Cigar Box
1899 (made)
Artist/Maker | |
Place of origin |
In the space of only fifteen years from the late 1880s, Alexander Fisher was almost solely responsible for a major innovation in the English decorative arts; the establishment of enamel work as an important element of metalwork design, beyond its limited applications in the jewellery and watchmaking trades. He was gifted silversmith, enameller and sculptor, who made a major artistic contribution to the Arts and Crafts movement. He was one of the foremost educators in an age when art education was revolutionized. From 1896 to 1908, The Studio published twenty pieces illustrating his work. Other journals publicised his work throughout Europe and America. And yet the known details of his life are sketchy.
Alexander Fisher was born in Shelton, Staffordshire on March 3, 1864. His father was a ceramics painter for Brown-Westhead, Moore & Co and from the 1870s, for the Terra Cotta Co. His son enamelled on terracotta with his father before winning a National Scholarship in painting at the National Art Training Schools, South Kensington 1884-86 and subsequently a travelling scholarship to Italy and France. On returning to London he opened a studio at 139 Oxford Street and then at a succession of addresses in Kensington.
Fisher's entry into the field of enamelling was encouraged by Thomas Armstrong, the Director of Art of the Science and Art Department, South Kensington. Armstrong commissioned a French enameller, Louis Dalpayrat (1838-1900) to give a series of lessons in the technique of enamelling to twelve students of which Fisher was one and the only one to continue to study and refine the techniques after the course had finished. Fisher mastered all enamelling techniques, champlevé, cloisonné, bassetaille, plique à jour and painted enamel. It was with this last technique that Fisher particularly excelled and which is used in the Easton triptych, where the painted enamel is laid on a background of metal foil giving the work an extraordinary depth and luminosity of colour. Fisher's position in the Arts and Crafts movement can be aligned with the work of artists such as Edward Burne-Jones and designers such as William Morris.
Fisher's role as an educator was enormously influential and took two forms: private tuition for necessarily wealthy patrons and involvement with art schools. Fisher was closely involved with W.R. Lethaby and the foundation of the Central School of Arts and Crafts. Fisher, as well as teaching enamelling and silversmithing techniques at the Central School also taught enamelling at the City and Guilds Technical College based in Finsbury for 22 years which also became a significant element in the new art movement. These initiatives had a direct effect on the growth and success of the Arts and Crafts movement.
Alexander Fisher's importance is as a major artist of the British Arts and Crafts movement, a superb technician and a prominent figure in the development of British art school education in the 20th century.
Alexander Fisher was born in Shelton, Staffordshire on March 3, 1864. His father was a ceramics painter for Brown-Westhead, Moore & Co and from the 1870s, for the Terra Cotta Co. His son enamelled on terracotta with his father before winning a National Scholarship in painting at the National Art Training Schools, South Kensington 1884-86 and subsequently a travelling scholarship to Italy and France. On returning to London he opened a studio at 139 Oxford Street and then at a succession of addresses in Kensington.
Fisher's entry into the field of enamelling was encouraged by Thomas Armstrong, the Director of Art of the Science and Art Department, South Kensington. Armstrong commissioned a French enameller, Louis Dalpayrat (1838-1900) to give a series of lessons in the technique of enamelling to twelve students of which Fisher was one and the only one to continue to study and refine the techniques after the course had finished. Fisher mastered all enamelling techniques, champlevé, cloisonné, bassetaille, plique à jour and painted enamel. It was with this last technique that Fisher particularly excelled and which is used in the Easton triptych, where the painted enamel is laid on a background of metal foil giving the work an extraordinary depth and luminosity of colour. Fisher's position in the Arts and Crafts movement can be aligned with the work of artists such as Edward Burne-Jones and designers such as William Morris.
Fisher's role as an educator was enormously influential and took two forms: private tuition for necessarily wealthy patrons and involvement with art schools. Fisher was closely involved with W.R. Lethaby and the foundation of the Central School of Arts and Crafts. Fisher, as well as teaching enamelling and silversmithing techniques at the Central School also taught enamelling at the City and Guilds Technical College based in Finsbury for 22 years which also became a significant element in the new art movement. These initiatives had a direct effect on the growth and success of the Arts and Crafts movement.
Alexander Fisher's importance is as a major artist of the British Arts and Crafts movement, a superb technician and a prominent figure in the development of British art school education in the 20th century.
Object details
Categories | |
Object type | |
Materials and techniques | |
Brief description | Cigar Box, gilt brass and enamel with a wooden lining, London, 1899, signed and dated by Alexander Fisher. |
Physical description | Cigar box, gilt metal with a wooden lining within, the top embellished with an applied enamelled plaque. Rectangular box, gilt inside and out, hinged lid. The painted enamel plaque of oblong form, with a portrait subject intended to be seen from one end of the box; it is applied by means of a gilt metal frame secured by eight pins to the lid. The subject is an angel perched in a tree and holding a harp. Below, in a scroll, `Anno 1899'. Signed A. Fisher in the lower right hand corner. The background blue; the angel also foiled, with red wings and gold hair and robe. |
Dimensions |
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Style | |
Marks and inscriptions |
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Credit line | Given by Mrs H.W. Janson |
Subjects depicted | |
Summary | In the space of only fifteen years from the late 1880s, Alexander Fisher was almost solely responsible for a major innovation in the English decorative arts; the establishment of enamel work as an important element of metalwork design, beyond its limited applications in the jewellery and watchmaking trades. He was gifted silversmith, enameller and sculptor, who made a major artistic contribution to the Arts and Crafts movement. He was one of the foremost educators in an age when art education was revolutionized. From 1896 to 1908, The Studio published twenty pieces illustrating his work. Other journals publicised his work throughout Europe and America. And yet the known details of his life are sketchy. Alexander Fisher was born in Shelton, Staffordshire on March 3, 1864. His father was a ceramics painter for Brown-Westhead, Moore & Co and from the 1870s, for the Terra Cotta Co. His son enamelled on terracotta with his father before winning a National Scholarship in painting at the National Art Training Schools, South Kensington 1884-86 and subsequently a travelling scholarship to Italy and France. On returning to London he opened a studio at 139 Oxford Street and then at a succession of addresses in Kensington. Fisher's entry into the field of enamelling was encouraged by Thomas Armstrong, the Director of Art of the Science and Art Department, South Kensington. Armstrong commissioned a French enameller, Louis Dalpayrat (1838-1900) to give a series of lessons in the technique of enamelling to twelve students of which Fisher was one and the only one to continue to study and refine the techniques after the course had finished. Fisher mastered all enamelling techniques, champlevé, cloisonné, bassetaille, plique à jour and painted enamel. It was with this last technique that Fisher particularly excelled and which is used in the Easton triptych, where the painted enamel is laid on a background of metal foil giving the work an extraordinary depth and luminosity of colour. Fisher's position in the Arts and Crafts movement can be aligned with the work of artists such as Edward Burne-Jones and designers such as William Morris. Fisher's role as an educator was enormously influential and took two forms: private tuition for necessarily wealthy patrons and involvement with art schools. Fisher was closely involved with W.R. Lethaby and the foundation of the Central School of Arts and Crafts. Fisher, as well as teaching enamelling and silversmithing techniques at the Central School also taught enamelling at the City and Guilds Technical College based in Finsbury for 22 years which also became a significant element in the new art movement. These initiatives had a direct effect on the growth and success of the Arts and Crafts movement. Alexander Fisher's importance is as a major artist of the British Arts and Crafts movement, a superb technician and a prominent figure in the development of British art school education in the 20th century. |
Collection | |
Accession number | M.3-1968 |
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Record created | June 24, 2009 |
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