No one, however, who knew her figure compositions in her Slade School
days, productions full of promise, if marred by the attenuated model
with prim, smooth-drawn hair, the type of Carlos Schwabe's illustrations
to "Le Rêve" and "l'Évangile," could have foreseen that Miss Syrett
would develop in the direction of her present work. The reduced
black-and-white illustrations convey no idea of the tender beauty of the
colouring, nor of the exquisite pen-work in brown with which such
features as the faces, hair, and hands are executed.
Another gifted artist is Mr. Brangwyn, who now makes his _début_ as a
fan decorator, with a finished painting on silk, and also a crayon study
for the same purpose. His design shows how much individuality an artist
may impart even to work consciously founded on that of a past style.
Here, for example, in the drawing of Cupids shooting their darts at a
pair of lovers, may be recognised the very figures of the Trianon
period, but happily without any of their doll-like affectation and
effeminacy.
Those who recollect Miss Jessie King's drawing in the last winter's
special number of THE STUDIO--her _Pelleas and Mélisande_--in which the
lank forms of Schwabe or Torop were combined with a wealth of accessory
ornament of the artist's own, will scarcely recognise her hand in the
present fan. She seems to be able to pass with marvellous facility from
one fully matured style to another. The elaborate, nay, luxuriant finish
of the whole, to say nothing of separate details such as the
butterflies, the festoons, knots, etc., vividly recall the work of the
late Aubrey Beardsley. It is no derogation of Miss King's remarkable
powers to assert that, but for the existence of Mr. Beardsley, this
drawing of hers would certainly not have been what it is. One could wish
that, for the sake of support to the leaf, more room had been allowed to
the sticks. But, apart from this defect, the dainty care with which
every minute detail is consistently carried out merits little else than
praise.
Miss Christine Angus contributes two designs--one, in a pictorial style,
for a paper fan, not nearly so decorative as the other, of nude boys
and sweet peas, for painting on silk. Miss Ethel Larcombe's gauze fans
are attractive compositions, which bear tokens of a diligent
appreciation of Granville Fell.
Another kind of fan ornamentation is exemplified by the stencil work of
Mr. Reginald Dick and Mr. Thomas Cook. It is true these decorations are
in a degree, but only in a slight degree, mechanical. The one
unchangeable element is the white tie-lines of the pattern. For the
rest, no little skill is required of the artist in devising and cutting
his stencil. The number of plates is limited, but the mode adopted of
colouring by hand admits of such variations that no two specimens from
the identical stencil plates would ever be alike. Mr. Dick's fan is
provided with enamelled sticks in keeping with the other parts of the
decoration. Mr. Cook's design is the less characteristic of this
particular method. Indeed, though finished off at either end with a
certain plausibility, the pattern is an obvious repeat, and such that
might very well be the section of a circular dish border.
Less ambitious are the designs for different sorts of lacework by Miss
Hammett and Miss Naylor. Each of these patterns, while keeping strictly
within the limits of the special technique proposed, shows yet much
freshness and fertility of resource. In the one case the design is
floral, in the other the theme is relieved by the introduction of bird
forms into the composition.
To conclude, the scope for decoration that fans afford is so great, and
the possible methods so manifold, that the wonder is there are not many
more artists employed in this industry. It is one well worthy of their
attention; and it is to be hoped that no long time may elapse before the
joint efforts of designers may, in this, as already in other branches
of arts and crafts, result in something like a native style of
ornamentation being evolved.
AYMER VALLANCE.
(_British_)
A FAN PAINTED ON SILK
BY
FRANK CONDER.
(_In the possession of Thomas Greg, Esq._)
[Illustration]
[Illustration
PLATE 2 ]
[Illustration:
_Design for a Lace Fan_
MYRA NAYLOR
PLATE 3 ]
[Illustration:
_Design for a Lace Fan_
MYRA NAYLOR
PLATE 4 ]
(_British_)
A FAN PAINTED ON SILK
BY
FRANK CONDER.
(_In the possession of Dalhousie Young, Esq._)
[Illustration]
[Illustration:
PLATE 5 ]
[Illustration: FIG. A
FIG. B
_A. "The Medallion" Fan_
_B. "A Travesty" Fan_
FRANK CONDER
(_By permission of Messrs. Carfax & Co._)
PLATE 6 ]
[Illustration: FIG. A
FIG. B
_A. "The Empire" Fan_
_B. "L'Anglaise" Fan_
FRANK CONDER
(_By permission of Messrs. Carfax & Co._)
PLATE 7 ]
(_British_)
A PAINTED SILK FAN
BY
FRANK BRANGWYN.
[Illustration]
[Illustration:
PLATE 8]
[Illustration: _Designs for Lace Fans_
LYDIA C. HAMMETT
PLATE 9]
[Illustration: _Designs for Painted Gauze Fans_
ETHEL LARCOMBE
PLATE 10]
(_British_)
"THE COURT OF LOVE"
DESIGN FOR A PAINTED FAN
BY
H. GRANVILLE FELL.
[Illustration]
[Illustration:
PLATE 11]
[Illustration: _Designs for Painted Silk Fans_
CHRISTINE ANGUS
PLATE 12]
[Illustration: _Painted Silk Fans_
NELLIE SYRETT
PLATE 13]
(_British_)
BUCKLE IN WROUGHT SILVER AND ENAMEL
BY
NELSON AND EDITH DAWSON.
[Illustration]
[Illustration:
PLATE 14]
[Illustration: FIG. A
_A. Painted Silk Fan_
THOMAS A. COOK
FIG. B
_B. Painted Silk Fan_
NELLIE SYRETT
PLATE 15]
[Illustration: _Design for a Fan_
JESSIE M. KING
PLATE 16]
[Illustration: FIG. A
FIG. B
_A. Necklet in Gold and Silver, with Amethysts and Enamels_
_B. Necklet in Silver and Gold, green Malachite and Turquoise_
Designed by C. R. ASHBEE
Executed by THE GUILD OF HANDICRAFT
PLATE 17 ]
[Illustration: FIG. A
FIG. B
_A. Necklet in Gold, Pearls and Enamels_
_B. Silver Muff-Chain with Pearl Blisters_
Designed by C. R. ASHBEE
Executed by THE GUILD OF HANDICRAFT
PLATE 18 ]
(_British_)
_Comb in Mother-of-pearl and Enamel_
B. J. BARRIE
_Comb in Beaten Silver with Ivory Prongs_
DAVID VEAZEY
_Hair Comb in Silver and Transparent Enamels_
KATE ALLEN
[Illustration]
[Illustration:
PLATE 19 ]
[Illustration:
FIG. A
FIG. B
FIG. C
_A. Peacock Brooch with Pearls, White
Enamel and Turquoises_
_B. Silver Brooch, with Green and
Blue Enamels_
_C. Peacock Brooch, in Gold, with
Pearls and Diamonds, a Ruby in
the Peacock's eye_
Designed by C. R. ASHBEE
Executed by
THE GUILD OF HANDICRAFT
PLATE 20 ]
[Illustration: FIG. A
FIG. B
_A. Silver Clasp, enriched with Amethysts, Pearls and pale violet
Enamel_
Designed by C. R. ASHBEE
Executed by THE GUILD OF HANDICRAFT
_B. Hair Comb, in Silver and Enamels_
FRANCES McNAIR
PLATE 21 ]
[Illustration: FIG. A
FIG. B
_A. Vinaigrette and Chain_
J. HERBERT McNAIR
_B. Pendant in beaten Silver, pierced and enamelled to hold a Crystal
Locket_
FRANCES McNAIR
PLATE 22 ]
[Illustration: FIG. A
FIG. B
_A. Belt-buckle and two Brooches in beaten Silver and Wire_
_B. Brooches and Earrings_
J. HERBERT McNAIR
PLATE 23 ]
(_British_)
DESIGNS FOR JEWELLERY IN GOLD, SILVER,
ENAMELS, MOSAIC AND PRECIOUS STONES
BY
THOMAS A. COOK.
[Illustration]
[Illustration:
PLATE 24]
[Illustration: FIG. A
FIG. B
_A. Necklace in Gold and Enamel_
KATE FISHER
_B. Belt in Silver and Enamel_
EDITH PICKETT
PLATE 25 ]
[Illustration: _Silver Clasps and Gold Pendants set with Opals and
Amethysts_
EDGAR SIMPSON
PLATE 26]
[Illustration: _A Pendant, Two Buttons, a Brooch and a Cloak Clasp in
Silver_
EDGAR SIMPSON
PLATE 27]
[Illustration: _Silver Pendant, Brooch and Clasp_
ANNIE McLEISH
PLATE 28]
(_British_)
_Enamelled Silver Brooch_
A. E. ARSCOTT
_Silver Pendant touched with Enamel_
E. MAY BROWN
_Enamelled Silver Brooch_
W. HODGKINSON
_Silver Brooch with Beads of Enamel_
ANNIE McLEISH
_Brooch in Silver and Enamel_
KATE ALLEN
_Silver Brooch set with Red Coral_
ISABEL McBEAN
_Silver Locket Enamelled_
W. HODGKINSON
_Brooch in Gold and Enamel with Pearl Centre_
KATE ALLEN
_Brooch, Silver and Enamel_
A. E. ARSCOTT
_Silver Brooch enriched with Enamel_
ANNIE McLEISH
_Enamelled Silver Brooch_
W. HODGKINSON
[Illustration]
[Illustration:
PLATE 29]
[Illustration: _Belt Buckles in Silver, Niello and Enamels_
WINIFRED HODGKINSON
PLATE 30]
[Illustration: FIG. A
FIG. B
_A. Enamelled Silver Belt-Clasp_
KATE ALLEN
_B. Silver Clasp set with Stones_
B. J. BARRIE
PLATE 31 ]
[Illustration: _Clasps in Silver and Enamel_
ANNIE McLEISH
PLATE 32]
[Illustration: _Watch Backs in Silver and Enamels_
KATE ALLEN
PLATE 33]
(_British_)
_Brooch in Silver and Enamel_
DAVID VEAZEY
_Brooch in Silver, Enamel, and Precious Stones_
B. J. BARRIE
_Gold Pendant with Pearls, and Turquoise, and Champlevé Enamel_
DOROTHY HART
_Gold Pendant enriched with Enamel_
E. LARCOMBE
_Silver Pendant with Enamel_
MINNIE MCLEISH
_Brooch in Silver and Enamel_
ANNIE MCLEISH
_Enamelled Silver Brooch_
MINNIE MCLEISH
_Enamelled Brooch in Silver_
N. EVERS-SWINDELL
_Brooch in Gold and Enamel_
M. ALABASTER
[Illustration]
[Illustration:
PLATE 34]
[Illustration: _Silver Clasps set with Stones_
OLIVER BAKER
PLATE 35]
[Illustration: British
FIG. A
FIG. B
FIG. C
_A. Silver Pendant set with Opal in matrix_
EDGAR SIMPSON
_B and C. Silver Buckles_
OLIVER BAKER
PLATE 36 ]
[Illustration: _Clasps in Silver and Enamels_
KATE FISHER
PLATE 37]
[Illustration: _Clasps in Silver and Enamels_
KATE ALLEN
PLATE 38]
_Pin in Beaten Silver and Enamel_
D. VEAZEY
_Hair Pin in Silver and Enamel_
E. M. HODGKINSON
_Pin in Silver and Enamel_
E. M. HODGKINSON
_Pin in Beaten Silver and Enamel_
D. VEAZEY
_Pin in Beaten Silver and Enamel_
D. VEAZEY
_Silver Hair Pin touched with Enamel_
ANNIE MCLEISH
_Hair Pin of Gold decorated with Enamel
and Mother-of-pearl_
W. HODGKINSON
_Hair Pin in Silver and Enamel_
E. M. HODGKINSON
[Illustration]
[Illustration:
PLATE 39]
[Illustration: FIG. C
FIG. A
FIG. B
FIG. D
_A and B. Jewelled Brooches in beaten Copper_
_C and D. Jewelled Buckles in beaten Aluminium_
TALWIN MORRIS
PLATE 40 ]
[Illustration: FIG. A
FIG. B
FIG. C
_A Jewelled Shoe-Buckle in beaten Copper_
_B. Cloak Clasp in beaten Silver_
_C. Waist-band Clasp in beaten Silver_
TALWIN MORRIS
PLATE 41]
[Illustration: FIG. A
FIG. B
FIG. C
_A and B. Buckles in beaten Aluminium_
TALWIN MORRIS
_C. Pendants in Silver; the upper one with Enamels, the lower with
Turquoises_
FRANCES MCNAIR
PLATE 42]
[Illustration: _Silver Finger Ring set with Pearls, Amethysts, and
Rubies_
CHARLES R. MACINTOSH
_Silver Brooch and Pendant Heart set with Rubies, Pearls, and
Turquoises_
M. MACDONALD MACKINTOSH
PLATE 43]
[Illustration: _Necklet of beaten Silver, chased, and set with Fire
Opals_
ARTHUR J. GASKIN
PLATE 44]
[Illustration: _Silver Pendant and Chain set with Turquoises and
Chrysoprase_
ARTHUR J. GASKIN
PLATE 45]
[Illustration: FIG. A
FIG. B
_A. Silver Belt_
_B. Silver Necklet, set with Pearl Blisters,
Coral and Aquamarine_
FRED S. ROBINSON
PLATE 46]
[Illustration: FIG. A
FIG. B
_A. Silver Chain and Pendants set with Stones_
ISABEL McBEAN
_B. Enamelled Silver Pendant_
MINNIE McLEISH
PLATE 47]
_Silver Clasp enriched with Enamel_
ANNIE ALABASTER
_Silver Clasp inset with Enamel_
DAVID VEAZEY
[Illustration]
[Illustration:
PLATE 48]
[Illustration: _Silver and Enamel Clasps, Pins and Brooches_
EDITH PICKETT
PLATE 49]
[Illustration: FIG. A
FIG. B
FIG. C
FIG. E
FIG. D
FIG. F
FIG. G
_A, D, G. Brooches and a Cross in Gold, set with Stones_
ANNIE McLEISH
_B. Brooch in Silver and Enamels_
DAVID VEAZEY
_C. Silver Brooch with Opals_
ETHEL M. HODGKINSON
_F. Brooch in Silver, Enamel and Pearls_
NORA EVERS-SWINDELL
PLATE 50]
[Illustration: _Four Silver Hat Pins_
Designed by ARABELLA RANKIN
Executed by J. M. TALBOT
PLATE 51]
[Illustration: _A. Six Pins in Silver and Enamel_
NORA EVERS-SWINDELL
_B. Two Pins in Silver and Enamel_
WINIFRED HODGKINSON
_C. Two Silver Pins set with Enamel_
ETHEL M. HODGKINSON
PLATE 52]
MODERN AUSTRIAN JEWELLERY. By W. FRED.
[Illustration]
Critical examination of the jewellery of any particular period cannot
fail to be practically a chapter of the history of culture. The popular
saying: "Every time has the poet it deserves," is superficially true,
yet holds within itself a certain element of falsehood, as does pretty
well every commonplace proverb of the same kind. However, if the
sentence be slightly modified, as it very well may be, so that it reads,
"Every time has the jewellery it deserves," there will be absolutely
nothing untrue about it, for the ornaments worn, whether on the dress,
the hair, or the person of the wearer, have always reflected in a marked
degree the taste of their period, and are very distinctly differentiated
from those of any other time, so that changes in fashion imply changes
of a more radical description in popular feeling.
A history of personal ornament is open to many side issues, and unfolds
itself in two different--indeed, opposite--directions. Primitive
savages, as is well known, wear ornaments before they take to clothes.
The Fiji islanders sport gold chains round their necks, and the African
negroes in their untamed state load themselves with every glittering
object they can get hold of, looking upon the multiplication of
ornaments as a sign of wealth. Very different, of course, is the state
of civilisation of those who look upon decoration as an evidence of art
culture, and care only for such ornaments as require the exercise of
technical skill in their production, valuing them in proportion to the
amount of that skill displayed by their craftsmen, rather than the
intrinsic value of their material. The time of the Italian Renaissance
is an instance of the truth of this. As has so often before been the
case in the times of transition which are of inevitable recurrence, our
own modern epoch is characterised by a certain unrest and confusion, in
which many tendencies are contending with each other side by side, and
neutralising, to a great extent, each other's effects. In America, the
Tiffany company seems to aim at producing masses of precious stones,
which will give primarily the impression of the great wealth of their
owner and producer; whereas, in France, Lalique the jeweller endeavours
rather to throw into the background the actual value of the jewels,
their artistic setting being the first thing to strike the observer. We
in Austria have greater leanings to France than to America, and precious
stones, however great their intrinsic value, are looked upon as of quite
secondary value in modern art-work to beauty of line and of colour.
French influence on Austrian work cannot fail to be recognised. Its
germs fell indeed on a soil of exceptional fertility, with the result
that they have taken root and borne abundant fruit. It should perhaps,
however, be remarked that those races who are the heirs of a strong art
tradition do not need, as do others less fortunate, to prove the wealth
of their inheritance by the use of lavish ornament. Their inherent
artistic culture is indeed evidenced by the fact that they expect their
artists to exercise their skill on materials less costly than do those
who, to a certain extent, have their reputations still to make.
Benvenuto Cellini had to be content to work in silver, the Americans
want to have every stick or umbrella-handle to be of gold.
If we cast a glance, however hasty and cursory it may be, over the
development of jewellery in Vienna, noting the forms most popular in
that city in past times, it is impossible not to be struck with the way
in which every historical phase of art is reflected in these forms. The
favourite style with Viennese jewellers, and that in which the most
effective, and at the same time the most characteristic, results have
been achieved was undoubtedly the so-called _baroque_, a term originally
restricted to a precise architecture or art-style alone, but now loosely
applied to characterise any ornamental design of an unusual kind. It is
in this half-serious, half-sportive style, with its grotesque yet bold
effects and its complete freedom from convention, that the finest pieces
of Austrian jewellery have been produced. At the time of the great
Congress of Vienna, when the representatives of the Powers met in that
city to settle the affairs of Europe after the fall of Napoleon--that is
to say, about one hundred years later than the first introduction of the
_baroque_ style from Italy, French work, though it was of a crude
description, exercised an influence over Austrian jewellers, and what
seemed like a second renaissance of the art of ornament began in
Austria.
The art of jewellery in Austria remained under French influence almost
until the present day--in fact, throughout the whole of the 19th
century--and it has only been in the last year that Austrian
art-industries have been set free from the foreign yoke which so long
oppressed them, so that the true Viennese style of jewellery has but
rarely come to the fore. Now at last, however, the liberating influence
of the modern spirit is making itself felt in the art of jewellery, as
in everything else; and every ornament produced, whether in precious
stones or in enamel, bears the unmistakable impress of the distinctive
psychic character of our capital city, which even foreigners do not fail
to recognise. The result of this individuality is that a work of art is
indissolubly bound up with the personality of its creator, and with the
idiosyncrasies of the town which was its birthplace.
In Austria men wear very little jewellery, and the only noteworthy
examples of ornaments made for them which can be quoted are a few rings
and charms, the former perhaps adorned with designs in low-relief. The
flat gold circle of the wedding-ring, which can be easily carried in the
waistcoat pocket, and the engagement-ring, the psychic meaning of which
is clear enough, the latter generally bearing one large diamond or other
precious stone, do not afford much scope for the æsthetic feeling of
their makers. A man who ventures to wear much jewellery is called
old-fashioned, but there are still people who dare to sport a single
great diamond or some other simple ornament on their shirt fronts. A
pearl without setting, an emerald, or so-called sapphire _en cabochon_,
are still frequently seen. The present fashion allowing men to tie their
cravats in all manner of different styles to suit their own particular
fancy, has led to the manufacture of a few varieties of scarf rings
which admit of a certain amount of artistic intertwining of the gold, if
it be gold of which they are made. When the making of jewellery for men
is left to the unfettered imagination of the artist, he generally
produces something quaintly original and fantastic, such as queer
figurals, grotesque masks, comic caricatures of human or half-human
figures or faces, etc.
On the other hand, there is no doubt that there is far more activity in
the production of jewellery for women in Vienna than in almost any other
city. The culture of our town is, indeed, essentially feminine. The
graceful and witty, yet dreamy and passionate, girls and women of Vienna
give to it its distinctive character. A foreigner who once spent two
days only in our capital was yet able to say of it, that all through his
wanderings in its streets and alleys the rhythm of female culture was
sounding in his ears. The men of Vienna pride themselves more than the
French, more even than the people of Northern Europe, on their women,
and as a result of this pride there is sure to be plenty of beautiful
jewellery of varied design to be met with in the town in which they
live.
Amongst jewels and precious stones the spotless white pearl is perhaps
the favourite, but, as proved at the last great Exhibition in Paris, the
pale rose-coloured coral from the East runs it very close. Diamonds are
still set in the old-fashioned way--that is to say, after simple
designs, the best of which are copies from Renaissance or _baroque_
models. Only now and then is any attempt made to produce lightly incised
representations direct from Nature of flowers, birds, or leaves. Of
course, bouquets of brilliants and leaves consisting entirely of
diamonds have always been easily made at any period; but what is now
aimed at for that very reason is the evolution of designs which shall be
essentially true to Nature, but at the same time really artistic. Crude
masses of naturalistic flowers are really of no account whatever, for a
bouquet of diamonds can never have the exquisite charm of a fresh,
sweet-smelling bunch of real blossoms. Only a fairly good design,
founded on some flower or leaf which can be satisfactorily reproduced
in, and is, so to speak, _en rapport_ with, the jewels to be used, can
succeed in pleasing through beauty of form alone, independently of any
association. Good examples of the best style of ornament in which
precious stones are used are the necklace, figured herewith, with the
earrings to match, by Roset and Fischmeister. In them the natural form,
which has been the motive from which the design was evolved, was the
fruit and leaf of the rare plant known in Germany as the Gingopflanze.
The delicate separate stems are worked in dull gold, and the way the
joining is managed cannot fail to be admired, whilst the single stems
are in platinum. The charm and distinction of this piece of jewellery is
due above all to its beauty of form, in other words it is not the gross
value of the precious stones with which it is set which makes it a
worthy possession, but the skill with which the motive has been worked
out.
Viennese jewellers do not use the colourless precious stones much. They
generally combine jewels with enamel, and also with what they themselves
call the coloured Halbedelsteine, or half-jewels, such as the agate,
onyx, cornelian, and other less valuable precious stones. The modern
tendency is in every case to rely upon colour and line for effect rather
than upon massive form, so that the greater number of new designs, or of
revived designs of the past, require for their satisfactory treatment
what may be almost characterised as a new technique.
First of all, the modern buckle for the belt or girdle claims attention.
The lately revived custom of wearing the blouse led, as a matter of
course, to the use of the belt with a more or less ornate buckle, just
as, a few years ago, the long necklace came into general use again. The
young women of the present day found both all ready for use in the
jewel-chests of their grandmothers. It seems likely, too, that there
will presently be a revival of the costly shoulder-clasps which used to
be the fashion in the time of the Empire, and if this be the case, the
new fancy will probably, to some extent, oust the belt buckle from
popular favour. In the designing of ornaments for the neck, art
jewellers have far more scope than formerly for the exercise of their
imagination, and they are disposed, to some extent, to follow the French
mode, that is to say, they make necklaces flat and broad, so as to give
an effect of slenderness to the throat of the wearer. It is a matter of
course that combs and pins for the hair are often of very fine
workmanship, showing much skill and taste on the part of their
designers. Strange to say, however, even in Vienna, few rings for women
of real art value are produced. In certain cases, however, the pendants
in gold relief, in crystal, or in enamel, are of pleasing, though not
particularly original design.
Working in enamel is of course an independent art in itself, and to
begin with, I must remark that, as a general rule, beautiful as are the
colour effects produced by Viennese craftsmen, it is impossible to
reproduce exactly the delicate charm of the original sketches from which
the designs are worked out. Very good results can, however, be obtained
in what the French call _émail à jour_, or _émail translucide_, as well
as in the old-fashioned opaque enamel. It would, however, be out of
place here to attempt to describe the various modifications of what may
now be called an international art.