Alliance of brute strength and delicacy, juxtaposition of the shape to the curved lines of the sculpted motifs, the Pivoines collection embodies a contrast of mineral strength and floral romanticism. Symbol of prosperity, beauty and honour, the peony is an emblematic flower, especially in China where it is often depicted. As if carved in the gouge of a rock, garlands of flowers take possession of crystal, like luxuriant nature takes its rightful place over abandoned constructions. Their modelling also evokes the process of Lost Wax sculpture, when the craftsman breaks the plaster mould to reveal the piece.
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René Lalique became synonymous with French Art Nouveau decorative arts. René Lalique was born in 1860 and first began designing fine jewelry in Paris in 1881. Lalique pursued increasingly more innovative experimentation in glass commencing around 1883. Early works used the familiar "lost wax" technique by which the model is made in wax while a mold is formed around the model. Then, the wax is melted and molten glass is poured into the mold. Lalique glass was made in this manner until approximately 1905 at which time the factory was redesigned for a larger production.
As such, the individual uniqueness of each example of Lalique glass came to an end with the end of the one-time only molding technique around wax models. The success of this venture resulted in the opening of his own glassworks at Combs-la-Ville in 1909. During the art nouveau period, Lalique was well known for a wide variety of objects including perfume bottles, vases, inkwells, decorative boxes, and bookends.
Lalique glass is lead based, either mold blown or pressed. Favored motifs during the Art Nouveau period were dancing nymphs, fish, dragonflies, and foliage. Characteristically the glass is crystal in combination with acid-etched relief. In addition to vases, clocks, automobile mascots, stemware, and bottles, many other useful objects were produced. While not well known, Lalique also experimented with bronze and other materials as well.