Axel Enoch Boman for Orrefors Cameo Glass Lamp
Regular price
$50,000
This rare Art Nouveau lamp by Axel Enoch Boman features a cameo glass dome shade supported by a baluster-form base adorned with marronnier (horse chestnut) motifs. The shade is composed of two layers of glass, with amber-orange decoration over a translucent green ground that transitions from deep to pale green when illuminated. A copper mounting ring, ornamented in low relief with horse chestnut branches and fruit, supports the shade and unifies the lamp's botanical decorative program. Dating from the earliest years of Orrefors, before the glassworks' celebrated Graal period, the lamp is one of only two known objects designed by Boman for the manufacturer, with a comparable example held in the collection of the Nationalmuseum, Stockholm.
Item #: EL-22533
Artist: Axel Enoch Boman for Orrefors
Country: Sweden
Circa: 1915
Dimensions: 29" height, 14" diameter.
Materials: Acid-etched Cameo (overlay) Glass; copper
Signed: ORREFORS
Literature: Wickman, Kerstin, ed. Orrefors: A Century of Swedish Glassmaking. Stockholm: Byggförlaget Kultur, 1998. p.20
Item #: EL-22533
Artist: Axel Enoch Boman for Orrefors
Country: Sweden
Circa: 1915
Dimensions: 29" height, 14" diameter.
Materials: Acid-etched Cameo (overlay) Glass; copper
Signed: ORREFORS
Literature: Wickman, Kerstin, ed. Orrefors: A Century of Swedish Glassmaking. Stockholm: Byggförlaget Kultur, 1998. p.20
The horse chestnut was a favored motif in Art Nouveau design for both its botanical beauty and decorative versatility. In 1900, the architectural journal La Construction moderne attributed its widespread appeal to the ease and economy with which its large, palmate leaves could be reproduced. Just a few overlapping leaves, arranged upright or inverted, could fill an entire frieze or panel, creating the illusion of abundant natural growth.
The horse chestnut was a favored motif in Art Nouveau design for both its botanical beauty and decorative versatility. In 1900, the architectural journal La Construction moderne attributed its widespread appeal to the ease and economy with which its large, palmate leaves could be reproduced. Just a few overlapping leaves, arranged upright or inverted, could fill an entire frieze or panel, creating the illusion of abundant natural growth.
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