This footed vase shows Raoul Lachenal still indebted to the turn of the century style of his celebrated father, Edmond. Indeed, the most obvious precedent for the faux bronze mount is Edmond’s métallocéramiques, from 1901. These experimental fusions of ceramics and metal mounts, accomplished by electrodeposit, featured relatively simple ceramic body forms embellished with melded metal mounts in a
flowing linear style. Raoul’s individuality emerges, however, in the dripping blue
glaze overflowing its “mount” and pooling near the foot. Raoul’s adventurous approach to glazes eventually exceeded that of Edmond, showing the son’s willingness to push against the boundaries of what he’d learned in his father’s workshop.
-Description by Claire Cass
For an excellent discussion of Edmond Lachenal's métallo-céramiques see Eidelberg, Martin, “A Dynasty of French Ceramists,” in Edmond Lachenal & His Legacy (New York: Jason Jacques Gallery Press, 2007), -33.
Patricia Monjaret and Marc Ducret, France
About Raoul Lachenal
The son of Edmond Lachenal, Raoul Lachenal worked in his father's studio until 1911, when he established a new workshop at Boulogne-sur-Seine. While some of Raoul's Art Nouveau ceramics resemble his father's organically formed and inventively glazed work, he was accomplished in his own right as a designer and artisan. After exhibiting his Art Nouveau stoneware for the first time at Paris salons in 1904, he adopted an additional decorative mode: incising geometrical designs on stoneware and filling the sections with vividly contrasting slips. Toward the end of his career, Lachenal added porcelain to his repertoire, using deep black and salmon pink as grounds for white ornamentation. [Source: Jason Jacques]