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Lot Essay
“Harmony is the great charm of this artist’s work: opulent and sober at the same time, precious and discrete, with a deep and tasteful luxury.”
– Luc Roville, “Claudius Linossier”, Art et Décoration, November 1923
The son of a Lyonnais weaver, Claudius Linossier discovered his passion for metal early in life and was apprenticed to a local silversmith at the age of thirteen. Subsequently, he left Lyon for Paris where he first apprenticed at the studio Cardeilhac, receiving an education in the techniques of enameling, he development with the period’s premier metalworker, Jean Dunand, from whom he learned dinanderie.
A very complex technique, dinanderie consists of cutting away the metal, usually with acid, after the vase has been formed by hand. Then, the artist carefully fits the other metal into the space, before heating the entire piece, a very delicate process. Finally, the object is either oxidized with acid or fired to create the various shades of subtle colors that define Linossier's work.
Linossier returned to Lyon in 1920, opened an atelier and began creating his own dinanderie vessels often inspired by the ancient Greek and Etruscan examples he had previously studied at the Louvre. From his workshop in the Croix Rousse district, he created conical, spherical, or ovoid forms, which he overlaid with his fire-glazed palette of red, black and white, from copper, steel and silver. Linossier created extraordinary dinanderie; he developed alloys which produced remarkable rich tones and colors and, choosing not to work with enamel and lacquer, he incorporated traditional metal incrustations as well as hammering and patination for his surface treatment.
Linossier first exhibited his designs at the Galerie Rouard or through André Sornay. When he became more prolific, he was further represented by the Galerie Devambez, Hébrard, and by Émile-Jacques Ruhlmann, circa 1923-1924. He exhibited at several stands at the Exposition Internationale des Arts Décoratifs et Industriels Modernes, Paris in 1925, and received numerous awards and accolades, including the Florence Blumenthal scholarship that granted exposure to the United States, and the Grand Prix at the Paris Exposition Universelle in 1937.
Assembled in the 1980s, the extraordinary collection of works presented here epitomizes Linossier’s creative genius and technical mastery. Featuring both his iconic geometric patterns, as well as some rare figurative designs, it is a great opportunity for collectors to acquire some of Linossier’s more sought-after creations.
– Luc Roville, “Claudius Linossier”, Art et Décoration, November 1923
The son of a Lyonnais weaver, Claudius Linossier discovered his passion for metal early in life and was apprenticed to a local silversmith at the age of thirteen. Subsequently, he left Lyon for Paris where he first apprenticed at the studio Cardeilhac, receiving an education in the techniques of enameling, he development with the period’s premier metalworker, Jean Dunand, from whom he learned dinanderie.
A very complex technique, dinanderie consists of cutting away the metal, usually with acid, after the vase has been formed by hand. Then, the artist carefully fits the other metal into the space, before heating the entire piece, a very delicate process. Finally, the object is either oxidized with acid or fired to create the various shades of subtle colors that define Linossier's work.
Linossier returned to Lyon in 1920, opened an atelier and began creating his own dinanderie vessels often inspired by the ancient Greek and Etruscan examples he had previously studied at the Louvre. From his workshop in the Croix Rousse district, he created conical, spherical, or ovoid forms, which he overlaid with his fire-glazed palette of red, black and white, from copper, steel and silver. Linossier created extraordinary dinanderie; he developed alloys which produced remarkable rich tones and colors and, choosing not to work with enamel and lacquer, he incorporated traditional metal incrustations as well as hammering and patination for his surface treatment.
Linossier first exhibited his designs at the Galerie Rouard or through André Sornay. When he became more prolific, he was further represented by the Galerie Devambez, Hébrard, and by Émile-Jacques Ruhlmann, circa 1923-1924. He exhibited at several stands at the Exposition Internationale des Arts Décoratifs et Industriels Modernes, Paris in 1925, and received numerous awards and accolades, including the Florence Blumenthal scholarship that granted exposure to the United States, and the Grand Prix at the Paris Exposition Universelle in 1937.
Assembled in the 1980s, the extraordinary collection of works presented here epitomizes Linossier’s creative genius and technical mastery. Featuring both his iconic geometric patterns, as well as some rare figurative designs, it is a great opportunity for collectors to acquire some of Linossier’s more sought-after creations.