Lalique Large Clear & Frosted Crystal Polar Bear 11637 Rare & Retired Figurine For Sale
FABULOUS CLEAR & FROSTED CRYSTAL LARGE
"POLAR BEAR" SCULPTURE #11637
RARE and RETIRED Lalique Crystal piece!
This listing is for a RARE Lalique animal sculpture -
thelarge crystal"POLAR BEAR" figurine with clear and
frosted silk finish.
Exquisite design is one of Lalique's harder-to-find retired animal figurines and it haswonderful, realistic details.
Signed with an engraved script signature
Measures6" high X 6"long X 6
Weighs 7.0 lbs
PLEASE SEE MY OTHER LISTINGS INCLUDING LLADRÓ FIGURINES.
I will combine shipping for $$$savings.
Sorry, no original box.
SUPERB VINTAGE RETIRED ITEM!! Thanks for looking.
All questions are answered fast! Shipping is usually within two days of payment! Local buyers may pick up and save on shipping!
Rene Lalique (1860-1945) began his career as a
freelance jewelry designer for acclaimed houses Cartier and Boucheron. In 1885,
he opened his own workshop where he produced spectacular sculptural pieces
through the use of unique materials such as glass, horn, enamel and gold. His
designs seamlessly wove fantasy and nature together. The theory of
metamorphosis and its affect on the female figure created some of the most
dramatic imagery known to jewelry, let alone art. Lalique is indisputably the
master of Art Nouveau jewelry design. Actress Sarah Bernhardt brought Lalique
great fame by promoting his designs, which she boldly wore on-stage and at
LALIQUE is more than just a name, it is a highly talented
family, comprising three generations of artists of international fame. The
second generation of the LALIQUE family is represented by Marc (1900-1977), who
succeeded his father in 1945 and founded a new era, that of crystal. Marc
LALIQUE was a remarkable technician, inspired by the love of his art. He was
destined to make his mark in the history of LALIQUE. Following his renovation
of the war-damaged factory at Wingen-Sur-Moder, he replaced glass with crystal,
leading to the world-wide fame of LALIQUE. During the Fifties he was also the
creator of many works which preserve the LALIQUE style, and which also reflect
the spirit of their age; an age which is currently being re-discovered today
with great enthusiasm. Many of his creations have already found a place in
museum collections and are in demand by numerous private collectors. Then
Marie-Claude LALIQUE, third generation of artists, after Marc's death in 1977,
became the artist of the company until 1996.
Born in Paris in 1900, Marc LALIQUE studied at the Ecole des
Arts Décoratifs. He began working with his father, René, in 1922 and became his
closest associate. On the death of René LALIQUE in 1945, Marc took charge of
the family business and soon proved himself to be a highly talented designer, a
skilled craftsman and an astute businessman. The Wingen-sur-Moder factory in
Alsace, Eastern France, suffered a great deal of war damage. Inspired by the
love of his craft and respect for his tradition, Marc LALIQUE took advantage of
this misfortune to make full use of his skills as a glassmaker, training new
craftsmen and totally renovating the factory. As a result of this program,
crystal became the permanent replacement for glass, and the great improvement
in its quality remains one of Marc LALIQUE's greatest contributions.
The contrast between clear and frosted glass became even
more marked through the use of the purity and clarity of crystal. This
combination was to prove so striking that the name LALIQUE became synonymous
the world over with particular a glass manufacturing technique. Marc LALIQUE
was always fascinated by the technical side of glass manufacturing and loved to
follow the various stages of production down to the most minor detail. Design
remained uppermost in his mind however, and he continued to produce a large
number of pieces. With the coming of the Second World War, the decorative
styles of the Roaring Twenties the Art Deco Thirties were both at an end. A
large part of the collection René LALIQUE had created failed to survive the
war. What remained, however, was the LALIQUE Spirit. Nature remained a
principal source of inspiration, with the continuation by Marc LALIQUE of the
Animal series started by his father. The animals became progressively less
detailed and more stylized, but remained highly realistic in terms of pose or
movement, showing the artist's eye for detail as well as his creative
The love which Marc LALIQUE felt and displayed for his art
was to play an important part in the early years of his only daughter,
Marie-Claude. As a child, she was fortunate enough to experience at first hand
the thrill of the designer who sees his creation take form thanks to the skills
of the master glassworker. Enthralled by the magic of the work she saw carried
out at the kiln, she became more and more familiar with molten glass, so much
more versatile and responsive a material than the uninitiated could suspect. In
spite of such a highly motivating background, Marie-Claude's studies at the
Ecole Nationale Supérieure des Arts Décoratifs were on the point of leading her
into a career of theatre design. The LALIQUE family tradition finally proved
too strong for her however and in the early 1960s, her father asked her to
design a dove in crystal and she was completely won over, quite naturally
taking a place beside him as his collaborator.
As a granddaughter proud to live up to the LALIQUE name,
Marie-Claude did not stint at the idea of expanding her field of creativity.
She, in her turn, was tempted by jewellery design. Like her grand-father before
her, she firmly believed that the beauty of any object derives not only from
the quality of its shape and design, but also from the richness of the material
itself. She therefore created jewellery with highly mannered, sophisticated
lines and decorated with enamel and semi-precious stones. Whereas René LALIQUE
used to draw his designs, Marie-Claude sculpts hers in plasticine, a type of
modelling clay. Working in three dimensions in this way led her in the early
1970s to create abstract works of art in which she combined the unusual shapes
of metal which had been melted and then allowed to set together with
magnificent pieces of coloured crystal, suggesting gems in their crudest form,
hewn from the rock.
Though she has worked in other fields, the main objective of
Marie-Claude LALIQUE has always been to continue the work of her father and
grandfather. Perpetuating a spirit means innovating, and so Marie-Claude has
never let contemporary fashions and artistic trends pass her by. Indeed, one of
the best definitions of the work of Marie-Claude LALIQUE might be the successful
fusion of tradition and innovation.
Marie-Claude has inherited that special sensitivity to
nature which has allowed all three generations of LALIQUEs to perceive it and
depict it so well, and in large part, this has helped her keep the tradition
Crystal is too often considered a cold, «lifeless "
material. Marie-Claude's special talent lies in bringing it to life. Making
subtle use of the many possibilities of nuance, contrast and gradation which
can be achieved by frosting, she treats light and shade as if they were true
colours, lending relief to the sculpture. Frosting achieves effects which are
both visual and tactile, reproducing the coarseness of mineral, the downiness
of a leaf or the silkiness of skin. The artist who has the ability to suggest
movement can create an object which is completely alive. One of the major
features of Marie-Claude LALIQUE's talent is her natural gift for capturing the
essence of movement - the plant and animal designs which decorate her works
might be snapshots. Another feature of her work is her use of strong, pure
colours which come alive with the quality of her material, which takes on the
appearance of semi-precious stones. The combination of these brightly coloured
elements with the brilliance of clear crystal makes her designs truly stunning.
Their technical perfection and beauty make these rare works of art much
appreciated by connoisseurs.