21 - Pierre-Adrien DALPAYRAT (1844–1910)

Pierre-Adrien DALPAYRAT (1844–1910) Tripod pitcher known as “Andromeda,” made of glazed stoneware in ochre, green with blue undertones, and oxblood red, featuring a relief decoration of a woman forming the handles and three plant-like protuberances Signed with an incised pomegranate stamp Model designed and produced between 1893 and 1906 in collaboration with Jean Coulon H: 31 cm Bibliography: “Adrien Dalpayrat, French Art Nouveau Ceramics,” Arnoldsche edition; a similar model is reproduced on page 147, illustrations 91 and 92. Born in Limoges in 1844, Pierre-Adrien Dalpayrat trained in drawing and then in porcelain painting before honing his craft at several French manufacturers, notably under Jules Vieillard in Bordeaux and Léon Sazerat in Limoges. After various professional stints in Valentine and Toulouse, he moved to the south of France around 1878 and headed the decorative workshop at François Blanc’s factory in Monaco. It was during this period that he discovered the artistic possibilities of stoneware, a material to which he would subsequently devote most of his career. Following the 1887 earthquake, he returned to Limoges before settling permanently in Bourg-la-Reine in 1889. He then gradually moved away from porcelain decoration to focus on creating artistic stoneware, in a context marked by the influence of Japonism and the revival of French ceramics. In 1891, he met the sculptor Alphonse Voisin-Delacroix, with whom he formed a particularly fruitful collaboration. While Voisin-Delacroix conceived and shaped the models, Dalpayrat handled their creation in clay, glazing, and firing. This partnership gave rise to bold pieces featuring organic and animal-inspired forms, grouped notably under the names “Zoomorphic,” “Anatomical,” and “Visceral.” Presented in 1892 at the Georges Petit Gallery, they were met with great success. This collaboration came to a premature end with the sculptor’s death in April 1893. At the same time, Dalpayrat perfected his famous oxblood-red glaze, made from copper oxides. This deep hue, which became his true signature under the name “Rouge Dalpayrat,” is distinguished by its astonishing variations during firing, which can reveal shades of green, purple, amber, or lead gray—sometimes all present on a single piece. After Voisin-Delacroix’s death, the ceramicist continued his research with several collaborators, notably the Swedish sculptor Agnès de Frumerie, followed by Adèle Lesbros, who also contributed to the growth of his business. He later worked with the sculptor Jean Coulon. His repertoire evolved toward more classical forms, still marked by Japanese influences and plant or animal motifs. His flamed stoneware, recognizable by its stamp depicting a bursting pomegranate, enjoyed growing success. He also developed creations combining ceramics with gilded bronze mounts, produced in collaboration with the goldsmiths Ernest Cardeilhac and Keller. His crowning achievement came in 1900 when he won a gold medal at the Paris World’s Fair and was appointed a Knight of the Legion of Honor. Despite this recognition, his successive businesses faced financial difficulties. Production continued under various names, notably “Les Grands Feux de Dalpayrat” and later “Dalpayrat Frères & Cie,” before the kilns were permanently shut down in 1906 and the company was dissolved in 1907. Retiring to his hometown of Limoges, Dalpayrat gradually gave up ceramics to devote himself to painting until his death in August 1910. A leading figure in late 19th-century French ceramics, Pierre-Adrien Dalpayrat left behind a unique body of work, remarkable for the originality of its forms, the intensity of its glazes, and the extraordinary subtlety of his chromatic explorations. Through a selection of several of his vases, we invite you to discover the full richness of his art and the iconic characteristics that made him famous.