Ref. : 3720-10-en

 

 

Japoniste Vase "Iris"
Emile Diffloth (1856-1933)

 

 

Origine

France, Créteil, ca 1915

H : 32,5 cm / 12.8 in.
Ø max : 27 cm / 10.6 in.

 

Description

N° 104
Japoniste bulbous shape vase in stoneware porcelain, with narrow flared neck. Decor of stylized Iris flowers with foliage glazed with crystalline iridescent "de Grand Feu" enamels.

 

Signature

Signature of the artist under the vase in a circular cartouche: "DIFFLOTH / 31. D "(in black).

 

 

 

 

 

 

 

1 

Notes

Stylistically, the works of Diffloth are characterized by bulbous shapes, with slender necks and rather narrow openings (Conney Frelinghuysen).
Great technician and chemist, this ceramist worked a lot on glazes and, as an innovation, created crystalline iridescent covers (Explication...) as for this vase.

The works of Emile Diffloth are present in in various museums and institutions such as the MET of New York, USA, 1 vase; Inv. 2018.294.253), the Saint Louis Museum of Art, St. Louis, USA (2 vases, Inv 216: 1980 and Inv 7: 2006), the Museum für Gestaltung Zürich, Zürich, Switzerland (3 vases, Inv.KGS- 1978-0034), the Museum of Fine Arts, Houston (MFAH), USA (1 vase, Inv. 87.222), the Petit Palais Museum, Museum of Fine Arts of the City of Paris, France (1 bowl, Inv OGAL417) ...

These pure shapes vases, very inspired by the Far East, reflect the new and unique role that the potters and independent artists took in ceramic's creations in the end of the nineteenth century and the beginning of the twentieth century.


Short Biography

Emile-Auguste Diffloth (1856-1933), French ceramist.

After working in the 1880s in the ceramic family business where he learned the technique of "pâte-sur-pâte" (see De Liesville), Diffloth worked for Felix-Optat Millet at Sevres as a painter on ceramics. It is most likely during this period that he met Taxile Doat (Paul Arthur).
After 1889, he worked briefly for Edmond Lachenal before joining in 1892 the brand Kéramis, a subsidiary of Boch Frères in Belgium. In 1899, he became its artistic director.

At the end of 1909, he joined the teaching team of ceramist Taxile Doat who leaved France to teach in the United States at the University City Pottery of St. Louis.

In 1910, after a difference with Doat, he returned to France where he opened his own studio at 20 rue des Mèches in Créteil (Catalogue).
In 1928, he received the title of "Meilleur ouvrier de France" and in 1932 he became a member of the jury of the "Societé des Artistes Décorateurs" (SAD).


 

Selective Bibliography

Exhibition Catalogs:
Explication des ouvrages de peinture et dessins, sculpture, architecture et gravure, des artistes vivants, exposées au Palais des Champs-Elysées le 30 avril 1920, , Paris, 1920, p. 240, notices 4197.
Catalogue du 21e salon des artistes décorateurs, du 12 mai au 11 juillet 1931, Paris, 1931, p. 27.

Revues :

De Liesville, (A.-R.), « Les Industries d'Art au Champ de Mars, IV-1 La céramique moderne », dans L'Art Moderne à l'Exposition de 1878, Publication de la Gazette des Beaux-Arts, Paris, 1879, p. 412.
M.B., « Les céramiques modernernes à la Manufacture Nationale de Sèvres », dans L'Art et les artistes : revue mensuelle d'art ancien et moderne.., t. XII, N° 115 à 119, mars à juillet 1931, p. 354. .

Books :
Arthur, (P.), French Art Nouveau Ceramics : An Illustrated Dictionary, Ed. Norma, 2015, p. 144 et 145.
Conney Frelinghuysen, (A.), American Porcelain, 1770-1920, MET, 1989, p. 282-283, Notice n° 112.