MILLE (Pierre) (1864–1941). - Lot 226

Lot 226
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MILLE (Pierre) (1864–1941). - Lot 226
MILLE (Pierre) (1864–1941). Signed autograph manuscript: “The Ceramics of Robert Lallemant.” Signed autograph manuscript, 5 pages in-4 numbered 1 through 5, written entirely in black ink on loose sheets, autograph title: The Ceramics of Robert Lallemant. Handwritten corrections and annotations in purple ink and pencil. Autograph signature “Pierre Mille” at the bottom of the last page. An important preparatory manuscript devoted to the ceramicist Robert Lallemant, in which Pierre Mille develops a particularly elaborate aesthetic reflection on the evolution of the decorative arts, the origin of forms, and their continuity across civilizations. The author first notes that, in ancient civilizations, the shapes of vases and their decoration evolved extremely slowly, as the demands of the material, the manufacturing process, and their intended use required a long maturation period for the designs. The vase, initially a simple utilitarian object, gradually became a work of art and a medium for religious, symbolic, or decorative expression. Pierre Mille then emphasizes the continuity of artistic traditions and demonstrates how forms arise from direct observation of nature before being gradually stylized. He contrasts ancient creations with contemporary trends, arguing that true modern art should not merely imitate the past but draw inspiration from the present while preserving the memory of great civilizations. The text devotes significant attention to the works of Robert Lallemant, whose ceramics are presented as a perfect synthesis of tradition and modernity. The author highlights the simplicity of the lines, the decorative vigor, the inspiration drawn from plants and animals, as well as the rich color palette of the glazes, which he considers an expression of a truly contemporary taste. The final page serves as a true critical conclusion. Pierre Mille announces an exhibition of Robert Lallemant’s works at the Galerie Bernheim-Jeune, held from December 7 to 28, under the patronage of Paul Painlevé, then Minister of War, and the Princess of Faucigny-Lucinge. He lists the prominent figures associated with this event, including Pierre Bonnard, Albert Marquet, Kees van Dongen, Maurice Denis, Charles Périn, Aristide Maillol, Jean Fombertaux, as well as the sculptors Yencesse and S. Martel, attesting to the artistic significance attributed to this exhibition. This manuscript is clearly a draft of an article intended for the press or the exhibition catalog. The numerous corrections, erasures, and annotations reveal the writer’s process of refinement prior to publication. Physical Description 5 handwritten in-4 pages. Handwritten page numbering. Handwritten title: “The Ceramics of Robert Lallemant.” Black ink. Handwritten corrections in purple ink and pencil. Complete handwritten signature: Pierre Mille. Loose sheets. Condition Fair to good condition. An old horizontal fold. Significant soiling and signs of handling, mainly in the middle section of the sheets. Small marginal tears with paper loss on the left edge of all five sheets, without affecting the text. Some foxing and slight signs of wear. The document remains perfectly legible. Significance A highly interesting critical manuscript combining art history, the aesthetics of the decorative arts, and a defense of French ceramics from the interwar period. It sheds light on Pierre Mille’s thinking regarding the relationship between tradition, contemporary creation, and arts and crafts, while documenting the reception of Robert Lallemant’s work in Parisian artistic circles. The numerous handwritten corrections further enhance the value of this working document, which serves as a valuable record of the genesis of a text intended for publication.
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