Chapter I: Front Matter

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MODERN DESIGN IN
JEWELLERY AND FANS

EDITED BY CHARLES HOLME

OFFICES OF 'THE STUDIO,' LONDON,
PARIS, NEW YORK MCMII

PRELIMINARY NOTE

JOHN RUSKIN has laid down some broad and simple rules which are especially applicable to DESIGN IN JEWELLERY AND FANS. He says, "Never encourage the manufacture of any article not absolutely necessary, in the production of which invention has no share." And, again, "Never encourage imitation, or copying of any kind, except for the sake of preserving records of great works."

It is in the thorough belief of the soundness or these principles that the Editor has selected a number of representative modern examples of design by British and Continental workers, which, from their beauty and freshness of treatment, bear testimony to the great advance that has recently been made in the right understanding and rendering of the jeweller's and fan-maker's arts. If articles of good taste are to be produced, there must be a demand for them. So long as a public is to be found that will purchase trinketry in imitation of wheel-barrows, cocks and hens, flower-pots, and moons and stars, so long will the advance in art be retarded.

The Editor has pleasure in acknowledging the courtesy of the owners of copyrights for their kindness in sanctioning the reproduction of important work; and his best thanks are due to all the artist-contributors, and especially to those who have made designs expressly for this publication.

Table of Literary Contents

MODERN FRENCH JEWELLERY
AND FANS By Gabriel Mourey
MODERN BRITISH JEWELLERY
AND FANS By Aymer Vallance
MODERN AUSTRIAN JEWELLERY By W. Fred
MODERN GERMAN JEWELLERY
By Chr. Ferdinand Morawe
MODERN BELGIAN JEWELLERY
AND FANS By F. Khnopff
MODERN DANISH JEWELLERY By Georg Brochner

LIST OF CRAFTSMEN AND DESIGNERS

FRENCH SECTION

Aubert, Félix plate 35
Bécker, E. plate 15
Bing, Marcel plates 25, 26
Boucheron plates 12, 13, 14
Cauvin plate 12
Colonna plates 25, 26
Desbois, Jules " 16, 17, 18
Dufrène " 28, 33
Feure, Georges de " 1, 35
Follot, Paul " 19, 28
Fouquet, G. plates 7, 8, 9, 11
Grasset, E. plate 10
Hirtz, L. plates 12, 13, 14
"L'Art Nouveau" plates 25, 26
Lalique, René plates 2, 3, 4, 5, 6
Lambert, Th. " 32, 33, 34
"La Maison Moderne" plates 19, 27, 28, 29, 30, 33, 35
Mangeant, E. plates 23, 24
Monvel, de, Ch. Boutet " 21, 22
Mucha plate 7
Orazzi plates 27, 28, 29, 30
Richard, Paul plates 14, 15
Rivaud, Charles plate 31
Templier, P. plates 32, 33, 34
Verger, Ferdinand (_Editeur_) plates 14, 15
Vever plates 13, 19, 20

BRITISH SECTION

Alabaster, Annie plate 48
Alabaster, M. " 34
Allen, Kate plates 19, 29, 31, 33, 38
Angus, Christine plate 12
Arscott, A. E. " 29
Ashbee, C. R. plates 17, 18, 20, 21
Baker, Oliver " 35, 36
Barrie, B. J. " 19, 31, 34
Brangwyn, Frank plate 8
Brown, E. May " 29
Cook, Thomas A. plates 15, 24
Conder, Frank plates 2, 5, 6, 7
Dawson, Nelson plate 14
Dawson, Edith " 14
Dick, Reginald T. plate 1
Evers-Swindell, Nora plates 34, 50, 52
Fell, H. Granville plate 11
Fisher, Kate plates 25, 37
Gaskin, Arthur J. " 44, 45
Guild of Handicraft plates 17, 18, 20, 21
Hammett, Lydia C. plate 9
Hart, Dorothy " 34
Hodgkinson, Ethel M. plates 39, 50, 52
Hodgkinson, Winifred plates 29, 30, 39, 52
King, Jessie M. plate 16
Larcombe, Ethel plates 10, 34
McBean, Isabel " 29, 47
Mackintosh, C. R. plate 43
Mackintosh, Margaret Macdonald plate 43
McLeish, Annie plates 28, 29, 32, 34, 39, 50
McLeish, Minnie plates 34, 47
McNair, Frances " 21, 22, 42
McNair, J. H. " 22, 23
Morris, Talwin " 40, 41, 42
Naylor, Myra " 3, 4
Pickett, Edith " 25, 49
Rankin, Arabella " 51
Robinson, F. S. " 46
Simpson, Edgar " 26, 27, 36
Syrett, Nellie " 13, 15
Talbot, J. M. plate 51
Veazey, David plates 19, 34, 39, 48, 50

AUSTRIAN SECTION

Fischmeister, Herr plates 2, 3
Gringold, Emil plate 7
Hauptmann, Franz " 4
Hofstetter, Josef plates 1, 5
Holzinger, E. plate 8
Mesmer, F. plates 1, 8
Prutscher, Otto plates 1, 5, 6
Roset, Herr " 2, 3
Schönthoner, V. plate 1
Schwartz, Prof. " 5
Unger, Elsa plates 7, 8
Wagner, Anna plate 8

GERMAN SECTION

Fahrner, Theodor plates 3, 8
Gosen, Theodor von plate 5
Hirzel, H. R. C. " 4
Koch, Robert " 1
Loewenthal, D. and M. plates 2, 3, 8
Möhring, Bruno plate 6
Morawe, C. Ferdinand plate 7
Olbrich, Joseph M. plates 2, 3, 8
"Vereingte Werkstaetten, Munich," plate 5
Werner, F. H. " 6
Werner, Louis " 4

BELGIAN SECTION

Cassiers, H. plate 1
Dubois, Paul " 9
Van Strydonck, L. plate 2
Wolfers, Ph. plates 3, 4, 5, 6, 7, 8

DANISH SECTION

Bindesböll, Th. plate 8
Bollin, Moyens plates 6, 7, 8
Magnussen, Erick plates 2, 5, 6
Slott-Möller, H. plates 1, 2, 3, 4

MODERN FRENCH JEWELLERY & FANS. BY GABRIEL MOUREY.

French superiority in the art of jewellery seems to be incontestable to-day. No unbiased observer will deny the fact that with us there is more richness, more variety, more originality than can be found elsewhere; and the jewellery section in the Esplanade des Invalides at the Exhibition of 1900 showed to the whole world the progress made in this special branch of applied art by our craftsmen and our artists; showed, too, the verve, the imagination, the fancifulness, which are the special property of the French race in all that relates to articles of luxury, to those things which are essentially "useless," if so we may term a woman's adornments; if so we may regard the beauty of precious stones, of enamels skilfully and subtly formed--of all that, in a word, which, taken from Nature's infinite treasure-house, serves to constitute that adorably vain, that exquisitely superfluous thing--the jewel. Ruskin once remarked, in his strange, penetrating way, that the loveliest things are those which are the least useful--lilies and peacocks' feathers, for instance. Furthermore, to depreciate the part played by jewellery in relation to decorative art would be equivalent to minimising the rôle of womankind in civilisation. Then, again, as regards decoration or adornment, has not the highest mission devolved on woman? Has she not had to assume the most active part in it all? The modern jewellery vogue has, I am convinced, done more in France to propagate new ideas in the way of decorative art than all the æsthetic theories ever evolved, however sound.

One might say much, might make many reflections on this renascence of the jeweller's art, as manifested at the present moment in Paris. This revival reveals itself rich and abundant--perhaps too rich and abundant; but what of the future? What fruit will it bear when the glamour of that which it has already borne has passed away? Is there no danger of seeing good intentions miscarry--high gifts falling into excesses injurious to the prosperity of the movement? Is not the new fashion--if it be merely a fashion--being adopted with too much enthusiasm, followed with too much ardour, to last? Is there no fear of a reaction? Here are several questions to which we cannot reply with any certainty.

Yet, what matter? Among the works produced during the past five years or so--that is, since the full expansion of the movement--there are many which, by their originality, their technical perfection, deserve to remain. And remain they certainly will, to bear witness to the audacious fancy, the creative faculty of our artists, and as a sort of passionate homage laid by the men of to-day at the feet of the Eternal Feminine.

* * * * *

The name of M. René Lalique arises instinctively as soon as one begins to discuss the modern jewel. He is the renovator, or, preferably, the creator, of the art as we know it nowadays, and one can easily understand the enthusiasm and the admiration aroused by his work. M. Lalique is almost as celebrated as M. Edmond Rostand; and he at least deserves his celebrity, for he is a real, a very great, artist. And such he must indeed be to be able to make one forget his imitators, many of whose productions are as detestable as copies can be. At times even--most unjustly, I admit--one almost comes to hate the art of M. Lalique himself, so persistently is it badly imitated. One has been constrained before now to hate Raphael, on seeing a Cabanel or a Bouguereau! But enough of that!

The jewels by M. Lalique now reproduced are rather different, both in conception and in treatment, from his usual manner. Here he appears as a more direct observer of Nature, more devoted to simplicity and breadth. His new combs, with pansy and sycamore-leaf _motifs_, in horn and silver--especially the exquisite one with sycamore seeds in horn, silex, black enamel, and obsidian, with golden insects here and there--show him still anxious to extend the field of his experiments, never tired of seeking fresh subjects and testing new materials. Instead of remaining stationary and falling asleep at his post, he is spurred by a desire for conquest, and shows himself ever fertile in imagination, of infinite fancy, constantly advancing, with undiminished freedom and originality.

At the Universal Exhibition the works executed by M. Vever, in collaboration with M. Eugène Grasset, obtained the success that was their due. But the most important piece of work achieved by these two artists was not finished at that time. I refer to the sumptuous and heroic pendant of Hercules, which we are fortunate enough to be able to reproduce here from the original water-colour by M. Grasset. It is truly an admirable work, one in which all the imaginative and technical qualities possessed by the illustrator of the "Quatre Fils Aymon" are to be seen in profusion. What richness, what distinction in the details; what perfection of balance, both in design and in colouring! As for the execution by the firm of Vever, they deserve as much credit for it as if they had produced an original work. This is a jewel worthy to find a permanent place in one of the great European galleries, to rank side by side with the wonderful productions of the past.

M. Georges Fouquet is a most daring _fantaisiste_, and his creations impress one by qualities altogether different from those of the MM. Vever. He might perhaps be said to belong to the Lalique school, not that he imitates him, but by reason of his imaginative gifts. He is generally complicated, somewhat Byzantine, and thoroughly modern in any case. Some of his jewels would, I think, gain by being less rich; nevertheless, they are very interesting, and they deserve all the success they have won. The chief objection that can be urged against them is their lack of spontaneity. M. Georges Fouquet certainly holds a foremost place in the new movement. Already his production is considerable. Altogether an artist of rare gifts and splendid audacity.

I have always had a liking for the jewellery of M. Colonna--for some of it, at any rate, that which is most simple, most original, and most wearable. His works have this great charm in my eyes, that they are neither show-case jewels nor mere _bijoux de parade_, things intended solely for display. As a rule, they are quiet and practical. In most cases they have no "subject," being simply happy combinations of lines and curves and reliefs, the _imprévu_ of which has a particular charm.

M. Marcel Bing, all of whose productions, like those of M. Colonna, are the monopoly of the "Art Nouveau Bing," has done some delightful things. One can see that he is still somewhat timid and hesitating, but his taste is sure, and he has an imagination which, if not specially abundant, is at least delicate and fine. He has a sense of colour too, and his pretty fancies are carried out with evident delight.

"La Maison Moderne," so actively directed by M. Meier-Graefe, has produced a large number of jewels. Ordinarily the designs are supplied by MM. Maurice Dufrène, Paul Follot, and Orazzi. Of course, they are not of uniform merit, but this in no way diminishes the interest attaching to their efforts. They are marred to some extent, it must be admitted, by certain extravagances, but even that is better than a relapse into the old _formulæ_, or the profitless reproduction of the bad models which were the rage some thirty years since. Moreover, "La Maison Moderne"--all praise to it!--has brought within the reach of the public quantities of jewellery which, without being masterpieces of conception or execution, are yet thoroughly good work based on excellent principles of novelty and freshness. They are what may be termed "popular" jewels.

The works designed by M. Théodore Lambert, and executed by M. Paul Templier, are of altogether different character. In these days, when excessive complications in jewel-work are so general and so much esteemed, these rings, necklaces and _plaques_, with their symmetrical linear designs in monochrome or reddish or greenish metal, relieved at times by pearls only, and with their formal _ajourements_, will doubtless seem to many people too simple or too commonplace. It will be justly urged against them that they are not sufficiently symbolic, that they take no account of the human form. No nymph disports herself amid the fall of the leaves in a lake of enamel bordered by water-lilies and iris blooms; no serpent nor devil-fish winds about in spasmodic contortions: yet these are charming works of art, beautifully and harmoniously designed, and with lines balanced to perfection. They are, in fact, jewels meant to be worn, _bijoux de ville_, which, while attracting no special notice, form nevertheless most exquisite objects of female adornment.

M. René Foy is a strange artist, rather restless, never altogether satisfied with himself, and haunted by a perpetual desire for something novel. Is he completely himself, that which he wishes or strives to be? This is the question those who have closely watched his career are asking themselves. For my part, I know some delightful things of his, extraordinarily delicate and graceful; but I also remember some of his work in which his exaggerations are such that one despairs of understanding his meaning. Unless I greatly mistake him, he wants the jewel to express more than it is possible for the jewel to express, and therefore is continually restless in his attempts to achieve the unachievable. He loses himself in a maze of "refinements" which, in my opinion, are outside the limits of the art he practises. He has created lovely things, things so novel as to be almost too novel, but I do not think he has said his final word yet. He is a young man who may have many surprises in store for us.

The jewels of M. Jules Desbois are works of pure sculpture. His vision, at once broad and delicate, takes the form of beautiful female forms in dreamy or voluptuous attitude, sleeping amid the masses of their abundant hair, against a background of gold, or shell, or whatever the material may be. Any womanly gesture suffices; and, in truth, what more is needed to make a real work of art in the form of a brooch or a button? No conventional flowers, no complicated interlacements, nothing "decorative" in the bad sense of the word; yet his work is powerfully and delicately modern. M. Desbois' jewels are perfect pieces of sculpture.

Victor Prouvé, the painter, has been influenced in a similar way, but, not being a regular sculptor, he is more complicated without being any more original on that account. There is more "composition" in his jewels than in those of M. Desbois, more real, more visible, intention. His waistbelts, his brooches, &c., are admirably suited to the purpose for which they are intended, their modelling being full, supple, and keen. The jewels, executed with scrupulous care and irreproachable _technique_ by M. Rivaud, are real works of art.

M. Bécker and M. Paul Richard, who are both working almost exclusively for M. Ferdinand Verger ("F. V." is the trademark of the firm), incline to that type of jewellery which might be termed "sculptured." They are very conscientious artists, but in my opinion, at any rate, the originality there may be within them has not yet made itself fully apparent.

M. Louis Bonny's jewels deserve special attention. Like M. Vever, M. Bonny shows a predilection for precious stones, which he has the art of using with rare originality. At the last _salon_ of the Société des Artistes Français he exhibited a series of jewels which attracted much attention, among them--in addition to a beautiful necklace of wild grape in enamel, diamonds, and emerald, in addition to various floral pendants and neck ornaments in enamel and diamonds--a curious diadem, representing cocks in gold and enamel fighting for possession of a superb topaz. This was a real _tour de force_ in the way of execution. Other beautiful things of his I know, particularly his _plaque de cou_ of geraniums, with the leaves in diamonds, the flowers in rubies, the stems and buds in dark green enamel, the whole being at once rich and sober in colouring and most harmoniously and flexibly composed.

M. Joé Descomps is a sound artist, whose efforts, laudable as they may be, nevertheless lack boldness. He has imagination enough, but it looks as though he feared to give it rein. With a little less timidity M. Descomps would doubtless produce something more piquant and more fresh.

I greatly like the work of M. Charles Rivaud. It displays a love of simplicity too often wanting in the productions of many of his fellow artists. If his jewels recall--without imitating--the ornamental jewellery of Egypt or Greece, those of primitive civilisations or those sorts popular in Russia, I can see no harm in the fact. Better for him and for us that he should turn to these inexhaustible springs than become a mere imitator of other imitators of successful jewellers. His rings and his necklaces, in which he is always careful to leave to the materials employed all the natural charm they possess, are productions which will please the artist rather than the _bourgeois_ and the "snob." They are discreet and honest, never loud or eccentric.

No less interesting, in another way, are the jewels by M. Mangeant and M. Jacquin. It is urged against them that they are crude, incomplete and imperfect in execution. The truth is, these two artists--whom I bring into conjunction, although their work is dissimilar, save from their common regard for freedom in the use of materials--have, above all, a love for natural forms. Out of a flower, a piece of seaweed, or any humble _motif_, vegetable or animal, they construct jewels in gold or oxidised silver, discreetly relieved by stones, which, if of no great intrinsic value, are nevertheless highly decorative. M. Mangeant, with mother-of-pearl and hammered _repoussé_ silver, has created charming jewels, in which all the constructive parts have been intentionally left visible. Professional jewellers shrug their shoulders at the sight of these jewels, which bear so plainly the stamp of the hand that fashioned them. Yet, in their _naïve_ rudeness, they appeal to me far more forcibly than does the polychromatic tin-ware of so many highly-esteemed producers.

M. Charles Boutet de Monvel, although gifted with a richer and subtler imagination, may be included in this little group. In certain of his jewels there is, as it were, a reminiscence of Byzantine art--in this owl-comb, for instance, which I regard as one of his best works. His swan hair-pin, his seaweed buttons in gold and silver on greenish enamel with a pearl in the centre, his _plaque de cou_ in translucid enamel, are also strong and captivating. His sunshade handles too, and his scarf-pins, are full of delicate fancy.

It is impossible, within the space at my disposal, to describe in detail the productions of many other workers well worthy of extended mention. Let it suffice, therefore, to cite the names of M. Henri Nocq, that fresh and bold artist; of M. and Mme. Pierre Selmersheim; M. Feuillâtre; Mme. Annie Noufflard; MM. Haas, Cherrier, Chalon, Falguières, Dabault, G. Laffitte, Houillon, Archambault, L. H. Ruffe, Quénard, Blanchot, Muret, Desrosiers, Le Couteux, Marioton, Lucien Hirtz, and Nau--artists who work, some on their own account, some for the big jewellery firms.

Of the firms in question one must in justice name in the first place those of Boucheron and Falize frères, not forgetting L. Aucoc, Vever, Sandoz, Lucien Gaillard, Fouquet, Després, Teterger, Chaumet, Templier, Ferdinand Verger, J. Duval, Coulon, and Piel frères.

Such, briefly, is the modern art-jewellery movement in France. Its intensity, as one sees, is so great as to be almost alarming. Whither is it tending? Some of its excesses are dangerous; what will be the result? M. Emile Molinier, in a recent article on "Objects of Art in the Salons of 1901," expresses certain fears which I share. He dreads a reaction due to the eccentricities of certain artists, to their love of the outrageous and the _bizarre_, to their lack of proportion, both in form and in choice of material.

"It would really be a pity," he says, "if so promising a revival of the true artistic jewellery should come to a bad end. Happily we have not reached that point yet, but it is a result which may soon be reached if artists continue to foist these weird things on the public. A fashion in jewellery should last longer than a fashion in dresses or in hats; but it should not be forgotten that it must rely in the long run on its appropriateness and adaptability." My sincere hope is that these fears may prove to be groundless.

GABRIEL MOUREY.

(_French_)

DESIGN FOR A FAN

GEORGES DE FEURE.

PLATE 1 ]

_Comb in Horn, Silex, Black Enamel and Obsidian. Insects in Gold_

RENÉ LALIQUE

PLATE 2]

FIG. B

_A. Pendant in Gold, Ivory, Enamel and Pearl_

_B. Pendant in Gold, Enamel and Pearl_

RENÉ LALIQUE

PLATE 3 ]

_Watch in Ivory, Gold and Enamel_

_Clasp, Leaves of Plane Tree, in Silver_

RENÉ LALIQUE

PLATE 4 ]

_Comb, Leaves of Sycamore Horn and Silver_

RENÉ LALIQUE

PLATE 5 ]

_Combs in Horn and Silver_

RENÉ LALIQUE

PLATE 6 ]

_Parure de Corsage, in Gold and Enamels_

MUCHA and G. FOUQUET

PLATE 7 ]

_Girdle with Pendants in Gold, Pearls and Brilliants_

G. FOUQUET

PLATE 8 ]

_Necklet with Pendant, Gold and Enamel_

G. FOUQUET

PLATE 9 ]

PENDANT AND NECKLET

E. GRASSET.

PLATE 10 ]

FIG. B

_A. Pendant in Gold, Enamel and Stones_

_B. Pendant in Gold, Enamel and Pearls_

G. FOUQUET

PLATE 11 ]

FIG. B

_A. Lorgnon in Chased Gold and Chrysoprase_ }
Designed by CAUVIN }
} Executed by BOUCHERON
_B. Lorgnon in Chased Gold_ }
Designed by L. HIRTZ }

PLATE 12 ]

FIG. B

FIG. C

{ _A. Devant de Corsage, Brilliants upon green
{ with Emeralds "en cabochon"_
Executed by BOUCHERON {
{ _B. Necklet in Chased Gold, with a large Topaz_

Both designed by L. HIRTZ

_C. Pendant in Gold, Diamonds, Pearl, Opal and Enamel_

VEVER

PLATE 13 ]

FIG. B

_A. Waist-band Buckle in Silver_

_B. Brooches in Chased Gold_

PLATE 14 ]

FIG. B

FIG. C

FIG. D

_Chatelaines and Watches_

F. V. ÉDITEUR and PAUL RICHARD

_B_ and _C_ designed by E. BÉCKER

PLATE 15 ]

_Brooches in Chased Gold_

JULES DESBOIS

PLATE 16 ]

_Buttons and Brooches in Chased Gold_

JULES DESBOIS

PLATE 17 ]

_Brooch in Chased Gold and two Waist-band Buckles in Silver_

JULES DESBOIS

PLATE 18 ]

(=French=)

_Design for a Comb in Enamel Shell, and incrusted Gold_

From an original drawing by
HENRI VEVER

_Comb in Enamel, Shell, and Precious Stones_

_Comb in Enamel, Gold, Shell, and Precious Stones_

PLATE 19 ]

FIG. B

_A. Comb in Gold and Horn. Leaves in
green translucent Enamel, set with
Siberian Amethysts_

_B. Horn Fan Handle, incrusted with
Gold, Brilliants, and Enamel_

VEVER

PLATE 20 ]

FIG. B

_A. Hat Pins in Gold, Enamel, and Pearl_
_B. Umbrella Handle, Silver Gilt and Stones_

CH. BOUTET DE MONVEL

PLATE 21 ]

_A. Comb in Horn and Gold with Turquoises_
_B. Comb in Ivory, Silver and Mother-o'-pearl_

CH. BOUTET DE MONVEL

PLATE 22 ]

_A. Hammered and Chased Silver Brooches_
_B. Comb in Silver and Mother-o'-pearl_

E. MANGEANT

PLATE 23 ]

_Clasps in Hammered and
Chased Silver_

E. MANGEANT

PLATE 24
]

{ _A. Pendant in Gold and Enamel_
{ _B. Hanging Mirror in Gold and Enamel_
Executed by L'ART NOUVEAU { Designed by MARCEL BING
{ _C. Pendant in Gold and Pearls_
Designed by COLONNA

PLATE 25
]

FIG. C

{ _A. Brooch in Gold, Enamel and Ivory_
Executed by { _B. Pendant in Gold and Enamel_
L'ART NOUVEAU { MARCEL BING
{ _C. Belt Clasp in Gold_
{ COLONNA

PLATE 26
]

_Combs in various materials_

PLATE 27 ]

FIG. D FIG. B

{ _A. & B. Brooches in Gold with_
{ _Precious Stones_
{ Designed by M. DUFRÊNE
Executed by { _C. Comb_
LA MAISON MODERNE { Designed by ORAZZI
{ D. _Gold Pendant with Enamels
{ and Precious Stones_
{ Designed by P. FOLLOT

PLATE 28 ]

_Combs_

PLATE 29 ]

_Hat and Hair Pins_

PLATE 30 ]

FIG. B

_A. Plaque de Corsage in Gold,
Enamel and Precious Stones_

_B. Rings_

CHARLES RIVAUD

PLATE 31 ]

_Silver Waist-band Buckles_

PLATE 32 ]

FIG. C

FIG. E

FIG. C FIG. D

_A, B, C & D. Silver Brooches_

_E. Chatelaine and Watch_

PLATE 33 ]

FIG. C

_A & B. Silver Brooches_
_C. Silver Necklet with Pendant_

PLATE 34 ]

FIG. B

_A. Painted Fan_

GEORGES DE FEURE

_B. Lace Fan_

PLATE 35 ]

(_British_)

DESIGN FOR A STENCILLED FAN

REGINALD T. DICK.

PLATE 1 ]

MODERN BRITISH JEWELLERY & FANS. BY AYMER VALLANCE.

None but the most superficial observers can have failed to note the immense advance that has been attained in British jewellery; though how or at what precise point of time the improvement originated may not be determined with too rash precision. It began not more than fifteen or twenty, nor perhaps later than ten years ago. Somewhere between these two limits is about the approximate date. At any rate, it is certain that, thirty years since, it was quite impossible to procure jewellery in the design and composition of which there entered any artistic taste whatever. Such simply did not exist. Whereas now there is a widespread, though unhappily not a universal, movement amongst us for the design and production of jewellery on true æsthetic principles. The movement may even be described as in a measure concerted, that is, in so far as it presents certain main characteristics common to the work of the various individual artists or schools of artists who are concerned with this branch of decoration.

And, firstly, must be noted the development of the goldsmith's and silversmith's craft as an important artistic factor entirely distinct and apart from the subsidiary task of stone-setting. The recognition of the art of the metal-worker, as worthy and capable in itself of providing beautiful ornaments, without their serving any such ulterior purpose as sporting trophies or eccentric badges of buffoonery; and also without the adventitious attraction of costly gems, is a decided point gained.

And, secondly, where stones do happen to be employed, there is an increasing practice of introducing them for the sake of their decorative properties, not, as formerly, for the commercial value they represent in pounds sterling. Mere glitter and the vulgar display of affluence are gradually yielding before the higher considerations of beauty of form and colour. Nor is it any longer deemed improper, should the æsthetic effect of the juxtaposition demand, to set diamonds or other valuable gems side by side with common and inexpensive stones. In these colour combinations, since flash and transparence are become of minor esteem, jewels, instead of being cut in facets, are not infrequently polished in their natural shape, _en cabochon_, or "tallow-cut," as it is called, their irregularities of formation imparting not a little to the barbaric richness of the ornaments in which they occur.

Moreover, out of the taste for colour effects in jewellery has arisen an enthusiastic study of the special peculiarities of many gems not hitherto much sought after; a study resulting in the adoption of certain gems not very precious, yet sufficiently rare, and such that, like Mexican or fire opals, for example, possess peculiar qualities of chameleon-like iridescence or depth or lustre that render them admirably appropriate for quaint and picturesque settings. Among other stones thus employed may be mentioned lapis lazuli; malachite and its corresponding blue mineral, azurite; Connemara marble, or serpentine; amazonite, a light green spar; chrysoprase; and lumachella, Hungarian both in name and origin. The last named consists of fossilised shells imbedded in a black matrix, the shells of wonderful iridescence, or flecked with streaks of vivid colour, and possessing, in short, such ornamental qualities as amply compensate the difficulty of obtaining it and of working when obtained. Another material included in the same category is river pearl, or mother-of-pearl, in the form technically known as pearl "blisters," that is, pearls undeveloped in the shell and misshapen, which nevertheless are peculiarly useful for decorative jewellery. One advantage of these substances is that, on account of their comparative cheapness, one does not scruple to diminish and divide and fashion them as may best serve the purpose in hand; whereas in the case of the more precious stones, like diamonds, whose cost, _ceteris paribus_, increases proportionately with their size and weight, one shrinks from impairing their commercial value, and consequently is apt to preserve them whole, very often at the sacrifice of decorative effect. The craftsman is unhampered in the use of those jewels only which he knows he is at liberty to treat as adjuncts subordinated to his art.

There has, moreover, taken place an extended revival of enamelling, an art which offers abundant opportunities for the exercise of the decorator's skill and fancy. It is worthy of remark that our artists' imagination in jewellery seldom degenerates into any great extravagance. For the most part the designs, even among beginners and students in art schools, a number of whom have taken up this branch of ornament, are strictly restrained within bounds, in accord, may be, with our national character of reserve. Few drawings comparatively have been executed, but there is no reason why a large proportion should not be translated from paper into actual existence; for they are in general fairly simple, straightforward, and practicable, or such that, with but slight modifications, could be rendered quite practicable for working purposes.

It is often stated that art can only flourish through the patronage of the wealthy, to whose comfort and luxury it ministers. If this be true at all, then surely of all things in the world the jeweller's craft should be a case in point, whereas it is conspicuously the reverse. The artistic jewellery produced in this country has not, from its very nature, appealed chiefly to the richest classes of the community, but rather to those of quite moderate means. And while, on the one hand, it is encouraging to observe how much of good work has been and is being done towards raising the standard of jewellery design amongst us, it is nevertheless disappointing to have to record how little support it has found in influential and official quarters. One notable exception is the commission Mr. Alfred Gilbert received to design a mayoral collar, chain and badge for the Corporation of Preston. The sketch model for the same was exhibited at the Royal Academy in 1888, and, for bold originality of outline, as well as for the crisp curling treatment of the parts executed in sheet metal, must have been, as was remarked at the time, a revelation to the ordinary trade jeweller.

Among pioneers of the artistic jewellery movement, Mr. C. R. Ashbee holds an honourable place. He stood almost alone at the beginning, when he first made known the jewellery designed by him, and produced under his personal direction by the Guild and School of Handicraft in the East End. It was immediately apparent that here was no tentative nor half-hearted caprice, but that a genuine and earnest phase of an ancient craft had been re-established. Every design was carefully thought out, and the work executed with not less careful and consistent technique. In fact, its high merits were far in advance of anything else in contemporary jewellery or goldsmith's work. The patterns were based on conventionalised forms of nature, favourite among them being the carnation, the rose, and the heartsease, or on abstract forms invited by the requirements and conditions of the material--the ductility and lustre of the metal itself. Most of the ornaments were of silver, the surface of which was not worked up to a brilliantly shining burnish, in the prevalent fashion of the day, but dull polished in such wise as to give the charming richness and tone of old silverwork. Mr. Ashbee also adopted the use of jewels, not lavishly nor ostentatiously, but just wherever a note of colour would convey the most telling effect, the stones in themselves, _e.g._ amethysts, amber, and rough pearl, being of no particular value, save purely from the point of view of decoration. Novel and revolutionary as were, at its first appearance, the principles underlying Mr. Ashbee's jewellery work--viz. that the value of a personal ornament consists not in the commercial cost of the materials so much as in the artistic quality of its design and treatment--they became the standard which no artist thenceforward could wisely afford to ignore, and such furthermore that have even in certain quarters become appropriated by the trade in recent times. Mr. Ashbee himself is an enthusiastic student of Benvenuto Cellini, whose treatises he translated, edited, and printed in 1898. But fortunately the influence of Italian style is by no means paramount in Mr. Ashbee's own designs for jewellery, unless indeed the fine and dainty grace which particularly characterises some of his later work is to be attributed to this source. One or two of the necklaces here reproduced are examples of this lighter manner of Mr. Ashbee's, as the two handsome peacock pattern brooches are of his more solid and substantial jewellery; while, again, the necklace of green malachite, turquoise, and silver, with pendants of grape bunches alternating with vine-leaf and tendril ornaments, occupies an intermediate position midway between the two former classes of his work.

One is always glad to welcome an artist who is courageous and firm enough to grapple with the practical difficulties that surround him, and who sets about to reform, where need requires, the native industry of his own neighbourhood. Such is the aim of Mr. and Mrs. Arthur Gaskin. Their home is in a locality where a large amount of very deplorable jewellery is produced; so deplorable that they determined, if possible, to provide an antidote to the prevailing degradation. And the reason why the vast mass of the trade jewellery manufactured in Birmingham is bad is that in style and outline it is utterly devoid of artistic inspiration, while at the same time it is perfect as concerns mere technique. The pity of it is that such excellent workmanship should be wasted on such contemptible design. Mr. Gaskin, therefore, saw no alternative but to start afresh, reversing the accepted order of things. His plan is to give the foremost care to the design, and only secondly to regard technique; and so, by keeping design well in advance, executive skill following after, to raise the former to its proper level. Absence of mathematical uniformity is no doubt held to be a blemish in the opinion of the tradesman, but it gives a living and human interest to the work, and a decorative quality which machine-made articles cannot claim to possess. Mr. Gaskin came to the conclusion that it was of little benefit for a draughtsman to make drawings on paper to be carried out by someone else; studio and workshop must be one, designer identical with craftsman. It is not very many years since Mr. Gaskin, ably seconded by his wife, started with humble, nay, almost rudimentary apparatus, to make jewellery with his own hands; but the result has proved how much taste and steadfast endurance can accomplish. Their designs are so numerous and so varied--rarely is any single one repeated, except to order--that it is hardly possible to find any description to apply to all. But it may be noted that, whereas a large number have been characterised by a light and graceful treatment of twisted wire, almost like filigree, the two pendants here illustrated seem to indicate rather a new departure on the part of Mr. Gaskin, with their plates of chased metal, and pendants attached by rings, a method not in any sense copied from, yet in some sort recalling the beautiful fashion with which connoisseurs are familiar in Norwegian and Swedish peasant jewellery.

Next in order may be mentioned Mr. Fred Robinson. This artist is actuated by similar ideals as Mr. and Mrs. Gaskin, as is evidenced more especially by his necklace with bent wire pendants of open-work arabesque.

Another artist of distinction is Miss Annie McLeish, of Liverpool, whose jewellery design, particularly in the way in which the several parts are connected together--an ornamental feature being made out of the structural requirement of strengthening and tying together the portions pierced _à jour_--is curiously suggestive of the perforated iron guards of Japanese sword-handles. At the same time, it is not to be implied that Miss McLeish is at all an imitator of Japanese work. Another point to be noticed is her decorative use of the human figure, in which regard two more lady designers, Miss Larcombe and Miss Winifred Hodgkinson, also excel. The latter, to whose work black-and-white reproduction scarcely does adequate justice, is stronger in her figure work than in that which comes easiest to most people--to wit, the treatment of floral forms that constitute the subordinate portions of the design.

The number of ladies who have achieved success in jewellery design proves this, indeed, to be a craft to which a woman's light and dainty manipulation is peculiarly adapted. Besides those already mentioned one has only to instance Miss Ethel Hodgkinson and Miss Swindell, who both contribute graceful designs for hat-pins and other small articles; Miss Dorothy Hart, whose charming _pentacol_ is executed by herself; Miss Kate Fisher and Miss McBean, in whose designs for clasps, etc., enamel is a prominent item; Miss Alabaster, whose beautiful gold brooch, adorned with blue and green enamel, is based on a _motif_ of trees with intertwining stems and roots; and Miss Rankin, whose four silver hat-pins of handsome design, representing a peacock, thistles, and Celtic beasts respectively, are executed by Mr. Talbot, of Edinburgh, himself a designer as well as artificer. Miss Edith Pickert, in her designs for various articles of jewellery, usually employs a fairly thick outline of metal to enclose a coloured enamel surface. How diversely one and the same _motif_ may be rendered in different hands is illustrated by a comparison of Miss Pickert's belt design and Mr. Nelson Dawson's belt-clasps, both in enamel and both founded on the flower "love in a mist."

Mr. Nelson Dawson, well known as an eminent metal-worker and active member of the Society of Arts and Crafts, is also Director of the Artificers' Guild. Another belt-clasp from his design represents the delicate form of the harebell plant.

Mr. Edgar Simpson, of Nottingham, is an artist of great gifts, as his drawings and, still more, the specimens of his actual handiwork here illustrated fully testify. Many excellent designs lose vigour and character in the process of execution from the original sketch; but Mr. Simpson, on the contrary, manages to give his designs additional charm by the exquisite finish with which he works them out in metal. Particularly happy is this artist's rendering of dolphins and other marine creatures; as in the circular pendant where the swirling motion of water is conveyed by elegant curving lines of silver, with a pearl, to represent an air-bubble, issuing from the fish's mouth.

Mr. David Veazey's work, including, among other things, a hair comb decorated with enamel, has a variegated opal-tinted quality of colour; while Miss Barrie obtains admirable effects in translucent enamel without backing, after the Russian method. Her design for a belt-clasp with interlaced ornament and stones is excellent. Other belt-clasps and buckles are from designs by Mr. Oliver Baker. Some of this strap-work ornament looks as though it might have been produced by casting from a model; but, as a matter of fact, it is entirely wrought and folded by hand.

Mr. and Mrs. McNair's jewellery, as well as that of Mr. and Mrs. Mackintosh, has that quaint mannerism which one instinctively associates with the Glasgow school of decorators, as also, in a still more marked degree, that of Mr. Talwyn Morris, whose characteristic book-covers are well known. For jewellery, he frequently elects to work in aluminium. His design is strikingly original in effect, though on analysis it is found to consist of very simple units, such as various-sized rectangles overlaid, their boundary lines interpenetrating; with the occasional apparition of a peacock's eye-feather or the bird's neck and head in the midst. In these cases a completer sense of organic unity might be obtained if, instead of a detached limb, the whole bird were represented, or some other logical coherence established between the incidents of the composition.

Mr. Thomas Cook, of West Ham, inserts small slabs of mosaic, after the Italian mode, only he frankly adopts a purely conventional treatment, wisely refraining from any approach to pictorial realism.

It is a hopeful sign that in many of the technical art schools throughout the land students are taking up jewellery design, and not only that, but in some cases carrying out the actual work themselves. It is largely due to the same fostering influence that the beautiful art of enamelling, frequently referred to above, has been developed amongst us, notably at the Central School of Arts and Crafts, where classes for this department were inaugurated under the able guidance of Mr. Alexander Fisher. But if the improvement in jewellery is to be general and permanent, in order to set it on a secure basis the motive power must come from within. Much good, therefore, may be expected to result from the official sanction afforded by the Goldsmiths' Company to the jewellery work of their Technical Institute, to which a number of very creditable designs owe their existence. Among others may be singled out some decorations for watch-backs, a branch of the craft as useful as it is neglected; those who have taken it up, like Miss Kate Allen, for instance, being unfortunately but rare exceptions. There is no reason, however, why everyone who carries a watch should not enjoy in it the constant companionship of a thing of beauty.

To sum up, then, if our modern art jewellery cannot boast any conspicuously brilliant features, at any rate it is of a high average standard. And though, as is the case of all good work, it must needs share many qualities in common with the noble treasures of the past, it yet does not assimilate to any historic style. In fine, it is original; and, withal, there may be traced in most of it a certain family likeness. It seems almost as if some new-born idea were really beginning to dominate it with the impress of a distinct nationality, destined to develop some day into a tradition which future generations may justly feel it a privilege to follow.

The case of fans is the exact opposite to that of jewellery. In the former department, it cannot be said that there exists any sort of consensus of ideals, nor any paramount type of ornament. And, notwithstanding the existence amongst us of some few fan-painters of very considerable repute, their operations remain as yet quite personal and individualistic. They have no regular following; have founded no school of decoration. It is, therefore, a subject still open to determine by what principles the ornament of fans should be guided.

Firstly should be taken into account the peculiar shape of the surface available for decoration; and, secondly, the fact that this surface is not a flat plane, but such that must in practice infallibly be broken into so many set divisions or folds. The latter circumstance is the real crux of the question, many decorations, otherwise beautiful enough in the flat, being utterly ruined in effect as soon as they undergo the ordeal of mounting. Thus it may perhaps seem an ingenious plan to subdivide the space horizontally, but it must be remembered that every horizontal line will lose its value when converted, as it must be, into a series of irregular zigzags. The folding is an essential factor, without taking which into account no fan decoration can be satisfactory. In setting out the design, then, it should always be borne in mind that no sharply defined straight lines are admissible, except those that radiate from the centre; and that, of curves, concentric ones are the best, such, that is, as are parallel with the arc shape. If the ornament is floral, it may take the form either of a powdering, or of an all-over pattern of moderately small scrolls. Those on a large scale would run counter to the folds in too emphatic a manner to be agreeable. In figure subjects, of course, care should be taken so to dispose them that no important feature like an eye or a nose be split asunder by the lines of the folds. The larger and more pronounced the pattern, the more necessary it is to observe these conditions. On the other hand, where the colouring is of fairly even tone, and without strongly contrasted masses, or where the design is on a small scale, the surface can the more safely be spaced out by lines or medallions or cartouches, or other devices that may commend themselves.

As regards material, there is no question that a silk ground, prepared with rice-size and stretched, until the decoration is completed, on a stretcher, offers as suitable a texture as one could desire for delicate and softly-blended harmonies in water-colour; as the fans of Mr. Conder, a prolific fan-painter, whose work appeals to a large circle of admirers, amply testify. The detail is all Mr. Conder's own, though the influence of French XVIIIth century ornament is unmistakable.

Miss Syrett again is a clever artist working on somewhat similar lines. 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

FRANK CONDER.

(_In the possession of Thomas Greg, Esq._)

PLATE 2 ]

_Design for a Lace Fan_

MYRA NAYLOR

PLATE 3 ]

_Design for a Lace Fan_

MYRA NAYLOR

PLATE 4 ]

(_British_)

A FAN PAINTED ON SILK

FRANK CONDER.

(_In the possession of Dalhousie Young, Esq._)

PLATE 5 ]

FIG. B

_A. "The Medallion" Fan_
_B. "A Travesty" Fan_

FRANK CONDER

(_By permission of Messrs. Carfax & Co._)

PLATE 6 ]

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

FRANK BRANGWYN.

PLATE 8]

LYDIA C. HAMMETT

PLATE 9]

ETHEL LARCOMBE

PLATE 10]

(_British_)

"THE COURT OF LOVE"

DESIGN FOR A PAINTED FAN

H. GRANVILLE FELL.

PLATE 11]

CHRISTINE ANGUS

PLATE 12]

NELLIE SYRETT

PLATE 13]

(_British_)

BUCKLE IN WROUGHT SILVER AND ENAMEL

NELSON AND EDITH DAWSON.

PLATE 14]

_A. Painted Silk Fan_

THOMAS A. COOK

FIG. B

_B. Painted Silk Fan_

NELLIE SYRETT

PLATE 15]

JESSIE M. KING

PLATE 16]

FIG. B

_A. Necklet in Gold and Silver, with Amethysts and Enamels_
_B. Necklet in Silver and Gold, green Malachite and Turquoise_

PLATE 17 ]

FIG. B

_A. Necklet in Gold, Pearls and Enamels_
_B. Silver Muff-Chain with Pearl Blisters_

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

PLATE 19 ]

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_

PLATE 20 ]

FIG. B

_A. Silver Clasp, enriched with Amethysts, Pearls and pale violet Enamel_

_B. Hair Comb, in Silver and Enamels_

FRANCES McNAIR

PLATE 21 ]

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 ]

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

THOMAS A. COOK.

PLATE 24]

FIG. B

_A. Necklace in Gold and Enamel_

KATE FISHER

_B. Belt in Silver and Enamel_

EDITH PICKETT

PLATE 25 ]

EDGAR SIMPSON

PLATE 26]

EDGAR SIMPSON

PLATE 27]

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

PLATE 29]

WINIFRED HODGKINSON

PLATE 30]

FIG. B

_A. Enamelled Silver Belt-Clasp_

KATE ALLEN

_B. Silver Clasp set with Stones_

B. J. BARRIE

PLATE 31 ]

ANNIE McLEISH

PLATE 32]

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

PLATE 34]

OLIVER BAKER

PLATE 35]

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 ]

KATE FISHER

PLATE 37]

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

_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

PLATE 39]

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 ]

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]

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]

CHARLES R. MACINTOSH

_Silver Brooch and Pendant Heart set with Rubies, Pearls, and Turquoises_

Comments

Modern Design in Jewellery and FansChapter I: Front Matter

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