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Daum Nancy Art Deco Chandelier

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Large Art Deco chandelier circa 1930 in acid-etched white glass, signed Daum Nancy. Wrought iron frame by Marcel Vasseur for FAG (Ferronneries Artisanales des Galeries). Electrified, 3 E14 sockets. In perfect condition. Height can be reduced before shipping. Diameter: 49 cm Total height: 71.5 cm Weight: 5 kg The Compagnie française du cristal Daum is a crystal factory founded by the Daum brothers in 1878 in Nancy, Lorraine. The workshops of the Daum brothers, Auguste (1853-1909) and Antonin (1864-1930), also trained some of the great names of Art Nouveau, such as Jacques Grüber, Henri Bergé, Almaric Walter, and the Schneider brothers. Following the war of 1870, Jean Daum (1825-1885), a notary in Bitche, sold his practice and opted for France. He settled in Nancy in 1876 and, that same year, lent money on several occasions to Avril and Bertrand, owners of the Sainte-Catherine glassworks in Nancy, a factory producing bottles and ordinary goblets. The company did not achieve financial stability and Daum was forced to buy it back in 1878 and became head of a company with 150 workers, in a field he knew nothing about. In 1878, Jean brought his son Auguste into the business, but he did not experience the company's first successes. Upon his death in 1885, Auguste took sole charge of the glassworks before being joined in 1887 by his brother Antonin, who had just graduated from the École Centrale des Arts et Manufactures in Paris. Faced with the glassworks' poor financial health, Auguste, who was training as a lawyer, was forced to take over. Antonin began by embellishing standard tableware. Familiar with glassmaking techniques through his training, he oriented production toward artistic creation. Between 1889 and 1891, the two brothers prepared the establishment of an artistic department, which was entrusted to Antonin. Auguste gave him all the resources he needed to follow the path pioneered by Émile Gallé in Art Nouveau glassmaking. Antonin Daum began with a few simple models, quickly progressing to acid etching, then moved on to models using wheel etching techniques and two- or three-layer glass. From 1890 to 1914, he created no fewer than 3,000 pieces. Jacques Grüber was the glassworks' leading artist. Recruited in 1893, he was entrusted with the creation of pieces for inclusion in the 1893 Chicago World's Fair. This was the first major success that propelled Daum into the elite circle of art industries. The Daum brothers won a place at the Nancy Exhibition in 1894. Exhibitions followed in Lyon (1894), Bordeaux (1895), and Brussels (1895 and 1897), during which they received distinctions. A design school was created within the company in 1897, training its own decorators and engravers. Henri Bergé was the master decorator, the company's second artist. He would be joined by Émile Writz from 1898 onward. The venture's crowning achievement came when the first grand prize for art glassware at the 1900 World's Fair was awarded to Daum and Gallé. Daum presented carefully prepared pieces: vases with intercalary decoration (patented in 1899) and lighting fixtures that became a specialty. In 1904, Almaric Walter developed glass pastes there, remaining at Daum until 1915. In 1901, the statutes of the École de Nancy were officially established. Émile Gallé was the man behind this group and became its president. Antonin was vice-president. Antonin was also a leading figure in the Nancy Chamber of Commerce. He played an important role in 1909 during the International Exhibition of Eastern France, which marked the end of the École de Nancy. Auguste died in 1909. Antonin remained active until his death in 1930, but shared responsibilities with Auguste's sons: Jean, Henri, and Paul. Jean died in 1916, and Henri was manager like his father. Paul graduated from the Institute of Physics and Chemistry in Nancy and gradually took over from Antonin. After 1918, the Daums ensured the company's adaptation to new production conditions, striving to maintain quality, techniques, and aesthetic rather than utilitarian orientations. The company continued to participate in major exhibitions: Barcelona in 1923, the International Exhibition of Decorative Arts in Paris in 1925, and the Colonial Exhibition in Paris in 1931. In the 1920s, Paul Daum shifted production toward Art Deco, as public interest in Art Nouveau declined. Demand was high, and the company prospered. It opened a second Belle-Étoile crystal factory in Croismare in 1925, with Paul as director. It supplied white glassware, baubles, and Lorraine-branded novelty items. Pierre Davesn created models from 1928. The economic crisis of the 1930s affected Belle-Étoile, which closed in 1934. Large orders allowed the company to continue production: in 1935, the Compagnie transatlantique ordered 90,000 pieces of glass and crystal for the ocean liner Normandie. After the Second World War, crystal took on a prominent role under the leadership of Henri and Michel Daum. Antonin's eldest grandchild, Antoine Froissart (1920-1971), an engineer at the École Centrale Paris, developed the production of a particularly transparent and brilliant crystal. This new crystal favored the creation of pieces with thick, supple shapes and a luminous appearance. Jacques, Auguste's grandson, brought a new lease of life in 1965 by calling on contemporary designers.
  • Creador:
    Daum (Fabricante)
  • Dimensiones:
    Altura: 71,5 cm (28,15 in)Diámetro: 49 cm (19,3 in)
  • Fuente de energía:
    Cableado
  • Tensión:
    110-150v,220-240v
  • Pantalla:
    Incluido
  • Estilo:
    Art Decó (Del período)
  • Materiales y técnicas:
  • Lugar de origen:
  • Época:
  • Fecha de fabricación:
    1930
  • Estado:
  • Ubicación del vendedor:
    NANTES, FR
  • Número de referencia:
    1stDibs: LU7403245426372

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