Belgian sculptor, jeweller, and medal-maker. After a brief spell at the Free University of Brussels, Dubois became the pupil of Charles van der Stappen. Later he taught jewellery at the école Professionelle des Arts Appliqué and successfully exhibited his craft pieces at numerous exhibitions. They included not only jewellery but also sculptures, medals, and everyday articles. His artistic output came to an end in 1925.
Belgium, as a centre of avant-garde, initiated unusual work not only in the field of painting, graphics, and architecture but also inspired creativity in arts and crafts. The repertoire of motifs was drained, and the new style took a whole variety of expression. Following Belgian principles of form, metalwork took a leading position, as the new style could be translated into it most credibly. Thus Fernand Dubois designed lighting that appears like a quotation from Horta’s iron components, demonstrating that they were as effective as stand-alone forms as they were in an architectural context (e.g. door handle, letter-box).
In 1899, this candelabra, executed in pewter, was exhibited at the Salon de la Libre Esthetique and later included in a Horta display at the International Exposition in Turin in 1902. The arms of the candelabra are like branches, representing a high point of plant design in their sculptural quality.
Dubois made use of “Belgian” materials such as metal and ivory from the Congo. His chryselephantine (ivory and metal) sculptures were wrought as works of complete perfection.
