There are also sugar Containers in the shape of Viennese saltcellars “on amoretti" (Fig. 477, p. 309) 
though they have lids. Three sphinxes carry the bellied vessel (Fig. 480, p. 311) which without a lid 
might also have served another purpose. However, the examples shown here with pierced lids were 
certamly sugar bowls belonging to Services (Figs. 478, 479, p. 310). The tripod with amoretti 
(Fig. 4/4, p. 308) was probably used as a spiee bowl, but in the form illustrated here, with a lid and 
larger bowl, it was also used as a sugar bowl. 
Jgnaz Vogel s Preis Courant from the end of the 19th Century contains a “tub” and pear jar (Fig. 481, 
p. 312). The pear and apple jars with glass inserts which are still used as sugar bowls probably origi- 
nated at a much later date, and may also have served another purpose (Figs. 482, 483, p. 313). 
Sparingly used classical motives - like those to a design by Theophil von Hansen around the handles 
of a sugar jar from a tea Service made by the Viennese porcelain manufactory (Fig 492 p 318) - 
were rather unusual in the second half of the 19th Century. Historical shapes and decorations - 
usually dominated by baroque and rococo motives - extend from the second half of the 19th Century 
until well into the 20th Century (pp. 314 et seq.). The sugar jars in the Berndorf catalogue of 1893 are 
representative examples of this (Figs. 495, 496, p. 320, Figs. 500-520, pp. 322-325). 
Many of the typical examples of art nouveau come from the countries of the Austro-Hungarian Mon- 
archy (especially Bohemia) (Figs. 521 et seq., pp. 326 et seq.). The straight-sided classical form 
would appear to have seen a revival in a group of low covered jars (Figs. 535, 536, p. 333). A new 
Sh 335)° f handleless sugar i ar is found in the Services of the Kolo Moser school (Figs. 539, 540, 
Conical shapes with handles reappear at the end of the 19th and beginning of the 20th centuries 
(Figs. 543, 544, p. 337), while the shape and colouring of various sugar jars of Czech and Austrian 
origin can be classified as art deco (Figs. 546 et seq., pp. 339 et seq.). The distinctive designs of vari 
ous Augarten sugar jars can be attributed to artists like Josef Hoffmann and Vally Wieselthier 
(Figs. 548, 340, Fig. 555, p. 343, Figs. 566-568, p. 350). 
Many of the types of jar described here were produced over a long period of time. We also know 
that components such as knobs, feet, lock cartouches, etc. were manufactured in large quantities in 
the 19th Century. It is therefore not unusual to find exactly the same parts on sugar bowls of very dif 
ferent shapes. Component parts were also frequently replaced or exchanged, so one should not 
jump to premature conclusions when one comes across mixed styles in any of these receptacles. 
SUGAR TONGS 
The spectrum of designs for this everyday Commodity of bygone days ranges from simple elegance 
with plain jaws on long, narrow arms to intricate pressed decorations with heraldically spread wings 
or luxuriant leaf and flower arrangements. 
Sugar tongs were used to pick up pieces of sugar (after breaking up a sugar loaf) and later for tak- 
ing sugar lumps. They were a permanent element of the production ränge of many Austrian metal- 
ware manufacturers. Designed to meet exacting requirements, sugar tongs were frequently made of 
silver, executed with particular precision and with tremendous variety. The arms could be smooth, 
pierced, pressed, with filigree work, the bow smooth or relieved, with or without a ball-shaped knob! 
the jaws in the shape of Shells or palmettes, animal claws or wine leaves with grapes, or smooth 
bowls, sometimes oval, sometimes round, compact or in the shape of trefoils. 
There are only few sugar tongs mentioned in Contemporary exhibition reports. In 1835 and 1839 
Jakob Weiss is reported to have exhibited sugar vases, sugar caddies, sugar castors and sugar tongs. 
At the exhibition of 1839 K. K. Aerarial Eisengiesserei of Mariazell displayed sugar tongs in the form 
of a stork. In the address book of 1854 Franz Kordon is mentioned as having a production ränge in- 
cluding sugar tongs. 
An early group can be dated to the period between 1810 and 1824 thanks to the year of the official 
hallmark or tax stamp. It comprises smooth, unembellished tongs (Figs. 687, 688, p. 421) and tongs 
decorated with figural allegories with palmette jaws and a floral lozenge on the bow (Figs. 689-692, 
pp. 422, 423). Allegories can be found in the high oval medallions of the tongs rieh in filigree work 
(Figs. 693, 694, p. 424). This group of tongs is characterised by leaf and Shell shaped jaws and en- 
tirely or partly perforated arms. The English tongs illustrated here by way of comparison also appear 
to feature openwork (Figs. 698, 699, p. 426). 
A fundamentally different shape and construction are found in two pairs of tongs whose arms are 
pressed apart as wide as the construction will allow by a flat spring. The arms are curved, partly 
smooth and partly ribbed (Figs. 703, 704, p. 428). 
495