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Georges Clairin - Portrait of Sarah Bernhardt
Armand Point - Peacock Casket
Camille Alaphilippe - Woman with Monkey
Aristide  Maillol - Seated female nude with her left hand on her head. Study for The Mediterranean
Louis-Robert Carrier-Belleuse - The Struggle for Life vase
Léon  Lhermitte - Les Halles
Fernand Pelez - The Death of Emperor Commodus
Pierre-Auguste Renoir - Ambroise Vollard in a Red Scarf
Jean Carriès - My Portrait
Emile Gallé - Two-handled vase
Georges-Henri Lemaire - Silence or Immortality
Charles-Alexandre Giron - Woman wearing gloves, also known as The Parisienne
Paul Sérusier - Tricoteuse au bas rose
Pierre-Auguste  Renoir - Portrait of Madame de Bonnières
Berthe Morisot - Jeune fille en décolleté - La fleur aux cheveux
Pierre Bonnard - Conversation à Arcachon
Pierre-Adrien Dalpayrat - Dish : The judgment of Paris
Joseph-Marius Avy  - Bal blanc
Marie Constantine Bashkirtseff - Parisienne, Portrait of Irma
Maurice Denis - Female bathers at Perros-Guirec
Fernand Pelez - La Vachalcade
Alfred Sisley - The Church at Moret (Evening)
Théophile Alexandre Steinlen - Ball on the 14th of July
Edmond  Aman-Jean - Miss Ella Carmichaël
Raoul Larche - Buste d'enfant (portrait présumé de Marcel Lerolle)
Sarah Bernhardt - Dagger : algues
 Baccarat Factory - Vase à décor de cactus
Emile Gallé - Commode, Le Sang d'Arménie
 Bracquemond (Félix), Rousseau (Eugène), Creil and Montereau factory - Round dish. Rousseau dinner service
Félix  Vallotton - Femme au bouquet
Emmanuel Frémiet - Le pélican gastronome
George Desvallières - Portrait de Mademoiselle Yvonne Robiquet
Léonard Agathon - Deux esquisses pour le Jeu de l'Echarpe

Pine cone bowl

Ay, 1860 – Paris, 1945
Circa 1902
Glass, crystal, silver 0
19,2 x 10,3 cm

Alongside Georges Fouquet and the Vever brothers, Lalique is considered to be the main Art nouveau jeweller.

Separating himself very quickly from the neo-Renaissance style prevalent in the 1880s, Lalique created jewellery inspired by natural themes in which he gave free rein to his imagination and his feel for composition and colour. He chose the female body as his main motif and did not hesitate to use semi-precious stones and materials traditionally overlooked or spurned by jewellers such as horn or enamel.

From 1902 onwards, Lalique devoted himself mainly to the manufacture of art glassware. The pine cone bowl lies at the turning point of his oeuvre and draws on the combined skills of  silversmiths and glassmakers. The artist has blown milky white glass into a silver mount whose bluish transparency is reminiscent of opal. The technique of blowing glass into a metal frame was used by Lalique in other bowls and Dionysian chalices decorated with vines or ears of wheat.

Inventory number: 
Inventory number : OGAL00579
Acquisition details : Purchase, 1933
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