430,00 € TTC
2 in stock
With more than 138 years of experience, our export team takes the greatest care to package each order. A damaged product? We will send a new one. A lost parcel? We will send a new one. The shipping cost include an insurance break and lost.
For a delivery outside the European Union, you can pay your order without VAT. Please, use the coupon code FREETAX into your cart.
LOUVRE WINE GLASSES LALIQUE, Designed by Marie-Claude Lalique in 1998, the Louvre Stemware Collection is distinguished by its fine, elegant lines and slender, tapering stems that perfectly complement the classically flared mouth-blown bowl. The satin finish crystal stem is adorned with a network of delicately etched Egyptian hieroglyphs that remind one of the classical masterpieces contained in the Louvre Museum (Paris).
“I look, i observe: the woman, th child, the flight of a bird, a tree, a fish; suddenly, the harmony of a form, a pose, a gesture, a movement, imprints itself on my mind and does not leave, it combines with other compositional elements that i have seen … the work is ripe, and i have only to pick it …” (René Lalique in an interview).
Lalique can look back with pride on a wonderful tradition. One hundred and thirty years of savoir-faire and creative excellence in the French “Art of living”, producing timeless creations: art objects, light fixtures, furniture, jewellery, fragrances and more – all “made in France”. The name of Lalique is associated with glass and crystal, a tradition passed down with passion by generations of its artists and outstanding French craftsmen.
Its undisputed master: René Lalique. Designer, jeweller of Art Nouveau, master glassmaker of Art Deco, decorator, industrial entrepreneur – René Lalique had the ingenious idea of making art a part of daily life, conceiving artistic creation as “total art”: sculpture and modeling to render contours; architecture to encompass his eye for line and planning; precious stones, mother-of-pearl, horn and enamel to refine the shimmering interplay of material and color. And finally, he was captivated by the effects of transparency and opalescence inherent in glass, which he harnessed to create a new, aesthetic form of light.
