In the work of René Lalique, the term cire perdue refers to an exceptional process that he adapted to glassmaking. A model is first sculpted in wax, from which a plaster mold is created; the wax is then eliminated by heat, allowing molten glass to flow into the cavity and capture the form with remarkable precision.

This technique, both time-consuming and costly, differs fundamentally from the more common pressed-molded glass production. It allows for a unique surface texture, extremely refined relief, and an almost sculptural presence, which explains why such works were produced in very small numbers, or as unique pieces. Used by Lalique until around 1930, the lost-wax process represents the most ambitious and experimental facet of his glasswork, in which light seems held within the material itself.

This “Four Frogs” vase, a unique piece, exemplifies this approach. Through the freedom of its modeling, the powerful plasticity of the frogs rendered in high relief, and the singularity of its execution, it stands among Lalique’s most daring creations, at the crossroads of sculpture and the art of glass.