Pierre-Adrien Dalpayrat Vases

Brilliant handmade hand glazed Art Nouveau planter jardinière, 1930s Wonderful Art Nouveau period/ monumental ceramic planter jardinière, h...

A stunning Bohemain Art Nouveau art glass vase with an iridescent marbled design and silver rim by Josef Rindskopf and dating from around 1904. The vas...

Rare large sculptural brass vase with handles is decorated with enameled dark blue, green, and white abstract Art Deco or Jugendstil style desi...

Daum Cameo Glass Bowl, France, circa 1910. A rare Art Nouveau Daum cameo glass vitrified Monnaies du Pape round coupe (Honesty). Very finely acid etched, wheel carved decor of Hones...

Brilliant handmade hand glazed Art Nouveau planter jardinière, 1930s Wonderful Art Nouveau period/ monumental ceramic planter jardinière, handmade and hand-glazed in brilliant blue ...

French Art Nouveau Inkwell by Pierre-Adrien Dalpayrat, France, circa 1890. A rare and exquisite Art Nouveau inkwell by renowned French ceramist Pierre-Adrien Dalpayrat (1844–1910). This finely crafted piece showcases Dalpayrat’s signature red copper-glazed stoneware, especially rich and luminous near the base. Elegantly mounted in pewter, the design exemplifies the organic flow and refined detail of the Art Nouveau period. Dimensions: Height: 3.54 in. (9 cm) Diameter: 5.12 in. (13 cm) Materials: Stoneware with pewter mount Condition: Excellent+++++, museum-quality preservation Markings: Incised signature "Dalpayrat 1500" under the base (see photo) This inkwell is a collectible example of French ceramic art at the turn of the century—perfect for collectors of Art Nouveau, 19th-century French ceramics, or the works of Dalpayrat. Adrien Dalpayrat (1844–1910): A Pioneer of French Ceramic Innovation Adrien Dalpayrat was a French ceramicist and researcher who played a key role in the revival of stoneware at the end of the 19th century. Born in 1844 in Limoges, Dalpayrat studied drawing and porcelain painting in his hometown before beginning his professional career at the Jules Vieillard faience factory in Bordeaux. There, he met his wife, Marie Tallerie, with whom he had two sons—Albert and Adolphe—who would later become his primary collaborators. Throughout his early career, Dalpayrat worked for several major ceramic manufacturers, including Ashwin (Valentine), Fouquet (Toulouse), François Blanc (Monaco), and Léon Sazerat (Limoges). In 1889, seeking greater independence, he moved to the Paris region and established his own studio in Bourg-la-Reine. Collaborations and Artistic Evolution Dalpayrat’s creative vision expanded through his collaboration with sculptor Alphonse Voisin-Delacroix. Together, they explored neo-Gothic and Palissy-inspired motifs, creating a remarkable ceramic bestiary. Following Voisin-Delacroix’s death in 1893, Dalpayrat partnered with Adèle Lesbros, which marked a shift in his work toward simpler, more refined vase forms influenced by Japonism. Japanese art had been introduced to France during the 1867 Universal Exhibition, but it wasn’t until the 1878 Exhibition, particularly through the ceremonial stoneware used in the Japanese tea ceremony, that Japonism truly captivated French artists. This influence led Dalpayrat to create vessels with organic, vegetal, and animal-inspired forms. Technical Mastery: The Secrets of Copper Red Among all the ceramists of his time who sought to replicate the elusive Chinese “sang de boeuf” (oxblood) glaze, Adrien Dalpayrat was arguably the most successful. He didn’t simply reproduce the legendary copper red—he transformed it. By manipulating glaze thickness, firing temperature, atmosphere, and copper oxide content, he developed a unique palette of flamed and mottled red glazes that became his signature: the renowned Dalpayrat red. He further enriched his pieces by introducing streaks and inclusions of turquoise, blue, green, and yellow—freeing the red glaze from monochromy and turning it into an expressive, living surface. His work pushed stoneware beyond function into expressive art, merging form and glaze in bold, sculptural harmony. Beyond Ceramics: Bronze Mounts and Architectural Works Dalpayrat also collaborated with renowned jewelers such as Ernest Cardeilhac and Keller to produce pieces mounted in gilt bronze, blending ceramics with decorative arts at the highest level. In an effort to make his work more accessible, he opened a second faience workshop focused on simpler, more affordable pieces inspired by Nevers and Rouen ware. However, this venture faced financial difficulties and closed by 1900. The main family studio followed in 1906 as the popularity of Art Nouveau declined. Dalpayrat then returned to Limoges, devoting his final years to painting and drawing until his death in 1910. Legacy and Recognition Despite financial struggles during his lifetime, Dalpayrat’s ceramics were widely acclaimed at major international exhibitions: Bronze medal, World's Columbian Exposition, Chicago (1893) Silver medal, Antwerp International Exhibition (1894) Gold medal, Exposition Universelle, Paris (1900) Today, his work is part of prestigious museum collections. In 2020, the Petit Palais in Paris acquired a large bird motif vase created in collaboration with Voisin-Delacroix, now on view in Room...

1888 Japanese artist made modernist undulating glazed ceramic vase. Makers stamp on bottom

Antique Art Nouveau figural Nymph on gourd porcelain vase by Ernst Wahliss, circa early 1900s. This beautiful large piece made in Austria is in very good vintage condition with no ch...

Beautiful French bronze vase from the Art Nouveau period, made during the early 1900s, fine French manufacture. The vase is made entirely of bronze,...

Model #2059 Riessner, Stellmacher and Kessel (RSt&K), consistently marked pieces with the tradename “Amphora” by the late 1890s and became known by that name. The Amphora pottery fa...

Striking large ceramic vase features the organic, rounded shape with 3 curved, free-flowing decorative handles. It is decorated in characteristic Belgian Art Nouveau style with the u...

Bulbous shoulder vase on a flush stand, short neck piece with silver mount as a ring in a smooth, slightly flared design, on the outside opposite two fully sculptural branch and cone bundles, colourless glass with white powder meltings, overlay in blue-violet and green, meadow flower decoration etched in various stages, matt etched inside and outside. Cameo signature 'Gallé' with star on the wall between the plants. Silver mount hallmarked 'Minerve casquée' for 950 silver, France, and master's mark. Hand-made Cameo Glass: Glass overlaid with several layers, with high-cut worked out motifs. Since the middle of the 19th century, the design has also been done by etching. Cameo glass vessels were already being made in antiquity; at the end of the 19th century, Émile Gallé further developed this glass art, created Art Nouveau designs and employed a large factory in Nancy...