lobate style

The auricular or lobate style, known in Holland as Kwabornament and in Germany as Knorpelwerk, appears to be the only ornamental style which was developed mainly by silversmiths and found its fullest and most notable expression in silver.

1971, Hugh Honour, “Paulus van Vianen (c. 1568—1613)”, in Goldsmiths & Silversmiths (Great Craftsmen), New York: G. P. Putnam's Sons, →OCLC, page 97

The two-handled cup and cover by the Hound Sejant maker at Wadham College, Oxford, to which he compared it, shows a similar tentative application of the lobate style to an essentially English form.

1993, Ellenor M. Alcorn, “58. Two-Handled Cup and Cover, London, ca. 1665, Gold, 60.534a,b”, in English Silver in the Museum of Fine Arts, Boston. Volume I. Silver Before 1697, Boston: Museum of Fine Arts. Distributed by Northeastern University Press, →ISBN, →OCLC, page 137

The ornament in this window comprises not only Netherlandish grotesque with its characteristic combination of strapwork and scrollwork but also classical motifs in the two friezes. The two empty cartouches in the lower register (fig. II) moreover herald an entirely new fashion, that of the auricular or lobate style.

1997, Zsuzsanna van Ruyven-Zeman, “Hendrick de Keyser: Draftsman and Designer of Stained Glass”, in Simiolus: Netherlands Quarterly for the History of Art, volume 25, number 4, →DOI, →JSTOR, page 292

The smooth, kneaded, almost unfinished appearance of the heart-shaped relief ornament is reminiscent of the lobate style of relief decoration, known as kwabornament, which was popular in the first half of the seventeenth century.

2009, Natalie Zemon Davis, Deborah L. Krohn, Dutch New York Between East and West: The World of Margrieta Van Varick, New York: Bard Graduate Center for Studies in the Decorative Arts, →ISBN, →OCLC, page 232