Edouard Demachy, expert voice : The 1950s in Vallauris

For Edouard Demachy, ceramic is above all a love story. Sensuality of the material and shimmering colors, this recognized expert succumbed to the charms of ceramics and began to collect it more than 20 years ago. But what would this passion be without the pleasure of sharing it with collectors, confirmed or neophytes, in search of gems...

 

The 50s are what we call, the golden age of Vallauris. It is a center where a large number of ceramicists found themselves, working on one side earthenware, on the other side this famous red earth characteristic of Vallauris. These artists had a very important production, not only shaped pieces, but also utility pieces. Large series were thus distributed to a wide audience, responding to a strong demand during this post-war period. The 1950s were therefore synonymous with the wide circulation of Vallauris pieces.

The majority of the great ceramists of the 1950s came from Vallauris, it was one of the most important centers during this period.

In my opinion, the two figures of important artists, emblematic of this region are Roger Capron and Suzanne Ramié with the Madoura workshop.

Roger Capron worked in glazed earthenware and had almost 150 workers in his workshop. We are therefore faced with mass production, unlike Suzanne Ramié, who herself shaped this famous red earth to produce unique shaped pieces. This is undoubtedly what attracted Pablo Picasso when he came to settle in the Madoura workshop.

Advice for an investment?

Above all, we must target the budget available to the client, but there must also be a crush.

Roger Capron's pieces are a sure bet. In recent times, prices have been rising and large galleries such as Chastel Marechal have presented large ear vases. With Capron, there is a wide variety of pieces and therefore a wide variety of budgets. A neophyte collector will therefore be able to buy interesting pieces with a limited budget.

Beyond Capron, I will direct potential buyers to the 20 largest ceramists because a collector will never want his collection to be frozen. He will obviously want to develop it, both financially and in terms of the variety of objects that his collection will contain. I try to bring them towards quality, while not neglecting the financial aspect.