Mithé Espelt (1923–2020) “amandes” Mirror
Artist: Mithé Espelt
A rare mirror by the artist Mithé ESPELT (1923–2020), a cataloged model titled "Amandes," featuring a radiant design in glazed ceramic and kiln-cracked gold, with its original green felt backing. Very good condition; dimensions: 22 cm in diameter.
Bibliography: Antoine CANDAU, Mithé Espelt, *Le luxe discret du quotidien*, Ed. Odyssée, 2020, design reproduced on p. 89
Mithé ESPELT (1923–2020) was born in 1923 in Lunel. She grew up in a vibrant artistic environment, surrounded by Frédéric Mistral, Edmond Baissat, and the interior designer Jean Hugo, a prominent figure in the local artistic and intellectual scene. In Lunel, he introduced the young Mithé to the social circle (Cocteau, Bérard, Picasso, etc.) of his neighbor, Jean Hugo, and to that of the many writers and artists with whom he associated. After studying at the École des Beaux-Arts, she studied under Émilie Décanis, developing her mastery of the art of firing to become part of the first graduating class of the experimental ceramics school in Fontcarrade—an innovative project designed to train the best French ceramicists of her generation.
She began her career in Paris by designing ceramic buttons for haute couture houses, then worked for Line Vautrin—a collaboration with the great artist that left her with a lasting, dazzling impression—before returning to the South. She was 23 at the time and set up a ceramics studio where she created pottery in the spirit of the times, developed her first jewelry collections, and crafted her very first small mirrors. Thus, as early as 1947, she created an extravagant carousel in which, beneath a shower of pure gold glitter, a myriad of small mirrors and secret boxes filled with jewelry twirled about. These objects explore desire and seduction, envy and indulgence, reality and illusion, all while conveying—amidst birdsong and flowers—a message of optimism and love. Emilie Decanis, who had spotted her talent in Fontcarrade, saw her as one of the rising stars of the ceramics scene and included her in numerous exhibitions, both in France and abroad. Success followed: Mithé found herself in charge of the jewelry collections for Maison Souleiado and created special commissions for clients such as Louise de Vilmorin and Poupette Vachon, Brigitte Bardot’s stylist in Saint-Tropez.
Throughout a long career marked by the gold of success and extraordinary encounters, this explorer of the reflections and pitfalls of seduction has created an inimitable style—one of free-spirited, avant-garde work characterized by grace and lightness. And the breathtaking collection of jewelry, small mirrors, and those secret-filled boxes that made her famous never ceases to surprise and delight enthusiasts around the world. Mithé Espelt slipped away with one of those wonderful smiles that lit up our years of shared understanding in September 2020, just as the monograph *Mithé Espelt: The Discreet Luxury of Everyday Life* was being published.
Bibliography: Antoine CANDAU, Mithé Espelt, *Le luxe discret du quotidien*, Ed. Odyssée, 2020, design reproduced on p. 89
Mithé ESPELT (1923–2020) was born in 1923 in Lunel. She grew up in a vibrant artistic environment, surrounded by Frédéric Mistral, Edmond Baissat, and the interior designer Jean Hugo, a prominent figure in the local artistic and intellectual scene. In Lunel, he introduced the young Mithé to the social circle (Cocteau, Bérard, Picasso, etc.) of his neighbor, Jean Hugo, and to that of the many writers and artists with whom he associated. After studying at the École des Beaux-Arts, she studied under Émilie Décanis, developing her mastery of the art of firing to become part of the first graduating class of the experimental ceramics school in Fontcarrade—an innovative project designed to train the best French ceramicists of her generation.
She began her career in Paris by designing ceramic buttons for haute couture houses, then worked for Line Vautrin—a collaboration with the great artist that left her with a lasting, dazzling impression—before returning to the South. She was 23 at the time and set up a ceramics studio where she created pottery in the spirit of the times, developed her first jewelry collections, and crafted her very first small mirrors. Thus, as early as 1947, she created an extravagant carousel in which, beneath a shower of pure gold glitter, a myriad of small mirrors and secret boxes filled with jewelry twirled about. These objects explore desire and seduction, envy and indulgence, reality and illusion, all while conveying—amidst birdsong and flowers—a message of optimism and love. Emilie Decanis, who had spotted her talent in Fontcarrade, saw her as one of the rising stars of the ceramics scene and included her in numerous exhibitions, both in France and abroad. Success followed: Mithé found herself in charge of the jewelry collections for Maison Souleiado and created special commissions for clients such as Louise de Vilmorin and Poupette Vachon, Brigitte Bardot’s stylist in Saint-Tropez.
Throughout a long career marked by the gold of success and extraordinary encounters, this explorer of the reflections and pitfalls of seduction has created an inimitable style—one of free-spirited, avant-garde work characterized by grace and lightness. And the breathtaking collection of jewelry, small mirrors, and those secret-filled boxes that made her famous never ceases to surprise and delight enthusiasts around the world. Mithé Espelt slipped away with one of those wonderful smiles that lit up our years of shared understanding in September 2020, just as the monograph *Mithé Espelt: The Discreet Luxury of Everyday Life* was being published.
2 500 €
Period: 20th century
Style: Design 50's and 60's
Condition: Excellent condition
Material: Ceramic
Reference (ID): 1814749
Availability: In stock
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