Born in 1913 in Paris, Line Vautrin devoted herself to creating objects from a very young age. At the International Exhibition of Arts and Techniques in Modern Life, held in Paris in 1937, she presented a booth showcasing her creations—gilded bronze objects such as compacts, boxes, ashtrays, and necklaces that blended the art of jewelry with sculpture. The great success she met with during the exhibition led her to open her first boutique on Rue du Faubourg Saint-Honoré, before eventually settling at 106 Rue Vieille du Temple. In 1953, Line Vautrin developed a new technique, initially called “oforge,” which involved fusing fragments of glass or mirror with a plastic binder. She filed a patent with the French National Institute of Industrial Property (INPI) for this revolutionary and highly resistant resin—cellulose acetate—which she renamed “Talosel” in the late 1960s. Her success continued to grow, and her creations became highly sought after, even featured in the interior design projects of renowned decorators such as Jean Royère.

When she moved into her new apartment at 60 Quai des Grands Augustins, the space became a demonstration salon where she displayed her now-famous “witch mirrors” with talosel frames—shimmering, poetic pieces. The resin, inlaid with mirrors, was also applied to frames, light fixtures, tables, chests, and screens. Vautrin eventually returned to jewelry, using talosel in bracelets, necklaces, earrings, and brooches.
Line Vautrin’s passion for creation was fueled by a life of challenges and experimentation, resulting in works that blend symbolism with lyrical flair. Through these pieces—now highly sought after by leading collectors around the world—Line Vautrin succeeded in creating a unique universe, securing herself a prominent place in the grand history of 20th-century decorative arts.


Line Vautrin (1913-1997)
‘Chardon’ Mirror, circa 1955.
Frame in black talosel, circular striated crown adorned around the edge with flame-like motifs inlaid with small green mirrors.
Hot-stamped signature ‘Line Vautrin’.
Diameter: 22 cm – 8 5/8 in.
(Some minor cracks to the mirrors)

A ‘Chardon’ mirror, c. 1955, talosel and mirror structure. Signed.
Estimate: €12,000 – €18,000

PROVENANCE
Private collection, France

BIBLIOGRAPHY
Patrick Mauriès, Line Vautrin, Miroirs, Le Promeneur Editions, Paris, 2004, similar model with color and size variations reproduced on pp. 35, 40, 100–101.

Line Vautrin (1913-1997)
Pendant
In finely engraved gilt bronze, rectangular in shape, featuring a depiction of Saint Nicholas.
Signed ‘Line Vautrin’.
Sold with a curb chain.
Height: 4.4 cm – Width: 3.9 cm
Estimate: €300 – €500

Line Vautrin succeeded in creating a unique universe, earning herself a prominent place in the grand history of 20th-century decorative arts.

She also returned to jewelry, applying talosel to bracelets, necklaces, earrings, and other brooches—pieces that became emblematic of her work and were the focus of a major exhibition at the Musée des Arts Décoratifs in Paris in 1999: “Secrets of Jewelry” – Line Vautrin and Eleven Contemporary Designers.


Line Vautrin (1913–1997)
“Draperie” Set
Necklace and bracelet
Talosel and metal
Length of necklace: approx. 38 cm
Length of bracelet: approx. 18 cm – Weight: 66.3 g
Estimate: €1,500 – €2,500

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