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拍品专文
The present lot combines works form various french ceramicists. Living and working in various parts of the country, Japanese design influenced each artisan in addition to local, vernacular pottery.
Born in Sèvres and destined for a career in ceramics, Ernest Chaplet began an apprenticeship at the Manufacture Nationale de Sèvres in 1848. Following his apprenticeship, he worked at the Laurin factor in Bourg-la-Reine until 1875 when Charles Haviland hired him to work in his experimental studio at Auteuil. After Auteuil closed, Chaplet followed Haviland onto his next venture, an atelier in Vaugirard. He produced painted and unglazed ceramics, highly influenced by the local ceramic industry. In 1889, Chaplet won a gold metal at the Exposition Universelle in Paris for his perfection of oxblood, or sang de boeuf, glaze. Today, Chaplet is highly regarded for his experimental designs and his work can be found in museums across the globe, including the Metropolitan Museum of Art, New York and the Victoria & Albert Museum London.
Henri de Vallombreuse (1856-1919), a trained painter, fell under the spell of French ceramicist Jean Carriès, compelling him to pursue ceramic arts. Settling in Puisaye, France, de Vallombreuse was influenced by the local potters and Japanese ceramics, resulting in the abstracted and distorted forms seen in the present lot.
Theo Perrot (1856-1942) , also from Puisaye, lived in London and Paris as a young man before returning home around 1892. Like de Vallombreuse, Perrot was also highly influenced by Carriès. Perrot did not exhibit his work until 1907, where he showed his Art Nouveau works at the Salon of Nièvre.
Born in Sèvres and destined for a career in ceramics, Ernest Chaplet began an apprenticeship at the Manufacture Nationale de Sèvres in 1848. Following his apprenticeship, he worked at the Laurin factor in Bourg-la-Reine until 1875 when Charles Haviland hired him to work in his experimental studio at Auteuil. After Auteuil closed, Chaplet followed Haviland onto his next venture, an atelier in Vaugirard. He produced painted and unglazed ceramics, highly influenced by the local ceramic industry. In 1889, Chaplet won a gold metal at the Exposition Universelle in Paris for his perfection of oxblood, or sang de boeuf, glaze. Today, Chaplet is highly regarded for his experimental designs and his work can be found in museums across the globe, including the Metropolitan Museum of Art, New York and the Victoria & Albert Museum London.
Henri de Vallombreuse (1856-1919), a trained painter, fell under the spell of French ceramicist Jean Carriès, compelling him to pursue ceramic arts. Settling in Puisaye, France, de Vallombreuse was influenced by the local potters and Japanese ceramics, resulting in the abstracted and distorted forms seen in the present lot.
Theo Perrot (1856-1942) , also from Puisaye, lived in London and Paris as a young man before returning home around 1892. Like de Vallombreuse, Perrot was also highly influenced by Carriès. Perrot did not exhibit his work until 1907, where he showed his Art Nouveau works at the Salon of Nièvre.