VR-609 3 Weight Transitional from Linz
This is one of those clocks I just studying. Transitional, so not as “in your face” as the Altdeutsche pieces, but with a complexity not usually seen in a Transitional piece. The oversize, exquisite top finials, the very unusual spindles to the top edges of the door, the wonderful, deep antique cherry color of the case, original wall stabilizers, pulleys, and all the rest of the little bits, zinc-backed pendulum bob, mechanism on a wooden seat board – and , perhaps best of all, the gorgeous calligraphy on the virtually perfect dial.
This piece is 50 inches long and very striking. There are several transitional pieces in my inventory that really remind me why the Transitional period is a favorite for collectors who want a clock that is simpler than the Altdeutsche, but still offers significant visual excitement.
The mechanism is a classic example of a Viennese master’s work. Linz, a wonderful town 95 miles west of Vienna, and on the Danube river, was close enough to Vienna that makers like Anton Rehle were Viennese trained in the art of clock-making, but distant enough to be able to avoid the stultifying limitations of the guilds. It is for this reason that clock from cities near Vienna, clocks I call “provincial” pieces, are of great interest to me. It is in these clocks that you see the inventive nuances that are often lacking in Viennese pieces. I suppose the first thing that really shows this is the case – but then, look at the hands! Wonderful, unusual, and very fine. They are truly works of art.
Anton is listed in Jurgen Abeler’s definitive tome “Meister Der Uhrmacher Kunst” as being in Linz circa 1840. I suspect this piece, with its narrow hour chapter ring and exquisite mechanism is probably from around 1855. I really look forward to when I get to go through the mechanism and see the details of Anton’s work.
An exceptional case, a mechanism that is a beautiful example of the Viennese art of clock making, this clock would attract even an advanced collector’s palate.
In addition to the "as found" pictures, I have included a number of shots taken during this clocks restoration. The case had apparently had bits fall off in the past. While they were glued back on – they were sometimes not exactly in the right place. In such a situation I remove all bits that have been poorly re-glued and then put everything back correctly. I then started taking care of some of the damage to the finish.
Read MoreThis piece is 50 inches long and very striking. There are several transitional pieces in my inventory that really remind me why the Transitional period is a favorite for collectors who want a clock that is simpler than the Altdeutsche, but still offers significant visual excitement.
The mechanism is a classic example of a Viennese master’s work. Linz, a wonderful town 95 miles west of Vienna, and on the Danube river, was close enough to Vienna that makers like Anton Rehle were Viennese trained in the art of clock-making, but distant enough to be able to avoid the stultifying limitations of the guilds. It is for this reason that clock from cities near Vienna, clocks I call “provincial” pieces, are of great interest to me. It is in these clocks that you see the inventive nuances that are often lacking in Viennese pieces. I suppose the first thing that really shows this is the case – but then, look at the hands! Wonderful, unusual, and very fine. They are truly works of art.
Anton is listed in Jurgen Abeler’s definitive tome “Meister Der Uhrmacher Kunst” as being in Linz circa 1840. I suspect this piece, with its narrow hour chapter ring and exquisite mechanism is probably from around 1855. I really look forward to when I get to go through the mechanism and see the details of Anton’s work.
An exceptional case, a mechanism that is a beautiful example of the Viennese art of clock making, this clock would attract even an advanced collector’s palate.
In addition to the "as found" pictures, I have included a number of shots taken during this clocks restoration. The case had apparently had bits fall off in the past. While they were glued back on – they were sometimes not exactly in the right place. In such a situation I remove all bits that have been poorly re-glued and then put everything back correctly. I then started taking care of some of the damage to the finish.
