Lot 176
  • 176

An Austrian silver-gilt, enamel, and lapis three-piece clock garniture, Herman Boehm, Vienna, circa 1885

Estimate
150,000 - 200,000 USD
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Description

  • marked underneath base rim of each piece
  • Lapis, Enamel
  • heights 27, 22 1/4 in.
  • 68.5, 56.5cm
all three pieces of hexagonal tower form, the openwork feet with masks below bases of a strapwork border with gnome terms and a horizontal band of lapis panels centered by oval reliefs of a merman separated by female caryatids
  The lower level of each with spiral-twisted columns at the angles, painted with flower garlands and topped by fully modeled figures of Prudence and other virtues, the lapis panels centered by high-relief roundels under glass showing three religious scenes munder glass - Adam and Eve, the Flight into Egypt, and the Vision of St. Hubert - and three mythological ones - the Judgement of Paris and two Pastorals with satyrs and Muses.
  The middle level with panels centered by openwork rounds of St. George and the Dragon, the central piece with three clock dials (lacking hands), punctuated by chased floral columns topped by classical figures on the vases and miniature figures of seated Saturn on the clock
  The upper level with classical arches centered by monster heads and flanked by putti enamelled en rond bosse, enclosing on the vases classical warriors and on the clock figures of Justice, Prudence, and Charity, alternating with St. George and two warrior kings.
  The vases topped by a gallery with seated Saturns and flaring hexagonal vases of champlevé enamel, with caryatid handles ending in rearing demi-horses enamelled en rond bosse in black, the clock with a double ballery of strapwork centered by masks and topped by Roman figures, the lapis turret with openwork ribs, the sides centered by panels of a Pelican feeding its young, classical warrior finial

Condition

as noted re: hands of clocks, minor enamel loss to sides of vases, dormers of clock, and three-dimensional figures; several feet reattached small lapis panel missing from below one vase, probably some replacements to lapis mosaic but well matched minor variations in the enamelling patterns and other design elements Otherwise good condition, fantastic size and very impressive
"In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective, qualified opinion. Prospective buyers should also refer to any Important Notices regarding this sale, which are printed in the Sale Catalogue.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD AS IS" IN ACCORDANCE WITH THE CONDITIONS OF BUSINESS PRINTED IN THE SALE CATALOGUE."

Catalogue Note

Hermann Böhm or Boehm was, with Hermann Ratzersdorfer, the foremost Austrian practicioner of Revivalist goldsmith's work.  Working from models preserved in the Imperial Collections, the Green Vaults in Dresden, or shown in deluxe art publications, he used the local talents in painted enamels and hardstone work to create new Renaissance objects of "Rothschild" splendor for an international clientele.

The firm was founded in 1866, and in the early 20th century was recorded as being Hermann, Hugo and Max Bohm (a mark is only entered for Hermann) and twelve workers.  At the 1873 Vienna Exhibition, they showed a "Tournament Shield and Weapons in antique style, various 'galantries', and jewelry pieces in Limoges enamel", and received an award for merit.  In 1890 they advertised "Artworks in Gold, Silver, Enamel, Rock Crystal, and Lapis Lazuli", while in 1898 the firm was idenified as making "enamels and pieces in Antique Style".

For the offered garniture, Boehm combined antique elements from various sources to creat a new suite of Ringstrasse richness.  The hexagonal form and offset columns derive from early Renaissance tower clocks, but he has pulled them up into additional tiers reminiscent of Spanish altarpieces.  The surface has been clad in hardstone mosaic and decorated with gilt and enamel strapwork in late 16th century style; the arched openings with figures are particularly close to those on a casket by Wenzel Jamniter of Nuremberg preserved in Dresden.  The surmounting turret of the clock, with its little dormer windows, returns to the architectural prototype, while its flanking geometric vases are a fully 19th century conceit, with their naturalistic demi-horses errupting below Renaissance-style caryatid handles