, 2 tunes

22934 1942

Rzebitschek in Prag (c)

Dorotheum auction 16.11.2005 no. 51; 10 cm cyl., 2 tunes, in mantle clock

23073 6086

Rzebitschek in Prag (c)

Oberhofen; 3 tunes, in pendulum clock, with tune sheet: 1 Radetzky Marsch v. Strauss sen. / 2 Prijde jaro, Prijde zase bude maj. Lied / 3 Jenam ty mne má panenko povez. Lied

23093 1944

Rzebitschek/in Prag (c)

Dorotheum auction 30.5.2001; “1” on the comb, 10 cm cyl., with tune sheet: 1. Klänge aus der Heimat Oberländler v. Gungl / 2. Österreicher Ländler

23094 1906

Rzebitschek/in Prag (c)

Dorotheum auction 23.4.2014 no. 49; 2 tunes, 82 teeth, in frame clock

23117 1924

Rzebitschek/in Prag (c) Rzebitschek Prag (b)

Dorotheum auction 31.3.2016 no. 76; 10 cm cyl., 2 tunes, in new picture clock

23163 1930

Rzebitschek/in Prag (c)

Seewen Inv. No. LM 71597; 2 tunes, in mantle clock, tune sheet: 1. Ilirischer Marsch, 2. Banater Kolo

23166 1897

Rzebitschek in Prag (c)

Dorotheum auction 9.5.2005 no. 58; 10 cm cyl., 2 tunes, tune sheet: 1. Cavatina Ernani invola… 2. Bouquets Walzer v. Strauhs, in picture clock

196

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V. catalogue

23177 1453

Rzebitschek/in Prag (c)

Private collection; 10 cm cyl., 2 tunes, “1“ on the comb

23253 1987

Rzebitschek in Prag (b, c)

Private collection; 2 tunes, in picture clock

23330 2004

Rzebitschek/in Prag (c)

Clock museum (depot); 10 cm cyl., 2 tunes, “2“ on the comb, in frame clock

23349 2427

Rzebitschek in Prag (c, b)

Private collection; 10 cm cyl., in case

23371 1527

Rzebitschek Prag (b)

Private collection; 10 cm cyl., comb with 82 teeth, 2 tunes, in picture clock

23377 2004

Rzebitschek

Das mechanische Musikinstrument no. 102, August 2008, S.12; 2 tunes, in mantle clock

23570 1873

Rzebitschek/in Prag (c)

Private collection; 10 cm cyl., 2 tunes

23601 2017

Rzebitschek

Information provided by Luuk Goldhoorn; 2 tunes

23771 2004

Rzebitschek

Information provided by Luuk Goldhoorn; dated 1843

23932 2021

Rzebitschek/in Prag (c)

Private collection; 10 cm cyl., 2.5 cm diam., 2 tunes,

23994 1815

Rzebitschek/in Prag (c) Rzebitschek Prag (b)

Lilly’s Art / Private collection; 10 cm cyl., 2 tunes, in picture clock, (music no. could also be 1875)

24106 2002

Rzebitschek/in Prag (c)

Private collection; 10 cm cyl., 2 tunes,

24181 2019

Rzebitschek/in Prag (c) Rzebitschek Prag (b)

Dorotheum auction 5.10.2015 no. 64; “3“ on the comb, 10 cm cyl., 2 tunes, in picture clock

24187 1886

Rzebitschek/in Prag (c) Rzebitschek Prag (b)

Private collection; 10 cm cyl., 2 tunes (operas), spring signed by Miller in Vienna

24383 1403

Rzebitschek in Prag (b, c)

Dorotheum 3.12.1998; 10 cm cyl., 2 tunes

24397 2068

Rzebitschek/in Prag (c)

Dorotheum auction 31.10.2012 no. 60; 10 cm cyl., 2 tunes, in mantle clock

24458 1659

Rzebitschek/in Prag (c) Rzebitschek Prag (b)

Dorotheum auction 13.10.2010 no. 1015; 10 cm cyl., “5” on the comb, 2 tunes (czardas), in mantle clock

24507 2084

Rzebitschek in Prag (c) Rzebitschek Prag (b)

Private collection; 10 cm cyl., 2 tunes,

24684 1612

Rzebitschek/in Prag (c, b)

Kainerstorfer 16.11.1999; 10 cm cyl., 2 tunes, in picture clock

24689 2091

Rzebitschek in Prag (c) Rzebitschek Prag (b)

Dorotheum auction 5.10.2015 no. 69; 10 cm cyl., 2 tunes, in picture clock

24781 2108

Rzebitschek/in Prag (c)

Private collection; 10 cm cyl., in frame clock, tune sheet: 1.Radetzkymarsch 2.Arie aus Hunyadi Laszlo 3.Akt, v. Erkel

24832 2019

Rzebitschek in Prag (b, c)

Private collection; 2 tunes,

24897 2068

Rzebitschek/in Prag (b, c)

Dorotheum auction 27.5.2010 no. 3; 10 cm cyl., in picture clock

24987 2054

F. Rzebitschek in Prag (c)

Dorotheum auction 17.5.2006 no. 24; 10 cm cyl., 2 tunes, in clock with figures

24998 2089

Rzebitschek/in Prag (c) Rzebitschek Prag (b)

Dorotheum auction 13.9.2018 no. 33; 10 cm cyl., 2 tunes, in wedding clock

197

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Musical boxes from Prague and Vienna

25058 2124

Rzebitschek/in Prag (c)

Private collection; 10 cm cyl., 2 tunes, in mantle clock

25130 2133

Rzebitschek in Prag (b, c)

Dorotheum; 4 tunes, picture clock, tune sheet: Jägerlied aus Martha (Flotow), Schwarzblath Walzer v. Fahrbach, Radetzky Marsch, Steirische Ländler v. Strauß Sohn

25270 2091

Rzebitschek/in Prag (c) Rzebitschek Prag (b)

Private collection; 10 cm cyl., dot on governor cock, 2 tunes (including “Radetzky-march“)

25301 2138

Rzebitschek in Prag (b, c)

Private collection; 10 cm cyl., 2 tunes, spring missing

25324 2131

Rzebitschek in Prag (c)

Smidt Muzeum; 10.1 cm cyl., 2.5 cm diam., 2 tunes, in mantle clock

25396 2089

Rzebitschek in Prag (b)

Private collection (Musical Box Society Int. convention Chicago 1996 / auction 30.8.1996; 10 cm cyl., 2 tunes

25519 2060

Rzebitschek / in Prag (c) Rzebitschek Prag (b)

Brno, Technical museum; 10 cm cyl., 2 tunes

25638 2149

Rzebitschek in Prag (b, c)

Clock museum Inv. No. 136; 13.5 cm cyl., 2.4 cm diam., 3 tunes, in picture clock

25702 2131

Rzebitschek/in Prag (c)

Private collection; 10 cm cyl., “4“ on the comb, “12“ on bedplate, 2 tunes (polka, waltz)

25738 2158

Rzebitschek / in Prag (c) Rzebitschek Prag (b)

Private collection; 10 cm cyl., 2 tunes

25760 2195

Rzebitschek in Prag (b, c)

D&S; 4 tunes

25775 2082

Rzebitschek/in Prag (c) Rzebitschek Prag (b)

Private collection; 10 cm cyl., 2 tunes

25929 2212

Rzebitschek/in Prag (b, c)

Budapest Inv. No. 9340; 20 cm cyl., 3 cm diam., 4 tunes

25995 2292

Rzebitschek in Prag (c)

Private collection; 10 cm cyl., 2 tunes, with tune sheet: 1. Krönungsmarsch / 2. Schlittschuhtanz aus der Oper Der Profet v. Meyerbeer, in case

26021 2151

Rzebitschek in Prag (c)

Dorotheum auction 23.3.2011 no. 71; ca. 13 cm cyl., in picture clock inscription “Befreiung der Stadt und Festung Ofen den 21. Mai 1849“; 3 tunes (1. “Steirische Tänze“ by Lanner, 2. “Quadrille im militärischen Styl“ by Joh. Strauss sen. (1848), 3. waltz, not identified)

26117 2198

Rzebitschek in Prag (b, c)

Dorotheum auction 29.10.2001 no. 912; 10 cm cyl. 2 tunes, in mantle clock

26160 2231

Rzebitschek in Prag (b, c)

Weinmann; 31.2 cm cyl., 5.3 cm diam., 6 tunes (including “Preghiera“ from “Guillaume Tell“ by Rossini), in picture clock

26254 2240

Rzebitschek in Prag (b, c)

Private collection; 10.22 cm cyl., 2.56 cm diam., comb with 82 teeth, bedplate 15.33 x 6.7 cm, 2 tunes, including “Silberne Hochzeitspolka“ (see tune sheet of Rzebitschek no. 2301 / 29935), in case

26277 2142

Rzebitschek in Prag (c) Rzebitschek Prag (b)

Private collection; 13.6 cm cyl., 2.5 cm diam., 3 tunes (Hungarian airs, including czardas, “Rákóczi-march“)

26361

Rzebitschek

Information provided by Luuk Goldhoorn;

198

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V. catalogue

26429 2124

Rzebitschek/in Prag (c) Rzebitschek Prag (b)

Dorotheum auction 13.9.2018 no. 53; 10 cm cyl., 2 tunes (ländler, waltz), in picture clock

26584 2130

Rzebitschek/in Prag (c) Rzebitschek Prag (b)

Private collection; 10 cm cyl., “2“ on the comb, 2 tunes (ländler, polka)

26689 1944

Rzebitschek/in Prag (c)

Private collection; 10 cm cyl.,

26691 2067

Rzebitschek/in Prag (c)

Private collection; 10 cm cyl., “3“ on the comb, 2 tunes, in mantle clock

26796 2249

Rzebitschek/in Prag (c) Rzebitschek Prag (b)

Private collection; 10 cm cyl., 2 tunes, in mantle clock

27222 2272

Rzebitschek in Prag (b, c)

Private collection; bedplate 153 x 66 x 7 mm, 10.1 cm cyl., 2.5 cm diam., 9.9 cm comb with 82 teeth, 2 tunes

27429 2245

Rzebitschek/in Prag (c)

Private collection; 10 cm cyl., 2 tunes, tune sheet: 1. Schweitzer Lied / 2. Silberne Hochzeits Polka

27499 1730

Rzebitschek/in Prag (c)

Private collection; 10 cm cyl., 2 tunes

27558 2194

Private collection; bass tooth with two tips, adjustable fan, 3 tunes, in case with tune sheet: 1. S’Mailüfterl Lied von Kreipl Ged.v. Klehsheim / 2. Steirische Ländler v. Strauß / 3.Gervinus Polka v. Suppé

27597 2039

Rzebitschek in Prag (c)

Private collection; “3” on the comb, 10 cm cyl., 2 tunes, in mantle clock

27616 2255

Rzebitschek in Prag (c)

Private collection; 2 tunes

27792 2349

Rzebitschek in Prag (c)

Private collection; 13.5 cm cyl., 3 tunes

27819 1915

?

Private collection; 4 tunes

27865 2100

Rzebitschek in Prag (c)

Neidhart; 10 cm cyl., tune sheet: 1. Chor a.d.Op.Nabucodonosor, 2. Die Sorgenbrecher Walzer v. Strauß

27927 2138

Rzebitschek in Prag (b, c)

Dorotheum auction 24.3.2010 no. 62; 10 cm cyl., 2 tunes (including “Radetzky-march“), in frame clock

27938 2355

Rzebitschek in Prag (c)

Private collection; 19.8 cm cyl., 3.3 cm diam., comb with 103 teeth, bedplate 26.3 x 8 cm, 4 tunes (1. “Rákóczy-march“ by Berlioz, 2. Hungarian air, 3. Hungarian air continued, 4. “Mazurek Dombros Kiego“, Polish anthem), in case

27994 2130

Rzebitschek in Prag (c)

Private collection; “2“ on the comb, 2 tunes

28008 2364

Rzebitschek in Prag (c)

Private collection; 10 cm cyl., “3“ on the comb, “35“ scratched on bedplate, 2 tunes

28130 2255

Rzebitschek

Information provided by Luuk Goldhoorn; 4 tunes

28236 2221

Rzebitschek in Prag (c) Rzebitschek Prag (b)

Private collection; 10 cm cyl., 2 tunes, “6“ on bedplate

28321 2385

Rzebitschek in Prag (c)

Dorotheum auction 23.4.2014 no. 73; 10 cm cyl., 82 teeth, 2 tunes (“Rákóczi-march“, czardas), in picture clock

199

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Musical boxes from Prague and Vienna

28478 2249

Rzebitschek in Prag (c) Rzebitschek Prag (b)

Private collection; 10 cm cyl., 2.5 cm diam., “8“ on the comb, 2 tunes

28510 2015

Rzebitschek/in Prag (c)

Private collection; 10 cm cyl., 2.5 cm diam., 2 tunes

28517 2404

Rzebitschek in Prag (c)

Private collection; 10 cm cyl., 2 tunes (28517 doubtful, could also be 28317 or 28817)

28617 2404

Rzebitschek in Prag (c)

Private collection; 10 cm cyl., 2 tunes

28625 2378

Rzebitschek/in Prag (c) Rzebitschek Prag (b)

Private collection; 10 cm cyl.,

28650 2299

Rzebitschek in Prag (c)

Private collection; 13.2 cm cyl., 3 tunes

28740 2313

Rzebitschek

Information provided by Luuk Goldhoorn;

28984 2319

Rzebitschek/in Prag (c)

Private collection; “4“ on the comb, 10 cm cyl., in case with a tune sheet: 1. Schlittschuh Quadrille a.d. Propheten / 2. Johannes Käferln Walzer v. Strauhs

29005 2381

Rzebitschek in Prag (c) Rzebitschek Prag (b)

Private collection; 2 tunes, 10 cm cyl. , in wedding clock

29007 2358

Rzebitschek in Prag (c)

Dorotheum auction 23.3.2011 no. 51; “3” on the comb, 10 cm cyl., 2 tunes, in mantle clock

29027 2039

Rzebitschek in Prag (c)

Dorotheum auction 5.5.2000 no. 100; “1” on the comb, 10 cm cyl., 2 tunes, in mantle clock (no. could also be 28027)

29169 2138

Rzebitschek /in Prag (c)

Private collection; 10 cm cyl., 2 tunes (including “Radetzkymarch”), in picture clock

29237 2327

Rzebitschek/in Prag (c)

Sternat; 10 cm cyl., 2 tunes (including “march“ from “Le prophète“ by Meyerbeer), in mantle clock

29274 2462

Rzebitschek/in Prag (c)

Private collection; 10 cm cyl., 2 tunes (“Annenpolka“ op. 114 (1852) by Strauss jun., “Liebeslieder Walzer“ op. 117 (1852) by Strauss jun.)

29358 2378

Rzebitschek / in Prag (c) Rzebitschek Prag (b)

Private collection; 10 cm cyl., 2 tunes

29478 2187

Rzebitschek / in Prag (c) Rzebitschek Prag (b)

Brno Technical museum; 10 cm cyl., 2 tunes,

29506 2462

Rzebitschek

Information provided by Luuk Goldhoorn; 2 tunes

29592 1359

Rzebitschek/in Prag (c)

D&S; 2 tunes, in picture clock

29673 2125

Rzebitschek/in Prag (c)

Private collection; 10 cm cyl., “4“ on the comb

29725 2418

Rzebitschek / in Prag (c) Rzebitschek Prag (b)

Private collection; 10 cm cyl., 2 tunes

29781 2068

Rzebitschek in Prag (c)

Private collection; “5” on the comb, 10 cm cyl., 2 tunes

29898 2509

Rzebitschek / in Prag (c) Rzebitschek Prag (b)

Dorotheum auction 10.11.2008 no. 343; 10 cm cyl., 2 tunes, in mantle clock

200

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V. catalogue

29935 2301

Rzebitschek in Prag (c)

Dorotheum auction 15.11.2006 no. 89; “3“ on the comb, 10 cm cyl., 2 tunes, in mantle clock, tune sheet: Johannes Käferl Walzer v. Strauß / Silberne Hochzeits Polka

30011 2520

Rzebitschek in Prag (c)

Dorotheum Salzburg Christmas-auction 2006 no. 632; 16 cm cyl., in frame clock.

30047 2525

Rzebitschek/in Prag (c)

Private collection, 10 cm cyl., 2 tunes, in mantle clock, tune sheet: 1. La Donna e mobile / 2. Ballabile aus Rigoletto

30114 1944

Rzebitschek/in Prag (c)

Private collection; 10 cm cyl., 2 tunes,

30128 2531

Rzebitschek in Prag (c)

D&S; 3 tunes, in picture clock

30135 2387

Rzebitschek / in Prag (c) Rzebitschek Prag (b)

Private collection; 10 cm cyl., 2 tunes

30200 2536

Rzebitschek in Prag (c)

Private collection; 3 tunes,

30280 402

F.Rzebitschek/in Prag (c, b)

Private collection; 10 cm cyl., in frame clock, 2 tunes (“Kaiserlied“ by Haydn – Austrian anthem, “Preghiera“ from “Guillaume Tell“ by Rossini)

30287 2534

Rzebitschek/in Prag (c) Rzebitschek Prag (b)

Private collection; “3“ on the comb, 10 cm cyl., 2.5 cm diam., 2 tunes, in frame clock,

30363 2242

Rzebitschek/in Prag (c)

Private collection; 10 cm cyl., 2.5 cm diam., 2 tunes

30407 2082

Rzebitschek/in Prag (c)

Dorotheum auction 5.6.1999; 2 tunes

30680 2564

Rzebitschek in Prag (c, b)

Private collection; 31 cm cyl., comb with 110 teeth, 6 tunes, in case, (see: Das mechanische Musikinstrument 39, Nr. 117(April 2013) p. 26

30698 1583

F.Rzebitschek in Prag (c)

Private collection; 10 cm cyl., in frame clock

30709 2125

F.Rzebitschek/Musikwerk/Fabrik/in Prag (c)

Dorotheum auction 11.12.2002 no. 40; 10 cm cyl., 2 tunes, in picture clock

30719 2527

Rzebitschek in Prag (c)

Private collection; 10 cm cyl., 2 tunes, in case

30806 2584

Rzebitschek in Prag (c, b)

Dorotheum auction 28.10.2013 no. 54; 10 cm cyl., 82 teeth, 2 tunes, in mantle clock

30818 2451

F.Rzebitschek in Prag (c)

Dorotheum auction 9.5.2005 no. 64; 10 cm cyl., 2 tunes, in frame clock

30940 2586

Rzebitschek/in Prag (c)

Dorotheum auction 28.9.2017 no. 66; “7“ on the comb, 10 cm cyl., 2 tunes, in frame clock

31041 2535

Rzebitschek/in Prag (c)

Private collection; 13.63 cm cyl., 2.86 cm diam., comb with 93 teeth, bedplate 19.0 x 7.4 cm, 8 mm thickness, 3 tunes (including “Last rose“ from “Martha“ by Flotow, “ Kde domov muj“), in case

31102 2186

Rzebitschek/in Prag (c) Rzebitschek Prag (b)

Surber’s museum; 10 cm cyl., “0” on the comb, 2 tunes, in mantle clock

31115 215?

Rzebitschek

Information provided by Luuk Goldhoorn;

31384 2332

Rzebitschek/in Prag (c) Rzebitschek Prag (b)

Private collection; 10 cm cyl. 2 tunes,

201

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Musical boxes from Prague and Vienna

31391 2563

Rzebitschek/in Prag (c)

Private collection; 10 cm cyl., 2 tunes (“Last rose“ from “Martha“ by Flotow, “Kaiserlied“ by Haydn), in case

31414 2593

Rzebitschek/in Prag (c) Rzebitschek Prag (b)

Private collection; 10 cm cyl., 2 tunes (operas)

31417 2613

Rzebitschek in Prag (c)

Private collection; 10 cm cyl., 2 tunes, in mantle clock

31451 2480

Rzebitschek in Prag (c)

Private collection; 10 cm cyl., 2 tunes

31493 2327

Rzebitschek/in Prag (c) Rzebitschek Prag (b)

Private collection; 10 cm cyl., 2 tunes, in case with a tune sheet: 1. Krönungs Marsch a.d. Propheten / 2. Drittes Finale aus Martha

31612 2538

Rzebitschek in Prag (b, c)

D&S; “3“ on the comb, 2 tunes,

31841 2554

Rzebitschek/in Prag (c) Rzebitschek Prag (b)

Private collection; “5” on the comb, 10 cm cyl., 2 tunes (couplet ending with the Austrian anthem, operatic air), in wedding clock

31807 2258

Rzebitschek in Prag (b, c)

Private collection; 10 cm cyl., 2 tunes (duet from “Linda di Chamonix” by Donizetti, aria “Ach so fromm, ach so traut” from “Martha” by Flotow, in picture clock

31896 2554

Rzebitschek/in Prag (c) Rzebitschek Prag (b)

Dorotheum Favoriten auction 30.5.2018 no. 346; “5” on the comb, 10 cm cyl., 2 tunes. (“Radetzky-march”, “ländler”), in mantle clock

31932 2605

Rzebitschek/in Prag (c) Rzebitschek Prag (b)

Dorotheum auction 20.10.2010 no. 125; 10.1 cm cyl., 2 tunes

31963 2661

F.Rzebitschek/Musikwerk/Fabrik/in Prag (c)

Private collection; 10 cm cyl., 2 tunes, in mantle clock

32012 2677

Rzebitschek in Prag (c)

Dorotheum 19.10.2001; 13 cm cyl., comb with 5 screws, 3 tunes, in frame clock

32024 2542

Rzebitschek/in Prag (c)

Private collection; 10 cm cyl., 2.5 cm diam., 2 tunes

32150 2659

F.Rzebitschek in Prag (c, b)

Neidhart; 10 cm cyl., 2 tunes

32153 2695

Rzebitschek in Prag (c) Rzebitschek Prag (b)

Private collection; 10 cm cyl., “9“ on the comb, 2 tunes (from “Lohengrin“ and “Tannhäuser“ by R. Wagner), in case

32159 2487

Rzebitschek in Prag (c) Rzebitschek Prag (b)

Private collection; 10 cm cyl., 2 tunes

32168 2848

Rzebitschek in Prag (c)

Hôtel Dassault, Rond Point des Champs Elysées, Paris (Encheres Artcurial Toulouse – Jacques Rivet du 8 Novembre 2005) ; 13.5 cm cyl., 95 teeth, 3 tunes, in case

32178 1795

Rzebitschek/in Prag (c, b)

Dorotheum auction 5.10.2015 no. 29 ; 10 cm cyl., 2 tunes, in wedding clock

32279 2610

Rzebitschek/in Prag (c, b)

Dorotheum auction 21.3.2012 no. 24 ; 10 cm cyl., 2 tunes, in mantle clock

32296 2569

Rzebitschek/in Prag (c) Rzebitschek Prag (b)

Private collection ; “1“ on the comb, 10 cm cyl., 2 tunes, in case

32698 2761

Rzebitschek/in Prag (c) Rzebitschek Prag (b)

Private collection ; 10 cm cyl., 2 tunes

32445 2501

Rzebitschek in Prag (c)

Weinmann ; 10 cm cyl., 2 tunes (“La Donna è mobile“ from “Rigoletto“ by Verdi, “Preghiera“ from “Guillaume Tell “ by Rossini), in case

202

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V. catalogue

32539 2763

Rzebitschek/in Prag (c) Rzebitschek Prag (b)

Rasch; 10 cm cyl., 2 tunes (“Last rose“ from “Martha“ by Flotow, “Rigoletto“ by Verdi), in picture clock

32576 2604

Rzebitschek

Information provided by Luuk Goldhoorn;

32623 2633

Rzebitschek/in Prag (c) Rzebitschek Prag (b)

Private collection; 10 cm cyl., 2.5 cm diam., lantern wheel (repair work), 2 tunes (including one ländler)

32680 2621

Rzebitschek in Prag (c)

Musée Baud; “1“ on the comb, 2 tunes,

32749 2794

Rzebitschek

Information provided by Luuk Goldhoorn;

32835 2806

Rzebitschek

Information provided by Luuk Goldhoorn;

32930 2557

Rzebitschek in Prag (c)

Private collection; 2 tunes (waltz, polka)

32980 2557

Rzebitschek in Prag (c)

Private collection; 10 cm cyl., 2 tunes,

32983 2659

Rzebitschek

Information provided by Marc Boon; “7” on the comb, 2 tunes (including  “Chi mi frena in tal momento” from “Lucia di Lammermoor” by Donizetti), in case

33168 2848

Rzebitschek

Information provided by Luuk Goldhoorn; 3 tunes

33237 2796

Rzebitschek/in Prag (c)

Dorotheum auction 16.11.2005 no. 70; 10 cm cyl., 2 tunes, in picture clock

33243 2712

Rzebitschek/in Prag (c)

Zorn; 10 cm cyl., 2 tunes, in picture clock

33271 2792

Rzebitschek/in Prag (c)

Nagel Stuttgart, auction 6.12.2007 no. 718; 10 cm cyl., 2 tunes, in case

33320 2322

Rzebitschek in Prag (c, b)

Private collection; 10 cm cyl., in case, 2 tunes (“Last rose“ from “Martha“ by Flotow, “March“ from “Le prophète“ by Meyerbeer)

33666 2619

Rzebitschek/in Prag (c)

Private collection; “3“ on the comb, 10 cm cyl., 2 tunes

33704 2898

F.Rzebitschek/Musikwerk/Fabrik/in Prag (c) Rzebitschek Prag (b)

Oberhofen; 10 cm cyl., 82 teeth, 2 tunes

33900 2813

F.Rzebitschek/Musikwerk/Fabrik/in Prag (c) Rzebitschek Prag (b)

Private collection; 10 cm cyl., 2.5 cm diam., 2 tunes, in case with a tune sheet (fragmentary): …a. Guillaume Tell / .. ienne

33996 2931

F.Rzebitschek/Musikwerk/Fabrik/in Prag(c) Rzebitschek Prag (b)

Private collection; 3 tunes, in case with tune sheet: 1. Ach so fromm aus Martha / 2. Man lebt nur einmal, Walzer v. Strauß / 3. Zepperlpolka

34086 2338

F.Rzebitschek/in Prag (c, b)

Dorotheum auction 3.11.1997; 10 cm cyl., 2 tunes

34105 2989

F.Rzebitschek/Musikwerk/Fabrik/in Prag (c). Rzebitschek in Prag (b)

D&S; 10 cm cyl., 2 tunes

34220 2947

F.Rzebitschek/Musikwerk/Fabrik/in Prag (c)

Private collection; 13.7 cm cyl., 3 tunes, case not original

34284 2988

F.Rzebitschek/Musikwerk/Fabrik/in Prag (c)

Dorotheum auction 28.10.2013 no. 52; 10 cm cyl., 2 tunes, in mantle clock

203

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Musical boxes from Prague and Vienna

34342 2951

F.Rzebitschek/Musikwerk/Fabrik/in Prag (c) Rzebitschek in Prag (b)

Private collection; 10 cm cyl., 2 tunes, in case

34365 2322

Gustav Rebicek/Musikwerk/Fabrik/ in Prag (c)

Private collection; 10 cm cyl., in picture clock signed and dated 1851, tune sheet 1. Marsch a. Prophet v. Meyerbeer 2. Letzte Rose a. Martha. [Gustav?, comb from later time]

34410 2720

F.Rzebitschek/Musikwerk/Fabrik/in Prag (c)

Dorotheum Graz 26.5.2010 no. 272; 10 cm cyl., 2 tunes, in mantle clock

34414 2927

Private collection; bass tooth with two tips, because of the nos. most probably made by Rzebitschek, 10 cm cyl., 2 tunes

34440 2954

F.Rzebitschek/Musikwerk/Fabrik/in Prag (c)

Private collection; 10 cm cyl., 2.5 cm diam., 82 teeth, in mantle clock (wedding clock), on the bottom board of the clock written in pencil: Armen Ball Polka, Letzte Pulse Walzer [Joh. Strauss jun.: Armen Ball Polka op.176, Erhöhte Pulse Walzer op. 175, both 1856]

34481 2865

Rzebitschek

Information provided by Luuk Goldhoorn;

34650 2959

F.Rzebitschek/Musikwerk/Fabrik/in Prag (c) Rzebitschek Prag (b)

Private collection; 10 cm cyl., “4“ on the comb, palmette stamped on the governor cock, in case, tune sheet: 1.Freuden-Salven-Walzer / 2.Taglioni-Polka

34697 2069

Rzebitschek in Prag (c)

Utrecht; 2 tunes

34759 2542

F.Rzebitschek

D&S;

34864 2999

F.Rzebitschek/Musikwerk/Fabrik/in Prag (c)

Private collection; 10 cm cyl., 2.5 cm diam., in case, tune sheet: 1. Ida Csardas v. Patikarus 2. Sans souci Polka v. Strauhs

34913 2425

Rzebitschek

Information provided by Luuk Goldhoorn;

34924 2720

F.Rzebitschek/Musikwerk/Fabrik/in Prag (c) Rzebitschek Prag (b)

Dorotheum auction 4.4.2018 no. 66; 10 cm cyl., 2 tunes (waltzes), in mantle clock

34983 3001

F.Rzebitschek/Musikwerk/Fabrik/in Prag (c) Rzebitschek Prag (b)

Private collection; 10 cm cyl., 2 tunes

35023 2692

F.Rzebitschek/Musikwerk/Fabrik/in Prag (c).

D&S; 2 tunes

35038 2954

F.Rzebitschek/Musikwerk/Fabrik/in Prag (c)

Utrecht; 2 tunes

35058 2961

Rzebitschek

Information provided by Luuk Goldhoorn;

35062 2782

F.Rzebitschek/Musikwerk/Fabrik/in Prag (c)

Krakow; 10.1 cm cyl., 2 tunes, in mantle clock

35106 2847

F.Rzebitschek/Musikwerk/Fabrik/in Prag (c), Rzebitschek Prag (b)

Dorotheum auction 28.10.2013 no. 58; 10 cm cyl., 2 tunes, in mantle clock

35218 2252

Rzebitschek

Information provided by Luuk Goldhoorn;

204

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V. catalogue

35241 3039

F.Rzebitschek/Musikwerk/Fabrik/in Prag (c), Rzebitschek Prag (b)

Private collection; 10 cm cyl., 2 tunes, in case with a tune sheet: 1. Oesterreichische Volkshymne, 2. Le Papillon, Polka Mazur v. Strauhs

35401 2665

F.Rzebitschek/Musikwerk/Fabrik/in Prag (c)

Joanneum; 2 tunes

35524 3056

F.Rzebitschek/Musikwerk/Fabrik/in Prag (c)

Weinmann; 13,7 cm cyl., comb with 5 screws, 3 tunes

35541 2902

F.Rzebitschek/Musikwerk/Fabrik/in Prag (c)

The Music Box vol.3/8 (1968), p. 540-543; 10.2 cm comb, 2 tunes

35628 2863

F.Rzebitschek/Musikwerk/Fabrik/in Prag (c)

Private collection; 10 cm cyl., 2 tunes

35638 2964

F.Rzebitschek/Musikwerk/Fabrik/in Prag (c)

Utrecht; 10 cm cyl., 2.5 cm diam., 2 tunes

35753 2099

F.Rzebitschek/Musikwerk/Fabrik/in Prag (c)

Private collection; 10 cm cyl., 2 tunes, in frame clock

35840 3072

F.Rzebitschek/Musikwerk/Fabrik/in Prag (c)

Dorotheum auction 25.10.2011 no. 82; “0“ on the comb, 10 cm cyl., 2 tunes (including aria from “Rigoletto“ by Verdi), in frame clock

35920 2746

F.Rzebitschek/Musikwerk/Fabrik/ in Prag (c)

Private collection; 10 cm cyl., 2 tunes

35949 2936

F.Rzebitschek/Musikwerk/Fabrik/in Prag (c)

Private collection; 10 cm cyl., “5“ on the comb, 2 tunes (opera, waltz)

36118 2949

F.Rzebitschek/Musikwerk/Fabrik/in Prag (c)

Private collection; 10 cm cyl., 2 tunes (czardas and aria from “Hunyadi Laszlo“ by Erkel, “La Donna è mobile“ from “Rigoletto“ v. Verdi)

36144 2854

F.Rzebitschek/Musikwerk/Fabrik/in Prag (c)

Private collection; 10 cm cyl., 82 teeth, 2 tunes

36301 2855

F.Rzebitschek/Musikwerk/Fabrik/in Prag (c)

Dorotheum auction 6.11.07 no. 389; 10 cm cyl., 2 tunes, tune sheet: 1 Flotow Martha, 2 Lukrezia Borgia

36343 3011

F.Rzebitschek/Musikwerk/Fabrik/in Prag (c)

Dorotheum auction 21.3.2007 no. 94; 10 cm cyl., 2 tunes, in case (remains of a tune sheet on the underside)

36358 2403

Rzebitschek

Information provided by Luuk Goldhoorn;

36437 3168

F.Rzebitschek/Musikwerk/Fabrik/in Prag (c)

Private collection; 13.8 cm cyl., 2.9 cm diam., 3 tunes, inscription on the back panel of the clock: 3 Air / 1. Künstler Quadrille von Strauhs / 2. […] / 3. […] Polka von Strauhs

36682 3166

F.Rzebitschek/Musikwerk/Fabrik/in Prag (c)

Private collection; 12.5 cm cyl., 3 tunes, in inappropriate (?) case

36743 3217

F.Rzebitschek/Musikwerk/Fabrik/in Prag (c)

Private collection; 10 cm cyl., 2 tunes (opera, waltz)

36872 2901

?

Private collection; [in regard to the nos. most probably made by Rzebitschek]

37023 2692

Rzebitschek

Information provided by Luuk Goldhoorn;

205

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Musical boxes from Prague and Vienna

37055 ?231

F.Rzebitschek/Musikwerk/Fabrik/in Prag (c)

Private collection; “1“ on the comb, 13.7 cm cyl., 2.9 cm diam., 3 tunes, hole drilled through the no.

37094 3238

F.Rzebitschek Musikwerk Fabrik in Prag (c, b)

Private collection; adjustable tune changer, 19.6 cm cyl., 4 tunes, in case, tune sheet: 1, Arie aus Rigoletto, 2.Vidensky detsky Walzer v. Strauß [Josef Strauss, Wiener Kinder op. 61, 1858] 3. Arie z’Opery “Lombardi“, 4. Sampanska Polka v. Strauß

37119 2782

F.Rzebitschek/Musikwerk/Fabrik/ in Prag (c)

Dorotheum auction 15.11.2006 no. 86; 10 cm cyl., 2 tunes, in wedding clock

37143 2956

F.Rzebitschek Musikwerk Fabrik in Prag (c)

Private collection; 13.7 cm cyl., 94 teeth, 3 tunes, in case

37270 3317

F.Rzebitschek Musikwerk Fabrik in Prag (c)

Dorotheum auction 31.10.2012 no. 59/private collection; “2“ on the comb, 10 cm cyl., 2 tunes, (including “Tritsch-Tratsch Polka“, op. 214 by J. Strauss), in mantle clock

37456 3204

F.Rzebitschek Musikwerk Fabrik in Prag (c)

Private collection; “9“ on the comb, 10 cm cyl., 2 tunes (operas), in case

37506 3225

Rzebitschek

Information provided by Luuk Goldhoorn; 2 tunes

37520 3354

F.Rzebitschek Musikwerk Fabrik in Prag (c)

T.Reed (information); “8“ stamped on comb, 3 tunes, in case

37577 2705

F.Rzebitschek Musikwerk Fabrik in Prag (c)

Private collection; 2 tunes

37596 3225

F.Rzebitschek Musikwerk Fabrik in Prag (c)

Private collection; 10 cm cyl., 2 tunes, in case

37851 3280

F.Rzebitschek/Musikwerk/Fabrik/in Prag (b, c)

Geymüller Inv. No. Br 1597; “7“ on the comb, blued screws, 19.9 cm cyl., 3.3 cm diam., 105 teeth, 4 tunes, in mantle clock dated 1868

37866 3234

F.Rzebitschek/Musikwerk/Fabrik/in Prag (c)

Private collection; 10 cm cyl., 2 tunes

37937 3580

F.Rzebitschek/Musikwerk/Fabrik/in Prag (c)

Private collection; “1“ on the comb, 10 cm cyl., 2 tunes,

38017 3338

Rzebitschek

Information provided by Luuk Goldhoorn; 2 tunes

38154 3401

F.Rzebitschek/Musikwerk/Fabrik/in Prag (c)

Dorotheum auction 15.11.2006 no. 78; 10 cm cyl., 82 teeth, 2 tunes, in frame clock.

38184 3432

F.Rzebitschek/Musikwerk/Fabrik/in Prag (c)

Private collection; “3“ on the comb, 13.7 cm cyl., 2.8 cm diam., 3 tunes, in case

38218 3416

F.Rzebitschek/Musikwerk/Fabrik/in Prag (c)

Dorotheum auction 24.3.2010 no. 23; “970“ engraved on the bedplate, 10 cm cyl., 2 tunes, in mantle clock.

3833(2) 3420

Rzebitschek

Information provided by Marc Boon; 2 tunes (including “La donna e mobile” from “Rigoletto”)

38340 3447

F.Rzebitschek/Musikwerk/Fabrik/in Prag (c)

Dorotheum auction 15.11.06 no. 79; 10 cm cyl., 2 tunes, in frame clock.

38433 3420

Rzebitschek

Information provided by Luuk Goldhoorn;

206

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V. catalogue

39108 3519

F.Rzebitschek/Musikwerk/Fabrik/in Prag (c)

Private collection; Mechanical Music vol. 40/1 (spring 1994), p. 23; 10.2 cm cyl., 2.7 cm diam., 83 teeth, in case, 2 tunes: Liebeslied (aus Meister Fortunie), Trinklied (aus Meister Fortunie)

39178 3358

F.Rzebitschek/Musikwerk/Fabrik/in Prag (c)

Private collection; 2 tunes,

39549 3592

F.Rzebitschek/Musikwerk/Fabrik/in Prag (c)

Private collection; 10.2 cm cyl., 2.5 cm diam., 80 teeth, case with a glass window lid, 2 tunes (“Mazurek Dabroskiego“, “Kde domov muj“)

39613 2924

F.Rzebitschek/Musikwerk/Fabrik/in Prag (c)

Private collection; 10 cm cyl., 82 teeth, 2 tunes

39637 3568

F.Rzebitschek/Musikwerk/Fabrik/in Prag (c)

Private collection; “5“ on the comb, 10.27 cm cyl., 2.58 cm diam., comb 83 teeth, bedplate 15.4 x 6.68 x 0.75 cm, tune sheet: 1 Kärntner Lieder Walzer v. Fahrbach 2 Tag und Nacht-Polka v. Strauss, in case, on the lid written with pencil: “Den 20. Februar 1862“

39676 2664

F.Rzebitschek/Musikwerk/Fabrik/in Prag (c)

Private collection; 10 cm cyl., 2 tunes, in case

39685 3446

Rzebitschek

Information provided by Luuk Goldhoorn; 2 tunes

39706 2905

F.Rzebitschek/Musikwerk/Fabrik/in Prag (c)

Private collection; “0“ on the comb, 10 cm cyl., 2 tunes

39968 3598

F.Rzebitschek/Musikwerk/Fabrik/in Prag (c)

Christies auction 17.12.1998 no. 88; 2 tunes, in mantle clock

39971 3568

F.Rzebitschek/Musikwerk/Fabrik/in Prag (c)

Private collection; 10 cm cyl., 2 tunes, in case

40123 2924

F.Rzebitschek/Musikwerk/Fabrik/in Prag (c)

D&S; 10 cm cyl., 2 tunes

40131 3603

F.Rzebitschek/Musikwerk/Fabrik/in Prag (c)

Private collection; “3“ on the comb, 10 cm cyl., 83 teeth, 2 tunes (Chorus from “Les Huguenots” by Meyerbeer, “Casta diva“ from “Norma“ by Bellini)

40221 3426

F.Rzebitschek/Musikwerk/Fabrik/in Prag (c)

Private collection; 10 cm cyl., 2 tunes, in case

40235 3309

F.Rzebitschek/Musikwerk/Fabrik/in Prag (c)

Private collection; 10 cm cyl., 2 tunes

40298 3621

F.Rzebitschek/Musikwerk/Fabrik/in Prag (c)

Dorotheum auction 16.5.2006 no. 65; 10 cm cyl., 2 tunes, in frame clock

40366 3468

F.Rzebitschek/Musikwerk/Fabrik/in Prag (c)

Private collection; 3 tunes, in case

40443 3627

F.Rzebitschek/Musikwerk/Fabrik/in Prag (c)

Private collection; “3” on the comb, 10 cm cyl., 2 tunes, tune sheet: 1 Finale a.d. Oper …[ Margarete v. Gounod] 2. Die letze Rose…

40488 2882

F.Rzebitschek/Musikwerk/Fabrik/in Prag (c)

Dorotheum auction 29.4.2013 no. 61; 10 cm cyl., 2 tunes, in picture clock

40494 3227

F.Rzebitschek/Musikwerk/Fabrik/in Prag (c)

Information provided by Timothy Reed; “3” on the comb, 10 cm cyl., 2 tunes, in case

40528 3643

Rzebitschek

Information provided by Luuk Goldhoorn;

207

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Musical boxes from Prague and Vienna

40535 3530

F.Rzebitschek/Musikwerk/Fabrik/in Prag (c)

Buchner p.138/Nationalmuseum Prag; 10 cm cyl., 2 tunes, in case

40580 2661

F.Rzebitschek/Musikwerk/Fabrik/in Prag (c)

Private collection; “3“ on the comb, 10 cm cyl., 2 tunes

40582 3562

F.Rzebitschek/Musikwerk/Fabrik/in Prag (c)

Private collection; 10 cm cyl., 2 tunes

40586 3139

F.Rzebitschek/Musikwerk/Fabrik/in Prag (c)

Private collection; “3“ on the comb, 82 teeth, 2 tunes, in case

40589 2668

F.Rzebitschek/Musikwerk/Fabrik/in Prag (c)

Private collection; “1“ (or “4“?) on the comb, 10 cm cyl., 2 tunes, in case

40837 3617

F.Rzebitschek/Musikwerk/Fabrik/in Prag (c)

Private collection; “7“ on the comb, 10 cm cyl., 2 tunes,

40870 3459

F.Rzebitschek/Musikwerk/Fabrik/in Prag (c)

Dorotheum auction 16.11.2005 no. 42; 13.23 cm cyl., 3.4 cm diam., comb with 94 teeth, bedplate 19.5 x 7.4 cm, 3 tunes, in case with a tune sheet: 1.Mädchenchor aus Hugenotten v. Meyerbeer, 2. Duett Mira o Norma a. Norma v. Bellini, 3. Drollerie Polka v. Strauss (Sohn),

41006 3530

F.Rzebitschek/Musikwerk/Fabrik/in Prag (c)

Dorotheum Salzburg auction 29.11.2000 no. 601; 10.26 cm cyl., 2.75 cm diam., comb with 83 teeth, bedplate 15.5 x 6.7 cm, in case with a tune sheet “1. Walzer 2. Marsch beides aus Faust und Margarethe“, handwriting on the lid (dedication) dated “16. Mai 1864“

41236 3714

F.Rzebitschek/Musikwerk/Fabrik/in Prag (c)

Information provided by Timothy Reed (Mechanical Musi Digest Archiv 23.6.2018); 10 cm cyl., 2 tunes

41275 3610

F.Rzebitschek/Musikwerk/Fabrik/in Prag (c)

Private collection; 13,5 cm cyl., in case with a fragmentary tune sheet

41304 3554

F.Rzebitschek/Musikwerk/Fabrik/in Prag (c)

Private collection; “1” on the comb, comb with 5 screws, 3 tunes, tune sheet: 1. … Baccio (Valse…) par Luigi Arditi / 2. Walzer aus Faust und Margarethe / 3. Nachtigallen Polka

41388 3575

F.Rzebitschek/Musikwerk/Fabrik/in Prag (c)

Private collection; 10.27 cm cyl., 2.63 cm diam., comb with 83 teeth, bedplate 15.53 x 7.17 cm, 2 tunes, in case

41436 3705

F.Rzebitschek (c)

Private collection

41560 3061

Rzebitschek

Information provided by Marc Boon; 13.5 cm comb, 3 tunes (including “Radetzky-march”)

41586 3739

F.Rzebitschek/Musikwerk/Fabrik/in Prag (c)

Private collection; 83 teeth, 10 cm cyl., 2 tunes

41624 3737

F.Rzebitschek/Musikwerk/Fabrik/in Prag (c)

Private collection; 10 cm cyl., 2.5 cm diam., 82 teeth, 2 tunes, in case with a tune sheet: Blumenlied aus Faust, Es ist bestimmt in Gottes Rath a Medelson [sic]

41634 3693

F.Rzebitschek/Musikwerk/Fabrik/in Prag (c)

Private collection; 10 cm cyl., 2 tunes, in case, tune sheet: 1. Gablenz Marsch von Strauß / 2. Juristen Ball Polka v. d. [idem]

41832 2085

F.Rzebitschek (c)

Private collection; 10 cm cyl., 2 tunes

208

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V. catalogue

41982 3727

F.Rzebitschek/Musikwerk/Fabrik/in Prag (c, b)

Private collection; 19.8 cm cyl., 3.2 cm diam., 4 tunes including “Casta diva“ from “Norma“ by Bellini,

42047 3136

F.Rzebitschek/Musikwerk/Fabrik/in Prag (c)

Private collection; “0” on the comb, 10 cm cyl., 2 tunes

42053 3691

F.Rzebitschek/Musikwerk/Fabrik/in Prag (c, b)

Private collection; 4 tunes, in case, tune sheet: Cavatina a.d. Op. Ernani v. Verdi, Cavatina a.d. Op. Zigeunerin, La donna e moblie aus Rigoletto, Arie Ach so fromm aus Martha

42194 3766

F.Rzebitschek/Musikwerk/Fabrik/ in Prag (c)

Dorotheum auction 8.10.1998 no. 335; 10 cm cyl., 2 tunes, in mantle clock

42278 3769

F.Rzebitschek

Private collection; “6“ on the comb, 10.2 cm cyl., 2.6 cm diam., spring stamped “MM/Wien“ [Martin Miller & Söhne], in case with a tune sheet: Duett Faust und Margaretha, 2. Miserere a il Trovatore.

42401 3622

F.Rzebitschek/Musikwerk/Fabrik/in Prag (c)

Private collection; 10.1 cm cyl., 2.5 cm diam., 83 teeth, 2 tunes (aria of Figaro from “Il barbiere di Siviglia“ by Rossini, aria from “La Traviata“ by Verdi)

42406 3169

F.Rzebitschek/Musikwerk/Fabrik/in Prag (c)

Private collection; 10 cm cyl., 2 tunes, in case with a glass window lid

42451 3622

F.Rzebitschek/Musikwerk/Fabrik/in Prag (c)

Dorotheum auction 24.3.2010 no. 110; 10 cm cyl., 2 tunes, in newly made picture clock

42477 3736

Rzebitschek

Das mechanische Musikinstrument no. 102, August 2008, p.14; 2 tunes, in case

42628 3625

Rzebitschek

Information provided by Luuk Goldhoorn;

42841 3658

F.Rzebitschek/Musikwerk/Fabrik/ in Prag (c)

Kinsky; 10 cm cyl., 2 tunes, in picture clock

42690 3600

Rzebitschek

Information provided by Luuk Goldhoorn;

42852 3739

F.Rzebitschek (c)

Private collection

42938 3773

Rzebitschek

Information provided by Luuk Goldhoorn;

43044 3545

Rzebitschek

Information provided by Luuk Goldhoorn;

43091 2152

F.Rzebitschek/Musikwerk/Fabrik/in Prag (c)

Private collection; 10 cm cyl., in case

43164 3812

F.Rzebitschek/Musikwerk/Fabrik/in Prag (c)

Private collection; 10.2 cm cyl., 2.5 cm diam., 83 teeth, 2 tunes (including “Last rose” from “Martha“ by Flotow), in original case

43187 3833

F.Rzebitschek/Musikwerk/Fabrik/in Prag (c)

Dorotheum auction 6.11.2007 no. 390; 10.28 cm cyl., 2.63 cm diam., comb with 83 teeth, bedplate 15.5 x 6.7 x 0.77 cm, 2 tunes, in case with a tune sheet: 1 Cantate (Erinnerung an den 15. Juni 1865), / 2 Hoppsa Biabele-Polka

43271 3608

F.Rzebitschek/Musikwerk/Fabrik/in Prag (c)

Private collection; 10 cm cyl., 2 tunes

43388 3707

F.Rzebitschek/Musikwerk/Fabrik/in Prag (c)

Private collection; 10 cm cyl., comb with 83 teeth, 2 tunes, in case with a tune sheet: 1.Blümleinlied a. Faust und Margarethe (Gounod), 2. Duett a. Norma (Bellini)

209

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Musical boxes from Prague and Vienna

43489 3105

F.Rzebitschek/Musikwerk/Fabrik/in Prag (c)

Horovice; 10 cm cyl., 2 tunes, in case

43588 3608

F.Rzebitschek in Prag (c)

Private collection; 10.1 cm cyl., 2.5 cm diam., 2 tunes (including aria from “Norma“ by Bellini), in mantle clock

43598 3860

Rzebitschek

Information provided by Luuk Goldhoorn;

43619

Rzebitschek

Information provided by Luuk Goldhoorn;

43640 3859

Rzebitschek

Information provided by Luuk Goldhoorn;

43645 3882

Rzebitschek

Information provided by Luuk Goldhoorn;

43646 3862

F.Rzebitschek/Musikwerk/Fabrik/in Prag (c)

Private collection; 10 cm cyl., 2 tunes (copy of the lost tune sheet: Degenlied a. Großherzogin v. Gerolstein v. Offenbach / Donauwalzer)

43686 3745

F.Rzebitschek (c)

Private collection; 10 cm cyl., 2.5 cm diam., cast-iron bedplate (original?), 84 teeth, 2 tunes (“Mira o Norma” from “Norma” by Bellini, “Carnival of Venice”)

43947 3568

F.Rzebitschek (c)

Private collection; 2 tunes

44000 3881

F.Rzebitschek/Musikwerk/Fabrik/in Prag (c) Additional metal label to be fixed on the comb stamped “F. Řebíček V Praze“

Private collection; 13.4 cm cyl., 2.9 cm diam., comb with 94 teeth, bedplate 19 x 7.3 cm, thickness 8.1mm, 3 tunes (1. “Souvenir de Moscou” op. 6 by H. Wieniawski, 2. “Kde domov muj”, Czech anthem, 3. “Bosche, Zarja chrani”, Russian anthem), in case

44002 3882

Rzebitschek

Information provided by Luuk Goldhoorn;

44034 3831

F.Rzebitschek (c)

Clock museum; 2 tunes

44115 2979

Gustav Rzebitschek (c)

Private collection; 2 tunes

44145 3850

F.Rzebitschek/Musikwerk/Fabrik/in Prag (c)

Private collection; 10 cm cyl., 2 tunes (including “Blue Danube” waltz)

44294 3877

F.Rzebitschek/Musikwerk/Fabrik/in Prag (c)

Private collection; 10.2 cm cyl., 2.5 cm diam., 83 teeth, 2 tunes (including “Blue Danube” waltz), in case

44369 3951

Gustav Řebíček/Musikwerk/Fabrik/ in Prag (c)

Private collection; 95 teeth, 3 tunes, in case

44439 3901

F.Rzebitschek Musikwerk Fabrik in Prag (c)

Private collection; 3 tunes (including “Blue Danube” waltz) in case

44488 3388

Rzebitschek in Prag (c)

Private collection; beplate 151 x 66 x 7 mm, 10.25 cm cyl., 9.83 cm comb with 83 teeth, 2 tunes (including aria from “Il trovatore“ by Verdi)

44584 2869

F.Rzebitschek/Musikwerk/Fabrik/in Prag (c)

Private collection; 2 tunes, in case

44694 3890

Gustav Řebíček/Musikwerk/Fabrik/ Prag (c)

Private collection; 10.1 cm cyl., 2.5 cm diam., 2 tunes (waltzes by Johann Strauss: “Geschichten aus demWienerwald“, “Wiener Blut“)

44798 3414

F.Rzebitschek/Musikwerk/Fabrik/in Prag (c)

Private collection; 2 tunes, in case

210

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V. catalogue

44851 3101

F.Rzebitschek/Musikwerk/Fabrik/in Prag (c)

44976 3525

Private collection; 10 cm cyl., 2 tunes, in mantle clock Information provided by Luuk Goldhoorn; 6 tunes

45058 3530

Gustav Řebíček/Musikwerk/Fabrik/ in Prag (c)

Private collection; 83 teeth, 2 tunes, in case

45348 3898

Gustav Řebíček/Musikwerk/Fabrik/ in Prag (c)

Private collection; 2 tunes, in case

45452 3941

Gustav Řebíček/Musikwerk/Fabrik/ in Prag (c)

Private collection; 10.26 cm cyl., 2.63 cm diam., comb with 83 teeth, bedplate 15.4 x 6.5 x 0.76 cm, 2 tunes, tune sheet: 1 Die Wacht am Rhein 2 Neuer Pariser Einzugsmarsch, in case

45610 3588

Řebíček

Private collection; 20 cm cyl., 4 tunes, in grandfather clock

45632 3951

Gustav Řebíček/Musikwerk/Fabrik/ in Prag (c)

Private collection; 94 teeth, 3 tunes (including waltz from “Faust“ by Gounod, aria from “L’ Africaine“ by Meyerbeer)

45644 3481

F.Rzebitschek/Musikwerk/Fabrik/in Prag (c)

Dorotheum auction 4.4.2018 no. 186; 10 cm cyl., 2 tunes, in case

45649 3283

Gustav Řebíček/Musikwerk/Fabrik/ in Prag (c)

Private collection; 10 cm cyl., 2 tunes, in frame clock

45658 2379

Gustav Řebíček/Musikwerk/Fabrik/ in Prag (c)

Private collection; 10.1 cm cyl., comb with 83 teeth, 2 tunes (including “Preghiera“ from “Guillaume Tell“ by Rossini), in case

45851 3665

Gustav Řebíček (c)

Private collection; 3 tunes

45847 3603

Gustav Řebíček

Information provided by Luuk Goldhoorn;

45904 3947

Gustav Řebíček/Musikwerk/Fabrik/ in Prag (c, b)

Private collection; “1871“ under the fan, 4 tunes, in case, made especially for Baron Viktor Erlanger, constructor of the railway RaabÖdenburg, the 4 tunes are of Viktor Erlanger’s own composition

46013 3918

F.Rzebitschek/Musikwerk/Fabrik/in Prag (c)

Dom Antik; 10 cm cyl., 2 tunes (the signature stating “F. Rzebitschek…“ is noteworthy)

46021 3953

F.Rzebitschek/Musikwerk/Fabrik/in Prag (c)

Oberhofen; the serial no. on the bedplate is “46020“, on the tune sheet it is “46021“, 10 cm cyl., 2 tunes, in case with a tune sheet: 1 Air comp. Par Louis […] / 2 Frühlingslied v. G[…]

46039 4023

Gustav Řebíček

Information provided by Luuk Goldhoorn;

46091 3958

G. Řebíček v Praze (c)

Private collection; 10 cm cyl., 2 tunes, in case

46124 3656

G. Řebíček v. Praze (c)

Private collection; 10.3 cm cyl., 83 teeth, in case, tune sheet: Quartett a. Rigoletto / Zigeunerchor a. Il Trovatore

46205 3952

G. Řebíček/v Praze (c)

Antiquitäten Lindner; 10 cm cyl., 2 tunes

46431 3968

G. Řebíček v Praze (c)

Private collection; 3 tunes (1. “Casta diva” from “Norma” by Bellini, 2. “Rataplan” from “Les Huguenots“ by Meyerbeer, 3. Tune from “Prodaná nevěsta“ by Smetana), in photo album

46546 3958

Gustav Řebíček/Musikwerk/Fabrik/ in Prag (c)

Private collection; 10.3 cm cyl., 2.6 cm diam., comb 83 teeth, bedplate 15.6 x 6.7 cm, 2 tunes (polka, “Mein Lebenslauf ist Lieb und Lust“ waltz by Josef Strauss), in case

211

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Musical boxes from Prague and Vienna

46562 3612

G. Řebíček v Praze (c)

Private collection; 2 tunes

46614 3586

Gustav Řebíček/Musikwerk/Fabrik/ in Prag (c)

Private collection; 10.5 cm cyl., 2 tunes,

46616 3969

Rebicek

Information provided by Marc Boon; comb ca. 20 cm, 4 tunes (“Rataplan” from “Les Huguenots“ by Meyerbeer,  chorus (act 1) from “Il barbiere di siviglia” by Rossini, aria “Ditale amor” from “Il trovatore” by Verdi, “Festa di ballo” from “Ernani” by Verdi),  original case

46624 3971

Gustav Řebíček/Musikwerk/Fabrik/ in Prag (c, b)

Private collection, Mechanical Music vol.44/2 (Autumn 1998), p. 23-26; 12½“ cyl. 2⅛“ diam., 8 tunes, in case, tune sheet: 1. Marsch aus Tannhäuser, 2. Arie a. Barbier v.Sevilla, 3. Quartett a. Rigoletto, 4. Trinklied a. Traviata, 5. Arie a.Troubadour, 6. Duett a. Norma, 7. Couplet a. Faust, 8. Sextett a. Lucia di Lammermoor

46759 3621

Gustav Řebíček/Musikwerk/Fabrik/ in Prag (c)

Christies auction 30.10.2002 ; 10 cm cyl., 2 tunes, tune sheet: … a Robert le Diable / Finale a. Ernani

46773 3964

Gustav Řebíček/Musikwerk/Fabrik/ in Prag (c)

Private collection; 10 cm cyl., 2 tunes, case

46778 3964

Gustav Řebíček

Information provided by Luuk Goldhoorn; 2 tunes

46849 8907

Gustav Řebíček/Musikwerk/Fabrik/ in Prag (c, b)

Private collection; 6 tunes, in original case

46888 3257 (3967?)

Gustav Řebíček/Musikwerk/Fabrik/ in Prag (c)

Private collection; plate screwed onto the comb saying: “Th.Briese vormals/U.Eckardt/Frankfurt a.M.“ (Mechanical Music vol.50/2, 2004, p. 36f), 2 tunes

47070 3430

Gustav Řebíček/Musikwerk/Fabrik/ in Prag (c)

Private collection; 10 cm cyl., 83 teeth, 2 tunes

47199 3698

Gustav Řebíček

Information provided by Luuk Goldhoorn; 2 tunes

47257 3529

Gustav Řebíček/Musikwerk/Fabrik/ in Prag (c)

Private collection; 10 cm movement, cylinder and spring missing

47270 3946

Gustav Řebíček/Musikwerk/Fabrik/ in Prag (c)

Dorotheum auction 29.4.2013 no. 65; 10 cm cyl., 2 tunes, in picture clock

47426

Gustav Řebíček

Information provided by Luuk Goldhoorn;

47446 3962

Gustav Řebíček/Musikwerk/Fabrik/ in Prag (c, b)

Oberhofen; 4 tunes, in original case

47479 3388

Gustav Řebíček/Musikwerk/Fabrik/ in Prag (c)

Dorotheum auction 27.5.2009 no. 66; 10 cm cyl., 83 teeth, 2 tunes, in mantle clock

47508 2996

Gustav Řebíček/Musikwerk/Fabrik/ in Prag (c)

Information provided by O. Seemann; 3 tunes

47596

Gustav Řebíček

Information provided by Luuk Goldhoorn;

47607 3812

Gustav Řebíček/Musikwerk/Fabrik/ in Prag (c)

D&S; 2 tunes

212

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V. catalogue

47842 3960

Gustav Řebíček/Musikwerk/Fabrik/ in Prag (c, b)

Schinko; ca. 19 cm cyl., comb with 6 screws, 4 tunes, in case

47900 2906

Gustav Řebíček/Musikwerk/Fabrik/ in Prag (c)

Private collection; 10 cm cyl., 2 tunes, “4“ on the comb, tune sheet: R. Wagner: sei bedankt aus Lohengrin, Abendstern aus Tannhäuser, in case

47911 4016

Gustav Řebíček/Musikwerk/Fabrik/ in Prag (c)

Private collection; 10.2 cm cyl., 2.5 cm diam., 2 tunes (including aria from “Manon“ by Massenet)

48066 4012

Gustav Řebíček/Musikwerk/Fabrik/ in Prag (c)

Private collection; 10 cm cyl., 2 tunes, in book shaped case, tune sheet (of the retailer): I. Arie “La Graviata” II. Arie “I due Fascari” (see: Das mechanische Musikinstrument no. 102, August 2008, p. 14)

48151 4011

Gustav Řebíček

Information provided by Luuk Goldhoorn;

48189 3997

Gustav Řebíček/Musikwerk/Fabrik/ in Prag (c)

Dorotheum auction 9.11.2009 no. 60; 10 cm cyl., 2 tunes, in mantle clock

48209 3634

Gustav Řebíček/Musikwerk/Fabrik/ in Prag (c)

Private collection; 2 tunes

48327 3828

Gustav Řebíček/Musikwerk/Fabrik/ in Prag (c)

Private collection; 13.27 cm cyl., 2.88 cm diam., comb with 94 teeth, “7“ on the comb, bedplate 18.9 x 7.4 x 0.82 cm, 3 tunes (“Mailüfterl“ by Kreipel, waltz, polka), in case

48366 3931

Gustav Řebíček/Musikwerk/Fabrik/ in Prag (c)

Private collection; 10 cm cyl., 2 tunes, in mantle clock

48393 3834

Gustav Řebíček/Musikwerk/Fabrik/ in Prag (c)

Private collection; 2 tunes, 10 cm cyl.

48566 3931

Gustav Řebíček/Musikwerk/Fabrik/ in Prag (c)

Dorotheum auction 20.10.2010 no. 38; 10 cm cyl., 2 tunes (including “Blue Danube“ waltz), in mantle clock

48581 3720

GustavŘebíček/Musikwerk/Fabrik/ in Prag (c)

Private collection; 2 tunes (both from “Prodaná nevěsta“ by Smetana)

48610 3946

Gustav Řebíček/Musikwerk/Fabrik/ in Prag (c)

Private collection; 10 cm cyl., 2 tunes (including “ La Traviata” by Verdi)

48716 3969

Gustav Řebíček (c)

Private collection; 20.3 cm cyl., 4 tunes

48995 3083

Gustav Řebíček/Musikwerk/Fabrik/ in Prag (c)

Private collection; 10 cm cyl., 83 teeth, 2 tunes, in case

49112 3987

Gustav Řebíček/Musikwerk/Fabrik/ in Prag (c)

Surber’s museum; “3” on the comb, 4 tunes, in case

49136 3979

Gustav Řebíček

Information provided by Luuk Goldhoorn; 2 tunes

49233 4082

Gustav Řebíček/Musikwerk/Fabrik/ in Prag (c)

Private collection; 81 teeth, 2 tunes

49272 4082

Gustav Rebicek/Musikwerk/Fabrik/ in Prag (c)

Private collection; 10 cm cyl., 2 tunes ( “Stimmt schon“ polka by Millöcker, waltz)

49298 4095

Gustav Řebíček/Musikwerk/Fabrik/ in Prag (c, b)

Technical Museum Prague; 4 tunes, in case

213

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Musical boxes from Prague and Vienna

49330 3577

Gustav Řebíček/Musikwerk/Fabrik/ in Prag (c)

Private collection; 13.6 cm cyl., 3 tunes

49400 2397

Řebíček in Prag (c)

Private collection; 10.4 cm cyl., 2.6 cm diam., comb with 83 teeth, bedplate 15.6 x 6.7 cm, 2 tunes (1. Chorus from “Les Huguenots“ by Meyerbeer, 2. “Mailüfterl“ v. Kreipl), in case

49453 4114

Gustav Řebíček/Musikwerk/Fabrik/ in Prag (c)

Private collection, 10 cm cyl., 2 tunes

49461 3907

Th.Briese/vormals J.Eckardt/Fabrik in Prag (c)

Arthur W.J.G. Ord-Hume: The Musical Box, Atglen 1995, p. 282

49512 3687

Gustav Řebíček/Musikwerk/Fabrik/ in Prag (c)

Dorotheum auction 8.5.2002 no. 9; 2 tunes

49525 4011

Gustav Řebíček/Musikwerk/Fabrik/ in Prag (c)

D&S; 10 cm cyl., 2 tunes

49538 4124

Gustav Řebíček/Musikwerk/Fabrik/ in Prag (c, b)

Private collection; 20 cm cyl., 3.3 cm diam., 4 tunes

49549 3969

Gustav Řebíček/Musikwerk/Fabrik/ in Prag (c, b)

Dorotheum auction 20.10.2010 no. 22; 19.9 cm cyl., 3.3 cm diam., 4 tunes, in mantle clock

49632 4137

Gustav Řebíček/Musikwerk/Fabrik/ in Prag (c, b)

Dorotheum auction 10.11.2008 no. 346; 20 cm cyl., 4 tunes, in mantle clock

49638 3388

Gustav Řebíček/Musikwerk/Fabrik/ in Prag (c, b)

Dorotheum auction 27.5.2009 no. 156; 2 tunes, in case with a tune sheet: 1. Arie aus Il Trovatore / 2. Duett aus Linda di Chamounix

49842 2899

Gustav Řebíček/Musikwerk/Fabrik/ in Prag (c)

Private collection; 10 cm cyl., 2 tunes, in case

49847 4171

Gustav Řebíček/Musikwerk/Fabrik/ in Prag (c, b)

Dorotheum auction 28.4.2004 no. 41; 19.8 cm cyl., 3.2 cm diam., comb with 103 teeth, 4 tunes (1. undidentified, 2. “Miserere“ from “Il trovatore“ by Verdi, 3. “Ernani involami” from “Ernani” by. Verdi, 4. “Ach so fromm“ from “Martha“ by Flotow), in case

49909 4095

Gustav Řebíček/Musikwerk/Fabrik/ in Prag (c, b )

Horovice; 19.5 cm cyl., 4 tunes, in case with a glass window lid

49919 3971

Gustav Řebíček/Musikwerk/Fabrik/ in Prag (c, b)

Private collection;

49931 3727

Gustav Řebíček/Musikwerk/Fabrik/ in Prag (c, b)

Private collection; 19.8 cm cyl., 4 tunes

49982 4083

Gustav Řebíček/Musikwerk/Fabrik/ in Prag (c)

Private collection; ca. 12 cm cyl., comb with 5 screws, 3 tunes, in case

50142 3771

Gustav Řebíček/Musikwerk/Fabrik/ in Prag (c)

Private collection; 10 cm cyl., 83 teeth, 2 tunes (including aria from “Faust“ by Gounod), in original case

50276 4207

Gustav Řebíček

Private collection; 28 cm cyl., 4.7 cm diam., comb with 104 teeth, spring signed (stamped) “Millers Sohn Wien“, 6 tunes, in case

50211 4234

Gustav Řebíček

Information provided by Luuk Goldhoorn;

214

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V. catalogue

50288 2663

Gustav Řebíček/Musikwerk/Fabrik/ in Prag (c)

Private collection; 2 tunes, in a case from a later time

50302 4312

Gustav Rebicek/Musikwerk/Fabrik/ in Prag (c, b)

Private collection; 4 tunes (including Marie’s aria from “Prodaná nevěsta“ by Smetana,“O du mein holder Abendstern“ from “Tannhäuser“ by Wagner), in case

50343 4283

Gustav Řebíček

Information provided by Luuk Goldhoorn;

50386 4259

Gustav Řebíček/Musikwerk/Fabrik/ in Prag (c)

Private collection; in case

50479 4231

Gustav Řebíček

Information provided by Luuk Goldhoorn;

50519 4258

Gustav Řebíček/Musikwerk/Fabrik/ in Prag (c)

Private collection; 10.4 cm cyl., 2 tunes

50567 4098 

Rebicek

Information provided by Marc Boon; 2 airs, in original case

50570 3954

Gustav Řebíček/Musikwerk/Fabrik/ in Prag (c)

Private collection; 13.6 cm cyl., 2.7 cm diam., 3 tunes, in case with a glass window lid, tune sheet: 1. Duett a. Il Trovatore / 2. Chor a. Barbier von Sevilla / 3. Rataplan a. Hugenotten

50633 4287

Gustav Řebíček/Musikwerk/Fabrik/ in Prag (c)

Private collection; 10 cm cyl., 2 tunes, tune sheet: Stimmt schonPolka und Traum-Walzer a.d. Feldprediger v. Millöcker [1885].

50721 3608

Gustav Řebíček/Musikwerk/Fabrik/ in Prag (c)

Private collection; 10 cm cyl., 2 tunes, in picture clock

50769 3651

Gustav Řebíček/Musikwerk/Fabrik/ in Prag (c)

Private collection; 95 teeth, in case, 3 tunes, tune sheet: Duett aus Lohengrin / Duett 2. Akt a Faust und Margarete / Duett (Finale) a Faust und Margarete

….8 3850

Gustav Řebíček/Musikwerk/Fabrik/ in Prag (c)

Private collection; edge of the bedplate cut off, 10 cm cyl., 2 tunes (including “Blue Danube” waltz)

50774 3954

Gustav/Řebíček/Musikwerk/Fabrik/ in Prag (c)

Private collection; 13.5 cm cyl. 3 cm diam., in case

50779 4351

Gustav Řebíček/Musikwerk/Fabrik/ in Prag (c)

Private collection; 2 tunes

50901 3896

Gustav Řebíček/Musikwerk/Fabrik/ in Prag (c)

Private collection; 10 cm cyl., 2 tunes (including “Last rose“ by Flotow), in mantle clock

51027 3955

Gustav Řebíček/Musikwerk/Fabrik/ in Prag (c)

Dorotheum auction 27.10.2004 no. 55; cogwheel, 10 cm cyl., 83 teeth, 2 tunes, in case

51064 4337

Gustav Řebíček/Musikwerk/Fabrik/ in Prag (c)

Private collection; 12.7 cm cyl., 3 tunes, tune sheet: 1 Der Trompeter von Säckingen v. Nestler, 2 “Ja das Schreiben und das Lesen“ a.d. Zigeunerbaron v. Strauss, 3 “Alle maskiert“ aus Eine Nacht in Venedig v. Strauss, in original case

51224 4397

Gustav Řebíček/Musikwerk/Fabrik/ in Prag (c)

Private collection; 13.7 cm cyl., 2.9 cm diam., comb with 94 teeth, bedplate 19.47 x 7.42 cm, 3 tunes (including “Donauwellen“ waltz by Ivanovici), in case

51247 4402

Gustav Řebíček/Musikwerk/Fabrik/ in Prag (c)

Private collection; 13.3 cm cyl., numerous teeth broken, 3 tunes (including “Ach ich hab“ from “Der Bettelstudent“ by Millöcker), in original case with a glass window lid inside.

215

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Musical boxes from Prague and Vienna

51402 3922

G. Řebíček v. Praze (c)

Private collection; 2 tunes

51868 4498

Gustav Řebíček/Musikwerk/Fabrik/ in Prag (c)

Hofmobiliendepot Inv. No. MD 042749; 10 cm cyl., 2 tunes

- -

Gustav Řebíček/Musikwerk/Fabrik/ in Prag (c)

Private collection; in a case, dated 10.6.1867, 2 tunes

- -

Gustav Řebíček/Musikwerk/Fabrik/ in Prag (c)

Technical Museum Prague; 10 cm cyl., 2 tunes, in case

216

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V. catalogue

Franz Einsidl 77

Einsidl in Wien (c)

Private collection; no. on the spring cap, 2 tunes

78 24

F.Einsidl J.Sagan in Wien (b)

Seewen, Inv. No. LM 71591; 2 tunes, lantern wheel, picture clock

151 134

F.Einsidl J.Sagan in Wien (b)

Hegenbart; lantern wheel, 10 cm cyl., 2 tunes, in mantle clock

190 124

F.Einsidl J.Sagan in Wien (b)

Private collection; lantern wheel, “124“ scratched also on cylinder cap, 10 cm cyl., 81 teeth, 2 tunes

195 153

F.Einsidl J.Sagan in Wien (b)

Dorotheum auction 9.12.1997; 10 cm cyl., 2 tunes

313 85

F.Einsidl/J.Sagan/in Wien (c)

Private collection; 10 cm cyl., lantern wheel, 2 tunes (including “Radetzky-march“)

356 186

F.Einsidl/J.Sagan/in Wien (c)

Zorn; 10 cm cyl., 2 tunes, one tooth missing

378 91

F.Einsidl/J.Sagan/in Wien (c)

Dorotheum 16.12.1996; 2 tunes, 4 teeth missing

446 221

F.Einsidl/J.Sagan/in Wien (c)

Weinmann; 10 cm cyl., lantern wheel, 2 tunes, 1 tooth broken, in mantle clock

552 203

F.Einsidl/in Wien (c)

Dorotheum auction 25.10.2011; 10 cm cyl., 82 teeth, 2 tunes, in mantle clock

670 251

F.Einsidl/J.Sagan/in Wien (c)

Private collection; 10 cm cyl., 2.5 cm diam., 2 tunes

869 338

F.Einsidl/J.Sagan/in Wien (c)

Private collection; 10 cm cyl., 2.5 cm diam., “869“ also scratched on cylinder cap, “14“ stamped on spring cap and bedplate, 2 tunes. (song?, waltz), in wedding clock, see below “special movements“

1031 383

F.Einsidl/J.Sagan/in Wien (c)

Dorotheum auction 21.3.2012 no. 43; 10 cm cyl., 81 teeth, 2 tunes, in frame clock

1061 138

F.Einsidl/in Wien (c)

Dorotheum auction 29.4.2002 no. 45; 10 cm cyl., 2 tunes, in frame clock

1084 366

F.Einsidl/J.Sagan/in Wien (c)

Private collection; 10.2 cm cyl., 2 tunes

1094 405

F.Einsidl/J.Sagan/in Wien (c)

Clock museum Inv. Nr.137; 10 cm cyl, 2.5 cm diam., 2 tunes, lantern wheel, in picture clock

1104 138

F.Einsidl/J.Sagan/in Wien (c)

Private collection; 10 cm cyl., “11“ stamped on spring cap, 2 tunes

1138 389

F.Einsidl (c)

Private collection; 10 cm cyl., 2 tunes,

1172 381

F.Einsidl J.Sagan in Wien (c)

Weinmann; 16.4 cm cyl., lantern wheel, comb with 5 screws, 3 tunes, tune sheet: 1. Slavjanka, Polka von Titl 2. Attaque Quadrille von Strauß [op.76, 1850] 3. Frauen Käferl Walzer von Strauß [op. 82, 1850]

217

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Musical boxes from Prague and Vienna

?

?

F.Einsidl/J.Sagan/in Wien1

Private collection; 10 cm cyl., 2 tunes (“Martha“ von Flotow, ländler), in picture clock. “G 10/69 J“ written on the back (date of manufacture, acquisition, repair?)

1202 384

F.Einsidl in Wien (c)

Private collection; 10 cm cyl., 2 tunes, comb with 81 teeth, in frame clock

1273 370

F.Einsidl in Wien (c)

D&S; lantern wheel, 2 tunes

1280 405

F.Einsidl in Wien (c)

Private collection; 10 cm cyl., 2 tunes, in case

1299 370

F.Einsidl / in Wien (c)

Private collection; 10 cm cyl., 2 tunes

1466 456

F.Einsidl in Wien (c)

D&S; 10 cm cyl., 2 tunes

1487 439

F.Einsidl/in Wien (c)

Clock museum (depot); 10 cm cyl., 2 tunes, in wedding clock

1494 240 or 249

F.Einsidl in Wien (c)

Private collection; 10 cm cyl., 2 tunes, “1494“ also inside on comb base and cylinder cap

1541 499

F.Einsidl/in Wien (c)

Private collection; 10 cm cyl., 2.5 cm diam., no. also scratched on cylinder cap, 2 tunes

1556 1525

F.Einsidl in Wien (c)

Clock museum; 90 teeth, 3 tunes (including “Radetzkymarch“), music no. doubtful (perhaps 525?)

1566 406

F.Einsidl/in Wien (c)

Clock museum; 10 cm cyl., 2.5 cm diam., 2 tunes, lantern wheel (movement disassembled)

1593 1577

F.Einsidl/in Wien (c)

Dorotheum Salzburg auction 17.4.2003 no. 507; 2 tunes, in frame clock, music no. doubtful

1712 376

F.Einsidl/in Wien (c)

Private collection; 10 cm cyl., 2.5 cm diam., lantern wheel, “376“ scratched on cylinder cap, 2 tunes (including “Preghiera“ from “Guillaume Tell“ by Rossini)

1727 518

Einsidl

Information provided by Luuk Goldhoorn; 2 tunes

1798 558

F.Einsidl/in Wien (c)

The Music Box vol 3/8 (1968), p. 540-543; 10 cm cyl., 2 tunes

1851 546

F.Einsidl/in Wien (c)

Surber’s museum; 10 cm cyl., 2 tunes, in frame clock (combination not original)

1869 530

F.Einsidl/in Wien (c)

Private collection; 10 cm cyl., 2.5 cm diam., lantern wheel, 2 tunes (ländler, march)

1918 522

F.Einsidl/in Wien (c)

Private collection; comb with 5 screws, 3 tunes,

2071 586

F.Einsidl/in Wien (c)

Marchgraber; 10 cm cyl., lantern wheel, 2 tunes, in picture clock

599

F.Einsidl/in Wien (c)

Private collection; corner of the bedplate cut off, the music no. 599 is just visible, no. also on cylinder cap, lantern wheel, 10 cm cyl., 2 tunes

2117 613

F.Einsidl/in Wien (c)

Private collection; 10 cm cyl., 2 tunes, in picture clock

1 It was not possible to remove and open the back of the picture clock, thus the signature and the nos. could not be viewed. The signature is provided in: Alte Uhren und Geräte, 55.Verkaufskatalog, Uhrenstube Lukas Stolberg, Graz, Grabenstraße 9, Frühling 1997, p. 39; this catalogue also provides a photograph of the picture clock.

218

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V. catalogue

2196 640

F.Einsidl/in Wien (c)

Private collection; lantern wheel, 10 cm cyl., 81 teeth, 2 tunes

2199 643

F.Einsidl/in Wien (c)

Dorotheum auction 29.4.2013 no. 48; 10 cm cyl., 2 tunes, in wedding clock

2204 562

F.Einsidl/in Wien (c)

Dorotheum auction 6.11.2007 no. 322; 10 cm cyl., 2 tunes, in wedding clock

2209 639

F.Einsidl/in Wien (c)

Private collection; 10 cm cyl., hollow cylinder, “4“ on spring cap, 2 tunes (ländler, march)

2229 961

F.Einsidl/in Wien (c)

Dorotheum auction 21.3.2007 no. 96; 10 cm cyl., 2 tunes, in wedding clock

2262 652

F.Einsidl/in Wien (c)

Private collection; 10 cm cyl., 2 tunes,

2273 310

F.Einsidl/in Wien (c)

Clock museum Inv. No. 88; 10.1 cm cyl., 2.5 cm diam., 2 tunes, lantern wheel, in mantle clock

2303 603

Einsidl

Information provided by Luuk Goldhoorn;

2319 284

F.Einsidl/in Wien (c)

Zorn; lantern wheel, 2 tunes

2340 530

F.Einsidl/in Wien (c)

Dorotheum auction 20.10.2010 no. 37; 10 cm cyl., 2 tunes, in mantle clock

2349 669

F.Einsidl/in Wien (c)

Clock museum (depot); 10 cm cyl., 2 tunes, bass tooth two tips, in wedding clock

2388 676

F.Einsidl/in Wien (c)

Private collection; 10 cm cyl., 2.5 cm diam., 81 teeth, 2 tunes

2418 691

F.Einsidl/in Wien (c)

Private collection; 10 cm cyl., 2.5 cm diam., 2 tunes

2429 691

F.Einsidl/in Wien (c)

Dorotheum auction 28.4.2004 no. 52; 10 cm cyl., 2 tunes, 4 teeth broken, in mantle clock (wedding clock)

2481 656

F.Einsidl/in Wien (c)

Hofmobliliendepot Inv. No. MD 059751/011; 10 cm cyl., 2 tunes

2591 607

F.Einsidl/in Wien (c)

Private collection; 10 cm cyl., 2 tunes (aria from. “Hunyadi Laszlo“ by Erkel, “La Donna è mobile“ by Verdi), in case

2609 746

F.Einsidl/in Wien (c)

Private collection; 10 cm cyl., 2.6 cm diam., cogwheel, 2 tunes (including chorus from “Les Huguenots“ by Meyerbeer)

2615 749

Einsidl

Information provided by Luuk Goldhoorn;

2638 701

F.Einsidl/in Wien (c)

Dorotheum auction 25.10.2011 no. 100; 10 cm cyl., 2 tunes, in picture clock, tune sheet: 1., Rakoczy Marsch / 2., Neogradi Csardaz

2794 807

F.Einsidl in Wien (c)

Clock museum Bratislava; 10 cm cyl., 2 tunes, in picture clock

2918 821

F.Einsidl/in Wien (c)

Private collection; 10 cm cyl., 2 tunes, in picture clock

2938 697

F.Einsidl/in Wien (c)

Private collection; 10.1 cm cyl., 2.8 cm diam., comb with 81 teeth, bedplate 15.8 x 6.8 cm, 2 tunes (“Alföldi“- Csárdás and Hungarian song), in case

2978 849

F.Einsidl/in Wien (c)

Private collection; in frame clock

219

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Musical boxes from Prague and Vienna

3002 696

F.Einsidl/in Wien (c)

Private collection; “3002“ scratched on cylinder cap, 10 cm cyl., 2.5 cm diam., 2 tunes

3010 821

F.Einsidl/in Wien (c)

Private collection; 10 cm cyl., 2 tunes, in wedding clock.

3018 864

F.Einsidl in Wien (c)

D&S; 10 cm cyl., 2 tunes

3031 803

F.Einsidl/in Wien (c)

Rasch; 2 tunes, in wedding clock

3068 816

F.Einsidl/in Wien (c)

Dorotheum auction 25.10.2011 no. 98; 10 cm cyl., 2 tunes, in picture clock

3225 709

Einsidl

Information provided by Luuk Goldhoorn; 3 tunes

3244

Einsidl

Information provided by Luuk Goldhoorn; 4 tunes

3549 963

F.Einsidl/in Wien (c)

Private collection; 10 cm cyl., 2 tunes

3597 920

F.Einsidl/in Wien (c)

Hirsch; 10 cm cyl., 2 tunes

4014 337

Einsidl/in Wien (c)

Private collection; 9.6 cm cyl., 2.3 cm diam., 2 tunes

4037 1095

F.Einsidl/in Wien (c)

Geymüller Inv. No. 1474; 10 cm cyl., 2 tunes, in picture clock

4152 1149

F.Einsidl/in Wien (c)

Private collection; 10 cm cyl., 2 tunes, in mantle clock

4191(?) 1037

F.Einsidl/in Wien (c)

Private collection; 10 cm cyl., 2 tunes, in mantle clock, serial no. doubtful

4191 1157

F.Einsidl in Wien (c)

Reich; 10 cm cyl., 2 tunes

4420 1238

F.Einsidl/in Wien (c)

Dorotheum auction 11.12.2002 no. 8; 10 cm cyl., 2 tunes, in mantle clock, comb with 81 teeth

4427 1241

F.Einsidl/in Wien (c)

Dorotheum auction 13.10.2010 no. 1021; 10 cm cyl., 2 tunes, 8 teeth missing, in picture clock with automaton

4433 1243

F.Einsidl/in Wien (c)

Private collection; 10 cm cyl., 2 tunes, serial no. also scratched on cylinder cap

4460 1249

F.Einsidl/in Wien (c)

Private collection; 10 cm cyl., 2 tunes, serial no. also scratched on cylinder cap

4525 370

F.Einsidl/in Wien (c)

Dorotheum auction 27.5.2009 no. 59; 10 cm cyl., 2 tunes, in mantle clock

4606 1296

F.Einsidl/in Wien (c)

Dorotheum auction 21.3.2007 no. 71; 10 cm cyl., 2 tunes, 82 teeth, in mantle clock

4651 1307

F.Einsidl/in Wien (c)

Private collection; 10 cm cyl., cogwheel, bass tooth with two tips, 2 tunes

4654 1324

F.Einsidl/in Wien (c)

Private collection; 10 cm cyl., 2.5 cm diam., cogwheel, bass tooth with two tips, 2 tunes

4695 1272

F.Einsidl/in Wien (c)

Private collection; 10.1 cm cyl., 2.8 cm diam., cogwheel, 2 tunes, in new case

4664 1182

F.Einsidl/in Wien (c)

Private collection; 2 tunes

220

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V. catalogue

4676 1304

F.Einsidl/in Wien (c)

Dorotheum auction 4.5.1999 no. 284; 10 cm cyl., 2 tunes (folk songs?), the last cipher of the music no. is a “9“ stamped over a “4“, in picture clock.

4725 1274

F.Einsidl/in Wien (c)

Dorotheum auction 19.10.2001; 10 cm cyl., 2 tunes, in mantle clock

4760 1344

F.Einsidl/in Wien (c)

Dorotheum auction 16.12.1996: 2 tunes, tune sheet: 1. Aria a.d.op. Die Zigeunerin, 2. Der Gamsjäger, Polka v. Haag

4795 1333 

F.Einsidl/in Wien

Information provided by Marc Boon; 2 Mel.

4881 1314

F.Einsidl in Wien (c)

D&S; 10,2 cm cyl., 2 tunes

4915 1377

F.Einsidl in Wien (c)

D&S; 20.4 cm cyl., 3.4 cm diam., adjustable tune changer, 4 tunes

4920 803

F.Einsidl in Wien (c)

Private collection; 10 cm cyl., 2 tunes

4964 1307

F.Einsidl in Wien (c)

Dorotheum auction 26.5.2000 no. 416; 10 cm cyl., 2 tunes

5034 1036

Einsidl

Information provided by Luuk Goldhoorn; 2 tunes

6027 1191

F.Einsidl/in Wien (c)

Dorotheum auction 27.5.2010 no. 3; 10 cm cyl., in picture clock

7001 1240

F.Einsidl/in Wien (c)

Private collection; 10.65 cm cyl., 2.83 cm diam., cogwheel, comb with 81 teeth, bedplate 15.7 x 6.7 x 0.7 cm; 2 tunes (polka, waltz), in case

7026 1427

F.Einsidl/in Wien (c)

Weinmann; 10 cm cyl., 2 tunes (polka, waltz), in mantle clock

7142 1199

F.Einsidl in Wien (c)

The Music Box vol.3/8 (1968) p. 540-543; 10 cm cyl., 2 tunes

7192 1383

F.Einsidl/in Wien (c)

Reich; 10 cm cyl., 2 tunes

7208 637

F.Einsidl/in Wien (c)

Private collection; both nos. also scratched on cylinder cap, 10 cm cyl., 2.6 cm diam., 2 tunes (couplet?, ländler)

7223 1461

F.Einsidl Wien (c)

Private collection; bedplate 158 x 67 x 7.5 mm, 10.1 cm cyl., 2.8 cm diam., 9.8 cm comb with 81 teeth, 2 tunes,

7413 1519

F.Einsidl/in Wien (c)

Private collection; 10 cm cyl., 2 tunes

7451 461

F.Einsidl/in Wien (c)

Dorotheum auction 31.3.2016 no. 68; 10 cm cyl., 2 tunes, in mantle clock (anniversary clock)

7461 1504

F.Einsidl/in Wien (c)

Clock museum (depot); 10 cm cyl., 2 tunes, in mantle clock

7659

Einsidl

Information provided by Luuk Goldhoorn; 4 tunes

7666 1416

F.Einsidl/in Wien (c)

Dorotheum auction 14.12.1998 no. 323; 2 tunes, 10 cm cyl., cogwheel, repair work, in automaton picture

7949 1682

F.Einsidl/in Wien (c)

Private collection; 10 cm cyl., 2.5 cm diam., 81 teeth, 2 tunes

7960 1687

Dorotheum auction 4.4.2018 no. 73; 10 cm cyl., 2 tunes (waltz, march), unsigned but undoubtedly by Einsidl, in mantle clock

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Musical boxes from Prague and Vienna

8660 1788

F.Einsidl/in Wien (c)

Private collection; cast-iron bedplate, “1788“ stamped on the bearing of the cylinder, both nos. scratched on cylinder cap, 10 cm cyl., 82 teeth, 2 tunes

8796 1803

F.Einsidl Wien (c)

Private collection; cast-iron bedplate: 158 x 67 x 9 mm, “1803“ stamped on the bearing of the cylinder, both nos. scratched on cylinder cap, 10.2 cm cyl., 2.57 cm diam., comb 10 cm long with 82 teeth, 2 tunes

9271 1997

F.Einsidl/in Wien (c)

Dorotheum auction 8.6.1999 no. 829; “Mus 1997/9271“ scratched on comb base, “1997“ on bedplate, “9271“ on cogwheel next to the cyl.

9937 2170

Information provided by Luuk Goldhoorn; comb by Brüder Stern (Speelklok museum, Utrecht)

?615 749

Einsidl in Wien (c)

Dorotheum auction 29.10.2001 no. 920; 10 cm cyl., 2 tunes

?045 610

F.Einsidl/in Wien (c)

Dorotheum auction 9.11.2009 no. 52; corner of the bedplate cut off, - first cipher missing, 10 cm cyl., 2 tunes, in mantle clock (wedding clock).

F.Einsidl Wien (c)

Dorotheum auction 23.3.2011 no. 54; 10 cm cyl., 2 tunes, cast-iron bedplate, no. stamped on the bearing of the cylinder (most probably the music no.), blued screws (from later repair work?), in mantle clock

F.Einsidl/in Wien (c)

Dorotheum auction 28.9.2017 no. 52; corner of the bedplate cut off, nos. incomplete, 10 cm cyl., 2 tunes. (polka, waltz), in wedding clock

1415

?30 ?78

-

-

F.Einsidl in Wien (c)

Dorotheum auction 12.5.1998; cast-iron bedplate, 10 cm cyl., 2 tunes, in mantle clock

-

-

F.Einsidl /in Wien (c)

Neidhart; cast-iron bedplate, 14.3 cm cyl., 3 tunes (“oriental“ style)

-

-

F.Einsidl (c)

Private collection; cast-iron bedplate, “18 80“ on the edge of the bedplate, 10 cm cyl., 2 tunes

-

-

F.Einsidl/Wien (c)

Dorotheum auction 29.10.2001 no. 17; cast-iron bedplate, “4“ on the spring cap, 10 cm cyl., 2 tunes, in mantle clock

-

-

F.Einsidl/in Wien (c)

Dorotheum auction 16.11.2005 no. 68; cast-iron bedplate, 10 cm cyl., 2 tunes, in picture clock

222

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V. catalogue

other makers Alois Maly 3529 831

A.Maly in Prag (c?)

Private collection; 10.6 cm cyl., 83 teeth, 2 tunes, in toilet case

3643 857

A. Maly / in Prag (b)

Private collection; 10.66 cm cyl., 2.66 cm diam., comb with 84 teeth, bedplate 15.4 x 6.95 x 7.1 cm; 2 tunes, in case

6819 1528

A. Maly (b)

Private collection; signature under the comb, 4 tunes, (including Czech anthem), in case with a glass window lid

7669 2028

A. Maly in Prag (b)

Private collection; 19.9 cm cyl., 3.4 cm diam., 4 tunes (including waltz from “Faust“ by Gounod, “Klosterglocken“ by Louis Lefébure-Wely, “Ständchen“ by Schubert)

A. Maly

Information provided by Luuk Goldhoorn; cast-iron bedplate, 4 tunes

2283

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Musical boxes from Prague and Vienna

Slawik und Preiszler 307 239

Slawik&/Preiszler/in Prag (c)

Private collection; 10 cm cyl., 2 tunes

1806 274

Slawik&/Preiszler/in Prag (c)

Koller auction Dec. 2006; 10 cm cyl., 2 tunes

1831 104

Slawik&/Preiszler/in Prag (c)

Private collection; 10 cm cyl.

1885 283

Slawik&/Preiszler/in Prag (c)

Private collection; 10 cm cyl.

1926 257

Slawik&/Preiszler/in Prag (c)

Private collection; 10 cm cyl., 82 teeth, 2 tunes, in case

1927 211

Slawik&/Preiszler/in Prag (c)

Private collection; 10.1 cm cyl., 2 tunes

1965 279

Slawik&/Preiszler/in Prag (c)

Breker auction 24.5.2014 no. 512; 10 cm cyl., 2 tunes, in frame clock

2028 243

Slawik&/Preiszler/in Prag (c)

Private collection; 10.18 cm cyl., 2.72 cm diam., comb 82 teeth, bedplate 15.2 x 6.98 x 0.7 cm, tune sheet: 1 Aria a.d. Oper Dom Sebastian v. Donizetti 2 Concordia Walzer v. Strauss, in case (originally in mantle clock)

2038 300

Slawik&Preiszler

Information provided by Luuk Goldhoorn;

2094 280?

Slawik&/Preiszler/in Prag (c)

Dorotheum auction 26.3.2003 no. 582; 2 tunes, in mantle clock, music no. possibly 380.

2331 270

Slawik&Preiszler in Prag (c)

Utrecht; 2 tunes (originally in the base of a bird cage)

2616 356

Slawik&/Preiszler/in Prag (c)

Private collection; 10 cm cyl., 2 tunes

2658 356

Slawik&/Preiszler/in Prag (c)

Dorotheum Auktion 29.3.2017 no. 79; 10 cm cyl., tune sheet: 1. Ländler v. Baumann / 2. Favorit Polka von Hillmann, in wedding clock

2687 374

Slawik&/Preiszler/in Prag (c)

Dorotheum auction 21.4.2010 no. 1080; 10 cm cyl., 2 tunes, in picture clock

2875 365

Slawik&Preiszler in Prag (c)

Private collection; 10.3 cm cyl., 2.7 cm diam., 2 tunes

2910 398

Slawik&Preiszler

Information provided by Luuk Goldhoorn;

2972 430

Slawik&Preiszler in Prag (c)

Dorotheum auction 9.11.2009 no. 51; 10 cm cyl., 2 tunes, in wedding clock

2988 432

Slawik&/Preiszler/in Prag (c)

Smidt Muzeum; 10.3 cm cyl., 2.65 cm diam., 2 tunes, in frame clock

3214 430

Slawik&/Preiszler/in Prag (c)

Kinsky auction 16.4.2008; 10 cm cyl., 2 tunes in picture clock (signed “Hoffmeister“)

3277 491

Slawik&/Preiszler/in Prag (c)

Private collection; 10 cm cyl., 2 tunes (aria from “Hunyadi Laszlo“ by Erkel, “Preghiera“ from “Guillaume Tell” by Rossini)

3307 493

Slawik&/Preiszler/in Prag (c)

Private collection; 10 cm cyl.

3365 450

Slawik&/Preiszler/in Prag (c)

Dorotheum auction 31.3.2016 no. 76; 10 cm cyl., 2 tunes, in picture clock

224

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V. catalogue

3398 503

Slawik&/Preiszler/in Prag (c)

Private collection; 10 cm cyl., 2 tunes

3407 503

Slawik&/Preiszler/in Prag (c)

Dorotheum auction 26.5.2000; 10 cm cyl., bass tooth with two tips, cogwheel, 2 tunes, in mantle clock

3459 506

Slawik&/Preiszler/in Prag (c)

Private collection; 10 cm cyl., 2 tunes, in case

3460 510

Slawik&/Preiszler/in Prag (c)

Dorotheum auction 24.3.2010 no. 111; 10 cm cyl., 2 tunes (including “Last rose“ from “Martha“ by Flotow), in newly made picture clock

3663 481

Slawik&/Preiszler/in Prag (c)

Surber’s museum; 10 cm cyl., 2 tunes (polka, ländler), in wedding clock

3775 554

Slawik&/Preiszler/in Prag (c)

Private collection; 10 cm cyl.

3997 689

Slawik / in Prag (c)

Sternat; 10 cm cyl., cogwheel, 2 tunes (aria from “La Traviata“ by Verdi, waltz), comb in parts, in picture clock

4092 556

Slawik / in Prag (c)

Private collection; 10.1 cm cyl., 2.6 cm diam., 83 teeth, bass tooth with two tips, 2 tunes,

4221 738

Slawik / in Prag (c, b)

Private collection; 4 tunes, tune sheet: I. Pilger Chor a. Tannhäuser v. Wagner / II. Die Zufälligen Walzer v. Strauhs / III. Trinklied a.d. Oper … v. Meyerbeer / III. Finale a.d. Oper Martha v. Flotow

-

Slawik / in Prag (c)

Private collection; 10 cm cyl., comb with 83 teeth, 2 tunes, in frame clock

-

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Musical boxes from Prague and Vienna

Salisch und Nowak 6991  689  

Salisch&Ant.Nowak in Josefstadt

Information provided by Marc Boon; 2 tunes

7005 704

Salisch&Ant.Novak in Josefstadt (cb)

Private collection; 10 cm cyl., 2 tunes

7016 717

Salisch&Ant.Nowak in Josefstadt (b)

Private collection; 10 cm cyl., 2 tunes, in mantle clock

7019 718

Salisch&Ant.Nowak in Josefstadt (b)

Hüttler; 10 cm cyl., 2 tunes

7042 739

Salisch&Ant.Nowak in Josefstadt (b)

Private collection; 10.1 cm cyl., 2.8 cm diam., 83 teeth, bass tooth with two tips, 2 tunes (including Polish anthem)

7048 743

Salisch&Ant.Novak in Josefstadt (b)

Private collection; bass tooth with two tips, 10.1 cm cyl., 2 tunes

Salisch&Ant.Nowak in Josefstadt

Private collection

- -

Anton Schidlo - -

Schidlo/in Wien (c)

Private collection; 10 cm cyl.

- -

Schidlo/in Wien (c)

Private collection; 10 cm cyl., 2.5 cm diam., unreadable no. on bedplate (hole drilled through)

552 203

Schidlo/in Wien (c)

Dorotheum auction 25.10.2011 no. 61; 10 cm cyl., 2 tunes, in wedding clock

575 99

Schidlo in Wien (c)

Private collection; 12.4 cm cyl., 2.8 cm diam., lantern wheel, comb 12.3 cm, 82 teeth, 3 tunes (including “Last rose“ from “Martha“ by Flotow)

226

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V. catalogue

Brüder Stern - -

Brüder Stern/Wien (c)

Budapest Inv. no. 53.9451; cast-iron bedplate, 10 cm cyl., 2 tunes

-

-

Brüder Stern/Wien (c)

D&S; cast-iron bedplate, comb with 5 screws, 14.3 cm cyl., 3 tunes

-

-

Brüder Stern/Wien (c)

Dorotheum auction 5.5.2000 no. 108; 10 cm cyl., 2 tunes, in frame clock

-

-

Brüder Stern/Wien (c)

Private collection; cast-iron bedplate, 10 cm cyl., 2 tunes, fan missing

-

-

Brüder Stern/Wien (c)

Sopron, Inv. no. S 84.404.1; cast-iron bedplate, 10 cm cyl., 2 tunes

- -

Brüder Stern/Wien (c)

Private collection; cast-iron bedplate, 10 cm cyl., 2.6 cm diam., 2 tunes

-

1041

Brüder Stern/Wien (c)

Private collection; cast-iron bedplate, no. on cylinder cap, 14.3 cm cyl., 2.9 cm diam., 3 tunes

-

1555

Brüder Stern/Wien (c)

Private collection; cast-iron bedplate, no. on cylinder bearing, 10.2 cm cyl., 82 teeth, 2 tunes

-

1576

Brüder Stern/Wien (c)

Private collection; cast-iron bedplate, no. on cylinder bearing, 10 cm cyl., 2 tunes

-

1656

Brüder Stern/Wien (c)

Private collection; cast-iron bedplate, no. scratched on cylinder cap, 10.1 cm cyl., 82 teeth, 2 tunes

-

1953

Brüder Stern/Wien (c)

Private collection; cast-iron bedplate, “1953“ on cylinder bearing, in case, 2 tunes (“Blue Danube” waltz, “Carnival of Venice“)

-

2110

Brüder Stern/in Wien (c)

Weinmann; cast-iron bedplate, no. stamped on cylinder bearing and scratched on cylinder cap, 10 cm cyl., 82 teeth, cogwheel, 2 tunes, in mantle clock

-

2126

Brüder Stern/in Wien (c)

Dorotheum auction 27.5.2009 no. 63; no. on cylinder cap, 10 cm cyl. 2 tunes, in mantle clock

Brüder Stern (c)

Christian Eric, Mechanical Music 41/2 (1995) p. 18f; cast-iron bedplate, 14.2 cm cyl., 2.5 cm diam., comb with 91 teeth, no. on the cogwheel next to the cylinder (no. incomplete?), 3 tunes (including aria from “Tannhäuser“ by Wagner), spring signed “M.Ms S. Wien“ (Miller in Vienna), in case

8270 1455

Brüder Stern/Wien (c)

Private collection; both nos. scratched on cylinder cap, “1455“ stamped on cylinder bearing, cast-iron bedplate, 10.1 cm cyl., 2.5 cm diam., cog wheel, 2 tunes

8282

Brüder Stern

Information provided by Luuk Goldhoorn;

9146

Brüder Stern/in Wien (c)

Dorotheum auction 24.3.2010 no. 19; no. on cylinder cap, another no. stamped on the cylinder bearing under the screw (unreadable); 10 cm cyl., 2 tunes, in mantle clock

8239

17(?)

227

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Musical boxes from Prague and Vienna

9463 2058

Brüder Stern/Wien (c)

Private collection; 10.5 cm cyl., 2.5 cm diam., cast-iron bedplate, both nos. scratched on cylinder cap, “2058“ stamped on cylinder bearing, 2 tunes

9561 2071

Brüder Stern/Wien (c)

Private collection; 16.7 cm cyl., 3.1 cm diam., 3 tunes (folk dance, “Rákóczi-march“, air from “Merry Widow“ by Lehar)

9895 2167

Brüder Stern/Wien (c)

Private collection; nos. on cylinder bearing and cylinder cap, cast-iron bedplate, 10 cm cyl., 2 tunes

9936 1888

Brüder Stern/Wien (c)

Private collection; nos. on cylinder bearing and cylinder cap could also be read as “9946“ and “1388“, 10 cm cyl., 2 tunes

10067 1071

Brüder Stern/Wien (c)

Dorotheum Auktion 4.12.98, no.230 / auction 29.3.2017 no. 65 / privat collection; cast-iron bedplate, cogwheel, “10067“ scratched on cylinder cap, “1071“ stamped on cylinder bearing, 10 cm cyl., 2 tunes, picture clock (with inappropriate tune sheet: 1.Volksgarten Walzer von Dubek/ 2. Erinnerungen an Baden Polka v. Strauß/Nr…588 )

228

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V. catalogue

August Bartel - -

A.Bartel in Wien (cb)

Bratislava; cast-iron bedplate, 2 tunes, in picture clock,

- -

A.Bartel in Wien (cb)

D&S; in case, lid with a glass window, cast-iron bedplate

- -

A.Bartel in Wien (cb)

D&S; in case, lid with a glass window, cast-iron bedplate

- -

A.Bartel in Wien (cb)

Private collection; cast-iron bedplate, 17.5 cm cyl., 4 tunes

A.Bartel in Wien (cb)

Private collection; cast-iron bedplate, 10 cm cyl., 83 teeth, 2 tunes, in frame clock

- -

A.Bartel (spring cap)

Private collection; 26.5 cm cyl., 5.5 cm diam., 8 tunes, adjustable fan, cast-iron bedplate, in picture clock

- -

A.Bartel

Private collection; 8 tunes, in case with a tune sheet: 1. Yes let me like a soldiers fall v. Wallace, 2. Silver threads among the old v. Danks, 3. My pretty Jane, 4. Sweethearts Waltz v. D’Albert, 5. Les gardes de la reine Waltz v. Godfrey, 6. Marsh of the men of Harleck v. Thomas, 7. Telegramme Walzer v. Strauss, 8.Auld long syne.

-

-

164

A. Bartel / in Wien (on the bearing of the spring)

Private collection; cast-iron bedplate, 37.2 cm cyl., “164“ stamped on the cylinder, 8 tunes, in case (Swiss type) with inappropriate tune sheet

-

666

A. Bartel in Wien (b, under the comb)

Private collection; no. scratched on the cylinder cap, 12.7 cm cyl., 3 tunes, in case with a tune sheet: 1. Fatinitza Marsch von Suppe / 2. Herzklopfen Polka franc v. Kremser / 3. Alla stella confidente Air de Gobbe…

595 401

AB (stamped on the lower part bearing the fan)

Private collection; 10 cm cyl., cast-iron bedplate, nos. on the tune card, in case with a tune sheet: 1. Duett a.d. Op. Dom Sebastian von Donizetti / 2. Arie a.d. Op. Die Afrikanerin v. Meierbeer

814 348

A.Bartel in Wien (cb)

Private collection; cast-iron bedplate, bedplate 16 x 6.5 cm, 10.4 cm cyl., 2.4 cm diam., 81 teeth, cogwheel, no. scratched on the cylinder cap, 2 tunes (waltz, polka)

1024

Bartel in Wien (cb)

Private collection; 13.3 cm cyl., cast-iron bedplate, comb with 86 teeth, 3 tunes, in case

1116 916

A. Bartel in Wien (cb)

Private collection; cast-iron bedplate, nos. scratched on the cylinder cap, 24.4 cm cyl., 4.3 cm diam., adjustable fan, comb with 8 screws

1296 469

A. Bartel in Wien (cb)

Dorotheum auction 27.5.2009 no. 155; cast-iron bedplate, 12.9 cm cyl., 3 cm diam., nos. scratched on the cylinder cap, tune sheet: 1 In der Hinterbrühl Marsch / 2 Boccacio Walzer v. Strauss / 3 Pariser Polka francaise v. Strauss.

1306 703

A. Bartel in Wien (cb) AB on cogwheel

Private collection; cast-iron bedplate, nos. scratched on the cylinder cap, “M 703“ on comb base, 10.62 cm cyl., 3.1 cm diam., comb with 85 teeth, 2 tunes (“Wiener Blut“ waltz by Johann Strauss, “Boccaccio march“ by Suppé), in case

229

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Musical boxes from Prague and Vienna

1327 714

A. Bartel in Wien (cb) AB on cogwheel

Private collection; cast-iron bedplate, nos. scratched on the cylinder cap, 10 cm cyl., 85 teeth, fan and governer cock come from a Prague movement (repair work), 2 tunes

1366 737

A. Bartel in Wien (cb)

Private collection; cast-iron bedplate, nos. scratched on the cylinder cap, 10 cm cyl., 2 tunes

1750 959

Bartel in Wien (cb)

Private collection; cast-iron bedplate, “1750“ scratched on cylinder cap, “959“ on the tune sheet, 10 cm cyl., 85 teeth, tune sheet: Lagunen Walzer v. Joh. Strauß, Laura Walzer v. Millöcker

(August or Edmund Bartel)

Private collection; “AB“ stamped on several parts, cast-iron bedplate, spring signed “Miller in Wien“, cogwheel, 13.3 cm cyl., 3 cm diam., 86 teeth, in case with glass window lid, 3 tunes, tune sheet: 1. Über den Wellen Walzer, 2. Herzensdieb Lied v. Adolfi, 3. ..und schneidig Marsch v. Ziehrer

Bartel in Wien

Information provided by Marc Boon; 88 teeth, 3 tunes, original case with glass window lid

230

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V. catalogue

Josef Wyskocil Serial no. 23443445 (!) probably 23445, music no. 6330

Josef Wyskocil (vormals Josef Olbrich) Wien

Private collection, The Music Box vol.16/5, spring 94 p. 24; 6 tunes, nos. and names on the tune sheet: 1) Radetzky Marsch, 2) Piece aus der Ouverture zur Oper: Guillaume Tell 3) ZigeunerLied aus der Oper Trovatore 4) Priester-Chor aus der Oper Norma 5) An der schönen blauen Donau Walzer 6) Die Wacht am Rhein Lied Private collection; cast-iron bedplate, perhaps made by Jos. Wyskočil because of the shape of the lever securing the spring, 12,5 cm cyl., comb with 5 screws, 3 tunes, in original case with art nouveau-style ornament Private collection; cast-iron bedplate, perhaps made by Jos. Wyskočil because of the shape of the lever securing the spring, 10 cm cyl., 2 tunes, Dorotheum auction 23.4.2014 no. 75; cast-iron bedplate, comb with 5 screws, 3 tunes (including “Fiakerlied“, and “Lagunen-Walzer“ by Johann Strauss), in mantle clock, probably by Wyskocil? Private collection; cast-iron bedplate, 22 cm cyl., 8 cm diam.!, 2 tunes (!) (including “Brautchor“ from “Lohengrin“ by Wagner), probably by Wyskocil? Information provided by Marc Boon; 6 airs (two per turn), 13.4 cm cyl., 6 cm diam. (probably Wyskocil?)

Karl Kantek 5262 196

Karl Kantek in Wien (b)

Private collection; 13 cm cyl. 3,1 cm diam., 3 tunes

5295 211

Karl Kantek in Wien (b)

Private collection; 6 tunes, in case, tune sheet: Musik no. 5295, Zahl no. 211/1, Triumphchor aus “Stumme von Portici“, Auber / 2, An der schönen blauen Donau “Walzer“, Strauhs / 3, Zigeuner Chor aus “Trovatore“ Verdi / 4, Aus den Bergen “Walzer“ Strauhs / 5, Trinklied aus dem “Profet“ Meyerbeer / 6, Über Feld und Wiese “Polka“ Strauhs

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Musical boxes from Prague and Vienna

Special movements „Peter Götz in Wien“ (b)

Geymüller Inv. no. 1535; 6.6 cm cyl., 2.5 cm diam., 2 tunes, in mantle clock

„Peter Götz in Wien“ (b)

Geymüller Inv. no. 1534; 9.1 cm cyl., 2.9 cm diam., 2 tunes, in mantle clock

309 108

„Jos. Olbrich/in Wien“ (c)

Private collection; regarding the nos. the bedplate probably comes from Einsidl, “4455“ scratched on bedplate could be the music no. of Olbrich, 10 cm cyl., 2 tunes (czardas, “Blue Danube” waltz)

N 499 8584

Willenbacher&Rzebitschek in Prag (b) A.Olbrich/in Wien (c)

Antiquitäten Lindner; nos. at right angles, 8.8 cm cyl., 2 tunes, comb with 3 screws

F.Einsidl/J.Sagan/in Wien (c), Rzebitschek Prag (c)

Private collection; 10 cm cyl., 2.5 cm diam., 2 tunes (song, waltz), in wedding clock, original Einsidl-movement with a comb in 3 parts: treble by Einsidl, bass by Rzebitschek, furthermore three bass teeth added, the lowest tooth with two tips, “869” scratched on bedplate, “14” stamped on spring cap and bedplate; “234 M“ on the lead weight of bass tooth (Maly?)

2170 (on the bearing of the cylinder), 9937 (on cylinder cap)

Brüder Stern/Wien (c), F. Einsidl (b)

Private collection; 10.2 cm cyl., 2.5 cm diam., 82 teeth, lantern wheel, without spring, converted into a manivelle, 2 tunes

16099 1847

Einsidl in Wien (c)

T. Reed (Information); 10 cm cyl., lantern wheel, comb by Einsidl, movement (bedplate etc.) by A. Olbrich (as to the numbers)

20414 1785 (b), 2190 and 444 (c)

Rzebitschek in Prag (c)

Information provided by Luuk Goldhoorn; cyl. by Olbrich

869 338

Private collection; cylinder with disc screwed onto it and open lantern wheel – part of an automaton? Nos. scratched on the disc. Olbrich? Rzebitschek?

24389 1405

25490 3923

A:Olbrich /in Wien (c)

Private collection; inappropriate comb, bedplate and cylinder probably by Rzebitschek, 10.1 cm cyl., 2.5 cm diam., 2 tunes

3075 778

Hofuhrmacher C. Felsing Berlin (b)

Private collection; 10 cm cyl., comb 10.1 cm, 83 teeth, bass tooth with two tips, bedplate 15 x 6.6 cm, in case with a tune sheet: 1. Wo ist mein Heimathsland? 2. Fraget warum ich ein Slave bin?, dated “jan 4 1821“ (doutbful), Prague movement

6910 451

A.Olbrich /in Wien (c)

Private collection; 9 cm cyl., 2.5 cm diam., nos. at right angles, shortened and adjusted Olbrich comb, bedplate of a Prague movement (most probably by Rzebitschek), 2 tunes

80680  2564 (?)

Rzebitschek in Prag

Information provided by Marc Boon; 31 cm cyl., in original case, 3 levers: “start, change and pause” (the serial no. and the stop mechanism do not look “Austrian”).

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V. catalogue

Unsigned MOVEMENTS Note: The peculiarities in the construction of the movements from Prague and Vienna became obvious only after several years of research. Once a sufficient amount of information had been collected, the features detected offered a high degree of reliability in attributing movements either to Prague or Vienna, or even more precisely to a particular maker. In fact, in the very beginning my degree of knowledge was so limited that I often missed precisely those characteristic details which later jumped out at me. Now an attribution of these movements is possible simply based on looking at the number or with the help of photographs – in case any exist. If the numbers listed along with the construction design (a picture or other written evidence) and/or other details have permitted an educated guess, the probable maker has been given (in brackets). Movements with their numbers are positioned on the bedplate at right angles – the numbers are mostly preceded by “N“ or “No“. The movements are listed according to their serial number. 60 21

Dorotheum auction 20.10.2010 no. 52 / Private collection; 10 cm cyl., bass tooth with two tips (Maly?), 2 tunes (including “Last rose“ from “Martha“ by Flotow), in frame clock

289 88

Private collection; “No“ preceding the ciphers, bass tooth with two tips, 13.7 cm cyl. 2.86 cm diam., comb with 91 teeth, 3 tunes, in case, tune sheet (design used by Rzebitschek): 1. Ca[vatina a.] Ri[goletto v. Ver]di 2. Krönungslied[er Walzer v. J. S]trauhs [op. 184 1856] 3. Une ba[gatelle Polka Maz]ur v. Strauhs [op. 187 1857]

380 107

Dorotheum auction 23.3.2011 no. 176; 10 cm cyl., bass tooth with two tips (Rzebitschek?), 2 tunes, in case, tune sheet: Cavatina Ernani v. Verdi [1844] / Une Bagatelle Polka Mazurka v. Verdi [Strauss jun. op 187 (1857)]

386 20

Private collection, 10 cm cyl., Prague (Maly?)

515 36

Dorotheum auction 13.9.2018 no. 30; 10 cm cyl., 2 tunes, Prague (Maly?)

635 177

Private collection; 10 cm cyl., 2 tunes, Prague (Maly?)

647 185

Private collection; bass tooth with two tips, 10.37 cm cyl. 2.69 cm diam., comb with 82 teeth, bedplate 15.36 x 6.73 cm, 2 tunes, in case, Prague (Maly?)

673 105

Private collection; bass tooth with two tips (Rzebitschek?) 2 tunes, in case

941 169

Private collection; 10 cm cyl., 2 tunes, Prague

2093 140

Dorotheum auction 29.4.2013 no. 30; 9 cm cyl., comb with 3 screws, 2 tunes, in mantle clock, Prague

2333 551

Private collection; 10 cm cyl., 2 tunes, Prague (Maly?), in original case

3439 116

Private collection; 9 cm cyl., 2 tunes, comb with 3 blued screws, cogwheel, in mantle clock, Prague (Rzebitschek?)

3819 185

Kinsky auction 27./28.1.2015, no. 421; 8,6 cm cyl., comb with 3 screws, Prague (Rzebitschek?), in mantle clock

3829 100

Private collection, comb with 3 screws, 10 cm cyl. (!), (Rzebitschek?)

4311 186

Private collection; 8.7 cm cyl., 2.37 cm diam., comb with 3 screws, 2 tunes, in mantle clock, cogwheel, on cylinder cap “186“ scratched and “4361“ stamped, (Rzebitschek?)

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Musical boxes from Prague and Vienna

4502 226

Dorotheum auction 19.5.2003 no.183; comb with 3 screws, cogwheel, 2 tunes, in mantle clock

4522 260

Dorotheum auction 23.4.2014, no. 42; comb with 3 screws, cogwheel, 2 tunes, in mantle clock

4573 280

Hüttler; 9 cm cyl., 2.4 cm diam., comb with 76 teeth und 3 screws, cogwheel, 2 tunes

5129 339

Private collection; 9.1 cm cyl., 2.5 cm diam., comb with 3 screws, 89 mm comb, 77 teeth, 2 tunes

5183 288

Dorotheum auction 19.10.01/29.4.02 no.37; 9 cm cyl., 2 tunes, cogwheel , comb with 4 screws, in mantle clock

5304 297

Private collection; 9.1 cm cyl., comb with 3 screws, 2 tunes, (Rzebitschek?)

5439 328

Private collection; 9 cm cyl., 2,4 cm diam., comb with 3 screws, 2 tunes (Rzebitschek?)

5486 339

Dorotheum auction 30.5.2001 no. 474; 9 cm cyl., 2 tunes, comb with 3 screws

5622 377

D&S;

5646 88

D&S;

5828 378

Utrecht; 9 cm cyl., 2.5 cm diam., 2 tunes

5862 385

Private collection; 9 cm cyl., 2.55 cm diam., 8.9 cm comb with 3 screws, 77 teeth, 2 tunes

5930 27

Dorotheum auction 28.4.2004 no. 22; 12 cm cyl., 2 tunes, in mantle clock

6502 433

Private collection; 9.1 cm cyl., comb with 4 screws, 2 tunes, (Rzebitschek?), tune sheet: Aria a. Norma, Schmeichler-Walzer

6434 335

Private collection; 77 teeth, 2 tunes, in case

6558 437

Dorotheum auction 5.5.2000 no. 104; 10 cm cyl., cogwheel, 2 tunes, in mantle clock, Prague

6793 454

Private collection; 9.1 cm cyl., comb with 4 screws, 2 tunes (Rzebitschek?)

6876 468

Dorotheum Favoriten auction 25.5.2009 no. 246; 10 cm cyl., cogwheel, 2 tunes, Prague, in mantle clock

6976 670

Private collection; 10 cm cyl., 2 tunes, Prague (Maly?)

7023 435

Private collection; 10 cm cyl., 2 tunes (waltz, polka), Prague (Rzebitschek?)

7051 394

Private collection; 10 cm cyl., 2 tunes, Prague

7128 422

Private collection; 9.1 cm cyl., comb with 4 screws, 2 tunes, (Rzebitschek?)

7201 455

Private collection, 10 cm cyl., Prague (Rzebitschek?)

7316 454

Private collection; 9 cm cyl., 2.4 cm diam., comb with 4 screws, bass tooth with one tip, several numbers scratched on the comb base (repair notes?), 2 tunes

7358 1152

Private collection; 10 cm cyl., 2 tunes, in case, Prague (Maly?)

7381 475

Private collection; “475“ stamped upside down (mistake?), cogwheel , 9 cm cyl.,

7687 112

D&S; 2 tunes (including air from “Prodaná nevěsta“ by Smetana)

7744 2004

Nics; bass tooth with two tips, 10 cm cyl., 2 tunes, Prague

7770 504

Dorotheum Favoriten auction 10.5.2004 no. 353; 10 cm cyl., cogwheel, 2 tunes, in mantle clock

7924 475

D&S; 9 cm cyl., 2.6 cm diam., 3 tunes

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V. catalogue

7904 492

Private collection; 9.1 cm cyl., 2 tunes

7941 497

Private collection; 10 cm cyl., 2 tunes, tune sheet: “Venetianer Galop v. Strauß de Paris/Elisabethen Walzer von Strauss de London“

8034 547

Private collection; 9 cm cyl., 2.4 diam., 2 tunes, (Rzebitschek?)



Movements with their numbers on the bedplate placed in two lines – the music no. on the first line, mostly preceded by “No“, unless noted otherwise; i.e., other movements bearing one or two numbers. Movements listed according to their serial number. 721 203

Private collection; 10.5 cm cyl., 2.66 cm diam., comb with 82 teeth, bedplate 15.16 x 6.66 cm, thickness 6.7 mm, bass tooth with two tips, “M 203“ on the lead weight of the bass tooth, 2 tunes (waltz, Cavatina from “Norma“ by Bellini), in case, Prague (Maly?)

740 184

Hüttler; 10 cm cyl., 2 tunes, Prague

900 201

Dorotheum auction 15.11.2006 no. 88; cogwheel, bass tooth with two tips, 10 cm cyl., 2 tunes, in mantle clock, Prague (Slawik & Preiszler? Salisch und Nowak?)

954 140

Dorotheum auction 3.12.1999 no. 801; cogwheel, bass tooth with two tips, 10 cm cyl., 2 tunes, in mantle clock, Prague

982 309

Private collection; 13.8 cm cyl., 2.9 cm diam., “309“ scratched on cylinder cap, 3 tunes ( “Klosterglocken“ v. Lefébure-Wely, czardas (?), “Rákóczy-march”), Prague (Maly?)

1032

Dorotheum auction 16.11.2005 no. 67; cogwheel, 3 tunes, in picture clock, “2“ on the edge of the bedplate

1092 218

Private collection; 10 cm cyl., Prague (Slawik & Preiszler? Salisch und Nowak?)

1229 220

Private collection; 10 cm cyl., Prague (Slawik & Preiszler? Salisch und Nowak?)

1244 215

Private collection; 10 cm cyl., Prague (Slawik & Preiszler? Salisch und Nowak?), tune sheet: 1. Guillaume Tells Preghierah / 2. Letzte Rose aus Marha von Flotow

1329 410

Oberhofen; 10 cm cyl., 2 tunes, bass tooth with two tips (Rzebitschek?) in case

1360 412

Dorotheum auction 31.10.2012 no. 83; 10 cm cyl., 2 tunes, bass tooth with two tips (Rzebitschek?), in picture clock

1394 167

Private collection; 10 cm cyl., 2 tunes, bass tooth with two tips (Rzebitschek?), in ornate case

1412 238

Private collection; bass tooth with two tips, 2 tunes, nos. doubtful (same nos. as A. Olbrich movement)

1445 367

Private collection; bass tooth with two tips, 10 cm cyl., 2 tunes,. (Maly?), in mantle clock

1453

Dorotheum auction 5.12.03 no. 59; 2 tunes, no. on the comb, in frame clock

1458 419

Private collection; 10.3 cm cyl., 2 tunes (including Czech anthem), Prague (Maly?)

1578 21

Horovice; 10.5 cm cyl., 2 tunes (Czech anthem, “Last rose“ from “Martha“ by Flotow), bass tooth with two tips, Prague

1653 267

Dorotheum Graz auction 16.11.1998, no. 303; 10 cm cyl., cogwheel, 2 tunes, in frame clock

1713 256

Dorotheum auction 12.11.1999 no. 453, 10 cm cyl. 2 tunes, bass tooth with two tips (Rzebitschek?)

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Musical boxes from Prague and Vienna

1724 498

Private collection; bass tooth with two tips, 13.5 cm cyl., 2.5 cm diam., 3 tunes, tune sheet: Mädchenchor aus Hugenotten, Myrthenkränze Walzer von Strauß, Mailüfterl Musik von Kreipl, (Prague)

1746 483

Private collection; 2 tunes, bass tooth with two tips (Prague)

1748 438

Clock museum; 10.5 cm cyl., 2.4 cm diam., cogwheel

1793 355

Private collection; nos. not preceded “No“, 10 cm cyl., cogwheel, bass tooth with one tip, Prague (Rzebitschek?)

1848 46

Private collection; 10.5 cm cyl., 2.68 cm diam., 3 teeth broken, fan and gear missing, Prague (Maly?)

1924

Private collection; 10 cm cyl., 2 tunes, lantern wheel, comb missing, Vienna (Olbrich?)

1971 206

Private collection; 10 cm cyl., cogwheel, bass tooth with one tip, in picture clock with 9 automata

2056 234

Dorotheum auction 11.12.2002 no. 25; 10 cm cyl., bass tooth with two tips, 2 tunes, in mantle clock

2271 584

Neidhart; comb missing, cogwheel, 2 tunes, Prague

2788 411

Private collection; cast-iron bedplate, nos. scratched on cylinder cap

2303 603

Private collection; 14 cm cyl. 93 teeth, in case, 3 tunes, tune sheet: 1. V Pecháck tam ja jsem zrozena / 2. Letzte Rose aus Martha von .. 3. Schlummerlied aus Stumme von Portici v..

2333 551

Private collection; 10 cm cyl., 2 tunes (“Demolierer Polka“ by Strauss, waltz), in case, Prague (Maly?)

2850 364

Private collection; 10 cm cyl., 2 tunes, comb missing

3614 911

Private collection; 10 cm cyl., in case, 2 tunes, music as Rzebitschek no. 44145 (but different arrangement of the “Blue Danube” waltz), Prague (Slawik & Preiszler? Salisch und Nowak?)

3732 931

Das mechanische Musikinstrument no. 102, August 2008, S.15; cogwheel, bass tooth with two tips, comb with 5 screws, in case with a label on the bottom by V. Hrubes (Prague)

4253 (oder 1253) 827

Dorotheum auction 29.10.2001 no. 921; cogwheel, bass tooth with two tips, 10 cm cyl., 2 tunes (Rzebitschek?), in case with inscription on the lid: I Herzensträume (Walzer), II Motorquadrille

4280 70

Private collection; 10 cm cyl., 2 tunes

4643 391

Hüttler; 10 cm cyl., comb with 3 screws, “VI K“ stamped on the edge of the bedplate

5068 104

Private collection; 10 cm cyl., 2 tunes, Prague, in case with a glass window lid

5251 191

Surber’s museum; 3 tunes (including “Rákóczy-march”), Vienna (Bartel?), in French automated picture (combination not original)

5409 255

Private collection; 10 cm cyl., 2 tunes, in case, tune sheet: 1) “Gebet einer Jungfrau“ von Barawesky / 2) “Lasset uns herzen, küssen, scherzen,“ Walzer; label of Viennese store Fa. Placht, Vienna (Bartel?)

5503 611

Private collection; “5503“ stamped on bedplate, “611“ scratched on cylinder cap, 11.9 cm cyl., 5.2 cm diam., cogwheel, 4 tunes, 2 tunes per turn (Prague?)

5828 373

Utrecht; 2 tunes,

5966 821

Private collection; bass tooth with two tips, 10.4 cm cyl., 2 tunes (Prague)

6113

Private collection; bass tooth with two tips, 13.5 cm cyl., 2.5 cm diam., 3 tunes, Prague (Maly?), the music no. is unreadable

6180 1113

Private collection; 10 cm cyl., Prague (Slawik & Preiszler? Salisch und Nowak?)

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6266 oder 1266 493

Private collection; 10 cm cyl., 2 tunes, nos. scratched on cylinder cap, cogwheel (August Bartel?)

6360 437

Private collection; 3 tunes, bass tooth with two tips

6480 1443

Private collection; 10 cm cyl., 2 tunes (“Nur für Natur“ waltz by Johann Strauss jun., Czech anthem), Prague (Slawik & Preiszler?)

6647 345

Dorotheum auction 6.10.2014 no.76; cast-iron bedplate, “6647“ scratched on cylinder cap, “345“ stamped on bedplate, 10 cm cyl., 2 tunes, Vienna, in wedding clock

6816 1526

Private collection; 19.8 cm cyl., 4 tunes, in case, Prague (Maly?)

6976 670

Private collection; 10.2 cm cyl., 2.7 cm diam., 2 tunes, Prague (Slawik & Preiszler?)

6986 672

Private collection; 10 cm cyl., Prague (Slawik & Preiszler?)

7067 1627

Technical Museum Prague; bass tooth with two tips, 10 cm cyl., 2 tunes, Prague, in case, tune sheet: 1. Linda / Duett / […]heim Linda / Donizetti 2. Faust und Margarethe […] Gounod

7201 455

Private collection; 10 cm cyl., Prague

7316 454

Private collection; 10 cm cyl., 2 tunes, in mantle clock, Prague

7441 461

Private collection; cogwheel, bass tooth with two tips, 10 cm cyl., 2 tunes (Rzebitschek?), in case

7517 1885

Horovice; 10 cm cyl., 2 tunes, bass tooth with two tips, Prague, in case

7910 1671

Private collection; 10 cm cyl., 2 tunes

13587 97

D&S; 12 cm cyl., 3 cm diam., 3 tunes

14262 679

Private collection ; 3 tunes, Vienna (A. Olbrich?), tune sheet: 1. Lebe wohl v. Strauß, 2. Steirische Tänze, 3. Polka v. Suppé

18695(b), 3677 (on cyl. cap)

Private collection ; “JO“ on the bedplate, comb with bass teeth on the left side (!), 4 tunes

22661 5564

Private collection; 10 cm cyl., 2 tunes, cast-iron bedplate, nos. on cylinder cap, Vienna (Olbrich?)

23216 1610

Private collection; 12.4 cm cyl., 3 tunes (A. Olbrich?)

25449 469

Private collection; nos. on cylinder cap, “HR 0181“ on bedplate and cylinder cap, cast-iron bedplate 235 x 116 mm, 12.6 cm cyl., 4.5 cm diam., stamp on comb showing two crossed hammers, 6 tunes, tune sheet: 1. Der Zigeunerbaron- Couplet, 2. Rattenfänger – Walzer, 3. Der Feldprediger – Polka, 4. Die Afrikareise – fan fani Marsch, 5. Gasparone – Marsch, 6. Don César, komm‘ herab

[2]5634 4980

Private collection; cast-iron bedplate, nos. on cylinder cap, 2 tunes, Vienna (Olbrich?)

25758 2194

Private collection; 10.5 cm cyl., 2.5 cm diam., 3 tunes, Prague (Rzebitschek?)

[2]5918 5892

Private collection; cast-iron bedplate, nos. on cylinder cap and comb base (inside), 2 tunes, Vienna (Olbrich?)

28302 2419

Private collection; cast-iron bedplate, nos. on cylinder cap, 2 tunes, Vienna (Olbrich?)

31810 2675

Private collection; 13.5 cm cyl., 3 tunes, Prague (Rzebitschek?)

34414 2927

Private collection; 2 tunes (configuration of the numbers could match with Rzebitschek)

44526 3896  

Information provided by Marc Boon; 2 tunes, under the comb not visible: “7020” and “1589”

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Musical boxes from Prague and Vienna

46437 3918 (or 3915)

Suppan auction 9.12.2003 no. 321; comb with 3 screws, (configuration of the numbers could correspond to Rzebitschek’s numbering), assembly from a later time?

46614 3535

Private collection; 10 cm cyl., 2 tunes, Prague (Rzebitschek?)

„569“ or “369“ and “M 3/8“

Horovice; cogwheel, 10 cm cyl., nos. scratched on cylinder cap, 2 tunes, Vienna

86

Private collection; nos. scratchend on bedplate and cylinder cap, lantern wheel, 10.6 cm cyl., 2.53 cm diam., thickness of bedplate 4.5 mm, comb with 3 screws, 80 teeth, separate bass tooth added, 2 tunes, in case, Vienna

764

Private collection; cast-iron bedplate, 10 cm cyl., 2 tunes, no. scratched on comb base inside (style of writing points to A. Olbrich), in mantle clock

4227

Private collection; cast-iron bedplate, lantern wheel, no. scratched on cylinder cap and comb base, 10 cm cyl., 2 tunes (from “Faust“ by Gounod, “La Traviata“ by Verdi), Vienna (Olbrich?)

4952

Private collection; no. scratched on cylinder cap on cogwheel next to cylinder and on comb base, “4887“ scratched on comb base, 8.4 cm cyl., 2 tunes

5630

Private collection; no. on comb base (inside), cast-iron bedplate, 10 cm cyl., 2 tunes: “Rákóczi-march“ in a special long-version, the “second” tune presents the continuation of the march, in case with a glass window lid, Vienna (Olbrich?)

5860

Private collection; no. on the cylinder cap, 10 cm cyl., 2 tunes (from “Der Feldprediger“ and from “Der Bettelstudent“ by Millöcker), in miniature piano, Vienna (Olbrich?)

8868

Dorotheum auction 27.5.2009 no. 77; 10 cm cyl., 2 tunes, adjustable fan, in picture clock, Prague

Unsigned Prague movements12 : most probably made by Rzebitschek

made by Rzebitschek or other Prague makers:

(serial no./music no.):

529/78 (2 tunes), 1244/355,

3482/116,

1412/238 (3 tunes),

3496/118 (2 tunes),

1690/69 (2 tunes, from “Norma” and “Martha”),

7073/472,

1724/498 (468 on the tune sheet),

7924/ 475 (3 tunes)

3732/ 431 (3 tunes, including “Blue Danube” waltz), 4245/46 (dated 1870), 4478/149 (2 tunes), 6369/437, 15293/1310 (2 tunes).

2 Information provided by Luuk Goldhoorn, assessment and attribution of the movements by L. Goldhoorn.

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V. catalogue

orphan tune sheets: Z.Nr. 928 M.Nr.193.: Olmützer Polka v. Labitzky, Minos Klänge Walzer v. Strauß (private collection) No: 468 / 1.) Romanze nel opera: Lucretia / Borgia: Com’ è Gello dell M: Donizetti / 2.) Die nächtlichen Wandrer. Walzer von Josef Lanner. (A. Olbrich, in picture clock; private collection ) Musik Nro. 505 Zahl Nro. 9262: Olbrich Zettel: 1. Carneval Quadrill von Joh. Strauhs / 2. Apollo Walzer von Johann Strauhs (Dorotheum picture clock) Musik Nro 973 Zahl Nro 11048 (11948): 1. Var Hunyadi Laszlo. Magyar es Erkel / 2. Glocke.. Duett aus der Oper Oper die vier Maimonskinder von Balfé. (tune sheet for Olbrich or Rzebitschek movement, private collection)

Musik no. 1065 Zahl no. 11335  1.  Rococco Walzer von Josef Lanner 2. Radetzky Marsch. Tune sheet for Olbrich movement? (Dorotheum Linz auction 18.11.2002, no.219) Musik Nro. 1409 Zahl Nro. 13210 1.) Krönungsmarsch a. d. Propheten / 2.) Arie aus dem Propheten von /Meyerbeer. (Tune sheet for Olbrich movement, private collection) Musik Nro. 1527 Zahl Nro. …: 1. Linda Duett… Donizetti / 2. Faust und Margarethe … Gounod, (private collection) Musik-Nr. 110 Zahl-Nr. 6913: 1.Marsch aus der Operette “Der Teufel auf Erden“ von Suppé / 2. Donau Wellen. Walzer von Ivanovizc / 3. Menschen sind wir Alle. Lied / 4.Nur für Natur. Walzer aus der Operette “Der lustige Krieg“ von Strauß / 5. Tirolienne, Ländler aus Guillaume Tell / 6. Weana Madln. Walzer von Ziehrer. / Josef Wyskocil (vormals Josef Olbrich) Wien; (private collection) Musik N. 2020 Zahl N. 15019 / Pepita Polka von Strauß / Steyrischer Tanz v. Gruber (Dorotheum auction 21.3.07 no. 97, in wedding clock) Zahl Nro. 16919 Musik Nro. 1492: 1. Schluß Chor aus dem Zauberschleier / 2. Sperl Polka von Strauss (Dorotheum auction 23.3.2011 no. 67, picture clock, tune sheet for Rzebitschek-movement) 1. Volksgarten Walzer v. Dubek / 2. Erinnerung an Baden Polka v. Strauss / M. Nr. 588, (Dorotheum Auktion 29.3.2017 Nr. 65, in a picture clock with an inappropriate movement Brüder Stern no. 10067) Tune sheet without nos.: Mai-Rohsen Walzer [op. 34 Josef Strauß, 1857] / Eine Grille – Schottisch [Philipp Fahrbach sen., op. 205] (in mantle clock, Weinmann 25.11.2004)

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Musical boxes from Prague and Vienna

Provenance / location: Private collections in Austria, Germany, Switzerland, Czech Republic, Slovakia, Romania, France, Belgium, The Netherlands, Great Britain, USA, Japan. Aichholzer Antiquitäten, Vienna Antikvity Praha s.r.o. provozovna: Vyšehradská 2, Praha 2 Antiquitäten Lindner, Vienna Bergmann, Auktionshaus Erlangen Bonhams, auctions, London Bratislava: Clock museum Breker, Breker Auction Team, Cologne Brno, Technical Museum Buchner, Alexander: Mechanische Musikinstrumente, Hanau 1992 Budapest: Museum for Applied Arts Christies auctions, London Clock museum Vienna, Uhrenmuseum der Stadt Wien Cracow: Collegium maius, Museum of the University Cracow Das mechanische Musikinstrument, Journal der Gesellschaft für selbstspielende Musikinstrumente e.V. D&S Antiques, Vienna Dom Antik, Antiques, Vienna Dorotheum, auctions, Vienna; branches: Favoriten / Graz / Linz / Salzburg / Prague Ernst, Galeria, Antiques, Budapest Geymüller Schlössl, Museum for Applied Arts, Vienna Grzegorczyk, Stefan, Clockmaker, Vienna Hegenbart, Werner, Antiques, Klosterneuburg Hirsch, Leonhard, Antiques, Vienna Hofmobiliendepot, Vienna Horovice, Czech National Museum Hôtel Dassault, Artcurial, auction house, Rond Point des Champs Elysées, Paris Hüttler, Peter, Clockmaker, Vienna Iaşi, Muzeul Ştiinţei şi tehnicii “Ştefan Procopiu“. Aparate muzicale din colecţii publice şi private. Iaşi, Palatul culturii, 14 septembrie – 14 octombrie 2018 (special exposition). Joanneum, Landesmuseum Graz

Kainerstorfer Regina, Antiques, Vienna Kalivoda Arno, Clockmaker, Vienna Kinsky Kunstauktionen, auction house Vienna Koller, auctions, Zürich Lilly‘s Art, Exclusive Antiques, Vienna Marchgraber Erwin, Antiques, Marchtrenk Märkisches Museum, Berlin Mechancial Music, Journal oft the Musical Box Society Internationl Murau: Clockmaker Anton Klauber, Murau Musée Baud, L’ Auberson, Switzerland Museum of Music History, Institute for musicology, Hungarian Academy of Sciences, Budapest, Nagel auctions, Stuttgart Neidhart, Peter, Clockmaker, Vienna Nics, Lukas, Clockmaker, Vienna Oberhofen, Museum für Uhren und mechanische Musikinstrumente und Haus der Musik, Oberhofen, Switzerland Pallamar, Friederike, Kunsthandel, Vienna Phillips, auctions, London Rasch, Michael, clockmaker, Vienna Rechberger, Erwin, Museum für mechanische Musik und Volkskunst, Haslach an der Mühl Reich, Friedrich, Clockmaker, Vienna Reichardt, Dieter, Restorer, Erlbach/Vogtland Schinko, Gerd, Antiques, Vienna Schmollgruber, G. u. F., Clockmaker, Vienna Seewen: Museum für Musikautomaten, Switzerland Smidt Muzeum, Szombathely, Hungary Sopron, municipal museum, Hungary Suppan Fine Arts, auctions, Vienna Surber’s museum, Surber Zeneautomata és Fonográf Múzeuma, Keszthely, Hungary Sternat, Dr. Reinhart, Antiques, Vienna Technical Museum Prague, Czech Repubic Technical Museum Vienna The Music Box: Journal of the Musical Box Society of Great Britain Utrecht, Speelklok Museum Veszprém, Laczkó János Muzeum Weinmann, Philipp, Clockmaker, Vienna WienMuseum, museum oft the city of Vienna Zorn-Stättner, Dorit, Alt-Wien Antiques, Vienna

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Epilogue

Research is an ongoing process and more discoveries

underrate the chances of standard models frequently

are to be expected to the extent these movements from

appearing at auctions etc. Not alone, that they will serve

Prague and Vienna become more widely known among

to complete the picture of the whole output; every

enthusiasts, owners, collectors, dealers or any other

instrument which comes to light will reveal a musical

persons concerned, including of course, the readers of

repertoire containing perhaps some hitherto unheard

this book. Of course, it would be extremely gratifying

operatic air, an unknown folk song, or displaying an-

to be in a position to fill some of those gaps, i.e., to

other outstanding musical arrangement; and if the newly

access details on the obscure beginnings in Vienna, or

discovered instrument happened to have a tune sheet

in Prague, the very first steps Franz Rzebitschek took

attached, well, that would downright be the icing on the

on his long journey towards the consummate skill he

cake, topping everything discovered so far. Accordingly,

achieved in his middle years, and for that matter, right

any information on this subject and in particular on

up to the final years of production.

the movements and their music will be gladly accepted

Beyond that, the biographical information of several

and will gain pride of place in the documentation kept

minor makers can at best be viewed as incomplete and

in the Phonogrammarchiv of the Austrian Academy

only a few of their instruments have come to light, if

of Sciences

any have surfaced at all. Nevertheless, one may never

(https://www.oeaw.ac.at/en/phonogrammarchiv/).

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Bericht über die allgemeine Agricultur- und Industrie-Ausstellung zu Paris im Jahre 1855, ed. Eberhard A. Jonák, vol. 3, Wien 1857/58

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Christian Eric: Anton Olbrich’s Unique Viennese Musi cal Clock, in: Mechanical Music vol. 59, no. 6 (2013), p. 12-19

Stephan von Keeß, Beschreibung der Fabricate, welche in den Fabriken, Manufacturen und Gewerben des österreichischen Kaiserstaates erzeugt werden, vol. 2, Wien 1823

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Alois Kipper, Über Erzeuger der Spieluhren. Österreichische Uhrmacher Zeitung, 1924, no. 12, p. 275

Karl Fischer: Die Uhrmacher in Böhmen und Mähren 16301850, in: Bohemia 9, Nr. 1 (1968), p. 105-137 Karl Fischer: Die Uhrmacher in der Slowakei, in: Bohemia 10, Nr. 1 (1969), p. 405-414 Franz B. Fray, Allgemeiner Handels Gremial Almanach für den österreichischen Kaiserstaat, Wien 1837, 1839, 1848 Peter Fritsch: „Wiener“ Reiseuhren, Wien: FCP 2010 Luuk Goldhoorn: Die österreichische Spielwerkemanufaktur im 19. Jahrhundert [Utrecht 1999]. Luuk Goldhoorn: Musical box makers who hide their light under a bushel? In: Mechanical Music vol. 50 no. 2, p. 36-37 Handels und Gewerbe-Adressenbuch der österreichischen Monarchie, herausgegeben von dem nied. österr. Gewerb-Verein, Wien, vol. 8. 1851, vol. 11 1854, vol. 13 1856 Erika Hellich: Alt-Wiener Uhren. Die Sammlung Sobek im Geymüller-Schlössel 1750-1900, München: Callwey 1978 Rudolf Hopfner: Wiener Musikinstrumentenmacher 17661900. Adressenverzeichnis und Bibliographie. Tutzing 1999 Illustrierte Kronen Zeitung, 2. Juni 1912 Internationale Ausstellungszeitung, Supplement to Neue Freie Presse, 21. August 1873 Frederick Kaltenböck: Die Wiener Uhr. Wien, ein Zentrum der Uhrmacherkunst, München 1988 Karl Karmasch: Einleitung in die mechanischen Lehren der Technologie, vol. 1, Wien 1825 Larry Karp, Maggie Young: A Rebicek Cartel Cylinder Box with Parchment Dampers and Other Unusual Cons truction Features, in: Mechanical Music. Journal of Mechanical Music, Autumn 1998, vol. 44/2, p. 23-26 Katalog für die Schweizerische Abtheilung der Wiener WeltAusstellung 1873, Winterthur 1873

Helmut Kowar: Anton Olbrich in Vienna. Some observations concerning the musical repertoire and the num bering of musical box movements made by Anton Olbrich. Mechanical Music vol. 43 no. 3 (1997) p. 2-4 Helmut Kowar: Two very early Anton Olbrich movements found in Vienna, in: Mechanical Music vol. 44 no. 2 (1998), p. 11-13 Helmut Kowar: Spielwerke. Musikautomaten des Biedermeier aus der Sammlung Sobek und dem MAK. Wien 1999 Helmut Kowar: Einige Ergänzungen zur Biographie des Spielwerkherstellers Anton Olbrich in Wien. Studien zur Musikwissenschaft 47 (1999), p. 243-248 Helmut Kowar: Spielwerke aus Wien und Prag. In: Bilderuhren – Uhrenbilder, vol. 3 [exhibition catalogue], Wien: D&S Antiquitäten [2001, p. v-viii] Helmut Kowar: F. Einsidl and J. Sagan in Vienna. In: Mechanical Music (Musical Box Society international), vol. 51, no. 1 (2005), p. 24-31 Helmut Kowar: Tanzmusik auf Kammspielwerken von Olbrich, Rzebitschek und Stern. Einige Bemerkungen zur Form und Satztechnik der musikalischen Arrangements, in: Die Fledermaus, Mitteilungen des Wiener Instituts für Strauss-Forschung 20, April 2008, p. 7-56 Helmut Kowar: Zur Klangfarbe von Kammspielwerken. Ein Versuch, in: Klangfarbe. Vergleichend-systematische und musikhistorische Perspektiven, ed. August Schmidhofer and Stefan Jena (Vergleichende Musikwissenschaft vol. 6), Frankfurt am Main: Lang 2011, p. 295-314 Helmut Kowar: Videotaping a Musical Box: An Attempt to Transcribe and Analyze Its Music, in: Mechanical Music vol. 58/1 (2012), p. 19-22 Helmut Kowar: Die Revolution im Wohnzimmer, in: Musik und Revolution. Die Produktion von Identität und Raum durch Musik in Zentraleuropa 1848/49, ed. Barbara Boisits. Wien 2013, p. 433-456 Helmut Kowar: Die Anfänge der Spielwerkerzeugung in Wien, in: International Forum on audio-visual Research. Jahrbuch des Phonogrammarchivs 8, Wien: VÖAW 2017, p. 82-91

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Pesther Handlungszeitung. Kommerzial- und IndustrieAnzeiger, 1841 – 1846 Jean-Claude Piguet: Die Geschichte der Musikdosenindustrie in Sainte-Croix, in: KlangKunst. 200 Jahre Musikdosen. Katalog von Eduard Saluz. Schweizerisches Landesmuseum, s.l. 1996, p. 47-56 Prager Tagblatt, vol. 10., Nr. 122, 3. Mai 1886, p. 2 Gabriele Praschl-Bichler: Unsere liebe Sisi. Die Wahrheit über Erzherzogin Sophie und Kaiserin Elisabeth. Aus bislang unveröffentlichten Briefen. Wien 2008 Anton Redl: Handlungs-Gremien und Fabriken Adressen Buch der Haupt- und Residenzstadt Wien. […], Wien 1821 Anton Redl: Adressen-Buch der Handlungs-Gremien und Fabriken in der kais. kön. Haupt- und Residenz Stadt Wien […] für das Jahr 1831, Wien 1831 Rzebitschek in Prag, in: The Music Box, vol. 7 no. 4 (1975), p. 140-142 J. B. Schilling: Adressen-Buch der Handlungs-Gremien und Fabriken der kais. kön. Haupt und Residenzstadt Wien für das Jahr 1834, Wien 1834 Carl Schwab: Neuer, verbesserter Häuser-Schema der k. k. Haupt- und Residenzstadt Wien […] Wien 1847, and its following vols. Johann Slokar: Geschichte der österreichischen Industrie und ihrer Förderung unter Kaiser Franz I., Wien 1914

Arthur W.    J.   G. Ord-Hume: Czech an Viennese Musical Move ments, in: The Music Box vol. 3 no. 8 (1968) p. 539-543

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Arthur W.    J.   G. Ord-Hume: The Musical Box, Atglen 1995 Österreichisch-ungarische Uhrmacher-Zeitung, vol. 9 (1890), p. 92 Helmut Ottner, Der Wiener Instrumentenbau 1815-1833, Tutzing 1977 Henry Parkinson, Peter Lund Simmonds (ed.): The illustrated record and descriptive catalogue of the Dublin International Exhibition of 1865. London 1866

F.    H. van Weijdom Claterbos: Viennese Clockmakers and what they left us, Schiedam 1979 Wiener Zeitung, Allgemeines Intelligenzblatt 9. März 1824, 7. Oktober 1837, 7. September 1841, 11. September 1841, 6. April 1842, 11. November 1854, 12. Dezember 1855, 8. Jänner 1862, 5. November 1865, 7. Dezember 1865, 10. Dezember 1865, Amtsblatt 1865 vol. 2 no. 282, 13. Dezember 1865, 16. Februar 1866, 4. Februar 1875, 6. März 1875, Amtsblatt no. 292, 22. Dezember 1876, 16. April 1886, 6. Februar 1887, 28. Juni 1890, 6. April 1892.

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Photo credits

Fig. 8:

Archive Helmut Kowar

Fig. 17a and b:

MAK – Österreichisches Museum für angewandte Kunst / Gegenwartskunst. Photo: © MAK/Georg Mayer

Fig. 20:

Christian and Kathleen Eric

Fig. 53a:

MAK – Österreichisches Museum für angewandte Kunst / Gegenwartskunst. Photo: © MAK/Georg Mayer

Fig. 53b:

Robin Biggins

Fig. 54a:

MAK – Österreichisches Museum für angewandte Kunst / Gegenwartskunst. Photo: © MAK/Georg Mayer

Fig. 55:

Ernst Bundle

Fig. 56:

Technisches Museum Wien

Fig. 57a:

Ernst Bundle

Fig. 63:

Tune sheet, A. Olbrich without numbers (6-tune movement), photograph: Robin Biggins

Fig. 63:

Tune sheet, A. Olbrich without numbers (12-tune movement), photograph: Ernst Bundle

Fig. 64:

Tune sheet, Rzebitschek music number 1930, current number 23163, photograph: Museum für Musikautomaten Sammlung Dr. h.c. Heinrich Weiss-Stauffacher CH-4206 Seewen (SO)

Fig. 64:

Tune sheet, Rzebitschek music number 3039, current number 35241, photograph: Robin Biggins

Fig. 54:

Tune sheet, Wyskocil current number 6913, photograph: Ernst Bundle

Fig. 66, 67, 68:

Archive Hans-W. Schmitz (Stuttgart)

All other photos:

Helmut Kowar, Phonogramm Archives

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