GENERAL DESCRIPTION
This candlestick is part of a well known group featuring raised and fluted bases, ribbed mid-sections, and fluted sockets. Sticks of this type are believed to have been made in Normandy. This part of France was one of the most important glass-producing areas of the country. In 1605, a monopoly on glassmaking in Normandy and on importation of glass into the region was given to Francois Garsonnet, who established a glasshouse in Rouen. Although he was of French birth, Garsonnet, like many of his rivals throughout France, relied on Italian workmen to produce glass. Craftsmen trained in Venice and Altare were vital to the success of the French industry well into the 18th century.
By 1665, the monopoly on glass in Normandy ceased, and the Rouen concern faced competition from outside. Nevertheless, it continued to operate until the early 19th century.
Adapted from
Dallas Museum of Art, Decorative Arts Highlights from the Wendy and Emery Reves Collection (Dallas, Texas: Dallas Museum of Art, 1995), 77.
NOTES
TMS Updates:
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- text entry for 1985.R.192 and 193
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PROVENANCE
Until 1985: Emery Reves (1904-1983) and Wendy Reves (1916-2007) (owned jointly), La Pausa, Roquebrune-Cap-Martin, France [1]
From 1985: Dallas Museum of Art, The Wendy and Emery Reves Collection, gift of Wendy Reves (1916-2007) [1]
[1] According to: Olivier Meslay and Martha MacLeod, From Chanel to Reves (Dallas, Texas: Dallas Museum of Art, 2015), 4-5.
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General Description
This candlestick is part of a well known group featuring raised and fluted bases, ribbed mid-sections, and fluted sockets. Sticks of this type are believed to have been made in Normandy. This part of France was one of the most important glass-producing areas of the country. In 1605, a monopoly on glassmaking in Normandy and on importation of glass into the region was given to Francois Garsonnet, who established a glasshouse in Rouen. Although he was of French birth, Garsonnet, like many of his rivals throughout France, relied on Italian workmen to produce glass. Craftsmen trained in Venice and Altare were vital to the success of the French industry well into the 18th century.
By 1665, the monopoly on glass in Normandy ceased, and the Rouen concern faced competition from outside. Nevertheless, it continued to operate until the early 19th century.
Adapted from
Dallas Museum of Art, Decorative Arts Highlights from the Wendy and Emery Reves Collection (Dallas, Texas: Dallas Museum of Art, 1995), 77.
Fun Facts
Archival Resources
Web Resources
Notes
TMS Updates:
- search dates
- Provenance
- text entry for 1985.R.192 and 193
- Geography Xrefs - Place of Origin
- Published references for 1985.R.192
-Bibliography for 1985.R.193
Catalogue essays
Artist/designers
Cultures
Geography
Process/materials
Historical periods
Individuals
Subject terms
RELATED OBJECTS
PROVENANCE
Until 1985: Emery Reves (1904-1983) and Wendy Reves (1916-2007) (owned jointly), La Pausa, Roquebrune-Cap-Martin, France [1]
From 1985: Dallas Museum of Art, The Wendy and Emery Reves Collection, gift of Wendy Reves (1916-2007) [1]
[1] According to: Olivier Meslay and Martha MacLeod, From Chanel to Reves (Dallas, Texas: Dallas Museum of Art, 2015), 4-5.
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1985.R.192
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object_notes_1_a-0081.xml.nores