拍品专文
cf. Flix Marcilhac, Ren Lalique, matre-verrier, 1994, p. 986, fig. CP 48 for the drawing of this vase. See p. 986, fig. CP 47 for an illustration of a similar vase. The present vase will be illustrated in the next edition of the Lalique catalogue raisonn by Marcilhac.
An ancient form of casting, Lalique's cire perdue method greatly differed from his commercial moulded production of glass. Covered in plaster, an original wax model was left to dry; the model was then warmed, and the melted wax permitted to run out, leaving behind a mould into which molten glass could be poured or blown to form a vase. Once the glass had reached a cooling point, the plaster was removed; thus, the mould was destroyed, creating a unique piece of glass. A distinctive feature of glass produced by the cire perdue technique is its rough surface texture, which remains unpolished, and the absence of mould lines. Also, this glass often bears the fingerprints of its maker.
An ancient form of casting, Lalique's cire perdue method greatly differed from his commercial moulded production of glass. Covered in plaster, an original wax model was left to dry; the model was then warmed, and the melted wax permitted to run out, leaving behind a mould into which molten glass could be poured or blown to form a vase. Once the glass had reached a cooling point, the plaster was removed; thus, the mould was destroyed, creating a unique piece of glass. A distinctive feature of glass produced by the cire perdue technique is its rough surface texture, which remains unpolished, and the absence of mould lines. Also, this glass often bears the fingerprints of its maker.