Crystal Glass Dolphin Sculpture by Daum France, 1960s

Stunning glass sculpture of a bird by Daum France. Signed Daum France.

Splendid crystal and blue glass trays or centrepieces, by Daum France, both signed.

Splendid large sculptural crystal glass centerpiece by Daum France. Signed Daum France with the cross of Lorraine.

Stunning Art Deco vase/bucket in heavy lead crystal by Daum Nancy, France. Etched signature Daum Nancy France with the Lorraine cross.

Beautiful and decorative Murano glass sculpture of a duck. Sommerso glass embellished with gold and copper avventurine grains. In perfect original condition.

Splendid Murano glass sculpture of a bird by Formia, Murano. Silver avventurine and crystal glass. Etched signature and original label. In perfect condition.

A luxurious 1970s solid thick French crystal fossil style table lamp with chrome fittings by the famed glass maker, Daum. Newly rewired with silk cord. Signed. 8” to top of the glass...

This pâte de verre crystal sculpture was designed by French sculptor Marie-Paule Deville-Chabrolle (b. 1952) and hand made by Daum in Nancy, France. T...

Stunning table lamp by Daum, made in France around 1970. This eye-catching piece consists of a beautifuly molded crystal glass base and a Japanese grass hood, giving it a truly un...

French Art Deco chandelier by Charles Schneider, Epinay-sur-Seine (Paris), ca.1928. 1+4 large blown in the mold glass shades, powders are applied between two layers, that come hung at their refined wrought-iron fixture. Height : 36.2"(92cm), Overall diameter : 27.2"(69cm). Signed "Schneider" on each shade (see photo). Delivered wired with B22 sockets for your country (US, UK, EU, Australia, China, etc...) - LED bulbs can be used. Charles Schneider was born in Chateau-Thierry, near Paris, on 23rd February 1881. At an early age he moved with his family to Nancy, the artistic center of France. His brother, Ernest Schneider (1877-1937), started working for Daum in 1903 as clerk. Charles had started an artistic career and was already active at Daum since 1898. He performed his practical training in the engraving and decorating workshop, but he also took drawing and modelling lessons with Henri Berge. Concurrently, he studied the Ecole des Beaux-Arts in Nancy. In 1904, he went to the Ecole Nationale des Beaux-Arts in Paris and studied painting and medal engraving. During this period, he made bronze art objects in the pure Art Nouveau style, all signed "CH. SCHNEIDER Nancy". From 1906, he regularly exhibited in the Engraving section of the Salon de la Societe des Artistes Francais and he was twice awarded a prize. In 1913, the brothers decided to start their own business and bought a small glass factory, specialising in electric light bulbs, in association with a friend Henri Wolf, at Epinay-sur-Seine. This factory was known as ‘Schneider Freres & Wolf’. The new glassworks production started with, among others, a group of about twenty workers enticed away from the Daum manufacture. At the outbreak of the World War I, the firm's activity had to be stopped and the glassworks closed by the end of 1914. Ernest and Charles were demobbed in 1917 and the factory re-opened under the name "Societe Anonyme des Verreries Schneider". At this time, public taste still favoured the Art Nouveau style, and the factory produced mainly ‘cameo’ glass with floral and animal designs, and vases with applied handles and bubbles. Apart from the introduction of art glass, half of the production was of commercial drinking glasses. In 1918, fire destroyed the studios at Galle and a group of artists went to Schneider’s to continue their production for Galle. This period was of great importance to Charles Schneider because he acquired the technique of ‘marqueterie de verre’ from Galle’s artists. This technique, similar to marquetry in wood, is where the design is carved out of a vase and filled with colored glass.The big black-footed bowls are one of the first types of art glass made by the Schneider factory. These designs give only a partial idea, however, of the variety of bowls of this type that were produced for at least he next six years. During the first period, they had a satinic finish (1918-1921). Later, they were polished to a smooth, brilliant surface. In this period, Schneider started producing top-of-line pieces with intercalary motifs or with applied patterns requiring a thorough mastery of the execution technique on the part of the glassmaker. Mention should be made of the pieces with wheel-carved patterns, such as the "Raisins noirs" series, and the "Pavots" or "Camelias" medallion series. Some of the factory's most interesting models during the early period were designed by Gaston Hoffman between 1918 and 1921. His pieces are not signed with his name, since he was a salaried employee of the firm. Most of his models are in the top rank of the factory's production. By 1920, the factory was working at full capacity making mainly art glass. In 1921, Schneider started new trade marks for his cameo glass, signing it ‘Le Verre Français’ or ‘Charder’. Sometimes a vase or lamp would bear both signatures. The idea was to popularise art glass and make it more accessible to the public. Le Verre Français was mainly sold at department stores like Galeries Lafayette, Le Printemps and Le Bon Marche. Pieces signed ‘Schneider’ were sold by specialised art shops such as Delvaux, Rouard, La Vase Etrusque and Le Grand Depot. Le Verre Français was made exclusively using the technique of acid etching, which gave good quality at a low price. The technique of wheel engraving through different layers of glass was used only for special pieces. After the 1925 exhibition, various new designs were created and the factory expanded to employ about 500 workers. Blank glass was also supplied to art shops (Delvaux etc.) to be decorated (enamelled, painted etc.) by their own artists, and commissions were received from perfumery companieslike Coty. At this time, the company was at its peak due to the good designs of the previous years, such as the new style created in 1920 using new shapes and contrasting colors by applying black foot and handles to brightly coloured vases and coupes, thus giving them a dramatic effect.?????????? ??????????????????Always innovative, Schneider created a new technique of ‘colored powders’ whereby the pulverised glass was mixed with metal oxides to obtain different colours and then spread on a flat surface. Most of Schneider’s art vases and lamps were exported to America. After the Wall Street crash of 1929 demand dwindled and the factory started to decline. During the 1930’s production of art glass was down to a few pieces a day as they concentrated on making simple designs with less colours for the local market. Attempts were made to save the firm. But Ernest had been seriously ill since the end of the 1920's and was of no help. He died in June 1937, one month after the liquidation of the "Verreries Schneider". In 1940, during the war, the factory was requisitioned by the German troops and used as a restaurant. In 1950, Charles Schneider and his son founded a new glassworks at Epinay-sur-Seine, named "Cristalleries Schneider", which was later transferred to Lloris after an accident caused by a gas explosion. Like the old Schneider factory, this one specialized in free-blown glass. Following the artistic trend of the 1950's, the glassworks produced glass sculptures, crystal vases (sometimes bubbled and colored), ashtrays, clock frames, candlesticks and fruit bowls. But this time, the glass was lead crystal, which had come back into favor in France during the 1930's after being revived in Scandinavia. It was no longer cut, but worked almost exclusively by free-blowing and drawing. All the productions were signed "Schneider France...

Small crystal butterfly sculpture / paperweight by Daum of France, circa 1970s. The etched signature reads "Daum France" and the sculpture is in v...

Cesar Baldaccini (1921-1998) for Daum (French (Nancy), founded 1878), circa 1970. A multi-faceted and chiseled Brutalist Pate-de-Cristal glass "Blue Argos' decanter. Signed "Daum France" near base. Initialed "CE" on bottom. Vase modèle "Argos" en cristal moulé teinté vert Nouveau Réalisme. César (born Cesare Baldaccini, 1921 – 1998), also occasionally referred to as César Baldaccini, was a noted French sculptor. César was at the forefront of the Nouveau Réalisme movement with his radical compressions (compacted automobiles, discarded metal, or rubbish), expansions (polyurethane foam sculptures), and fantastic representations of animals and insects. He was a French sculptor, born in 1921 of Italian parents from Tuscany in the working-class neighbourhood of la Belle-de-Mai in Marseilles. His father was a cooper and bar owner. After studying at the Ecole des Beaux-Arts, Marseilles (1935-9) he went on to the Ecole des Beaux-Arts in Paris (1943-8). He began making sculptures by welding together pieces of scrap metal in 1952 and first made his reputation with solid welded sculptures of insects, various kinds of animals and nudes. His first one-man exhibition was at the Galerie Lucien Durand, Paris, 1954. His early work used soldered and welded metal as well as junk materials, and by 1960 César was considered one of France's leading sculptors. In that year, on a visit to a scrap merchant in search of metal, he saw a hydraulic crushing machine in operation, and decided to experiment with it in his sculpture. He astonished his followers by showing three crushed cars at a Paris exhibition. It was for these 'Compressions' that César became renowned. César selected particular cars for crushing, mixing elements from differently coloured vehicles. In this way he could control the surface pattern and colour scheme of the piece. Later the same year he joined the Nouveaux Réalistes (New Realists) - Arman, Yves Klein, Raysse, Jean Tinguely, Pierre Restany, Niki de Saint Phalle, Daniel Spoerri and others who found their inspiration in urban life. In 1965, he started to work with plastics, first with plastic moulds of human imprints, then from 1966 by pouring expanded polyurethane, which was allowed to expand and solidify. He gave up making welded-metal sculpture in 1966 and organised a series of Happenings from 1967-1970, in which he produced expansions in the presence of an audience. His later works also included sculptures made out of molten crystal. In 1995, he was asked to paint a McLaren F1...

Murano glass dolphin attributed to Barbini. This beautiful colorful dolphin figure or sculpture is hand blown with gold inclusions. Stunning!

Hand-hammered brass dolphin sculpture caught in mid jump with a familiar friendly expression, attributed to Sergio Bustamante. Retaining its patina and lacquered for easy care.

Spectacular and large dolphin door-handle sculpture, France, 1930s-1940s. This magnificent hammered bronze dolphin adorned one of the large glass door...

Superb pair of Maison Lancel 2 Light Brass dolphin sconces, wall lights with Black shades. These animal sculpture lighting was made in the style of...

Horse crystal sculpture, signed Daum FRANCE.

Stylized crystal squirrel sculpture by Daum France, circa 1990s. The etched signature on the base reads "Daum France"; the sculpture is in very g...

Stylized crystal penguin sculpture by Daum France, circa 1980s. The etched signature reads "Daum France" and the sculpture is in very good condition with no chips or scratches. The p...

Stylized crystal toucan sculpture with amber beak by Daum France, circa 1980s. The etched signature reads "Daum France" and the sculpture is in ver...

Small crystal butterfly sculpture / paperweight by Daum of France, circa 1970s. The etched signature reads "Daum France" and the sculpture is in v...

A French Daum crystal sculpture titled "The Flame".