Born in 1892 to René Lalique and Alice Ledru, Suzanne Lalique, like her father, was inspired by nature. We are delighted to present a fine selection of works designed by Suzanne Lalique in our forthcoming 08 February Nature Inspired: A Private Collection of Lalique auction.
Suzanne Lalique (1892-1989) may not have been permitted to enter his workshop or studio, but both her opinion and creativity were most certainly sought by her father. He bought her watercolours and encouraged her to critique his pieces. Suzanne was 8 years older than her brother Marc. In 1926 René Lalique & Cie became a company that incorporated Suzanne and Marc, and Suzanne’s husband Paul Haviland.
In 2009 Lalique-Haviland-Burty: Portraits de famille was published by Suzanne’s daughter Nicole Maritch-Haviland and Catherine de Léobardy, providing some useful insights into the relationship between René and his daughter Suzanne. Then in 2012, the Musée Lalique held an exhibition dedicated to Suzanne, looking at the breadth of her creativity. However, besides these two points of reference, there does not seem to be much more information available, which leaves a huge number of questions for anyone curious to learn more. This collection features a strong group of works which are credited by Felix Marcilhac in his catalogue raisonné of René Lalique’s work, as either having been based on a design by Suzanne or inspired by her. Her input into glass designs seems to have been from 1910 to 1929, after which she worked more on Limoges porcelain designs for her husband following the financial crash.
Like her father, Suzanne was inspired by nature. Stylistically her designs were Art Deco, employing geometric shapes and simplified forms, and drawing on the art of other cultures. Her husband Paul Haviland, who she married in 1917, had a collection of Aztec works from Mexico, and their influence can be seen in the Lagamar and Montargis vases (lots 79 and 80). Another family member had a collection of African artifacts, which likely influenced the design of the Grenade and Laiterons vases (lots 66-70).
Technically Suzanne was responsible for the introduction of black enamel to designs. The pigment was applied with a brush and then the object fired to anneal it. The use of enamel highlighted the designs as can be seen in Dahlias vase (lot 71), the Tourbillons vase (lot 78) and the Lagamar vase (lot 79).
