DE BARCK
BAUDIN
Jules Lefèbvre at the Académie Julian. He began exhibiting painting at the SAF, but took up the production of grès at Saint-Amand-en-Puisaye after being struck by the beauty of Japoniste ceramics, and by the work of Carriès which he saw at the Champ-de-Mars in Paris in 1892. At Saint-Amand-en-Puisaye he drew on the experience of local potters, both at the Lion and Normand ateliers, as well as availing himself of the assistance of Louis Émile Pichard. He occasionally produced pieces designed by other artists, including a vase signed by Yvan Piemans, possibly a Dutchman. De Barck’s relatively rare ceramics are either in typical Japoniste style or with applied floral art nouveau decoration, often drip-glazed.These were regularly exhibited at the SAF from 1901, and he was eventually given the title of chevalier of the Légion d’Honneur for his art. In 1926 he acquired the château de SaintAmand, where he died. Signature “NdeBarck”, “N de B” or “NB” à la pointe. (Pelichet 1976, 180; Makus 1981, 37; Heller 1986, 64–65; Haslam 1995; Ducret & Monjaret 1997; Montjaret & Ducret 2001; Sanchez 2005, 91–92)
Barin, J. An artist who worked on porcelain at Limoges around 1900.
Barluet, Henri Félix Anatole (Laigle, Oise 1820 – Creil 1884)
Nils de Barck, lidded bowl in the form of a pumpkin. ... Photo Åsa Lundén, Nationalmuseum, Stockholm.
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Barluet began working on ceramics as an employee first at Montereau in 1838, and then at Creil in 1844. In 1867 he promoted the construction of a workers’ town at Creil. Already awarded the croix of the Légion d’Honneur in 1869, in 1870 he was elected mayor of Creil, guiding the town through the period of German occupation during the Franco–Prussian War. After the war, he became director of the Société des Faïenceries de Creil et de Montereau, Société Lebeuf et Cie, originally Lebeuf, Milliet et Cie. Upon the death of Lebeuf in 1876, Barluet took over the firm, which became Barluet et Cie. Its offices were at 61 Rue du Faubourg Poissonnière, Paris. Barluet was a member of the jury for the Exposition Universelle in 1878, when he decorated a pavilion with a faience mosaic. The firm continued to produce Bracquemond’s service Rousseau, originally produced under Lebeuf. Henri Lambert also painted blanks produced by the firm. Richard
Froment worked with the faiencerie after 1880. When Barluet died in 1884, the firm was taken over by Frontier. It eventually closed in 1920. Ceramics were signed with the printed mark “CREIL / B. & Cie / MONTEREAU” or simply “B. & Cie / FRANCE”. (La Céramique 41, 1884, 1–2; Bontillot 1998; Sanchez 2005, 93)
Barol, Jean-Baptiste (Vallauris 1873 – Cannes 1966) Barol originally worked with Clément Massier. In 1912, with his partners Alexandre, Carle and Sicard, he helped create the BACS workshop at Cap d’Antibes, near Cannes, sponsored by the architect Georges Massa. After breaking his contract with Massa, he went to work for the Faïencerie Picard at Amiens and later, in 1916, returned to BACS. In 1917, together with François Sicard, he left to become the first artistic director at Montières, run by Désiré Borck.There he taught ceramic techniques to pupils of the École des Beaux-Arts at Amiens. He returned to Cap d’Antibes in 1920 to rejoin BACS, where he remained until 1927. He continued to produce ceramics at Vallauris, as well as at Cannes–La Bocca, until after the Second World War. The latter site, strategically located near the railway in the south of Cannes, is named on various pieces with lustre glaze or art deco decoration, as well as a series of splendid plates with fish, crabs, seaweed and the like, in an art nouveau revival style. Though his earlier pieces are usually in lustreware and occasionally carry painted landscapes, his work at Montières and on his return to the south of France sometimes exhibit painted barbotine decoration, highlighted with sgraffito, in the émaux cloisonnés technique, against an iridescent Massier-like glazed background. His products are often signed “JBarol”, with a ligatured JB. (Makus 1981, 36; Declein 1995, 14–15; Forest & Lacquemant 2000, 22–24)
Barrias, Charles Louis Ernest (Paris 1841–1905) The famous and influential academic sculptor Barrias studied at the École des Beaux-Arts under Jouffroy from 1858 to 1861, when he won the Prix de Rome, and taught at the École from 1884. He designed some pieces for Sèvres in 1892, and later some of his designs were reproduced by the Mougin frères, a firm with which various of
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his students collaborated. In 1898 he modelled a plaque with a portrait of the architect Julien Guadet, which was produced by the ceramists Gentil et Bourdet. His work was frequently exhibited at the SAF. (Peiffer 2001, 144; Arwas 2002, 536; Sanchez 2005, 97–98)
Bastard, Georges (Andeville, Oise 1881 – Paris 1939) Bastard was a designer of objects (fans, boxes, etc.) in various materials, highly influenced by Japanese art. He also provided some decorations and designs for the Manufacture Nationale de Sèvres, as well as producing some pottery of his own, apparently from the 1920s. (Haslam 1995, 123)
Bastet, Victorien Antoine (Bollène 1852 – Paris 1905) Bastet began his studies at the École de dessin d’Avignon, followed by the École des Beaux-Arts de Paris, which he entered in 1874. His early years in Paris were aided by the philanthropist Monsieur Vallarino. He excelled in both portrait sculpture and the sculpture of mythological and biblical subjects, and his output was to include works in various metals, marble and terracotta. The first mention of him at the Paris Salons was in 1879, and he continued to exhibit up to his death, becoming one of the foremost sculptors of the time.
Baubeau, Alice Baubeau is known to have painted porcelain vases, for which she exhibited a project at the SAF in 1911. (Duncan 1998, 50; Sanchez 2005, 101)
Bauby, Eugène (c. 1860–?) A potter who worked as a turner of grès for both Charles Gréber, from 1906, and later for Auguste Delaherche. (Cartier & Frichet-Colzy 1993, 141)
Baudin s.v. Badonviller
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