It is always wonderful to meet collectors and present the newest collections to them when I visit a store. But early in the morning, before the store opens for the day, I have time to quietly talk to the store’s team about the thought process and development behind each design. This season, I find myself reaching for two designs in particular to talk about, the Nouveau Candlesticks, “Roselyn” and “Mirabelle” …

… and the Floral Butterfly Bowl, “Claudette.” Both styles epitomize some of our most beautiful creations, with strong silhouettes and intricate details.

It has been many years since we added new candlesticks to the collection. I wanted these to have a grand, twisted metal arm starting from the base and reaching high up, holding the leaf-wrapped candle cups. Punctuating the base are large oversized lilies with contrasting petals of enamel and large jeweled crystals. Larry started working on them in early 2103 by forming the first models in clay.

We made molds of these and poured the first pewter castings. Cyril then began refining the shape and adding the stone settings to the petals. The flower models went to Rhode Island for more mold-making. The candlesticks themselves went to India to be sand-cast in solid brass.

On my recent visit to India, I was able to watch them shape the curves into each piece.

Meanwhile, back in the New York Studio, Ben and I were talking about the colors of the lilies, and how to achieve the lush color palette. By adding layers of white enamel under the final colors, the perfect pigments were achieved.

Whereas the candlesticks started with clay models, the floral bowl began with sketches. I wanted to take the scrolls from Floral Scroll Wall Mirror and shape them into a dramatic bowl lifted on a matching base.

Once Manreet had worked out the placement of the scrolls and leaves, our foundry in India started crafting the first samples, paying particular attention to soldering each leaf into place.

We received these first prototypes in New York, where Cyril and I designed all the jeweled flowers and butterflies that are woven throughout. These were then all sent to Rhode Island for mold-making.

When all the parts came together, and there are more than 20 on this bowl, Ben once again worked with me on the palette of green leaves setting off the hot house blossoms. More than 1800 hand-set stones finish the bowl with a sparkling aura.

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