VR-544 Dwarf Serpentine in an unusually large case, by Ignatz Lutz in Wien
544 Dwarf Serpentine in an unusually large case, by Ignatz Lutz in Wien
The quality of this clocks case and mechanism tells us that Ignatz was one of the better makers from the last half of the nineteenth century, a maker who, in his time, would have been an anachronism - using techniques more appropriate for an earlier time. While it is not possible to tell precisely when this piece was made, the case style suggests it was clearly post 1850. This is a time when competition from both the German and American factories was forcing Viennese makers to compete with much less expensive imports. A time when some were forced to take shortcuts - or loose business. But, there were makers who refused to change their practices to meet the cheaper competition. Such is the time when this masterpiece was produced.
Claterbos tells us that Ignatz qualified as a clockmaker in 1841 - therefore serving his apprenticeship during a time when the quality of ones work was exemplified by the exquisite details crafted into the mechanisms. While Ignatz’s customers probably never saw the reason they had to pay so much for his work, mechanisms from this period are what drive my fascination with Vienna Regulators. And, the person who purchases this piece will be able to see this hidden “world behind the dial” after commissioning SNClocks to clean this clock’s mechanism. The glimpses I can see of the inner workings promise that this is an exceptional mechanism - one that I will definitely need to document for my site. As part of the standard cleaning I will produce a full color photo album of the inner workings, highlighting the details that make pieces like this so wonderful. And yes, this album will be able to be viewed under the “Viennese Art” gallery on our site.
Claterbos goes on to tell us that Ignatz lived on Alserstrasse, and later at 276 Wohringergasse, it appears his widow was running his business in 1881, but she to is no longer listed by 1883.
One must remember, when viewing a dwarf, that their very size posed challenges for the maker: Their short cases made it necessary to produce mechanisms that ran for a week on a weight drop that is significantly less than found in a typical Vienna. This piece, with its smaller than normal weights, has a weight drop of only 12 inches. And, even in its tarnished and soiled condition, it proceeded to strike the quarter and the hour when I hung its weights.
Note too the details that bespeak a mechanism from an earlier period - the strike gongs mounted on a stand which in turn mounts to the wooden seat-board. The delicate, finely made strike hammers, the very finely made bob, with the perfectly inset zinc back, wonderfully detailed and delicate hands, ornate crutch, with its stylized lyre end...
I was recently asked if one often finds clocks where one can identify not only the mechanism maker, but also the case maker. Unfortunately this is all too rare. But, in the case of this piece, we do find a name scratched on the back of the bob. And, while I admit I can not make it out in its entirety, it is interesting to think about a bob-maker who was so proud of making such an unusually large, and perfect bob, that he added his name to the back.
While the mechanism speaks to the caliber of Lutz’s work, the case is the masterpiece that really makes this piece stand out.
In the style of a dwarf, this piece is significantly larger than normally found, yet still retaining the disproportionately large dial and bob that define the genre.
The case is clearly the product of a maker who produced very fine furniture - the attention to detail stands out even amongst Vienna Regulators. And, it is in phenomenal condition! As I look at this piece I notice a number of details that set it apart - the arched top to the door - which requires an equally arched top - this kind of construction requires so much more effort than the typical, flat-topped door. Then there is the unusual and complex finials - with their wide shoulders and very narrow waists, the unusual headpiece with its hanging finial, beautifully-carved flourishes to the corners of the serpentine door, unusual treatment to the base - with its added complexity added below what is a perfectly good base... All details used by a maker who wanted to showcase both his skills, and the taste of the person who bought the piece.
The case really is in lovely condition, it has been cleaned, waxed, and polished - it is ready to hang on your wall.
Details - The perfect dial (I could see no cracks!), the five-spoke pulleys, original beat scale in perfect condition, very nice weights with very thick washers below the weight hooks (yes the weights do have dings, but they all have sides that are near perfect), original wall stabilizers, old glass throughout, with lovely bubbles forming fish-eyes in the door glass, a locking door (again, with an unusual-design escution, and yes, the door lock works), and even an original key.
As I look at this piece I am struck, firstly, by the wonderful condition of the original finish and how “of a piece” this clock is. With no missing bits, obvious exemplary quality and an unusual style, this piece is one of the nicer pieces I will be able to offer!
Read MoreThe quality of this clocks case and mechanism tells us that Ignatz was one of the better makers from the last half of the nineteenth century, a maker who, in his time, would have been an anachronism - using techniques more appropriate for an earlier time. While it is not possible to tell precisely when this piece was made, the case style suggests it was clearly post 1850. This is a time when competition from both the German and American factories was forcing Viennese makers to compete with much less expensive imports. A time when some were forced to take shortcuts - or loose business. But, there were makers who refused to change their practices to meet the cheaper competition. Such is the time when this masterpiece was produced.
Claterbos tells us that Ignatz qualified as a clockmaker in 1841 - therefore serving his apprenticeship during a time when the quality of ones work was exemplified by the exquisite details crafted into the mechanisms. While Ignatz’s customers probably never saw the reason they had to pay so much for his work, mechanisms from this period are what drive my fascination with Vienna Regulators. And, the person who purchases this piece will be able to see this hidden “world behind the dial” after commissioning SNClocks to clean this clock’s mechanism. The glimpses I can see of the inner workings promise that this is an exceptional mechanism - one that I will definitely need to document for my site. As part of the standard cleaning I will produce a full color photo album of the inner workings, highlighting the details that make pieces like this so wonderful. And yes, this album will be able to be viewed under the “Viennese Art” gallery on our site.
Claterbos goes on to tell us that Ignatz lived on Alserstrasse, and later at 276 Wohringergasse, it appears his widow was running his business in 1881, but she to is no longer listed by 1883.
One must remember, when viewing a dwarf, that their very size posed challenges for the maker: Their short cases made it necessary to produce mechanisms that ran for a week on a weight drop that is significantly less than found in a typical Vienna. This piece, with its smaller than normal weights, has a weight drop of only 12 inches. And, even in its tarnished and soiled condition, it proceeded to strike the quarter and the hour when I hung its weights.
Note too the details that bespeak a mechanism from an earlier period - the strike gongs mounted on a stand which in turn mounts to the wooden seat-board. The delicate, finely made strike hammers, the very finely made bob, with the perfectly inset zinc back, wonderfully detailed and delicate hands, ornate crutch, with its stylized lyre end...
I was recently asked if one often finds clocks where one can identify not only the mechanism maker, but also the case maker. Unfortunately this is all too rare. But, in the case of this piece, we do find a name scratched on the back of the bob. And, while I admit I can not make it out in its entirety, it is interesting to think about a bob-maker who was so proud of making such an unusually large, and perfect bob, that he added his name to the back.
While the mechanism speaks to the caliber of Lutz’s work, the case is the masterpiece that really makes this piece stand out.
In the style of a dwarf, this piece is significantly larger than normally found, yet still retaining the disproportionately large dial and bob that define the genre.
The case is clearly the product of a maker who produced very fine furniture - the attention to detail stands out even amongst Vienna Regulators. And, it is in phenomenal condition! As I look at this piece I notice a number of details that set it apart - the arched top to the door - which requires an equally arched top - this kind of construction requires so much more effort than the typical, flat-topped door. Then there is the unusual and complex finials - with their wide shoulders and very narrow waists, the unusual headpiece with its hanging finial, beautifully-carved flourishes to the corners of the serpentine door, unusual treatment to the base - with its added complexity added below what is a perfectly good base... All details used by a maker who wanted to showcase both his skills, and the taste of the person who bought the piece.
The case really is in lovely condition, it has been cleaned, waxed, and polished - it is ready to hang on your wall.
Details - The perfect dial (I could see no cracks!), the five-spoke pulleys, original beat scale in perfect condition, very nice weights with very thick washers below the weight hooks (yes the weights do have dings, but they all have sides that are near perfect), original wall stabilizers, old glass throughout, with lovely bubbles forming fish-eyes in the door glass, a locking door (again, with an unusual-design escution, and yes, the door lock works), and even an original key.
As I look at this piece I am struck, firstly, by the wonderful condition of the original finish and how “of a piece” this clock is. With no missing bits, obvious exemplary quality and an unusual style, this piece is one of the nicer pieces I will be able to offer!
