VR-304 Late Biedermeier Vienna Regulator Timepiece by Josef Radda in Olmutz
This piece is an excellent example of the unusual pieces made in the 1850 period - clocks that reflect the changing furniture styles of this period when Europe itself was going through significant social upheaval. Yet, be it because of its distance from Vienna, or perhaps the age of its maker, it retains the quality of workmanship one would find in clocks from 10 to 20 years earlier.
While Claterbos does not list a Josef, there are two Radda listed, Gustav (circa 1900) and Marie (last quarter of the 1800's). In as much as I would date this piece from around 1850, perhaps as late as 1860, who knows, Marie and Gustav could be Josef’s children. Olmutz is roughly 100 miles to the north-northeast of Vienna, in the Czech Republic.
With its deep maroon to dark brown hues, and generally excellent condition, this piece is that lovely size that I personally like - not as large as later clocks, narrow, simple, as one would expect of its period, a clock it is easy to come to love. And, as found so often in the late Biedermeier, we have the wonderful, gold-plated complexity of the bezel contrasting with the very simple and flowing lines of the case.
Earlier I was looking at several other clocks from perhaps a 15 to 30 year later period. One of the things that really stood out as I was looking at these later pieces was how much wider, and massive the hands were. And, I realized that, subconsciously, I am drawn to the finer lines of the earlier hands. This clock has beautiful hands - not the stark simplicity of the earlier periods, but just that right amount of flare so characteristic of the late Biedermeier.
Things I think are worth noting - original finials, very elegant, almost sensual shapes to the door and top trim, perfect, and oh so fine zinc-backed bob, very unusual beat scale, near perfect dial (I suspect the traces of the faint hairlines near the four will virtually disappear when the dial is cleaned), the wall stabilizers with their smaller-than-usual knobs and matching locking nuts, the very small, and light weight with its fine hook, washer, and knurled top plate, it’s all these fine details that let us know so much about the maker and his attention to detail. That is why I shoot such detailed photo’s of such parts as the wall stabilizers - these bits are works of art in their own way, ever so perfectly made, and at a scale that you would probably never notice if not blown up to a scale where you don’t need a magnifying glass to see their details.
The mechanism is smaller than typical for a Vienna Regulator, and in very, very nice condition - under all the tarnish and oil. It will be a pleasure to clean. One thing that I, as a repairperson always note is the size of the pins that hold the mechanism together. For reference, the later, German factory pieces use the largest pins. Then there are the Austrian factory clocks (the Remember’s), then the later Viennese pieces, earlier Viennese, and, smallest are found in the Empire clocks, the ever so wonderful Laturndluhren. In fact, any more I can usually select the right size pin first try from my tray of pins, just by looking at the mechanism. This clock has pins, and screws that are appropriate for the earliest pieces - the Empire masterpieces of 1800 to 1820. Why, even the chapter ring is held in place by screws - a feature that you find only in the earlier Biedermeier and the Empire pieces.
Someone recently asked me - how can I tell if a piece is correct, not a marriage, and, not one of the nicer fakes that is populating eBay anymore. The list of details is rather extensive - and includes much of what I discuss above. But, more importantly, unless you plan to buy clocks based only on the reputation of the maker (and hope you get one that was even seen by Schoenberger or Marenzeller as it was produced by their apprentices) you need to be conscious of the elements that make up a fine piece. Don’t get me wrong - there are fantastic Schoenberger and Marenzeller’s on the market - but there are also a lot of pieces with the name that may or may not have ever seen the inside of these famous makers shops.
The bottom line is that this piece, with its ever so nice finish (cleaned and waxed to perfection) was made by a master who put his heart and soul into the piece.
Read MoreWhile Claterbos does not list a Josef, there are two Radda listed, Gustav (circa 1900) and Marie (last quarter of the 1800's). In as much as I would date this piece from around 1850, perhaps as late as 1860, who knows, Marie and Gustav could be Josef’s children. Olmutz is roughly 100 miles to the north-northeast of Vienna, in the Czech Republic.
With its deep maroon to dark brown hues, and generally excellent condition, this piece is that lovely size that I personally like - not as large as later clocks, narrow, simple, as one would expect of its period, a clock it is easy to come to love. And, as found so often in the late Biedermeier, we have the wonderful, gold-plated complexity of the bezel contrasting with the very simple and flowing lines of the case.
Earlier I was looking at several other clocks from perhaps a 15 to 30 year later period. One of the things that really stood out as I was looking at these later pieces was how much wider, and massive the hands were. And, I realized that, subconsciously, I am drawn to the finer lines of the earlier hands. This clock has beautiful hands - not the stark simplicity of the earlier periods, but just that right amount of flare so characteristic of the late Biedermeier.
Things I think are worth noting - original finials, very elegant, almost sensual shapes to the door and top trim, perfect, and oh so fine zinc-backed bob, very unusual beat scale, near perfect dial (I suspect the traces of the faint hairlines near the four will virtually disappear when the dial is cleaned), the wall stabilizers with their smaller-than-usual knobs and matching locking nuts, the very small, and light weight with its fine hook, washer, and knurled top plate, it’s all these fine details that let us know so much about the maker and his attention to detail. That is why I shoot such detailed photo’s of such parts as the wall stabilizers - these bits are works of art in their own way, ever so perfectly made, and at a scale that you would probably never notice if not blown up to a scale where you don’t need a magnifying glass to see their details.
The mechanism is smaller than typical for a Vienna Regulator, and in very, very nice condition - under all the tarnish and oil. It will be a pleasure to clean. One thing that I, as a repairperson always note is the size of the pins that hold the mechanism together. For reference, the later, German factory pieces use the largest pins. Then there are the Austrian factory clocks (the Remember’s), then the later Viennese pieces, earlier Viennese, and, smallest are found in the Empire clocks, the ever so wonderful Laturndluhren. In fact, any more I can usually select the right size pin first try from my tray of pins, just by looking at the mechanism. This clock has pins, and screws that are appropriate for the earliest pieces - the Empire masterpieces of 1800 to 1820. Why, even the chapter ring is held in place by screws - a feature that you find only in the earlier Biedermeier and the Empire pieces.
Someone recently asked me - how can I tell if a piece is correct, not a marriage, and, not one of the nicer fakes that is populating eBay anymore. The list of details is rather extensive - and includes much of what I discuss above. But, more importantly, unless you plan to buy clocks based only on the reputation of the maker (and hope you get one that was even seen by Schoenberger or Marenzeller as it was produced by their apprentices) you need to be conscious of the elements that make up a fine piece. Don’t get me wrong - there are fantastic Schoenberger and Marenzeller’s on the market - but there are also a lot of pieces with the name that may or may not have ever seen the inside of these famous makers shops.
The bottom line is that this piece, with its ever so nice finish (cleaned and waxed to perfection) was made by a master who put his heart and soul into the piece.
