Chapter L: Van Strydonck

PLATE 2]

PH. WOLFERS

PLATE 3]

PH. WOLFERS

PLATE 4]

PH. WOLFERS

PLATE 5]

PH. WOLFERS

PLATE 6]

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]

PH. WOLFERS

PLATE 8]

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.

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.

HARALD SLOTT-MÖLLER

PLATE 1]

ERICK MAGNUSSEN

_B. Silver Hand-Mirror with an Ivory handle. The moths are oxidised_

HARALD SLOTT-MÖLLER

PLATE 2]

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]

HARALD SLOTT-MÖLLER

PLATE 4]

FIG. B

_A. Silver Clasp_

_B. Enamelled Silver Clasp_

ERICK MAGNUSSEN

PLATE 5]

FIG. B

_A. Twofold Silver Clasp_

MOYENS BOLLIN

_B. Silver Belt-Clasp_

ERICK MAGNUSSEN

PLATE 6]

FIG. B

_A. "Butterfly" Clasp in Bronze_

_B. Silver Clasp_

MOYENS BOLLIN

PLATE 7]

FIG. B

_A. Silver Clasp in three pieces_

MOYENS BOLLIN

_B. Silver Buckles and Brooches_

TH. BINDESBÖLL

PLATE 8]

* * * * *
+----------------------------------------------------------+
| |
| 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