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Amalric Walter

1870 - 1959

BiographyOne of the most prolific artists to work in pâte de verre, Amalric Walter was a leading light in the revival and redevelopment of this ancient technique. Pâte de verre is a special facet of glassmaking that dates back to the second millennium B.C. The Mesopotamians were the first to leave records of the process which they used for inlays in jewelry and sculpture. The Egyptians improved on their techniques, using pâte de verre in intricate mosaics and vessels between 1500 and 1000 B.C. Then in the 4th and 5th centuries, Persians used pâte de verre to produce exquisite vessels. Glass studios prospered across the Middle East through the 1st century A.C. and the process became increasingly refined. However after the Romans invented glassblowing, glass became easier and less expensive to produce and pâte de verre declined until its revival in the 19th century.

The revival was centered in France and was influenced by the archeological discoveries of the time. Henry Cros (1840-1907), symbolist sculptor and archeology enthusiast, fascinated by the discoveries of Egyptian amulets, jewelry, precious embellishments of funerary furniture; established research in pâte de verre. Rousing interest notably from the ceramic artist Albert Dammouse, the industrialist Georges Despret, Ringel d’ Illzach, and Amalric Walter. Each artist then developed their own personal interpretation realised from Cros’ research.

By the age of 30, Walter had become proficient in pâté de verre, and came to the attention of the Daum brothers in Nancy, famed for their Art Nouveau glass. In 1903 Walter joined the Daum factory where he was given his own workshop and a substantial fee in return for the secrets of his technique. Between 1906 and 1914 Walter tested and refined his technique, creating with Henri Bergé, a menagerie of small animals, insects, and reptiles either as small sculptures or decoration on tiles and dishes. It is these works that he is most loved for, and which are the focus of this exhibition.

After the end of the war, Walter separated amicably from Daum and set up his own workshop in Nancy, using the ‘A Walter Nancy’ mark. Here he continued with designs similar to those he created in Daum, as well as commissioning designs from other artists. By the late 1930s the fashion for pâté de verre had waned and Walter stopped producing. On his death in 1959, Walter's studio and workshop were dispersed and very little has come to light since.

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