In the era when the smallest unit of time were seconds, not tenths of a second, those days of royal and imperial monarchy of Josef II., the great Viennese Art of Clockmaking was established. Driven by the commercial promotions of the monarch the clockmakers were able to defy in technical as artistic manner with the other major european metropols of clockmaking, London and Paris. From the perspective of the collector, this is significant because in general collecting and rating is done by manufacturers, according to provenance.
Therefor the area of colleting is regional, as opposed to other collection areas. This means that the domestic market is always the most significant market for collectors. The exchange between areas or cities is estimated as rather low. This is also because tastes and interior conditions prevented nearly a lively exchange.
There can be named two criterias of the collecting area. First, collecting according to technical and second according to stylistic criterias. From the technical perspective this makes sense when cherishing clocks before 1860. Around the year 1860, parallel to the development of automatic machines, mechanical clock movements production became even more mass-produced and more alike. With the turn of the century there were hardly any regional differences in the movements, because the movements were distributed “large scale”. Special feature of the great Viennese clocks were the “Viennese Stroke” also called “Great Sonnerie” in the clockmaking world. At every quarter-hour a sound with the number of quarter-hours is played on gong or bells. On the hour this stroke is accompanied with a second different stroke. With an special repeater mechanism this stroke can be played again to strike the current hour. In the technical clockmaking language this function is also compared to “Night Watches”