Clément Massier is not known for his majolica. Although he produced a great deal of it he is best known for the groundbreaking metallic, iridescent and luster glazes he produced. His majolica work however is what this post is dedicated to. First some background.
Clément Massier (1844-1917)
History
The Massier dynasty of potters began in the 18th century with the establishment of a pottery in the Côte d’Azur by Pierre Massier. The pottery specialized in utilitarian pottery for everyday use. His sons Jacques and Jérôme who had apprenticed under their father, expanded the facility in Vallauris in 1833 to include heat resistant pottery for the kitchen, decorative ceramics for the home and garden, and brick. They brought their own children into the family business, Jacques’ sons Clément and Delphin, and Jérôme’s son Jean-Baptiste.
Delphin Massier was born on December 30, 1836. and Clément on October 9, 1845. The brothers worked with their father at Vallauris, learning the business as children. In 1859 decorative majolica wares were introduced to the company’s line using glazes introduced to them by their father’s employee, Italian potter Gaetano Gandolfi.
Delphin Massier's studio in Vallauris
Upon their father’s death in 1871 Delphin, as the eldest, inherited their father’s share of the business. The two brothers worked together until 1883 when Clément moved his studio to a neighboring factory at Golfe-Juan because of differences with his sibling. Cousin Jean-Baptiste remained at his father Jérôme‘s studio in Vallauris, eventually building his own studio in Vallauris as Jérôme Massier Fils.
Jérôme Massier Fil's studio at Vallauris
Postcard of the factory at Golfe-Juan
Postcard of the factory at Golfe-Juan
Postcard of the factory at Golfe-Juan
Postcard of the factory at Golfe-Juan
Postcard of the factory at Golfe-Juan
In Golfe-Juan Clément built a large neo-classical studio and showroom. Although his main interest lay with developing his father’s experimental metallic glazes, much majolica with the Golfe-Juan mark on it survives so he produced work in the ceramic medium there in quantity,
It can be said that the majolica figural animal modeling from his studio is not as fine as that done by his uncle Jérôme and cousin Jean-Baptist working in Vallauris but he hired talented sculptors who worked on his many other wares. He did the majority of his majolica at Golfe-Juan as either monochromatic or duochromatic using two different color glazes. He embraced a variety of styles: Neoclassical, Turkish, Moorish, Asian, Greek, Persian and geometric.
Postcard of Clément Massier working in his studio
Clément Massier majolica frog
C. Massier majolica rooster
C. Massier majolica moth wall pocket
C. Massier majolica pug dog
C. Massier majolica dachshund
C. Massier majolica cougar C. Massier majolica cicada
C.Massier majolica center
C. Massier majolica well
C. Massier majolica jardiniere
C. Massier majolica burro
C. Massier majolica oxen cart
C. Massier majolica vases
C. Massier majolica vase
C. Massier majolica passion flower vase
C. Massier majolica vaseC. Massier majolica plaque
Clément Massier majolica plaque
Clément Massier majolica pansy card stand
.C Massier Moorish majolica jardinier and pedestal Massier had a definite affinity for the intense turquoise created by Théodore Deck, his “bleu de Deck,” and glazed many of his majolica pieces in variations of the color.
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C. dMassier majolica inkwell
C. Massier majolica medallion
C. Massier majolica frog
C. Massier majolica catC. Massier majolica burroC. Massier majolica turtleC. Massier majolica pig
C. Massier moth wall pocket C. Massier majolica cherub group
Clément Massier majolica vase
Within his first year at Golfe-Juan, Massier’s factory expanded to employ 120 artists. By 1887 his pottery had been recognized by the British Crown as a royal supplier. Two years later in 1889 Massier won a gold medal at the Paris World’s Fair, l’Exposition Universalle for his turquoise metallic luster glazes which were advancements on his father’s luster glazes developed through Lucien Lévy-Dhurmer, his artistic director from 1887-1895. Lévy-Dhurmer’s contribution to the success of Massier’s studio cannot be overstated. Many pieces with Lévy’s signature can be found today. They command a premium price among Massier’s output.
1889 Paris World's Fair l’Exposition Universalle
C.Massier metallic uster vase
C.Massier metallic luster vase
C.Massier luster vase
C.Massier luster vase
C.Massier luster vase
Massier went on to win the Grand Prix of the Paris World's Fair in 1900. With this exposure his business grew exponentially. Catalogs of his work were liberally distributed throughout the Côte d’Azur and increased his business. These catalogs show that pieces were priced not only by model but by glaze with some colors costing significantly more than others and that pieces could be custom ordered with particular finishes. His metallic glazes were made to order.
Through the next two decades his work was sold not only at his own showroom but at five Paris galleries, the best known of which is that of Siegfried Bing whose gallery specialized in Asian and Jugendstil art.
Clément Massier catalog page
Siegfried Bing's Maison de l'Art Nouveau gallery in Paris
As majolica waned in popularity at the turn of the century demand for Clément’s Art Nouveau metallic luster wares grew, selling throughout Europe. He attracted some of the finest sculptors as collaborators such as Swiss Symbolist sculptor James Vibert.
C.Massier luster boel designed by James Vibert
Clément Massier became the most famous potter in his family. In spite of his fame he was considered a modest and kind man. His name became a premium brand while his showroom at Golfe-Juan became a major attraction for both the elite and tourists alike on the French Riviera, hoping to take a bit of the Côte d’Azur home with them.
Postcard of the Clément Massier showroom at Golfe-Juan
Postcard of the Clément Massier showroom at Golfe-Juan
The success he achieved with these luster finishes also inspired metallic wares from other potters like Zsolnay, and even from his brother Delphin. Jacques Sicard, who brought metallic glazed wares to Weller in the United States, learned his craft by working for Massier.
Clément Massier is considered one of the most significant and influential potters of the early 20th century, particularly in the Art Nouveau style,
Massier continued refining his metallic luster glazes the remainder of his life. When he died on March 14, 1917 his factory at Golfe-Juan was taken over by his daughters Anné and Louise who continued making pottery from their father’s molds and glaze formulas. The studio remained in business for roughly a decade until declining demand closed the facility sometime in the late 1920s.
Today his surviving studio building has been converted to a center for receptions and other events called Palais Clément Massier.
Palais Clément Massier today
Marks
Clément Massier always marked his pottery with either a handwritten or impressed marker with his name or initials and the Golfe-Juan A.M. (Alpes-Maritimes) designation. Occasionally they are also marked with the name or initials of the artist who created the piece. Artist signed pieces will always command more demand in the marketplace.
Clément Massier mark with the impressed mark of artist Lucien Lévy-Dhurmer
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