Art by Medium: Porcelain

Artist : Stephanie Lanter Title : Why Won't You Materials : Porcelain, glaze, thread, enamel, wire Date : 2016 Dimensions : 15" x 17" x 12" Description : Manually slip-trailed & hand...

Artist : Stephanie Lanter Title : More Materials : Porcelain, underglaze, glaze, enamel, thread Date : 2016 Dimensions : 15" x 12" x 8" Description : ...

Artist : Stephanie Lanter Title : Bound Materials : Porcelain, thread Date : 2014 Dimensions : 6" x 9" x 2" Description : Manually slip-trailed & hand...

Artist : Stephanie Lanter Title : Intersection Materials : Porcelain, underglaze, oxides Date : 2015 Dimensions : 5" x 8.5" x 5" Description : Manually slip-trailed sculpture...

Artist : Stephanie Lanter Title : The Likers Materials : Porcelain, underglaze, stain, glaze, thread Date : 2015 Dimensions : 10" x 5" x 2.5" Description : Manually slip-trailed & ha...

Cast porcelain coated with a reflective finish Edition of 2300 Produced by Bernardaud, Limoges Published by the Los Angeles Museum of Contemporary Art, with the label verso Stamp sig...

Michael Stumbras Vase Year: 2019 Materials: Porcelain, Gold Luster Size: 10.25 x 6.75 inches Michael Stumbras work explores the beauty and horror of our existential uncertainties as...

Artist: Rachel Hubbard Kline Title : Cobalt Whiskey Cups Materials : Porcelain, Underglaze, Glaze, Luster Date : 2018 Dimensions : 4" x 3.25" x 3.25" Descr...

Artist: Rachel Hubbard Kline Title : Eleanor Rhino Whiskey Cups Materials : Porcelain, Underglaze, Glaze, Decals Date : 2018 Dimensions : 4" x 3.25" x 3.25...

NICK KNIGHT (*1958, Great Britain) Porcelain Kate 2013 Nymphenburger hard porcelain in white bisque Sculpture 36,6 x 61 x 15 cm (14 3/8 x 24 x 5 7/8 in.) Edition of 25; Ed. no. 6/25 Nick Knight is among the world’s most influential and visionary photographers. He has worked on a range of often controversial issues during his career – from racism, disability, ageism, and more recently fat-ism. He continually challenges conventional ideals of beauty. The photographer Nick Knight has been portraying international supermodel Kate Moss for more than two decades. As one of the most photographed women in the world who has been accompanied by Knight for many years, Moss serves as the subject of his work. In cooperation with the Porzellan Manufaktur Nymphenburg, the world famous photographer has eternalised a three-dimensional portrait of the Briton in biscuit porcelain for the first time. The figurine developed in the master workshops of Nymphenburg in 2014 is reminiscent of Christian iconography. Attributes such as the filigree crown of thorns and the voluminous loincloth make reference to religious relics...

Joan Lurie Untitled #4 White Glazed Porcelain 19" x 14" x 13" 2019 Artists Statement: My interest is in exploring ways of building structural forms in ceramics. Many ideas for the f...

“Untitled” 2018-2019 Porcelain, Paper Clay Cone 6 Size: 23 in. x 34.25 in. Danielle Weigandt explores the construct of events in time and their role in our lives. Time cannot be see...

“Untitled” 2018-2019 Porcelain, Paper Clay Cone 6 Size: 3.25 in. x 35 in. Danielle Weigandt explores the construct of events in time and their role in our lives. Time cannot be seen...

“Untitled” 2018-2019 Porcelain, Paper Clay Cone 6 Size: 32.5 in. x 48.75 in. Danielle Weigandt explores the construct of events in time and their role in our lives. Time cannot be s...

“Untitled” 2018-2019 Porcelain, Paper Clay Cone 6 Size: 27 in. x 27.5 in. Danielle Weigandt explores the construct of events in time and their role in our lives. Time cannot be seen...

“Untitled” 2019 Porcelain Unfired Poplar Wood, Plex Size: 5.5in. x 5.5in.

“Untitled” 2019 Porcelain Unfired Poplar Wood, Plex Size: 5.5 in. x 5.5 in.

“Untitled” 2019 Porcelain Unfired Poplar Wood, Plex Size: 8 in. x 8 in. Danielle Weigandt explores the construct of events in time and their role in our lives. Time cannot be seen, ...

“Untitled” 2019 Porcelain Unfired Poplar Wood, Plex Size: 8 in. x 8 in. Danielle Weigandt explores the construct of events in time and their role in our lives. Time cannot be seen, ...

“Untitled” 2019 Porcelain Unfired Poplar Wood, Plex Size: 5.5 in. x 5.5 in. Danielle Weigandt explores the construct of events in time and their role in our lives. Time cannot be se...

“Untitled” 2019 Porcelain Unfired Poplar Wood, Plex Size: 5.5 in. x 5.5 in. Danielle Weigandt explores the construct of events in time and their role in our lives. Time cannot be se...

“Untitled” 2019 Porcelain Unfired Poplar Wood, Plex Size: 8 in. x 8 in. Danielle Weigandt explores the construct of events in time and their role in our lives. Time cannot be seen, ...

“Untitled” 2019 Porcelain Cone 5 (comes in a bag) Size: 10.5 in. x 12.5 in. Danielle Weigandt explores the construct of events in time and their role in our lives. Time cannot be se...

“Untitled” 2018-2019 Porcelain, Paper Clay Cone 6 Size: 3 in. x 35.5 in. Danielle Weigandt explores the construct of events in time and their role in our lives. Time cannot be seen,...

“Untitled” 2018-2019 Porcelain, Paper Clay Cone 6 Size: 10 in. x 10 in. Danielle Weigandt explores the construct of events in time and their role in our lives. Time cannot be seen, ...

“Untitled” 2018-2019 Porcelain, Paper Clay Cone 6 Size: 16.5 in. x 16 in. Danielle Weigandt explores the construct of events in time and their role in our lives. Time cannot be seen...

“Untitled” 2018-2019 Porcelain, Paper Clay Cone 6 Size: 10 in. x 10 in. Danielle Weigandt explores the construct of events in time and their role in our lives. Time cannot be seen, ...

“Untitled” 2018-2019 Porcelain, Paper Clay Cone 6 Size: 10 in. x 23.5 in. Danielle Weigandt explores the construct of events in time and their role in our lives. Time cannot be seen...

“Untitled” 2018-2019 Porcelain, Paper Clay Cone 6 Size: 16 in. x 35 in. Danielle Weigandt explores the construct of events in time and their role in our lives. Time cannot be seen, ...

“Untitled” 2018-2019 Porcelain, Paper Clay Cone 6 Size: 27 in. x 7 in. Danielle Weigandt explores the construct of events in time and their role in our lives. Time cannot be seen, h...

KPM Porcelain After Angelo Asti (French, 1847-1903) "Épanouissement" c. 1900 With Original Gold Gilded Frame Image Size: approx. 6 x 4 inches Framed Size: approx. 9 x 6 inches Eve...

KPM Style German "Napoleon" c. late 19th c. Signed "Bock" Original Hand-Painted Porcelain Marked Verso approx 7 x 5 inches/approx 10 x 8 framed

KPM Porcelain "Queen Louise" c. late 19th century Original Hand-Painted Porcelain Signed "R. Dittrich" Since 250 years, the royal sceptre brand stands fo...

Marguerite Hand Painted Porcelain w/crown stamp #107 Signed "Wagner" Original Gilded Florentine Frame approx 6 x 4 inches /approx 14 x 8 inches framed Since 250 years, the royal sc...

Sevres 19th C. Original Hand Painted Porcelain Signed "G Poitevin" approx 9 x 5 inches/15 x 12 framed The vast and diverse production of the Sèvres factory in the nineteenth century resists easy characterization, and its history during this period reflects many of the changes affecting French society in the years between 1800 and 1900. Among the remarkable accomplishments of the factory was the ability to stay continuously in the forefront of European ceramic production despite the myriad changes in technology, taste, and patronage that occurred during this tumultuous century. The factory, which had been founded in the town of Vincennes in 1740 and then reestablished in larger quarters at Sèvres in 1756, became the preeminent porcelain manufacturer in Europe in the second half of the eighteenth century. Louis XV had been an early investor in the fledgling ceramic enterprise and became its sole owner in 1759. However, due to the upheavals of the French Revolution, its financial position at the beginning of the nineteenth century was extremely precarious. No longer a royal enterprise, the factory also had lost much of its clientele, and its funding reflected the ruinous state of the French economy. However, the appointment in 1800 of Alexandre Brongniart (1770–1847) as the administrator of the factory marked a profound shift in its fortunes. Trained as both an engineer and a scientist, Brongniart was both brilliant and immensely capable, and he brought all of his prodigious talents to the running of the troubled porcelain factory. He directed the Sèvres factory as administrator until his death in 1847, and during those five decades influenced every aspect of its organization and production. Much of the factory’s old, undecorated stock was immediately sold off, and new forms—largely in the fashionable, more severe Neoclassical style—were designed to replace out-of-date models. The composition for hard-paste porcelain was improved, and the production of soft paste, for which the factory had been famous in the previous century, was abandoned in 1804. New enamels colors were devised, and Brongniart oversaw the development of a new type of kiln that was both more efficient and cost-effective. Much of the factory’s output during Brongniart’s first decade reflected the prevailing Empire taste, which favored extensive gilding, rich border designs, and elaborate figural scenes (56.29.1–.8). Backgrounds simulating marble or a variety of hardstones were employed with greater frequency (1987.224); the new range of enamel colors developed under Brongniart made it easier to achieve these imitation surfaces, and it is thought that his interest in mineralogy provided the impetus for this type of decoration. For objects produced in sets, such as dinner, tea, and coffee services, and even garnitures of vases, Brongniart preferred decorative schemes that linked the objects in terms of subject matter as well as stylistically. Dinner services were given coherence by the use of an overall theme, in addition to shared border patterns and ground colors. One of the best examples of this can be found in the “Service des Départements,” which was conceived by Brongniart in 1824 (2002.57). Each of the plates in the service was decorated with a famous topographical view of the département (administrative unit) of France that it represented, and its border was painted with small cameo portraits of figures from the region, as well as symbols of the major arts, industries, and products of the area. This same type of thematic unity is found on a coffee service produced in 1836 (1986.281.1ab–4). All of the pieces of the service are decorated with scenes depicting the cultivation of cacao, from which chocolate is made, or various stages in the preparation of chocolate as a beverage. The compositions were conceived and executed by Jean Charles Develly, a painter at Sèvres who was responsible for many of the most ambitious dinner services produced at the factory during Brongniart’s tenure. The range of objects produced in the first half of the nineteenth century was enormous, as were the types of decoration that they employed. A recent exhibition catalogue devoted to Brongniart’s years at Sèvres indicates that ninety-two new designs for vases were introduced, as were eighty-nine different cup models, and the types of objects produced by the factory included every sort of form required by a dinner or dessert service, coffee and tea wares, decorative objects such as vases, and functional objects such as water jugs, basins, and toiletry articles. A new form rarely replaced an older one; the range of production simply increased. The same was true with types of decoration, as the factory was working in a wide variety of styles at any given time. From the earliest years of the Sèvres factory, its painters had copied not only contemporary compositions but also prints and paintings from earlier periods. However, under Brongniart, the factory sought to copy famous paintings with the specific intention of recording the “true” appearance of works increasingly perceived to be fragile. Works by a wide variety of artists were copied, but those by Raphael were especially popular. Raphael’s stature is reflected in a vase of 1834 in which a cameo-style portrait of the artist decorates the primary reserve, while on the back an artist’s palette is encircled by the names Titian, Poussin, and Rubens (1978.373). Just as works by earlier artists were copied, so too were decorative techniques of previous centuries. The interlace patterns of so-called Saint-Porchaire ceramic ware of the sixteenth century served as the inspiration for the decoration on a cup of 1837 (2003.153). The form of the cup itself derives from Renaissance silver forms made in Italy and France. However, the palette of vibrant reds, greens, blues, and yellows contrasts markedly with the muted browns and off whites of Saint-Porchaire wares and reflects the reinterpretation of historical styles that was characteristic of so much of nineteenth-century decorative arts. Interest in the Gothic style emerged early in Brongniart’s tenure at Sèvres and remained popular for much of the nineteenth century. Strict adherence to Gothic motifs was rarely observed, however, and the Gothic style was more evoked than faithfully copied. This tendency is reflected in a pair of vases (1992.23.1) for which the model was designated vase gothique Fragonard (named after the vase’s designer, Alexandre Evariste Fragonard [1780–1850]. The Gothic elements lie more in the painted decoration than in the form itself, and the style of the painting reflects a Renaissance technique rather than a medieval one. The palette of grays and whites on a blue ground instantly recalls the enamel-on-copper wares produced in Limoges, France, in the sixteenth century, and its use on these vases indicates the willingness to freely mix artistic styles and techniques of different periods in order to achieve new aesthetic effects. The eclecticism and historicism that characterized so much of the production during Brongniart’s tenure continued after his death in 1847. The factory’s output reflected an ongoing desire for technical innovation as well as a wide embrace of diverse decorative styles that were employed simultaneously. A tea and coffee service of 1855–61 (69.193.1–.11) embodies the selective borrowing of forms and motifs that is found so frequently in Sèvres production of the middle decades of the nineteenth century. The shapes used for the different components of the service evoke both China and the Near East, an obvious allusion to the origins of the two beverages. The openwork decoration refers directly to Chinese ceramics made in this technique, and the decoration employs a variety of Chinese emblems. However, the palette of pink and gold, entirely European in character, serves to neutralize the Asian aspects of the service. Perhaps the only thread that can be said to run through much Sèvres production of the nineteenth century is the proclivity to borrow freely from various historical styles and then to either reinterpret these styles or combine them in unprecedented ways. A standing cup of 1879 (1990.238a,b) draws upon silver cups of the Renaissance for its form, but in this instance the size of the porcelain cup dwarfs any of its metal prototypes. Its style of decoration derives from Limoges painted enamels of the sixteenth century, but the prominent use of gilding throughout reflects its wholly nineteenth-century character. This cup was presented by the French government to one of the first-prize winners at the 1878 Exposition Universelle. It was with the advent of the Art Nouveau style at the very end of the nineteenth century that historicism lost its grip at Sèvres, and indeed throughout the decorative arts, and forms inspired by nature and often characterized by asymmetry become dominant. This reliance upon natural forms is fully evident in a coffee service of 1900–1904 (1988.287.1a,b). The designer, Léon Kann...

KPM Porcelain "Ruth" c. 1900 Original hand-painted KPM Porcelain In Original Gilded Florentine Frame 7 x 4 (16 x 9 framed) Since 250 years, the royal sceptre brand stands for finest...

KPM Porcelain "Queen Louise" c. 1900 Original hand-painted KPM Porcelain approx. 14 x 11 inches approx. 21 x 15 inches framed Since 250 years, the royal ...

porcelain, china paints signed by artist Provenance: ASU Art Museum Auction, Tempe, AZ BIO Kurt Weiser was born in 1950 in Lansing Michigan. He studied ceramics under Ken Fergusen at the Kansas City Art Institute from 1972-76 and then completed an MFA at the University of Michigan. In 1988, after a stint as Director of the Archie Bray Foundation in Helena, MT, Weiser started teaching ceramics at Arizona State University, where he has held the position of Regents' Professor of Art since August 2000. Weiser began his career making sculptural porcelain vessels, but soon turned his attention to painting on porcelain. Weiser's allegorical scenes, painted in a natural realism...

Porcelain plate with 24-carat gold border (Edition of 500) Signed and numbered, verso This artwork is offered by ClampArt, located in New York City. Jack Pierson was born in 1960 in Plymouth, Massachusetts, and educated at the Massachusetts College of Art in Boston. Pierson's work spans an array of media, including photographs, collages, word sculptures, installations, drawings, and artist's books. He is considered to be part of a group of photographers known as the Boston School, which includes David Armstrong, Philip-Lorca diCorcia, Nan Goldin, Mark Morrisroe, and Doug and Mike Starn...

porcelain and glaze

Title : Asanoha Yunomi II Materials : wood-fired porcelain Date : 2017 Dimensions : 4.5x3x3"

"Title : Urn of Abandonment Materials : Cone 10 Soda Fired Porcelain Date : 2017 Dimensions : 20.5”x7.5”x6.5” Description : A tall funerary urn, with a crazed celadon glaze, and a "v...

German-born, Minnesota-based Maren Kloppmann is a ceramic artist renowned for her architectonic wall sculptures. Both her large and small-scale installations are studies in the recon...

porcelain, glaze

Bodil Manz is a ceramicist known for her use of ultra-thin, translucent eggshell porcelain to create distinctive cylindrical forms, anchored by bold, geometric abstractions in a style evocative of Russian Suprematism...

Hand Built & Painted Vase Materials: Porcelain, Glaze, China Paint, Flocking Fired: Electric Kiln, Cone 6 This piece was part of "Go for Baroque: Opulence and Excess in Contemporary...

Hand Built & Painted Vase Materials: Porcelain, Glaze, China Paint, Gold Leaf, Flocking Fired: Electric Kiln, Cone 6 This piece was part of "Go for Baroque: Opulence and Excess in C...

Hand Built & Painted Vase Materials: Porcelain, Glaze, China Paint, Gold Leaf, Flocking Fired: Electric Kiln, Cone 6 Her work references exclusive and precious porcelain wares from ...

Hand Built & Painted Vase Materials: Porcelain, Glaze, China Paint, Gold Leaf, Flocking Fired: Electric Kiln, Cone 6 Her work references exclusive and precious porcelain wares from ...

Hand Built & Painted Plate Materials: Porcelain, Glaze, China Paint, Gold Luster, Flock, Decals Fired: Electric Kiln, Cone 6 Decorative purpose only - Not for use, not dishwasher saf...

Hand Built & Painted Plate Materials: Porcelain, Glaze, China Paint, Gold Luster, Flock Fired: Electric Kiln, Cone 6 Decorative purpose only - Not for use, not dishwasher safe Her w...

Hand Built & Painted Plate (both sides) Materials: Porcelain, Glaze, China Paint, Gold Luster Fired: Electric Kiln, Cone 6 Decorative purpose only - Not for use, not dishwasher safe ...

With her signature fantastical figures, Kyungmin Park creates sculptural pieces that acknowledge the child within the grown up and molds together the imagination of a child and the d...

With her signature fantastical figures, Kyungmin Park creates sculptural pieces that acknowledge the child within the grown up and molds together the imagination of a child and the d...

Colleen Wolstensholme can be said to have a certain fascination with repetition, the “female condition” and with the bio-medical. Her work, primarily three dimensional – ranges from large-scale sculpture to jewelry. Drawing on previous work, which commented on the way in which women are portrayed in popular culture and the prevalence of mood altering medication, Wolstensholme’s, new show is speaking about choice and our ability to choose how to present ourselves publicly and the ways in which this ultimately forces multiple readings. Wolstenholme received a Bachelor of Fine Art in 1986 from the Nova Scotia College of Art and Design in Halifax and a Master of Fine Art in 1992 from the State University of New York, The College at New Paltz. Her pharmaceutically inspired sculptures and jewellery gained notoriety internationally and her work has been widely featured in magazines and journals, namely Harper's, People, Newsweek, C Magazine, and the London Sunday Times, as well as being reviewed in numerous art magazines and journals. Wolstenholme's one person exhibitions include: AH, Saw Gallery, Ottawa, ON, 2002; Pharmacopoeia, Hamilton Artist's Inc., Hamilton ON, 1999; Pills, grunt gallery, Vancouver, BC, 1998; Patience, Anna Leonowens Gallery, Halifax, NS, 1996; The Persistence of Denial, College Art Gallery, The College at New Paltz, New York, NY, 1992. Her group exhibitions include: Container, Real Art Ways, Hartford, Conn., 2003/4; Gill/Wolstenholme, Art Gallery of Nova Scotia, Halifax, NS, 2002; Surface Tourist, 15 Cecil Park, Crouch End, London UK, 2002; Art and Music Memorabelia, Horse Hospital Gallery, London UK, 2001; The Time Machine, Sculpture in the 20th Century...