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Expressions of Japonisme |
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a curvilinear parallelism
with America |
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by Martine D’Haeseleer with Hallmarks!
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| The canals’ cold waters reflect beautiful architectural structures that house narrow shops strutting spicy deserts--savory Belgian specialties. | |
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Less touristy than Bruges and
closer to the people, Ghent is the town where the famous Charles
V, (Holy Roman Emperor), and Victor Horta were born…and so was
I!
(Our favorite meal : The ‘Waterzooi’). Take a closer look at the Design Museum of Ghent, with its gorgeous 18th century ‘façade’ and the glistening wet grey-blue pavement. |
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| I am wondering, “ It is a few
months now that the Curator Mr. Lieven Daenens is not answering
my emails just as usual. What has happened?” For many months, Belgian experts have been working on an important exhibition of the work of Louis, Philippe and Marcel Wolfers (father, son and grandson) titled ‘Masters in Silver.’ From the middle of the 19th century to the mid 20th century, those three Belgian artists formed a family of ingenious artist/craftsmen.
Belgium is well known for it’s Art
Nouveau designs, especially ‘Curvilinear Art Nouveau.’
Architects and designers such as Victor Horta, Henry Van de
Velde, Paul Hankar, Paul Cauchie, Frans Hoosemans, and Gustave
Serrurier Bovy expressed their fantasies in every possible way.
William Morris’s influence on Belgian applied
arts can also be seen--‘Creation of Beauty in
the everyday environment’ was also the
Socialist ideal in Belgium. |
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| A Family of Silversmiths: | |
The Family Wolfers, as designers and silversmiths, has its roots in a dynasty of silversmiths and jewelers of German and Dutch origins. They enjoyed a deserved European reputation and are still internationally praised. |
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Makers' mark Louis Wolfers- Starting 1869 |
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Wolfers Frères’ workshop |
Beginning in 1885, they formed a society known as ‘Louis Wolfers Père et Fils’ and later in 1892 as ‘Wolfers Frères’ (the latter with the workshop’s mark, ‘Three stars in a triangle’-- a Masonic symbol, which was in use until 1942). Philippe was a member of the Masonic Lodge and the meaning of the three stars is ‘Work, Honor and Family.’ |
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Bronze Commemoration Medal |
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The inspirations of
Symbolism and Japonisme as well as Floral and
Vegetal Art Nouveau with its curvilinear and
whiplash motives are ingeniously expressed in the
work of the Wolfers, ‘Louis Wolfers, Père
et fils’ and later ‘Wolfers Frères’( masters of the Art Nouveau
Period). They introduced and created
objects whose forms became free from the classical repertoire.
(Art Nouveau was the open expression
of the Cult of Nature.)
Philippe Wolfers took lectures in
drawing and sculpture at the Royal Academy for Fine Arts in
Brussels (1873-1877) where he formed lifelong friendship with
other artists, many of them who would become colleagues in later
artistic ventures. In 1876, Philippe entered his father’s factory/workshop as an apprentice. Later he designed the new models and acted as the design forman and artistic director. Twice a year he traveled through Belgium, France, Holland, and Germany, establishing new clientele and associations and bringing back new sources of influence. The firm and factory Wolfers Frères worked in collaboration and developed associations with other jewelers or retailers, such as ‘Emile Anthony’ in Antwerp, Belgium; ‘Fernand Hardy, Liège, Belgium; A. Bourdon, Gent, Belgium ; ‘Krischer’ in Düsseldorf, Germany; ‘Ferenc Paar,’ Budapest, Hungary; ‘Aublanc,’ and later ‘Jean Desmarès,’ Paris, France; Wolfers Frères in Amsterdam. |
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Wolfers’ pieces were also shown in the Netherlands at ‘Bonebakker’ in Amsterdam; and at ‘Begeer’ in Utrecht. In Germany the work was handled in Berlin by ‘Goldsmidt’ Köln and ‘Friedlander’ and in Paris, France, at Cartier. |
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| These business associations with foreign collaborators explain why we are often faced with the Wolfers Frères workshop’s mark (the three stars in a triangle) punched in combination with the German State hallmarking (half-moon and Imperial crown) or with an Austro-Hungarian importation mark. (These combinations make it confusing for amateur collectors or scholars who lack that knowledge.) |
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Wolfers Frères’ Workshop
combined with the German hallmarks – |
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| Particulars: |
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We find the introduction and first hints of the ‘Au Maraudeur’ theme in various works of art in the 1880’s and 1890’s when Philippe Wolfers worked in collaboration with the sculptor Isidore de Rudder.
From 1890 to 1892, in addition to
his father’s factory, Philippe created his own workshop complete
with a modeler, ivory carver, chaser, enameller and
diamond-setter. He dedicated his talents to the creation of
splendid jewels that combined curved lines of precious metals
with carved stones and enamel work. Jewels in the ‘Plique à
jour’ technique sculpted in combination with ivory brought ‘Art
Nouveau’ expression to its utmost perfection in Belgium.
Those works of art wear his
personal maker’s signature--the line of the ‘Exemplaires Uniques’ present his special mark. |
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| Inspirational Power of the International Exhibitions: |
| Philippe’s sources of inspiration
were probably the major exhibitions that took place in the
19th and early 20th centuries, after the opening of Japan to the
outer world. 1866 - Opening of ‘La Maison Japonaise’ - Brussels. 1873 - Vienna World Exhibition.
1889 - The Japanese participation
at the International Exhibition of Paris was a brilliant
revelation to Western Europe and raised the enthusiasm of
Siegfried Bing, the art dealer who founded the Parisian art
shop, l’Art Nouveau that gave its name to the European Art
Movement. Philippe Wolfers, representing the Wolfers’ factory or his personal workshop, participated in World Exhibitions in places such as Antwerp (1894); Brussels (1897) (where his unconventional creativity was a subject of ‘polemics and discussions’); Turin (1902); Liège (1905); and Brussels (1910). He did not participate in the Paris exhibition of 1900.
In 1895, after the World Exhibition
in Antwerp, he participated in the Exhibition at the ‘Cercle
Artistique’ of Brussels where he presented his ‘Art Nouveau’
creations in Silverware and ivory combinations.
We can probably surmise the
interwoven influences of American and European Japonisme. In 1888--(already), silverware crafted by Gorham forshadowed Art Nouveau silver. 1893-- The World’s Columbian Exhibition, Chicago.
In 1893--During the Chicago
Exhibition, the museum of Berlin, Germany, bought a few objects
by Gorham as an example of good design. 1897 - First American Arts and Crafts Exhibition, Boston. 1889 – A commercial collaboration started between Tiffany and Siegfried Bing in Paris; American Art Nouveau is sold in Paris; French Art Nouveau is sold in New York. 1900 - The World Exhibition in Paris. Gorham published a catalogue in French through its Parisian representative Spaulding & Co. - The decline of the Curvilinear Art Nouveau Style and Japonisme in Belgium started with the building of the Hotel Stocklet in Brussels (1905-1911). It was designed by the Austrian architect Josef Hoffmann and leads to the introduction of austere linear and geometric forms. |
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| Illustrations: | |
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Art Nouveau expressions in Wolfers’creativity:
Introduction of Japanese wave
motive: The wave as a pictorial theme and ornamental pattern in Japanese art had a profound impact on European painting, graphic art, and applied arts in the second half of the nineteenth century. The highly stylized wave formula, underwent an intensification of decorative force in Europe, especially in the Art Nouveau movement. ’(The Wave’, as the subject of a painting, is perhaps best known in Katsushika Hokusai’s ‘The Great wave off Kanagawa’, woodcut (1823-32); Totoya Hokke’s, ‘Mekari Festival', colour woodcut (1830). |
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Wave Crest Motives’ in a
‘Wolfers Frères’ shell formed dish – Brussels - circa 1892-1900 |
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| Link Between neo Louis XV style and Art Nouveau Period: | |
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Lots of high quality ‘Neo – Rococo’ objects crafted by ‘Louis Wolfers Père et Fils’ and later ‘Wolfers Frères’ with the putti ornamentation were ordered by foreign collectors who preferred the high standards of the Belgian Workshop to the lower quality of massive production of silverware in Germany or to the production of industrial French silverplate. |
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A Very Impressive pair of
Centrepieces |
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Detail of
Centerpieces |
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| Floral Japonisme: a ’Cult of Nature’: | |
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Beginning in 1878, Tiffany in New
York and Philippe Wolfers in Brussels created forms inspired
completely by nature with a treatment of asymmetrical floral or
vegetal ornamentation. Silver Objects lost their classical forms
and blossomed out in untraditional, vegetal forms.
This ‘Peony’ water pitcher, a good
example of Art Nouveau (Japonisme), shows ‘freedom of
expression’ with its handle formed by two asymmetrical entwined
stalks--its body ornamentation is a pure and perfect execution
of ‘repoussé chasing’.
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Peony’
Water Pitcher |
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The Japanese style became more pronounced when Philippe Wolfers began to give priority to the curve and sweeping lines that demonstrate his talents at their full potential. By the end of 1880, the Japanese style was fully developed. The form of this vase is a true expression of the Japanese cult for Nature and we can draw a parallel with Tiffany’s gourd formed silver vessels. (cf: Silver Magazine – January/February 2005)
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S ilver vase “ Cyclamen”Design attributed to Philippe Wolfers, Silversmith ’Wolfers Frères’, Brussels , circa 1892-1900 This vase is now part of the Collection of the Metropolitan Museum, New York. (Picture is courtesy of the Belgian Antique Dealer – Erik Mullendorff, Brussels) |
| A Combination of nature inspired form and ‘The Maraudeurs’ theme: | |
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In my opinion, this coffee set
shows a ‘full’ integration of Japonisme combined with the
inspirations of Philippe Wolfers and Isidore de Rudder. The
vegetal form has totally freed itself from academism; it wears
the ornamentation inspired from the animal world (snake skin)
and the joyful scene with lively putti is due to de Rudder’s
creativity and craftsmanship. |
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Coffee service and tray, ‘Aux Maraudeurs’ |
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| Combination of Stylised Floral Japonisme and of ‘Symbolism’. | |
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A set of four enamel vases was
realised between the years 1898 – 1899, and they were presented
at the Turin Exhibition in 1902. The names of the four different vases are ’Mimosa’ *, ‘Plumes de Paon’ *, ‘Fantaisie d'orchidée’ and ‘Soleil couchant’. Each one was crafted in two or three examples.
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Enamel vase, Fantaisie d’Orchidée
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| Link between American and Belgian Japonism? |
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Three piece moccha set and tray
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Above is a tiny mocha or tea
set – ‘Egoiste’ - consisting of three pieces and a tray.
In our
French vocabulary, this type of set is called “égoiste” because
it was meant for the use of one person only. (An ‘Egoiste’ in
French language describes a rather ‘selfish person’) Three tiny pieces are shaped like purses or pouches made of silver cloth and tied with a rope of silver threads. The silver sheets, thus formed, show the folds created by the squeezing of the rope. The spout of the mocha or teapot cracks out through the cloth of the body, showing the cuts in the cloth, which gives a very special effect. The result is quite unexpected and is proof of Philippe Wolfers’ extraordinary creativity, sense of originality, and humour. This quite unexpected design - imitation of ‘cloth tied by a rope- leads us to draw design parallels between Philippe Wolfers and American production such as works by Tiffany, Gorham or Whiting in a more ‘trompe l’oeil’ technique ( Reference to: a coffeepot made by Whiting Mfg. Co., New York, ca 1883 - Dallas Museum of Art. - Book ref : Silver in America, page 169). I fell in love with the American Art Nouveau and its interpretation of Japonisme and it is a pleasure for me to show the links between Belgian and American Art Nouveau and to be able to share my passion with you. |
| Information on the Marker's Marks: | |
| Makers’mark Louis Wolfers, beginning 1869 |
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| ‘Wolfers Frères’ workshop : ‘Three stars in a triangle’ and the silver standard 800/1000 in use during the period 1868 -1942. |
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| Wolfers Frères’ Workshop combined with the German hallmarks, beginning in 1888. |
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| Two examples of marks and signatures of: Louis Wolfers Père et Fils: | |
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One of the Commercial marks for Louis Wolfers Père et Fils |
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Signature of Louis Wolfers Père et Fils |
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Philippe Wolfers’ signature |
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| Philippe Wolfers’ signature for the items ‘Exemplaire Unique’ |
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| Hallmarking -- Assay Marks: |
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From the time of the Art Nouveau
movement, the Belgian hallmarking system was used for an extended
period of time (1868-1942), so it is sometimes difficult to
date many objects with precision. The information I use to date the objects refers to the book: ‘Les Wolfers - Orfèvres, Bijoutiers & Joailliers’ by Walter van Dievoet – Ed. STUDIA BRUXELLAE – 2002 I hope that the innovative
catalogue of this important exhibition in Ghent is going to
answer many more questions. To eager readers:
Martine D’Haeseleer Belgian expert – appraiser
- teacher. ___________________________
A selected Bibliography:
- ‘The Studio’ - London-. 1898
- 1899 - 1900 – 1902. - ‘Philippe Wolfers –
Précurseur de l’Art Nouveau’ by Marcel Wolfers Ed Meddens
S.A. Bruxelles 1965. - ‘Japonisme’ – The Japanese influence on Western art since 1858. Siegfried Wichmann – Thames & Hudson – 1999 - ‘Art Nouveau - 1890 -1914 – Ed. By Paul Greenhalgh – V&A Publications – 2000 - ‘L’Art Nouveau’ Gabriele Fahr/ Becker – Ed. Könemann – Köln -‘Silver in America’ – 1840-1940 – ‘A century of Splendor’ -Charles L. Venable. Dallas Museum of Art. – Harry N. Abrams, inc. Publishers – 1994-1995. |
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Article by
Martine
D’Haeseleer
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