The history of the goldsmith Schneider-Rappel is like a continuous creation, a piece of jewelry that is formed in the fire of time, on which five generations of goldsmiths have been hammering, driving, soldering, etching and refining for over 140 years. A story like a goldsmith's work of art, whose flourishes and decorations
are driven from historical figures and events, from great personalities and the creative power of a family. We are pleased to offer you a glimpse of the living process of this chronicle: the history of the goldsmiths and the Schneider-Rappel family.
In 5th generation Susanne Misslinger and Lea Schneider are taking over the family bsuiness, working hand in hand with the 4th generation, Arno and Anke. Co-creating and continuing the family atelier's legacy.
Lea Schneider successfully completed her final apprenticeship examination and became a gold and silversmith. This makes her the 5th generation of Schneider-Rappel Gold and Silversmiths.
Lea joined the Schneider-Rappel gold smithy. Her pieces are characterized by an openness to new influences and techniques. They reflect both the legacy of the past and the future of the Schneider-Rappel company. Like her ancestors, she finds a place in the workshop to evolve.
The opening of outlets in New York and Los Angeles as well as annual exhibitions in Japan show that Schneider-Rappel designs still hold international interest
Die Formensprache erreicht einen neuen Höhepunkt, in dem Bildkörper von Zen-gleicher Verdichtung und Klarheit entstehen.
Numerous exhibitions in Austria and abroad, such as at the world exhibition - the EXPO in Seville and then Barcelona show that Europe too responds to the clean and original designs.
Schneider-Rappel won the honorary prize in the Austrian competition "Jewellery made of precious metals".
The 4th generation, Arno Schneider with his twin sister Anke Höck Schneider and their older sister Eva Wex-Schneider, take the reins. As with every generational change their style differs from the previous one. Although there is a flowing transition, a respect for the craft in all its forms. Arno and his sisters' designs increasingly hold tension between sculpture, art-object and jewellery.
Herbert Julius and his son Arno were commissioned to create a bishop's staff for Bishop Reinhold Stecher, while other craftsmen from the home shop went as far as America and Bolivia.
In addition to secular work such as jewellery and trophies, sacred commissions like altar pieces were taken, for many churches in Tyrol, Vorarlberg and Salzburg. Such pieces, stamped with the Schneider-Rappel trade mark, were exported all over the world - from Germany, Portugal and Yugoslavia to America, Asia and African countries. The stunning monstrance for the Eucharistic World Congress in Bombay in 1964 was made in our workshop.
The Munich-Upper Bavaria Jewellers, Gold and Silversmiths Guild appoints Prof. Julius Schneider as their senior master.
Herbert Julius Schneider took over the management of the goldsmith's workshop and somehow survived the disaster of the World War. The historical style of his predecessors is slowly replaced by a modern, individual design style. This became unmistakable for it ́s look, one that was reduced to the minimum of formal decoration. Julius Schneider Senior was awarded the Ring of Honor by the Society for Goldsmiths.
Anna Rappel and Herbert Julius Schneider get married and thus combine the names of two highly renowned families of goldsmiths. Schneider and Rappel become Schneider-Rappel. At this point, a few words about Herbert Julius' father, namely Professor Julius Schneider, who strongly influenced an entire generation of goldsmiths with his unique craftsmanship, should not be missing. He held a chair in Munich and students from many countries made pilgrimages to him to refine their specialist knowledge with him. Julius Schneider himself worked on major commissions: such as the essay for Kaiser Wilhelm II, the cup for the Nuremberg exhibition in 1906, on the votive plaque of the Bavarian Aristocratic Association for
Jakob Rappel founds the Schwazer Heimatmuseum, which today is at home in Freundsberg Castle. The region's extensive inventory of molds is given a place where it is collected and accessible to the public.
Jakob Rappel Junior, born in 1877, takes over the management of the workshop and now directs the fortunes of the family business in and out of a difficult time for the craft.
The great war is a disaster for the craft. Gold and silver must be delivered. Nevertheless, every effort is made to keep as many employees as possible.
The customer base expands to foreign countries and the works of art go all over the world. More and more orders come primarily from North America.
Archduke Franz Ferdinand of Austria orders altar devices from the Rappel family for the chapel of his Salzburg hunting lodge in Blühnbach and donates a neo-baroque monstrance for Brno.
The goldsmith Rappel ordered sumptuous sarcophagi for the newly furnished burial place of Archduchess Katharina von Mantua and her daughter in the cloister of the Servite monastery.
Pope Leo XIII places the order for the production of a crown for a statue of Immaculate in the newly built Cathedral of the Conception of Mary in Linz (on the occasion of the 50th anniversary of the dogma of the "Immaculate Conception"). The crown, which weighs 2180 grams, is almost entirely made of 18-carat gold.
Archduke Eugen pays an honorary visit to the workshop as part of a visit by the State Rifle Battalion on May 3rd (arriving by express train at exactly 8:08, as the newspaper knew exactly to report).
For the Golden Roof built by Emperor Maximilian in Innsbruck, J. P. Rappel was entrusted with the renewal of the gold shingles. Using a specially developed method, the 2,377 old and 300 new shingles are fire-gilded in the Schwaz workshop. In the same year, members of the Habsburg imperial family donated most of the votive jewelry for the monstrance of the Adoration Church in Bolzano, which the goldsmith Rappel earned in making. The artistic productions of the Rappel house this year lead to the honorable award of the K. u. K. Hofgoldschmiede.
J. P. Rappel created the magnificent tabernacle for the altar of grace in the Absam pilgrimage church; based on the design of the Franciscan artist Father Josef M. Reiter, to whom the miraculous image of Mary appeared on a window pane.
On the occasion of the World Eucharistic Congress, J.P. Rappel commissions another monstrance to be made for the Linz Cathedral based on the Father's design.
Impressed by Philip Rappels creativity, the prince-bishop of Brixen placed an order for the church of the Hofburg: a reliquary for the holy Rotus and the holy Ämilian.
After a creative period in Innsbruck, the "workshop for arts and crafts metalwork and special workshop for church utensils" opened in Schwaz. With impressive gold work, mainly in the sacred area, the workshop soon gained an excellent reputation. This is followed by extremely honorable orders.
Jakob Philip Rappel was born in Athens as the son of an artillery smith in the service of Prince Charles. After three years he returned to Munich (then called "Isar-Athens"), where he completed his goldsmith apprenticeship and soon became a master.