Vienna Regulators The clocks on this web-site reflect predominantly the styles popular after 1830. Dr. Philip J. Rasch, in an article in the June, 1999 NAWCC Bulletin, presented an authoritative review of the evolution of the case styles of the Vienna Regulator. Dr. Rasch has graciously consented to my using copies of his representations of the various styles. The following summarizes the styles of clocks included in this catalog. Empire and Biedermeier Periods 1800 to 1848 The clocks made before 1850 tended to be simpler than the clocks produced later. The lines of the clocks were finer, casework was narrower, and in general the clocks were more rectilinear than the later, often very ornate styles. The earliest Vienna Regulators were literally three boxes stacked on each othera large square on a narrower rectangle, on a larger square. These are the Laterndluhr clocks from the Empire period. The shape of the Laterndluhr was simplified in the Biedermeier period such that the clock resembled more of a square stacked on a rectangle. Later still, from about the middle of the Biedermeier to the end of the period, the clocks gained a bit of ornament on the top, and lost the division between the top square and the bottom rectangle. Biedermeier-period clocks make up for their simple cases with the engine turned (early) or piecrust bezels that typically adorned the clocks. Other Biedermeier characteristics include pendulum bobs that are brass on both sides (later ones are zinc on the back), pendulum rods made of steel (earlier) or wood (post perhaps 1835), wooden seat boards that slide into wooden supports (called corbels) mounted to the backboard or four-post/keyhole mechanism mounts, very simple hands, and one (earlier) or later, two piece dials. Serpentine Style 1850 to 1885 These clocks departed from the straight lines of the Biedermeier by adding grace and style with their flowing, serpentine lines. The serpentines and the transitional clocks smoothed the shift from the stark simplicity of the Biedermeier period to the elaborate and ornamental Altdeutsch and Baroque styles. Most serpentine-style Vienna Regulators have wooden pendulum rods, brass bobs with zinc backs (though steel backs could be seen in the later clocks), and spun-brass bezels. Finishes are ebonized or faux (false-grained), although a limited number are made with mahogany and rosewood veneer. Four-posted keyhole mounts were common throughout the serpentine period. Many of the early (pre 1860) serpentines had movements mounted to wooden seatboards that slide into wooden corbels mounted to the backboard. Most dials are two-piece porcelain. Hand styles trend from the simple designs of the Biedermeier period to the elaborate styles of the Altdeutsch. Transitional Style 1855 to 1875 The transitional clocks can be viewed as either simple Altdeutsch, or ornate Biedermeier clocks. As the name suggests, transitional clocks form the link between the august simplicity of the earlier styles and the extravagance of the latter. Where the earlier pieces rarely have columns on the side of the door, the transitional clocks have either broken columns (tops and bottoms of columns with hanging finials) or slender, elegant columns. In comparison, the hallmarks of the Altdeutsch clocks were full, and typically fluted columns with Corinthian pediments and rectangular panels at the base. As with the serpentines, pre-1860 clocks often had movements mounted to wooden seatboards that slide into corbels mounted to the backboard. The four-posted keyhole mounts were common throughout the transitional period. Most dials are two-piece porcelain with spun-brass bezels. Transitional Vienna Regulators typically have wooden pendulum rods and brass bobs with zinc backs. Unlike the serpentines, the cases were typically made with walnut, cherry and other fruitwood veneers. There are not as many ebonized or faux (false-grained) finishes in the transitional style cases. Hand styles trend from the simple designs of the Biedermeier period to the elaborate styles of the Altdeutsch. Altdeutsch Style 1870 to 1895 By far the most abundant style of Vienna Regulator, the Altdeutsch clocks stand out with their ornate and beautifully made cases. For many people, this is the style that epitomizes Vienna Regulators. It is almost unbelievable that they derived from the stark lines of the earlier Empire and Biedermeier periods. The hallmark of the Altdeutsch clocks is their use of Corinthian Columns on the doors. Typically these are full columns with fluting with Austrian clocks typically having thinner columns. Pendulums are zinc-backed in the earlier clocks and steel backed in the later. Nearly all pendulum rods are made of wood, though some elaborate metal rods were seen later in the period. Dial bezels are typically spun brass; dials are porcelain, brass, or a combination with a porcelain chapter ring and a brass dial center. Dial centers were often made of engraved or embossed brassusually with matching weights and pendulums. These clocks have very elaborate hands. Baroque Style 1875 to 1895 The Baroque, or more correctly Second Baroque clocks reflect the highly ornate styles that originated in the Baroque period (1550 to 1700). To my way of thinking, if a clock has Corinthian columns it is Altdeutsch, if it has asymmetrical carvingsespecially on the headpiece and tailit is a Baroque piece. Both styles are very ornate, but the Altdeutsch is symmetrical, with rectangular detail accompanying the classical columns, while the Baroque clocks are lavishly carved, with elaborate, often asymmetrical head and tail pieces. Baroque cases were made with walnut, cherry and mahogany veneers. Pendulums are zinc-backed in the earlier clocks, and steel backed in the later. Nearly all pendulum rods are made of wood, though some elaborate metal rods were seen later in the period. Dial bezels are spun brass; the dial centers were often engraved or embossed brass, usually with matching weights and pendulums. These clocks typically have very elaborate hands. Jugendstil Period 1890 to 1920 The Jugendstil style reminds me of the adage - from ashes to ashes, dust to dust. Early Vienna Regulators were simple, boxy, austere designs. These developed into the elaborate reality of the Altdeutsch and the Baroque, and then returned to the very simple case styles of clocks from the last period of Vienna Regulators, the Jugendstil period. This period corresponds to the German Art Nouveau furniture period. Jugendstil cases were made of maple, walnut, and various fruitwoods. Many are solid wood (i.e. not veneered) cases. The Jugendstil cases are plain, rectangular with a simple flat design. What they lack in case style they make up with the use of beveled and leaded glass in the doors, and often ornately engraved or embossed dials, weights and bobs. You have to see a Jugendstil clock running to truly appreciate how visually striking the pendulum is, swinging behind the leaded and beveled glass windows. These clocks tend to have steel-backed pendulum bobs, wood pendulum rods, spun-brass bezels, fairly elaborate dial centers and hands, and very well made cases. German or Austrian? In addition to the above styles, there are inherent differences between the Vienna Regulators made in Austria and Germany. In part, these are the differences between clocks made by individual makers (and their apprentices), and the clocks made in Factories. As one gets to know Vienna regulators one starts to notice specific featuresthe detail in the hands, the way the escapement is made, the way the mechanism is mounted to the back board, the use of serial numbers... It is these features that can guide one in recognizing the German from the Austrian makers. Of course, if there is Wien on the dial, this makes it real easy, even for me. Please realize that I will be speaking in generalities as I outline the differences between Viennese and German clocks. There are exceptions to everything that I will point out below. There were more Vienna Regulators made in Germany than in Austria. But, since the German factories only began producing clocks after 1850, nearly all of the Biedermeier and earlier clocks came from Vienna or other clock-making centers like Prague, Linz, or Budapest. In general the Viennese clocks had hands with finer detail than the corresponding German hands. Viennese clocks tend to have thinner columns on the Altdeutsch clocks, tend to use more wood seat-boards/corbels, and most Viennese mechanisms have single-piece verges in their escapement. German clocks tend to be more massive, use stouter hands, rarely use seat boards, favoring instead the four-posted key-hole mounts or the brass seat plate that slot into brass brackets attached to the back board. Mechanisms nearly always adjustable verge pallets. German clocks are typically factory-made pieces, with serial numbers and trademarks on the back plates. On the other hand, with the exception of the Remember clocks, very few Austrian clocks have markings on the back plates. The German factories often included subsidiary seconds dials at the top of the dial. These second dials were typically installed on eighty-beat movements with thirty-tooth escape wheels. This resulted in a second hand rotating 1 1/3 times per minute, or taking 45 seconds for a revolution. The Viennese did not typically do this. The clocks made in Germany represent the mass production that was the direct result of the industrial revolution. Gustav Becker, a noted German clock maker, introduced mass production techniques copied from American clockmakers of the time while Lenzkirch, known to be one of the best German factories, copied many of the French methods. The combined output of the German factories dwarfed the output of all of the Austrian makers. The Remember clocks are Austrias response to the Industrial Revolution. Made by the Resch Brothers (Gebrueder Resch), the clocks with the famous "Remember" trademark represented very high quality factory-made clocks: These clocks were easily on a par with the best of the German factory clocks. Austrian clocks from individual makers reflect the best the old world apprentice system could produceclocks made by individual makers who put their names on the dial and their best workmanship and attention to detail into the clocks they produced.