From Monarch to Modern - Masterful silver from the 18th to the 21st century

From Monarch

to Modern

Masterful

Silver

from the 18 th

to the 21 st

Century

Selling Exhibition Catalogue 3 . Galerie St-John . Ghent . Belgium

st-john.be

‘We learn to view and understand the world

through our affiliation with objects. They relate to us

physically in form, function and proportions and

through this exchange, and the meaning and

emotions we project onto them, they reaffirm our

sense of identity. Surrounding us in our closest

environments, they occupy a significant role in our

lives and are facilitators of contemplation. Bound

with memory and nostalgia, objects encompass the

past and present and often form a tangible

expression of our inner world.’

Adi Toch, silversmith

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From Monarch to Modern

Masterful Silver from the 18 th to the 21st Century

Antique Silver Belgium

Antique Silver Other Countries

Modern Silver

Contemporary Silver

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A N T I Q UE

S I L V E R

B E L G I U M

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Jacques-François Wery

A silver fork and spoon with crest of the de Donnea de Hamoir et

Wampe family, Liège, date letter ‘C’ for 1766-67

Good clear marks (eagle mark 1764), with a nicely engraved conjoined family crest

Length spoon 20 cm - Length fork 19,5 cm

Weight 119 grams

Provenance: private collection, Ghent

Reference:

De Schaetzen O.; Colman P., Orfèvreries Liégioises,

Antwerpen, Fonds Mercator, 1976, p. 268-269, ill. 12

for the same crest on a spoon by Winand.

Stuyck R., Belgische Zilvermerken – Poiçons

d’argenterie belges, Antwerpen, Scriptoria NV, 1984,

mark number 4134

Exhibition catalogue : L’orfèvrerie civile ancienne du

pays de Liège, Liège, Musée de l’Art Wallon, 19/04-

2/06/1991, Cat. n° 107 and 121 (for other objects of

the same master)

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Egidius (Gilles) Franciscus Cornelis junior

An important pair of silver L XVI candlesticks, Tienen, 1779

Good clear marks, city marks of Leuven, maker’s mark and date mark ‘79’, on the inside

of the base.

Height 29 cm - Diameter base 15,5 cm

Weight 449 & 452 grams (candle-ring included)

Provenance: private collection, Flanders

It is possible that the unmarked candle-rings are later

Reference:

Van Dievoet W., Edelsmeden in Vlaams-Brabant (Leuven, Aarschot, Diest en Tienen)

tijdens het Ancien Régime en de Negentiende Eeuw, Leuven, Van Dievoet W., 2000, p

166-167, fig. 171

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Master IVH

(probably Joseph Van Hauwe)

A silver and silver gilt spoon, Brugge, 1794

Good clear marks, an elegantly decorated small spoon,

possibly a cream spoon

Length 11,1 cm

Weigth 14 grams


Reference: Exhibition catalogue:

Meesterwerken van de Brugse Edelsmeedkunst, Brugge,

Memlingmuseum & Brangwynmuseum, 7/07-10/10/1993, p. 357,

cat. n° 470, for an identical (!) pair of spoons of the same year.

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Pierre Gabriel Germain Dutalis

An early silver sauce boat, 1799-1809

Consistently marked on the side of the rim with maker’s mark, 'moyenne garantie' mark

and alloy mark for 800/1000

Height 17,2 cm - Length 24,3 cm - Weight 419 grams

An early and good object of one of the most important silversmiths of Brussels, father of

Joseph Germain Dutalis.

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Bernardus Van Bosterhaudt (1775-1838)

An ‘empire’ sugar bowl with scroll handles, Ghent, 1815-1832

Consistently marked, ‘Premier Titre’, 934/1000 with assayers mark of Jacques Deprez

Height 14 cm - Width 18,5 cm (handle to handle) - Diameter bowl 11 cm

Weight 400 grams


Reference:

Van den Kerkhove A.; De Docker T.; Van Damme J., Biografisch

lexicon van de Gentse

edelsmeden uit de 19 de eeuw 1789-1869, Gent, Provinciebestuur

Oost-Vlaanderen,

2020, p.34-35

Van Dievoet W., Répertoire général des orfèvres et des marques

d’orfèvrerie en Belgique - Algemeen repertorium van de

edelsmeden en van de merken van edelsmeedwerk in België II –

1798-1942, Brussel, Académie d’Histoire de l’Orfèvrerie en

Belgique, 2010 p.184, mark C1-161

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Unknown silversmith, Ghent

A good ‘empire’ milk jug, Ghent, 1815-1832

Consistently marked but apparently no maker’s mark, ‘Premier Titre’, 934/1000 with

assayers mark of Jacques Deprez

Height 20 cm – Diameter base 6;5 cm

Weight 394 grams


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Jean Baptise Sacco (1791-1853)

A silver Louis-Philippe style sauce boat, Mons, 1832-1853

Consistently marked, ‘Premier Titre’ 950/1000

Height 17,2 cm – Length 21 cm

Weight 448 grams

Reference :

Van Dievoet W., Répertoire général des orfèvres et des marques d’orfèvrerie en Belgique,

- Algemeen repertorium van de edelsmeden en van de merken van edelsmeedwerk in

België II – 1798-1942, Brussel, Académie d’Histoire de l’Orfèvrerie en Belgique, 2010

p.218, mark E1-049

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ANTIQUE SILVER OTHER COUNTRIES

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Charles-Joseph Fontaine

A silver beaker ‘timbale tulipe’, ca. 1777

Maker’s mark and marks for Paris, crowned letter ‘O’ (Poinçon de la Maison Commune)

Height 12 cm - Diameter top 8,7 cm

Weight 140 grams


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‘maître abonné’ PC, late 18 th century (?)

A silver soup ladle with crest

Struck three times with makers’ mark

Length: 36 cm

Weight 255 grams


Crest yet to be determined

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Michael Plummer, London

A silver and wood ‘regency’ tea pot, 1795

Consistently marked on the base with good clear marks, sterling silver

Height 14,5 cm - length 26,5 cm (spout to handle)

Gross weight 568 grams

Provenance: 31e foire des antiquaires de Belgique – antiekbeurs van België ; private

collection, Flanders

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Undecipherable Parisian maker

A silver and wood ‘Egoiste Leopard head’ coffee pot ‘Empire’

Consistently marked, but maker’s mark illegible, Paris 1798-1809, Premier titre

Height 22 cm


Old restorations visible


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Pierre-Alexandre Avisse

A small silver and wood ‘Marabout Egoiste’ coffee pot

Consistently marked, Paris 1798-1809, Premier titre

Height 14,5 cm



Reference :

Arminjon C. ; Beaupuis J. ; Bilimoff M., Dictionnaire des poinçons de fabricants

d’ouvrages d’or et d’argent Paris 1798-1838 - Cahiers de l’Inventaire, Paris, Imprimerie

Nationale, 1991, p.281, mark number 2812

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J.G. Bouyot

A large silver and wood ‘Lions head’ coffee pot ‘Empire’


Height 33 cm

Gross weight approx. 1200 grams


Reference :



Nationale, 1991,p.199, mark number 1837

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Jean-Pierre-Nicolas Bibron

A pair of silver and blue glass ‘Putti’ salts

‘Empire’, 1809


Dimensions 21 x 18,5 x 7,5 cm

Weight 191 & 187 grams (silver only)

This maker’s mark was used by Bibron until 1809, which

gives us an exact date of production. The blue glass has

probably been replaced.

Provenance:

private collection, Ghent

Reference :

Arminjon C. ; Beaupuis J. ; Bilimoff M., Dictionnaire des

poinçons de fabricants d’ouvrages d’or et d’argent Paris

1798-1838 - Cahiers de l’Inventaire, Paris, Imprimerie

Nationale, 1991,p. 218, mark number 2066

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Unknown Parisian silversmith

A magnificent silver and glass oil and vinegar stand ‘Janus’ Empire

Consistently marked, Paris 1809-1819, Premier titre, but apparently no maker’s mark

Dimensions: 33 x 22,5 x 11 cm - Weight 775 grams

Interestingly, the stand carries two different engraved coat of arms which have yet to be

identified. The glass carafes have been replaced, and one of the carafes is broken. Old

restorations visible. Provenance: private collection, Ghent

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J.E. Coffinet

A very fine silver and wood ‘Horses head’ coffee pot ‘Charles X’


Height 28,5 cm



Reference :




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C.M. Granger

A large tumbler ‘Timbale’ with engraved initials ‘A K’


Height 9,5 cm

Diameter top 8,3 cm

Weight 124 grams


Reference :




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Jean-François Veyrat

A large tumbler ‘Timbale’ , ca. 1832-1838

Consistently and clearly marked, Paris 1819-1838, Premier titre

Height 8,5 cm

Diameter top 8 cm

Weight 102 grams


Reference :




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N.X. Goulain

A silver and wood milk jug ‘Empire -feuilles d’eau’


Height 22 cm



Reference :




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St-Petersburg silversmith ‘T.S.’

A silver Louis-Philippe style milk jug

Consistently marked, Saint-Petersburg, 84 Zolotnik (875/1000) and assayers mark

cyrillic inititals A.T. (?) with date ‘1846’

Height 11 cm - Length 15,5 cm

Weight 211 grams


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Aleksander Kordes, purveyor to the Imperial

Russian Court

A small silver and bone coffee pot


cyrillic inititals E.B. for Edvard Brandenburg with date ‘1858’

Height 10 cm – Length 22 cm (spout to handle)



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St-Petersburg silversmith ‘CAS’

A silver milk jug engraved with a crest


cyrillic inititals ‘B.C.’ for Valdimir Stepanovich Smirnov with date ‘1868’

Height 7 cm – Length 15,5 cm (spout to handle)

Weight 157 grams


A small hole in the engraving of the crest

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M O D E R N S I L V E R

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Vilhelm Waldorff (1877-1935) for A. Michelsen

silversmiths

Oelkande med Tidselmotiv (silver pitcher with thistle decoration),

Copenhagen, 1898

Consistently marked with makers and retailers mark of Michelsen, date and alloy mark

(826/1000) and date in full ‘1898’, assay master mark of Simon Groth.

Also with struck initials ‘ES’ & ‘VW’, the latter probably for the designer.

Height 28 cm - Weight 909 grams

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This pitcher was singled out by Nils Georg Henriksen in his article on new designs from

students of the applied art schools dated 1898. Waldorff was given a silver medal for

this design by the Handværkerforeningen (society of crafts masters) in Copenhagen and

his pitcher was exhibited in the A. Michelsen shop in Copenhagen between 20/06 and

7/07/1898. This article led to a selection of the pitcher for the ‘Moderne Stil’ of Julius

Hoffmann Jr., a very influential collection of modern applied art designs from all over the

Western world, particularly focussing on the Arts and Crafts, Art Nouveau, Style liberty

and Jugendstil movements in 1899. In the ‘Moderne Stil’ Waldorff’s design featured

among designs by Philippe Wolfers, René Lalique, Serrurier-Bovy, Tiffany, etc. Thus the

thistle pitcher became an important object for the A. Michelsen firm, which under the

guidance of Henriksen, tried to incorporate modern design into their range.

Although Waldorff started his career as a designer and chisler with the Michelsen firm,

he soon transferred to making designs for the Royal Copenhagen porcelain factory. A

probably later version without lid and wicker enveloped handle of this design was also

produced.

Reference:

Nils Georg Henriksen ‘Nogle Elevarbejder’ in Tidsskrift for Kunstindustri, Kjobenhavn,

Industriforeningen, 4th year, 1898, p.132, fig.187 (photograph of the pitcher)

Julius Hoffmann Jr. ed., Der Moderne Stil – Eine internationale Rundschau über die

besten Leistungen der auf gewerblichen Gebiete thätigen Künstler unserer Zeit, mit

besonderer Berücksichtigung des Auslandes, Stuttgart, Verlag von julius Hoffmann,

1899, Taf.111, fig.4 (photograph of the pitcher)

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Philippe Wolfers for Wolfers Frères

Silver Claret jug ‘Roses’, ca. 1897-1900

Marked with maker’s mark, retailer’s mark for ‘Krischer Nachfolger – Düsseldorf’, alloy

mark (800/1000) and German state mark (moon crescent and crown) on the bottom of

the base and Austrian import mark (in use from 1901-1921) near the handle

Height 27,5 cm

Weight 957 grams

Provenance: private collection Düsseldorf; art market Germany

This model is a variation on the different silver claret jugs designed by Philippe Wolfers

for Wolfers Frères at the end of the 19 th century. It is a typical example of his style. We

see a functional use of naturalistic elements in the branches of the rose bush for the

handle of the jug, which is unusual as of course the rose carries thorns, luckily the

thorns are on the inside. A similar handle was used by Wolfers for a different model of

claret jug, which is illustrated in the ‘Van Belle Epoque tot Art Nouveau’ catalogue of the

Sterckshof Museum on p. 257.

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Service à thé et café ‘Quatre fleurs’, ca. 1897-1900

Silver

Heights coffee pot 26 cm; tea pot 22 cm; milk jug 16 cm; sugar bowl 15,5 cm

Total gross weight 2596 grams

Maker’s mark of Wolfers Frères and alloy mark ‘800’ for 800/1000 on the bottom of the

base of all pieces.

Provenance: Freddy Wolfers, thence by descent.

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A rare and exceptionally large model, in an early shape and straight, japonist style

handle. This type of handle will be transformed later , in the beginning of the 20 th century,

showing a slightly rounded angle. The use of an orchid final on the lids also points to an

early creation by Philippe Wolfers. Art Nouveau coffee and tea sets of this size are

seldom to be found, especially with this decoration, as most of the sets have the same

flower pattern on all of the items. This set has a different flower for every item.

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art nouveau pendant, ca. 1900

18 ct Gold, enamel, translucent enamel, pearl, diamonds and emerald coloured glass,

with a probably later platina and pearl chain

Dimensions : 4 x 2,7 cm (pendant only)

Provenance: Freddy Wolfers, thence by descent.

As usual, the art nouveau jewels by Wolfers Frères that were not unique, were never

signed by Philippe Wolfers nor marked with the Wolfers Frères marks. We know of one

other example of this pendant, in its original Wolfers Frères shrine. This was given to

Hélène De Rudder in Mai 1900, probably by her husband, sculptor Isidore De Rudder.

Isidore De Rudder was a close collaborator of Philippe Wolfers and a designer for

Wolfers Frères. The pendant is also unmarked, as is the case with another hanger - the

‘Niké’ pendant - of which exist about 5 examples.

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The pendant given to Hélène De Rudder in May 1900

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Both pendants are identical in design, but differ in the use of colour for the insets: green

in our case, red in the case of the De Rudder pendant (it misses the top coloured glass,

cushion shaped, inset). In total 4 pendants are known to exist according to Prof. Dr. W.

Adriaenssens.

Although we lack a signed design for this pendant, as a lot of the original drawings by the

artist are still unaccounted for, we can attribute it to Philippe Wolfers, as it is very close

in style and concept to some of his unique creations from around 1900. The use of

enamel and its shape is similar to that of the pendant ‘Papillion’ of 1900, where Wolfers

also uses a green stone (?) and a pearl final for the jewel. Similar enamel covered gold

curvilinear patterns are characteristic of Philippe Wolfers’ s designs from around 1900

(‘Fraisias’, ‘Ombelles’,…) and the use of both translucent and cloisonné enamel is also to

be found in several unique jewels and in pendants like the ‘Niké’, which are executed in a

limited number.

Fittingly this rare art nouveau pendant was kept by a member of the Wolfers family in his

personal collection.

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Unidentified Belgian jeweller

A ‘Trefle’ art nouveau ring, ca. 1900-1910

Gold, pearls and coloured stones or glass

Length 2,2 cm - circumference 57mm (size18)


Provenance: private collection, Leuven

A delicate gold ring of art nouveau design, almost certainly of Belgian make, although it

is unmarked.

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Ravinet d’Enfert, Paris

A set of 6 ‘hors d’oeuvres’ forks ‘Lys’, ca. 1900-1910

Silver

Length 17 cm

Weight 194 grams (total)

Marked with maker’s mark and alloy mark for 950/1000

A typically French art nouveau design, much more

baroque than the Belgian art nouveau designs we see

for cutlery. The workshop of Ravinet d’Enfert later

became one of the leading art deco designers of Paris.

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Unidentified Maker ‘K.O.’, Vienna

A collection of three electrical table or desk bells, before 1925

Enamel and silver

Diana Head and ‘A’ for Vienna, ‘1’ for 950/1000

The bells are also marked ‘Sterling’ for export

Sizes between 4 and 5 cm.

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Robert Altenloh

Coffee and tea set ‘Pleurai’for the Paris Exhibition of 1925

executed by Altenloh Bruxelles

Silver, wood and silver plate for the original tray

Dimensions :

coffee pot: height 24,5 cm

Tea pot: height 18 cm

Sugar bowl: height 14 cm

Samovar: height 37 cm

Tray: 44 x 46 cm

Weight (gross):

3950 grams (tray and burner not included)

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Marks:

Circular pair of marks ‘Altenloh Bruxelles’ & ‘Orfèvres de L.L.M.M. Le Roi &

Reine’; alloy mark ‘950M’ for 950/1000 and production number on the

coffee, sugar and tea pots. The Samovar and burner marked with maker’s

mark of Altenloh and alloy mark ‘950M’.

The tray marked with maker’s mark of Altenloh, production mark and

marked ‘METAL’. Although the tray is silver plated, it is certain that this is

the original tray of this set. A milk jug is not included in this set.

Although today not as well-known as Philippe Wolfers, Robert Altenloh (1879-1934) was

considered to be an exceptional designer of both silverware and jewellery by his

contemporaries. The firm of Altenloh produced silverware of the highest quality, but

only for its own beautiful shop, at the Place Royale number 1, where the Magritte

Museum is now located. This meant that the quantity of production of silver objects was

much smaller than those of Delheid Frères or Wolfers Frères.

According to Wim Nys, Robert Altenloh came into the business of his father Ernest

(1850-1910) around 1904-1906. From 1910 onwards, the firm could advertise

themselves as: ‘joailliers et orfèvres du Roi et de la Reine’. Clearly, their participation in

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the ‘Exposition Internationale des Arts Décoratifs de Paris’ in 1925 was the highpoint of

their silver design and production. Robert Altenloh designed a number of coffee and tea

sets of which ‘Pleurai’ was one of the central and most important designs

Typical for the Altenloh style is the ‘classical’ outlook of their models, close to the

French art deco designs of the first half of the 1920’s. Fierens-Gevaert, the director of

the Brussels Museum of Fine Arts and art critic, wrote an introduction to the Altenloh

catalogue, featuring the designs for the 1925 exhibition. Fierens-Gevaert wrote:

‘[…] ces formes dépouillées, lisses, sans surcharge, sont celles que réclame l’ère

du smoking et du fauteuil-club. L’art décoratif moderne tend à créer des types

internationaux […]’

The author thus underlined the international character of the Altenloh designs, but

further in his text stressed the individuality of the artist:

‘Robert Altenloh demeure un artiste belge […] engagé dans les voies modernes’.

It is tempting to compare the ‘Pleurai’ set to the ‘Gioconda’ set of Philippe Wolfers,

designed for the same exhibition. Both artist are well aware of the technical aspects of

the silver production and are keen not to estrange their clientèle by designing too bold

cubist or experimental objects. That said, when one compares the two designs, it is

remarkable that the Altenloh design embraces the modern aesthetic fully - both in form

and decoration, whereas the Philippe Wolfers’ design starts with a classical shape on

which modern decoration is applied. This is clearly visible when one compares both

samovars. The ‘Gioconda’ samovar still retains the typical shape of the early 1900’s,

albeit with a ‘modern’ stylisation and decoration. The ‘Pleurai’ samovar is conceived as

one volume, in which one can insert the small burner, thus giving the design an almost

monumental, machine like feel.

It must be said that this samovar differs from the other two samovars designed by

Robert for the same exhibition, which are more traditional in design.

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This example of the ‘Pleurai’ model is to our knowledge the first to resurface since 1925.

Although probably not unique, very few sets must have been made. The reason why the

tray is not executed in silver could be that this example was an exhibition piece, or more

plausible, that due to the size of the tray and the weight it has to carry, metal instead of

silver was chosen for sturdiness. Also interesting is the fact that in the Altenloh

catalogue, the opening of the samovar is shown at the front, whilst in reality the opening

for placing the burner is at the other side. This obviously was done for documentary

purpose.

Robert died suddenly in 1934, after which his younger brother Yvan (1887-1962)

concentrated on the production of jewellery. Silver was not produced any longer, but

purchased from other silversmiths. This means that the ‘Pleurai’ design could only have

been produced between 1925 and 1934.

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Service à café et à thé Claire-Nelly, ca. 1926

Tropical wood and silver

All pieces marked on the bottom of the base with maker’s mark and alloy mark

833/1000, serial numbers Sf 11-14 and production numbers

Dimensions :

coffee pot: height 14 cm, length 20 cm (spout to handle)

Tea pot: height 12 cm, length 19,5 cm (spout to handle)

Sugar bowl: height 9,5 cm, width 15,5 cm (handle to handle)

Milk jug: height 6,7 cm, length 11,5 cm (spout to handle)

The Claire-Nelly coffee and tea set shows the ability of Philippe Wolfers to adapt to a

new style. Whist the Gioconda service, designed in 1925, still shows the formal

influence of the 19 th century, the Claire-Nelly design is one of the most accomplished art

deco designs made by the artist. Philippe Wolfers uses the same base principle of two

octagons intersected and turned to form a hexadecagon. But this time he does not limit

this pattern to two dimensions. He turns it into a three-dimensional motif, making the

transition from the circular opening to the octagonal body.

As with ‘Janine’, ‘Claire-Nelly’ is named after a granddaughter of Philippe Wolfers. This

model clearly had a special meaning for the artist. The quality of execution and finish is

of the highest level.

This set was executed in the 1930’s, but before 1936, as indicated by the marks used.

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Plateau Pa 55, ca. 1928

36 x 61 cm (handle to handle)

Tropical wood and silver

Marked twice on the silver with maker mark and alloy mark 800/1000

Provenance: Freddy Wolfers, thence by descent

Of this rare tray, a vintage photograph is kept in the DIVA museum collection. Due to its

similarity with the trays of the Claire-Nelly and Boma coffee and tea sets, it is safe to

assume that Philippe Wolfers was responsible for the design of the tray. Typical for the

style of Philippe Wolfers of the late 1920’s is the almost cubist treatment of the handles.

A date of 1928 for this design would be logical considering style and serial number.

To this day it is the only executed example of this design that is known to us and it is

almost certain that the vintage photograph shows our tray as it is marked on the same

spot and in the same fashion. This could imply that the tray remained unique.

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Delheid Frères

A modernist ‘coupe à fruits sur patins en argent 3219B’, 1930’s

Diameter 33 cm, height 12 cm

Weight approx. 1300 grams

Maker’s mark of Delheid Frères and alloy mark ‘800’ for ‘800/1000’

Provenance: private collection, Mechelen

This large modernist fruit dish is a rare model by Delheid, to be situated in the 1930’s. A

variant, with macassar feet instead of silver ones, features in the model catalogue of the

firm. The diameter of the dish in the catalogue is 38 cm, with the height the same as our

dish, namely 12 cm. As seen on period photograph in the catalogue, the dish is

supposed to be put directly on a surface and does not require a ‘surtout’.

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Delheid Frères

An art deco wood and silver tray ‘Plateau marqueterie 2729’,

1930’s

Maker’s mark of Delheid Frères and alloy mark ‘800’ on the side of the silver border

Width 35 cm, length 59,5 cm (handle to handle)

A very fine octagonal serving tray with wood inlay. This particular example has a

geometric inlay of macassar, ‘loupe de noyer’ and mahogany. Although the trays were

often sold separately, in this case the model 2729 was linked to the coffee and tea set

model number 2973 of which an example belongs to the collection of the DIVA museum

in Antwerp (inv. Nr. S91/7 a-d).

As we can deduct from the price list accompanying the catalogue, it comes as no

surprise that many sets were sold without a tray. The price for a tray accounted in this

case for almost half the price of a complete coffee and tea set.

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C O N T E M P O R A R Y S I L V E R

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Paul Van Hoeydonck

Pendant, 1973

18ct gold, glass and stones

5 x 4 cm

Signed and dated at the back ‘P.V.H. / 1973’

Provenance: private collection

This pendant is unique

In the 1970’s a lot of artists have designed jewellery, often at the behest of clients or galleries.

Some of the pieces were edited by important firms, others were made to measure, often for

collectors who were close to the artist.

As Paul van Hoeydonck (1935-2025) was an artist who was always looking for ways to express

his ideas in different media, it comes as no surprise to find him designing jewellery. However

his jewel designs are extremely rare, and the earlier ones have to our knowledge never been

edited in series.

This pendant is particularly interesting as it is not only a work of art that is true to the values

and style of the artist at the time, Van Hoeydonck recycled old jewels to make a new creation.

This idea of recycling of course today is more relevant than ever, in the light of sustainability

and the use of climate neutral materials. It is also a nod to the trade of the goldsmith, which for

centuries practices the reuse of old objects to make new ones, making it one of the fields

where recycling is the norm rather than the exception.

As mentioned before, jewels by Van Hoeydonck are extremely scarce and are almost always

one-offs. Among others, The Koning Boudewijn foundation keeps jewels by the artist in its the

collection

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David Huycke, master silversmith

David Huycke undoubtably is one of the – if not the – most important silversmiths of his

generation. Since the 1990’s Huycke has surprised with new forms and techniques,

expanding our notion of what silversmithing encompasses.

Indeed one could argue that the vessels, objects and wall objects he designs and crafts

are not merely to be relegated to the craft of silversmithing. Whilst respecting tradition,

and taking the craft of silversmithing to its highest level, the objects he creates are

existing in their own right. They become sculptures, invading the space that surrounds

them, and manipulating light to attract our attention.

The forms David Huycke creates are almost archetypes, making his creations seem to

be stemming from ancient cultures. We know them to be harmonious and balanced.

Yet Huycke embeds his objects with an inner tension that almost answers to a

mathematical system of rules and proportions, hidden from our view, but we feel to be

there.

It is this combination, of the archetypical and the mathematical, of the natural and the

artificial, that makes his art so unique. It is this combination that creates visual poetry.

In three dimensions.

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David Huycke

Cylinder 1, 2000

Sterling silver (925/1000)

Signed in full, dated and numbered on the bottom of the base ‘David Huycke 2000 1/7’

Height 36,5 cm, diameter 10,7 cm

Weight 1542 grams

Although this piece is numbered ‘1/7’, it is the only one made up to this date and thus

unique.

Reference:

Salens P. (ed.), David Huycke – Risky Business: 25 years of Silver Objects, Stuttgart,

Arnoldsche Art Publishers, 2018, p.37 (this piece illustrated)

Exhibition catalogue David Huycke, Nijmegen, Marzee Gallery, 10/12/2000-8/02/2001,

p.37, this piece illustrated (with date 1999)

115

116

117

118

David Huycke

Pearlinder 2, 2004


Signed in full and dated on top edge ‘David Huycke 2004’

Height 19 cm, diameter 11,5 cm

Weight 1313 grams

Pearlinders are always unique, as it is impossible to control the pattern of the hand

crafted silver balls when they are heated and melted together. Chance determines the

outcome of the pattern and edge.

Reference:


Arnoldsche Art Publishers, 2018, p. 65, left (probably this piece illustrated)

119

120

David Huycke

Bolinder 1, 2017


Marked, signed in full and dated on top edge ‘David Huycke 2004’

Height 28 cm, diameter 20,5 cm

Weight 1328 grams

The bolinder series, started in 1999, is one of the most recognisable early works by

David Huycke. Some of the bolinders are executed on several copies (not more than 7),

this particular bolinder is unique in its height and diameter.

Reference:

Exhibition catalogue David

Huycke, Nijmegen, Marzee

Gallery, 10/12/2000-8/02/2001,

p. 34-35 for other bolinders from

the same series

121

122

123

124

David Huycke

Bolinder 999, 2021

Fine silver (999/1000)

Signed in full and dated on top edge of each bolinder ‘David Huycke 2021’

Height 8,3 cm, diameter 7,3 cm

Weight 253 (white) & 258 (black) grams

This pair is unique

125

126

127

128

David Huycke

Bolrond 3, 2025


Signed in full, marked and dated on each top edge ‘David Huycke 2025’

Height 12 cm, diameter 26,5 ; 22,5 ; 18,5 cm respectively

Total weight 1847 grams

This bolrond 3 was made to commemorate its creation, 30 years ago, in 1995. One of

the signature pieces of the artist, the play with the bowls makes it possible for the owner

to make his own composition. One example of the ‘bolrond 3’ belongs to the collection

of the Indianapolis Museum of Art and one to the collection of the Province of East

Flanders.

Reference:


Arnoldsche Art Publishers, 2018, p.16 (the bolrond 3 from 1995 illustrated)

Exhibition catalogue David Huycke, Nijmegen, Marzee Gallery, 10/12/2000-8/02/2001,

p.10-11 (the bolrond 3 from 1995

illustrated)

129

P l e a s e n o t e :

The supplementary documentary photographs or documents are not for sale, unless

otherwise stated.

Dimensions are noted as: height x width x depth and in centimetres.

Please contact us for prices.

We can provide you with additional information through photographs or video chat.

We can provide you with specific shipping quotes. Works can also be collected at the

gallery or delivered by us at your doorstep.

Upon request, we can provide a preliminary condition report, but please bear in mind that

we are not professional restorers and that we cannot be held responsible for the accuracy

of our assessment of the condition of a work. If needed, a professional restorer can be

asked to make a condition report, however this will not be free of charge

C o l o p h o n

This online catalogue was made to accompany the gallery’s winter exhibition 2025.

All pieces are for sale.

Text and research: Raf Steel and Emmy Steel

Editing and photography:: Raf Steel and Emmy Steel

Copyright: Galerie St-John, the authors and the artists.

No part of this publication may be reproduced and / or published by means of print,

photocopy, electronic medium or any other method (including translation) without the

prior written permission of the authors.

The publisher has done its utmost to request permission to all possible right holders

regarding the use of (visual) material for this online publication. If we have overlooked

something, please contact us. Any errors will be corrected in a subsequent issue.

Special thanks to:

Dr. Wim Nys

Mr. David Huycke

Ms. Adi Toch

130

131

Que pouvons-nous faire pour vous?

• Notre spécialité: l'achat et la vente de l'art et des arts décoratifs des 19ème et

20eme siècles, de préférence d'origine belge.

• Nous vous conseillons lors de l'achat ou la vente d'un objet d'art, d'une collection ou

d'une succession.

• Estimations d'objets particuliers, de collections entières ou de successions.

• Nous vous aidons à développer votre collection ou compléter votre intérieur.

• Si vous possédez des œuvres d'art ou des antiquités importantes, nous vous

montons une exposition-vente documentée. Les expositions-ventes annuelles

documentées à notre galerie attirent de nombreux collectionneurs (inter)nationaux.

• Nous organisons des prêts pour les expositions de Musées ou

d'autres Institutions, assistons à la recherche scientifique ou contribuons aux

catalogues.

• Organisation d'expositions, inventaires de collections, recherches dans le domaine

de l'art

• What can we do for you?

• Our speciality: buying and selling fine and decorative arts of the 19th and 20th

centuries, preferably Made in Belgium.

• We can advise you on buying and selling single pieces or estates.

• Valuations of specific objects, collections or estates.

• We can help you build your collection or complete your interior.

• If you have important works of art or rare antiques, you can sell them through our

annual documented exhibitions which have an international appeal and clientele

• For institutions and museums, we can provide loans for exhibitions, assist with art

historical research or catalogue entries.

• Freelance curating and consultancy: organisation of exhibitions, inventories of

collections, art historical research.

132

Buying and selling of Arts and Antiques

Estates - Libraries - Inheritances

Appraisals - Expertises - Exhibitions

Collector’s and Artist’s Archives

Advice on partitioning, conservation of works of art

Collection management, Development of Collection Exhibitions

st-john.be

Galerie St-John

Bij St-Jacobs 15A / Nieuwpoort 2 (gps)

B-9000 Gent – Belgium

T. +32-9/225.82.62

info@st-john.be

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instagram.com/galeriestjohngent

OPEN:

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Vr, Za 10u-12u & 14u-18u Fr, Sa

Zo 10u-12u Su

Ma, Di, Wo na afspraak

Mon, Tue, Wed by appointment

133

From Monarch to Modern - Masterful silver from the 18th to the 21st century

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