VR-526 - Late Biedermeier Granne-Sonnerie striking clock by J. Schardtmihlner in Krems
While Claterbos does not list a Schardtmihlner, it is none the less fairly interesting to date this piece, based on its characteristics. The Serpentine style was popular starting in roughly 1850, and continuing through roughly 1885. The first clues I note when thinking in this range of dates is the dials chapter ring - which were narrow to the earlier period, then getting wider as the years went by. This piece, with its rather narrow chapter, is clearly earlier, rather than later. Quality of hands is also an indicator - again, the wonderful hands point to an earlier, rather than later date. The mechanism, while about as dusty and dirty as a mechanism can get, is of wonderful quality and will clean up beautifully. The quality of the wheel and strike works points toward earlier period, when it was common to find quality reminiscent of the late Biedermeier period. An interesting detail on this clock, that I have not seen on other pieces: Whilst it appears there is a grommet around the center hole in the dial, the brass trim piece is actually fitted to the hour cannon pinion - so it rotates with the hour hand. And does not quite touch the dial. Uncommon details like this also reflect a maker who is still making many of his bits by hand, and thereby leaving his individual mark on the clock.
Based on the above, and the very nicely done Serpentine case (just look at the top finial, you just don’t see that large and well made of finials later in the period unless on a truly exceptional piece) I would date this piece in the 1850 to 1855 period.
To my eye this piece truly deserves (or needs) a bottom finial. And, as dusty and dirty as is the case, it would truly come to life if cleaned and polished. While the finish is in very nice condition, it does have its 5 or 6 small scrapes which would be much less noticeable if colored to match the surrounding finish. Such touch-up work is always included in cleaning and polishing.
Don’t get me wrong, the piece looks very nice hanging behind me. But, it would truly come to life if cleaned and polished.
While the near perfect dial (yes, it has a couple of very, very fine hairlines, but they just aren’t visible) with its gorgeous makers name and delicate hands is the first thing your eye notes when studying this clock, the rather unusual Serpentine style of the case is quite unusual. I find that the combination of the earlier-style dial, coupled with the unusual pulleys, and relatively short weights makes me take a bit more notice of this piece than would a later Serpentine: The clock gives the impression of being just that bit more special than most Serpentines.
Let’s see - weights have a few, but not many dings, with one side of each very nice. The pulleys are unusual, the wall stabilizers early and very nice, the bob perfect, if not so tarnished, and all of the glass is old and wavy. Even the beat scale is special, in much better shape than usual for a painted example.
The faux-finished case is really quite nice, with surprisingly few scrapes and scratches. I often have to remind myself - these pieces are over a hundred years old (in this one’s case, right at 150 years old). With this in mind I have to say this piece is in phenomenal condition. The very deep cherry/mahogany color of the finish tends toward black under subdued lighting conditions. But then, when the light hits it, the underlying colors come forth, a lot like a rose-wood long case clock in my collection. Almost makes one want to put a spotlight on the case.
Read MoreBased on the above, and the very nicely done Serpentine case (just look at the top finial, you just don’t see that large and well made of finials later in the period unless on a truly exceptional piece) I would date this piece in the 1850 to 1855 period.
To my eye this piece truly deserves (or needs) a bottom finial. And, as dusty and dirty as is the case, it would truly come to life if cleaned and polished. While the finish is in very nice condition, it does have its 5 or 6 small scrapes which would be much less noticeable if colored to match the surrounding finish. Such touch-up work is always included in cleaning and polishing.
Don’t get me wrong, the piece looks very nice hanging behind me. But, it would truly come to life if cleaned and polished.
While the near perfect dial (yes, it has a couple of very, very fine hairlines, but they just aren’t visible) with its gorgeous makers name and delicate hands is the first thing your eye notes when studying this clock, the rather unusual Serpentine style of the case is quite unusual. I find that the combination of the earlier-style dial, coupled with the unusual pulleys, and relatively short weights makes me take a bit more notice of this piece than would a later Serpentine: The clock gives the impression of being just that bit more special than most Serpentines.
Let’s see - weights have a few, but not many dings, with one side of each very nice. The pulleys are unusual, the wall stabilizers early and very nice, the bob perfect, if not so tarnished, and all of the glass is old and wavy. Even the beat scale is special, in much better shape than usual for a painted example.
The faux-finished case is really quite nice, with surprisingly few scrapes and scratches. I often have to remind myself - these pieces are over a hundred years old (in this one’s case, right at 150 years old). With this in mind I have to say this piece is in phenomenal condition. The very deep cherry/mahogany color of the finish tends toward black under subdued lighting conditions. But then, when the light hits it, the underlying colors come forth, a lot like a rose-wood long case clock in my collection. Almost makes one want to put a spotlight on the case.
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