ANDRE BAUD pour VALLAURIS, service cruche et 6 verres en céramique, ca 1960

André Baud in Vallauris, ceramic set with pitcher and 6 cups, ca. 1960. Each piece features hand-painted decoration, with a graphic play of black and yellow lines and loops on a white ground. The interior of the cups and the pitcher is glazed in vivid contrasting colors (orange, green, yellow, and turquoise), typical of Southern French ceramic production of the period. This type of service reflects the convivial and decorative spirit of Vallauris ceramics of the 1960s–70s, a time when the town flourished through the encounter of artisanal tradition and modern design. Set in perfect condition, all pieces marked “VALLAURIS” except the light green cup. Biography: André Baud (1903–1986) studied at the École des Beaux-Arts in Bourges and later at the École des Arts Appliqués in Paris, where he received several awards in the 1920s. After working for various faience manufacturers, he settled in Vallauris in 1942 with his wife Micheline Bour, taking over a factory from the Milazzo family. Together, they developed the production of culinary, utilitarian, and decorative ceramics, sold in their own shop. Following Suzanne Ramié (Atelier Madoura), André Baud became a key figure in the revival of ceramics in Vallauris. He worked closely with Robert Picault and Roger Capron (Atelier Callis, 1945). In 1946, their trio — Madoura, Baud, and Callis — organized the first Vallauris potters' exhibition at the Nérolium, the forerunner of the future International Biennale of Ceramic Art in Vallauris. During this golden age, he forged ties with Picasso, Paul Eluard, and Henri Grailhe, and was part of an important group of ceramists with Roger Capron, Jacques Innocenti, Robert Picault, and the Poterie du Grand Chêne. Highly engaged, he also took on responsibilities within the Association Vallaurienne d'Expansion Céramique (AVEC) and the town's cultural committees. Baud developed a personal style in which simple, pure forms highlighted matte black or white backgrounds, often paired with vibrant enamels. His inspiration blended astronomy, flora, and fauna, and he created both utilitarian pieces and unique works of high quality. Despite financial difficulties that forced him to leave Vallauris in 1969, his work remained widely recognized, receiving numerous international awards in Albisola, Paris, Istanbul, and Vallauris. His contribution is considered essential to modern French ceramics and to the renown of Vallauris in the postwar period.