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Daum Nancy Art Nouveau Lamp Probably by Majorelle

$3,608.81
£2,648.18
€3,000
CA$4,906.09
A$5,495.46
CHF 2,857.03
MX$67,857.82
NOK 36,396.26
SEK 34,407.01
DKK 22,835.39
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About the Item

Art nouveau lamp circa 1900. Gilt bronze base probably by Louis Majorelle. Glass paste tulip signed Daum Nancy. In perfect condition. Electrified, B22 socket, bayonet bulb. Height: 40 cm Width: 10.5 cm Length: 19 cm Daum (French establishment created in 1878) is a glass and crystal workshop located in Nancy. Founded by the industrialist and notary Jean Daum, the workshop was then taken over by his sons Auguste and Antonin, who ran it during the Art Nouveau period. It was only from the 1900 Universal Exhibition that the company was at the forefront of the decorative art scene, when Daum received the prestigious Grand Prix medal. At this time, Daum glass became more complex, often using acid treatment in the cutting, enameling and engraving of a piece to produce glass masterpieces. Daum also made applied glass elements, such as handles and ornamental designs in naturalistic forms. The Daum brothers quickly became great names in Art Nouveau, rivaling the famous designer Émile Gallé, and established themselves as leaders in the field of decorative glass after his death. In 1906, Daum revived pâte de verre, a process in which glass is transformed into a paste, then applied to the surface of a mold and fired. This technique has its origins in ancient Egypt. Today, Daum is the only industrial crystal manufacturer that uses the pâte de verre process for its glass objects and crystal sculptures. Following World War I, Paul Daum began to develop works in the Art Deco style, moving away from naturalistic forms and turning towards linear, angular, simplified forms and geometric patterns characteristic of the movement. After World War II, Henri and Michel Daum became interested in the transparency of glass and pure lines. Daum collaborated with a large number of famous artists, such as Louis Majorelle, Salvador Dalí, Hilton Mac Connico, Elizabeth Garouste and Mattia Bonetti to create objects in glass paste. French cabinetmaker and designer 1859 - 1926 Louis Majorelle studied at the Ecole des Beaux-Arts in Paris from 1877, in 1879 he took over his father's furniture and ceramics factory. After the 1889 World's Fair, he abandoned the classical style and began to search for his own style. Louis Majorelle, French cabinetmaker, born in Toul in 1859 - Died in Nancy in 1926. He took over from his father Auguste (1825-1879), upon his death, interrupting his studies at the École des Beaux-Arts in Paris where he studied under Jean-François Millet. He was converted to Art Nouveau by Émile Gallé. He was the most important representative of the École de Nancy from 1894. His work is characterized by the use of naturalist elements in his forms and marquetry. He evolved towards simpler and more stripped-down forms shortly after his great success at the 1900 World's Fair and at the same time launched into mass production, which allowed him to quickly expand his catalog. He worked mainly with Jacques Gruber. He opened many exhibition stores, notably in Paris, Lyon and Oran, one of which he bought from Samuel Bing. His creations are sold all over the world. The more common furniture is the work of the workshops entrusted to Pierre Majorelle in Bouxières aux Dames in 1905 He continued in the same style after the war of 1914 despite the change in fashion towards Art Deco.
  • Creator:
    Daum (Manufacturer)
  • Attributed to:
    Louis Majorelle (Metalworker)
  • Dimensions:
    Height: 15.75 in (40 cm)Width: 7.49 in (19 cm)Depth: 4.14 in (10.5 cm)
  • Power Source:
    Plug-in
  • Voltage:
    110-150v,220-240v
  • Lampshade:
    Included
  • Style:
    Art Nouveau (Of the Period)
  • Materials and Techniques:
  • Place of Origin:
  • Period:
  • Date of Manufacture:
    1900
  • Condition:
  • Seller Location:
    NANTES, FR
  • Reference Number:
    1stDibs: LU7403240568712

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Art Nouveau Lamp by Victor Saglier and Daum Nancy
By Victor Saglier, Daum
Located in NANTES, FR
Gilt bronze lamp around 1900, probably by Majorelle executed by Victor Saglier. Stamped on the foot VS. Glass paste tulip signed Daum Nancy. Lamp electrified and in perfect condition. Total height: 38.5 cm - 15.15 in width: 15cm depth: 13cm weight: 2.3kg Victor Saglier (1809 - 1894) Victor Saglier is a ceramist and goldsmith known in particular for his creations in the Art Nouveau style of the late 19th century. He produces, among other things, objects in enamelled glass, gilded metal and numerous pieces of silverware. On his death, the company was bought by his brothers who continued production until 1948. Victor Saglier's objects are signed by the "VS" brand. Known for his Art Nouveau work, Saglier made several pieces for Louis Majorelle, Daum and Émile Gallé. Its style is typically French Art Nouveau in the language of the École de Nancy. He often drew inspiration from nature for his work, the logic of which helped design both forms and settings. The sign of master goldsmith Victor Saglier is an oval-shaped three-master sailboat surrounded by the letters V and S in a rectangle. Saglier made everyday objects such as glass vases, bowls and pitchers with metal mounts, planters, tea and coffee services and candlesticks in bronze or silver-yellow metal or cast zinc. On his death, the Victor Saglier company at 12 rue d'Enghien in Paris became Saglier Frères. It was run by his brothers Eugène and André until his death in 1948. Daum (French establishment created in 1878) is a glass and crystal workshop located in Nancy. Founded by the industrialist and notary Jean Daum, the workshop was then taken over by his sons Auguste and Antonin, who ran it during the Art Nouveau period. It was not until the Universal Exhibition of 1900 that the company was at the forefront of the decorative art scene, when Daum received the prestigious Grand Prix medal. At this time, Daum glass became more complex, acid treatment was often used in the cutting, enameling and etching of a piece to produce glass masterpieces. Daum also produces applied glass elements, such as handles and ornamental motifs in naturalistic shapes. The Daum brothers quickly became big names in Art Nouveau, rivaling the famous designer Émile Gallé, and established themselves as leaders in the field of decorative glass after his death. In 1906, Daum revived glass paste, a process by which glass is transformed into paste, then it is applied to the surface of a mold and fired. This technique originates from ancient Egypt. Today, Daum is the only industrial crystal manufacturer that uses the glass paste process for its glass objects and crystal sculptures. Following the First World War, Paul Daum began to develop works in the Art Deco style, moving away from naturalistic forms and turning to linear, angular, simplified forms and geometric patterns characteristic of the movement. After the Second World War, Henri and Michel Daum became interested in the transparency of glass and pure lines. Daum collaborates with a large number of famous artists, such as Louis Majorelle, Salvador Dalí, Hilton Mac Connico, Elizabeth Garouste and Mattia Bonetti to create glass paste objects.
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Quezal Art Nouveau Lamp
By Quezal
Located in NANTES, FR
Art nouveau lamp circa 1910. Brass and copper base. Iridescent glass tulip signed Quezal. In perfect condition and electrified. Total height: 38.5 cm Base diameter: 15.5 cm Width: 30 cm Quezal Art Glass Quezal Art Glass – The Journal of Antiques and Collectibles – April 2003 By Malcolm Mac Neil Some of the most beautiful and alluring art glass made in America during the early part of the 20th Century was made by the Quezal Art Glass and Decorating Company. Often in the shape of blossoming lilies with brilliant gold interiors and colorfully decorated with floral and other motifs inspired by nature, Quezal art glass ranks right alongside the iridescent glass of Louis Comfort Tiffany and Frederick Carder. Quezal artisans created an extensive range of decorative and useful items, including vases, compotes, finger bowls, open salts, candle holders, and shades for lighting fixtures, which are equivalent in terms of beauty and quality of craftsmanship to Tiffany’s Favrile and Carder’s Aurene glass. In recent years, glass collectors have discovered anew the special charms and appeal of Quezal art glass, and collector desirability for this lovely glassware has increased dramatically. The Quezal Art Glass and Decorating Company was incorporated a century ago, on March 27, 1902. It was founded by Martin Bach, Sr., Thomas Johnson, Nicholas Bach, Lena Scholtz, and Adolph Demuth. The factory was located on the corner of Fresh Pond Road and Metropolitan Avenue in Maspeth, Queens, New York. In October 1902, the trademark “Quezal” was successfully registered. By 1904, roughly fifty glassworkers were employed at the works. Martin Bach, Sr. was the president, proprietor, and guiding force behind this successful company. Born in 1862 in Alsace-Lorraine to German parents, he emigrated to the United States in 1891. Before his emigration, Bach worked in Saint-Louis, France, at the Saint-Louis Glass Factory. After Bach arrived in this country, he was hired by Louis C. Tiffany as the latter’s first batch-mixer or chemist at the newly established Tiffany Glass and Decorating Company, in Corona, Queens. After a period of about eight years, Bach left Tiffany and established his own glassworks. By this time, Bach had already started his small family. He and his German-born wife, Anne-Marie Geisser, whom he married in the fall of 1889, in Paris, France, had three children. Two daughters, Jennie and Louise, were born in France and a son, Martin, Jr., was born in Corona. Bach was assisted by Thomas Johnson, an English immigrant, and Maurice Kelly, a native of Corona, both of whom were gaffers or master glassblowers. Johnson and Kelly helped pave the way for Quezal’s early accomplishments and later recognition. Thomas Johnson, like Bach, was a founding member and also previously employed by Louis C. Tiffany. Johnson’s association with Quezal, however, was relatively short lived. Around 1907, Johnson left for Somerville, Massachusetts, where he became involved in making Kew Blas glass, under William S. Blake at the Union Glass Company. Maurice Kelly’s tenure with Quezal was also brief. Kelly worked at Quezal from January 1902 until July 1904, but by November 1904, he was making Favrile glass at Tiffany Furnaces, where he would happily remain until 1918. To this day, the belief still exists that there once existed a man named Quezal, who worked for Louis C. Tiffany, and it is after him that Quezal glass is named. 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