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The Ilustrated Guide to Norwegian Silver Jewellery Designers

16/05/2019 15527 2 2

 

Interested in Norwegian silver jewellery? Check out our illustrated guide to the top jewellery designers from Norway
 

1) DAVID- ANDERSEN 

The David Andersen company is a fourth generation family owned business. David Andersen (1843 -1901) was the son of a Norwegian tenant farmer. At 19 he became an apprentice to a Silversmith in Oslo where he studied enamelling technique. These were incorporated into designs made for English firms in London.


  

  Above: David Andersen green enamel leaves necklace

 During 1876, Andersen opened his own goldsmith workshop in Christiania (Oslo.) He became one of Norway's most renowned and celebrated silversmiths. In 1899 his firm had 121 employees, 29 of which were women. By the time of his death in 1901 his Oslo workshop was producing  flatware, holloware, and jewellery which was exhibited at International Expos in Europe.


     Marianne Berge pendant for David Andersen

Above: Marianne Berg for Andersen silver pendant.
Many fine jewellery designers 
have worked for the company producing beautiful silver and enamel jewellery as well as modernist silver jewellery with stones . Gustav Gaudernack (1865 - 1914) ,was responsible for the progress of Norwegian enamelling techniques. He produced beautiful  plique a jour work which filtered the light like very small stained glass windows. 
Guilloche enamel, (first used in 18th century France) was somewhat hardier and became the preferred enamelling technique in Norway. A wavy ground was overlaid with layers of transparent enamel in clear blues, reds, and aqua. This technique has been used for objects and jewellery right up till the present day.    


    David Andersen blue white enamel fish brooch
  Above:  David Andersen enamel fish brooch

Since the 1920s many fine contemporary designers have worked for the David Andersen firm. including the modernist designer Harry Sorby from 1929 to 1970.  He produced jewellery with inexpensive stones in elegant modernist settings. Bjorn Sigurd Ostern was employed from 1961 to 1985 and designed some  very original pieces in the 60's including his 1966 graceful harp pendant . This had delicate ribs of silver over aqua enamel.


Above:  Bjorn Ostern for David Andersen silver and enamel harp pendant

Marianne Berg who predominantly worked with geometric shapes was employed as a designer at the firm from 1964 to 2002. Her silver and enamel  troll and knipling range was produced for David Andersen in the sixties.
These original necklaces, earrings, and  silver brooches were sold at reasonable prices, for around 30 to 40 pounds.

David Andersen used the 830 S silver mark alone until 1939, when the scales mark was added. From 1940, the 830S mark was replaced with the 925S mark in conjunction with the scales stamp.
 

2) EINER MODAHL

 Einer Modahl (born in 1889), was a Norwegian silversmith who became known for his beautiful silver and enamel jewellery. He undertook a  silversmiths apprenticeship with Marius Hammer in Bergen, where he was was educated in silver filigree work. He then spent some time working for goldsmith Clemet Berg in Oslo, before opening his own workshop in 1920.

Einer Modahl guilloche enamel butterfly brooch

Above:  Einer Modahl guilloche enamel butterfly brooch


He created a range of silver and enamel products under his own name Einer Modahl.  In 1937 the workshop became a limited company with Odd Frisch as a shareholder. The company continued after his death in 1951, before eventually closing in 1987.


   Einer Modhal blue enamel necklace and earrings set

Above:  Einer Moshal blue enamel and silver necklace and earrings set.


3) IVAR T HOLTH

The Ivar T Holth silversmithy was first registered in Oslo, Norway in 1943. They produced an extensive amount of jewellery often using guilloche enamel .  Much of the jewellery was exported overseas. The company was managed  by Per Holth (sometimes spelled Holt)  from the late seventies until 2007.  The makers mark used on the jewellery was an "H" within a circle with 830S NORWAY, or 925S STERLING.

Ivar Holth sculptural blue enamel brooch    



 Ivar Holth white enamel swirl leaves necklace
Above:  Ivor Holth blue enamel brooch and white enamel and silver necklace


4) ASTRI HOLTHE
Astri Holthe  (1917-1998) was a Norwegian gold and silversmith. She was the daughter of watchmaker and jeweller Emil Ager-Wick. From an early age she enjoyed designing jewellery. She opened her own business in 1943 in Barbu (Norway).

Along with her husband she owned the factory A. Holthe A/S. The factory produced  candlesticks, cups, plates, vases and jewellery . Over time her collection comprised around 12,000 designs which took inspiration from the jewellery and tin tradition of Norway.

The company was located in the Barbu valley, Norway, close to the town of Arendal. The Astri Holthe Makers ark is a H within a surround and 925 S.

Astri Holthe modernist silver pendant        

Above :Astri Holthe Scandinavian silver necklace 


5) ASKEL HOLMSEN

Aksel Holmsen was a Norwegian jewellery maker. He trained  in filigree work with David  Andersen during 1889-92 . He went on to open his own silversmith workshop in 1904 in Oslo which became know for its modernist design  aesthetic. 

Askel Holmsen enamel necklace

Above :Askel Holmsen blue and white enamel modernist necklace

His son Ivar began working at the company in 1942, eventually taking over the firm in 1950. They produced traditional filigree work, as well as enamel floral brooches in the Fifties and plain silver modernist abstract jewellery in the sixties.

The firm used a crossed bench tool stamp before changing to the "A.H.S" stamp for Askel Holmsen Salg.The company eventually closed in 1971.

  Askel Holmsen red white enamel bracelet

Above :Askel Holmsen red enamel and silver  bracelet

6) MARIUS HAMMER

Marius  Hammer was born in 1847 in the town of Bergen, in Norway. He was the son of Lauritz Hammer, a  master goldsmith and he was the third generation in a family of craftsmen. He undertook training in the family workshop, however his aspirations were always greater than running a small workshop like his grandfather and father had done.

MARIUS HAMMER BROOCH

Above :Marius Hammer silver gilt brooch

He studied in Berlin and Hamburg in Germany. During this time he learnt about new production methods and techniques . He put this into practice after his return to Bergen and the workshop soon expanded to become the largest in Bergen.

As well as jewellery the business made various goods including, cutlery and tableware. At the start of the 1880's Hammer produced a large volume of high end enamel and filigree souvenirs. He opened a group of shops in popular tourist destinations in Norway. In addition he also exported products to European businesses. 

Marius Hammer modernist purple pansy enamel brooch

Above :Marius Hammer purple enamel pansy brooch

The main focus of the business was a glass mosaic filigree in rainbow colours, made from a collection of thin, gilt threads. Viking design items of jewellery and teaspoons were made in large volume.

At the height of the firms production, around 130 people were employed. Marius Hammer was one of the foremost silversmiths in Norway.

The firm became famous around the world for its enamel work. Art Nouveau themes were reflected with floral layered shapes and bright colours. Hammer’s work is identified by two marks, the standard M H’ and also an inverted hammer above an upper case ‘M.’

Marius Hammer silver gilt festoon necklace

Above :Marius Hammer silver gilt festoon necklace

During World War 1, times were tight and the market for luxury production was very limited. The firm became a limited company in 1915 with Torolf (the eldest son) as director. After Torolf's death in 1920, the firm took a downward turn. Neither Marius (now elderly ) or  the youngest son Max could return the business to its previous glory. Marius Hammer died in 1927, and the firm went bankrupt in 1930.

Marius Hammer’s work tends to be refined and delicate The combination of enamel, filigree and silver gilt, is typical of Hammer. He also produced beautifully made vessels of silver and plique–jour enamel. Marius Hammer jewellery is much sought after by collectors due to its fine craftsmanship and delicate beauty.

7) GRETE PRYTZ (KITTELSEN)

Grete Prytz designed unusual free form silver and enamel jewellery. The jewellery was generally quite dramatic and larger than her contemporaries. Her design ideas were supported by the J. Tostrup workshop who executed her designs from 1945. She was educated in France, and also at the Art Institute in Chicago . She was the winner of the Lunning Prize in 1952, which became the first of many prizes and gold medals.

Articulated necklace Grete Kittlesen

Above : Grete Prytz Kittlesen green enamel articulated necklace

During the 1950's Paolo Venini made hand coloured Murano glass  elements. Prytz incorporated these in silver necklaces in Oslo. She married the architect
Arne Korsmo, and then Kittelsen, with these names being added to her signature. 
Herdesigns were often inspired by American art, using simple shapes and  clear, plain colours.  
She al so made inexpensive jewellery from silver and vitreous enamel. She died in Olso in 2010 at the age of 93.


  Grete Kittlesen brooch for Tostrup    L
Above : Grete Prytz Kittlesen  green enamel detail modernist brooch

8) STUDIO ELSE AND PAUL

Else Berntsen Hughes (born 1938) and Paul Hughes (born 1934) co founded their workshop in Hadelund, Norway in 1959. It was named "Studio Else and Paul." They had met at the Central School of Arts and Crafts in London. They were part of the early 1960's Norwegian Studio Silver Movement .

Else and Paul Studio large  modernist abstract silver necklace

Above : Studio Else and Paul large sculptural silver necklace

They wanted to break away from the typical Scandinavian jewellery design ethos of the time and were interested in three dimensional shapes. They created large , expressive and complex sculptural type jewellery using the lost wax
technique of casting.

The jewellery was often coated with various surface treatments to show contrast. In the early days production was limited , however, this changed after they took over the wholesaler and goldsmith company Hroar Prydz in Oslo. They developed several jewellery collections. These were made of gold, gold pated silver, and oxidised silver. 

Else and paul studio silver modernist brooch

Above : Else and Paul Studio large sculptural silver necklace, sunburst silver brooch

 In 1962 the workshop moved to Oslo.Then in 1967 it moved to Asker, which was also in the Oslo vicinity. In 1979 they launched a bronze jewellery collection which was exported to several countries including the United States and Japan. 

 After Paul's death in 1981. Else focused on the creation of full scale sculpture.

      else and paul studio sculptural bronze necklace

Above : Else and Paul Studio bronze pendant

9) ALF ERIKSEN

Sigurd Alf Eriksen was a Norwegian painter and metalwork designer. He studied at Pforzheim  and Hanau in Germany, after which he worked at various studios in Paris, Rome, and Vienna. After this he was employed at the J.Tostrop workshop in Norway. The workshop was known for its beautiful 19th century cloisonne , champleve, and plique a jour objects and jewellery.

Eriksen was the head of the enamelling workshop from 1926 to 1946, after which he left to open his own workshop. His speciality was painted and relief enamelled pins and buckles drawing inspiration from Nordic myths and nature. He was the winner of the Prix d'Honneur at the Milan Triennale in 1954.

10) TONE VIGELAND

Tone Vigeland was a student at the National College of Art, Crafts, and Design in Oslo in 1955, and at the Technical College in 1957. From the start Tone had a fresh original approach to design. She added a foil backing to her enamel pieces to give a shimmer effect. She produced "atomic burst" hair ornaments and pendants with modified geometric themes , as well as graceful moonstone pendant  earrings.

She exhibited widely in travelling exhibitions of Norwegian Arts and Crafts in Europe and the USA, and by 1975 she was teaching at the National College of Art. She realised that the small workshops would need to become larger factories in order to keep prices lower, but that the pressure of middlemen with their commercial concerns was at odds with the aims of the artistic crafts person.

Tone Vigelund metal feathers necklace

Above : Tone Vigeland modernist steel feathers necklace

Tone Vigeland conformed only to her own high standards of craftsmanship. She worked mostly in  oxidised silver in smokey grey, creating dramatic necklaces and wide cuff bracelets.. In the Eighties  she worked with drak iron or steel combined with dramatic gold touches. She produces a dramatic chainmail snakelike belt, as well as a feathered steel neckpiece amongst other original pieces.

At the start of 1994 Tone's slim sterling silver bangles worn in sets of 34 or 60 were photographed on models in fashion magazines. Her work is very sought after by Japanese collectors and can beseen in the National Museum of Modern Art in Tokyo as well as the major art museums in New York, London, Stockholm, and Oslo.

   Tone Vigelund abstract sterling silver ring   

Above : Tone Vigeland modernist silver ring


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