forms of his marvellous domain, and his vision of things is specially
defined in his jewels. The detail therein contributes largely to the
spirit of the entire work, which borrows its character from the
decoration itself or from the subject of that decoration. He never
allows himself to stray into the regions of fancy; at most, he permits
his imagination to approach the confines of ornamental abstraction.
Nevertheless, he interprets Nature, but is never dominated by it. He has
too true, too exact a sense of the decorative principle to conform to
the absolute reality of the things he admires and reproduces. His art,
by virtue of this rule, is thus a modified translation of real forms. He
has too much taste to introduce into the composition of one and the same
jewel flowers or animals which have no parallel symbol or, at least,
some family likeness or significance. He will associate swans with
water-lilies--the flowers which frame, as it were, the life of those
grand poetic birds; or he will put the owl or the bat with the
poppy--that triple evocation of Night and Mystery; or the heron with the
eel--symbols of distant, melancholy streams. He rightly judges that in
art one must endeavour to reconcile everything, both the idea and the
materials whereby one tries to make that idea live and speak. Inspired,
doubtless, by the fact that the ancients chose black stones for the
carving of the infernal or fatal deities, M. Wolfers uses a dark
amethyst for his owls, which gives them a special significance. The
Grecians used the aqua-marina exclusively for the engraving of their
marine gods, by reason of its similarity to the colour of the sea, just
as they never carved the features of Bacchus in anything but
amethyst--that stone whose essence suggests the purple flow of wine."
M. van Strydonck expresses himself to me in the following terms on the
subject of his art:--
"I am of opinion that the jewel can be produced without the aid of
stones, enamels, etc. I do not exclude them entirely, but they should
not be used unless it be to give the finishing touch, or occasionally to
relieve an _ensemble_ lacking in vigour of colour. My preference is for
oxydations, for in general effect they are more harmonious to the eye,
and by careful seeking one can find all the tones required. I think you
will share my opinion that it is much easier to use enamels, by means of
which one's object is instantly attained. Yet it is seldom one produces
a beautiful symphony of colour. Enamel can only be employed in small
quantities. Why? Because, in the first place, he who uses it must have a
profound knowledge of colours and a special colourist's eye; he must
remember, moreover, that he is appealing to a _clientèle_ composed
principally of ladies, who in most cases regard the jewel simply as a
means to complete such and such a toilette.
"It seems to me, indeed," continues M. van Strydonck, "that translucent
enamel is the most suitable because it simply serves as an auxiliary--a
basis necessary to the completion of the _ensemble_--and adds value to
workmanship and design; and there is nothing to prevent its alliance
with the beautiful oxydations which come almost naturally from gold."
Note how, little by little, enamel is being abandoned in favour of
stones, such as onyx, agate, and malachite, materials of no special
value, which can be cut in different ways, and whose colour gives fine
effects infinitely preferable to those of inferior enamels.
Of course, I do not despise the fine stone, which, by its bold colour,
often relieves the work, but this is not altogether the object of the
jewel, unless profit be the sole object of the maker; and I ought to add
that the revival of the jewel in recent years has not been favourably
regarded by certain firms, who saw therein a distinct diminution of
gain, the fact being that their large stock of fine stones--beautiful
in themselves, but out of place in works such as I have
mentioned--threatens to remain on their hands.
One cannot truly say that Belgian _eventaillistes_ exist, for it is only
very occasionally that such water-colour painters as MM. Cassiers,
Stacquet, and Uytterschaut carry out their delightful landscapes and
seascapes in the shape required for a fan.
Something has been done in lacework in connection with the fan, and on
this point I should mention in terms of praise M. Van Cutsem, a
Brussels designer, who has made numerous models for M. Bart and M.
Sacré, amongst which may be noted several happy experiments in the
direction of the "modern style."
To conclude, let me refer to the lace by Mlle. Bienaimé, admirably
mounted by M. Goosens, of Brussels.
(_Belgian_)
A FAN PAINTED ON SILK
BY
H. CASSIERS.
[Illustration]
[Illustration:
PLATE 1]
[Illustration: _Design for a Necklet in Silver and Enamel_
L. VAN STRYDONCK
PLATE 2]
[Illustration: _Pendant with Chain. The masque is an Iris with red
Enamel for the hair. The Orchid's petals are in translucent Enamel of
opalescent tones_
PH. WOLFERS
PLATE 3]
[Illustration: _Pendant and Chain set with Brilliants and Pearls. The
Figure in Gold, the Serpent in black and brown Enamel_
PH. WOLFERS
PLATE 4]
[Illustration: _Necklet, with Ornaments of transparent Enamel_
PH. WOLFERS
PLATE 5]
[Illustration: _Parure de Corsage, set with Emeralds, Brilliants and
transparent Pearls_
PH. WOLFERS
PLATE 6]
[Illustration: FIG. A
FIG. B
_A. Waist-band Buckle. The Serpent in green Bronze, the Crab in
Silver-gilt_
_B. Pendant. The Pheasants in green and yellow-brown Enamel, the centre
Stone a pale-green Ceylon Sapphire_
PH. WOLFERS
PLATE 7]
[Illustration: _Coiffure, set with Brilliants; the petals in Opal, the
Serpent in Gold touched with a slight patina_
PH. WOLFERS
PLATE 8]
[Illustration: FIG. A
FIG. B
FIG. C
FIG. D
_A, B, and D. Silver Belt-Clasps_
_C. Silver Buckles_
PAUL DUBOIS
PLATE 9]
MODERN DANISH JEWELLERY.
BY GEORG BROCHNER.
[Illustration]
Emanating from England--and, I am tempted to add, with THE STUDIO for
its pioneer--the new movement, the rejuvenation, the second Renaissance,
or whatever one may be pleased to call it, in matters of Fine, and more
especially Applied Art, is like a mighty wave making its way over many
lands. But, as with the waves of the ocean, its movements are often
fitful and impulsive, its progress irregular and spasmodic. Why this is
so it is often futile to speculate upon, and even where a plausible
explanation is apparently near at hand, it may on closer investigation
prove more or less of a fallacy. Thus it may appear natural enough that
a small country should be unable to vie with large and rich empires in
the matter of jewellery, for the making of such is likely to entail
expenditure out of proportion to the buying capacity of smaller nations.
Yet this argument really does not hold good, for inasmuch as in modern
jewellery it is more the design and conception, more the intrinsic
artistic value and the proper choice and handling of the material which
are the main things (and not the quantity of precious stones used), the
cost need by no means be excessive. For day wear, at least, delightful
jewellery is now made entirely from gold and silver, and enamel, and
even bronze, possessing decorative properties immeasurably beyond those
of the far more costly articles produced up to only a few years ago.
Be this as it may, the fructifying effects of these new ideas have, on
the whole, been somewhat slow in making themselves felt within the craft
of the gold and the silver-smith, or, rather, within that branch of it
which embraces articles for personal adornment. Some countries have so
far ignored them altogether; in others they are only just beginning to
take root. In Denmark, for instance, which in other fields of applied
art holds such an honourably prominent position, comparatively little
attention has hitherto been given to jewellery by those distinguished
artists who have for years brought their talent to bear upon other
crafts. But, if I mistake not, a change is beginning to manifest itself
in this respect, and I have very little doubt that the material for an
article on modern Danish jewellery will be vastly augmented within a
span of but a few years, although it is unfortunately a little scanty at
the time of writing.
Bindesböll, whose characteristic style is so easily recognised, has some
good clasps and brooches to his credit. They are distinguished by that
unconventional boldness and freedom which one always hails with unmixed
pleasure wherever one finds them, whether it be on a book-cover, on a
sofa cushion, on a metal vessel, or in some architectural decoration. It
is only very rarely Bindesböll deigns to employ a distinct figure or
motif in his designs, but, in spite of a capriciousness in his lines--a
capriciousness which at times borders upon recklessness--the effect is
almost invariably harmonious and decorative.
Of a totally different stamp is Harald Slott-Möller, to whom is due the
place of honour when dealing with modern Danish jewellery. His designs
are carefully conceived and they almost invariably illustrate a fine
poetic idea or allegory, always happily chosen. They are somewhat
elaborate, both in details and drawing, and in the choice of material,
with regard to which he is rather extravagant than otherwise. His
jewellery is possessed of a distinguished decorative beauty, and
although he is entirely original, both in his choice of motifs and in
his way of dealing with them, it might perhaps not be very difficult to
trace certain English influences in his work. He is himself a skilful
craftsman, whilst some of his designs have been executed at the famous
establishment of Mr. Michelsen, Danish Court jeweller. For one of Mr.
Michelsen's daughters, Slott-Möller designed the exceedingly beautiful
brooch of which we give an illustration (Plate 4). It is made of silver,
which is strongly oxidised, with blue, white, and green enamel. The
stars are set in diamonds, and the pendants at the side are pearls. The
comb with the butterflies on the lyre is the property of another sister,
and is made of tortoise-shell and gold, with enamel, set with pearls,
diamonds, and sapphires. A second comb, likewise made of tortoise-shell,
has for its decorative motif a mermaid, gold, enamel, and coral being
used with no mean skill. In the necklace the myth of Helen is
represented. The central portion is of dark oxidised silver, with flames
and sparks in gold, the walls of burning Troy and the grass are enamel,
and the figure of Helen is carved in ivory. On the side plates men fight
and die, illustrating the inscription, in Greek: "She brought
devastation, she gave fame." Slott-Möller has himself made the whole of
this elaborate and charming necklace. The hand-mirror is made in silver,
with an ivory handle, in the likeness of a candle, round the flame of
which a number of luckless moths flutter; the moths and the ooze from
the candle are oxidised.
Moyens Bollin, who has lately gone in for the making of artistic metal
objects, has also designed several pretty combs, clasps, etc., made in
silver or bronze. In the former material is a clasp, of which we give an
illustration, with flowers in blossom and bud, admirably drawn so as to
fill their allotted space. Another clasp, a butterfly, is in bronze.
Erick Magnussen is a very young artist, who seems to give promise. The
"1901" in the pendant mirror is very deftly drawn, covering its space
evenly and well, as does also the design of the "Fish" clasp
illustrated. The other, with the mermaids, shows that he can also
successfully employ the female form for decorative purposes.
A silver clasp and brooch by Niels Dyrlund are distinguished by a
quaint but well balanced intertwining of lines, the effect produced
being pleasing and decorative, and Einar Nielsen, the talented painter,
Axel Hou, and Georg Jensen have also recently taken to the designing of
clasps and such like objects.
[Illustration]
[Illustration: _Necklace representing the story of Helen of Troy. The
central part in dark oxidised Silver, with flames and sparks in Gold;
the walls of burning Troy and the grass in Enamel; the figure of Helen
is carved in Ivory_
HARALD SLOTT-MÖLLER
PLATE 1]
[Illustration: _A. Belt-Mirror in chased Silver_
ERICK MAGNUSSEN
_B. Silver Hand-Mirror with an Ivory handle. The moths are oxidised_
HARALD SLOTT-MÖLLER
PLATE 2]
[Illustration: FIG. A
FIG. B
_A. "Butterfly" Comb in Tortoiseshell and Gold, with Enamel, and set
with Pearls, Diamonds, and Sapphires_
_B. "Mermaid" Comb in Tortoiseshell and Gold, with Coral and Enamel_
HARALD SLOTT-MÖLLER
PLATE 3]
[Illustration: _Enamelled Brooches in oxidised Silver_
HARALD SLOTT-MÖLLER
PLATE 4]
[Illustration: FIG. A
FIG. B
_A. Silver Clasp_
_B. Enamelled Silver Clasp_
ERICK MAGNUSSEN
PLATE 5]
[Illustration: FIG. A
FIG. B
_A. Twofold Silver Clasp_
MOYENS BOLLIN
_B. Silver Belt-Clasp_
ERICK MAGNUSSEN
PLATE 6]
[Illustration: FIG. A
FIG. B
_A. "Butterfly" Clasp in Bronze_
_B. Silver Clasp_
MOYENS BOLLIN
PLATE 7]
[Illustration: FIG. A
FIG. B
_A. Silver Clasp in three pieces_
MOYENS BOLLIN
_B. Silver Buckles and Brooches_
TH. BINDESBÖLL
PLATE 8]
* * * * *
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| |
| Transcriber's notes: |
| |
| P.1. 'unbiassed' changed to 'unbiased'. |
| P.4.(French) no devil-fish, 'no' changed to 'nor'. |
| P.7. 'themelves' changed to 'themselves'. |
| Plate 43. 'Pendent' changed to 'Pendant'. |
| Corrected various punctuation. |
| |
| '=' around words mean bold as in =French=. |
| '_' around words mean italic as in _French_. |
| |
+----------------------------------------------------------+
End of Project Gutenberg's Modern Design in Jewellery and Fans, by Various