Born in Berlin in 1818, Jules Wièse arrived in Paris and began working in the studio of François-Désiré Froment-Meurice, He became one of his main collaborators. In 1844, he created his own stamp and opened his workshop, while continuing some collaborations with Froment-Meurice. His participation in the Universal Exhibition of 1855 marked the recognition of his work, deeply imbued with references. Neogothic and Neo-Renaissance.
At Wièse, the jewel becomes a field for interpreting the history of art. But gold, enamel, relief and carvingThey are composed of pieces featuring figures, medallions, foliage, and motifs inspired by the Renaissance or the Middle Ages. A bracelet preserved at the Petit Palais bears witness to this approach: its relief figures evoke, among others, the busts sculpted by Ghiberti for the doors of the baptistery in Florence.
After the disappearance of Jules Wièse in 1890, His son Louis Wièse He resumed running the house and continued this passion for enamelled jewelry and historical references. Preserved today in several public collections, their creations testify to a time when French jewelry drew on the past to invent a new language, in dialogue with contemporary trends. the goldsmithing, sculpture and the history of art.
The Maison Les Enluminures presents a ring made around 1900 by Louis Wièse, a revealing example of jewelry where precious stones and goldsmithing are intertwined in a close dialogue.
The Campana collection played a major role in defining the cultural and political heritage of Italy.
Fine Jewels at Sotheby’s A nod to the June 11th London sale at Sotheby’s, to appreciate ancient jewels! To know or recognize master jewelers through their creations. And not to forget them. We were able to appreciate some very beautiful jewels there. […]
