Here an exquisite naturalism has been overlaid upon traditional Far Eastern lobed vase forms. Every ripple and indentation of the gourd has been lovingly depicted, transforming a traditionally abstracted silhouette into an almost living thing, knotty with imperfections. The glaze’s variegated color palette heightens the blurring of realistic and conventionalized modes of representation, inviting the viewer to wonder whether this remarkable object is a creation of nature or the handiwork of man.
---Description by Claire Cass
Model illustrated in Makus, Horst, Adrien Dalpayrat, 1844-1910: französische Jugendstil-Keramik (Stuttgart: Arnoldsche, 1998), 113.
Model illustrated in Dalpayrat, Pierre-Adrien, Pierre-Adrien Dalpayrat, 1844-1910 : céramiste de l'art nouveau : étude biographique ( Seaux, France: Dalpayrat, Pierre-Adrie, 1999), Plate 13.
About Pierre Adrien Dalpayrat
Adrien Dalpayrat began his career as a faïence painter, working at six manufactories between 1867 and 1888 before settling near Paris in 1889. There he devoted himself to stoneware, a material then held in high esteem by French art potters. Working alone and with collaborators, Dalpayrat produced a vast range of shapes and decorations. He was so well known for his oxblood flambé pottery that the term "Dalpayrat red" was coined to designate his distinctive glaze. Perfected in 1892, it is dappled or veined with greens, blues and yellows, and appears on pieces in the form of gourds, fruits, and shapes derived from Japanese bottles. [Source: Jason Jacques]