
International Art | Sculpture
Satyr with wineskin cast 19th century
after UNKNOWN ROMAN
International Art | Sculpture
Satyr with wineskin cast 19th century
after UNKNOWN ROMAN
International Art | Painting
The prodigal son c.1780-1840
UNKNOWN
International Art | Sculpture
Spinario cast late 19th century
after School of PASITELES
Asian Art | Print
Courtesans (reprint) unknown
after EISEN
Asian Art | Sculpture
Flying horse of Kansu cast 1973
after EASTERN HAN ARTIST
International Art | Sculpture
Bust of Niccolo da Uzzano unknown
after DONATELLO
International Art | Sculpture
Borghese warrior 19th century
after AGASIUS THE EPHESIAN
Pacific Art | Fibre
Jipai (mask) 2011
AFEX, Ben
International Art | Glass
Decanter c.1875-1900
AESTHETIC STYLE
International Art | Glass
Vase c.1880-1900
AESTHETIC STYLE
International Art | Glass
Vase c.1880-1900
AESTHETIC STYLE
Contemporary Australian Art | Installation
Blackboards with pendulums 1992
KENNEDY, Peter
International Art | Drawing
Design
ADAM, Sicander
International Art | Metalwork
Tea urn c.1770-1800
ADAM STYLE
International Art | Ceramic
Long necked vase c.1900-50
ACOMO PUEBLO
Pacific Art | Photograph
'Te Waiherehere', Koroniti, Wanganui River, 29 May 1986 1986, printed 1997
ABERHART, Laurence
Pacific Art | Photograph
Nature morte (silence), Savage Club, Wanganui, 20 February 1986 1986, printed 1999
ABERHART, Laurence
Pacific Art | Photograph
Angel over Whangape Harbour, Northland, 6 May 1982 1982, printed 1991
ABERHART, Laurence
Australian Art | Drawing
A memory of Gumeracha (study of flies) 1908
HEYSEN, Hans
Pacific Art | Print
The boxer 2009
ABEL, Patrik
By Ineke Dane Geraldine Barlow
International galleries February 2024
René Lalique was both an avant-garde craftsman and astute industrialist. Originally trained as a jeweller, he discovered glass in the 1890s as a new medium to enhance his intricate designs. Lalique’s opalescent and luminous creations were highly influential in the Art Nouveau and Art Deco movements.
Lalique turned his focus to glassmaking almost exclusively in 1922, opening a glassworks in north-east France that still operates today. The factory allowed Lalique to recast his designs in a variety of colours and finishes, from translucent clear or blue-green glass to red and frosted grey. By the end of the 1920s, it was an epicentre of French decorative art, combining luxury decor and mass production.
Like many artists of the early twentieth century, Lalique had a great interest in Japanese culture, which was a formative influence on Art Nouveau. He subtly decorated his glass objects with natural Japanese-inspired motifs such as grasshoppers, birds and bending reeds of grass. Notable in the group on display is the Perruches (Parakeet) vase, designed in 1919, which shows Australian budgerigars — a fashionable pet among the French elite at the time – perched on flowering branches in a compressed composition, resulting in a delicate, interlocking pattern. This exemplifies the influence of Japanese tradition, adjusted to European tastes.
1860
- 1945
Full profile for LALIQUE, René
This story is a sub-component of: