Description

What I like

I like the elegant shape of this pair of wall lights, with its large compass arm welcoming the three geometric shapes of the cones supporting a round cup, and the two inverted cones of brass and frosted glass forming the bulb cover. We are facing a real inventiveness, very different from the creations of the 1930s and 1940s: we are looking for a fluidity, a roundness, which we find in the sofas of Vladimir Kagan or Jean Royère!

The designer was able to take advantage of this shape which can otherwise be described as a boomerang, very innovative in the years the model was created.

I like the quality of the bronze and brass, which are quite heavy, and the gilding which is not very flashy: this makes it possible to accept visible scratches to the gilding, which would otherwise be annoying.

Technical description

Maison CHERET

Pair of 3-light wall lights in gilded bronze and polished brass, the square plate accommodates a slightly cupped compass-shaped arm, welcoming three arms of light each composed of a cone motif, topped with a cup welcoming a cone motif inverted and a frosted glass bulb cover.

Marked and monogrammed C.M.

Around 1950-1960.

Significant scratches.

Electrification entireley redone.

Dimensions and weight

Height: 27 cm – Width: 47 cm – Depth: 20 cm

Weight:1,5 kg each

Mix & Match

These wall lights are very free, very intelligently designed: due to their manufacturing quality and their soft gilding, they can integrate a wide range of decors.

Of course, we immediately think of furniture from the 1950s: in particular the G10 armchairs by Guariche, in blue or ecru white, which have the same elegant geometric lines but with this trapezoid pattern in the armrests which removes any stiffness; the softness of their gilding of course allows us to envisage a cohabitation between our wall lights and the coffee table with abstract decoration by Julien de Covemaeker with golden slip.

The same gilding suggests that I hang Enrique Broglia’s “Composition metallica” on the walls, which incorporates strips of gilded brass into its weaving. But also the “Summer Wind”, tapestry by Daniel de Linière with rounded hieroglyphs on a beige background.

As for the furniture, the geometric but soft composition of the wall lights will find an echo in the eye motif of our beautiful Joseph André Motte mahogany sideboard produced by the Huchers in the same years 1950-1960!

We can also consider a pairing with the Grass Hopper armchairs by Sonya Wasseur, with a certainly rigorous line, belied by the curve of the leather seat.

The softness of our wall lights allows them to illuminate the diptych by Charles Picquois, written in soft tones. But their period of creation invites us to invite them near the Composition of Edgard Pillet from the years 1951/9152: the circle will be the link!