“Woodcutter turned glassmaking mogul.” That sounds like the start of a fairy tale, doesn’t it? But it’s the true story behind the name of Rue Legras. While we stand here, let me tell you about François-Théodore Legras. He was no ordinary glassmaker.
Born in 1839, Legras started his career like his father. He was a woodcutter in the forests of the Vosges. At 20, he switched gears and apprenticed at a local glassworks. This was his big break.
After his training, Legras headed to Paris. He sought his fortune. He quickly found work at the Plaine Saint-Denis glass factory. His talent must have been obvious because he became the factory’s director in just three years.
Legras had a keen eye for business. He targeted two markets. First, he offered affordable decorative glass to the middle class. Second, he supplied utilitarian glass to Paris’s many distillers. He even dominated the novelty liqueur bottle niche. Believe it or not, collectors still hunt for these elusive pieces today.
In 1883, Legras partnered with Sir Richard Wallace. Wallace was the philanthropist behind Paris’s famous Wallace fountains. This partnership allowed Legras to expand his factory massively. He also bought a second factory in Pantin.
By the end of the century, Legras ran a huge industrial complex. It employed nearly 1,300 people. Many of these workers were skilled glassmakers from the Vosges. Legras was really able to up his game in art glass.
His nephews, Charles and Théodore Legras, joined the business. They were involved in design and production. The company won a Grand Prix at the 1889 Paris Universal Exhibition. The jury loved their new line of opaline lined glass. It resembled marble and was overlaid with gold.
Jewel-colored vases with delicate enamelled flowers became a Legras signature. These vases reflected the Art Nouveau style. The company produced high-end vases and lighting. Some pieces were cameo glass. Others were wheel engraved, enamelled, or gilt. Still others had sparkling inclusions. These prestigious pieces required up to five firings. They rivalled the best French glass of the time. Many of the most stunning pieces bear the Montjoye signature.
Legras used many signatures. To make things more confusing, some pieces weren’t signed. One common signature is “Leg.” These pieces are attractive but less complex than those signed “Legras” or “Montjoye.” They were also less expensive. They date from around 1914 to 1920. Many skilled workers were away fighting in the First World War during this time.
In the 1920s, Art Deco replaced Art Nouveau. Legras adapted with transitional designs. The yellow and blue enamelled Printania series is one example. Then came all-out geometrical designs. These were produced for the 1925 Paris Exposition des Arts Decoratifs. Some consider them the smartest designs in French Art Deco glass.
But this was the final chapter for Legras & Compagnie. Charles Legras died in 1922. Théodore sold the business in 1928. He neatly avoided the Wall Street Crash.
Until recently, Legras was overshadowed by bigger names in French glass. But interest is growing. Pieces are becoming scarcer. We also know more about Legras thanks to the reference book Legras: Verrier Artistique et Populaire Française by Michel and Vitrat. Legras has finally come out of the shadows. So, as you walk down Rue Legras, remember the woodcutter who became a glassmaking giant. His story is etched in every piece of Legras glass.