Collection Wolfers & Petrucci: Hidden Treasures

Collection 

Wolfers & Petrucci 

Hidden Treasures

collection 

Wolfers & Petrucci

Charles Lefebure (1862–1943), 

autochrome portrait of Clairette Petrucci, ca. 1910

hidden treasures 

Collection 

Marcel Wolfers & 

1886–1976 

Clairette Petrucci 

1899–1994 

Raf Steel 

Emmy Steel

Please note that 

All objects in the catalogue are for sale. 

On demand, condition reports can be provided. 

The original, in this case French, titles are used. 

Dimensions are noted as: height × width × depth and in 

centimetre. 

With each object, we have tried to assemble the most relevant 

information. The list of exhibitions only includes those 

exhibitions where the object, presented here, was shown. 

In those cases where we are not certain that our particular 

piece was the one presented on a specific (often historic) 

exhibition, or that possibly another cast was shown, we have 

chosen to add the phrase “Possibly this example (?)”. 

With each object we have also added a selective bibliography, 

which only includes the books or catalogues featuring the 

object shown at our exhibition. We have chosen not to include 

periodicals unless they have a historic relevance. 

Also, books or catalogues which we have not been able to 

consult ourselves, are not included in the lists if there could be 

a doubt about the identification of the specific object included 

in that book or catalogue. 

Almost all pieces in this catalogue have as a provenance 

the historic collection of Philippe Wolfers and/or the Marcel 

Wolfers-Clairette Petrucci collection. The provenance of these 

artworks or objects is proven by contemporary photographs, 

inventories or statements of the artists themselves. However 

this does not mean that the pieces have remained with their 

direct descendants. We have included a couple of significant 

works by Philippe or Marcel Wolfers or Wolfers Frères that 

have other provenances. In those cases either the provenance 

is stated or it is made clear that they have belonged to other 

collections. 

We have tried to be accurate and precise, but often, due to lack 

of documents or contradicting testimonies, a margin of error 

has to be taken into account. 

4

Introduction 

The image we have of the production of Wolfers Frères and the creations of 

Philippe and Marcel Wolfers, has been defined by the objects from the collection 

of Marcel Wolfers and Clairette Petrucci. Since the 1960’s, these artists-collectors 

have actively sought to reinstate the name and fame of Philippe Wolfers’ art 

nouveau and art deco designs, and to give to his sculptural work the attention 

it deserved. Through lending works of art to museums worldwide, through 

encouraging publications of photographs and articles on Wolfers and donating 

works to public collections, they succeeded in giving Wolfers a place in the 

international art historic pantheon. By looking at the pieces in their collection, 

we have discovered magnificent jewels, objects and sculptures of the period when 

Belgium was one of the richest economies in the west and when it was a nation 

whose culture and art was an example to the world. This was art from the era 

when Belgium mattered and which was copied throughout the western world. 

Today, we look at these art objects that have been exhibited worldwide with 

a sense of recognition. These are the images that spring to mind when we 

think of art nouveau, of artists’ jewellery, of turn-of-the-century sculpture, 

etc. The Wolfers-Petrucci collection is of historic importance. It is a collection 

composed of art historical treasures, we can now offer for sale. 

But, the collection of Marcel Wolfers and Clairette Petrucci is not simply a 

treasure trove. It is the result of a way of life, of a fusion of two personalities, who 

have lived for and through art. It was also an organic collection, shaped through 

the changing ideas of the couple, trying to understand art, coping with a quickly 

changing world and shifting from one social milieu into another. 

Marcel Wolfers was born into one of the richest families of the country. His father, 

Philippe Wolfers aided by two brothers and a nephew, took the regional workshop 

of his father, Louis Wolfers, and built it into a multinational company, Wolfers 

Frères. The firm was active in Belgium, Germany, France, Holland, England, the 

Austrian-Hungarian Empire and had it not been for two World Wars, they would 

have conquered America. 

5

Philippe Wolfers was an artistic 

genius. He was largely a selftaught 

artist, but at the height of 

his career, he was considered one 

of the most important designers 

of applied art, silverware and 

jewellery of the Western world. 

Furthermore, he was seen as one 

of the leading Belgian sculptors 

of his generation. Surrounded 

by his family, he was able to 

cash in on his talents (which 

also included architecture and 

music). Philippe Wolfers became 

a millionaire, lived in a large cottage built by Paul Hankar (then a leading avantgarde 

architect), collected contemporary art which he displayed in his townhouse 

on the Square Marie-Louise, a then fashionable part of Brussels. And he wanted 

his only son to follow in his footsteps. 

Philippe and Marcel Wolfers, Sofie Willstädter and unknown, before 1914 

And so the son did, but maybe not in the way his father thought he would. Marcel 

Wolfers could be called an artistic prodigy. Learning the tricks of the trade from 

the best craftsmen working at Wolfers Frères and studying drawing and sculpture 

with sculptor Isidore De Rudder and at La Patte au Dindon, an independent 

ad-hoc private academy, he made his first art nouveau designs for a cup and 

a dish before the age of fifteen. His most powerful sculptures date from between 

1910 and 1914, when the artist was only in his twenties. But then came the First 

World War, and Marcel Wolfers volunteered. It was an experience that changed 

the dandyesque Marcel Wolfers and turned him into a philosophical and serious 

man, albeit with a love for nature and life. The war completely reshaped his 

art. No more powerful and expressionist sculptures, but human and subdued 

compositions. The difficult task he set for himself to master the art of lacquer, 

also needs to be seen in this light. The “Zen” attitude one has to adopt while 

working with this notoriously difficult material, helped him cope with everyday 

chores he had to fulfil in the family company, Wolfers Frères. It is also this 

changed Marcel Wolfers who fell in love with Clairette Petrucci. 

She was born into a family of free thinkers. From her father, Raphael Petrucci, 

who died when she was eighteen, she inherited her self-consciousness and 

intelligence. From her mother, Claire Petrucci-Verwee, she learned how to live 

the life of an independent woman in what was gradually becoming the dawn of 

6

Raphael Petrucci, Clairette Petrucci and Claire Petrucci-Verwee in the workshop 

of Alfred Verwee, ca. 1910 

a modern, new and exciting 

world. Clairette must have 

been an extraordinary 

woman. Muse to artists, 

already from a very young 

age, she became central to the 

lives of several young men. 

Henry Lavachery, Vladimir 

(Valdia) Peniakoff, Paul 

Simon, Edy du Perron and 

Marcel Wolfers all fell under 

her spell. Each and every one 

of these men, who all became 

important personalities 

in their respective fields; writers, researchers or artists, could not forget her 

and most of them kept in touch with Clairette over the years. It is difficult to 

understand why Clairette had such an appeal to bright men, but with hindsight, 

one can assume that her intelligence, wit and modernity combined with her aura 

(for lack of a better word) must have stood her apart from a lot of women of her 

class. When she married Marcel Wolfers in 1923, it was on her terms. To his credit, 

Marcel Wolfers did not prevent her to pursue 

her own career after their marriage. Clairette 

often travelled alone to Paris, Brussels or Italy 

to see her friends. After a grand honeymoon, 

on which the couple bought folk art, textiles 

and brought back many curiosities of eastern 

European craftsmen, they settled in their 

luxurious modernist apartment in the rue de 

Praetere in Brussels (Ixelles). The building 

was designed by the “gentleman-architect” 

J.-J. Eggericx, and was commissioned by Claire 

Petrucci, mother of Clairette. The apartment 

was considered to be an exquisite example of 

modern interior design, and featured in the 

Italian magazine Domus in 1930. 

The sudden death of Philippe Wolfers in 1929 

and the subsequent demise of the Wolfers 

Frères firm, due to the financial crisis of the 

1930’s, was of great importance for Marcel 

Marcel Wolfers by photographer Boute (Brussels), ca. 1910 

7

and Clairette’s way of life. The Wolfers 

family fortune evaporated. Marcel and 

his siblings had to sell off the collection 

of modern art of Philippe Wolfers and 

his house on the Square Marie-Louise. 

Depending now completely on Wolfers 

Frères S.A. for their livelihood, Marcel 

and Clairette decided to leave Brussels 

and move to their immense historic 

inn (le relais) in Vieusart. Filled to 

the brim with souvenirs, art, antiques 

and contemporary design, it became 

the place where they invited friends 

and family. Clairette kept a “Livre 

d’Or” which carries the signatures of 

amongst others: Marcel Louis Baugniet, 

Jeanne Bergson, Maurice Brocas, Eve Clairette Petrucci at her Vieusart workshop, ca. 1937 

Curie, Paul Delvaux, Marie Gevers, 

Norge, Herman Teirlinck, Henry van de Velde, Ossip Zadkine, Alain Bombard, 

Charles Leirens, Robert and René Guiette, Jean Milo, Willy Eisenschitz, Anto 

Carte, Jean Besnard, Roger Fry, Pierre Caille, Antoine de Vinck, Maud Gerard, 

Marie Howet, Ottorino Respighi, Juliette Cambier, Gustavo Cochet, Willem 

Paerels, Jules M. Canneel,… 

Vieusart became the place where they reoriented their collection and made it 

a personal statement. A lot of pieces that were inherited were sold, and other 

objects were bought to fit in with the world that Marcel and Clairette created 

around them. A lot of work of artist-friends was displayed on the walls and every 

object in the house had its history. When both the mother of Marcel and Clairette 

passed away, their collection was enriched with items of the collection of Philippe 

Wolfers and with the modern art and Asian art collection of Claire Petrucci. 

When Marcel and Clairette saw how the 1960’s were literally erasing the art 

nouveau history of Brussels they had the idea to start preserving and collecting 

the work of Philippe Wolfers. Marcel Wolfers even had to rescue the archives of 

his father when the firm of Wolfers decided to leave the building at the Arenberg 

street. A large part of the company archive had already been destroyed by then. 

From then onwards, the collection of Marcel and Clairette Wolfers-Petrucci 

became important to both exhibition makers and researchers. Numerous art 

historians turned to Marcel and to Clairette, who had an infallible memory, 

8

to acquire information on artists and/or objects form the art nouveau and art 

deco periods. Their treasures travelled the world and were displayed in numerous 

museums. If they thought that a piece could be a great ambassador for the work 

of Philippe Wolfers outside their collection, they sold it or gave it to a public 

institution. Most items however, stayed at Vieusart, where they almost made a 

part of the household. When Marcel past away in 1976, the collection started to 

be broken up. With the passing away of Clairette, most of the French furniture 

(by Ruhlmann and Dominique) and foreign applied arts were sold in London in 

1996. The collection of Wolfers objects and art, being too intricately related to the 

family history, was given to family members. 

With this exhibition, we want to bring back the splendour of the historic 

Collection of Marcel Wolfers and Clairette Petrucci. We have tried to assemble 

many important works of art and decorative arts that once lived in the houses of 

Philippe Wolfers, or at Vieusart. After all these years they meet again, preparing 

for a great journey to their next destination. 

Clairette Petrucci at her Dominique desk, rue de Praetere, Brussels, ca. 1928 

Marcel Wolfers at 55, rue des Champs-Elysées, Brussels, 

the home of Claire Petrucci–Verwee, ca. 1925 

9

10 

The Workshop of Louis Wolfers, Père et Fils in the rue des Longs-Chariots, ca. 1890 

(Louis Wolfers standing in black suit)

11

Louis Wolfers 

Tea service, 1852–1858 

Silver, partially gilt inside and ivory 

Dimensions: Tea pot: height 18,5 cm, lenght 27,5 cm (from spout to handle) 

Marked: Tea pot: Maker’s mark of Louis Wolfers, assay master mark of Nicolas Monoyer, “Janus Head” 

on the bottom of the base 

Sugar pot: Maker’s mark of Louis Wolfers, assay master mark of Nicolas Monoyer on the bottom 

of the base, “Janus Head” on the inside of the lid 

Cream jug: Maker’s mark of Louis Wolfers, assay master mark of Nicolas Monoyer on the bottom 

of the base, “Janus Head” near the top rim 

Provenance: 

Louis Wolfers (?) 

Philippe Wolfers (by descent ?) 

Marcel Wolfers and Clairette Petrucci collection 

(by descent) 

Exhibited: 

Ghent, Design museum Gent, 16/12/2006–09/04/2007 

Bibliography: 

De Dynastie Wolfers – Meesters in zilver, Gent, 

Design museum Gent, 2006, p. 4 (with photo) 

The three piece coffee set is typical of the earliest production of the Louis Wolfers 

workshop. The assay mark of Nicolas Monoyer, active in Brussels from 1832 

to 1858, makes it possible to date the service between 1852 and 1858 (for the 

Monoyer mark see Van Dievoet W., Algemeen Repertorium van de edelsmeden 

en van de merken van edelsmeedwerk in België II 1798–1942, Brussel, Academie 

voor de geschiedenis van de edelsmeedkunst in België, 2010, p. 46, entry 030). 

Of good weight, impeccable finish and with an ivory handle for the cream jug, 

this service was intended for a well-to-do household. The produce of the Louis 

Wolfers workshop was typical for the period’s taste and indeed for produces of the 

Brussels’ silversmiths, but in these early years lacked the personality of the later 

designs of the 1880’s that set Wolfers apart from their peers. 

12

Philippe Wolfers 

Pitcher Le Vin or Bacchus, 1895 

Patinated bronze 

Dimensions: 32,5 × 22,5 cm 

Signed: “Ph. Wolfers” near the base edge, beneath the handle 

Provenance: 



(by descent) 

Exhibited: 

Brussels, Cercle Artistique et Littéraire de Bruxelles, 

11/04–29/04/1895, cat. No. 13 (possibly this 

example ?) 

London, St-George’s Gallery, 1895, cat. No. 23 (a pewter 

example) 

Mons, Salon Triennal – Société des Beaux-Arts, 1896, 

cat. No. 774 (possibly this example ?) 

München, Secession – Internationalen Kunst-Austellung 

des Vereins bildender Künstler Münchens, April 

1898, cat. No. 490 (possibly this example?) 

Brussels, Galerie l’Ecuyer, 13/10–12/11/1972, cat. No. 27. 

Ghent, Museum voor Sierkunst, 12/05–10/06/1979, 

cat. No. 11 

Buenos Aires, Museo de Arte Moderno de la Ciudad de 

Buenos Aires, 01/06–29/07/1990, cat. No 171 

Zürich, Bellerive Museum, 06/10/1993–09/01/1994, 

cat. No. 58 

Bibliography: 

Pol de Mont in De Vlaamsche School, jg. 8 

(nieuwe reeks), 1895, p. 50 

Philippe Wolfers : juwelen, zilver, ivoor, kristal 

(1858–1928), Gent, Museum voor Sierkunst, 1979, 

p. 16–17 (with photo) 

En Belgica, El Art Nouveau 1893–1905, Buenos Aires, 

1990, p. 67 

Philippe und Marcel Wolfers – Art Nouveau und Art 

Déco aus Brüssel, Zürich, Museum Bellerive, 1993, 

p. 63 (with photo) 

Adriaenssens W., Beredeneerde Catalogus van het 

persoonlijke oeuvre van Philippe Wolfers in De 

Wolfers Dynastie – van art nouveau tot art deco, 

Gent, Design museum Gent, 2006, p. 316 (No. 9) 

To our eyes today an unusual piece, the pitcher “Le Vin” (The Wine) remained 

an important object to Philippe Wolfers. It took a place of honour at the Brussels 

exhibition in 1895 and got favourably reviewed by the press. The pitcher was 

edited in pewter and bronze and was one of the models edited by Emile Müller in 

glazed stoneware. It is not impossible that Philippe Wolfers designed it with the 

German market – a very important market for Wolfers firm – in mind. 

This version, which belonged to Philippe Wolfers personally, has a magnificent 

patina, which could indicate that the artist himself was responsible for the 

patination of the cast. 

14


Vases Pavot or Poppy, 1895 


Dimensions: A. 25 × 8,5 cm / B. 25,5 × 8,5 cm 

Signed: A. “Ph. Wolfers / 95” near the base edge. / B. “Ph. Wolfers / 95” near the base edge 

Marked: A. Unmarked / B. “J Petermann / Bruxelles” on the bottom of the base 

Provenance: 



(by descent) 

Exhibited: 

Brussels, Pour l’Art – Troisième exposition annuelle, 

12/01 – 02/1895, cat. No. 4 (possibly one of these 

examples ?) 


11/04–29/04/1895, cat. No. 15 (possibly one of these 

examples ?) 

London, St-George’s Gallery, 1895, cat. No. 24 (possibly 

one of these examples ?) 

Paris, Galerie l’Art Nouveau (Samuel Bing), December 

1895, cat. No. 654 (possibly one of these examples ?) 


(both vases) 


cat. No. 9 (both vases) 


cat. No. 60 

Bibliography: 







Adriaenssens W., Beredeneerde Catalogus van 

het persoonlijke oeuvre van Philippe Wolfers in 

De Wolfers Dynastie – van art nouveau tot art deco, 


Both vases belonged to the collection of Philippe Wolfers. Curiously they 

seem to have two different founders. The smallest vase is marked with the 

early “J. Petermann Bruxelles” foundry mark, the largest is unmarked. There 

is also a slight difference in patination and finish. It is not unthinkable that the 

largest vase was founded at the Wolfers firm. The “Pavot” vase, in contemporary 

catalogues labelled as a ‘porte-bouquet’ also exists in a pewter edition. Of all 

of the bronze vases designed by Philippe Wolfers, this seems to have been 

the most popular model: up to this day at least 5 examples of the design have 

been catalogued in different 

collections, these two included. 

Although in most recent 

exhibition catalogues both vases 

are referred to as ‘a pair’, the 

difference in height and finish of 

the vases does not support this 

theory. 

16


Ewer Orchid, 1895 


Dimensions: 30,5 (with handle) × 20 cm 

Signed: “Ph. Wolfers” on the side, beneath the handle 

Provenance: 



(by descent) 

Exhibited: 


11/04–29/04/1895, cat. No. 14 (possibly this 

example ?) 

London, St-George’s Gallery, 1895, cat. No. 22 (possibly 

this example?) 

Paris, Galerie l’Art Nouveau (Samuel Bing), December 





Turin, Prima Esposizione internationale d’arte decorative 

moderna, 1902, (possibly this example?) 



cat. No. 10 



Lissabon, Calouste Gulbenkian Foundation, 05/11– 

05/12/1991, cat. No. 128 

Brussels, Koninklijke Musea voor Kunst en 

Geschiedenis, 15/02–15/04/1992, cat. No. 128 


cat. No. 61 


Turin, s.l., 1994, cat. No. 180. 

Bibliography: 

H. Fierens-Gevaert, La Sezione Belga all’Esposizione 

d’Arte Decorativa Moderna in L’Arte Decorativa 

Moderna – Rivista di Architettura e di Decorazione 

della Casa e della Via, Torino, Camilla E Bertolero, 

Anno I, Giugno 1902 N. 6, p. 180 (photo) 





1990, p. 67 

Philippe & Marcel Wolfers – De l’Art Nouveau à l’Art 

Déco, Bruxelles, K.M.K.G., 1992, p. 90 




Torino 1902 – Le Arti Decorative Internationali del 

Nuovo Secolo, Torino, Fabbri Editori, 1994, p. 230 

(full page photo) & p. 252 (with photo) 

De Dynastie Wolfers – Meesters in zilver, Gent, Design 

museum Gent, 2006, p. 16 (with photo) 





18

20 

As all bronze objects designed by Philippe Wolfers around 1895–1896, these were 

meant to be executed in a series of up to 12 casts (see München catalogue of 1898). 

It is however not sure that the series was completed, as the ewers were cast and 

finished to order. As is often the case for his earliest art nouveau designs, the ewer 

was also edited by Louis Wolfers, père et fils in pewter. 

The Orchid ewer remains one of the most important and innovative designs 

of the artist. It is also one of the earliest examples of his art nouveau designs, 

exhibited throughout Europe and therefore this design had an important 

influence on the shaping of the art nouveau vocabulary. The ewer was amongst 

others included in the opening exhibition of Samuel Bing’s Salon de l’Art 

Nouveau in Paris in 1895 and was shown in the same year at (the opening?) of the 

Burrington and Boss’ St-George’s Gallery in London. 

Apart from a pewter model of the Orchids Ewer that our gallery sold in 2014, 

we do not know of other examples that have been available on the art market for 

the last 10 years.


Oeillets Visiting Card Tray, 1895–1897 

Silver 

Dimensions: 17,2 × 12 cm 

Marked: just beneath the stem of the carnation, with a variant of the Wolfers Maker’s mark incorporating a cipher 

“1” for the alloy of 950/1000 and the French “Charançon” mark, not in use before the 29th of June 1893 

Visiting card trays were popular in the Belle Epoque period. This small tray 

betrays a Japonist influence. The unusual Wolfers mark, incorporating the cipher 

one, could indicate an early execution around 1895–1897. The 950 alloy indicates 

that the piece was made for export, a thesis proven by the French import mark 

applied next to the maker’s mark. A version of the famous claret jug “Pivoines” 

from the collection of the DIVA Museum in Antwerp (inv. No. S97/12) bears the 

same maker’s mark. 

In the photographic archives of Wolfers Frères, this piece is catalogued under 

the number Lc 115/1. It is photographed together with its variant 115/2. This serial 

number also points to design prior to 1897. 

22


Orchidéa, 1896 

Patinated metal in the original marquetry frame 

Dimensions: 69 × 56,5 cm (with frame) 

Signed: “Ph. Wolfers 92” bottom centre, in the metal 

This work is unique. 

Provenance: 



(by descent) 

Exhibited: 

Brussels, Exposition Internationale de Bruxelles, 1897 



cat. No. 38 

Brussels, Palais des Beaux-Arts, 19/12/1980–15/02/1981, 

cat. No. 211 & 590 


05/12/1991, cat. No. 184 




cat. No. 43 


Bibliography: 

Philippe Wolfers : juwelen, zilver, ivoor, kristal (1858– 

1928), Gent, Museum voor Sierkunst, 1979, p. 33 






Adriaenssens W.; Steel R., De Wolfers Dynastie – van 

art nouveau tot art deco, Gent, Design museum 

Gent, 2006, p. 47 (with photo) 





Portraits are a rarity in the work of Philippe Wolfers. This large relief, of which 

the artist made small medal versions in silver, ivory, and in bronze is therefore 

very exceptional. But then so is the mysterious “Orchidéa”, none other than the 

wife of Philippe Wolfers, Sofie Willstädter (1864–1946). Wolfers depicted his 

spouse in profile, and modelled her hair to resemble the form of the leaves of 

an orchid, hence the name. Also very unusual is the original ornate art nouveau 

marquetery frame in which the relief was mounted. Although we cannot establish 

it for certain through archival 

documents, it is very likely that the 

floral decoration, echoing the title of 

the work, was designed by Philippe 

Wolfers himself. 

24


Vase Une Orchidée!, 1896 



Signed: “Ph. Wolfers / 96” on the lower part of the vase 

Provenance: 



(by descent) 

Exhibited: 





cat. No. 8 

Brussels, Palais des Beaux-Arts, 09/12/1980 – 

15/02/1981, No. 210 


05/12/1991, cat. No. 130 



Prague, Musée des Arts Decoratifs, 1995, cat. No. 160 


Bibliography: 

Philippe J., Le Val Saint-Lambert – Ses cristalleries et 

l’art du verre en Belgique, Liège, Eugène Wahle, 1980, 

p. 208 (photo No. 144) 




Art Nouveau Belgique, Bruxelles, Société des 

Expositions Palais des Beaux-Arts, 1980, p. 282 (with 

photo) 


Déco, Bruxelles, K.M.K.G., 1992, p. 60 (photo) & p. 90 

Belgická Secese, Musée des Arts Décoratifs, 1995, p. 82 







This vase was made in an unique version in crystal and silver and also in an 

edition in pewter and bronze. Although the bronze edition was intended to be 

made in up to 12 casts, it is almost certain that less than 12 were made, due to 

the extremely limited number of vases known to us today. 

26


Vase Fantasia or Fantaisie d’Orchidées, 1896 



Signed: “Ph. Wolfers / 96” on the lower part of the vase 

Provenance: 



(by descent) 

Exhibited: 

Paris, Société Nationale des Beaux-Arts, 25/04 – 

30/06/1896, cat. No. 422 (possibly this example ?) 

Brussels, Galerie l’Ecuyer, 13/10–12/11/1972, cat. No. 31 


cat. No. 6 

Lissabon, Calouste Gulbenkian Foundation, 

05/11–05/12/1991, cat. No. 129 




cat. No. 67.2 

Prague, Musée des Arts Decoratifs, 1995, cat. No. 159 

Bibliography: 

Catalogue des ouvrages de Peinture, Sculpture, 

Dessins, Gravure, Architecture et Objets d’Art, Paris, 

Champ-de-Mars, 1896, p. 288 

Philippe Wolfers 1858–1929 – Précurseur de l’Art 

Nouveau – Statuaire, Bruxelles, Galerie l’Ecuyer, 

1972, s.p. 






p. 210 (photo No. 146a) 






Belgická Secese, Musée des Arts Décoratifs, 1995, p. 82 





The unique version in crystal belongs to the Museum für Kunst-, Stadt- und 

Theatergeschichte im Reiss-Museum in Mannheim (Germany). There exists a 

slightly smaller version in glazed ceramic, produced and edited by the firm of 

Emile Müller & Cie. The bronze edition was again limited to 12 casts, but the 

actual number of executed bronze vases has to be very limited. The entry in 

the 1896 catalogue of the Paris Salon reads: “Vase à Fleurs – fantaisie orchidées 

Cyclamens (bronze Japon)” It is unclear what the addition of ‘Japanese bronze’ 

in the title stands for. It could be a 

reference to the technique used or 

it could simply have been used for 

publicity reasons, Japonism then being 

acknowledged as ‘en vogue’ by the main 

stream art lover/collector. Also the 

addition ‘cyclamens’ seems strange and 

is probably a mistake, because the flower 

is not to be found on this vase. 

28


Vase Cyclamen, 1896 



Signed: “Ph. Wolfers” on the lower part of the vase 

Provenance: 



(by descent) 

Exhibited: 

Brussels, Exposition Internationale de Bruxelles, 1897 

(probably the version that is now in the Museum 

für Kunst-, Stadt- und Theatergeschichte im Reiss- 

Museum, Mannheim) 


cat. No. 7 


05/12/1991, cat. No. 135 




cat. No. 65 


Bibliography: 



p. 208 (photo No. 144) 















Of this magnificent art nouveau design, Philippe Wolfers made a unique version 

in crystal and silver. Apart from the bronze edition (again conceived for a 

maximum of 12 casts), no editions in other materials seem to have been made. 

Up to this date, only two bronze versions are known, the vase in the Mannheim 

museum which was bought at the Brussels exhibition of 1897 by Carl and Anna 

Reiss and this vase from the personal collection of Philippe Wolfers. 

30


Orchidée inkwell, 1895–1897 

Silver and crystal 

Dimensions: 12 × 8 cm 

Provenance: 


Marcel Wolfers and Clairette Petrucci collection (by descent) 

Exhibited: 


The orchid inkwell belongs to a series of inkwells of the same type. The recipient 

is made in cut and polished crystal, most certainly executed by the firm of 

Val Saint-Lambert. The silver, executed by the firm of Louis Wolfers, père et fils 

(II) after a design by Philippe Wolfers, can vary in decoration. We have found the 

silver lid of the inkwell with a floral art nouveau decoration or with the so-called 

“L XV Wolfers” rocaille patterns. More often than not, the silver of the inkwell is 

not marked, as is the case here. The crystal recipient can vary in size and motif, 

and sometimes the inkwell comes with a crystal tray. 

Coming from the collection of Philippe Wolfers, it is tempting to assume he 

used it for his personal correspondence. 

32


Orchidée planter, 1897 

Glazed stoneware 


Signed: “PWolfers” and “E. Müller” on the top edge 

Marked: “T.6” and “N°5” on the bottom 

Provenance: 



(by descent) 

Exhibited: 

Ostend, Museum voor Schone Kunsten, 03/06– 

30/09/1967, cat. No. 409. 



cat. No. 13 


05/12/1991, cat. No. 136 



Prague, Musée des Arts Décoratifs, 1995, cat. No. 161 


Bibliography: 

Europa 1900, Brussel, Ed. de la Connaissance, 1967, p. 73 

Philippe Wolfers 1858–1929 Précurseur de l’Art Nouveau 

Statuaire. Exposition Rétrospective, Galerie l’Ecuyer, 

1972, s.p. 






Belgická Secese 1893–1905 Wallonie-Bruxelles, Prague, 

Musée des Arts Décoratifs, 1995, p. 82 





The “Orchids” planter is one of the first fully art nouveau objects that Philippe 

Wolfers designed. The small planter was designed in 1895 and first executed 

in bronze. A year later Philippe Wolfers showed the plaster model of the large 

planter in Paris. 

According to family history, Wolfers was approached by Emile Müller of the 

“Grande Tuilerie d’Ivry – Emile Müller & Cie.” at the Brussels exhibition of 1897. 

Müller was not a stranger to the Belgian market and besides Wolfers, he also 

edited pieces by other Belgian artists, most notably by Isidore De Rudder. Müller 

asked Wolfers to edit some 

models in glazed earthenware 

or stoneware. From 1897 

onwards, Emile Müller got the 

rights to edit several models by 

Philippe Wolfers: the small and 

large version of the “Orchidée” 

planter, the ewer “Le Vin”, the 

vase “Fantasia” and maybe 

some other models that have 

not yet been rediscovered. 

34

36 

The large version of the “Orchidée” planter was produced by Müller under the 

serial number 365, but we do not have the serial number for the small versions. 

The inscriptions on the bottom “T.6” and “No 5” on this piece differ from those of 

another version which has the inscriptions “T.2” and “No 2”. The exact meaning 

of these inscriptions is not known. We do not know how many copies Müller 

executed, his editions were not numbered and supply followed demand. We do 

know of at least 4 different examples of the model that came onto the art market 

in the last 10 years. 

This specific planter belonged to the collection of Philippe and later Marcel 

Wolfers and starred in numerous museum exhibitions.

Philippe Wolfers’ workshop, ca. 1896


Teapot Orchids, circa 1897 

Silver, with wicker around the handle 

Dimensions: 14 (with handle) × 14 cm 

Marked: on the bottom of the base with the Wolfers Maker’s mark, an obliterated seller’s mark (probably of 

E. Goldschmidt (Köln)), alloy mark for 800/1000, and a Viennese import mark (between 1872–1902) 

Provenance: 


Exhibited: 


cat. No. 30 


Buenos Aires, 01/06–29/07/1990, cat. No. 170 


05/11–05/12/1991, cat. No. 151 




cat. No. 55 

Antwerp, Provinciaal Museum Sterckshof – 

Zilvercentrum, 15/09–13/12/1998, cat. No. 129 


Bibliography: 




En Belgica, El Art Nouveau 1893–1905, Bruxelles, Arcure, 

1990, p. 42 (photo) & p. 67 


Déco, Bruxelles, K.M.K.G., 1992, p.92 (photo without 

p. No.) 




Sterckshof Studies 10: Van Belle Epoque tot Art 

Nouveau – Belgisch Zilver 1868–1914, Antwerpen, 

Sterckhof Zilvercentrum, 1998, p. 235 (with photo) 



This Orchids teapot belongs to the group of early designs by Philippe Wolfers 

in art nouveau style from between 1892 and 1897. Typical features of the early 

designs are a very simple and undecorated nob and spout and secondly the use of 

wicker as an insulator around the handle. The teapot is to be compared with the 

small three piece coffee service “Marguerites” from the Museum für Kunst und 

Gewerbe in Hamburg. 

Since the first Wolfers retrospective in Ghent in 1979, this ‘égoïste’ teapot has 

been included in all major Wolfers retrospectives around the world. 

38


Ewer Les Lys, 1897 


Dimensions: 30 × 20 cm (with handle) 

Signed: “Ph. Wolfers” on the side, beneath the handle 

Provenance: 



(by descent) 

Exhibited: 


moderna, 1902, (possibly this example?) 



cat. No. 5 


05/12/1991, cat. No. 131 




cat. No. 68 (cast from the collection of the Design 

museum Gent, Inv. No. 88/12) 



Turin, s.l., 1994, cat. No. 181. 

Bibliography: 





Anno I, Giugno 1902 N. 6, p. 179 






p. 208 (photo No. 144) 


1990, p. 67 







Nuovo Secolo, Torino, Fabbri Editori, 1994, p. 252 

(with photo) 






Gent, Design museum Gent, 2006, p. 322 (No.27 ) 

Goubert K., Cahier 3 Meeserlijk (zilver)design – De 

Wolfersverzameling, Gent, Design Museum Gent, 

2012, p. 38–39 (with photo) 

The Lilies Ewer was designed in 1897 and already shows an evolution in the art 

nouveau style of Philippe Wolfers. Naturalism and asymmetry are to be gradually 

replaced by stylisation and symmetry in the years to come. The ewer was one of the 

most important objects at the Turin 1902 exhibition show of the artist. He asked 

the architect Leon Sneyers to design a special pedestal, which only supported the 

circular base of the ewer and consequently had the piece float in space. 

The ewer was meant to be executed in a series of up to 12 casts (see München 

catalogue of 1898). Up to date only two versions are known. One in the collection 

of the Design museum Gent (provenance: a member of the Wolfers family) and 

this cast which was kept by Philippe Wolfers himself. 

40


Buckle Flirt, 1897–1898 

Patinated silver and gilt silver 

Dimensions: 9 × 12,2 cm 

Provenance: 



(by descent) 

Exhibited: 

Brussels, Pour l’Art, Jan-Febr/1899, cat. No. 3.1 (possibly 

another example) 



1898, cat. No. 621 (possibly another example) 

Hamburg, Ausstellung Belgischer Künstler. Constantin 

Meunier – Victor Rousseau – Hélène De Rudder – 

Isidore De Rudder – Ch. Van der Stappen – Philippe 

Wolfers, Hamburgisches Museum für Kunst und 

Gewerbe, Nov.-Dec./1901, cat. Nr. 19 (possibly 

another example) 

London, Goldsmiths’ Hall, 26/10–02/12/1961, 

cat. No. 884 

Ostend, Museum voor Schone Kunsten, 03/06– 

30/09/1967, cat. No. 293. 


Milan, Museo Poldi Pezzoli, 07/11–20/11/1973, cat. No. 12 


cat. No. 52 

Brussels, Art Nouveau Belgique, Palais des Beaux-Arts, 

19/12/1980–15/02/1981, cat. No. 819 




05/12/1991, cat. No. 3 





Bibliography: 

Hugues G., International Exhibition of modern jewellery 

1890–1961, London, The Worshipful Company of 

Goldsmiths, 1961, s.p. 

Europa 1900 – Schilderijen, Tekeningen, 

Beeldhouwwerken, juwelen, Brussel, Ed. de la 

Connaissance, 1967, p. 47 

Gioielli di Artisti Belgi dal 1900 al 1973, Milano, Museo 

Poldi Pezzoli, 1973, s.p. (with photo) 





1990, p. 43 (with photo) & p. 67 


Déco, Bruxelles, K.M.K.G., 1992, p. 43 (with photo) 

& p. 81 










42

44 

The buckle “Flirt” is the first of the so-called unique jewel creations that Philippe 

Wolfers has designed. The drawing for the buckle is dated 05/11/1897, the 

execution certainly before 30/04/1898. It forms a group with three other very 

early silver art nouveau buckles, “Le Jour et la Nuit”, “Orchidées” and “Lys du 

Japon”, of which only the latter remained unique. “Orchidées” was executed in 

six copies, “Le Jour et la Nuit” probably in two and with “Flirt” we know of four 

examples. Philippe Wolfers sold a copy to Franz de Schmatzer – a very good 

client of Wolfers – and he sold a copy through the jeweller Brahmfeld & Gudruf in 

Hamburg. The Royal Museums of Art and History in Brussels conserve the buckle 

that belonged to Renée Feldheim, daughter of Philippe Wolfers (inv. No. Bj124). 

The supposition that six examples were executed (according to Marcel Wolfers’ 

research) is not consistent with the archive of Philippe Wolfers. 

The present buckle comes from the collection of Philippe Wolfers himself. 

Instead of the pearl or stone inset on the shield of the crab, Wolfers patinated the 

silver replacement with gold. The entire piece being cast in silver, it is possible to 

consider it as the finished prototype, preceding the buckles with a pearl or stone 

inset. This could also explain the lack of signature on the piece. This version of the 

buckle “Flirt” still retains its original ‘Vieil argent’ or “old silver” patina and the 

chasing is of the highest quality.


Oeillets Shell dish, 1897–1900 

Silver 


Marked: on the edge of the handle with the Wolfers Maker’s mark, and alloy mark for 800/1000 

Provenance: 


Exhibited: 



05/12/1991, cat. No. 155 




Antwerp, Provinciaal Museum Sterckshof – 

Zilvercentrum, 15/09–13/12/1998, cat. No. 171 


Bibliography: 


Déco, Bruxelles, K.M.K.G., 1992, p.92 (photo without 

p. No.) 



Sterckshof Studies 10: Van Belle Epoque tot Art 

Nouveau – Belgisch Zilver 1868–1914, Antwerpen, 

Sterckhof Zilvercentrum, 1998, p. 273 (with photo) 



The shell dishes were executed in different sizes and with a variety of flower 

decorations. One such dish with a decoration of orchids is in the permanent 

collection of the K.M.K.G. museum in Brussels (inv. Ag. 107), other examples are 

in private collections. There are unmarked examples of the shell dishes recorded. 

46


Model for Cygnes!, 1898 

Plaster 


Provenance: 



(by descent) 

Exhibited: 


05/11–05/12/1991, cat. No. 118 




Bibliography: 



& p. 89 







The buckle “Cygnes!” also called “Cygnes et Nénuphars” belongs to the first group 

of unique jewels by Philippe Wolfers. Its design is dated on the 29th of September 

1898 and it was executed before January 1899. The plaster model has to be dated 

therefore between October and December 1898. The buckle was executed in gold 

with enamel and turquoise. The plaster model served thus as a “chef modèle” 

for the casting mould for the gold buckle. It was imperative that every detail 

was worked out in plaster and that the finish in plaster was as fine and perfect 

as possible. Otherwise the result in gold would have looked dull. A bad result 

because of lack of detail in casting cannot be redressed or masked by a master 

chiseller, without completely changing the work itself. 

In most cases, these models were made by the artist himself. This plaster 

cast is not signed, but it is safe to assume that it was made by Philippe Wolfers 

singlehandedly. These casts remained also unique, and were not for reproduction 

nor sale. But due to the amount of work needed to finish such a piece and due 

to the decorative nature of the small relief, they were often displayed in the 

workshop of Philippe Wolfers or in the drawing studio of Wolfers Frères. The fact 

that this plaster has a metal loop to affix it to the wall, indicates that has been 

displayed. 

48


Model for Cacatoès, 1898–1899 

Plaster 


Provenance: 



(by descent) 

Exhibited: 


05/11–05/12/1991, cat. No. 119 




Bibliography: 



& p. 89 







The hair comb or hair ornament “Cacatoès” is spectacular. The pièce was 

executed in enamelled gold and ivory. It was designed on the 12th of November 

1898 and it was first publicly exhibited on the 20th of January 1900. The plaster 

model must therefore have been executed by Philippe Wolfers at the end of 1898 

or in 1899. 

The cockatoo is a very unusual bird in Philippe Wolfers’ menagerie. The image 

is very exotic, enhanced by the use of ivory. As is the case with the “Cygnes!” 

model, this model was also used as the chief model for casting the cockatoo in 

gold. Finish and detail in the model were again of primordial importance. 

The cockatoo comb was executed in ivory and enamelled gold. It was first 

shown on the Pour l’Art exhibition of 1900 and was on display in Hamburg in 1901 

at the Brahmfeld & Gutruf jeweller, who sold the jewel at the exhibition. Since 

then it has disappeared. 

The plaster cast of “Cacatoès” is almost certainly made by Philippe Wolfers 

himself. It remained unique. As it has a small metal loop, it must have been on 

display in the workshop of Philippe Wolfers or in the drawing studio of Wolfers 

Frères. 

50

Marcel Wolfers 

Lilies footed bowl, 1899 

Pewter 

Dimensions: 21 × 25 × 17,7 cm 

Signed: “M Wolfers / 1–1-99”, near the rim edge of the base 

Provenance: 


To our knowledge this is the first decorative design by Marcel Wolfers that was 

executed. The pewter art nouveau bowl, clearly designed under the influence of 

father Philippe Wolfers, makes good use of the lily flower and foliage as decorative 

ornaments. Considering that Philippe Wolfers’ earliest executed art nouveau 

designs are to be dated around 1893–94, it shows the prodigious qualities of the 

young artist. It is known that Philippe Wolfers encouraged young Marcel to take 

his inspiration from nature, and to make studies of flowers and plants, growing 

abundantly in the Wolfers’ park around the parental house – designed by Paul 

Hankar – at La Hulpe near Brussels. 

This pewter bowl was almost certainly cast in the Wolfers Frères 

workshop. It is the only cast known to us today. 

52

Philippe Wolfers / Marcel Wolfers 

Hair Comb Hibou et Chauve-Souris, 1899 

Ivory, opal and carnelian 



Provenance: 



(by descent) 

Exhibited: 

Brussels, Salon de Pour l’Art – 8ième Exposition 

annuelle, Musée d’Art Ancien, 20/01–18/02/1900, 

cat. No. 20 

Paris, Galerie Aublanc, 1900 (no catalogue was edited) 


moderna, 1902 

Antwerp, Exposition d’oeuvres de Philippe Wolfers, 

exemplaires uniques exécutés de 1898 à 1903, Salle 

Verlat, 18/02–01/03/1903, cat. No. 36 bis. 

Brussels, Salon Triennal des Beaux-Arts, Hall du 

Cinquantenaire, 05/09–02/11/1903, cat. No. 1792 


cat. No. 54 


05/12/1991, cat. No. 9 




cat. No. 18.1 

Turin, s.l., 1994, cat. No. 182 b. 

Lleida, Centre Social I Cultural de la Fundació 

“La Caixa”, 10/2004–01/2005 

Palma de Mallorca, Centre Cultural dela Fundació 

“La Caixa”, 01–04/2005 

Bibliography: 





Anno I, Giugno 1902 N. 6, p. 182 (photo) 

Philippe Wolfers: juwelen, zilver, ivoor, kristal 





& p. 82 





Nuovo Secolo, Torino, Fabbri Editori, 1994, cover 

page photo & p. 252–253 (with photo) 

Gaspar M., Falk F., Vélez P., El Jardí Fantàstic – Joieria 

modernista a les colleccions Europees, Barcelona, 

Fundació “La Caixa”, 2004, p. 102 (with photo) 





54

56 

The “Hibou et Chauve-Souris” (Owl and bats) hair comb has an interesting 

history. It was designed by Philippe Wolfers on the 22nd of March 1899 and was 

executed before the 20th of January 1900, date of its first public showing on the 

Pour l’Art Salon in Brussels. Philippe considered it as one of his most important 

pieces, showing the comb at the iconic 1902 International Exhibition in Turin 

and in important shows in Antwerp and Brussels in 1903. Contemporary pictures 

show the sculpted ivory comb, crowned by a large owl sculpted in amethyst and 

hoovering over a large diamond set ruby. The diamonds and the large ruby proved 

to be fatal for this exceptional symbolist jewel. A substantial number of Philippe 

Wolfers’ art nouveau designs which incorporated very expensive gems were 

dismantled by the Wolfers firm, when unsold and out of fashion. That way the 

firm could recuperate the capital invested in the stones that were used. 

The remains of the jewels were generally destroyed but in some rare cases 

they were kept by Philippe Wolfers. On inheriting the hair comb, Marcel Wolfers 

decided to give it a new life and to sculpt a silhouette of a flying bat in an opal 

stone and affix it onto the comb, beneath what can be interpreted as a circular 

setting sun in carnelian. 

The ‘new’ comb, a posthumous collaboration between father and son, is 

convincing and makes the bridge between art nouveau and art deco. This 

iconic image was used on the cover of the important exhibition catalogue of the 

International Decorative Arts Exhibition of Turin 1902, which was edited by 

Fabbri Editori in 1994.


Water Lilies dish, 1899 



Signed: “M Wolfers / 11–4-99”, near the edge, at the start of the handle 

Marked with the “J. Petermann / Bruxelles” foundry mark at the bottom of the dish 

Provenance: 


Bibliography: 



p. 88 

It is hard to believe that this striking art nouveau dish was made when Marcel 

Wolfers was only 13 years old. Working in the style of his father, the young 

designer made a typical art nouveau object, decorative but with an eye for 

functionality: the dish rests on three ‘stems’, so that it remains stable and the 

stem of the closed water lily flower serves as a handle. 

To our knowledge only two casts of this model are known to exist. One 

in patinated bronze, this example, and one in pewter. Both were founded by 

J. Petermann, most certainly in the year of creation. 

58


Vase Paon, 1899 

Double overlay glass 


Signed: “PWolfers”, the signature partly missing 

This vase is unique. 

Provenance: 



(by descent) 

Exhibited: 

Brussels, Pour l’Art, Musée d’Art Ancien, 1900, 

cat. No. 25 

Hamburg, Ausstellung Belgischer Künstler. Constantin 

Meunier – Victor Rousseau – Hélène De Rudder – 

Isidore De Rudder – Ch. Van der Stappen – Philippe 

Wolfers, Hamburgisches Museum für Kunst und 

Gewerbe, Nov.-Dec./1901, cat. Nr. 25 


moderna, 1902 

Antwerp, Exposition d’oeuvres de Philippe Wolfers, 

exemplaires uniques exécutés de 1898 à 1903, Salle 

Verlat, 18/02–01/03/1903, cat. No. 56 

Brussels, Salon Triennal des Beaux-Arts, Hall du 

Cinquantenaire, 05/09–02/11/1903, cat. No. 1793 

Wiesbaden, 1904 


cat. No. 1 


05/12/1991, cat. No. 138 




cat. No. 76.1 

Bibliography: 






& p. 91 





The vase “Paon” was designed somewhere in the summer of 1899. The vase was 

finished before the 20th of January 1900, when the piece was exhibited, to much 

acclaim, at the annual show of the artists collective “Pour l’Art” in Brussels. It 

shows the new art nouveau style of Philippe Wolfers. Symmetry and stylised 

motives are replacing the early curvilinear naturalist decorations of the earlier 

pieces. This move towards stylisation and even the use of an almost abstract basic 

form, were also apparent in the silver base of the vase, alas disappeared now. 

The vase was executed in the workshops of the Cristalleries de Pantin (Pantin 

– Seine) according to the specifications of Philippe Wolfers. According to several 

contemporary accounts, the artist then finished the vases by hand in his own 

workshop in Brussels, using “dentistry material”. The quality of the chasing is 

60

62 

of the highest order as one could expect from a master silversmith. Wolfers also 

went to great lengths to achieve the right colours and colour combinations of 

glass. The group of glass vases designed by Philippe Wolfers belong to the most 

interesting creations in art nouveau glass. Due to their experimental nature a lot 

of the surviving vases have tension cracks and are flawed. Neither Wolfers nor the 

Cristallerie de Pantin had much experience with the technique of overlay glass at 

that time. The damage could also be due to the fact that the vases have suffered 

from extensive alterations and adjustments afterwards, in Wolfers’ studio. One 

has also to take in account the countless exhibitions and therefore transports the 

vases had to endure. In the case of the “Paon” vase, it was exhibited six times in 

four years, in three different countries. 

The vase “Paon” was probably broken before WWII. Since 1979, it has been 

exhibited in its current condition. The restauration of the vase is probably the 

work of Marcel Wolfers himself, possibly in the 1960’s. Even broken, the “Paon” 

vase remains an important witness of the later art nouveau style of Philippe 

Wolfers and his prowess as glass designer. The vase would certainly benefit from a 

professional restauration with modern techniques.


Model for hanger Faisans, 1901 

Plaster 


Provenance: 



(by descent) 

Bibliography: 




Gent, Design museum Gent, 2006, p. 367 (No. 155 for 

the photograph of the finished hanger) 

This plaster model, the chief model for the gold structure of the jewel, has to our 

knowledge never been exhibited. The “Faisans” hanger was executed in gold, 

enamelled gold, diamonds, pearls and rubies. It was finished before the 18th of 

January 1902, so the model will almost certainly have been made in 1901. 

The pheasant motif reoccurs many times in Philippe Wolfers’ oeuvre. 

According to oral information, he modelled these after the specimens that 

roamed the lush gardens of his home in La Hulpe. The “Faisans” hanger already 

shows the mature symmetrical style of Wolfers. The pheasant was of course a 

good animal to make a very colourful jewel. When one looks at the size of the 

plaster model, the hanger must have been spectacular. 

As is the case with the other plaster models in the exhibition, “Faisans” has a 

small metal loop, so it was on display in the workshop of Philippe Wolfers or in 

the drawing studio of Wolfers Frères. 

64


Art Nouveau coffee and tea service, ca. 1901–1910 

Silver and ivory for the insulators 

Dimensions: coffeepot: height 25,4 cm, length 23 cm (from spout to handle) 

Marked: on the bottom of each item, maker’s mark three five pointed stars in a triangle and alloy mark for 

800/1000 

Provenance: 

Private collection, Brussels 

This service was designed by Philippe Wolfers with the German market in 

mind. Unusually abstract in decoration and through a typical vertical design of 

the pieces, the set reminds us of Jugendstil designs by Peter Behrens, Richard 

Riemerschmid or even Rudolph Rocha. However, it is possible that the Philippe 

Wolfers’ design predates these of his German colleagues. 

The abstract design of the service is the end of an evolution which started 

around 1893. Philippe Wolfers went from an almost realist approach in his first art 

nouveau designs towards a more stylised and symmetrical art nouveau between 

1900 and 1905. It is difficult to date this set. It is a design that in our opinion 

should be dated around 1902–1905, but we lack any concrete evidence to support 

this theory. 

This model is by any account rare. Apart from a samovar of the same model, 

we know of only this service to have come to the market these last years. 

66


La Toilette medallion, 1903 

Ivory 

Dimensions: diameter 9,8 cm 

Signed: with the interlaced monogram“PW” and dated “1903” 

Provenance: 



(by descent) 

Exhibited: 


cat. No. 35 


05/11–05/12/1991, cat. No. 185 



Bibliography: 






Adriaenssens W., Philippe Wolfers en de renaissance 

van de ivoorsnijkunst in België, Bulletin van de 

Koninklijke Musea voor Kunst en Geschiedenis Deel 

71, Brussel, 2000, p. 153 fig. 35. 








The “La Toilette” or “The Grooming” is one of only a few sculptures where we 

know Philippe Wolfers to have used photography as a model for the carving. In 

fact “La Toilette” and its companion, the medallion “La Parure” were decorative 

elements for a jewel casket, also entitled “La Parure”, which had a very lengthy 

design period. The first drawings for the casket and the medallions were made in 

1899. The finished casket was only shown in 1905 at the Pour l’Art exhibition in 

Brussels. 

Curiously the “La Toilette” medallion that was mounted into the casket 

is dated 1902. The one we have, which comes from the personal collection of 

Philippe Wolfers, is dated 1903. Probably the 

sculptor was so pleased with the relief that he 

decided to have one made as a separate work of art. 

As it was customary, the artist first modelled a large 

version in plaster of which in this case a bronze was 

cast at the same size. The plaster modello was then 

reduced in size, by means of a reduction machine. 

Philippe Wolfers used the same method for the 

execution of the figurative details of his jewels. 

To our knowledge, the “La Toilette” medallion in 

ivory of 1903 remained an unique piece. 

68


The workshop of Isidore de Rudder, 1904 

Pastel on paper 

Dimensions: 44 × 32 cm (day measure) 

Signed: indistinctly “MWolfers” (in written script) and “04” bottom right 

Provenance: 


In this very early pastel, Marcel Wolfers, then aged 18, shows us the workshop 

of his master, Isidore De Rudder (1855–1943). Clearly, Marcel Wolfers was 

impressed with De Rudder’s newest creation, the sculpture “figure Tombale”, 

which he showed later at the Salon of the Cercle Pour l’Art in 1905. 

This work is one of the earliest finished drawings that we know by Marcel 

Wolfers. 

70


Aurore, circa 1906 


Dimensions: 38 × 45,5 × 17 cm 

Signed: “Ph Wolfers” on the base 

Marked: on the side of the base rim with foundry mark “Fon[de]rie N[ationa]le des Bronzes / J. Petermann / 

StGilles Bruxelles” 

Executed in an edition of only three casts 

Provenance: 

Wolfers Frères, Brussels 

Given by the board of Wolfers to the widow of Philippe 

Wolfers, Sophie Willstädter, on the 31st of December 

1929 


(by descent) 

Exhibited: 


Statuaire. Exposition Rétrospective, Bruxelles, 

Galerie l’Ecuyer, 13/10–12/11/1972, cat. nr. 56 

Bibliography: 


persoonlijke oeuvre van Philippe Wolfers in 


Gent, Design museum Gent, 2006, p. 388 (No. 217A) 

“Aurore” or Dawn is the first fragment of the “Le Cycle des Heures” sculpture, 

conceived in 1905. In 1907 Philippe Wolfers gave another cast to the Italian art 

critic and dealer Vittorio Pica, thanking him for his article on him in Emporium. 

A further cast was given by the artist to Régine Van Praag, a close friend of his 

mother’s ca.1908. 

72


Plique-à-jour studies, ca. 1905–1910 ( ?) 

Plique-à-jour enamel in silver for the irises motif 


Plique-à-jour enamel in copper for the crab motif 

Dimensions : 9,9 × 10,8 cm 

Provenance: 



These extremely rare enamel studies give us an insight into how Philippe Wolfers 

proceeded in making the complicated plique-à-jour enamel vases. Apparently, the 

enamel pieces were made separately from the overall structure and when finished, 

were brazed into the main form. Afterwards the whole object was finished by 

hand. 

These studies are not known 

to have a link with existing 

objects or with objects that were 

photographed by Alexandre, to 

fit into the special three part 

catalogue Philippe Wolfers 

commissioned. It is therefore 

likely that Wolfers made or 

intended to make other exclusive 

objects with plique-à-jour 

enamel. We know of at least one 

“bonbonnière” with plique-à-jour 

and cloisonné enamel, designed 

by Philippe Wolfers, which was 

on display in the Musée Philippe 

Wolfers, that has not been 

photographed. 

74


Pendant & broche Emaux Translucides, 1910 

Watercolour and ink on paper 

Dimensions: 35,5 × 30 cm (sheet) 

Signed: “Ph.W. 4.7.10” bottom right 

Provenance: 

Wolfers Frères 

Private collection 

Art market, Brussels 

Original drawings of jewellery which are signed and dated by Phillipe Wolfers 

are almost impossible to find. This drawing, depicting an orchid, shows that 

pendants were often designed to double as broches. What is remarkable about 

this drawing is the fact that it is dated the 4th of July 1910. As far as we know, this 

is one of the last known designs for an art nouveau jewel by the artist. It proves 

that even though the art nouveau style was almost out of fashion in 1910, clients 

still wanted to have a jewel, designed by Philippe Wolfers himself and in the style 

of his greatest creations. 

Although this drawing is unique, the jewel itself could have been made 

in several copies. The model is not in the “Exemplaires Uniques” repertoire. 

The drawing most certainly belonged to the archives of Wolfers Frères, but we 

cannot establish how it came onto the art market. 

76

78

Exhibition of Marcel Wolfers’ works at the Cercle Artistique et Littéraire (Brussels) in 1912


Aurora, 1910 

Terracotta 

Dimensions : 44 × 31 × 28 cm 

Signed: “[M] Wolfers / Unique / [terre] cuite” on the left side of the sculpture, partially missing & “M. Wolfers” 

incised on the bottom rim 


Provenance: 


Collection Anthony, Antwerp, bought from the above in 

1912 for 300,– frcs. 


(acquired at a sale somewhere in the 1950’s (?)) 

Exhibited: 

Brussels, Exposition Marcel Wolfers, Cercle Artistique 

et Littéraire de Bruxelles, 18/03–28/03/1912, 

cat. No. 17 

Marcel Wolfers referred to the terracotta version of the head “Aurora” as “Etude” 

or study in the 1912 catalogue. He probably chose to do so to distinguish it 

from the group “Aurora”, which was part of the “Légende Solaire” project, and 

which was visible at the same show. The head “Aurora” could indeed have been 

conceived initially as a study for the life-size version of the group. Although 

there is a reference to a certain “Mr. Maurissen” as sitter for the sculpture, 

in the archives of Marcel Wolfers, we found a photographic self-portrait which 

dates from the same period and which can be seen as a preparatory study for the 

finished sculpture. 

80


Aurora, 1910 

Bronze, later patinated with lacquer, on a black “noir de Mazy” base 

Dimensions: 74 × 34 × 38 cm 

Signed: “M. Wolfers Ep N°2 cire perdue”, on the side of the sculpture 

Provenance: 


Exhibited: 

Woluwe-Saint-Pierre (Brussels), Exposition Marcel 

Wolfers, Atelier 28, Av. Verte, 18/03/1912–28/03/1912, 

cat. No. 19 (possibly this example ?) 

Brussels, Marcel Wolfers sculpteur-laqueur, Galerie Nos 

Peintres, 26/11–09/12/1932, cat. No. 6 

Ghent, Ville de Gand Salon de 1933, Palais des Fêtes, 

12/08–08/10/1933, cat. No. 847 

Brussels, Marcel Wolfers, sculpteur-laqueur, Galerie 

L’Ecuyer, 22/05–13/06/1970, cat. No. 60 

As with the terracotta version, the bronze head “Aurora” got the suffix “Etude” in 

the 1912 catalogue. Considered by Marcel Wolfers as a major work – he put the 

bronze head on the cover of the catalogue – the mention “study” has to be seen as 

a way to differ it from the “Aurora” group. 

The present “Aurora” is the second cast out of two, both cast in the lostwax 

technique. The first cast was sold to Max Wolfers in 1912 for 1500,- frcs. 

The second cast remained with Marcel Wolfers. Between ca. 1928 and 1932, 

Marcel Wolfers decided to patinate the bronze with lacquer. The result is striking: 

the dark red colour of the lacquer endows the bronze with a dramatic radiance. 

Of all lacquered bronzes by Marcel, this is perhaps his finest realisation. Marcel 

Wolfers himself regarded the piece as one of his most important sculptures, and 

priced it for his 1932 retrospective in Brussels at 8000,- frcs. 

82


Bilitis, 1911 

Terracotta with engobe on a marble base 

Dimensions: 49 × 18,2 × 20,2 cm 

Signed: “Marc Wolfers/1911 / terre cuite / N°1”, on the side of the sculpture 


Provenance: 


Albert Wolfers, bought from the above in 1911 for 

1000,- frcs. 


(acquired from the estate of the above around 1934 

(?)) 

Exhibited: 

Brussels, Exposition Marcel Wolfers, Cercle Artistique 

et Littéraire de Bruxelles, 18/03–28/03/1912, 

cat. No. 16 

Brussels, Marcel Wolfers. Sculpteur-Laqueur, Galerie 

L’Ecuyer, 22/05–13/06/1970, cat. No. 61 

It is not sure whether Marcel Wolfers referred to “Les Chansons de Bilitis”, 

a collection of poetry by Pierre Louÿs published in 1894 or to Claude Debussy’s 

“Three songs of Bilitis”, inspired by the aforementioned and published in 1897. 

In any case, the story of a fictional and mythical Greek poet must have appealed 

to Marcel, always prone to draw upon mythology, philosophy and poetry as 

a basis for the subjects of his work. But as the Louÿs poems celebrate lesbian 

eroticism, the Bilitis bust shows a very appolonian portrait of a young woman. 

The technical use of engobe as a means to create a polychrome sculpture, 

reminds us of the Tanagra terracotta figurines. Also, in the unique bronze version 

of the bust, the opening up of the eyes is similar to the excavated Greek bronze 

sculptures, which often lacked the enamel lifelike eyes that were set into the 

bronze eye sockets. The “Bilitis” name is therefore in our opinion rather to be 

seen as a reference to Greek sculpture, Marcel Wolfers using this “new” name as 

opposed to the older established names (Sappho, etc.) which are burdened with a 

large art historical past. 

By repute, Marcel Wolfers used a former lover of his to sit for the bust. 

84


Bilitis, 1911–1913 

White carrara marble 

Dimensions: 38,5 × 20 × 20 cm 

Signed: “Marcel Wolfers”, on the side of the sculpture 

With justification “2/2” near the edge 

Provenance: 


Exhibited: 

Tournai, Cercle Artistique de Tournai. 32me Exposition, 

1921 cat. No. 529 

Louvain, Exposition des oeuvres de Anto Carte et 

M. Wolfers, Louvain, Modern Studio, 

19/02–28/02/1928, cat. No. 2. 

Marcel Wolfers felt at ease working in the delicate white carrara marble. 

He always used the material to his advantage, using the translucent qualities of 

the stone to embed his sculptures with an almost symbolist aura. The marble 

version of “Bilitis” was executed in two copies, two years after the terracotta. 

One version was sold in 1913 to a collector for 2000,- frcs, the second version was 

kept by the sculptor. 

86


Automne or Vendanges, 1913 



Signed: “Ph Wolfers 1913” on the base 

Provenance: 



(by descent) 

Exhibited: 

Brussels, Galerie l’Ecuyer, 13/10–12/11/1972, cat. nr. 57 


cat. No. 71 


Bibliography: 



Galerie L’Ecuyer, 1972, s.p. 










“Automne” or “Vendanges” is one of the most elegant and characteristic bronzes 

of the early Wolfers’ sculptures. The interaction between the two figures, one 

sitting and one standing, is very convincing and gives the scene a sort of intimacy. 

The composition has a very sensual rhythm and although the base of the 

sculpture is fairly large, the care for detail and the exquisite execution of the floral 

decoration makes it almost disappear from the overall composition. 

“Vendanges” or “Automne” was executed twice in marble. Philippe Wolfers 

was so pleased with this composition, that he made a second, unique version of 

the group in 1916. Of the bronze version of the sculpture, four casts were made. 

One cast belonged to the brother of Philippe, Robert Wolfers. This specific cast 

was kept by Philippe Wolfers for his own collection. 

88


Destruere, 1913 



Signed: “Marcel Wolfers/1913”, on the short side of the base 

Marked: Foundry mark “Fonderie Nat[ionale] des bronze / Anc[ien]ne Firme J. Petermann / St Gilles Bruxelles”, 

on the long back side of the base 


Provenance: 


Exhibited: 

Brussels, Exposition de La Libre Esthétique, Musée des 

Beaux-Arts, 07/03–13/04/1914, cat. No. 223 

Brussels, VIe Salon de Printemps, Cercle Artistique, 

07/06–20/07/1919, cat. No. 204 

Paris, Salon d’Automne, Grand Palais du Champs- 

Elysées, 01/10–10/12/1919, cat. No. 1948. 

Liège, 1920 

Tournai, 1920 

Barcelona, Exposition d’œuvres d’Artistes belges, 

Municipalité de Barcelone, 1921, cat. No. 416 

Leuven, Exposition Anto Carte et Marcel Wolfers, 

Modern Studio, 1928 

The “Destruere” sculpture, or “Le couple”, was supposed to form a group with 

“Possidere”, “Dominari” and “Creare”, called “Les Chants d’Ivresse”, also inspired 

by the work of Nietzsche. The maquette was shown along with the “Légende 

Solaire” project at the Marcel Wolfers exhibition in Brussels in 1912. Wolfers soon 

decided to abandon the “Chants d’Ivresse” project and to develop each sculpture 

as an independent work of art. 

Marcel Wolfers decided to cast the “Destruere” group in bronze. In 1914 

he made a monumental clay version of the sculpture, which remained in his 

workshop during the war years. When he came back from the war, he found that 

the large sculpture had been destroyed by frost in the winter of 1917. Around 

1922, Marcel Wolfers asked master potter Roger Guérin to make three salt glazed 

stoneware copies of “Destruere”. The bronze version of “Destruere” remained 

unique. Although the sculpture was included in many selling exhibitions, Marcel 

Wolfers never wanted to part with this bronze. 

90

Wolfers Frères 

Commemorative serving tray, 1918 

Silver 

Dimensions: diameter 35 cm 

Marked: on the side near the edge the complete set of “Grands Poinçons” of Wolfers Frères: “WF” in written 

interlaced script, lion rampant faced to the left, three five-pointed stars in a triangular form consisting of three 

interlocking circles, alloy mark for 800/1000 and fantastic animal faced to the right 

Provenance: 


A serving tray commemorating WWI, but which leaves us without an answer 

for which occasion it was made. It has to have had a special meaning to Marcel 

Wolfers as he kept the tray in his collection. 

Typical of the neo Louis XVIth style that was popular with Wolfers Frères in 

the 1910’s, the “Godrons” pattern predicts the arrival of the art deco style. The use 

of the Grands Poinçons marks could indicate that this piece was made for a public 

occasion. 

92


Psyche, 1919 

Patinated bronze on a marble base 

Dimensions: 52 × 33 × 26 cm (with base) 

Signed: “Ph Wolfers” on the back of the shoulder 

This sculpture is unique. 

Provenance: 

Private Collection, Brussels 

Exhibited: 

Barcelona, Exposition d’oeuvres d’artistes belges, 

Municipalité, 1921, cat. No. 418 

Bibliography: 





“Psyché” was executed in 1919. Two versions were carved in marble. One of these 

versions was given to the mother of the sitter, Fanny Wolfers (1864–1943), sister 

to Philippe Wolfers. Her daughter Lucie Dreyfus-Chambrelent (1903–1981) was 

the inspiration for this bust. Lucie was 16 years old at the time, and wore her hair 

in a “Catogan” or bow, very fashionable at that time. The titel “Psyché” probably 

refers to the beauty of the youngster. The other marble version remained at 

Wolfers Frères and was part of the Musée Philippe Wolfers. 

There was also a bronze version, mounted on a marble base, which remained 

unique. As is the case with the marble version, “Psyché” does not look straight 

to the viewer. In the case of the bronze version, this portrayal of movement is 

reinforced through the fact that Philippe Wolfers put the bust on a specially 

designed marble base, but took care to seemingly put it almost sideways on the 

marble base. The base itself had an architectural quality and is composed of two 

different marbles, which enhances the sumptuousness of the base. Apart from its 

exhibition in Barcelona in 1921, all trace of this sculpture was lost. It is the first 

time, since 1921, that this bust is displayed publicly. 

94


Isis, 1919–1920 

Patinated oak 

Dimensions: 39,5 × 25,5 × 28 cm 

Signed: “Marcel Wolfers”, on the side of the sculpture 

Marked: with a brand-mark symbol of St-Georges 


Provenance: 


Hottat Collection, Brussels (acquired from the above 

in 1921 in Paris for 3000,- frcs) 


(probably acquired on the sale of the Hottat 

collection in May 1954) 

Exhibited: 

Paris, Salon d’Automne: Les Ymagiers Belges, 

01/11–20/12/1921, cat. No. 2875 


Bibliography: 

Adriaenssens W.; Steel R., De Wolfers Dynastie – 

van art nouveau tot art deco, Gent, Design museum 


The “Isis” bust was originally conceived in 1912. The bust was modelled after 

Yvonne Wolfers (1896–1981), daughter of Mathilde Wolfers, sister of Philippe 

Wolfers. The bust was a fairly realist and somewhat static portrait of Yvonne, with 

a reference to the goddess Isis, on a high marble pedestal. In 1919 Marcel Wolfers 

decided to rework the bust. He tilted the head of the sitter slightly backwards, 

giving movement to the composition and accentuating the scarab decorated hair 

ornament. By starting the composition just at the height of the neck (the marble 

version showing the shoulders), the composition acquired better proportions. 

Regarding the early work of Marcel, “Isis” along with “Bilitis” are often cited as 

his most sensuous sculptures. Georges Verdavaine wrote in Le Home magazine: 

“Isis est devant nous. Regardez la pureté de son front, la sérénité de ses traits, la 

loyauté de son regard, la promesse de ses lèvres, où la volupté met une caresse en 

un sourire discret. Discrétion qui n’exclut ni la fierté, ni l’orgueil, ni la noblesse. 

Les cheveux s’agitent et flottent. Et la déesse apparaît, dans le charme de la 

séduction, comme la fille même d’une civilisation qui éclairera le monde. Isis !” 

The oak version was sculpted out of an 

ancient beam, salvaged from a construction 

site. It was first presented at the Salon 

d’Automne in Paris in 1921, where it 

was acquired by the very important and 

influential collector Albert Hottat from 

Brussels. When it was sold in 1954, in the 

sale of the collection of Hottat, Marcel 

Wolfers could not resist buying it back for his 

own collection. 

96


La Légende Solaire or Le Jour et les Crépuscules, 1912 

The groups Nox, Crepusculum and Aurora 

Salt glazed stoneware, executed by the firm of Roger Guérin, Bouffioulx 

1a. Nox 

Dimensions: 67,5 × 46,5 × 24 cm 

Signed: “MW 1920” at the side of the sculpture 

“Marcel W 1912” at the other side of the sculpture 

3a. Aurora 


Signed: “Exp I / Guerin” on the base 

2a. Crepusculum 

Dimensions: 77,5 × 53,5 × 24 cm 

Signed: “Marc. Wolfers” on top of the base 

“Exp. II R. Guérin / Potier” on top of the base 

“MWolf.” on the other side of the base 

Provenance: 


Exhibited: 

Brussels, le Clockarium, 28/09/2007–28/01/2008 

Bibliography: 

Adriaenssens W., Marcel Wolfers et Roger Guérin in 

Au gré du gré – de l’art nouveau à l’art déco Edgard 

Aubry & Roger Guérin, Bruxelles, le Clockarium, 2007, 

p. 45–51 & 77 (with photo) 

“Nox”, “Crepusculum” and “Aurora” were part of a large project of monumental 

sculptures that Marcel Wolfers envisaged as a decoration for a public garden. 

The project originally included a fourth group, “Lux”, which was later destroyed, 

possibly by Marcel Wolfers himself. He named the project “La Légende Solaire” 

or “Le Jour et les Crépuscules”, and the subjects were inspired by “Also Sprach 

Zarathustra” by Friederich Nietzsche. When Wolfers exhibited the groups 

together at the Brussels Cercle Artistique in 1912 (in the same year they were 

shown, along with “Possidere” at the Venice Biennale), the catalogue mentioned 

with each group, the lines by Nietzsche which had inspired the sculptor: 

“Nox” — “Verily, a goal had Zarathustra; he threw his ball. Now be ye friends 

the heirs of my goal; to you throw I the golden ball. Best of all, do I see you, 

my friends, throw the golden ball!” 

“Crepusculum” — “Not perhaps ye yourselves, my brethren! But into fathers 

and forefathers of the Superman could ye transform yourselves: and let 

that be your best creating!” 

“Aurora” — “But in the loneliest wilderness happeneth the second 

metamorphosis: here the spirit becometh a lion; freedom will it capture, 

and lordship in its own wilderness.” 

(translations by Thomas Common (1850–1919)) 

98

2a

1a 

The fact that Marcel Wolfers was inspired by Nietzsche must not come as a 

surprise. Around 1910 he had frequent contacts with painter Emile Fabry 

(who based his Zarathustra portrait on the young Marcel Wolfers) and the book 

was probably well read in the Brussels Masonic milieu which Marcel attended. 

The original groups were executed in plaster. Only “Crepusculum”, also called 

“La Famille” was later executed in marble and had a reduction in wood. In 1920 

Marcel Wolfers contacted the potter Roger Guérin from Bouffioulx, a potters’ 

village which had an ancient stone ware tradition going back to the Middle 

Ages. Marcel ordered to make stone ware versions of “Nox”, “Crepusculum” and 

“Aurora”. Both “Nox” and “Aurora” were executed in two copies, “Crepusculum” 

was made in three copies. The execution of such large pieces in salt glazed 

stoneware proved very difficult for the Guérin pottery. All surviving casts have 

several cracks and faults due to the firing and cooling of the pieces. Although 

Marcel Wolfers did not pursue a further collaboration with the Guérin firm, he 

liked the stoneware sculptures immensely, putting them on display in his garden. 

It is a credit to the quality of the work of master potter Roger Guérin that they 

survived the harsh Belgian winters without deterioration. 

100

3a

Preliminary studies for the “Légende Solaire” 

While researching the collection of Marcel Wolfers and Clairette Petrucci, we 

discovered thanks to the help of the family, a collection of terracotta bozetti 

or studies for the “Légende Solaire” project. These sketches have never been 

exhibited and are executed in terracotta or glazed terracotta. Some have been 

glazed by Roger Guérin and executed in two copies in 1921. Others are unique. 

One of the most interesting groups is the study for “Lux”, the fourth group of 

the “Légende Solaire” that was destroyed. The study is the only remnant of this 

sculptural group. 

1b. Nox 

Earthenware with a green glaze 


Titled “Nox” at the side 

2b. Crepusculum, 1910 

Terracotta 


Inscription on the side “MW / 25 Aout / 1910” 

and titled “Crepusculum” 

2c. Study for Crepusculum (?), 1910 


Gold signature plaque imbedded into the clay 

“Marcel / Wolfers / Piece /Unique” 

Inscription on the side “MW / 1910 / illegible” 

3b. Aurora 

Earthenware with a dark brown glaze 

Dimensions: 17,5 × 16 × 6,5 cm 

Incised inscription at the side (illegible) and titled 

“Aurea” on the front 

3c. Study for the left figure of Aurora, 1910 

Terracotta 


Incised inscription on the back “VI / Six-pointed star / 

1910 / MW” 

4a. “Lux” or “Diez” 

Terracotta (restored by the artist) 


Incised inscription on the back “1910 / six-point star 

with number I / Illegible / × II / hammer” 

Titled “Diez” on the front 

2c 

4a 

102

1b 

2b 

3c 

3b


Possidere, 1920 

Salt glazed stone ware 


Signed: “Marcel Wolfers” and illegible 

Marked: “R. Guerin / M[aître] Potier” on the side of the base 

Provenance: 


Exhibited: 

Brussels, Clockarium, 28/09/2007–28/01/2008 

Bibliography: 

Adriaenssens W., Marcel Wolfers et Roger Guérin in 

Au gré du gré – de l’art nouveau à l’art déco – Edgard 

Aubry & Roger Guérin, Bruxelles, le Clockarium, 2007, 

p. 45–51 & 77 (with photo) 

Marcel Wolfers started to work on “Possidere” in 1909. Actually “Possidere”” was 

a complete reworking of his “Dominari” group, his submission to the Godecharles 

Prize contest of 1907. The finished plaster version was shown for the first time 

in 1910 at the Brussels Salon International des Beaux-Arts (coinciding with the 

World Fair) and was afterwards exhibited in Munich, Paris and in 1912 at the 

Venice Biennale. 

In 1919 Marcel Wolfers sculpted a monumental version in blue limestone for 

the Wolfers properties in La Hulpe where it was installed. It exists to this day, 

but was moved a couple of years ago to a roundabout near the village station. It 

remains one of the most impressive large scale sculptures of its time. 

Around 1912–1913, Marcel Wolfers made a small version, on scale 1/3rd of the 

original, in three different materials. The bronze, unique, was sold to the Museum 

of Ixelles in 1922. Two other versions, on the same scale, were executed by the 

workshop of Roger Guérin of Bouffioulx in salt glazed stoneware. One version 

was sold to a collector in 1933 for 5000,- frcs., the other version was kept by 

Marcel Wolfers for his own collection. According to the family of the artist, a fact 

corroborated by vintage photographs, the statue sat outdoors in the garden of the 

Vieusart residence of Marcel and Clairette since WWII. 

104


Preliminary study for Possidere 

Terracotta (restored) 


With the small studies for the “Légende Solaire” project we found an early 

bozetto for “Possidere”, probably dating from around 1909–1910. The small scale 

study was made in clay and left to dry. It was probably fired at a later date. 

Due to the firing, the sculpture has multiple cracks and has a large part glued to 

the main body. 

It is amazing how the artist knows to convey the sense of power and 

movement in such a small sketch. 

106

Marcel Wolfers next to the monumental version of Possidere, 

in front of the Belgian pavilion at the Venice Biennale in 1912


Dolly, 1920 



Signed with the monogram “MW” and “1920”, bottom left 

Provenance: Marcel Wolfers and Clairette Petrucci collection 

This is the portrait of a certain of Dolly “Levezay” (sic Marcel Wolfers) of whom 

we could not find any information. We do not know for which occasion the plaque, 

obviously a commission, was made. The bronze plaque was later reduced and 

converted into a medal of 8,5 cm high. This medal was one sided. Marcel Wolfers 

also executed one ivory version of the reduced plaque. 

108


Portrait of the painter Willem Paerels, 1920 

Patinated plaster on a wooden base 


Signed: “Marcel Wolfers 1920”, at the neck 

Provenance: Marcel Wolfers and Clairette Petrucci collection 

Marcel Wolfers was seldom inclined to make a portrait head or a bust. He only 

wanted to make a portrait if he felt a real connection with his sitter. Hence the 

very original and personal outcome of his portraits. The head of Willem Paerels 

(1878–1962) is to be seen as a tribute from Marcel to a great friend. Executed 

in 1920, it shows the painter in the year he lost his beloved wife, and the year he 

decided to leave fauvism behind in favour of a more expressionist approach. 

Apart from the original plaster which was patinated by the artist, only two 

casts in bronze (lost-wax) were made. One was bought by the Belgian State in 1921 

and was bequeathed to the Museum of Fine Arts in Mechelen, the other – slightly 

later – cast was given by Marcel Wolfers to Willem Paerels in 1932. 

When reviewing the portrait for the ‘La Nervie’ magazine in 1924, Henri 

Lavachery wrote: “ […] Il y a dans ce buste une vie singulière, car il a gardé le 

charme primesautier de l’esquisse d’argile. […] Les surfaces maîtresses ont une 

simplicité et une force du premier jet. l’Etat fut bien inspiré lorsqu’il acheta ce 

buste. Il est parmi les plus beaux de la statuaire belge, et l’un des plus vibrants 

d’inspiration créatrice.” 

110

Willem Paerels 

Portrait of Marcel Wolfers 

Oil on canvas 


Signed: “Paerels”, bottom right 

In contrast to the early portraits that we have on display in the exhibition, 

this portrait of Marcel Wolfers by Paerels shows him as an older man. It was 

probably painted the at the end of the 1930’s or in the 1940’s, when Marcel was 

middle aged. It is a proof of the lifelong friendship between the two artists. It 

is perhaps the only portrait of Marcel Wolfers showing him as an artist with a 

whole career behind him, but who now is interested in deepening his art. No more 

spectacular art in the public eye, but art as a means to come to reflection, even 

meditation about oneself and the surrounding world. The portrait of Paerels 

also shows a man, although bestowed with public functions and belonging to the 

Brussels’ establishment, who loves the simple, honest life of the countryside and 

leads a life devoid of pomp and circumstance when he receives his friends at his 

home in Vieusart. 

112


La Périchole, 1920 



Signed: “M Wolfers. / cire perdue / 1/3 / 1920”, at the back, near the edge of the sculpture 

Marked: double foundry mark of Wolfers Frères “WF” interlaced and “Lion Rampant” at the back, near the edge of 

the sculpture 

Provenance: 


Exhibited: 

Paris, Salon d’Automne: Les Ymagiers Belges, 01/11– 

20/12/1921, cat. No. 2873 

Tournai, 33me Exposition Cercle Artistique de Tournai, 

10/09–03/10/1922, cat. No. 358 

Leuven, Exposition Anto Carte et Marcel Wolfers, Salle 

Fonteyn, 19/10–28/10/1924, cat. No. 18 

Stockholm, Äldre och Nyare Belgisk Konst [Exposition 

d’œuvres d’artistes belges à Stockholm], Liljevalchs 

Konsthall, 9/09–28/09/1927, cat. No. 504 

Brussels, Blancs et Noirs, Galerie Javal et Bourdeaux, 

14/12–31/12/1929, cat. No. 46 

The title of this bust probably refers to the Jacques Offenbach opera of the same 

name. Indeed we see the depiction of “La Périchole”, a fair maiden, in poor dress 

but with an exotic reference (the hair comb), lover of Piquillo the poor Peruvian 

street singer. However the bust conceals a secret. Conceived in the period when 

Marcel Wolfers was courting Clairette Petrucci (they married in 1923), it is 

actually a stylised portrait of his fiancee. One recognises her typical profile and 

slightly daunting look. Henry Lavachery (who knew both Marcel and Clairette 

very well) wrote in 1924: “Ce buste d’une grâce androgyne, fournit aux songes 

un élément sans cesse renaissant. Le visage amaigri d’adolescent, plein d’une 

coquetterie hautaine, les épaules fines, les seins menus et droits, tout y est d’une 

réalité transcendantale qui pénètre de mystère sa beauté.” 

Cast in the lost-wax technique by the firm of Wolfers Frères, only two casts 

(out of three projected) were made. Marcel sold one cast to a collector in 1932 for 

4500,- frcs, this cast remained with him and his wife. 

114


La Périchole, 1923 

White crackle glazed ceramic 

Dimensions: 59,5 × 32 × 18 cm 

Signed: “M Wolfers 1920”, at the back of the sculpture near the base 

Provenance: 


Exhibited: 

Brussels, Cercle Artistique et Littéraire de 

Bruxelles. Exposition Anto Carte, Jean Hendrickx, 

Marcel Wolfers, 25/02–04/03/1923, cat. No. 131 

Wavre, Histoire Locale. Sculpture. Peinture. Exposition, 

Salle Marchal, 02/04–09/04/1949. 

As is the case with some other pre-WWII sculptures, Marcel Wolfers had the 

bronze executed in ceramic. Due to both nature and subject of the bust, he chose 

not to work with the Guérin Pottery, as its salt glazed stoneware would diminish 

the grace and subtle modelé of the sculpture. Instead Marcel turned to the 

Brussels firm of Céramique de Bruxelles, which executed statuettes and objets 

d’art in white ceramic, primarily in art deco style. The glaze is slightly crackled 

and although reminiscent of the art deco production of white crackled glazed 

figurines, this bust clearly stands its ground as an autonomous work of art. 

Executed in 1923 and another in 1926, it seems that only two casts were made 

with in white crackled ceramics. A third bisquit fired cast, that was subsequently 

covered with gold leaves by the artist, surfaced onto the Brussels art market 

around 1980. 

116


Head of Holocausta, 1921 

Plaster on a marble base 


Provenance: 


It is unclear whether this head is a study for the monumental plaster version 

of “Holocausta” shown on the Salon d’Automne of 1921, or whether it is the only 

element that Marcel Wolfers decided to keep when he dismantled the sculpture. 

The sculptor kept the head on display in his workshop. 

The Les Ymagiers Belges exhibition at the Salon d’Automne (Paris) in 1921 

118


Le Premier Cahier du Marchand d’Images, 1921 

Printed in an edition of 210 copies, on the presses of F. Dorel in Paris, all numbered and signed by the author 

We present the numbers 37/210 and 155/210 of the first and only edition. 


Provenance: 


Marcel Wolfers volunteered to serve in the Belgian army. The war would change 

him as a man and as an artist. Impressed by its atrocities and trying to find a 

relevance for art in this world, he decided to make a book, in which he would write 

on the war and on art and would rethink his function as an artist. 

Marcel Wolfers saw himself now as an “image maker” or “Imagier”, someone 

who has to make the beauty of life visible in art. The artist becomes a story teller 

for those left behind, victims and survivors of the war and has the task to console 

them by leading the way to genuine beauty through art. The texts and drawings 

were made between 1915 and 1917 and were published in 1921. Although it is one 

of the most personal artist’s books on WWI, it has remained fairly unknown to the 

general public. 

120

Marcel Wolfers / Anto Carte 

Le Deuxième Cahier du Marchand d’Images, 1922 

Printed in an edition of 275 copies, on the presses of F. Dorel in Paris, all numbered and signed by both authors 

We present the numbers 92/275 and 196/210 of the first and only edition. 


Provenance: 


The second book from the “Edition du Roseau Vert”, the publishing house of 

Marcel Wolfers, was called “Ecrits de Novembre”. Contrary to his original plan 

to make this second book alone, he decided to collaborate with Anto Carte, who 

committed himself to illustrating the texts written by Marcel Wolfers. 

This second “Cahier du Marchand d’Images” is the most beautiful and 

accomplished book of the series. From the outset it encountered great success, 

partly thanks to the publicity efforts Marcel made. He sent the book to leading 

journalists and artists. He even sent one as a gift to the Belgian Queen. The book 

was distributed in Brussels by Marcel Wolfers, but leading booksellers such as 

De Nobele, Simonson and the “Musée du Livre” sold it as well. The book was 

also distributed through the distinguished shop of Dominique in Paris, to great 

success. 

The double page and single page illustrations of Anto Carte are true works of 

art. Sometimes they feature Marcel Wolfers: in the illustration on page 23, we 

see an impoverished artist (“un imagier”) trying to sell a sculpture to passers-by. 

The sculpture in his hand is an nude version of “Holocausta”. One is tempted to 

interpret the depiction of the lovers on page 43, as Marcel and Clairette, who were 

courting at that time. 

As is the case in the first “Cahier”, the form and illustrations and arguably also 

the poetic language, are influenced by Japanese and Chinese art and literature. 

The subject matter is still very much influenced by Marcel Wolfers’ impressions 

of the war. 

122

124


Dancer with a garland of flowers, ca. 1921 (?) 

Patinated bronze, on a red marble base 

Dimensions: 26,5 × 16 × 8,5 cm (with base) 

Signed with the interlaced monogram“PW” 

Marks: Double foundry mark of Wolfers Frères on the back of the base “WF” interlaced and “Lion rampant” 

Wolfers Frères “cire perdue mark” 

Provenance: 



An exact identification of this sculpture remains difficult. We do not have any 

annotated documents or contemporary photographs to identify the sculpture. 

Even Marcel Wolfers, when asked to identify the model, was somewhat at loss. 

He concluded that it was a variant of “La Guirlande”, also made in 1921 in an 

edition of three. Although this is a possibility, at this point we cannot be certain 

that his assumption is correct. 

“Dancer with a garland” is an extremely rare sculpture. Only two versions 

are known today, this one included. This specific sculpture belonged to Marcel 

Wolfers and Clairette Petrucci. It is the first time that this cast is shown to the 

public. 

126


Bronze hand mouldings from the Wolfers family 

Frans, 1910 



Signed: interlaced monogram “PW / cire perdue” and dated “1910” 

This moulding, executed in bronze and signed by Philippe Wolfers, was taken 

from the hand of a certain Frans. After consulting the Wolfers family tree, the 

only likely candidate seems to be Franz Wolff (1907–2002), grandson of Emma 

Wolfers (1861–1930), sister of Philippe. Although his name is written with a ‘z’ at 

the end, his date of birth corresponds with the size of the hand. 

Yves, Novembre 1926 



Signed: interlaced monogram “PW” and dated “Nov. 26” 

Oval foundry mark “Montagutelli Bruxelles cire perdue” on the inside 

This moulding, executed in bronze and signed by Philippe Wolfers, was taken 

from the hand of Yves Goldschmidt (1922–1988), the only child of the youngest 

daughter of Philippe, Nelly Wolfers (1891–1923). 

Roger, janvier 1927 


Dimensions : 19 × 15,5 × 7,5 cm 

Signed: interlaced monogram “PW” and dated “Janvier 1927” 

This moulding, executed in bronze and signed by Philippe Wolfers, was taken from the hand of Roger Feldheim 

(1920-?), son of Renée Wolfers (1887–1960), the elder daughter of Philippe Wolfers. 

Provenance: 



The practice of moulding children’s hands is still very much alive today. 

It is however very unusual to have the mouldings executed in bronze according to 

the lost wax method, which was and is very expensive. It is not known how many 

casts Philippe Wolfers ordered from each hand, but it is possible that these casts 

are unique. 

128

130

View of the Gioconda table at the Paris Exhibition of 1925


Gioconda oval serving dish, ca. 1925 

Silver 


Marks: on the bottom “WF” in written interlaced script, three five-pointed stars in a triangular form consisting of 

three interlocking circles, alloy mark for 800/1000 

Provenance: 



(by descent) 

Exhibited: 


05/11–05/12/1991, cat. No. 164 




cat. No. 104.2.c 

Antwerp (Deurne), Art-Deco zilver Antwerpen-Brussel- 

Gent, Provinciaal Museum Sterckshof- Zilvercentrum, 

27/02–27/05/1996, cat. No. B99d 

This silver serving tray is the only item of the “Gioconda” silver tableware we 

know of, bearing the personal monogram of Philippe Wolfers, engraved to it. 

The monogram is identical (albeit with a slight difference due to the medium and 

place of application) to the monogram we find on the bottom of the creamware 

tableware in the “Gioconda” pattern. The same art deco typography is used for 

the Marcel Wolfers monogram on the cutlery which is now in the collection of the 

Royal Museums of Art and History in Brussels. It is certain that Philippe Wolfers 

was responsible for the design of the monograms. 

132


Gioconda tableware, ca. 1925 

Creamware 

Dimensions: a. salad bowl: height: 11,5 cm, diam. 27 cm 

b. oval dish: 52 × 42 cm 

c. oval dish: 47,5 × 38 cm 

d. oval dish: 42, 5 × 34 cm 

e. 3 round dishes: diam. 32,5 cm 

f. 2 round dishes: diam. 38 cm 

g. 6 moka cups and saucers: height cups 5 cm, diam. saucers 12 cm 

Marks: each item printed with “Gioconda / PW / Deposé / Keramis / Made in Belgium” on the bottom 

Provenance: 



(by descent) 

Exhibited: 


cat. No. 104.3a (a.; e.) 


05/11–05/12/1991, cat. No. 169 (a.; e.) 


Geschiedenis, 15/02–15/04/1992, cat. No. 169 (a.; e.) 

The “Gioconda” tableware was one of the most successful items in the “Gioconda” 

pattern, designed by Philippe Wolfers for the Paris exhibition of 1925. Although 

Wolfers initially wanted to execute the tableware in porcelain and with colour 

(the design for a porcelain cup and saucer are dated the 30th of December 1924) 

he changed his mind. By May 1925 he commissioned the renowned Belgian 

firm of Boch Frères from La Louvière with the production of the tableware. 

The tableware was added to their “Keramis” design range. Due to the fact that 

it was executed in creamware, the prices were reasonable, as opposed to the 

silverware and crystal in the same pattern, which were very expensive. 

Wolfer Frères sold the tableware in their main shop in Brussels and still 

had a considerable stock of it in 1952. A contemporary photograph showing 

the preparations of a celebration of the workers of the firm, shows they used 

“Gioconda” plates for the feast. The bestselling items were the coffee and tea 

cups, followed by the dishes. Large items such as large trays and bowls were less 

in demand as these were more expensive. The only drawback the creamware 

tableware had, was its proneness to crackle of the glaze and chips. A lot of what 

was produced did not survive everyday use. 

The trays, cups and the bowl on show here, were part of the personal collection 

of Philippe Wolfers and were used by the Wolfers family. 

134


Gioconda coffee or tea table, ca. 1925 

Mahogany, ivory 


Provenance: 

A distinguished private collection, Belgium 

The “Gioconda” ensemble, specially designed by Philippe Wolfers for the 

International Exhibition in Paris of 1925, is considered one of the most important 

ensembles of the art deco period. At the time, it earned Philippe Wolfers the 

“Grand Prix” with a maximum of 20 out of 20 points. 

Although the complete ensemble, displayed at the exhibition, was a unique 

commission, most items were designed to be produced and sold through the 

shops of Wolfers Frères. The “Gioconda” silverware was of course edited and sold 

through Wolfers, but even the “Gioconda” ceramics, made by Boch, were sold 

through them. Possibly one could also order the Val Saint-Lambert drinking glass 

in cut crystal through Wolfers Frères, although very few were sold, probably due 

to their price. 

The furniture seems the have been executed only once, with exception of the 

“Gioconda” tea table. We know for a fact that Wolfers Frères sold the tea table 

through their shops. On the back of a commercial photograph by Wolfers Frères, 

showing a tea table with the “Gioconda” coffee and tea service on top, we found a 

list of selling prices for each item. These photographs were sent to the different 

shops where Wolfer Frères sold their goods. A “Gioconda” tea table was available 

at a price of 6.000,- frcs., which was a considerable sum of money at the end of 

the 1920’s. The complete coffee and tea service with tray cost 22.770,- frcs. If you 

wanted a samovar, another 11.700,- frcs was needed. 

The tea table was designed by Philippe Wolfers on the 21st of May 1924. 

Apart from the only variant (prototype?) we know with twelve legs, the definite 

tea table was designed with four legs, and had three levels, of which the smaller 

top had been designed to hold the tray of the “Gioconda” coffee and tea set. 

The top had about the same dimensions as the tray. The first level was designed 

to hold the small dessert plates, and the second level was designed to hold the 

tea or coffee cups. 

To this day we know of only two other surviving “Gioconda” tea tables. 

One is the aforementioned prototype with 12 legs and the other table has 

been sold before the 1980’s through the Anthony shop in Antwerp (a former 

136

138 

Wolfers’ branch). The table we have on offer is a third example, but currently 

the only one that is available on the market. 

As is the case with the two other existing tea tables, this table no longer has 

its small top level to support the “Gioconda” tea and coffee service. According 

to Mr. Rochtus, at the time owner of Anthony, and the jeweller who sold the 

Antwerp tea table, this procedure was necessary if the client did not want to 

combine the tea table with a “Gioconda” coffee and tea service. The top level 

was the exact size of the tray of the set, meaning that another tray fitted badly 

on top. Furthermore, the table with its top was not useable as a coffee table, in 

the sense that the top stood in the way of for instance a tray with biscuits, or a 

cake stand. By removing the small top level, one created a handsome art deco 

“Gioconda” coffee table, with a large table top. The Antwerp tea table was 

transformed for that reason. Our table also comes with a bevelled glass inset 

to protect the top. The way the glass is made, supposes that its execution is 

not much later than that of the table itself. It could therefore not be excluded 

that the adjustments made to accommodate the previous owner, were 

executed by the Brussels firm of La Compagnie des Arts, Poppe & Cie, which 

was the only firm to make the “Gioconda” furniture elements according to 

Phillipe Wolfers’ design. 

This rare “Gioconda” table, which belongs to a private collection, was bought 

out of an estate sale from a family who had a large house in La Hulpe. It is 

presented in its original, unrestored condition.

Philippe Wolfers (attributed to) 

Rivière bracelet for Sofie Willstädter, ca. 1925 

Gold, rubies, diamonds, sapphires 

Dimensions: lenght 19,8 cm 

Provenance: 



According to family history, this bracelet was given by Philippe Wolfers to his 

wife, Sofie Willstädter (1864–1946), in the 1920’s. It is unsigned and thus no direct 

proof that the bracelet was designed by Philippe Wolfers nor that it was made in 

the workshops of Wolfers Frères. But as it was a gift by Philippe Wolfers to his 

beloved, logic dictates that he designed it and ordered the Wolfers workshops to 

execute the bracelet. 

We know that the bracelet was treasured by Marcel Wolfers, who passed the 

story of the bracelet through to his children. The bracelet was never exhibited and 

remained in the collection of Marcel Wolfers and Claire Petrucci. 

140


Enigme or Remember, 1925 

Patinated bronze on a marble base 


Signed: “Ph Wolfers / cire perdue” on the back of the shoulder 

Marked: Oval foundry mark “cire perdue Montagutelli Bruxelles” 

Provenance: 


Musée Philippe Wolfers, Wolfers Frères Brussels 


(acquired from the above) 

Bibliography: 





Exhibited: 

Brussels, Exposition Philippe Wolfers, Galerie Georges 

Giroux, 18/02–29/02/1928, cat. No. 22 

Antwerp, Exposition des oeuvres de Philippe Wolfers – 

Statuaire, Salle Plantin, 09/11–27/11/1929, cat. No. 16 

Brussels, Pour l’Art XXXIIe salon de peinture et de 

sculpture, Palais des Beaux-Arts, 21/11–21/12/1930, 

cat. No. 2 

Brussels, Philippe Wolfers 1858–1929 Précurseur de l’Art 

Nouveau Statuaire. Exposition Rétrospective, Galerie 

l’Ecuyer, 13/10–12/11/1972, cat. No. 58 

The bust “Enigme” was renamed “Remember” in 1926, when the first cast was 

given to Emile Anthony of the Antwerp branch to commemorate the centennial 

of his firm. In total only two casts were executed. The present cast remained with 

Wolfers Frères after the death of Philippe Wolfers and was part of the Philippe 

Wolfers Museum. Typical of the style of Wolfers of the second half of the 1920’s, 

the bust has a gentle and warm outlook and is characterised by the use of a 

simplified and stylised modelé for the facial features. 

142


Coffee service Janine (Sb 4487), 1926 

Silver, wood 

Dimensions: height coffeepot 14,5 cm, length 22,8 cm (from spout to handle) 

Marks: each piece marked on the bottom of the base with the Wolfers Frères Maker’s mark, 

serial number (Sb 4487–4489–4490) and alloy mark for 800/1000 

Philippe Wolfers named the “Janine” service after one of his granddaughters, 

born in 1924. It is considered by many as one of his most interesting and beautiful 

art deco creations. Although the design is very austere, the use of a pearl motif 

between the feet and at the base of the wooden nob on the lid makes the coffeepot 

look elegant. This classical touch is typical of the art deco style of Philippe 

Wolfers. 

Although the “Janine” service remained in production until WWII, it is 

fairly rare. The original sets came with a tray in a lozenge form and had a coffeeand 

teapot of the same height. This might have been the reason why it was a 

service that apparently did not sell very well. In the 1930’s catalogue of the firm, 

the tray was changed to a normal, larger and rectangular format and there was a 

possibility to buy a larger coffeepot. This did not improve the sale of the pattern 

which was discontinued after WWII. It has become one of the most iconic and 

sought after models by Wolfers, featuring frequently in exhibition catalogues on 

art deco design. 

144

146 

Marcel Wolfers Exhibition at Galerie Nos Peintres (Brussels), 1932


Chemin de Croix de Marcinelle, 1st Station of the Cross, 

1925 

Salt glazed stoneware 


Signed: “Marcel Wolfers. / Fecit 1925”, to the right of the top edge of the relief 

Signed: “Aline Duray”, to the left of the top edge of the relief 

Provenance: 


Exhibited: 

Brussels (Ixelles), Art Deco Belgique 1920–1940, Musée 

d’Ixelles, 06/10–18/12/1988, cat. No. 222, p. 23 and 

p. 251. (both with photo) 

When Marcel Wolfers received the commission for the Stations of the Cross for 

the roman church of Marcinelle (near Charleroi), he was asked to work with 

the local stoneware pottery industry. After making his designs, he turned to the 

pottery of Roger Guérin to execute two proof stations (1 and 2) according to his 

specifications. It is possible that the signature “Aline Duray”, which figures next 

to the signature of Marcel Wolfers, was of the person responsible for the glazing 

and firing of these two pieces. However we were unable to find any record of such 

person working for Guérin, nor do we know what her relation was to Marcel 

Wolfers. Her name does not figure on the finished stations (executed by Guérin), 

nor on the bronze proof stations that were executed. It is very unusual that this 

station is signed twice. 

Although we now think the result looks magnificent, Marcel Wolfers was not 

at all happy with the result, because the artist felt unable to control the outcome 

of the colours of the glazes. In the end, Marcel Wolfers found the solution by 

applying coloured lacquer onto bisque fired stoneware panels by Guérin. The 

definite version of the stations, now visible in the church of Marcinelle, were 

executed according to this process. 

Of the two proof stations made in glazed stoneware, Marcel Wolfers kept the 

first station for himself. The second station was sold or given to the Brussels artist 

Jef Bourgeois. It is however unsure if this last station has survived. Bourgeois’ 

house and collection were partially destroyed in 1944 by a flying bomb. 

148


L’Esclave de Pilate, 1924/1957 

Bisque fired clay with gold paint 


Signed: “Marcel Wolfers” / “3/3” and “1957” bottom right 

Provenance: 


The slave of Pilatus was a fragment of the first station of the cross that Marcel 

Wolfers made for the church of Marcinelle. Originally, the sculptor made a marble 

relief of the slave holding a tray. Subsequently a plaster model and a bisque fired 

clay model were made. The ceramic was used by Marcel Wolfers to experiment 

with gilding. Apparently this experiment pleased the sculptor, and another six 

reliefs in bisque fired clay were made in or from 1932 onwards. It is unclear if 

these six casts included this one, which is numbered 3 out of 3, and dated 1957. 

If not, Marcel Wolfers would have decided to make another series of three casts in 

1957, which would make a total of nine bisque fired casts. The gilding of the casts 

was done by the artist himself and is not always identical. 

This cast is one of two casts that originally belonged to the artist’s collection. 

150


Chemin de Croix de Marcinelle, 

10th and 11th Station of the Cross, 1927–1929 

Bronze, with lacquer patination mounted on a wooden frame 

Dimensions: each 96 × 78 cm 

Signed: “Marcel Wolfers” bottom right of the relief 

Provenance: 


Exhibited: 

Brussels, Exposition Universelle et Internationale – 

Chapelle Royale, 1935 (stations XI & XII) 

Brussels, Galerie Désir, 17/12–30/12/1938, cat. No. 102 & 

103 (stations XI & XII) 

Liège, Salon des Artistes Anciens Combattants, 1939 

(stations XI & XII) 


(stations XI & XII) 

Sint-Martens-Latem, Marcel Wolfers (1886–1976), 

White art centre, 10/09–16/10/1988 (stations XI & 

XII) 

The commission of the Stations of the Cross for the roman church of Marcinelle 

(near Charleroi) has proved to be of primordial importance for Marcel Wolfers’ 

evolution as a sculptor. The challenges here were significant. He wanted to make 

a work of art that was modern and devoid of sentimentalism and at the same time 

make the reliefs visible in the dark space of the small church. This lead him to 

the conclusion that the work had to be polychrome. The colours were to be used 

in a way as to make the reliefs visible and to support the emotions of the scenes 

displayed on each station of the cross. 

After having experimented with enamels and salt glazes on stoneware at the 

workshop of Roger Guérin, Marcel Wolfers came to the only solution, consisting 

of the use of lacquer, where he was able to control the colours at will. The Stations 

of the Cross of Marcinelle became thus the first large commission for the Lacquer 

Workshop of Marcel Wolfers. 

After making the compositions and original plaster mouldings in 1925, Marcel 

Wolfers started by making two stations in bronze. It is possible that he envisaged a 

whole lacquered bronze ensemble, but at first, he wanted to have two stations that 

he could show at important exhibitions. Bronze being less delicate then ceramics 

and being a material that the sculptor new through and through, the choice seems 

obvious. 

The first finished bronze stations, number 10 and number 11, were shown for 

the first time in Paris at the Salon d’Automne of 1927. As they are described in 

the catalogue as “bronze, cire perdue”, it is almost for certain that he showed the 

152

154 

stations without a lacquer patination. It is probable that they were lacquered soon 

afterwards, but before July 1928, date when Marcel Wolfers ordered 7 stations in 

bisque fired stoneware by the firm of Helman in Brussels (Guérin no longer was 

involved in the project due to the technical difficulties they encountered in firing 

the large stations). The first time the lacquered bronze stations were shown to 

the public was at the large exhibition of Marcel Wolfers in Galerie Nos Peintres in 

Brussels in 1932. 

The Stations of the Cross received much press coverage, especially in 

magazines and books on modern religious art. They were praised for their novel 

approach in depicting the Suffering of Christ, for their sculptural qualities and 

for the novelty of using lacquer to polychrome the stations. To Marcel Wolfers 

his polychrome lacquered sculptures belonged to the same tradition as the 

polychromed medieval sculptures. 

The stations of the cross were installed in Marcinelle on Good Friday in 

1931. On his large retrospective in 1932, he showed 9 stations from the church, 

along with one probably double station number 12, which was for sale. The two 

lacquered bronze stations 10 and 11 were also shown and for sale at a price of 

10.000 frcs,-, a price that indicates that Marcel Wolfers did not care to sell them. 

For Marcel Wolfers, the importance of the two lacquered bronze stations was 

double: they proved his mastery as a lacquer artist and at the same time confirmed 

his position as a modern religious sculptor in Europe.


Pythonisse, 1927 



Signed: “Ph Wolfers cire perdue” below, at the side 

Marked: with an oval foundry stamp “Montagutelli cire perdue Bruxelles” 


Provenance: 


Musée Philippe Wolfers, Wolfers Frères Bruxelles 


(by descent) 

Exhibited: 



Rome, Un Secolo d’Arte Belga 1830–1930, Galleria 

Nazionale d’Arte Moderna, 25/03–23/04/1933, 

cat. No. 19 



Galerie l’Ecuyer, 13/10–12/11/1972, cat. No. 77 


cat. No. 73 


Bibliography: 


(1858–1928), Gent, Museum voor Sierkunst, 

1979, p. 50 

De Dynastie Wolfers – Meesters in zilver, Gent, 

Design museum Gent, 2006, p. 25 (with photo) 





The name “Pythonisse” derives from the priestess of Apollo in Greek mythology, 

but is generally a name used for women with the gift of prophecy. This large torso 

is to be counted as one of the most important sculptures by Philippe Wolfers. 

Although created in 1927, only one cast in bronze was executed. Two other 

versions in a reduced size were made in marble and ivory. 

As is the case for several bronzes who were patinated by Philippe Wolfers 

himself, the patination of this bronze is spectacular through its use of gold foil and 

its rich dark green colour. When acquired by Marcel Wolfers after the dissolution 

156

of the Philippe Wolfers Museum in 1972, the sculpture sat outside, in the garden of 

the rue de Praetere building. Through the years, the outlook of the sculpture had 

changed dramatically. When the sculpture was shown publicly for the last time, in 

2006, it was difficult to see the features of “Pythonisse” and the sculpture had lost 

a lot of its original expression. To the credit of Philippe Wolfers’ craftsmanship, 

the original patination underneath the oxidation remained in good condition and 

reappeared after professional cleaning in preparation for this exhibition. 

The head of the sculpture became a sculpture in its own right and was executed 

in granite in 1929. François Franck and Cléomir Jussiant, two of Belgium’s most 

important and influential collectors of modern art, each bought a copy. A third 

was sold to another collector.

The large bronze remained in the collection of the artist and after his death it 

became one of the central pieces of the Philippe Wolfers Museum. “Phytonisse” 

was only shown publicly once during the artist’s lifetime, in 1928 during the 

Philippe Wolfers retrospective exhibition at Galerie Giroux in Brussels. After the 

stay in the Wolfers Museum, the sculpture disappeared into the Marcel Wolfers 

and Clairette Petrucci private collection. It was only shown once since then, 

at the Wolfers Dynasty Exhibition in the Design museum Gent in 2006–2007. 

Philippe Wolfers exhibition at Galerie Georges Giroux (Brussels), 1928 

159


Head of Christ or Le Précurseur, 1928 

Bronze with lacquer patination, on a lacquered wooden base 

Dimensions: 45 × 16 × 19,5 cm (with base) 

Signed: “EX. 5/5 Marcel Wolfers” and “28”, on the neck near the base 

Provenance: 


Exhibited: 

Sint-Martens-Latem, Marcel Wolfers (1886–1976), 

White art centre, 10/09–16/10/1988 (with photograph 

of the sculpture on the cover of the invitation) 

Confusingly Marcel Wolfers used both the titles “Head of Christ” and “The 

Precursor” (Saint-John the Baptist) for this sculpture. It was one of the most 

iconic lacquered bronzes that Marcel Wolfers made. The sculpture is also one 

of the most reproduced works of the artist during his lifetime. We think it highly 

probable that the sculptor ordered the 5 bronze lost-wax casts of the head 

together. The first cast, probably still retaining its original lacquer patina, was 

sold to the Spanish Government in 1930, the second cast was sold to the Royal 

Museums of Fine Arts in Brussels in 1931. This cast was relacquered by the 

artist in 1964, the same year he lacquered the fourth cast which he gave to his 

wife Clairette Petrucci. The third cast, sold to his brother-in-law in 1936,was 

relacquered in 1965, when Marcel Wolfers also finished and lacquered the last 

remaining cast, number 5/5. 

The head of Christ or St-John the Baptist is typical example of the way Marcel 

Wolfers uses lacquer to give an extra dimension to his sculptures. Already very 

modern and stylised, his sculptures gain an aura of mystery when lacquered. The 

lacquer makes them look ancient, and certainly here one subconsciously draws a 

comparison with the lacquered Buddhist sculptures in the East. 

160


Holocausta, 1929 

White Carrara marble on a yellow marble base 


Signed: “Marcel Wolfers/1929 / Ex. Unique”, on the side of the sculpture base 


Provenance: 


Exhibited: 

Brussels, Pour l’Art. XXXIe Salon de Peinture et de 

Sculpture, Palais des Beaux-Arts, 15/11–15/12/1929, 

cat. No. 154 (with an asking price of 35.000 frcs) 

Brussels, Marcel Wolfers sculpteur-laqueur, Galerie Nos 

Peintres, 26/11–9/12/1932, cat. No. 12 

Milan, Esposizione d’arte Belga contemporanea, 

Galleria Pesaro, Marzo 1932, cat. No. 119 

Liège, Société Royale des Beaux-Arts de Liège. Salon 

Quatriennal de Belgique., Palais des Beaux-Arts, 

16/05–1/06/1936, cat. No. 575 

The unusual title for this sculpture is explained by a notice in Marcel Wolfers’ 

own handwritten catalogue raisonné of his sculptures. The present sculpture is 

a reduction on scale 1/3 and was designed as “un monument aux poètes morts 

pendant la Guerre”. Although Marcel Wolfers made smaller versions in bronze, 

stoneware and glazed earthenware, the marble version of the sculpture has 

remained unique. 

162


Holocausta vêtue, 1922 

White glazed ceramic on a greenish brown ceramic base 


Signed: “MWolfers Ex N° 5”, on the back side of the base 

Provenance: 


A small version, derived from the plaster life size version, but with the sitting 

female figure draped in a robe. Slightly earlier then the marble version, it was 

executed in 5 copies, 4 of which were sold before 1926, Marcel Wolfers kept the 

fifth copy for himself. Contrary to what was thought previously, the casts were not 

made by Guérin, but by the firm Céramique de Bruxelles. 

164


Impéria, 1929 

Blue limestone on a later wooden pedestal 

Dimensions: 42 × 32 × 32 cm (height with wooden pedestal: 172 cm) 

Signed: on the back of the shoulder “Ph Wolfers” 


Provenance: 



Private Collection, Brussels 

Exhibited: 





cat. No. 18 

Bibliography: 





The head of “Impéria” of 1929 is part of a group of monumental heads or busts, 

carved in stone, that were executed for the important 1929 exhibition in Antwerp, 

where Philippe Wolfers wanted to make his name as modern sculptor. Wolfers 

had already made a bronze “Impéria” in 1922, and the head was part of the 

bronzes that he used in the “Gioconda” room in Paris in 1925. With a very rough 

surface, the bronze head was made in his so-called “Hellenistic” period, where 

the sculptor tried to emulate the surface corrosion on Greek and Roman antique 

bronzes, excavated from the earth or salvaged from the seas. In 1929 Philippe 

Wolfers sought to modernise this sculpture and conceived a classical “Impéria”, 

much more stylised and simple then the 1922 bronze. Clearly, the unique 

sculpture carved in Belgian blue limestone or “Petit granit” is much more in tune 

with the aesthetics of the 1930’s art deco. 

Originally on a probably “noir de mazy” base, the sculpture has lived outside 

in a Brussels garden for the last 40 years. The previous owners received the 

sculpture as a payment for their 

Wolfers stock papers by the Parisian 

firm of Chaumet at the time of their 

takeover of Wolfers Frères S.A. in 

1975. They displayed “Impéria” on 

their garden terrace, but without its 

base, apparently already missing. 

When acquiring the bust, we decided 

to mount it on its current wooden 

pedestal, which is contemporary to the 

sculpture. 

166

168


Head of Salomé, 1929 

Granite 

Dimensions: 35,5 × 32 × 28,5 cm 

Signed: “Ph Wolfers” on the back of the shoulder 


Provenance: 




(acquired from the above) 

Exhibited: 



´s Gravenhage, Tentoonstelling van Belgische Beeldende 

Kunst van de Laatste Honderd Jaren, Pulchri Studio, 

10/10–03/11/1931, cat. No. 116 



cat. No. 19 



cat. No. 73 


Bibliography: 



Galerie L’Ecuyer, 1972, s.p. 

Philippe Wolfers : juwelen, zilver, ivoor, kristal (1858– 

1928), Gent, Museum voor Sierkunst, 1979, p. 50 







170

172 

The head of “Salomé” of 1929 is part of a group of monumental heads or busts, 

carved in stone, that were executed for the important 1929 exhibition in 

Antwerp, where Philippe Wolfers wanted to make his name as modern sculptor. 

Wolfers wanted to prove that he – stylistically – no longer belonged to the old 

generation of the 1900’s. 

It is without a doubt that the sculpture of “Salomé” remains one of the most 

emblematic of the art deco sculptures by Philippe Wolfers. By taking the head 

of this sculpture, and executing it live size in black granite, Philippe Wolfers 

created a very powerful image, that is strengthened by the fact that the head is 

only slightly tilted so that the beholder can capture Salome’s powerful gaze. 

It is possible that Philippe Wolfers wanted to create an edition of the 

“Salomé” head. In the Antwerp catalogue, the sculpture is mentioned as 

“Exemplaire No. 1”. However, due to the sudden death of the artist, this sculpture 

remained unique. 

The Head of “Salomé” belonged to a selected group of important sculptures, 

drawings and objects that constituted the ‘Philippe Wolfers Museum’ and that 

was displayed in the exhibition hall and workshop of Philippe Wolfers at Wolfers 

Frères in the Arenberg street (Brussels). After the dissolution of this museum in 

1972, the sculpture was acquired by Marcel Wolfers for his personal collection.

Marcel Wolfers (attributed) 

Bronze hand moulding of Philippe Wolfers, 1929 



Oval foundry mark “Montagutelli Bruxelles cire perdue” on the inside of the hand 

Provenance: 


There is a long history in the making of moulds of artists’ hands post mortem. 

Mostly made by sculptors or professional moulders, they were sometimes cast in 

bronze and were often displayed in museums. 

According to family history, this mould was made by Marcel Wolfers of the 

hand of his father Philippe Wolfers. It is however very curious that the cast is of 

the left hand of the artist, implying thus that Philippe Wolfers was left handed, as 

one moulded the hand with which the artist plied his trade. Unfortunately this 

theory is almost impossible to prove. This is the only cast that is known to exist. 

174

Marcel Wolfers / After a design by Anto 

Carte 

Les Jeunes Epoux, ca. 1930 

Lacquer on wooden panel 


Signed: with the gold plaque “Marcel / Wolfers”, bottom right 

Provenance: 


Exhibited: 

Sint-Martens-Latem, Marcel Wolfers (1886–1976) – 

Lakwerken, White Art Centre, 10/09–16/10/1988 

This lacquer panel was executed after a design by the painter Anto Carte. Marcel 

Wolfers executed a number of designs by his artist friend, in different media. 

Carte also submitted some designs for the Wolfers firm. Their most noted 

collaboration remains their involvement in the “Roseau Vert” editions. 

Marcel Wolfers executed two different versions of this design. In both cases 

the scene of a man kneeling before his spouse, planting a blooming tree or bush 

together, is the same but the execution in lacquer is totally different. Wolfers 

describes the first panel as “engraved lacquer”. In his archive we discovered a 

copper panel, of the same size, with the Anto Carte design etched into the plate. 

It is possible that the copper plate with engraving was used as a base, and then 

filled up with lacquer. 

The second version, which we propose here, differs significantly in colour and 

finish from the first. The background of the image shows a honeycomb cell like 

structure. The central image is filled in with layers of black, red, green and gold 

lacquer, which are subsequently polished. Top layers are rubbed through to reveal 

underlying layers, so a subtle play of colours and textures is revealed. 

176


Glass vase with black lacquer 

Lacquer on glass vase with silver base 


Provenance: 


This black lacquer on glass vase is one of only three objects for which Marcel 

Wolfers used glass as a base for lacquer. It is unclear when the piece was made, 

but if we can conclude that the three pieces were made at the same time, we must 

put the date around 1930, as we know that a glass lacquered bottle was made 

around this period. 

Monochrome colours in lacquer are what every lacquer artist aims to achieve. 

It is indeed very difficult and time consuming to get an even colouring on the 

whole surface of an object. No error can be hidden and even a slight difference in 

colour is visible. 

The drawing and description of the piece are included in Marcel Wolfers’ hand 

written catalogue of lacquer objects. It also states that this piece is unique and 

has a value of 1000,- frcs. Probably due to the fact that the base is glass, the piece 

was not signed with a gold plaque, but its inclusion in the lacquer catalogue meant 

that it was a finished piece. 

178


Victoire Ailée, 1931 

Patinated bronze on a wooden base 


Provenance: 

Wolfers Frères ( ?) 

Marcel Wolfers and Clairette Petrucci collection (acquired from the above ?) 

The sculpture was originally created as a trophy for a rally, known as “Challenge 

Junieck or Juneck”. It was cast in silver and the flag was covered in lacquer with 

eggshell. At the same time, Marcel Wolfers was asked to execute a second cast, 

probably also in silver, as a gift from the city of Charleroi to the 2nd regiment of 

the “Chasseurs à Pied”, who celebrated their 100 years of existence. A third cast 

was ordered by Wolfers Frères, and should have been in silver, but was executed 

in bronze (In Marcel Wolfers’ account book he writes “Victoire III: W[olfers] 

F[rères] Ag. Fondue remp. par bronze”. This version was about 800,- frcs. cheaper 

than the silver casts. Marcel Wolfers also made a magnificent variant with a laurel 

wreath in Victory’s hand, carved in ivory and mounted on an ebony base. Again 

according to his notebook, he made the ivory version for his wife Clairette. 

The sculpture continued very popular, as probably in the 1950’s, 10 reductions 

were ordered in silver, also to be used as trophies. Later on 2 extra casts were 

added. 

In conclusion, the version in our exhibition should be the third, patinated 

bronze, version of “Victory with the flag”. Unfortunately we lack photographic 

evidence to be 100% sure. 

The Victory of 1931 is an iconic art deco sculpture that has a very decorative 

appeal. Although unsigned, the work is highly finished and is mounted on a 

specially conceived base. According to the information that we have up to this day, 

it seems that this sculpture is also unique. 

180

Yvan Obozinski / Marcel Wolfers 

Art deco dressing table, 1932 

Wood (Japanese oak), metal, mirror and lacquer panel 


Provenance: 

“l’Oeuvre Nationale des Beaux-Arts”, Brussels 

Léon Sarteel, Ghent 

Clara Mion-Sarteel (by descent) 

Exhibited: 

Brussels, Tombola Nationale des Beaux-Arts, Palais des 

Beaux-Arts, 15/06–15/07/1932, cat. No. 4 (Intérieurs) 


d’Ixelles, 06/10–18/12/1988, cat. No. 472 

Villeneuve d’Ascq, Art Deco Belgique 1920–1940, 

Musée d’Art Moderne de Villeneuve d’Ascq, 

21/01–02/04/1989 

Bibliography: 

Steel R., De Internationale profilering van Wolfers Frères 

S.A. onder leiding van Marcel Wolfers in De Wolfers 

Dynastie – van art nouveau tot art deco, Gent, 

Design museum Gent, 2006, p. 241–242 (with photo) 

Poulain N., Meubelensembles voor de Tombola nationale 

des beaux-arts in Interbellum, 37/3, 2017, p. 5–12 

(with photo on p. 10) 

This dressing table belonged to a bedroom set designed by Yvan Obozinski 

(sometimes erroneously written Obozinsky). Born in 1901, he was the younger 

brother of the architect Jacques Obozinski (1890–1981). Yvan Obozinsky was 

trained as an architect at the Brussels Academy. He was foremost a designer, 

working in advertising, designing interiors, often in collaboration with his 

architect brother. On special commission he designed furniture, often in 

collaboration with the Jasinki firm in Brussels. He also had designs executed 

by the firm of Stevens in Mechelen, with whom he probably came into contact 

through the artist Karel Maes. Obozinski often worked for the “Compagnie 

Maritime Belge” in Antwerp and was responsible for the overall decoration 

of the cruise ship “Baudouinville”. The ship was finished in 1939 but was 

completely destroyed in 1944. During WWII, Obozinsky worked for Wolfers, 

probably through mediation of Marcel Wolfers, and supplied designs for 

metalware. 

The bedroom ensemble, a unique commission for the government, must 

have been designed in close collaboration with Marcel Wolfers. 

When Marcel Wolfers started his lacquer workshop, one of the main 

purposes was to work closely together with architects and designers in 

incorporating lacquer in interior furnishings. Wolfers envisaged furniture with 

lacquer and lacquer coating on doors and panels in a modern designed home. 

The 1932 commission by the government which befell Yvan Obozinski, was 

Marcel Wolfers’ ideal moment to show to the Belgian design and art world that 

lacquer was a beautiful material, to be used to great effect in modern designs. 

182

184 

The design by Obozinski incorporated flawlessly the lacquer panels made by 

Marcel Wolfers. The most interesting element of the bedroom was the art deco 

dressing table, made in Japanese oak by the renowned furniture maker Stevens 

from Mechelen. It boasts a large mirror and a cupboard with a red/orange 

lacquer tablet. The dressing table came with a small tapestry designed by the 

artist Jean Goffin (woven by the Brussels firm of E. Muller), the art deco light 

was executed by F. Debuyst, also from Brussels. 

Although Marcel Wolfers dreamt of making his lacquer workshop a place 

where modern designers could come to have their designs executed in lacquer 

or to decorate them with this precious material, his dream never materialised. 

Due to the long production process of natural lacquer and the subsequent price 

tag, designers and architects quickly chose alternatives like synthetic lacquers. 

Marcel Wolfers has executed in total only 4 or 5 items of furniture with a lacquer 

decoration. The Obozinski dressing table is the only overtly modernist design 

which incorporates lacquer. The unique dressing table is one of only two large 

pieces of furniture that we know to have survived.


Bust of St-Luke or the Portrait of Rogier Van der Weyden, 

1934–1935 

Bronze with a lacquer patination, mounted on a base of wood 


Signed: “Marcel Wolfers” on the short right side of the wooden base 

Provenance: 


The idea for a monument dedicated to Rogier Van der Weyden came from Jules 

Destrée, historian, art critic and politician. As he befriended Marcel Wolfers, 

the latter was an obvious choice to create the monument. Wolfers took the 

composition of the “St-Luke painting the Virgin”, of which the supposed original 

belongs to the Museum of Fine Arts of Boston, as a basis. The figure of St-Luke 

is believed to be a self-portrait of the artist. He proceeded in making a three 

dimensional version of the Van der Weyden painting, but by putting the Holy 

Mary on a pedestal, succeeded in making a dynamic group of the otherwise 

very static original composition. From the beginning it was also clear to Marcel 

Wolfers that the patination of the group would have to be executed in lacquer, 

which enabled him to create a vivid polychrome public monument. 

After a long genesis and a lot of interference by several authorities, a first 

monument was executed and shown outside one of the pavilions of the Brussels 

World Fair of 1935. The lacquer coating appeared to have suffered because a 

restauration to the lacquer was needed after the exhibition. After many trials 

and tribulations (at a certain point in time, the immense group was lost by the 

city of Brussels) the sculpture was eventually installed in the city hall of Laeken 

(Brussels). A second version was commissioned by the city of Tournai and was 

installed in 1936 next to the cathedral of the city, where it still is visible, but 

without its original lacquer patina. 

Marcel Wolfers executed 

small versions of the monument 

between 1933 and 1934. We also 

have the original plaster model 

of a complete “St-Luke” for sale, 

which shows the attention to 

detail the sculptor had, even when 

he was creating a modello for a 

large monument. 

186

It is unclear when the bust of “Saint-Luc” was executed. Probably Marcel Wolfers 

wanted to have a 1 on 1 model, with the lacquer patina, to show to Count Adrien 

Van der Burgh, who commissioned the monument for the World Fair. In that case 

the bust was possibly executed after March 1934 but before May 1935 when the 

completed group went to the foundry for casting. To this day, no other cast of the 

bust is known to have been made. 


Plaster study of St-Luke, 1933–1934 

Plaster 

Dimensions: 24,5 × 16 × 12,5 cm 

188


Coffee and Tea Service Méda (Sf 209), 1935 

Silver and ivory 

Dimensions: height coffeepot 20,5 cm, length 22,5 cm (from spout to handle) / tray: 38 × 60 cm 

Marked: All pieces are marked on the bottom with serial number (Sf 209 to Sf212), maker’s mark of Wolfers Frères 

S.A. post-1942, alloy mark for 835/1000. The tray is marked on the back of the rim with serial number “Pa 172”, 

maker’s mark post-1942, alloy mark for 800/1000. 

Provenance: 


Exhibited: 

Brussels, 150 ans d’industries d’Art en Belgique 1830– 

1980, Musée Bellevue, 04/10–30/11/1980, cat. No. 145 


d’Ixelles, 06/10–18/12/1988, cat. No. 472 

Villeneuve d’Ascq, Art Deco Belgique 1920–1940, 

Musée d’Art Moderne de Villeneuve d’Ascq, 

21/01–02/04/1989 


cat. No. 152 

Antwerp (Deurne), Art-Deco zilver Antwerpen-Brussel- 

Gent, Provinciaal Museum Sterckshof- Zilvercentrum, 

27/02–27/05/1996, cat. No. B108 

The “Méda” service was designed especially for the 1935 Brussels World Fair. 

According to Marcel Wolfers he was responsible for the design. It is interesting 

to note the similarities between “Méda” and the, in 1930 designed, service 

“Pastilles”, probably designed by Omer (Thurr) de Waegh. This leads us to think 

that the design of “Méda” was a joint effort of the Wolfers design department, 

under the lead of Marcel Wolfers. 

Executed in the highest quality and showing the novelty of hingeless lids for 

the coffee- and teapots, the service is relatively classic in style, but resembles the 

Scandinavian design of the 1930’s. As was the case with the “Gioconda” pattern, 

“Méda” was meant to be a pattern that went beyond the coffee and tea service. 

It was combined with the “Mona Lisa” cutlery and Marcel Wolfers designed 

porcelain plates which were executed by the Brussels firm of Demeuldre-Coché. 

Additional items such as bowls, trays and small items such as salts and oil and 

vinegar sets were also designed en suite. 

The uncertain economic and political situation of the 1930’s and the outbreak 

of WWII only five years after the creation of “Méda”, meant that Wolfers Frères 

S.A. manufactured very few sets of the service before 1940. The design was 

significantly ahead of its time, so even in the 1950’s (and today) the “Méda” looked 

and looks strikingly modern and pleasing to the eye. Most of the “Méda” coffee 

and tea services are hence marked with the post-war maker’s mark of Wolfers 

Frères S.A. 

This five piece service belonged to Marcel Wolfers and Clairette Petrucci 

personally and was used on special occasions only. 

190

Clairette Petrucci 

l’Atelier or Intérieur, 1937 

Oil on canvas 


Signed: “Cl. Petrucci Wolfers” bottom right 

Provenance: 


Exhibited: 

Paris, Salon d’Automne, 30/10–28/11/1937, cat. No. 1170 

Brussels, Galerie de la Toison d’Or, 02/12–11/12/1939, 

cat. No. 14bis 

Brussels, Galerie Au Cheval de Verre, 05/12–18/12/1947, 

cat. No. 15 

Clairette Petrucci was born into an artistic milieu. Her mother was the eldest 

daughter of the renowned painter Alfred Verwee, and her aunt Emma was also a 

painter of great talent. It is probably by Emma that she was given her first drawing 

lessons. Her father, Raphaël Petrucci, had also trained as a painter and was a 

prolific illustrator and caricaturist. Clairette’s parents befriended a whole range of 

artists whom Clairette came to know. She sometimes sat for artists. We know for 

instance of a portrait of her by Alfred Bastien, that she received as a gift. Another 

friend of the family who had a large influence on Clairette, was the fauvist painter 

Jean Van den Eeckhout. 

Clairette started her actual painting studies at the “Académie de la Grande 

Chaumière” in Paris. Amongst her teachers were Lucien Simon and René Ménard. 

At the Academy she befriended a lot of female artists, such as Jeanne Bergson 

(sculptor, pupil of Bourdelle) and Valentine Prax, who became lifelong friends. 

Back in Belgium, she could count on regular visits to her atelier from Juliette 

Cambier, Suzanne Cocq and Maurice Brocas, Edgard Tytgat, Jules-Marie Canneel, 

and many others. Sometimes they exhibited together. 

Clairette’s style evolved from fauvism towards a realist style, typical of the 

1930’s. In contemporary reviews, her work is often compared to that of Louis 

Thévenet, a painter she much admired. Her flower still lives were placed next to 

these of her friend Juliette Cambier. The most important works were created 

in the 1930’s. After WWII, Clairette lost contact with the modern art world and 

painted more for herself, only exhibiting on invitation of befriended gallerists, as 

was the case for the Studio 88 and Au Cheval de Verre shows. Most of her works 

belong to private collections, but her total output of paintings has remained very 

limited. She listed her important works in a catalogue and came to a total of 126 

oil paintings. The present work, the interior of her workshop in Vieusart, was 

considered by many to be one of her best and was a painting that she has never 

wanted to sell during her lifetime. 

192


Coffee and Tea Service Belvédère (Sf 564), ca. 1958 

Coffee and Tea service 

Silver, silver gilt and ivory 

Dimensions: coffee pot height 24,7 cm, length 16 cm (from spout to handle) / tray: 54 × 32,5 cm 

Marked: All pieces marked on the bottom with serial number (Sf 564 to Sf 567), maker’s mark of Wolfers Frères 

S.A., post 1942, alloy mark for 925/1000 (sterling) 

The “Belvédère” model has an illustrious past. When the firm of Wolfers decided 

to participate in the Brussels World Fair of 1958, they decided to invest heavily 

into the creation of new models. As had been the case with the participations 

of Wolfers Frères at international exhibitions or world fairs, going back to 1897 

over 1925 (Paris), 1935 (Brussels), 1937 (Paris) and 1939 (New York), a highly 

important participation meant a large press coverage and eventually was good 

for sales. The “Belvédère” model, named after the restored palace where the 

Commissariat Général had its seat and held its banquets during the “Expo ‘58”, 

was to be luxurious but at the same time had to appeal to a new buyers public. 

The design and development of the cutlery “Belvédère”, according to the 

Wolfers publicity made especially for the table of the Commissariat Général 

started in 1954. In that year Wolfers showed a prototype at a show in Ghent. 

To this date, the model number 243, as it was referred to in the Wolfers 

administration, remains a magnificent design, overtly modern without 

breaking with the Wolfers tradition. The model was developed targeting 

young, fashionable couples visiting the world fair. With the cutlery came silver 

“Belvédère” plates and trays of a very simple and modern design. 

The coffee and tea service was aimed at another clientele. In the 1950’s 

Wolfers Frères S.A., under the impulse of Freddy Wolfers, wanted to tap into 

the lucrative market of the Arabian peninsula. Hence the somewhat unusual 

pear shaped bodies of the service. This model appealed less to European taste, 

but was indeed a success with Arabian clients resulting in, amongst others, 

the largest commission Wolfers had ever received, ordered by King Saud bin 

Abdul Aziz of Saudi Arabia. The quality of finish and weight of the “Belvédère” 

service is impressive, so is the ample use of ivory. Although it had no merit 

as a modernist creation of the1950’s, if we look at it today, we can make the 

link between “Belvédère” and the work of Mendini, Sottsass and other Studio 

Alchimia and Memphis designers in Italy in the 1980’s. 

Both the “Belvédère” cutlery and the service were difficult to sell. The cutlery, 

being modern, was supposed to cater to a young market, but was too expensive. 

Young couples preferred for instance the modern “Duo” pattern, designed by 

194

Tapio Wirkkala in 1957, which was made by Christofle in plated silver and was 

often retailed in the same shops as Wolfers silver. The design looked the part, but 

more importantly the price was half that of “Belvédère”. As for the “Belvédère” 

coffee and tea service, its high price and unusual design made it almost impossible 

to sell to the rather conservative clients in Belgium at that time. 

As a consequence, both cutlery and coffee and tea service in the “Belvédère” 

pattern are very rare. Up to this date only two “Belvédère” services and only a 

couple of cutlery sets made it onto the art market in the last 10 years. 

Cutlery Service Belvédère (model 243), ca. 1958 

Cutlery set for Six 

Silver and metal for the knife blades 

Comprising: 6 forks, 6 knives, 6 spoons, 6 entremets forks, 6 entremets knives, 6 entremets spoons, 6 fish forks, 

6 fish knives, 6 coffee spoons, 6 cake forks (in total 60 pieces) 

Marked: All pieces marked with maker's mark of Wolfers Frères S.A., post 1942, and alloy mark for 835/1000. 

196

Marcel Wolfers / Antoine de Vinck 

Three lacquered bowls, 1966 

Lacquer on bisque fired stoneware (?) 

Dimensions: 3 × 10 cm; 3,5 × 9,7 cm; 4,4 × 11,4 cm 

Signed: on the bottom in red lacquer with the artist’s monograms “MW” and “AV” and dated “1966” 

Provenance: 


The ceramicist Antoine de Vinck (1924–1997) and Marcel and Clairette Wolfers- 

Petrucci were great friends. They all were very sensible to the eastern arts 

and adored early Chinese pottery and Japanese Chawan bowls. The Wolfers- 

Petrucci collection held several pieces by de Vinck. Marcel Wolfers was always 

experimenting with different methods to apply lacquer to a large variety of 

surfaces. After the second world war, it took him a while to reinstall his lacquer 

workshop in Vieusart and to acquire good quality lacquer. Around 1960, he 

restarted making lacquer objects. The three bowls, bisque fired by Antoine de 

Vinck, were lacquered by Marcel Wolfers in 1966. Although they look rough, all 

pieces are signed with the monograms of both potter and lacquerer, and are 

therefore considered finished. It is possible that Marcel Wolfers strived to create 

lacquered bowls which were made to look as old, vernacular bowls, to resemble 

rural every day pottery in Asia. 

198

200 

The collection of Marcel Wolfers and Clairette Petrucci at Vieusart, ca. 1976

Unknown master, Nuremberg 

The Levi Family brandy bowl, mid-17 th century 

Silver, partially gilt 

Dimensions: 3,5 × 11,3 × 13 cm 

Marked: next to one of the handles with the city mark of Nuremberg (Germany) and maker’s mark “a loop in the 

form of an eight with trefoils on both ends”, used between 1645–1651, which could be attributed to the master 

August Döring. 

Provenance: 

Sophie Mayer, New Zealand (descendant of Philipp Wolff (Wolfers) and Johanna Levy) 

Marcel Wolfers and Clairette Petrucci collection (gifted by the above) 

The engraved brandy bowl with the names “Levi Joel / Salman Levi” remains 

an object that is difficult to place within the Wolfers family history. By repute it 

comes from the family of Johanna Levy (1788–1869), the second wife of Philipp 

Wolff (Wolfers) and mother of Louis Wolfers. Further genealogical research 

is needed to establish the link between the bowl and the Wolfers-Levi family. 

Although Louis Wolfers, son of Philipp Wolff and Johanna Levy, was the father 

of Philippe and grandfather of Marcel Wolfers, the bowl seems to have belonged 

to a descendant of one of his siblings. It is only later that the piece was presented 

by a Ms. Mayer to Marcel Wolfers, as having belonged to the parents of Johanna 

Levy. Subsequently, Marcel Wolfers has kept the piece with the Wolfers family 

heirlooms. 

For the maker’s mark and the possible attribution to Döring, see Karin Tebbe, 

et al., Nürnberger Goldschmiedekunst. 1541–1868, Band I : Meister, Werke, 

Marken, Teil 1 : Textband, Nürnberg, 2007, p. 485, No. 1074. A similar brandy bowl 

of the same maker is pictured on p. 958, photo 657 (Teil 2 : Tafeln). My thanks go 

to Dr. Wim Nys for the identification of this piece. 

202

Unknown master 

The so-called Louis Wolfers Masterpiece, 19th century 

Silver, partially gilt 


Marked on the rim with a mark resembling the city mark of Augsburg (Germany) and the Amtszeichen mark “B” 

used in the Austrian city of Neustadt 

Provenance: 

Louis Wolfers (?) 

Philippe Wolfers (by descent ?) 


(by descent) 

Bibliography: 

Van Dievoet W., Les Wolfers – Orfèvres, Bijoutiers & 

Joailliers, Bruxelles, Archives et Musées de la Ville 

de Bruxelles, 2002, p. 29 

Schotsmans J.-P., Les joailliers-orfèvres Wolfers in Les 

Cahiers de la Fonderie – Revue d’histoire sociale et 

industrielle de la région bruxelloise, n°9 décembre 

1990, p. 4 

This piece was carefully treasured by the descendants of Louis Wolfers, and has 

always been referred to as his masterpiece, made in Augsburg at the age of 18. The 

dish does not have a practical use and seems to be the work submitted to become 

a master chaser, a so-called masterpiece. Only the front has been finished, the 

back shows the techniques which were used. 

However after careful examination of the marks, it seems to be erroneous 

to attribute the piece to Louis Wolfers and/or to an Augsburg make. The only 

identifiable mark is the “B” in a hexagonal shield, which was used in Neustadt 

(Austria, then Austria-Hungary) as Amtszeichen or control mark in the first half 

of the 19th century. However we cannot attribute it to another maker. We do not 

know why this piece ended up in the Wolfers-Petrucci collection, but it is very 

possible that there was a link between Louis Wolfers and this object. 

204

Léon Sneyers (attributed to) 

An exhibition frame made for Philippe Wolfers, 

ca. 1902–1905 

Oak, brass and glass 


Provenance: 



Although this frame is unsigned, it is very likely that it has been made by Léon 

Sneyers (1877–1948). We know that for his participation in the Turin exhibition 

of 1902, Philippe Wolfers asked architect Léon Sneyers, who was an assistant to 

Paul Hankar, to design pedestals and at least one large wall vitrine for displaying 

drawings. All these furnishings have a typical vertical or horizontal line motif cut 

into the oak as a decoration. In this display frame, no such motif is used. 

One can recognize Sneyer’s hand in the quality of the oak used and in the 

way the frame ingeniously opens to change the drawing on display. The profile 

of the frame is very delicately made, and maybe Sneyers refrained from using a 

decoration because it would draw to much attention away from the design on 

display. Finally, this exhibition frame closes with lock and key, an unusual feature 

which we also find on the large Turin wall vitrine. 

206

Jef Codron 

Portrait of Marcel Wolfers, 1908 

Pastel on paper 

Dimensions: 55 × 39 cm (day measure) 

Signed: “Jef Codron 08” bottom right 

Dedicated: “à mon ami Wolfers” bottom right 

Provenance: 

Marcel Wolfers and Clairette Petrucci collection (acquired from or given by the artist) 

Jef Codron was born in 1882. He participated in the preliminary tests for the 

Rome Prize contest of 1904 and 1907 as a painter. Maybe this was how he met 

Marcel Wolfers. Another possible meeting place would have been the informal 

gatherings of artists at the so-called Patte au Dindon Academy. Codron was and is 

mainly know as an etcher and illustrator. His drawings are difficult to find, and on 

the whole represent landscapes. A portrait by Codron is unusual. 

Marcel Wolfers is depicted with a sun cap and an wearing an apron over his 

clothes, so probably Codron drew Marcel when he was working at a drawing. 

The sun cap could indicate that he was working outside. The drawing is prolific, 

but has become somewhat more difficult to read, as the colour of the paper has 

darkened through time. 

The portrait was the only work by Jef Codron in the collection of Marcel 

Wolfers and Clairette Petrucci. It shows Marcel Wolfers at the age of 22 and so 

one of the earliest depictions of the young artist. 

208

Emile Fabry 

Zarathustra, 1909 

Bister on paper 

Dimensions: 53 × 42,5 cm (day measure) 

Signed: “E. Fabry 1909” top right 

Provenance: 

Marcel Wolfers and Clairette Petrucci collection (acquired from or given by the artist) 

Emile Fabry (1865–1966) was one of the founding members of the Pour 

l’Art artists group and became a close friend of Philippe Wolfers. Fabry was 

commissioned by him to paint a large wall decoration in his newly built cottage 

“Les Glycines”, by art nouveau architect Paul Hankar. Fabry has been working 

on the murals between 1902 and 1905 and the parts that were finished were 

exhibited at the salons of Pour l’Art. Fabry had a great influence on Philippe 

Wolfers, and was a leading example to the young aspiring artist Marcel Wolfers. 

It is no coincidence that Fabry’s influence is apparent in the drawings of Marcel 

Wolfers from the years 1905–1910. Even his use of colours is related to the work 

of Fabry at that time. The influence of the young and striking Wolfers, at that 

time aged between 14 and 20, on Fabry was also clear: he used Marcel Wolfers as a 

model. His image is seen in one of the compositions for the “Les Glycines” cottage 

and also in this drawing of 1909. 

Fascinated by “Alzo sprach Zarathustra” by Friederich Nietzsche, its visionary 

message and aesthetics became central to Fabry’s art. The imaginary portrait of 

“Zarathustra” is to be seen as a homage to Nietzsche’s book. We see “Zarathustra” 

depicted as an eagle, with the lion in the left corner and the serpent to the right. 

Could it be that they met at the free and informal gatherings of artists at the 

so-called Patte au Dindon Academy? The face of “Zarathustra” is none other than 

a portrait of Marcel Wolfers, then aged 23. 

210

Frans Van Holder (attributed) 

Portrait of Marcel Wolfers, study, ca. 1910–1914 

Oil on canvas 


Provenance: 


Franz Van Holder (1881–1919) was a close friend of the family. He painted a 

magnificent portrait of Philippe Wolfers in 1907, now in the Royal Museums 

of Fine Arts in Brussels (Inv. No. 7732). This study of son Marcel Wolfers, has 

according to family tradition been painted between 1910 and 1914. Although 

unfinished and therefore unsigned, it was always attributed to Franz Van Holder 

and took pride of place in the Wolfers household. Marcel is depicted as a young 

dandy, ready to go out riding. In the background to the left, one can discern a 

plaster head of a horse, standing on a sculptor’s pedestal. This could be the head 

of the “Possidere” sculpture by Marcel Wolfers, which was shown at the Venice 

Biennale of 1912. 

212

Arthur Navez 

Portrait of Marcel Wolfers, 1914 

From the series of “Quelques Portraits Contemporains” of the Great Zwans-Exhibition 

Oil on canvas 


Signed: top right “Navez” 

Provenance: 


Exhibited: 

Brussels, Great Zwans-Exhibition, Marché de la 

Madelaine, 11/05–14/06/1914, p. 60, cat. No. 12. 

Bibliography: 

Great Zwans-Exhibition, Bruxelles, Association de la 

Presse Belge – Section Bruxelloise, 1914, p. 60 

The tradition of the “Zwans” Exhibitions goes back to 1885. The exhibitions 

were not merely supposed to be humorous, but often the works carried hidden 

critiques on cultural, religious or political developments in the country. It was 

also an opportunity to settle feuds among artists in a tongue-in-cheek manner. 

Many artists submitted works that parodied their own work, thus keeping the 

initiative. Their aim was to raise money for charity. 

Arthur Navez is one of those painters, who in spite of their contemporary 

importance and quality of work, seem to have been forgotten. Around 1914, he was 

well known for his fauvist paintings, often displaying elegant figures in interiors. 

At the Great Zwans-Exhibition he showed a series of 34 portraits which he called 

“Portraits Contemporains” or “Contemporary Portraits” of artists, journalists 

and writers. The list was published under the heading of “Le Trombinoscope”, 

a directory of people with their photographs, or in this case with their painted 

portraits. Each more or less caricatural portrait was accompanied by a succinct 

description of the depicted. In the case of the Marcel Wolfers portrait (exhibited 

as number 12) it read: “Cette vague figure anglaise? / Un roi de la figure en glaise!”. 

Indeed when one looks at the portrait, it is clear that Navez painted his friend 

as an English dandy, perhaps with a slight bohemian touch. The second phrase 

is a compliment on Marcel’s skills as a sculptor. A portrait by Navez from the 

same exhibition and depicting Auguste Thomas (exhibited as number 1) is in the 

collection of the Royal Museum of Fine Arts in Brussels (inv. No. 11561 ). It was 

painted onto the same background and shows many similarities in technique and 

style with the Marcel Wolfers portrait. The fluidity of execution apparent in both 

portraits points to the fact that they have probably been executed especially for 

the exhibition. Most portraits of this series seem to have disappeared. Marcel 

Wolfers was very attached to this work, which was displayed at a prominent place 

in his Vieusart atelier. 

214

216 

Marcel Wolfers was also a contributor to the exhibition: under the name 

“Bette Rave” he submitted a “Masque notarié du plus Beau des Wens”, cut out of 

a beetroot. The accompanying caption next to his pen name reads “Ebauchoir 

du sexe féminin. A trouvé une matière plastique supérieure à l’ivoire, l’argile, le 

marbre et le bronze lui-même. Les vaches s’en relècheraient les babines ” (see the 

1914 catalogue, under number 7, p. 40)

Gustavo Cochet 

The castle Bossier in Dudzele (Flanders), ca. 1925–1930 

Oil on canvas 


Provenance: 


Gustavo or Gustave Cochet was born in Rosario (Argentina) on the 6th of May 

1894 to a French father and a Argentinian mother. As a young man, he worked as 

a telegraph operator while all his spare time was spent painting. He went to study 

with the painter César Caggiano and met other contemporary painters in Buenos 

Aires. 

In 1915 he travelled to Barcelona and from there he went to live in Paris from 

1920 onwards. He stayed in contact with Spain, often painting there and keeping 

in touch with the cultural world. He was also involved in the anarchist movement 

of the country. How he came to know Marcel and Clairette Wolfers-Petrucci is 

not yet known, but as this painting shows, he was invited to their holiday home 

of the 1920’s in Dudzele. Cochet’s painting style is very close to the folk art of his 

native country and Spain. The naiveté of his work is also typical of 1920’s artists 

who wanted to create a different kind of modern art, of which André Dunoyer de 

Segonzac and Maurice Dufresne are its most well-known representatives today. 

Gustave Cochet became more and more involved in Spanish politics from 

1935 onwards, resulting in his flight back to Argentina in 1939. There he became 

Professor of Painting at a school in the city of Santa Fe. Cochet died in Funes 

(Santa Fe) in 1979. This city is also home to the Gustavo Cochet museum. 

This painting is unsigned, but on the back of the stretcher it is indicated 

(probably by Clairette) that the painting is by Cochet and is of Dudzele. Marcel 

and Clairette Wolfers-Petrucci also possessed at least two drawings by Cochet in 

their collection. 

218

Yvan Obozinski 

Coffeepot and sugar bowl Claudine, ca. 1942 

Silver plate and wood 

Dimensions: coffeepot: height 17,5 cm, length 20 cm (spout to handle) 

sugar bowl: height 13 cm, length 22,5 cm 

Marked: “XSf 7 / 14 / argenté in rectangle / 12” on the bottom of the sugar bowl 

Provenance: 


Exhibited: 

Ghent, De Dynastie Wolfers – Meesters in zilver, 

Design museum Gent, 16/12/2006–09/04/2007, p. 35 

(with photo) 

Probably through the mediation of Marcel Wolfers, Yvan Obozinski (1901–1979) 

was able to work for Wolfers Frères S.A. It is not known how many designs 

Obozinski made for Wolfers, nor for how long he has been working for the 

company. It seems that he supplied the firm with designs that were only executed 

in silver plate. 

The Obozinski designs are characteristic of the Wolfers production of the 

second half of the 1930’s. Oval shapes and fluent lines give these designs a great 

elegance. We know that the “Claudine” service was only executed in silver plate, 

but it was finished with the same attention to detail as a piece in silver. As was 

often the case with Wolfers, the service was given a female name. Claudine was 

the name of the daughter of Obozinski, who was born in the 1930’s. The service 

was designed by Yvan Obozinski ca. 1942. 

220

Acknowledgements 

Our gallery has been promoting the work of Philippe and Marcel Wolfers for 

decades. Our in-depth research has led to the identification of signatures, 

monograms and marks. We have been able to rediscover lost masterpieces 

by Philippe Wolfers and have tried to reconstruct the accurate history of the 

lacquer workshop founded by Marcel Wolfers. This would of course not have 

been possible without the help of many people who showed us necessary 

information, gave us first-hand accounts of what happened so many years 

ago, who introduced us to dealers and collectors willing to share information 

or show us their treasures. It is impossible to mention everyone that has been 

helping us during the last twenty years that we were restoring the Wolfers’ 

name and fame throughout the world. So to those people, forgive us if we have 

omitted your name, it is not on purpose and does not in any way mean that we 

are not grateful for your help. 

Our gratitude goes out to the whole of the Wolfers family, especially to 

Mrs Claire-Nelly (Kikou) Baeyens-Wolfers (†) for her enthusiasm for and faith 

in our “Wolfers plans” over the years and for sharing her incredible knowledge 

of the work of her father and grandfather. Also we would like to thank Messrs. 

Jean and Freddy Wolfers (†) for their accounts of the post war years of the firm. 

We thank Dr. Werner Adriaenssens for his help with the cataloguing of some 

items and for the use of his expertise on the work of Philippe and Marcel 

Wolfers and the art deco and art nouveau period in general. Dr. Wim Nys 

was a great help in identifying marks and clarifying some silver related 

problems. A special mention for Dr. Annelies Krekel-Aalberse, who has been 

an inspiration to start researching modern silver all those years ago, and whose 

books remain a reference for dealers, collectors and scholars alike. Prof. Dr. Leo 

De Ren, Mrs. A.-M. Claessens-Peré were there in the beginning and remained 

committed to help. And when we were at loss we could always rely on Lieven 

Daenens, honorary director of the Design museum Gent, who with his 

experience, could point us in the right direction. The great silversmith and 

lacquer artist Jean Lemmens helped us understand and appreciate the difficult 

process of making objects in lacquer. 

222

We would also like to mention some passionate dealers, who each in their 

specific way, have contributed to our research: Martine D’Haeseleer (†), 

Antoine Pucci, Monique de Changy, Daniel de Changy, Maurice Tzwern (†), 

Elkan Wijnberg, Erik Müllendorff and Philippe Denys (†). 

This exhibition and catalogue could not have been made without the help and/ 

or support of Cathérine Verleysen, Carl Vermassen, Cato, Antonia and Leonie 

Vermassen Steel, Astrid and Olivia Steel, Christiana Pattheeuws, Christoph 

Neerman and Tim Sautois. 

Our greatest thanks and deepest regards go out to Marc, Nils and Vincent 

Baeyens without whom this exhibition would have remained a dream. 

Thank you. 

Last but not least we want to thank our father, Leo Steel, who around 1992 

showed a three piece silver tea service by a then fairly unknown silversmith 

by the name of Wolfers. If we wanted to do some research on it to establish its 

designer and to find out when it was made? It was the “Janine” model, designed 

in 1926 by Philippe Wolfers for Wolfers Frères and named after one of his 

granddaughters. Little did we know this was the start of a quest that has lasted 

until today, and will continue to feed our curiosity for many decades to come… 

223

This catalogue was published to accompany the Exhibition 

‘Collection Marcel Wolfers and Clairette Petrucci: Hidden Treasures’ 

at Galerie St-John, Gent, Belgium - 24 th November – 24 th December 2017 

Exhibition by Galerie St-John Gent – Raf Steel & Emmy Steel 

Texts by Raf Steel, Emmy Steel 

Photographs by Raf Steel 

Graphic design and photo retouching by Cedric Verhelst 

Printed by Graphius, Oostakker 

Published by Galerie St-John, Raf Steel, Emmy Steel 

All texts copyright 2017 Galerie St-John, Raf Steel, Emmy Steel. 

All photographs copyright 2017 Galerie St-John, Raf Steel, Emmy Steel, the artists. 

Archival photographs from the collection of the authors and the Wolfers family 

collection, used by kind permission. 

All rights reserved, in all countries. No part of this publication may be reproduced 

(including translation or adaptation), stored in a retrieval system or transmitted 

in any form or by any means, electrical, mechanical or otherwise, without first 

seeking the permission of the copyright owners and the publishers. Every effort 

has been made to contact copyright holders of material reproduced in this 

catalogue. Any omissions will be rectified in subsequent printings if notice is 

given to the publisher. 

Galerie St-John, Gent 

st-john.be 

info@st-john.be 

Bij St-Jacobs 15A 

T. +32-9/225.82.62 

B–9000 Gent 

f.com/galeriestjohn

www.st-john.be

Collection Wolfers & Petrucci: Hidden Treasures

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