THIRD QUARTER 19TH CENTURY, BY HERMAN RATZENDORFER
Details
A GERMAN RENAISSANCE STYLE SILVER-MOUNTED BLOOD AGATE EWER
Third Quarter 19th Century, by Herman Ratzendorfer
The shaped bowl applied with twin serpent handles over an oval spreading foot applied overall with semi-precious stones and natural pearls with makers marks stamped 'HR'
9in. (25cm.) high
Third Quarter 19th Century, by Herman Ratzendorfer
The shaped bowl applied with twin serpent handles over an oval spreading foot applied overall with semi-precious stones and natural pearls with makers marks stamped 'HR'
9in. (25cm.) high
Literature
The firm Herman Ratzendorfer was founded in 1843, producing gold, silver, enamel and rock crystal in the Neo-Renaissance taste. He began showing his rock crystal and enamel pieces when he participated in the 1871 London Exhibition, and then went on to participate in the 1873 Exposition Universelle in Vienna, and the 1878 and 1889 Expositions de Paris (See M. Winterbottom. & J. Lomax, &Iop. cit.).
Numerous European silversmiths were creating objets de vertu in the Renassiance Revival taste of the late nineteenth century, among them Herman Bhm, Politzer, Karl Paxrainer, B. Neresheimer, and D. Giobbe, all of whom drew upon exotic natural materials such as rock crystal, hardstones and enamels. The resurgence of the use of rock crystal among Viennese silversmiths had much to do with the unification of Germany in 1871, when the contents of Hungarian mines became accessible. The elaborate designs produced in these rare materials demonstrated the Renaissance philosophy of Naturalia Artifacta, which exalted human ideas triumphing over nature. (See J.F. Hayward, Virtuoso Goldsmiths and the Triumph of Mannerism 1540-1620, London, 1976, p.269).
As a major advocate of the Austrian Arts and Craft Movement, Ratzendorfer was well-known for taking inspiration from sixteenth century Nurenberg goldsmiths' techniques. He also reintroduced techniques such as intarsia and niello after having examined pertinent works in the Imperial treasuries.
Numerous European silversmiths were creating objets de vertu in the Renassiance Revival taste of the late nineteenth century, among them Herman Bhm, Politzer, Karl Paxrainer, B. Neresheimer, and D. Giobbe, all of whom drew upon exotic natural materials such as rock crystal, hardstones and enamels. The resurgence of the use of rock crystal among Viennese silversmiths had much to do with the unification of Germany in 1871, when the contents of Hungarian mines became accessible. The elaborate designs produced in these rare materials demonstrated the Renaissance philosophy of Naturalia Artifacta, which exalted human ideas triumphing over nature. (See J.F. Hayward, Virtuoso Goldsmiths and the Triumph of Mannerism 1540-1620, London, 1976, p.269).
As a major advocate of the Austrian Arts and Craft Movement, Ratzendorfer was well-known for taking inspiration from sixteenth century Nurenberg goldsmiths' techniques. He also reintroduced techniques such as intarsia and niello after having examined pertinent works in the Imperial treasuries.