The Viennese firm headed by Hermann Böhm, who had been represented at the Vienna Exhibition of 1873, sent to Paris in 1889 a range of silver-mounted, enamel, gem-set and crystal items which were reminiscent of the 'arts of the middle ages … Böhm … indeed, counts it his chief glory to give perfect reproductions of grand mediaeval pieces, rich with gems and enamel of many colours, while even his modern specimens of the goldsmiths' and jewellers' art are so quaint and old-world in time and feeling that they must have all the charm of heirlooms in wear. They are quite free from the suspicion of extreme newness which, although highly prized by the nouveaux riches, is so little in vogue in good society; and would, indeed, almost give to the latest aspirant to fashion the air of a descendant from a family of quite respectable antiquity. There is a disadvantage in this. I saw more than one piece in that remarkable collection which bore most suspicious resemblance to veritable antiques in the cabinets of friends in England; and when on inquiry as to one well-remembered specimen I learned that seven or eight copies had been made, my heart sank within me in pondering on the hard fate of some or our art connoisseurs … The effect is gorgeous without being barbaric, as the harmonies of colour are well preserved.' (The Jeweller & Metalworker, London, 1 August 1889, p.253)