Hermann Bohm

Hermann Böhm (also spelled Boehm) was a renowned Viennese silversmith and enameller active from the late 19th century until 1922. Originally from Hungary, he moved to Austria in 1866 and began working alongside his father-in-law, Ludwig Politzer, a well-established silversmith. Böhm quickly gained recognition for his exceptional craftsmanship, particularly in the Renaissance Revival style, which was highly fashionable in Austria and Germany at the time.

The Renaissance Revival, part of the broader Historismus movement, emerged in the second half of the 19th century as Austria and Germany sought to forge a distinct national identity through artistic and architectural references to the past. Böhm’s works, inspired by the grandeur of 16th-century European goldsmithing, often featured intricate enamelwork, gilt silver mounts, and elaborate figural decorations. His creations included vases, table ornaments, caskets, and novelty objects, all executed with remarkable precision and richly coloured enamels.

By the time of the Vienna International Exhibition in 1873, Böhm was already considered one of Austria’s leading enamelers, exhibiting alongside contemporaries such as Hermann Ratzersdorfer, Ludwig Politzer, Rudolf Linke, and Karl Bank. His reputation continued to grow, and at the Exposition Universelle in Paris in 1889, his silver-mounted enamelled artworks received widespread international acclaim. He later exhibited at the Paris International Fair in 1899, further cementing his status as a master of his craft.

A British correspondent for The Jeweller & Metal Worker, a London trade journal, described Böhm’s work in glowing terms:

“Böhm ... indeed counts its chief glory to give perfect reproductions of grand medieval pieces, rich of gems and enamel of many colours, while even his modern specimens of the goldsmith’s and jewellers’ art are so quaint and old-world in time and feeling that they have the charm of heirlooms … the effect is gorgeous without being barbaric …”

Böhm’s works remain highly sought after by collectors and museums today, prized for their technical brilliance and historical significance. His work remains a defining example of the skill and richness of Viennese enamelwork in the late 19th and early 20th centuries.