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Daum Nancy Art Nouveau Lamp

Informazioni sull’articolo

Daum Nancy Art Nouveau table lamp, circa 1910. High-quality wrought iron base, stamped (illegible). Powder tulip signed Daum Nancy. Electric and in perfect condition. Height: 40.5 cm Width: 30 cm Depth: 21 cm Weight: 2 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 Franco-Prussian War, 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 that produced bottles and ordinary goblets. The company did not achieve financial stability and Daum was forced to buy it 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 poor financial health of the glassworks, Auguste, who was training as a lawyer, was forced to take over. Antonin began by embellishing the standard tableware. Familiar with glass techniques through his training, he oriented production towards 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 engraving 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 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), at 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-in-command. Émile Writz joined him from 1898 onward. The venture culminated in Daum and Gallé being awarded the first grand prize for art glass at the 1900 World's Fair. Daum presented carefully curated pieces: vases with intercalary decoration (patented in 1899) and lighting fixtures, which became a specialty. In 1904, Almaric Walter developed glass pastes there, and he remained at Daum until 1915. In 1901, the statutes of the École de Nancy were officially established. Émile Gallé was the man behind this grouping 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 Antonin's place. After 1918, the Daums ensured the company's adaptation to new production conditions, careful 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 the public's 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-designed novelty pieces. Pierre Davesn created models from 1928. The economic crisis of the 1930s affected Belle-Étoile, which closed in 1934. A few large orders allowed the company to continue its Production: In 1935, the Compagnie Transatlantique ordered 90,000 pieces of glass and crystal for the ocean liner Normandie. After World War II, crystal took on a prominent role under the direction 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 breath of fresh air in 1965 by calling on contemporary designers.
  • Creatore:
    Daum (Produttore)
  • Dimensioni:
    Altezza: 40,5 cm (15,95 in)Larghezza: 30 cm (11,82 in)Profondità: 21 cm (8,27 in)
  • Alimentazione:
    Via cavo
  • Tensione:
    110-150v,220-240v
  • Paralume:
    Incluso
  • Stile:
    Art Nouveau (Del periodo)
  • Materiali e tecniche:
  • Luogo di origine:
  • Periodo:
    1910-1919
  • Data di produzione:
    1910
  • Condizioni:
  • Località del venditore:
    NANTES, FR
  • Numero di riferimento:
    1stDibs: LU7403245157052

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