An Austro-Hungarian rock crystal, silver and enamel toilet set, probably Vienna, circa 1900

in Renaissance taste, lavishly comprising a double-sided dressing table mirror surmounted and supported by allegorical figures, on black marble base, two candlesticks, two square scent flacons, two small rectangular unguent boxes, one elongated rectangular box and a cut-cornered rectangular pin tray, each with silver mounts decorated with delicate tracery in bright basse-taille enamels applied with simulated gems and enclosing rock crystal panels elaborately engraved with stylised birds amid foliate scrolling, each with corners supported by enamelled Austrian imperial eagles,

The toilet set is known to have been in the present owner's family for three generations.

Generally in very good order. A few small pieces of mounts loose, detached or lacking. Some enamel ornament missing particularly on the tops of simulated gems. Central panel of tray detached with chip to one side and angled crack. One chip to top rims of each candlestick. Natural flaws in crystal. A very unusual and handsome set. MirrorBase width 28cmGlass on each side has cloudy patches and spotting.Small chips at corners of triangular top section of crystal; mirror swivel can no longer be blocked to choose angle (in other words, it can either be swung forward or back which is fine but cannot be stopped straight up); I seated figure on base is loose; several large natural flaws in base crystal panel, one of which has a short crack as well; tiny nibbles on top rim of marble.Long BoxWidth 20cmSmall chip at corner of one crystal panelShort Boxes9.3cm wideFirst –small chip on corner at front left of lid and on sideSecond – one side frame looseScent FlasksHeight 13.5cmEach with detachable capFirst –two top corners with tiny nibblesSecond – chip on corner of base filled with solderCandlesticksHeight 21.5cmFirst – chip on edge of top rim; lacking two silver swags and one scroll on top sectionSecond – two chips on top rim; one swag missing (we have piece)TrayWidth 31cmCentral panel of crystal loose with chips at one corner and T-shaped crack (3.5cm) on opposite end; on reverse several of the edge ornaments have been resoldered; one side piece and ege of scroll lacking; small chips at corners of one end panel
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Vienna, seat of the Hapsburg Empire, was ideally suited to join the historic revival which was sweeping the rest of 19th century Europe. Not only did the Imperial Treasury house the most inspiring mediaeval and renaissance objects but Austria and nearby Hungary had an unequalled history of enamelled jewellery production.

From 1867, Dual Monarchy with Hungary provided access to a prolific source of rock crystal and other hardstones which inspired the creation of objects which used such materials, much in the same way as the encouragement to use Saxon mineral mines had fired Neuber and Stiehl in 18^th century Dresden. At the London 1871 Exhibition, the cost of a "Vase of Rock Crystal, silver mounts" shown by Ratzersdorfer, the leading Vienna goldsmith, was £140. 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 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. Unusually, the present toilet set manages to combine the quality and drama of such Kunstkammer objects with the practical.