Chapter 3 of 5 · 3996 words · ~20 min read

Part 3

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._)

[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

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

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

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

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_

PLATE 17 ]

[Illustration: FIG. A

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

[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_

PLATE 20 ]

[Illustration: FIG. A

FIG. B

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

_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

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

_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_

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.