Mélard in White Clay and Suspended Mélard – 18th century – Cantal – [PA073] [PA074]

Two walnut oil jugs, fuel used in the 18th century for lighting. The mélard on the left is in raw white clay on which concretions come from the interior. The mélard on the left benefited from a water-green glaze which made it waterproof. Its two handles allow it to be hung on a rope to be able to lean it and thus facilitate the flow of oil. — Mélard in white clay – [PA073] (on the left in the photo) and Suspended Mélard – [PA074] (on the right in the photo) – 18th century – Cantal

Mélard in white clay – 18th century – Cantal – [PA073]

Globular in shape, its bottom is rounded, this melard is surrounded by fingered serpentiform strips superimposed freely, each printing its bold curves as it pleases. This is the chic asset of this pottery from rural Cantal in the 18th century, which moreover appears in its simplest form. The raw white clay that constitutes it is devoid of any form of glaze.

This raw white clay mélard is adorned with snakelike strips with finger impressions that run all around its belly. They form like a necklace surmounting two sinusoidal lines superimposed from the center downwards. This pottery of good size was mounted by hand and with a coil by an Auvergne potter in the 18th century. — This mélard is surrounded by freely superimposed snake-like strips orned with finger marks, each one imprinting its daring curves as it pleases. This is the chic asset of this pottery from rural Cantal in the 18th century, which moreover appears in its simplest form. The raw white clay that constitutes it is devoid of any glaze.

This simplicity is poetically balanced by the hues and silhouettes that have formed over its life as a pitcher, on the farm. This pottery contained walnut oil used for household lighting. Given its porosity, the oil managed to penetrate the body in places, hence these brown traces which evoke certain figures of primitive parietal art. They are actually natural concretions of walnut oil.

Dimensions
Height: 45 cm, height, diameter: 42 cm
Reference: [PA073]

This mélard being in raw white clay, given its porosity, the walnut oil it contained has perspired, forming here and there patterns reminiscent of certain parietal art figures discovered at the bottom of caves. — Given the porosity of this raw clay mélard, in places walnut oil has managed to cross the body, hence these brown traces which evoke certain figures of primitive parietal art. They are actually natural concretions of walnut oil.

Je réserve

Hanging Mélard – 18th century – Cantal – [PA074]

It should be remembered that in the 18th century, mélards constituted reserves for walnut oil, at that time used as fuel for lighting. To facilitate the tilting of this pottery when pouring the oil through its tubular spout, two handles were provided through which a rope was slipped in order to be able to suspend it once filled.
Its beautiful water-green glaze was obtained thanks to copper oxides skilfully chosen by the Auvergne potter who shaped it with a coil and who, in his own way, signs his work with the marks of his fingers printed in the many bands of which he adorned it. An aesthetic asset greatly appreciated by the customers of the potters’ markets in the 18th century in the heart of Cantal.

Dimensions
Height: 41 cm, height, diameter: 37 cm
Reference: [PA074]

This mélard has a beautiful water-green glaze obtained thanks to copper oxides skilfully chosen by the Auvergne potter who shaped it during the 18th century. This craftsman signs his creation in his own way by the mark of his fingers printed in the many clay strips with which he has adorned it. — The beautiful water-green glaze of this melard was obtained thanks to copper oxides skilfully chosen by the Auvergne potter who shaped it with a coil during the 18th century. In his own way, he signs his work with the mark of his fingers imprinted in the many clay bands that run through this pottery. An aesthetic asset greatly appreciated by the customers of the potters' markets in the 18th century in the heart of Cantal.

To facilitate the tilting of this pottery when pouring the oil through its thin tubular spout, two handles were provided through which a rope was slipped in order to be able to suspend it once filled.

These two jars come from neighboring Auvergne pottery centers. However, they are distinguished by their finish. The one on the left, fired in raw white clay and therefore porous, has allowed the oil to pass through it in places, while the one on the right has a water-green glaze which has in fact made it waterproof. — Two walnut oil jugs, used in the 18th century for lighting. The mélard on the left is in raw white clay. The oil has in places crossed the porous wall of his belly, revealing astonishing traces. The mélard on the left has benefited from a water-green glaze. It has two handles to suspend it with a rope to facilitate the tilting necessary to pour the oil through its thin tubular spout.