Posts Tagged ‘René Lalique

31
Jan
16

Exhibition: ‘Art Nouveau. The Great Utopia’ at Museum für Kunst und Gewerbe Hamburg

Exhibition dates: 17th October 2015 – 7th February 2016

Among the artists exhibited are: Emile Bernard, Edward Burne-Jones, Peter Behrens, Carlo Bugatti, Mariano For-tuny, Loïe Fuller, Emile Gallé, Paul Gauguin, Karl Gräser, Josef Hoffmann, Gustav Klimt, Fernand Khnopff, René Lalique, Elena Luksch-Makowsky, Charles R. Mackintosh, Madame D’Ora, Louis Majorelle, Paula Modersohn-Becker,  William Morris, Alfons Mucha, Richard Riemerschmid, Dante Gabriel Rossetti, Louis C. Tiffany, Henry van de Velde.

 

 

Sports at the beach in Wyk on the island of Föhr c. 1912

 

Anonymous photographer
Sports at the beach in Wyk on the island of Föhr
Sanatorium Carl Gmelin, c. 1912
Collection The Ingwersen Family
© Fotoarchiv Ingwersen Wyk

 

 

What a memorable exhibition!

The presentation of the work is excellent, just what one would hope for, and the works themselves are magnificent – objects that you would hope existed, but didn’t know for sure that they did.

Particularly interesting are the use of large historical photographs of the objects in use in situ, behind the actual object itself; the presence of large three-dimensional structures (such as the Erkerzimmer for the Hotel Gallia in Nice, 1894-1900) built in the gallery; and the welcome lack of “wallpaper noise” (as I call it) that has dogged recent exhibitions at the National Gallery of Victoria (eg. the ongoing Andy Warhol / Ai Weiwei exhibition). It is so nice to be able to contemplate these objects without the additional and unnecessary “noise” of competing wallpaper behind each object.

The work itself reflects the time from which it emanates – visual, disruptive, psychological, technical, natural, beautiful and sensual – locating “Art Nouveau in its historical context of ideas as a reform movement with all its manifold facets and extremes. Adopting a particular focus on the relationship between nature and technology, [the exhibition] illuminates the most varied disciplines, ranging far beyond the movement of arts and crafts and reaching as far as the history of medicine and the technology of film-making… The ideal of superior craft in contrast to industrial articles collides with the commercial idea of competition and the marketing strategies at that time. Therefore the exhibition project manoeuvres at the intersection of utopia and capitalism.”

One of the most vital periods of creativity in all fields in recent history.

Marcus

.
Many thankx to the Museum für Kunst und Gewerbe Hamburg for allowing me to publish the photographs in the posting. Please click on the photographs for a larger version of the image.

 

 

Paul Gauguin (1848-1903) 'Manao Tupapau (The Ghost of the Dead awakens)' 1894

 

Paul Gauguin (French, 1848-1903)
Manao Tupapau (The Ghost of the Dead awakens)
Manao Tupapau (Der Geist der Toten wacht) | Manao Tupapau (The Spirit Watches Over Her)

1894
Lithograph on zinc sheet
Sheet: 30.6 x 46cm
© Kunsthalle Bremen – Der Kunstverein in Bremen

 

Gustav Klimt (1862-1918) 'Lying Female Nude' Vienna, 1914-15

 

Gustav Klimt (Austrian, 1862-1918)
Lying Female Nude
Vienna, 1914-15
Pencil
37.6 x  57.1cm
© Wien Museum

 

Anne Brigman (1869–1950) 'The Wondrous Globe' 1912

 

Anne Brigman (American, 1869-1950)
The Wondrous Globe
1912
Photogravure (from Camera Work)
21.1 x 19.9cm
Museum für Kunst und Gewerbe Hamburg
© Museum für Kunst und Gewerbe Hamburg

 

George Méliès (1861-1938) (Regie) 'Voyage to the Moon' 1902

 

George Méliès (French, 1861-1938) (Regie)
Le Voyage dans la Lune | Die Reise zum Mond | Voyage to the Moon
France, 1902
16 Min.
© BFI National Archive

 

 

 

A Trip to the Moon – the 1902 Science Fiction Film by Georges Méliès

A Trip to the Moon (French: Le Voyage dans la Lune) is a 1902 French silent film directed by Georges Méliès. It’s considered one of the first science fiction film.

A Trip to the Moon ( Le Voyage dans la Lune) is a 1902 French adventure film directed by Georges Méliès. Inspired by a wide variety of sources, including Jules Verne’s novels From the Earth to the Moon and Around the Moon, the film follows a group of astronomers who travel to the Moon in a cannon-propelled capsule, explore the Moon’s surface, escape from an underground group of Selenites (lunar inhabitants), and return to Earth with a captive Selenite. It features an ensemble cast of French theatrical performers, led by Méliès himself in the main role of Professor Barbenfouillis, and is filmed in the overtly theatrical style for which Méliès became famous.A Trip to the Moon was named one of the 100 greatest films of the 20th century by The Village Voice, ranked 84th. The film remains the best-known of the hundreds of films made by Méliès, and the moment in which the capsule lands in the Moon’s eye remains one of the most iconic and frequently referenced images in the history of cinema. It is widely regarded as the earliest example of the science fiction film genre and, more generally, as one of the most influential films in cinema history.

 

Fernand Khnopff (1858-1921) 'Mask' c. 1897

 

Fernand Khnopff (Belgian, 1858-1921)
Mask
c. 1897
Gypsum, mounted
18.5 x 28 x 6.5cm
© bpk, Hamburger Kunsthalle, Elke Walford

 

Installation photograph of the exhibition 'Art Nouveau. The Great Utopian Vision' at Museum für Kunst und Gewerbe Hamburg

Installation photograph of the exhibition 'Art Nouveau. The Great Utopian Vision' at Museum für Kunst und Gewerbe Hamburg

 

Installation photographs of the exhibition Art Nouveau. The Great Utopian Vision at Museum für Kunst und Gewerbe Hamburg

 

Damon & Colin (Maison Krieger). Erkerzimmer for the Hotel Gallia in Nice, 1894-1900

Damon & Colin (Maison Krieger). Erkerzimmer for the Hotel Gallia in Nice, 1894-1900 (detail)

 

Damon & Colin (Maison Krieger)
Erkerzimmer for the Hotel Gallia in Nice
1894-1900
Museum für Kunst und Gewerbe Hamburg
© Museum für Kunst und Gewerbe Hamburg

 

Installation photograph of the exhibition 'Art Nouveau. The Great Utopian Vision' at Museum für Kunst und Gewerbe Hamburg

Installation photograph of the exhibition 'Art Nouveau. The Great Utopian Vision' at Museum für Kunst und Gewerbe Hamburg

Installation photograph of the exhibition 'Art Nouveau. The Great Utopian Vision' at Museum für Kunst und Gewerbe Hamburg

Installation photograph of the exhibition 'Art Nouveau. The Great Utopian Vision' at Museum für Kunst und Gewerbe Hamburg

 

Installation photographs of the exhibition Art Nouveau. The Great Utopian Vision at Museum für Kunst und Gewerbe Hamburg

 

Peter Behrens (1868-1940) 'Salon grand from house Behrens' c. 1901

 

Peter Behrens (German, 1868-1940)
Salonflügel aus dem Haus Behrens | Salon grand from house Behrens, Darmstadt
c. 1901
Execution: J. P. Schiedmayer Pianofortefabrik, Stuttgart; Intarsienwerkstatt G. Wölfel & Kiessling
Palisander, mahagony, maple, cherry and walnut, burl birch, partly coloured red, lapis lazuli and mother of peral inlay
H. 99cm x B. 150cm x 192cm
Museum für Angewandte Kunst, Köln
© Rheinisches Bildarchiv Köln

 

 

The Museum für Kunst und Gewerbe Hamburg (MKG) would like to dare a quite new approach to the epoch of the Art Nouveau in its exhibition project Art Nouveau. The Great Utopia. In contrast to the period about a century ago, when Art Nouveau was le dernier cri, it can be seen today not just as a mere historical stylistic era, but can open up parallels to complex phenomena familiar to visitors from their own experience: scarcity of resources and issues of what materials to use, precarious working conditions and consumer behaviour, the trade-off between ecological and aesthetic considerations in manufacturing processes or the desire for stylishly elegant, prestigious interior furnishings. These are just a few of the aspects which emerge as central motives common to both the reform movement of the years around 1900 and for the decisions facing today’s consumers. The exhibition has therefore been chosen in order to bring out as clearly as possible in this new setting the roots of the ideas and motives which informed Art Nouveau. The new presentation still revolves, for instance, around the World Exhibition of 1900 as an international platform of modern design. Furthermore the flight away from European industrialisation and the march of technology to imagined places of yearning such as the Middle Ages or nature is highlighted.

A further aspect is the change in the way people experienced their bodies in the fashion of the rational dress reform movement and modern dance. The exhibition project will attempt to locate Art Nouveau in its historical context of ideas as a reform movement with all its manifold facets and extremes. Adopting a particular focus on the relationship between nature and technology, it illuminates the most varied disciplines, ranging far beyond the movement of arts and crafts and reaching as far as the history of medicine and the technology of film-making. The exhibits can be read as artistic positions that address technological innovation as well as theories from Karl Marx (1818-1883) to Sigmund Freud (1856-1939). The ideal of superior craft in contrast to industrial articles collides with the commercial idea of competition and the marketing strategies at that time. Therefore the exhibition project manoeuvres at the intersection of utopia and capitalism. Visitors will be able to see paintings, sculptures, drawings and prints, posters, books, tapestries, reform dresses, photo-graphs and films as well as scientific and historical medical apparatus and models.

Text from the Museum für Kunst und Gewerbe Hamburg website

 

Rudolf Dührkoop. 'Head with Halo' 1908

 

Rudolph Dührkoop (German, 1848-1918)
Kopf mit Heiligenschein | Head with Halo
1908
Platinotype
21 x 16cm
Museum für Kunst und Gewerbe Hamburg
© Museum für Kunst und Gewerbe Hamburg

 

Gabriel Charles Rossetti (1828-1882) 'Helen of Troy' 1863

 

Gabriel Charles Rossetti (English, 1828-1882)
Helena von Troja | Helen of Troy
1863
Oil on mahogany
32.8 x 27.7cm
Hamburger Kunsthalle
© bpk, Hamburger Kunsthalle
Photo: Elke Walford

 

Paula Modersohn-Becker (1876-1907) 'Kneeling nude girl against blue curtain, Worpswede' 1906/07

 

Paula Modersohn-Becker (German, 1876-1907)
Kniender Mädchenakt vor blauem Vorhang | Kneeling Nude Girl
Worpswede, 1906/07
Oil on canvas
72 x 60cm
© Landesmuseum Oldenburg, H. R. Wacker – ARTOTHEK

 

Naked archer, member of a nudists' community in Zurich, Switzerland 1910

 

Unknown photographer
Ein Bogenschütze “Naturmenschenkolonie” bei Zürich | Archer “Naturmenschenkolonie” near Zurich
Naked archer, member of a nudists’ community in Zurich, Switzerland
1910
From Berliner Illustrierte Zeitung, Nr. 34, 1910
© Ullstein Bild

 

Ferdinand Hodler (1853-1918) 'Childhood' c. 1894

 

Ferdinand Hodler (Swiss, 1853-1918)
Die Kindheit | Childhood
c. 1894
Oil on canvas
50 x 31cm
© Städel Museum – U. Edelmann – ARTOTHEK

 

Elena Luksch-Makowsky (1878-1967) 'Adolescentia' 1903

 

Elena Luksch-Makowsky (Russian, 1878-1967)
Adolescentia
1903
Oil on canvas
172 x 79cm
Österreichische Galerie Belvedere, Wien
© Österreichische Galerie Belvedere, Wien

 

Atelier d'Ora. 'Red Hair' 1911

 

Atelier d’Ora (Dora Philippine Kallmus) (1881-1963)
Rotes Haar | Red Hair
1911
Gummidruck
38 x 28.2cm
Museum für Kunst und Gewerbe Hamburg
© Museum für Kunst und Gewerbe Hamburg

 

Alfons Mucha (1860-1939) 'Salon des Cent' Paris 1896

 

Alfons Mucha (Czech, 1860-1939)
Salon des Cent
Paris, 1896
Lithograph
63.5 x 46cm
Museum für Kunst und Gewerbe Hamburg
© Museum für Kunst und Gewerbe Hamburg

 

Alfons Mucha. 'Salon des Cent' Exhibition, Paris, 1897

 

Alfons Mucha (Czech, 1860-1939)
Salon des Cent
Paris, 1897
Lithograph
63.5 x 46cm
Museum für Kunst und Gewerbe Hamburg
© Museum für Kunst und Gewerbe Hamburg

 

Eugène Grasset. 'Exhibition poster for an exhibition at the Salon des Cent' 1894

 

Eugène Grasset (Swiss, 1845-1917)
Print: G. de Malherbe, Zinkätzung
Ausstellungsplakat für eine eigene Ausstellung im Salon des Cent | exhibition poster for his own exhibition at Salon des Cents
1894
Stencil
60 x 40cm
Museum für Kunst und Gewerbe Hamburg
© Museum für Kunst und Gewerbe Hamburg

 

Verm. Albert Londe (1858-1917) 'Hysterics' Nd

 

Verm. Albert Londe (French, 1858-1917)
Hysterischer Anfall (Bâillement hystérique) | Hysterics
Silver print
9 x 12cm
Bibliothèque de Toulouse
© Bibliothèque Municipale de Toulouse

 

 

Albert Londe (1858-1917) was an influential French photographer, medical researcher and chronophotographer. He is remembered for his work as a medical photographer at the Salpêtrière Hospital in Paris, funded by the Parisian authorities, as well as being a pioneer in X-ray photography. During his two decades at the Salpêtrière, Albert Londe developed into arguably the most outstanding scientific photographer of his time.

In 1878 neurologist Jean-Martin Charcot hired Londe as a medical photographer at the Salpêtrière. In 1882 Londe devised a system to photograph the physical and muscular movements of patients (including individuals experiencing epileptic seizures). This he accomplished by using a camera with nine lenses that were triggered by electromagnetic energy, and with the use of a metronome he was able to sequentially time the release of the shutters, therefore taking photos onto glass plates in quick succession. A few years later Londe developed a camera with twelve lenses for photographing movement. In 1893 Londe published the first book on medical photography, titled La photographie médicale: Application aux sciences médicales et physiologiques. In 1898 he published Traité pratique de radiographie et de radioscope: technique et applications médicales.

Text from the Wikipedia website

 

Paul Gauguin (1848-1903) 'Vase with self-portrait' 1889

 

Paul Gauguin (French, 1848-1903)
Vase mit Selbstbildnis | Vase with self-portrait
1889
Stoneware, engobe, copper and oxblood glaze
19.5 x 12cm
Designmuseum Danmark, Kopenhagen
Photo: Pernille Klemp

 

Ernst Haeckel (1834-1919) 'Scyphozoans' 1904

 

Ernst Haeckel (German, 1834-1919)
Discomedusae – Scheibenquallen | Scyphozoans
Table 8 from Ernst Haeckel, Kunstformen der Natur, Leipzig und Wien
1904
© Museum für Kunst und Gewerbe Hamburg

 

Eugène Feuillâtre (1870-1916) Vase "La Mer" c. 1900

 

Eugène Feuillâtre (French, 1870-1916)
Vase “La Mer”
c. 1900
Cloisonné enamel, gilded copper
37.5cm
Petit Palais, Musée des Beaux-Arts de la Ville de Paris
© Petit Palais, Musée des Beaux-Arts de la Ville de Paris

 

 

The goldsmiths and jewellers of the second half of the nineteenth century constantly strove to perfect and develop the techniques of enamelling for artistic purposes. Eugène Feuillâtre, who headed the Lalique enamelling workshop before opening his own workshop in 1897, specialised in enamel on silver. The dilatation of the metal and its reactions with the colouring agents made this technique difficult. But it allowed Feuillâtre to obtain the blurred, milky, pearly tones that are so characteristic of his work. Feuillâtre’s use of colours illustrates his ability to choose materials to suit the effect he wanted. He is one of the craftsmen whose talent swept artistic enamelling to a veritable apotheosis about 1900.

 

Daum Frères (Manufacturer), 'vase formed like a pumpkin' Nancy, around 1909

 

Daum Frères (Hersteller | Manufacturer)
Vase in Kürbisform | Vase formed like a pumpkin
Nancy c. 1909
Cameo glass, mould blown, etched and cut
29.2 x 11.7cm
Düsseldorf, Museum Kunstpalast
© Museum Kunstpalast – Horst Kolberg – ARTOTHEK

 

Louis C. Tiffany. 'Pont Lily-lamp' New York, 1900, execution around 1910

 

Louis C. Tiffany (American, 1848-1933)
Pond Lily-Lampe | Pont Lily-lamp
New York, 1900, execution around 1910
Favrile glass, Bronze
57cm
Museum für Kunst und Gewerbe Hamburg
© Museum für Kunst und Gewerbe Hamburg

 

Albert Klein (1971-1926) 'Irisvase' 1900

 

Albert Klein (German, 1871-1926)
Irisvase
1900
Execution: Königliche Porzellanmanufaktur, Berlin
Porcelain with glaze and sculptural decoration
61.5cm
Bröhan-Museum
© Bröhan-Museum
Photo: Martin Adam, Berlin

 

William Morris. decoration fabric Strawberry Thief, London, 1883

 

William Morris (British, 1834-1896)
Decoration fabric Strawberry Thief
London, 1883
Execution: Morris & Co., Merton Abbey/Surrey, 1883
Cotton, indigo discharge print, block print, 3-coloured
518 x 98cm, Rapport 51 x 45cm
Museum für Kunst und Gewerbe Hamburg
© Museum für Kunst und Gewerbe Hamburg

 

William Morris. decoration fabric Strawberry Thief, London, 1883 (detail)

 

William Morris (British, 1834-1896)
Decoration fabric Strawberry Thief (detail)
London, 1883
Execution: Morris & Co., Merton Abbey/Surrey, 1883
Cotton, indigo discharge print, block print, 3-coloured
518 x 98cm, Rapport 51 x 45cm
Museum für Kunst und Gewerbe Hamburg
© Museum für Kunst und Gewerbe Hamburg

 

René Lalique (1860-1945) 'Hair comb' 1898-1899

 

René Lalique (French, 1860-1945)
Haarkamm | Hair comb
1898-1899
Horn, gold, enamel
15.5cm
Designmuseum Danmark, Kopenhagen
Photo: Pernille Klemp

 

Day dress of a suffragette sympathizer, England, 1905-09

 

Unknown maker
Tageskleid einer Suffragetten-Sympathisantin | Day dress of a sufragette sympathiser
England, 1905-09
Studio work or self-made, cotton, canvas lining, machine-made lace
L. 143cm
Museum für Kunst und Gewerbe Hamburg
© Museum für Kunst und Gewerbe Hamburg

 

Mariano Fortuny y Madrazo. Lady's dress Delphos, Venice, 1911–13

 

Mariano Fortuny y Madrazo (designer) (Spanish, 1871-1949)
Damenkleid Delphos | Lady’s dress Delphos
Venice, 1911-13
Label: Mariano Fortuny Venise
Pleated silk satin, silk cord, Murano glass beads
L. 148cm
Museum für Kunst und Gewerbe Hamburg
© Museum für Kunst und Gewerbe Hamburg

 

Carlo Bugatti (1856-1940) 'Chair' Milan 1902

 

Carlo Bugatti (Italian, 1856-1940)
Stuhl | Chair
Milan, 1902
Oak, parchment, brass
98 x 48 x 48cm
Museum für Kunst und Gewerbe Hamburg
© Museum für Kunst und Gewerbe Hamburg

 

Karl Gräser (1849-1899) 'Chair in the style of his room furnishings on Monte Verita' Museum Casa Anatta, Monte Verita, Ascona, 1910

 

Karl Gräser (Austro-Hungarian, 1849-1899)
Sessel im Stil seiner Zimmereinrichtung auf dem Monte Verità | Chair in the style of his room furnishings on Monte Verità
Museum Casa Anatta, Monte Verità, Ascona, um Verità 1910
Unhandeled braches, wooden panel
84 x 66 x 60cm
Photo: Elena Mastrandrea
© Museum für Kunst und Gewerbe Hamburg

 

 

In the nineteenth century, Europe is shaken by the arrival of industrialisation which upsets the social organisation. This crisis is particularly felt in Germany where signs of rejection of the industrial world appear as early as 1870. Thus, in response to the urbanisation generated by a new organisation of work, Naturism appears. Attempting to flee the pollution of the cities, to create communities and “garden city” to live in harmony with nature. Those who share this view soon gather around the movement of Reform of the life (Lebensreform, 1892). The movement attracts followers of vegetarianism, naturism, spiritism, natural medicines, the Hygienism, the Theosophical Society, as well as artists.

In 1889, Franz Hartmann, German astrologer and Alfredo Pioda, a local man into progressive politics, both loving theosophical theories under strong Hindu influence, launched the idea of ​​a “secular monastery” bringing together individuals “regardless of race, creed, sex, caste or colour. ” But nothing came of it. Eleven years later, he resurfaced with seven young men from good families, born in Germany, Holland, Slovenia and Montenegro, who landed in Ascona (Switzerland), attracted by the beauty of the place, its climate and possible telluric forces which the place would wear. The clan consists of Henri Oedenkoven (son of wealthy industrialists Antwerp), Karl Gräser (former officer of the Imperial Army, founder of the peace group Ohne Zwang, Unconstrained), his brother, the painter Gustav Gräser, Ida Hoffman (a feminist intellectual) Jeny and her sister, Lotte Hattemer (a beautiful young girl with anarchist ideas, breaking with a father who nonetheless supports herself needs) and Ferdinand Brune.

Spiritualist sects, pharmacists, nudists, philosophical circles, feminist movements, pacifists, socialists, libertarians, gurus, Theosophists, come together to form a nebula of more or less related interest, a band that will unite in a place that combines lifestyle and utopian effervescence. The hill is named Monte Verità, the Mountain of the truth. The group advocated free love, equality between men and women, they gardening scantily clad (or bare), alcohol was banned, meals consist of raw vegetables and fruits. As often, the ideal was overtaken by reality: after several months of reciprocity disagreement appears, especially between Henry Oedenkoven, who plans to open a place of cure, and the brothers Gräser. They who dedicate themselves to self-sufficiency and barter reject this conversion to money. Monte Verita knowns immediately two trends: the bourgeois dream paradise enjoying the modern comfort (water, electricity) and potentially profitable; and aspiration of returning to a liberated state of nature.

“Karl Gräser,” text translated from the La Maud La Maud website January 23, 2014 [Online] Cited 30/01/2016

 

Unknown photographer. 'Monte Verita' c. 1900

 

Unknown photographer
Monte Verita
c. 1900

 

Charles Rennie Mackintosh. 'Chair for the Argyle Tea Room' Glasgow 1897

 

Charles Rennie Mackintosh (Scottish, 1868-1928)
Stuhl für den Argyle Tea Room | Chair for the Argyle Tea Room
Glasgow, 1897
Oak, stained
81 cm x 60 cm x 45cm
Museum für Kunst und Gewerbe Hamburg
© Museum für Kunst und Gewerbe Hamburg

 

 

Museum für Kunst und Gewerbe Hamburg
Steintorplatz, 20099 Hamburg

Opening hours:
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Thursday 10 am – 9 pm
Closed Mondays

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19
Oct
12

Exhibition: ‘Jewels, Gems, and Treasures: Ancient to Modern’ at the Museum of Fine Arts, Boston

Exhibition dates: 19th July 2011 – 25th November 2012

 

Anon. 'Bracelets' about 40-20 BC

 

Anon
Bracelets
about 40-20 BC
Gold, emeralds, and pearls (modern)
Classical Department Exchange Fund
Photo: © Museum of Fine Arts, Boston

 

 

“Today, in the West, we have come to regard diamond, pearl, emerald, sapphire, and ruby as the most precious of materials. That has not always been the case. Other substances have commanded equal attention, from feathers, claws, and mica appliqués to coral and rock crystal, serving a protective role, guarding their wearer from dangerous circumstances or malevolent forces. Other substances, especially those that are rare and available to a select few, are signifiers of wealth and power.”

.
Museum of Fine Arts, Boston

 

 

Continuing my love affair with exquisite jewellery. What splendour! I love them all…

Marcus

.
Many, many thankx to the Museum of Fine Arts, Boston for allowing me to publish the reproduction of the jewellery in the posting. Please click on the photographs for a larger version of the art works.

 

Anon. 'Armlet with feline-head terminals' Late 5th century BC

 

Anon
Armlet with feline-head terminals
Late 5th century BC
Gold
John Michael Rodocanachi Fund
Photo: © Museum of Fine Arts, Boston

 

Anon. 'Spool earring' Italic, Etruscan, Late Archaic or Classical Period early 5th century BC

 

Anon
Spool earring
Italic, Etruscan, Late Archaic or Classical Period
early 5th century BC
Gold
Francis Bartlett Donation of 1900
Photo: © Museum of Fine Arts, Boston

 

Anon. 'Cameo with portrait busts of an Imperial Julio-Claudian couple' mid-1st century AD

 

Anon
Cameo with portrait busts of an Imperial Julio-Claudian couple
mid-1st century AD
Sardonyx
Henry Lillie Pierce Fund
Photo: © Museum of Fine Arts, Boston

 

Paul Lienard (French, 1849) 'Seaweed brooch' French, about 1908

 

Paul Lienard (French, 1849)
Seaweed brooch
French, about 1908
Gold and mabe pearl
Height x width x depth: 5.4 x 11 x 1 cm
Photo: © Museum of Fine Arts, Boston

 

 

As the saying goes, “diamonds are a girl’s best friend” – at least in modern times – but as the exhibition Jewels, Gem, and Treasures: Ancient to Modern illustrates, ornaments made of ivory, shell, and rock crystal were prized in antiquity, while jewellery made of diamonds, emeralds, sapphires, rubies, and pearls became fashionable in later years. On view July 19, 2011, through November 25, 2012, this exhibition at the Museum of Fine Arts, Boston (MFA), highlights some 75 objects representing the rich variety of jewels, gems, and treasures that have been valued over the course of four millennia.

Drawn from the MFA’s collection and select loans, these range from a 24th-century BC Nubian conch shell amulet, to Mary Todd Lincoln’s 19th-century diamond and gold suite, to a 20th-century platinum, diamond, ruby, and sapphire Flag brooch honouring the sacrifices of the Doughboys in World War I. Jewels, Gems, and Treasures is the inaugural exhibition in the MFA’s new Rita J. and Stanley H. Kaplan Family Foundation Gallery, which debuts on July 19. The gallery – one of only a few at US museums solely dedicated to jewellery – will feature works from the Museum’s outstanding collection of approximately 11,000 ornaments. It is named in recognition of the generosity of the Rita J. and Stanley H. Kaplan Family Foundation.

“The opening of the Museum’s first jewellery gallery provides an ongoing opportunity for the MFA’s collection to shine,” said Malcolm Rogers, Ann and Graham Gund Director of the MFA. “In this inaugural exhibition, visitors will see a wide range of gems that will both inform and dazzle in a beautiful new space that will allow the MFA to showcase its stellar assemblage of jewellery, which ranges from ancient to modern.”

Jewels, Gems, and Treasures sheds light on how various cultures throughout history have defined the concept of “treasure,” showcasing an exquisite array of necklaces, rings, bracelets, pendants, and brooches, as well as mineral specimens. In addition, the exhibition explains the significance of jewellery, which can be functional (pins, clasps, buckles, combs, and barrettes); protective (talismans endowed with healing or magical properties); and ornamental, making the wearer feel beautiful, loved, and remembered. Beyond functionality and adornment, jewellery can also establish one’s status and role in society. Rare gems and precious metals, made into fabulous designs by renowned craftsmen, have often served as symbols of wealth and power. This is especially evident in a section of the show where jewellery worn by celebrities is on view, including fashion designer Coco Chanel’s enamelled cuff bracelets accented with jewelled Maltese crosses (Verdura, New York, first half of 20th century) and socialite Betsey Cushing Whitney’s gold and diamond “American Indian” Tiara (Verdura, New York, about 1955), which she wore to her presentation to Queen Elizabeth II in 1956 as the wife of the US Ambassador to the Court of St. James.

The significance of precious materials in jewellery in the 20th century is explored in the exhibition, where several modern adornments from the MFA’s Daphne Farago Collection examine jewellery’s traditional roles in society. Among them are a 1985 brooch of iron, pyrite, and diamond rough by Falko Marx and a 1993 ring by Dutch jeweller Liesbeth Fit entitled Diamonds Are a Girl’s Best Friend. (The Daphne Farago Collection comprises 650 pieces of contemporary craft jewellery made by leading American and European artists from about 1940 to the present.)

Jewels, Gems, and Treasures begins with a look at jewellery made of organic materials – substances readily available and easy to work with, such as ivory, shell, wood, and coral. These range from a pair of ivory cuff bracelets from Early Kerma culture in modern Sudan (2400-2050 BC) to more sophisticated creations made possible through the advancement of tools. Examples include a gold, silver, carnelian and glass Egyptian Pectoral (1783-1550 BC) and a Nubian gold and rock crystal Hathor-headed crystal pendant (743-712 BC) recovered from the burial of a queen of King Piye, the great Kushite ruler who conquered Egypt in the eighth century BC. In addition to having magical properties that protected the wearer against malevolent forces, adornments such as these were often buried with their owners as their amuletic capabilities were needed during the arduous journey to the afterlife. On the other side of the globe, Mayans wore ear flares – conduits of spiritual energy – made of sacred green jadeite that represented key elements of human life. Various cultures throughout the ages at one point believed that amber could cure maladies, coral could safeguard children, an animal’s tooth or claw could invest the wearer with strength and ferocity, and gold and silver invoked the cosmic power of the sun and moon. In Medieval and Renaissance Europe, many hard stones were believed to have magical properties (some were even ground and consumed), and pendant reliquaries containing a holy person’s cremated ashes or bone fragments were often donned, along with rosaries (Rosary, South German, mid-17th century), as sacred adornments. Even today, zodiac ornaments and good luck charms are sometimes worn as tokens, recalling their earlier mystical importance.

Throughout much of history, jewellery’s role as a symbol of one’s elevated status has inspired the wealthy to seek out stones that sparkle, gold that gleams, and designs that reflect the greatest artistry money can buy. To illustrate this, Jewels, Gems, and Treasures features some of the most opulent works from the Museum’s jewellery collection, including an 1856 diamond wedding necklace and earrings suite given by arms merchant Samuel Colt to his wife (the 41.73-carat suite, purchased for $8,000, is now valued at $190,000) and Mary Todd Lincoln’s gold, enamel, and diamond brooch with matching earrings, which she acquired around 1864, shortly after the death of the Lincolns’ beloved son, Willy, and then sold in 1867 to pay mounting debts. Also on view is a Kashmir sapphire and diamond brooch (around 1900); a gold and diamond necklace made by August Holmström for Peter Carl Fabergé, the famous Russian jeweller to the czars; and cereal heiress Marjorie Merriweather Post’s lavish platinum brooch from the 1920s, featuring a spectacular 60-carat carved Mughal emerald surrounded by diamonds, which she purchased in anticipation of her presentation at the British court in 1929.

Also on view in the exhibition are superb adornments made by leading French Art Nouveau jewellers, which were fashioned for a wealthy and artistic clientele in the late 19th to early 20th centuries. The Art Nouveau movement, which originated in Europe, embraced an aesthetic that was avant-garde, sensuous, and symbolic – one that looked to the natural world, the Impressionists, and the arts of Japan for inspiration. In response to the “tyranny of the diamond” – the all white platinum and diamond jewellery previously in vogue – these elaborate, one-of-a kind pieces often featured coloured gems and unusual materials, such as horn, enamel, irregularly shaped pearls, steel, and glass. Examples in the show include René Lalique’s fanciful gold, silver, steel, and diamond Hair ornament with antennae (about 1900), and Paul Lienard’s gold and mabe pearl Seaweed brooch (about 1908). The Arts and Crafts movement, which emerged in Britain during the 1870s as a reaction to the mechanisation and poor working conditions of the Industrial Revolution, is represented by Marsh-bird brooch (1901-02) by Charles Robert Ashbee, who sought to create a delicate stained-glass effect with this piece. The refined techniques of the Art Deco movement are evident in Japanesque brooch (about 1925), incorporating platinum, gold, enamel, diamonds, rubies, and onyx. The movement arose after World War I and continued through the 1930s. It was influenced by avant-garde ideology, as was the Art Nouveau and Arts and Crafts movements, but instead chose to express its aesthetic through geometric shapes, linear stylisation, and a return to platinum and diamonds.

Jewels, Gems, and Treasures also highlights a variety of interesting and unique pieces, such as a Suite of hummingbird jewelry (brooch and earrings, about 1870), made out of gold, ruby, and taxidermied hummingbirds; an ebony, ivory, silver lapis lazuli, and amber casket designed to showcase the amber cameos and intaglios collected by Arnold Buffum (about 1880-85); an Indian silver and tiger claw necklace (19th century); and a gold, silver, agate, diamond, and ruby animal sculpture, The Balletta Bulldog (about 1910) made by the workshop of Peter Carl Fabergé Fabergé. In addition, the exhibition features jewellery as seen in William McGregor Paxton’s painting, The New Necklace (1910).”

Press release from the Museum of Fine Arts, Boston website

 

René Lalique (French, 1860–1945) 'Hair ornament with antennae' c. 1900

 

René Lalique (French, 1860–1945)
Hair ornament with antennae
c. 1900
Gold, silver, steel, and diamond
Height x width x depth: 8.8 x 12.5 x 7 cm
Museum of Fine Arts, Boston. Gift of the Sataloff and Cluchey Family
© 2011 Artists Rights Society (ARS), New York/ADAGP, Paris
Photo: © Museum of Fine Arts, Boston

 

 

This hair ornament with its whimsical character is a unique piece by Lalique. It features the unusual exclusive use of diamonds which were sparingly used by the Art Nouveau jewellers who preferred less precious stones and enamel to provide colour and opalescence. From the gold wire headband emerge two antenna composed of hollow silver cubes in which are set graduated brilliants each secured by four prongs. A steel wire runs through the cubes to form the curved shape of each antenna. Except for the scroll terminals of the antennae, each cube is individually mounted and stacked without being attached to each other so that they tremble when the wearer moves, accentuating the sparkle of the diamonds.

 

Probably by Lacloche Frères, Spanish, founded in 1875 (also working in Paris) 'Japanesque brooch' French, about 1925

 

Probably by Lacloche Frères, Spanish, founded in 1875 (also working in Paris)
Japanesque brooch
French, about 1925
Platinum, gold, enamel, diamond, ruby, and onyx
Height x width x depth: 3.6 x 5.2 x 0.6 cm
Photo: © Museum of Fine Arts, Boston

 

Anon. 'Brooch worn by Mary Todd Lincoln' (American, 1818-1882) American, about 1860

 

Anon
Brooch worn by Mary Todd Lincoln (American, 1818-1882)
American, about 1860
Gold, enamel, and diamond
Depth x diameter: 1.3 x 3 cm
Photo: © Museum of Fine Arts, Boston

 

 

The brooch is part of a suite with matching earrings. Each element is quatrefoil in shape and has a central diamond with a diamond surround. Eight smaller diamonds form a second tier of stones. The stones are all mine-cut and are probably original to the suite. The colour range is J-K with VS-VS1 clarity. there are some losses to the tracery enamel. The suite was featured in Frank Lesley’s Illustrated Newspaper (Oct. 26, 1867). It was part of a large group of Mrs. Lincoln’s clothes, jewellery, and furnishings that were offered for sale through Brady & Company of New York City. Apparently, Mrs. Lincoln fell into dire financial circumstances after the assassination of her husband, Abraham Lincoln. The sale price was listed as $350.00.

 

Charles Robert Ashbee (English, 1863-1942) 'Marsh-bird brooch' 1901-02

 

Charles Robert Ashbee (English, 1863-1942)
Marsh-bird brooch
1901-02
Gold, silver, enamel, moonstone, topaz, and freshwater pearl
Height x width x depth: 9 x 10.5 x 1.5 cm
Photo: © Museum of Fine Arts, Boston

 

 

The brooch was originally a hair ornament that was converted to a brooch (silver pin stem and “C” hook added). Conversion probably occurred shortly after the ornament was made. The hair comb was fabricated by A. Gebhardt and enamelist William Mark, both members of the Guild of Handicraft.

 

Anon. 'Hathor-headed crystal pendant' Napatan Period, reign of King Piye 743-712 BC

 

Anon
Hathor-headed crystal pendant
Napatan Period, reign of King Piye
743-712 BC
from el-Kurru, tomb Ku 55 (Sudan)
Gold, rock crystal
Height x diameter: 5.4 x 3.3 cm
Photo: © Museum of Fine Arts, Boston

 

John Paul Cooper (English, 1869-1933) 'English Arts and Crafts brooch' 1908

 

John Paul Cooper (English, 1869-1933)
English Arts and Crafts brooch
1908
Gold (15 kt), ruby, moonstone, pearl, amethyst, and chrysoprase
Height x width x depth: 14 x 9.6 x 0.8 cm
Photo: © Museum of Fine Arts, Boston

 

 

John Paul Cooper, a leading figure in the British Arts and Crafts movement, was an architect, designer, and metalsmith. Born into an affluent Leicester family, Cooper prepared for a career as a writer but was discouraged from pursuing this endeavour by his industrialist father. Instead, he apprenticed to London architect John D. Sedding, a strong proponent of the ideas of John Ruskin and Henry Wilson, an architect with interests in craft, especially metalwork and jewellery. Afterwards, Cooper joined the “Birmingham Group” and served as head of the Metalwork Department of the Birmingham Municipal Art School (1901-1906). He exhibited regularly at the Arts and Crafts Society exhibitions and completed several important public commissions, including two crosses and a pair of altar vases for Birmingham Cathedral. Additionally, his work often appeared in article published in Studio and Art Journal.

Cooper’s interest in jewellery design and fabrication began shortly after his association with Wilson. Like Wilson, he eventually employed others to fabricate his jewellery designs although he sometimes did the chasing and repoussé work himself. The jewellery was crafted primarily in 15 kt gold, utilising semi-precious cabochons (domed, unfaceted stones) and mother-of-pearl. Unlike many Arts and Crafts jewellery designers, Cooper often worked his designs from a selection of stones, rather than creating a design and then finding suitable gems. He once commented that stones should “… play on one another as two notes of music…”

In addition to jewellery, Cooper’s workshop designed and fabricated ecclesiastical objects and various decorative arts, including hollowware and frames. Many of the objects incorporate unusual materials, such as coconut shell, ostrich-egg shell, and narwhal tusk. At the beginning of his career, he often used gesso and plaster modelling to decorate surfaces and, at the end of the 1890s, he began making wooden boxes which he covered with shagreen, a decorative veneer made from the skin of certain sharks and rays.

This brooch is a major work by Cooper. Created during a period when the artist relied less on chased representational imagery and more on stones, the ornament conveys a sense of refined opulence. Inspired by medieval and Celtic design, the brooch is both airy and graceful. The goldwork is decorated with finely chased leaves and tendrils and the bezel-set stones include ruby, pearl, moonstone, amethyst, and chrysoprase. It took 273 hours to produce the brooch and Lorenzo Colarosi, Cooper’s chief craftsman, was the primary fabricator. It’s possible that Cooper did the chasework. The drawing for the brooch, which is dated 3 December 1908, can be found in Stockbook I, p. 81 in the Cooper Family Archives. Cooper entitled the piece Big double gold brooch.

 

Anon. 'Earring with Nike driving a two-horse chariot' about 350-325 BC

 

Anon
Earring with Nike driving a two-horse chariot
about 350-325 BC
Gold
Henry Lillie Pierce Fund
Photo: © Museum of Fine Arts, Boston

 

Possibly by Oscar Heyman & Bros., American, founded in 1912 for Marcus & Co., American, 1892-1941 Marjorie Merriweather Post's platinum brooch American, late 1920s

 

Possibly by Oscar Heyman & Bros., American, founded in 1912 for Marcus & Co., American, 1892-1941
Marjorie Merriweather Post’s platinum brooch
American, late 1920s
Platinum, diamond, and emerald featuring a spectacular 60-ct carved Mughal emerald surrounded by diamonds, which she purchased in anticipation of her presentation at the British court in 1929
Overall: 5.3 x 5.4 x 1.1 cm
Photo: © Museum of Fine Arts, Boston

 

 

The brooch was purchased by Marjorie Merriweather Post (1887-1973) and is documented by two portraits; one by Frank O. Salisbury (Palm Beach Bath and Tennis Club) and the other by Douglas Chador (Hillwood Museum). Both date to 1952. The central stone in the brooch is a mid-17th century carved emerald that was purchased by Marcus and Co.’s agent in Bombay in the 1920s. Oscar Heyman & Bros. made many of the jewels marketed by Marcus & Co. during the 1920s.

 

Anon. 'Pin with sphinxes, lions, and bees' Late 5th century BC

 

Anon
Pin with sphinxes, lions, and bees
Late 5th century BC
Gold
Catharine Page Perkins Fund
Photo: © Museum of Fine Arts, Boston.

 

 

Museum of Fine Arts, Boston
Avenue of the Arts
465 Huntington Avenue
Boston, Massachusetts

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Wednesday – Friday 10am – 9.45pm
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Museum of Fine Arts, Boston website

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Dr Marcus Bunyan

Dr Marcus Bunyan is an Australian artist and writer. His art work explores the boundaries of identity and place. He writes Art Blart, an art and cultural memory archive, which posts mainly photography exhibitions from around the world. He holds a Doctor of Philosophy from RMIT University, Melbourne, a Master of Arts (Fine Art Photography) from RMIT University, and a Master of Art Curatorship from the University of Melbourne.

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Marcus Bunyan black and white archive: ‘Orphans and small groups’ 1994-96 Part 2

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