Driven by the continuous regression in the quality of our consuming of music, Jarre Technologies devised AeroSystem One with the aim to retrieve and restore the lost sound that has been so meticulously produced in state-of-the-art recording studios: it is time for home-entertainment to be true to the genesis of the initial emotion created by the musicians in the studio.
AeroSystem One is the result of four years research and development by Jean Michel Jarre and his team of sound engineers. Conceptualised in France, this powerful sound-system can accept all digital formats, from MP3, AAC, WMA, etc. AeroSystem One is compatible with all iPod and iPhone models and comes with an integrated USB 2.0 port, as well as a mini-jack port offering the possibility to connect the system to a laptop, a CD / DVD player, smartphones, hard-disk files, as well as a vinyl turn-table. AeroSystem One incorporates an electronic signal circuit, tailor-made to reproduce both the bass line and high notes with optimal precision.
AeroSystem One delivers a precise and enveloping sound thanks to its powerful box beam and two directional speakers.
The ultimately elegant design of the AeroSystem One, perfectly integrates into any interior, with its aesthetic ambition while privileging optimum audio quality, all at a most affordable price: a sound-system that appeals both to design and music-lovers.
LALIQUE crystal, which decorates this speaker, reveals sparkling jets of water which emerge from the intriguing Masque de Femme, an iconic motif of this prestigious crystal house. This Art-Deco style mask reveals the face of a mysterious woman, with subtle features, surrounded by aquatic wildlife. Like a fingerprint, the face seems perfectly captured in the crystal. To create this piece of work, 13 master glass-blowers blow, cut and polish crystal with their expert hands into a design that is so emblematic of LALIQUE.
The artisans from LALIQUE have managed to enhance and illuminate the speaker created by Jean Michel Jarre and to raise it to the rank of a true piece of contemporary art.
• Compatible with all iPod generations: iPod Touch®, iPod Nano®, iPod Classic® • Compatible with all iPhone generations: iPhone®, iPhone 3G(S)®, iPhone 4® • Multiple input sources with mini-jack 3.5 mm connector: • MP3 players • Computers • CD/DVD players • Vinyl turntable • 1 USB host • 240° Sound dispersion with built in 3D enhancement filters • 2 x 30w full spectrum high definition tweeters • 1 x 60w subwoofer • Power input voltage 110 or 220 depending on your country of residence • Dimensions: 26 x 26 x 108.5 cm
Integrated amplifier: 1 Subwoofer 60 W RMS, 2 Speakers 2 x 30 W RMS
Ports: iPod® 30-pin, iPod Touch® , iPhone®
USB 2.0 host: reads any type of digital audio file
Auxiliary input for mini-jack 3.5 mm connector analog / digital
IR Remote iPod®, iPhone® functions
Frequency range: -6dB at 52Hz&20kHz
Drive unit: 1×135mm (5.25in) bass
2×75mm (3in) satellite
Amplifier output power 1×60W (bass), 2×30W (satellite)
Inputs:
30-pin iPod® connector
3.5mm mini jack
USB with WMA & MP3 decoder
Height: 1085mm (42.7in)
Cabinet External Diameter: 115mm (4.5in)
Base External Diameter: 260mm (10.2in)
Net Weight: 14.36kg
Material & Finishes:
Colour Silver
Lalique crystal
Stainless steel with Chromium
iPhone®
iPod® and iPod mini®
iPod nano®
iPod touch®
iPod classic®
€15.000,00
Revolutionary artist, both admired and considered eccentric, René Lalique has a huge following, from the European courts to artistic and industrial milieus around the world. This prolific genius, dubbed “the Rodin of transparencies” by Maurice Rostand, has infused his Maison with such poetic force that 150 years later, the charm still operates and his art has become timeless.
René LALIQUE was born on 6th April 1860 at Aÿ, in the Champagne region of France, but the greater part of his childhood was spent in Paris. From a very early age, he revealed an aptitude for art and a profound love of nature. He became apprenticed to the jeweller Louis Aucoc in Paris. While learning the techniques of jewellery manufacturing, he continued to study art at the Ecole des Arts Décoratifs in Paris. After a short period at the School of Art in Sydenham, England, he returned to Paris to take up sculpture with the wellknown sculptor Lequien. He began to design jewellery on a freelance basis and presented his work, which was entirely original in style, to famous jewellers such as Cartier, Jacta and Boucheron. In 1886, he took over the workshop of Jules Destape in Paris, where he was finally able to manufacture his own designs. They were displayed in the windows of the best-known jewellers of the day, where they were met with tremendous success and enthusiasm among the public. Lalique created his first jewels in chiselled gold with decors inspired by Antiquity and of Japonism.
He opened a new workshop at 20, Rue Thérèse (in the Opéra district of Paris), where he began to experiment with glass and glass manufacturing. He presented his work at various salons and exhibitions. His talent brought much acclaim and in 1897 he was awarded the prestigious “Croix de Chevalier de la Légion d’Honneur”.
For the “Exposition Universelle” in 1900, LALIQUE was at the peak of his career as a jeweller. His work was sought after worldwide, and there were many attempts to imitate his style. He married Augustine Ledru and had his town-house built at 40, Cours la Reine (now Cours Albert 1er) in Paris. This building served as their home and also as a workshop and showroom. In 1905, he opened a shop in the Place Vendôme where he displayed both jewellery and a variety of objects made of glass and manufactured at his workshop in Clairefontaine, situated on the outskirts of Paris. He met François Coty, and began to design perfume bottles for him. In 1909, he opened a glassworks in Combs-La-Ville, to the east of Paris. LALIQUE held his first exhibition in the Place Vendôme concentrating purely on glass. Soon after this, he abandoned jewellery design to focus entirely on glass and glass manufacturing. Construction of the Wingen-sur-Moder factory employing skilled glass masters in the region of Alsace. Its installation was facilitated by President Alexandre Millerand who liked René Lalique’s works very much. LALIQUE’s glass was in such heavy demand that he opened I 1921 a second factory at Wingen-sur-Moder in Alsace, in the east of France.
The Paris Exhibition of Arts Décoratifs was held and Art Deco triumphed. For René LALIQUE, 1925 was the summit of his career as a glass artist. At the 1925 exhibition, he displayed a wide range of glass objects including perfume bottles, statuettes, ornaments, vases, bowls, tableware, lamps and architectural panels. The lines were pure, even geometric, but softened with sculptures of flora, fauna and the female form. The LALIQUE style was expressed mainly by the contrast between clear and frosted glass, sometimes with the addition of a patina, enamels, or colouring within the glass itself. During this period, he participated in large scale decorative and architectural projects for the Compagnie Internationale des Wagons-Lits, and others such as the ocean liner “Normandie “ and St Matthew’s church in St Helier, Jersey. He also took part in the great exhibitions held in Paris during this period - the Colonial in 1931, the Rétrospective in the Pavillon de Marsan at the Musée des Arts Décoratifs in 1933, and the Paris World Fair in 1937. He left the Place Vendôme and opened in 1935 a new shop at 11, Rue Royale in Paris. The factory in Alsace was occupied by the German Army during the second world war. René LALIQUE died on 1st May 1945 in Paris without having seen the kilns of his factory re-lit and his works of art once again in production.
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 todaywith 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 programme, 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 adaptability.
Marc LALIQUE also inherited his father's taste for monumental pieces. The greater the technical challenge, the greater the pleasure he felt in achieving it. The newly reformed LALIQUE glass factory produced an enormous geometrically shaped crystal chandelier for the 1951 Paris " Art of Glass " exhibition. Stemware was a field in which Marc LALIQUE was particularly interested. Many of the designs in the current LALIQUE collection belong to him, and are characterised by their elegance and originality. The very pure lines of the head of a wineglass enhances the bouquet of the wine and the delicacy of the crystal contributes to its fine taste. The stem of the glass usually provides the decorative element, a sculpted frosted crystal motif or a carved design. From the Sixties onwards, Marc occasionally moved away from natural, realistic decoration and concentrated on the visual effects innate in crystal itself. He produced pieces with highly stylized plant motifs which appear to be sculpted in ice and decorated with frost. Marc LALIQUE died in 1977 while on a visit to Alsace.
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 SupĂŠrieure des Arts DĂŠcoratifs 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.
Suzanne, the daughter of René Lalique, was born in 1892. She was raised within an arm’s length of her father’s creative activities and, although she never took formal art training, she grew up to design textiles, books, theatrical productions, and a painter. Not surprisingly she became a noted artist herself whose work was to span seven decades. Suzanne’s delight in art led her to study oil painting under the instruction of Eugene Morand. It was while on holiday (1916) with Monsieur Morand and his wife that Suzanne met her future husband Paul, a photographer and a head of the famous Limoges porcelain line that was founded in 1842 by his grandfather David Haviland. Paul was born in Paris, but graduated from Harvard and spent much of his early life in the United States.
The marriage of Suzanne Lalique to Paul Haviland (1917) was to
change the course of history for the two companies; Lalique and Haviland, and the couple made an incredibly creative partnership with Suzanne able to flourish as a designer of porcelain, as well as of glass.
Lalique is known globally as one the leading companies in the crystal, jewellery and perfume world, renowned for its unique expertise in the manufacture of crystal. Founded by RenĂŠ Lalique in the early twentieth century, the company specialises in the creation and production of luxury pieces for the home as well as jewellery.
Haviland was created in 1842 at Limoges and has now been at the forefront of the porcelain world for over 150 years due to the exceptional quality of the porcelain and high levels of creativity in design. Prestigious artists such as Cocteau, Dali and Kandinsky have all created designs for the brand which has graced the homes of such historical icons as Abraham Lincoln, Jacques Chirac and Emperor Guillaume II of Germany. Today Haviland remains a pioneer in porcelain technique combining tradition with modernity and classic re-editions with the most stylish and contemporary creations. All pieces are of the highest quality and entirely hand made.
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 RenĂŠ 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 alive. Crystal is too often considered a cold, ÂŤlifeless " 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.
Since 1921, the Manufacture located in Alsace, area renowned for its glassmaking, has perpetuated a traditional know-how. The human hand that of both artist and craftsman, marks every object of its print and its strength, which convey this “immaterial” presence: our know-how.
The LALIQUE style comes from an artistic gesture, outlining a drawing in total osmosis with crystal, a style that one easily recognises through the manual modelling of the shapes and patterns, as if sculptured, the richness of the figurative details, the different types of finishing which create this characteristic contrast of clear and matt crystal. Fueled by the creativity of a line of artists out of the ordinary, the universe LALIQUE has a rich expertise that comes from tableware to decorating, the Jewelry to Perfumes.
The poetry expressed in exceptional items and the search for excellence comes together every day in the Lalique workshops. While creation and innovation are at the forefront of the artistic interplay of tradition and modernity, the magic of skill and enchantment of matter belong to the “Masters of Fire” and “Sculptors of Light”. These expert glass workers are companions of an art, which they control with elegance, juggling several talents from the infinitely small to the significantly large. At both ends of the scale, their proficiency is expressed by a search for perfection, a passion that guides the hands of these artistic craftsmen over the years and respects the beauty of their gestures and human talent. Whether they express their talents with a
few dozen grams (for example in a Cabochon ring) or several kilos of precious crystal, these gatherers, blowers, cutters and engravers produce masterpieces on variable scales, clear evidence of unique expertise and an unparalleled artistic style.
The exceptional Lalique signature reflects this richness on jewellery, vases, bottles, sculptures, furniture or decorative items. Nothing is mechanised. From the Nude Venus to the Cactus console, irrespective of the model, the products pass through the hands of at least twenty master glass workers on their demanding journey between the "hot glass" hall and the five "cold glass" workshops. More than thirty transformations are sometimes necessary to ease the crystal as closely as possible towards the original design. The range of a hundred colours can be adapted to suit requirements with subtle mixtures and different formulae. Regardless of the size of the pieces, what is important is the quality of workmanship of the master glass worker and the precision of his movements. The work will be extremely physical for large pieces that may require up to five gatherings in pot furnaces or up to twenty five kilos of melted crystal at arm's length at the end of the blowing iron or the gathering iron. And when the mould leaves the room, it is time to concentrate on the solid matter and the hair lines on the cold glass, the depths of the relief, the satin etchings or shiny effects, the finishes and the figuring. One worker may use a magnifying glass to emphasise the expression of a face or engrave the movement of hair whilst another may polish an imposing part such as a leg, the details of a profile, etc. down to the last millimetre. This invisible complicity beats and vibrates
freely expressing emotions around these carved works from the smallest to the largest as they move through time like all great artistic challenges.
The Lalique factory in Wingen-sur-Moder employs no less than five of the Best Craftsmen in France (called MOF for "Meilleurs Ouvriers de France") and has implied that a few more could try their luck. This title, which is recognised throughout the world, is awarded to the elite of different categories every three years on the basis of a specified theme and competition. It reflects the skill, career and high level of technology through the creation of a masterpiece. This recognition is tantamount to perseverance and assurance of excellence. "Becoming a MOF is an aim that we set for ourselves at a young age. It is our ultimate goal�, points out one of the craftsmen. Above all it is a challenge which an individual sets for himself because the hardest thing is to keep going right to the end, to find solutions when he no longer knows how to complete the masterpiece and when the fear of breaking the piece almost becomes an obsession. Professionals know that being a MOF represents four or five hundred hours of work, solitary combats with the material, sacrifices, expectations and suffering. It represents tools which they one day had to invent in order to sculpt a fine notch and gestures which they had to perfect over time in order to gain control over the crystal. François Schilt and Jean-Claude Hertrich from the "hot glass workshop" and Jacky Saenger, Bertrand Metzger and Christian Dorckel working with "cold glass" have obtained this accolade as a result of hard work. Today more than ever they use their talents for the benefit of the Lalique factory that has kept its
original furnaces and expertise, which has been passed down through the ages from generation to generation. Crystal is also a family affair. The workers here are glass workers or cutters and the profession is passed on from father to son or even from father to daughter. "The older generation has passed on its experience and practice", they confirm. Not to mention pride in a profession which has been in their blood from a very early age. "My father worked for Lalique for forty-three years and slowly introduced me to the magic of crystal when I was barely 7 years old. He instilled in me a love of the profession and sowed the seeds for working with art." The apprenticeship is one characterised by codes of silence, and feeling timeless, refined repeating gestures until it comes naturally "like writing". Precision is acquired by observing, admiring and acting so calmness has to be found and a rhythm maintained. The time for reflection when the worker feels free and is filled with pleasure and joy to be able at last to hold an exceptional piece in his hand. Lalique relies on an inimitable style and know-how in order to develop his future creations.
CEO of Lalique since 2008, Silvio Denz's vision is clear: make Lalique one of the most daring lifestyle of luxury brands. Lalique, French jewel of crystal shines around five pillars: perfume, jewelry, decorative items, interior decoration and art. For each of these activities, Silvio Denz wishes to continue the creative genius of its founder Rene Lalique.
Silvio DENZ was born on September 14th, 1956 in Basel. After business studies and various activities in the fields of finance, trade and marketing either in Switzerland or abroad, he developed, between 1980 and 2000, Switzerland’s greatest chain of perfumeries with more than 100 points of sale and 750 collaborators. In 2000, he sold his company in 2000 to the French perfumery chain "Marionnaud" to found ART & FRAGRANCE S.A.
Today, Silvio DENZ is the President and major shareholder of ART & FRAGRANCE, whose headquarter is located in Zollikerberg - Zurich. This public Group, listed at the the BX Bern eXchange in Switzerland, is devoted mainly to creation, the production and the international distribution of various brands of perfumes and cosmetics. As Art & Fragrance acquired Lalique SA in February 2008, Silvio Denz became Lalique’s CEO
As a wine amateur, Silvio DENZ founded the company Suisse Ermitage Holding S.A in 1999. Owner of the largest wine auction house in Switzerland "Les Grands Vins Wermuth S.A", he also holds two companies of wine trade in Zurich and the “Clos d’Agon" vineyard in Catalonia.
In March 2005, Silvio DENZ acquired “Château Faugères”, “Grand Cru” of Saint-Emilion, owned by the Guisez family since 1823 and which extends on 80 hectares. The wines of Château Faugères count among the best wines of Bordeaux are regularly noted between 92 and 96 out of 100 by Robert Parker.
Summer 2007, Silvio DENZ acquired the “Château de Chambrun” in the Lalande-de-Pomerol region of France and a significant participation in the Montepeloso vineyard in Tuscany.
Since 2002, Silvio DENZ lives in England where he actively participates to the real estate business in London. Beside architecture, one of his passions is art. His collection includes masterpieces from various periods.
But its greatest passion as an Art Collector is for RENE LALIQUE. Silvio DENZ has been collecting his works for nearly 20 years, mainly perfume bottles but also vases and jewelry. All the pieces he owns are first-rate works of art. Iin particular, he acquired the world’s three largest collections: that of Glenn and Mary Lou Utt, that of David Weinstein and that of Marie-Claude Lalique.
Today, Silvio DENZ’s collection of René Lalique’s works is probably the most complete and most important of all.
René Lalique’s creations are displayed in more than 40 museums worldwide including the Musée LALIQUE, which opened in 2011 at Wingen-sur-Moder, also home to the LALIQUE factory. LALIQUE offers to worldwide collectors iconic creations which break records at auctions. LALIQUE work enjoys an undisputed artistic value which is handed down from generation to generation.
A jeweller of exceptional gifts and an immense master glassmaker, René Lalique is one of the great artists of Art Nouveau and Art Deco. For 90 years, Lalique creations have been produced at Wingen-sur-Moder in Alsace. It is in this region with its great glassmaking tradition that the first museum dedicated to the work of René Lalique has been created, a place to celebrate the artist's memory worthy of his genius and influence. Unique en Europe, the museum – designed by the Wilmotte Agency – has been endorsed as a Musée de France. With more than 550 pieces exhibited over 900m², the museum presents the many facets of Lalique's work and, in a resolutely modern setting, displays drawings, jewellery, perfume bottles, tableware, lights, vases… It is in Wingen-sur-Moder, where René Lalique chose to base his factory in 1921, that the future museum has been built. It stands on a former glassmaking site that operated between 1715 and 1868 and has been listed in the Additional Listing of Historic Monuments since 1996. The construction project was directed by the Wilmotte Agency, in tandem with the architects, Chiodetti and Crupi from Colmar. Respect for building heritage, appropriate integration of the new buildings into the landscape, the choice of materials – concrete, stone, glass – and the layout of the grounds are at the heart of the project. The creation of these gardens by the landscape designers, Neveux et Rouyer, will provide a link between Lalique's work and the natural world that he observed so closely. The settings inside the museum have been entrusted 3 to Ducks Scéno.
As he enters the museum, the visitor is greeted by a monumental chandelier made by Marc Lalique in 1951 for the Art of Glass exhibition at the Paris Museum of Decorative Arts. Sixty years after its creation, this exceptional chandelier, which weighs 1700 kg and is composed of more than 300 pieces rising to a height of 3 metres, was entirely restored in the Lalique workshops in Wingen-sur-Moder in order to be exhibited to the general public once again. The Museum's permanent collections have been brought together thanks to acquisitions, supported by local government authorities and the Regional Museums Acquisition Fund as well as numerous patrons. They are also enriched by very generous deposits by the Lalique Company, private collectors and Parisian museums, like the Museum of Decorative Arts and the Museum of Arts and Crafts. A multimedia presentation allows the visitor to explore the life and work of RenĂŠ Lalique and his successors. The various spaces set the visitor's pace as he walks through a museum rich in discovery and aesthetic emotions. For the visitor, it is an opportunity to immerse himself in themes close to Lalique's heart, among them the "3 Fs": Female (form), Fauna and Flora. A fervent observer of nature, Lalique explored the decorative potential of flora and fauna through his creations to a degree of perfection that has never been equalled. Fascinated by nature, he did not consider any animal species beneath his dignity: snakes, parrots, grasshoppers and beetles are rehabilitated in all their glory on vases, small clocks, carafes and perfume bottles. Lalique did not set any limits and found endless inspiration in the female form. Voluptuous curves, rings of nudes or delicately swaying hips celebrate woman whom the artist liked gentle and mysterious. Alongside
displays of exceptional pieces, the museum's ambition is to put Lalique's artistic work back into its historic, social or technical context‌ A wonderful opportunity to evoke his artistic and literary friendships and his eclectic clientele. Among them, British monarchs, Japanese princes, the actress, Sarah Bernhardt, and the oil magnate, Calouste Gulbenkian, friend and patron. Spaces to immerse oneself in the work, fostering the sensory approach and using audiovisual techniques, are devoted to the Universal Exhibition of 1900 and to the Exhibition of Modern Decorative and Industrial Arts of 1925 that market the peak of his career as a jeweller and then as a glassmaker respectively. Sacred art, a little known but so very fascinating aspect of Lalique's artistic output will also be displayed to great advantage. Finally, a multi-touch table provides an insight into the various stages in the making of the Bacchantes vase, created by RenÊ Lalique in 1927 and still a bestseller today. The men and women who today still perpetuate this know-how are also showcased in a film on the factory, which will reveal some of the secrets of the magic of working with crystal.
The Masque de Femme panel created by Rene Lalique in 1935 to adorn a fountain embodies the imaginative power of its creator who was fascinated by women and nature. Both vintage and avant-garde, the Masque de Femme box reinterprets this piece of art Which reveals the face of a mysterious woman with delicate features, surrounded by aquatic fauna. Its graphic lines and the purity of its crystal highlighted by black lacquered hand made wood display style and minimalism.
Lalique Museum – Wingen sur Moder, France - www.musee-lalique.com Musée des Arts Décoratifs, Paris – France – www.lesartsdecoratifs.fr Musée d’Orsay, Paris – France - www.musee-orsay.fr Victoria & Albert Museum, Londres – U.K - www.vam.ac.uk Fondation Gulbenkian, Lisbonne – Portugal - www.museu.gulbenkian.pt Schmuckmuseum, Pforzheim – Germany - www.schmuckmuseum-pforzheim.de Museum für Kunsthandwerk, Francfort – Germany - www.angewandtekunst-frankfurt.de Kunstgewerbemuseum, Berlin – Germany - www.smb.museum Det Danske Kunstindustrimuseum, Copenhagen - Danemark Musée de l’horlogerie et de l’émaillerie, Genève – Switzerland - www.ville-ge.ch/mah Musée de l’Hermitage, Saint Petersbourg – Russia - www.hermitagemuseum.or
Metropolitan Museum of Art, New York - www.metmuseum.org Walters Art Gallery, Baltimore - thewalters.org Virginia Museum of Art, Richmond - www.vmfa.state.va.us
Musée LALIQUE, Hakone – Japan - www.lalique-museum.com Museum of Modern Art, Tokyo – Japan - www.momat.go.jp/english Teien museum, Tokyo – Japan - www.teien-art-museum.ne.jp/museum
To create this piece of work, 13 master glass-blowers blow, cut and polish crystal with their expert hands into a design that is so emblematic of LALIQUE. The artisans from LALIQUE have managed to enhance and illuminate the speaker created by Jean Michel Jarre and to raise it to the rank of a true piece of contemporary art. A marriage of innovation and craftsmanship, born from a meeting between Silvio Denz, CEO of the prestigious house of LALIQUE, and Jean Michel Jarre, the genius of electronic music. Two worlds, which on the surface seem to be completely opposite of each other, have come together in their quest for excellence. To further their pursuit for innovation, these two men have combined their values and talents. Together, they have created an object that combines their expertise: the AeroSystem One® by LALIQUE. LALIQUE crystal, which decorates this speaker, reveals sparkling jets of water which emerge from the intriguing Masque de Femme, an iconic motif of this prestigious crystal house. This Art-Deco style mask reveals the face of a mysterious woman, with subtle features, surrounded by aquatic wildlife. Like a fingerprint, the face seems perfectly captured in the crystal.
Réalisation: Vincent Huchot Images et effets spéciaux: Vincent Huchot Assistant caméra: Christopher Morley-Pegge Musique originale: Jean Michel Jarre
Last September 6, LALIQUE inaugurated a historic new boutique on Vogue Fashion Night, the “must” event for key players in the worlds of fashion and design. On 6 September 2012, over 500 guests joined LALIQUE CEO Silvio Denz at a glamorous Paris address: 11 Rue Royale. Also on hand were famous French musician Jean-Michel Jarre, English designer Lady Tina Green and renowned global wine expert James Suckling, celebrities with whom the LALIQUE brand has exclusive partnerships while maintaining their own distinctive and exceptional know-how. One of the highlights of the evening was the unveiling of the Limited Edition Black Aerosystem. Developed with Jarre Technologies, this limited series of just 999 premium speakers combines the finest crystal craftsmanship with the latest in technical innovation. Also spotlighted was the “100 points”, an exceptional wine glass that is as gorgeous as it is functional. Created with wine expert James Suckling. A new collection of “Venice” theme decorative objects echoing the baroque architecture of the Italian city, were admired by collectors of this outstanding traditional brand. The jewelry collection “l’Odyssée du Feu Sacré” blazed and sparkled in all its glory, drawing gasps of wonderment from all those present.
A journey through the history of a man: A ďŹ gure in Art nouveau and Art Deco, Creator of jewelry, in glass and crystal, A poet, father of a timeless heritage An avant-garde genius of his time. A return to the origins of life: Of myths and symbols, Of the elements: Water, Earth, Air and Fire
The origins of nature: fauna and fl ora Meticulously explored. Exploring the fi nest craftsmanship: Alchemic transformation The sketching motion, vivid lines Gems, metals, enamels, crystals Heated and cooled: into living jewels. Discovering a jeweler of emotion: The poetic recreation of the world Into an «enchanting cosmogony» Of which women: nymphs, goddesses, fairies Are the eternal guardians.
Un voyage dans l‘histoire d’un homme : Figure de l’Art nouveau et de l’Art déco, Artiste joaillier, du verre et du cristal, Poète, père d’un héritage intemporel, Génie avant-gardiste de son temps. Un retour aux origines de la vie : Celles des mythes et des symboles, Des éléments : Eau, Air, Terre, Feu,
Celle de la nature : la faune et fl ore Explorée méticuleusement. L’exploration d’un savoir-faire : Celui des métamorphoses alchimiques, Du geste du dessin, des lignes intenses, Des pierres, métaux, émaux, cristaux, Chauffés, refroidis : en bijoux vivants. La découverte d’une joaillerie d’émotion : Celle d’une re-création poétique du monde, Dans une « cosmogonie enchanteresse », Dont les femmes : nymphes, déesses, fées Sont les gardiennes, éternellement.