Edgar Brandt is one of the most important wrought iron workers of the XXth century. He was born at 46 rue Bergelais in Paris in 1880. His father was an amateur gardener, consequently Edgar grew up with an interest in plants, learning to love and respect nature. At the age of fourteen, Edgar and his brother Jules were admited to the Ecole Nationale Professionnelle de Vierzon, a technical high school. Both were highly competitive and ambitious. The school was divided into two large studios, one devoted to ironwork and the other to wood work. Here, Brandt learned the rudiments of his craft in the ironwork studio. By the age of 15 he was the most accomplished ironsmith in the school. In 1901, Edgar started to manage his own studio, he was at 76 rue Michel-Ange in the 16th arrondissement in Paris. It was a very modest shop. He began by designing, silversmithing and forging small items. At this time, Brandt was especially influenced by René Lalique, they worked together. Edgar could easily work in iron, bronze, copper, gold or silver. He was a virtuoso at using these different materials often combining wrought iron with bronze or steel. from 1904 Brandt expanded his line. Inspired especially by the iron and bronze work of Majorelle. He experimented with two lines of furniture, one more costly than the other; he also combined iron work and wood carving. Probably, Brandt was familiar with Morris's early furniture design and also with the work of Viennese designers such as Hoffmann. Brandt was an exhibitor at the 1904 salon of the Société des Arts Francais. By 1905, Brandt was furnishing mounts for la Manufacture de Sèvres. By this time, critics were predicting a bright future for him. His early success with forged jewelry and small-scale pieces allowed to Edgar Brandt to expand his workshop capacities. He embraced the newer mechanical forging techniques, however several of his contemporaries disapproved of these procedures. In addition to private commissions and lines of luxuary items for the home, the Brandt's atelier executed the ironwork for numerous large-scale projects. Several famous architects would commission him frequently. After the first World War the french industry had changed, the France was more industrialized. In decoratve arts the importance of designers was being recognized as never before. The Brandt's wrought iron business increased. At this time Brandt was very busy and he exhibited every year in the Salon des Artistes Décorateurs and the Salon d'Automne in Paris. At 101 boulevard Murat, Brandt set up an artistic industrial complex; Pierre Lardin, Gilbert Poillerat worked there as creators. Brandt also collaborated with Daum. It was his participation in the Exposition of 1925 that gained him an international reputation. His wrought-iron entrance and exit doors at the 1925 Exhibition for the Jacques Emile Ruhlmann's "Hôtel d'un Collectionneur" and his own display room, stand 45 were one of the highlights of the 1925 Exposition. He openned a first workshop at 27 boulevard Malesherbes and a second at 25, rue du Hameau. He died in Geneva in 1960 after a long illness.
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