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The German version of the Art Nouveau style was called "Jugendstil" with "jugend" meaning youth. It was a term coined by the Munich Art publication "Jugend".
In 1890 the style was floral and naturalistic, however, designs were becoming more abstract and controlled by the 1900's, moving further away from the original French Art Nouveau style.
The German towns of Pforzheim and Darmstadt were the places where the abstract style of the "Jugendstil" was really established.
Above : Theodor Fahrner "Jugendstil" brooch with pearl, silver and enamel.
The Grand Duke Ernst Ludwig Hesse was familiar with the English Arts and Crafts style and was also a great supporter of avant garde ideas. He had the initiative and power to establish a community of artists in 1899 near his Darmstadt palace.
He undertook the role of art patron where his focus was to create a cohesive arts and crafts design style which could be produced in Darmstadt creating a successful commercial enterprise for those involved.
Above : Joseph Maria Olbrich silver, enamel and chalcedony pendant circa 1902 for Theodore Fahrner
Although he managed to bring together some talented bright young designers their early 1900 exhibition of objects and architecture was neither a critical or financial success
The group of artist were led by the Austrian architect Joseph Maria Olbrich, whose jewellery production was structural and pure in nature. Other architects involved in the jewellery design were Peter Behrens and Patriz Huber from Munich.
Above : Patriz Huber silver and chrysoprase brooch for Theodore Fahrner
The painter Hans Christiansen as well as sculptors Rudolf Bossett and Ludwig Habich also created jewellery designs. Unfortunately most of the the groups artistic work came to an end in 1902 although some continued until the outbreak on World War 1 stopped all work.
A new patron with business skills and an open mind to new and daring design was required. This is where Theodore Fahrner emerged on the scene.
Theodore Fahrner was born 1859, and trained as a metal work engraver at the Pforzheim Art Academy in Germany. Here he honed his artistic skills and appreciation of art and design. His father owned a ring factory and after his death in 1883 Theodore became the sole proprietor.
He was looking for innovative designers whose ideas could be transformed into fully or semi machine made jewellery at his factory in Pforzheim and the artists group in Darmstadt was a perfect place for him to find talent.
The designers were happy to cooperate with Fahrner who was not just a business man, but a creative manufacturer with a great eye for design.
Above : Erich Kleinhempel pendant for Theodore Fahrner with amethyst, silver, enamel and pearl
He was innovative enough to hire free lance designers as well as using his in house designers. His aspiration was to achieve great artistic quality for mass production, something which had not preciously been attainable with the available technology and artists.
Various architects and designers signed on with Farhner. Among these were Max Gradl, Patriz Huber, Joseph Maria Olbrich, and Erich Kleinhempel along with graphic designer Georg Kleeman.
They were joined by painters Ferdinande Morawe, Bert Joho, and Julius Muller-Salem , and sculptors Ludwig Habich and Franz Boeres.
Above : Max Gradl brooch (1902) with silver , lapis, and enamel and silver and chrysoprase buckle for Theodore Fahrmer
Max Gradl was the first of the freelance designers to be taken on by the firm with his designs winning Fahrner a silver medal at the 1900 Paris Exposition.
His 1903 silver brooch featured chrysoprase and also green rhinestones , which were more of unusual addition. Max Gradl remained working with the Fahrner firm as an artistic consultant until 1910.
Each of the free lance designers working for Fahrner had a particular style.
Pendants designed by Franz Boeres between 1905 until 1919 featured matt enamel triangles, pyramids and open work grilles.
Above : Franz Boeres for Theodore Fahrner silver, lapis and pearl brooch and silver pendant from 1905
Patriz Huber's brooches and buckles featured organic curves and chrysoprase stones.
Joseph Orlbrich produced refined jewellery with freshwater pearl pendants, and Georg Kleeman was known for his rectilinear designs mixing matt coloured enamel with garnet cabochons or opals.
Above : A Theodore Fahrner enamelled "Jugendstil" brooch for Murrle Bennet and Co designed by Patriz Huber, and an enamelled Theodore Fahrner pendant for Murrle Bennet and Co.
Fahrner's own designers also produced hundreds of designs with agate and matt enamel until 1910 when marcasite was added.
Prior to World War 1 Fahrner had formed a business export arrangement with Murrle, Bennet, and Co in London , and he supplied them with a large amount of his merchandise.
Above : Theodore Fahrner amethyst and silver art deco pendant and earrings.
Theodore Fahrner died in 1919 after a long illness and Gustav Braendle bought the company from Fahrner's widow. At this point the name was changed to Braendle - Theodore Fahrner Nachfolge.
In the 1920's Braendle and his employees designed hundreds of marcasite stylised floral or leaf pieces.
They also produced striking art deco style geometric sterling silver or gold vermeil pendants predominantly using black agate or coral stones, marcasite and strong coloured enamel.
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Above : Theodore Fahrner silver art deco panel bracelets with marcasite, coral, and enamel
In the 1930's the firm also produced filigree jewellery. Filigree jewellery was a traditional folk jewellery technique.
Silver wire was granulated, twisted, beaded or corded by hand then soldered to the piece.
It was an expensive process and the jewellery was quite fragile, however the firm produced a fair amount of filigree jewellery.
Above : A Theodore Fahrner filigree bracelet
Gustav Braendle was entrepreneurial and a suitable successor to Fahrner. He took out full page adverts in the German fashion magazines during the 1920' and 1930's and managed to increase the firms export trade to both Europe and North and South America.
He produced a fashionable high end line of jewelery as well as a cheaper line accessible to the general public.
Above : A Gustav Braendle art deco ring with silver , marcasite and chrysoprase
In 1931 Braendle registered the Fahrner seal to assure the authenticity of his jewellery.
Braendle lost two sons during the Second World War and his company and all its archives were destroyed by the bombing raid on Pforzheim during the war.
Despite this Braendle , along with his third son, rebuilt his business after the war and continued working until his death in 1952.
After this his son Herbert Braendle continued with the business. He produced filigree jewellery with translucent rather than matt enamel and marcasites.
The designs featured animal or bird designs, or plainer classics that had been popular before the war., In the 1970's the firm expanded into gold jewellery however sales were flagging.
Herbert Braendle died in 1979 and at this point the Fahrner company closed its doors.
Theodore Fahrner jewellery produced before World War 11 is relatively rare these days as any jewellery that looked too elegant in Nazi Germany was though to be "too French" and therefore to be destroyed.
Even though the jewellery was produced by a German manufacturer many thousands of pieces of Fahrner jewellery were destroyed.
Article by Modern Vintage Style
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