When I wrote about Art Nouveau ceramics I said that there were few books about these potters, but recently a lavish volume about Adrien Dalpayrat by Etienne Tournier has been published. It’s large format and has wonderful detailed, full-page pictures showing Dalpayrat’s complex, irridescent glazes. Like the previous titles on this subject – Paul Arthur’s French Art Nouveau Ceramics (2015) and M. Lambrechts’ L’Objet sublime: Franse ceramiek 1875-1945 (2016) – Tournier’s book is not cheap. Phaidon’s RRP is £200.
One of the most notable of the figurative potters of the inter-war years was Charles Vyse, whether you judge him by the quality of his work, his lasting popularity or his longevity: he took a studio in Chelsea in 1915 and only finally vacated it in 1959.
The studio potters have little interest in this sort of ceramic sculpture, despite the fact that plenty of sculptors show in pottery fairs nowadays, and despite the fact that Bernard Leach thought that Gwendolen Parnell should be included in accounts of the craft. Yet the demand for Vyse’s ceramics outstrips demand for the stoneware vessels of the period, and even Lucie Rie’s post-war bowls, usually the most expensive studio pottery in auctions.
That is, of course, partly due to rarity. Vyse made about fifty figures from each mould and destroyed the moulds when he retired. A Balloon Woman, the iconic Vyse figure, was sold at Bohnam’s for £1,560 in 2006 and could well fetch ten times that amount now. Elizabeth Fry, a design for Doulton, is offered for $18,000, though considerably less for the uncoloured version, $2,200. The Return of Persephone (pictured above) (a rare classical reference), also made for Doulton and said to have been cast few times, was offered recently for $26,000.