Ruzhnikov - The Mother of all Nefs

The Mother of all

Nefs

Exceptional Silver-Gilt & Enamel Nef

By Hermann Bรถhm (1866-1922) Vienna, Austria circa 1880 Height 110,5 cm Width 66 cm

2

3

The word nef in French, literally means ‘ship’ A nef is a lavishly adorned table ornament and container used in the Middle Ages and Renaissance. Nefs were made of precious metals in the shape of a ship – nef was another word for a carrack (carrack was a three or four-masted ocean-going sailing ship which was developed in the 14th and 15th centuries in Europe) in French. If not just a decoration, it could hold salt or spices (the latter being very expensive in the Middle Ages), or cutlery, or even napkins. The large nef depicted in the well known calendar miniature for January from the Très Riches Heures du Duc de Berry used to hold gilt dishes from the table service. Nefs are recorded in France as early as 1239, initially consisting of just the hull, and perhaps initially were used as drinking vessels, by the 14th century the most elaborate nefs had masts, sails and even crew. The Mechanical Galleon in the British Museum is a late 16th century German nef which was also a clock and automaton, with moving figures and music.

A nef was usually made of silver or even gold, often further embellished with enamel and precious jewels. A nautilus shell often formed the hull of the ship. Some nefs had wheels to allow them to be rolled from one end of the table to the other.

The nef was placed in front of the most important person at the table as a mark of their status.

4

5

Silver-gilt and exquisitely enamelled cup and cover formed as a galleon, the three masts are entwined with flower garlands, each side of the sails, the hull and the domed base are painted with mythological scenes enclosed within enamelled openwork scrolling foliage enhanced with busts.

6

7

8

9

10

The deck and rigging are busily inhabited by the enamelled figures of sailors at work and play.

11

12

13

14

The bowl is supported by seated mermaids, the base is surrounded by the figures of six seated musicians and six standing nymphs.

15

16

17

18

19

20

21

22

This nef appears to be unmarked but is very similar to two other imposing silver-gilt and enamel nefs by Herman BÜhm sold at Sotheby’s Belgravia on 13 December 1979, lots 264 and 270. The firm of Herman BÜhm specialised in large and elaborate pieces in painted enamel, rock crystal and lapis lazuli, mainly for the export market.

23

24

Hermann Böhm Hermann Böhm (1866-1922) - important Austrian goldsmith and jeweller, one of the most well- known representatives of Neo-Renaissance jewellery.

H e r m a n n wa s b orn in Bukesbon, Hungary circa 1842. In 1865 he married Therese Po l i t z e r, daughter of the goldsmith J. Leopold Po l i t z e r.

Soon after, the families moved to Vienna and went into business first known as Politzer & Böhm and later as Hermann Böhm.

Both Therese, their son Max and Therese's brother Joseph Politzer worked at various dates with the firm which remained in existence until at least 1922. Hermann died in Vienna in 1928 and Max the following year. The firm is recorded as employing between 10 and 12 workmen and specialised in creating mounted enamel and hardstone objects in “AntiqueImitation” for export.

25

Hermann Böhm was the foremost Austrian practitioner of Revivalist goldsmith's work. Working from the 16th century models preserved in the Imperial Collections or shown in deluxe art publications, he created new Renaissance objects of “Rothschild” splendor for international clientele. A characteristic feature of Böhm’s fine enamel works is meticulous, detailed painting in subtle colours that decorates the pieces.

26

27

28

29

Design: Maria Kiseleva Photography: Karen Bengal Printing: C3 Imaging