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Featured Item Chandelier 00997
with details

French 24-arm
chandelier, c 1900
Baccarat crystal
45" w x 60" h

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chandelier 00997

chandelier 00997 detail A

 

 
 
Reference Information on Pieces in Our Collection
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French sculptor of female figures, especially dancers, during the Deco period. Long-time friend of artist Marcel Bouraine, also of Max Le Verrier, artist and foundry owner. The three artists met while studying together at the Beaux Arts in Geneva.

Many of Le Faguays' pieces were cast at Le Verrier foundries. His works were often signed "Fayral" and he may also have used pseudonym "Guerbe," his mother's family name. He also produced designs for the Goldscheider manufactory in Paris.

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Louis Octave Maxime Le Verrier [1891 - 1973] No artist traveled a more circuitous route to his vocation than Max le Verrier. His father, a Parisian goldsmith, wanted him to be a farmer. Although the boy had shown an interest in the arts from an early age and had excelled in his academic studies, he was sent to agricultural collage at St Sever and La Reole against his wishes. Max refused to give up art and was disowned, preferring to make his own way than to be a farmer. He returned to Paris where he struggled then moved to London. In London he met a Frenchman who had a plane, learned to fly, and opened an aviation school with his new found friend.

In 1914 he entered military service as a pilot and was shot down. During his war-time imprisonment he found himself returning to his artistic pursuits. As a pilot-officer He was allowed tools and clay and so began sculpting in earnest. In the camps he also met other artists and they held exhibitions. After the war he studied art in Geneva along with Pierre Le Faguays and Marcel Bouraine.

Returning to France, he opened an atelier/studio/foundry in Paris in 1919. Here he produced his work and that of many other well known artists. Works work cast both in bronze and his own unique version of spelter, which was very heavy, and known simply as "art cast." Many pieces were created in multiple sizes and both as a statue and as a lamp. His most famous work was "Clarte," an Art Deco nude woman holding a lighted globe.

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In 2004, Lightolier celebrated 100 years of illuminating America. Bernhard Blitzer founded the company in 1904 as the New York Gas and Appliance Company with a showroom in the Bowery. Quick to realize the significance of the new electric lighting, he shifted the company's emphasis to electrical lighting design. Lightolier developed its lighting lines with a very Miesian "function with style" (glass refractors in pendants, for example).

From the 20s to the 40s Lightolier developed a reputation for design excellence. Between the first and second world wars, lightolier's emphasis shifted from decorative lighting to architectural lighting, which is where it remains today.

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Not much is known about the Art Deco artist who signs his pieces "Limousin" which is also a region in central France that has been a center of foundry enterprise since the 13th century. The region contains a foundry of the same name, still active today. The foundry was well know for producing art pieces in bronze and spelter by many well-known artists of the Art Nouveau and Art Deco periods [e.g. Lucien Alliot, Auguste Moreau]. Much work was produced by "Limousin" during the 20s and 30s and his style is distinctive enough to also attribute unsigned pieces to him. Perhaps he was employed by the foundry.

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Bohemian art glass studio, founded in 1840 by Johann Loetz, and later continued by other artisans, achieved international fame primarily for its work in the Art Nouveau style (or Jugendstil, as it was called in German-speaking countries) during the late 19th and early 20th centuries.Many glass vases were carefully deformed to have an organic resemblance to shells, trees, flowers and other natural forms. Rich colors were used.

The glass works is particularly well-known for its Phanomen glass which had a rippled feather-like surface created by wrapping molten glass threads around a molten glass surface. Loetz and Tiffany were making parallel innovations around the same time and occasionally borrowed from each other.

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