Jean De Lespinasse, Cup

Jean de LESPINASSE (1896–1979)
Bowl, model no. 520, circa 1960

Glazed ceramic with incised polychrome decoration.

A free-form bowl resting on a circular ring-shaped base. The widely flared body flares out into an undulating rim raised in three distinct points, forming a trilobed opening.

The exterior is covered with a nuanced turquoise-blue glaze, traversed in its central section by a wide incised decorative band. This band combines, in a rhythmic composition, deep blue volutes, brown-ochre quadrangular motifs, and lemon-yellow accents, set between two dark geometric friezes.

The interior is entirely lined with a deep, glossy black enamel, whose simplicity contrasts sharply with the turquoise exterior, which is more matte and textured.

On the base, a signature painted in black “JdL” and the model number “520”.

Analysis and commentary:

A French ceramicist based in Nice, Jean de LESPINASSE developed, after World War II, alongside his wife Simone DREYFUS, a significant practice dedicated to decorative ceramics. Their studio, known under the name SOCFRA, played a key role in the revival of ceramics on the French Riviera in the 1950s and 1960s.

Although the name Vallauris is often associated with Jean de LESPINASSE—particularly due to the distribution of his works and the presence of a retail outlet in that town—his production studio was located in Nice. The company also operated seasonal retail outlets in Sainte-Maxime and Saint-Paul-de-Vence.

This bowl corresponds to model no. 520, a number that appears on the base immediately above the signature “JdL”. This reference does not denote a copy number within a limited edition, but rather the model number in the studio’s production.

The shape is one of the piece’s main points of interest. Starting from a relatively narrow circular base, the body flares out widely before its rim rises into three distinct points, forming a trilobed opening with supple, taut lines.
This construction breaks with the traditional geometry of the form and lends it a truly sculptural quality. The three points give rhythm to the silhouette and accentuate its upward movement, while the curves connecting them give the piece as a whole its dynamic yet balanced character.

This formal exploration is inseparable from the decorative treatment. Against the turquoise background, a wide horizontal band accompanies the curve of the bowl’s body. The incised motifs (volutes, geometric elements, and colored accents) are arranged in a regular sequence, though without seeking strict symmetry. The shades of blue, brown-ochre, and yellow stand out against the turquoise and give the decoration its graphic vitality.

The contrast between the exterior and interior is particularly striking. The nuanced turquoise surface, with its more matte and slightly textured appearance, is set off by the glossy black glaze of the interior. When viewed from a three-quarter angle, this black mass sharply highlights the sinuous line of the opening and further accentuates the sculptural character of the three points.

During this period, Sylvie FOURNIER, the daughter-in-law of Jean and Simone de LESPINASSE, played an essential role in the studio as the principal decorator between 1956 and 1967.
Family archives attribute to her a significant role in developing the company’s ornamental vocabulary, particularly the incised or “scarified” decorations, geometric compositions, and various figurative motifs.

The bowl no. 520, created around 1960, is fully representative of this phase of decorative renewal. However, no currently identified document allows us to attribute the decoration on this specific piece with certainty to Sylvie FOURNIER.

Bibliography:

Jean-Claude MARTIN, Marques et signatures de la céramique d’art de la Côte d’Azur, Sudarènes Éditions.

DIANE CHATELET - IMPOSSIBLE GALLERY
General Antique Dealer
Expert in Furniture and Works of Art with the European Chamber of Art Experts (CECOA)

FREE APPRAISALS - BUYING - SELLING