Vallauris: The 'Plat'

'At Last Colour Came...'

It is important to note that potters benefited from the popular demand for key items for the home; from the fruit bowl that stood on the dining table or on the dresser, the ashtray, that provided an opportunity for a splash of colour, the 'vide-poches' (a small dish in which to empty one's pockets upon arriving home), the pitcher for serving drinks in style (complemented by the 'service à orangeade') and, of course, the vase; often presented to the woman of the house on her birthday, her 'fête' or as a 'souvenir de vacance', upon return from holiday.

All these objects added significant touches of colour to the home décor in which it was often lacking; from the humblest 'vide-poches' by Lunetta (green), Luc (x2 blue, yellow + pink), Louis Giraud (white and small black), Les Argonautes (dark brown), Vercéram (glossy):

to vases (all anonymous):

Dishes, bowls and platters produced in Vallauris during the post war years reflect contemporary artistic trends. Whereas the black 'pointilliste' iridescent fruit bowl made at La Poterie du Grand Chêne hints at the refined glazes produced at the Manufacture de Sèvres,

This fruit bowl by Louis Giraud combines the ruralism of 'terres vernissées' with hints of Art Déco, unified by a traditional green glaze:

(Green terre vernissée. In Prats. Image to come)

During the 60s, Albert Thiry set out to create a 'modern' folk style for the present with simple stylised plant motifs:

or, as in this remarkable large dish, a more ambitious bird motif that fills the space dynamically:

The piece below, by Auguste Lucchesi, adopts a form inspired by abstract sculpture; which he combined with a striking painted and graffitoed sun motif:

This large fruit bowl, from Louis Giraud's studio, also echoes contemporary fine art trend such as the 'materialities' of Dubuffet and 'Art Informel':

Louis Giraud's work as a potter is not documented. What is known is his capacity to employ artists who produced the variety of works he sold, alongside traditional garden potteries and the work of other potters in his shop (including André Baud)

Kostanda did his apprenticeship there (1936-8); then, after the war, he became his 'chef d'atelier' from 1949 to 1953, before setting up his own independent studio, with his mother as decorator. At Giraud's Kostanda enjoyed much creative freedom, and was allowed to sign his own pieces below the Giraud stamp; as on this vase:

After Kostanda's departure, the quality at Giraud's dropped. This is particularly noticeable in the 'metaphorphosis' undergone by a vase. Initially designed, turned, assembled and cut by Kostanda; then decorated with an experimental glaze; later it was moulded, mass-produced and decorated with brash, glossy, off-the-shelf glazes or cheesy painted motifs.