A rock-crystal centrepiece in the form of a Hippocamp with enamelled silver-gilt mounts, Hermann Ratzerdorfer, Vienna, circa 1870

Galerie Neuse, Bremen, 2010.

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Galerie Neuse, Brême, 2010.

Since their inception, Viennese enamel and hardstone Historismus objects have been victims of their own success. Popularity with customers rapidly led to an increase in production and a decline in quality comparable to that seen in the Historismus silver industry in Hanau. Because the elements to be found in the best, early pieces by such goldsmiths as Hermann Ratzersdorfer and Hermann Böhm, dating from around 1870, such as the present lot, are very similar to those found in the later, mass-produced items, very few have taken the trouble to notice the differences in quality. Certainly since the revival of interest in 19^th century works of art during the early 1970s, the criterion for judging Viennese objects has changed. Perhaps it is now time to look at each object on its own merits and admire the best pieces, such as this rock-crystal centrepiece with elaborate enamel mounts, for their vigorous design, excellence of craftsmanship and brilliantly colourful enamelling, an effect described in 1889 as “gorgeous without being barbaric”.

Vienna, seat of the Hapsburg Empire, was ideally suited to join the historic revival which was sweeping the rest of Europe. Not only did the Kaiserliche Schatzkammer host the most inspiring mediaeval and renaissance objects, but Austria and nearby Hungary had an unequalled history of enamelled jewellery production. Vienna was also already in the forefront of the movement to improve modern design with the opening of dedicated museums and Applied Art Schools which provided informed assistance (Josef Ritter von Storck, Professor of Architecture is thought to have designed objects for Ratzersdorfer) and were ultimately to sow the seeds for the Secession revolt. Furthermore, it was decided that Vienna too should have its own International Exhibition in 1873 with half its space devoted to promoting the Austrian Empire, and half for the rest of the world. The Exhibition was ill-starred: the United States did not show, the premises were not finished for the opening ceremony, the Vienna Stock Exchange collapsed, cholera broke out and visitors, such as Sir Richard Burton, complained bitterly of the high prices. Exceptionally, critics and public praised the neo-Renaissance creations of the Viennese goldsmiths which were said to light up the gloomy Exhibition Rotunda with their colour and sparkle.

Chief of these goldsmiths was the Imperial warrant-holder, Hermann Ratzersdorfer (1815-1891), who started in business in 1843, producing “Rococo Galanterie Waaren”, the type of object he was to show at the 1851 Exhibition in London, winning a medal for “a toilet glass … of elaborate and choice workmanship”. Already by the Paris 1855 Exposition, where he showed “un joli coffret d’argent émaillé”, the firm was moving towards the neo-Renaissance taste. From 1867, Dual Monarchy with Hungary provided access to an affordable source of rock crystal and other hardstones.