VR-394 An Exquisite Vienna Regulator by Josef Reingruber in Wien
This piece is an excellent example of the shift that was taking place in furniture finishes towards the middle of the 1800’s. Exquisite veneers were available, but they were pricey – being imported. This clocks case reflects the quality of the veneer that was available (the backboard is phenomenal) as well as the shift that was taking place toward faux, or painted wood grain. The case is almost a sampler for wonderful veneers and beautifully done painted grains!
As received, the case was extremely dirty, coated with soot from years of being in rooms heated by coal stoves, not to mention the ever-present reality of folks smoking pipes, cigars and cigarettes. When I do case restoration work I leave the case filthy – the grime protected the finish when the clock was hanging on the wall and now, while I repair loose joints and lay in bits of veneer where needed. When finished with the repairs, cleaning exposes the original finishes as well as the colors of the veneers and painted grains. This piece was an eye-opener - photos just don’t show how beautiful the woods are in this case! The rosewood backboard is just the beginning – contrasting with the veneers in the headpiece – with the grain on the side pieces running horizontally while the central piece runs vertically. Details, heaven is in the details.
The base – again, beautiful veneer – with the veneer in the very bottom completely different. To the sides of the base – painted grain.
The cases original finish is in excellent condition.
It is interesting thinking about the case colors – realizing that the red hues that this case had so many of, are the first to fade upon exposure to sunlight. The following pictures show quite a bit of red, though, in reality, the case doesn’t appear this red when viewed on the wall. The photo-floods and flash I use in my photography really bring out underlying colors. But, even as red as it is in the photos – originally, it would have been more so.
Whilst gluing things back together I was amazed at how great of shape the carved trim was to the top of the door. It is perfect. Then, as I stared cleaning I realized – both pieces are metal! You rarely find metal trim on Viennese pieces – making this clock the exception to the rule!
Claterbos tells us that Josef qualified as a master in 1846 and lived in the fourth district of Vienna in 1852. It appears he died by 1880. This case reflects the changes that were occurring in Europe – shifting from expensive veneers to hand-painted faux grains. Oh, and the glass in the door is to die for! Bubbles, creases, a beautiful example of the hand blown glass from this period.
Read MoreAs received, the case was extremely dirty, coated with soot from years of being in rooms heated by coal stoves, not to mention the ever-present reality of folks smoking pipes, cigars and cigarettes. When I do case restoration work I leave the case filthy – the grime protected the finish when the clock was hanging on the wall and now, while I repair loose joints and lay in bits of veneer where needed. When finished with the repairs, cleaning exposes the original finishes as well as the colors of the veneers and painted grains. This piece was an eye-opener - photos just don’t show how beautiful the woods are in this case! The rosewood backboard is just the beginning – contrasting with the veneers in the headpiece – with the grain on the side pieces running horizontally while the central piece runs vertically. Details, heaven is in the details.
The base – again, beautiful veneer – with the veneer in the very bottom completely different. To the sides of the base – painted grain.
The cases original finish is in excellent condition.
It is interesting thinking about the case colors – realizing that the red hues that this case had so many of, are the first to fade upon exposure to sunlight. The following pictures show quite a bit of red, though, in reality, the case doesn’t appear this red when viewed on the wall. The photo-floods and flash I use in my photography really bring out underlying colors. But, even as red as it is in the photos – originally, it would have been more so.
Whilst gluing things back together I was amazed at how great of shape the carved trim was to the top of the door. It is perfect. Then, as I stared cleaning I realized – both pieces are metal! You rarely find metal trim on Viennese pieces – making this clock the exception to the rule!
Claterbos tells us that Josef qualified as a master in 1846 and lived in the fourth district of Vienna in 1852. It appears he died by 1880. This case reflects the changes that were occurring in Europe – shifting from expensive veneers to hand-painted faux grains. Oh, and the glass in the door is to die for! Bubbles, creases, a beautiful example of the hand blown glass from this period.
