Baroque jewellery 1962-1972
The sixties were a rich period of varied experiences for Émile Souply. He shared his life with Françoise Clabots, a draftswoman and illustrator.
This was a time of collaborations and commissions, for Les Ateliers de Maredsous, the jeweller Fernand Demaret and then Pierre Casteleyn. His work was artisanal in nature, much of it produced using the traditional lost wax technique of iron casting. The main material was yellow gold, and the style was specifically baroque, particularly in the use of cultured pearls.
As well as promoting and championing the silversmith’s craft, he also laid stress on the artistic requirements of the artist; these emphases informed his efforts to improve recognition for artistic jewellery – resituated in this instance in an economic context.