Ceramics
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Ceramics For Sale
Horace Elliott London Arts & Crafts Studio Pottery Blue Glazed Flower Vase
Located in Bishop's Stortford, Hertfordshire
A very rare and stunning Arts & Crafts studio pottery vase of twisted floral shape made in London by Horace Elliott (British, 1851-1938) dating from the...
Category
Early 20th Century English Arts and Crafts Ceramics
Materials
Pottery
Tinaja Andaluza De Cal
Located in Madrid, ES
Maravillosa tinaja de barro española , concretamente andaluza, de Granada.
Se usaban para hacer la mezcla de cal para pintar de blanco las casas de los pu...
Category
18th Century Spanish Country Antique Ceramics
Materials
Ceramic
Sculpture Mouth of David by Michelangelo, White Bassano Ceramic, Italy
Located in Treviso, Treviso
The “Andy” ceramic collection VG presents a collection of classic sculptures which revisits the techniques of pop art. The original work is taken apart; a few details are then remove...
Category
2010s Italian Modern Ceramics
Materials
Ceramic
Set of 3 Ceramic Animal Figures from Mexico, Circa 1980s and 1990s
Located in San Miguel de Allende, Guanajuato
Set of 3 ceramic carnival animal figures / whistles from Morelos, Mexico. These colorful figures were hand crafted and hand painted using paint glaze. The lively pieces were prominent in the 1980´s and 1990´s. Some of the whistles...
Category
1990s Mexican Country Ceramics
Materials
Ceramic, Clay, Paint
Pair of Large French Planters
By Rouen
Located in Buenos Aires, Argentina
Pair of large French planters.
Origin France, circa 1900.
Attributed roun.
Excellent condition. Material: porcelain.
No restorations
In 1644, Nico...
Category
Early 1900s French Empire Antique Ceramics
Materials
Ceramic
Inger & Erich Triller Signed Swedish Tobo Midcentury Scandanavian Vase Sweden
Located in Studio City, CA
A beautiful and wonderfully glazed vase by Swedish master ceramicist/designers Erich and Ingrid Triller who were husband-and-wife ceramists specializing in stoneware. The couple was trained in Germany and established a studio (Tobo) in Sweden, which they operated for thirty-seven years. This gorgeous work features a Classic shape and striking glaze that radiates and changes colors (browns, greens, with a tinge of yellows) in the light.
Signed on the base with their customary "Triller Tobo" signature.
Erich and Ingrid Triller's work was heavily influenced by the Bauhaus ceramics. They were also much influenced by the forms and glazes of ancient Chinese ceramics...
Category
Mid-20th Century Swedish Scandinavian Modern Ceramics
Materials
Stoneware
Arnold Zahner Large Scale Blue Glazed Ceramic Vase
Located in Los Angeles, CA
Ceramic vase by Arnold Zahner, circa 1960s, Rheinfelden, Switzerland. This vase features a blue glossy crackle glaze throughout. The neck has a ribbed detailing and tulip opening. Ar...
Category
Mid-20th Century Swiss Modern Ceramics
Materials
Ceramic
Rolf Palm Signed Swedish Midcentury Scandanavian Minature Vase for Mölle Sweden
Located in Studio City, CA
A beautiful and darkly glazed miniature vase by Swedish master ceramicist/designer Rolf Palm for Mölle, Sweden. This gem features a Classic shape with tiny spines and a rich glaze th...
Category
Mid-20th Century Swedish Scandinavian Modern Ceramics
Materials
Stoneware
Ochre Mid Pentacle III by Julie Nelson
Located in Geneve, CH
Ochre mid pentacle III by Julie Nelson.
One of a kind.
Dimensions: W 24 x D 30 x H 22 cm.
Materials: ceramic stoneware and porcelain.
Artist Julie Nelson...
Category
2010s British Post-Modern Ceramics
Materials
Ceramic, Porcelain
Bull Ceramic by Dominique Pouchain
Located in Lasne, BE
Ceramic statue in the shape of a bull. Stamped Dominique Pouchain.
Category
1990s French Mid-Century Modern Ceramics
Materials
Ceramic
Vintage Talavera Hand Painted Ceramic Rooster, Unsigned, Mexico, C. 1980's
Located in Chatham, ON
Large vintage Talavera hand painted studio ceramic Rooster - featuring a typical brightly colored multi pattern design - unsigned - Mexico - circa 1980's.
Excellent/mint vintage c...
Category
Late 20th Century Mexican Spanish Colonial Ceramics
Materials
Terracotta
Aboriginal Dot Pattern Gilded Studio Ceramic Bowl, Signed, Australia, 20th C.
Located in Chatham, ON
Aboriginal 'dot' pattern studio pottery bowl with gilded highlights - wheel thrown conical shape - hand painted design with mirror black glaze to the outer sides and background - sig...
Category
20th Century Australian Modern Ceramics
Materials
Ceramic
Pair of Mashiko Yaki Japanese Mid-Century Studio Pottery Yunomi
Located in Norton, MA
A very stylish Japanese Mashiko Yaki studio pottery Yunomi with stylized designs in panels set within a brown glazed body in the manner of Shoji Hamada an...
Category
1950s Japanese Mid-Century Modern Vintage Ceramics
Materials
Stoneware
Pair of 1960's Vintage Mexican Folk Art Terracotta Head Face Planter Plant Pots
Located in GB
We are delighted to offer for sale this rare and collectable pair of Mexican circa 1960’s hand painted terracotta larger planter pots
A very good...
Category
1960s Mid-Century Modern Vintage Ceramics
Materials
Terracotta
William Moorcroft Bowl for Liberty & Co
Located in Chipping Campden, GB
5361
William Moorcroft for Liberty & Co.
An inverted Bowl decorated with a superb example of the Claremont design
Circa 1908
Category
Early 1900s Antique Ceramics
Materials
Earthenware
Memory Vases Jugs Early 20th Century Folk Art, Pair
Located in Vienna, AT
Rare pair of folk art memory vases, antiques 1900-1910
Folk art vases from multiple inserted small tokens, mementos like porcelain doll heads. Good antique condition. Some missing pieces and also chips around the fringes.
Very decorative pieces.
Dimensions 5.5" x 10.23".
Memory vases origin:
As a cultural artifact of the late 19th and early 20th centuries, memory jugs possess an intersectional history as a form of domestic craft with ties to African and African-American burial practices. Traditionally created by the Bakongo people in Central and West Africa as grave markers...
Category
Early 1900s Austrian Arts and Crafts Antique Ceramics
Materials
Brass
Espectacular Pareja De Cántaros De Barro Españoles
Located in Madrid, ES
Están realizado en barro y son de origen andaluz , concretamente de los alfareros de Granada,dos piezas únicas que encajan tantos en ambientes modernos y con...
Category
1860s Spanish Antique Ceramics
Materials
Ceramic
Alabama Folk Art Pottery grouping Montgomery area pre-WW2 anonymous craftsman
Located in Mobile, AL
Bark decorated folk pottery grouping. These are believed to be tourist ware made by an unidentified couple in the Montgomery area before and about the time of WW2. To date, their nam...
Category
1930s American Folk Art Vintage Ceramics
Materials
Pottery
Antique Spongeware Bowl. 19th Century
Located in St Annes, Lancashire
Lovely spongeware dish
Probably Welsh
Wonderful naive decoration
Category
Mid-19th Century Welsh Folk Art Antique Ceramics
Materials
Pottery
Théodore Deck, Ceramic Vase, Signed, circa 1870
Located in Saint-Ouen, FR
Théodore Deck (1823-1891), ceramic vase, signed, circa 1870.
Category
Late 19th Century French Art Nouveau Antique Ceramics
Materials
Ceramic
Pair of Ceramic Vases by Guieba, with Geometrical Decoration, 2022
Located in Saint-Ouen, FR
A pair of ceramic vases by Charles-Henri Guieba with geometrical decoration.
Wood firing.
Perfect original conditions.
Each piece is signed under the base.
Unique piece.
2022.
Category
21st Century and Contemporary French Beaux Arts Ceramics
Materials
Ceramic
Jerusalem Polychrome Hand Painted Ceramic Plate
Located in North Hollywood, CA
Vintage hand painted and handcrafted ceramic wall decorative plate with polychrome deer scene.
It has a beautifully hand painted scene with deers enjoying the outdoors , surrounded by flowers in blue and white, turquoise, light and dark green foliage.
An Islamic ceramic...
Category
Mid-20th Century Israeli Folk Art Ceramics
Materials
Ceramic
Antique Mexican Pitcher in Frog Shape
Located in Mexico City, CDMX
Circa 1970. We offer this Antique Mexican Pitcher in Frog Shape attributed at Gorky Gonzalez, made in ceramic and hand painted.
About Gorky Gonzalez:
Founder and artistic director of Traditional Pottery began his studies with his father, the Mexican sculptor...
Category
1970s North American Mid-Century Modern Vintage Ceramics
Materials
Ceramic
Ivory Petal Gourd IV by Julie Nelson
Located in Geneve, CH
Ivory Petal Gourd IV by Julie Nelson
One Of A Kind
Dimensions: D 34 x H 32 cm
Materials: Ceramic stoneware and porcelain
Artist Julie Nelson uses th...
Category
2010s British Post-Modern Ceramics
Materials
Ceramic, Porcelain
Mexican Vintage Tonala Pottery Hand Painted Bird
Located in North Hollywood, CA
Vintage Mexican Tonala hand painted pottery bird Folk Art.
Flora de la Cruz Acapulco Gro Mexico hand painted bird dove ceramic.
Warm earth tone polychrome colors with abstract desi...
Category
Mid-20th Century Mexican Folk Art Ceramics
Materials
Ceramic, Pottery
Ancient Japanese Haniwa Terracotta Figure Kofun C 6th century Asian Art Antiques
Located in London, GB
A rare Haniwa figural head
Kofun period (3rd-7th century), circa 500-600.
The hand-built yellow earthenware hollow figure of typical form, the face...
Category
Late 18th Century Japanese Antique Ceramics
Materials
Pottery
Star Petal Gourd III by Julie Nelson
Located in Geneve, CH
Star petal gourd III by Julie Nelson
One Of A Kind
Dimensions: D 22 x H 26.5 cm
Materials: Ceramic stoneware and porcelain
Artist Julie Nelson uses ...
Category
2010s British Post-Modern Ceramics
Materials
Ceramic, Porcelain
Stoneware Vase by Eric Astoul to La Borne, circa 1997
By Eric Astoul
Located in Saint-Ouen, FR
A stoneware vase by Eric Astoul to La Borne.
Perfect original conditions.
Circa 1997.
Signed under the base.
Unique piece.
Category
20th Century French Beaux Arts Ceramics
Materials
Ceramic
Tonala Folk Art Bird Mexican Hand Painted Colorful Pottery 1960s
Located in North Hollywood, CA
Tonala Folk Art Pottery Plate Hand Painted Flying Bird, Mexico, circa 1960's.
Vintage Mexican Tonala hand painted pottery bird Folk Art.
Flora de la Cruz ...
Category
Mid-20th Century Mexican Folk Art Ceramics
Materials
Ceramic
19th Century Rustic Popular Traditional Ceramic
Located in Barcelona, Barcelona
19th Century rustic popular traditional ceramic.
By unknown artisan, France.
In original condition, with minor wear consistent with age and use, preserving a beautiful patina.
M...
Category
19th Century French Rustic Antique Ceramics
Materials
Ceramic
A porcelain sculpture by Wayne Fischer, 2022
Located in Saint-Ouen, FR
A porcelain sculpture by Wayne Fischer.
Perfect original conditions.
Signed.
Unique piece.
2022.
How can an inert object produce deeply unsuspecting, indecipherable, uncontrollable emotions?
Wayne Fischer is an artist who can create works that force one to ask such moving questions as this. If he doesn’t know why, if he can’t explain the deepest reasons of his artistic research, he definitely knows the workings and limitations of the artistic process he invented.
He has never deviated from the course he set for himself since university; translate life. The works presented here show the evolution of his creations over the past thirty years. If Wayne Fischer has received several international prizes and quickly obtained the recognition of his peers in ceramics, nevertheless he retains a singular position at once unavoidable and disturbing. His sculptures are paradoxical, powerful and sensual, and cause a certain unease. They are beautiful, carnal, touchable, all the while being outside the standard idea of beauty. The ambiguity of attraction and rejection is at the heart of this evolution.
The pieces from the 1980s and 90s are imposing by their size, stature and symmetry, which give them balance. They generate surprise, curiosity and play between contrasts that are both soft and aggressive. They reference the body, muscles, and torso, without presenting an exact reality. They are double-faced, seductive, and enigmatic. Wayne’s shapes are inspired by shells, bivalves, sometimes presented as though they are floating in space. But the reference of the marine world to the mysterious female body has only one interpretation and only history and emotion condition the reaction of the spectator: he accepts or refuses to see, to be seduced. He is touched or he flees.
The more recent sculptures are appreciated in the fullness of their round volume and the search for a pure universal beauty. “Metamorphosis,” the work recently awarded by the Bettencourt Foundation, is from this series of pieces wheel- thrown and deformed which pushes the porcelain from the inside so the bulges evoke the movement of waves or the musculature of several bodies. The exactness, the clean breaks, the assurance of lines and valleys are testimony to the interior power that governs the creation. The life energy expressed is also felt by the artist as the origin of ceramics. All the pieces are curved and tense. They show no marking, no sign of the hand, no imprints, and yet give an impression of spontaneity, as if a dropped piece of clay found its form by chance. Depending on the angles, the content becomes “the origins of the world”. Femininity and sensuality are exalted. Inspired by the body, before and after birth, or simply the sea, the parts of the sculpture conjugate around a mysterious interior cavity, secret and troubling. The interior wall doesn’t correspond to the exterior, and has its own volumes, deformities, and intimacy. The pieces present two kinds of interior: one open, and partially uncovered, the other totally hidden inside. The differences of their respective deformation reinforce the impression of life : the subjective representation of muscles and bones, of bulges pushed by an interior force, like a visceral movement of respiration. The surface of the ceramic is crackled but soft and fine, even reflecting light like the skin. The nuances of color reinforce the expression of sensuality.
The alignment of technique and what it causes one to see and feel has rarely been so intimately successful.
Wayne Fischer perfected his technique in the 1970s and has remained faithful to it. He adds fibers to porcelain clay that has been chosen for its whiteness to create and accentuate volume around empty space, by assembling slabs or thrown pieces. Then, he makes another piece that takes its place inside; both parts are formed with no hand...
Category
21st Century and Contemporary French Beaux Arts Ceramics
Materials
Ceramic
A porcelain sculpture by Wayne Fischer, 1989
Located in Saint-Ouen, FR
A porcelain sculpture by Wayne Fischer.
Perfect original conditions.
Signed.
Unique piece.
1989.
How can an inert object produce deeply unsuspecting, indecipherable, uncontrollable ...
Category
21st Century and Contemporary French Beaux Arts Ceramics
Materials
Ceramic
Antoni Gaudi Decorative Ceramic Spanish Tile of Casa Vicens
By Antoni Gaudí
Located in Barcelona, Barcelona
Decorative ceramic tiles by Antoni Gaudi, inspired by the marigold and dianthus motifs on the decorative ceramic tiles he designed for the fac...
Category
1880s Spanish Jugendstil Antique Ceramics
Materials
Ceramic
19Thc Decorated Stone Ware Cowden & Wilcox Pitcher From Pennsylvania
Located in Los Angeles, CA
This fine hand made decorated stone ware pottery pitcher is made by Cowden & Wilcox in Harrisburg,Pennsylvania.These mis 19thc potters were very well known for decorated stoneware.Th...
Category
19th Century American Adirondack Antique Ceramics
Materials
Pottery
Goat Ceramic by Dominique Pouchain
Located in Lasne, BE
Ceramics in the shape of a goat stamped Dominique Pouchain.
Category
1990s French Mid-Century Modern Ceramics
Materials
Ceramic
Brown Stoneware Ceramic Pitcher by Benoit Favre La Borne circa 1970
Located in Neuilly-en- sancerre, FR
Benoit Favre
Unique handmade piece
Brown stoneware ceramic pitcher
Signed at the base
Measures: Height 17 cm
Large 12 cm.
Category
20th Century French Mid-Century Modern Ceramics
Materials
Ceramic
A porcelain sculpture by Wayne Fischer, 1997
Located in Saint-Ouen, FR
A porcelain sculpture by Wayne Fischer.
Perfect original conditions.
Signed.
Unique piece.
1997.
How can an inert object produce deeply unsuspecting, indecipherable, uncontrollable emotions?
Wayne Fischer is an artist who can create works that force one to ask such moving questions as this. If he doesn’t know why, if he can’t explain the deepest reasons of his artistic research, he definitely knows the workings and limitations of the artistic process he invented.
He has never deviated from the course he set for himself since university; translate life. The works presented here show the evolution of his creations over the past thirty years. If Wayne Fischer has received several international prizes and quickly obtained the recognition of his peers in ceramics, nevertheless he retains a singular position at once unavoidable and disturbing. His sculptures are paradoxical, powerful and sensual, and cause a certain unease. They are beautiful, carnal, touchable, all the while being outside the standard idea of beauty. The ambiguity of attraction and rejection is at the heart of this evolution.
The pieces from the 1980s and 90s are imposing by their size, stature and symmetry, which give them balance. They generate surprise, curiosity and play between contrasts that are both soft and aggressive. They reference the body, muscles, and torso, without presenting an exact reality. They are double-faced, seductive, and enigmatic. Wayne’s shapes are inspired by shells, bivalves, sometimes presented as though they are floating in space. But the reference of the marine world to the mysterious female body has only one interpretation and only history and emotion condition the reaction of the spectator: he accepts or refuses to see, to be seduced. He is touched or he flees.
The more recent sculptures are appreciated in the fullness of their round volume and the search for a pure universal beauty. “Metamorphosis,” the work recently awarded by the Bettencourt Foundation, is from this series of pieces wheel- thrown and deformed which pushes the porcelain from the inside so the bulges evoke the movement of waves or the musculature of several bodies. The exactness, the clean breaks, the assurance of lines and valleys are testimony to the interior power that governs the creation. The life energy expressed is also felt by the artist as the origin of ceramics. All the pieces are curved and tense. They show no marking, no sign of the hand, no imprints, and yet give an impression of spontaneity, as if a dropped piece of clay found its form by chance. Depending on the angles, the content becomes “the origins of the world...
Category
21st Century and Contemporary French Beaux Arts Ceramics
Materials
Ceramic
Ivory Pentacle IX by Julie Nelson
Located in Geneve, CH
Ivory pentacle IX by Julie Nelson
One of a Kind
Dimensions: W 36 x D 38 x H 26 cm
Materials: Ceramic stoneware and porcelain
Artist Julie Nelson use...
Category
2010s British Post-Modern Ceramics
Materials
Ceramic, Porcelain
Lane Gordon Thorlaksson Canadian Studio Pottery Bowl with Stand
Located in Bishop's Stortford, Hertfordshire
A stunning Canadian studio pottery miniature bowl decorated in yellow glazes with an associated pottery stand by Lane Gordon Thorlaksson (Canadian, 1937-2009) dated 1976.
Lane Gordon Thorlaksson was born in 1937 in Winnipeg, Manitoba and moved to Vancouver as a child. In his twenties, he represented Canada in the 1959 Chicago Pan-American Games, running alongside Henry 'Harry' Winston Jerome in both the 100 yard and 220-yard dash. Following this, he attended San Jose University of California and in 1966 received a BFA in Ceramics.
Working with clay was Thorlaksson’s passion. He was fascinated with Asian ceramics, in particular the Song dynasty Chinese pot forms and glazes. In 1985, the Mayor of Vancouver, Mike Harcourt, visited China on a goodwill mission for the twinning of Vancouver with Guangzhou China. As gifts, he took with him several of Thorlaksson’s ceramics and presented them to Cao Yun-ping, Secretary-General of the People's Municipal Government of Guangzhou. The pieces were well received and local Chinese potters were interested to learn about his glazing techniques.
In 1987, Thorlaksson was invited to visit China’s Guangzhou University to exhibit more of his work. He was aided in this exchange by Joanne Mah, the Director of Intercultural Training and Educational Consultants (ITEC), who had worked with the Harcourt exchange. In 1988, she and her husband sponsored a pre-gallery showing of Thorlaksson’s ceramics at the ITEC’s Hong Kong office, prior to an exhibition at Alvin Gallery in Hong Kong. Thorlaksson was celebrated and introduced to academics and the media, including the head of ceramics at the Guangzhou Institute of Fine Arts. Local Chinese potters were eager to learn about his firing techniques, which used multiple firings to create special glaze characteristics. They were also intrigued to understand how he designed his own stands as an integrated part of his presentation. Unlike Asian potters who used wooden stands, Thorlaksson produced his stands in clay, matching each stand in aesthetic and tone to its pot. This two-part process elevated his pieces to sculpture. He believed that ceramics should be viewed as fine art and not craft. He was inspired by the female form and was quoted as saying 'Most potters make pots; I make parts of people'.
The bowl is of wide squat rounded form with a fold over rim and is decorated in pale yellow glazes over a brown ground and stands on a narrow round unglazed foot. The design is probably based and inspired by a Chinese brush washer...
Category
1970s Canadian Mid-Century Modern Vintage Ceramics
Materials
Pottery
Porcelain Sculpture by Wayne Fischer, 2022
Located in Saint-Ouen, FR
A porcelain sculpture by Wayne Fischer.
Perfect original conditions.
Signed.
Unique piece.
2022.
How can an inert object produce deeply unsuspecting, indecipherable, uncontrollable emotions?
Wayne Fischer is an artist who can create works that force one to ask such moving questions as this. If he doesn’t know why, if he can’t explain the deepest reasons of his artistic research, he definitely knows the workings and limitations of the artistic process he invented.
He has never deviated from the course he set for himself since university; translate life. The works presented here show the evolution of his creations over the past thirty years. If Wayne Fischer has received several international prizes and quickly obtained the recognition of his peers in ceramics, nevertheless he retains a singular position at once unavoidable and disturbing. His sculptures are paradoxical, powerful and sensual, and cause a certain unease. They are beautiful, carnal, touchable, all the while being outside the standard idea of beauty. The ambiguity of attraction and rejection is at the heart of this evolution.
The pieces from the 1980s and 90s are imposing by their size, stature and symmetry, which give them balance. They generate surprise, curiosity and play between contrasts that are both soft and aggressive. They reference the body, muscles, and torso, without presenting an exact reality. They are double-faced, seductive, and enigmatic. Wayne’s shapes are inspired by shells, bivalves, sometimes presented as though they are floating in space. But the reference of the marine world to the mysterious female body has only one interpretation and only history and emotion condition the reaction of the spectator: he accepts or refuses to see, to be seduced. He is touched or he flees.
The more recent sculptures are appreciated in the fullness of their round volume and the search for a pure universal beauty. “Metamorphosis,” the work recently awarded by the Bettencourt Foundation, is from this series of pieces wheel- thrown and deformed which pushes the porcelain from the inside so the bulges evoke the movement of waves or the musculature of several bodies. The exactness, the clean breaks, the assurance of lines and valleys are testimony to the interior power that governs the creation. The life energy expressed is also felt by the artist as the origin of ceramics. All the pieces are curved and tense. They show no marking, no sign of the hand, no imprints, and yet give an impression of spontaneity, as if a dropped piece of clay found its form by chance. Depending on the angles, the content becomes “the origins of the world...
Category
21st Century and Contemporary French Beaux Arts Ceramics
Materials
Ceramic
Porcelain Sculpture by Wayne Fischer, 2006
Located in Saint-Ouen, FR
A porcelain sculpture by Wayne Fischer.
Perfect original conditions.
Signed.
Unique piece.
2006.
How can an inert object produce deeply unsuspecting, indecipherable, uncontrollable emotions?
Wayne Fischer is an artist who can create works that force one to ask such moving questions as this. If he doesn’t know why, if he can’t explain the deepest reasons of his artistic research, he definitely knows the workings and limitations of the artistic process he invented.
He has never deviated from the course he set for himself since university; translate life. The works presented here show the evolution of his creations over the past thirty years. If Wayne Fischer has received several international prizes and quickly obtained the recognition of his peers in ceramics, nevertheless he retains a singular position at once unavoidable and disturbing. His sculptures are paradoxical, powerful and sensual, and cause a certain unease. They are beautiful, carnal, touchable, all the while being outside the standard idea of beauty. The ambiguity of attraction and rejection is at the heart of this evolution.
The pieces from the 1980s and 90s are imposing by their size, stature and symmetry, which give them balance. They generate surprise, curiosity and play between contrasts that are both soft and aggressive. They reference the body, muscles, and torso, without presenting an exact reality. They are double-faced, seductive, and enigmatic. Wayne’s shapes are inspired by shells, bivalves, sometimes presented as though they are floating in space. But the reference of the marine world to the mysterious female body has only one interpretation and only history and emotion condition the reaction of the spectator: he accepts or refuses to see, to be seduced. He is touched or he flees.
The more recent sculptures are appreciated in the fullness of their round volume and the search for a pure universal beauty. “Metamorphosis,” the work recently awarded by the Bettencourt Foundation, is from this series of pieces wheel- thrown and deformed which pushes the porcelain from the inside so the bulges evoke the movement of waves or the musculature of several bodies. The exactness, the clean breaks, the assurance of lines and valleys are testimony to the interior power that governs the creation. The life energy expressed is also felt by the artist as the origin of ceramics. All the pieces are curved and tense. They show no marking, no sign of the hand, no imprints, and yet give an impression of spontaneity, as if a dropped piece of clay found its form by chance. Depending on the angles, the content becomes “the origins of the world”. Femininity and sensuality are exalted. Inspired by the body, before and after birth, or simply the sea, the parts of the sculpture conjugate around a mysterious interior cavity, secret and troubling. The interior wall doesn’t correspond to the exterior, and has its own volumes, deformities, and intimacy. The pieces present two kinds of interior: one open, and partially uncovered, the other totally hidden inside. The differences of their respective deformation reinforce the impression of life : the subjective representation of muscles and bones, of bulges pushed by an interior force, like a visceral movement of respiration. The surface of the ceramic is crackled but soft and fine, even reflecting light like the skin. The nuances of color reinforce the expression of sensuality.
The alignment of technique and what it causes one to see and feel has rarely been so intimately successful.
Wayne Fischer perfected his technique in the 1970s and has remained faithful to it. He adds fibers to porcelain clay that has been chosen for its whiteness to create and accentuate volume around empty space, by assembling slabs or thrown pieces. Then, he makes another piece that takes its place inside; both parts are formed with no hand...
Category
21st Century and Contemporary French Beaux Arts Ceramics
Materials
Ceramic
Vintage Hollywood Regency Moorish Majolica Camel Garden Seat
Located in North Hollywood, CA
Vintage highly decorative Hollywood Regency Moorish Majolica camel garden seat.
Hollywood Regency 1950s poly-chrome glazed Italian terracotta garden st...
Category
Mid-20th Century Italian Moorish Ceramics
Materials
Ceramic, Terracotta
Porcelain Sculpture by Wayne Fischer, 2022
Located in Saint-Ouen, FR
A porcelain sculpture by Wayne Fischer.
Perfect original conditions.
Signed.
Unique piece.
2022.
How can an inert object produce deeply unsuspecting, indecipherable, uncontrol...
Category
21st Century and Contemporary French Beaux Arts Ceramics
Materials
Ceramic
Porcelain Sculpture by Wayne Fischer, 2007
Located in Saint-Ouen, FR
A porcelain sculpture by Wayne Fischer.
Perfect original conditions.
Signed.
Unique piece.
2007.
How can an inert object produce deeply unsuspecting, indecipherable, uncontrollable emotions?
Wayne Fischer is an artist who can create works that force one to ask such moving questions as this. If he doesn’t know why, if he can’t explain the deepest reasons of his artistic research, he definitely knows the workings and limitations of the artistic process he invented.
He has never deviated from the course he set for himself since university; translate life. The works presented here show the evolution of his creations over the past thirty years. If Wayne Fischer has received several international prizes and quickly obtained the recognition of his peers in ceramics, nevertheless he retains a singular position at once unavoidable and disturbing. His sculptures are paradoxical, powerful and sensual, and cause a certain unease. They are beautiful, carnal, touchable, all the while being outside the standard idea of beauty. The ambiguity of attraction and rejection is at the heart of this evolution.
The pieces from the 1980s and 90s are imposing by their size, stature and symmetry, which give them balance. They generate surprise, curiosity and play between contrasts that are both soft and aggressive. They reference the body, muscles, and torso, without presenting an exact reality. They are double-faced, seductive, and enigmatic. Wayne’s shapes are inspired by shells, bivalves, sometimes presented as though they are floating in space. But the reference of the marine world to the mysterious female body has only one interpretation and only history and emotion condition the reaction of the spectator: he accepts or refuses to see, to be seduced. He is touched or he flees.
The more recent sculptures are appreciated in the fullness of their round volume and the search for a pure universal beauty. “Metamorphosis,” the work recently awarded by the Bettencourt Foundation, is from this series of pieces wheel- thrown and deformed which pushes the porcelain from the inside so the bulges evoke the movement of waves or the musculature of several bodies. The exactness, the clean breaks, the assurance of lines and valleys are testimony to the interior power that governs the creation. The life energy expressed is also felt by the artist as the origin of ceramics. All the pieces are curved and tense. They show no marking, no sign of the hand, no imprints, and yet give an impression of spontaneity, as if a dropped piece of clay found its form by chance. Depending on the angles, the content becomes “the origins of the world”. Femininity and sensuality are exalted. Inspired by the body, before and after birth, or simply the sea, the parts of the sculpture conjugate around a mysterious interior cavity, secret and troubling. The interior wall doesn’t correspond to the exterior, and has its own volumes, deformities, and intimacy. The pieces present two kinds of interior: one open, and partially uncovered, the other totally hidden inside. The differences of their respective deformation reinforce the impression of life : the subjective representation of muscles and bones, of bulges pushed by an interior force, like a visceral movement of respiration. The surface of the ceramic is crackled but soft and fine, even reflecting light like the skin. The nuances of color reinforce the expression of sensuality.
The alignment of technique and what it causes one to see and feel has rarely been so intimately successful.
Wayne Fischer perfected his technique in the 1970s and has remained faithful to it. He adds fibers to porcelain clay that has been chosen for its whiteness to create and accentuate volume around empty space, by assembling slabs or thrown pieces. Then, he makes another piece that takes its place inside; both parts are formed with no hand...
Category
21st Century and Contemporary French Beaux Arts Ceramics
Materials
Ceramic
Elizabeth Anderson Harbour Pottery Studio Pottery Jug and Vase
Located in Bishop's Stortford, Hertfordshire
A stylish and finely made studio pottery jug and vase decorated in trailed glazes by Elizabeth L Anderson and made at the Harbour Pottery at South Quay Studios in Maryport, Cumbria a...
Category
20th Century English Modern Ceramics
Materials
Stoneware
A porcelain sculpture by Wayne Fischer, 2015
Located in Saint-Ouen, FR
A porcelain sculpture by Wayne Fischer.
Perfect original conditions.
Signed.
Unique piece.
2015.
How can an inert object produce deeply unsuspecting, indecipherable, uncontrollable emotions?
Wayne Fischer is an artist who can create works that force one to ask such moving questions as this. If he doesn’t know why, if he can’t explain the deepest reasons of his artistic research, he definitely knows the workings and limitations of the artistic process he invented.
He has never deviated from the course he set for himself since university; translate life. The works presented here show the evolution of his creations over the past thirty years. If Wayne Fischer has received several international prizes and quickly obtained the recognition of his peers in ceramics, nevertheless he retains a singular position at once unavoidable and disturbing. His sculptures are paradoxical, powerful and sensual, and cause a certain unease. They are beautiful, carnal, touchable, all the while being outside the standard idea of beauty. The ambiguity of attraction and rejection is at the heart of this evolution.
The pieces from the 1980s and 90s are imposing by their size, stature and symmetry, which give them balance. They generate surprise, curiosity and play between contrasts that are both soft and aggressive. They reference the body, muscles, and torso, without presenting an exact reality. They are double-faced, seductive, and enigmatic. Wayne’s shapes are inspired by shells, bivalves, sometimes presented as though they are floating in space. But the reference of the marine world to the mysterious female body has only one interpretation and only history and emotion condition the reaction of the spectator: he accepts or refuses to see, to be seduced. He is touched or he flees.
The more recent sculptures are appreciated in the fullness of their round volume and the search for a pure universal beauty. “Metamorphosis,” the work recently awarded by the Bettencourt Foundation, is from this series of pieces wheel- thrown and deformed which pushes the porcelain from the inside so the bulges evoke the movement of waves or the musculature of several bodies. The exactness, the clean breaks, the assurance of lines and valleys are testimony to the interior power that governs the creation. The life energy expressed is also felt by the artist as the origin of ceramics. All the pieces are curved and tense. They show no marking, no sign of the hand, no imprints, and yet give an impression of spontaneity, as if a dropped piece of clay found its form by chance. Depending on the angles, the content becomes “the origins of the world...
Category
21st Century and Contemporary French Beaux Arts Ceramics
Materials
Ceramic
19th Century French Pottery Cider Bottle from Normandy
Located in Austin, TX
French pottery cider bottle from Normandy, end of 19th century.
13 bottles available, sold separately.
Different sizes.
Category
1880s French Country Antique Ceramics
Materials
Pottery
19thc Rare Sponge Ware Miniature Teapot
Located in Los Angeles, CA
This very early and rare 19thc sponge ware one cup tea pot is in pristine condition.This wonderful little charming piece is a great addition to any collection.
Category
Early 19th Century American Adirondack Antique Ceramics
Materials
Pottery
Vintage Continental Terracotta Slipware Decorated Dish, Signed, 20th Century
Located in Chatham, ON
Vintage - Continental - clear glazed terracotta slipware baking dish - the terracotta ground decorated with a stylized flat fish in yellow slip - indistinc...
Category
Mid-20th Century Portuguese Folk Art Ceramics
Materials
Terracotta
19th Century French Pottery Cider Bottle from Normandy
Located in Austin, TX
French pottery cider bottle from Normandy, end of 19th century.
13 bottles available, sold separately.
Different sizes.
Category
1880s French Country Antique Ceramics
Materials
Pottery
Porcelain Sculpture by Wayne Fischer, 2022
Located in Saint-Ouen, FR
A porcelain sculpture by Wayne Fischer.
Perfect original conditions.
Signed.
Unique piece.
2022.
How can an inert object produce deeply unsuspecting, indecipherable, uncontrollable emotions?
Wayne Fischer is an artist who can create works that force one to ask such moving questions as this. If he doesn’t know why, if he can’t explain the deepest reasons of his artistic research, he definitely knows the workings and limitations of the artistic process he invented.
He has never deviated from the course he set for himself since university; translate life. The works presented here show the evolution of his creations over the past thirty years. If Wayne Fischer has received several international prizes and quickly obtained the recognition of his peers in ceramics, nevertheless he retains a singular position at once unavoidable and disturbing. His sculptures are paradoxical, powerful and sensual, and cause a certain unease. They are beautiful, carnal, touchable, all the while being outside the standard idea of beauty. The ambiguity of attraction and rejection is at the heart of this evolution.
The pieces from the 1980s and 90s are imposing by their size, stature and symmetry, which give them balance. They generate surprise, curiosity and play between contrasts that are both soft and aggressive. They reference the body, muscles, and torso, without presenting an exact reality. They are double-faced, seductive, and enigmatic. Wayne’s shapes are inspired by shells, bivalves, sometimes presented as though they are floating in space. But the reference of the marine world to the mysterious female body has only one interpretation and only history and emotion condition the reaction of the spectator: he accepts or refuses to see, to be seduced. He is touched or he flees.
The more recent sculptures are appreciated in the fullness of their round volume and the search for a pure universal beauty. “Metamorphosis,” the work recently awarded by the Bettencourt Foundation, is from this series of pieces wheel- thrown and deformed which pushes the porcelain from the inside so the bulges evoke the movement of waves or the musculature of several bodies. The exactness, the clean breaks, the assurance of lines and valleys are testimony to the interior power that governs the creation. The life energy expressed is also felt by the artist as the origin of ceramics. All the pieces are curved and tense. They show no marking, no sign of the hand, no imprints, and yet give an impression of spontaneity, as if a dropped piece of clay found its form by chance. Depending on the angles, the content becomes “the origins of the world...
Category
21st Century and Contemporary French Beaux Arts Ceramics
Materials
Ceramic
Goat Ceramic by Dominique Pouchain
Located in Lasne, BE
Ceramics in the shape of a goat stamped Dominique Pouchain.
Category
1990s French Mid-Century Modern Ceramics
Materials
Ceramic
Mid-Century Modern Pair of Ceramic Birds with Beautiful Glaze Signed KW 9723
Located in Doornspijk, NL
Very tasty duo of mid-century modern birds in a stylized shape and wonderful glaze pattern.
The downward looking animal has a cheerful flower pattern on both wings. The upward looki...
Category
Mid-20th Century Dutch Mid-Century Modern Ceramics
Materials
Ceramic
Porcelain Sculpture by Wayne Fischer, 2022
Located in Saint-Ouen, FR
A porcelain sculpture by Wayne Fischer.
Perfect original conditions.
Signed.
Unique piece.
2022.
How can an inert object produce deeply unsuspecting, indecipherable, uncontrollable emotions?
Wayne Fischer is an artist who can create works that force one to ask such moving questions as this. If he doesn’t know why, if he can’t explain the deepest reasons of his artistic research, he definitely knows the workings and limitations of the artistic process he invented.
He has never deviated from the course he set for himself since university; translate life. The works presented here show the evolution of his creations over the past thirty years. If Wayne Fischer has received several international prizes and quickly obtained the recognition of his peers in ceramics, nevertheless he retains a singular position at once unavoidable and disturbing. His sculptures are paradoxical, powerful and sensual, and cause a certain unease. They are beautiful, carnal, touchable, all the while being outside the standard idea of beauty. The ambiguity of attraction and rejection is at the heart of this evolution.
The pieces from the 1980s and 90s are imposing by their size, stature and symmetry, which give them balance. They generate surprise, curiosity and play between contrasts that are both soft and aggressive. They reference the body, muscles, and torso, without presenting an exact reality. They are double-faced, seductive, and enigmatic. Wayne’s shapes are inspired by shells, bivalves, sometimes presented as though they are floating in space. But the reference of the marine world to the mysterious female body has only one interpretation and only history and emotion condition the reaction of the spectator: he accepts or refuses to see, to be seduced. He is touched or he flees.
The more recent sculptures are appreciated in the fullness of their round volume and the search for a pure universal beauty. “Metamorphosis,” the work recently awarded by the Bettencourt Foundation, is from this series of pieces wheel- thrown and deformed which pushes the porcelain from the inside so the bulges evoke the movement of waves or the musculature of several bodies. The exactness, the clean breaks, the assurance of lines and valleys are testimony to the interior power that governs the creation. The life energy expressed is also felt by the artist as the origin of ceramics. All the pieces are curved and tense. They show no marking, no sign of the hand, no imprints, and yet give an impression of spontaneity, as if a dropped piece of clay found its form by chance. Depending on the angles, the content becomes “the origins of the world”. Femininity and sensuality are exalted. Inspired by the body, before and after birth, or simply the sea, the parts of the sculpture conjugate around a mysterious interior cavity, secret and troubling. The interior wall doesn’t correspond to the exterior, and has its own volumes, deformities, and intimacy. The pieces present two kinds of interior: one open, and partially uncovered, the other totally hidden inside. The differences of their respective deformation reinforce the impression of life : the subjective representation of muscles and bones, of bulges pushed by an interior force, like a visceral movement of respiration. The surface of the ceramic is crackled but soft and fine, even reflecting light like the skin. The nuances of color reinforce the expression of sensuality.
The alignment of technique and what it causes one to see and feel has rarely been so intimately successful.
Wayne Fischer perfected his technique in the 1970s and has remained faithful to it. He adds fibers to porcelain clay that has been chosen for its whiteness to create and accentuate volume around empty space, by assembling slabs or thrown pieces. Then, he makes another piece that takes its place inside; both parts are formed with no hand...
Category
21st Century and Contemporary French Beaux Arts Ceramics
Materials
Ceramic
Big Wall Decoration Ceramic Plate by Roger Collet, Vallauris, circa 1980
By Roger Collet
Located in Saint-Ouen, FR
A big wall decoration ceramic plate by Roger Collet.
Green and blue, white glazes decoration.
Perfect original conditions.
Signed under the base "Collet".
Category
20th Century French Beaux Arts Ceramics
Materials
Ceramic
Porcelain Sculpture by Wayne Fischer, 1989
Located in Saint-Ouen, FR
A porcelain sculpture by Wayne Fischer.
Perfect original conditions.
Signed.
Unique piece.
1989.
How can an inert object produce deeply unsuspecting, indecipherable, uncontrollable emotions?
Wayne Fischer is an artist who can create works that force one to ask such moving questions as this. If he doesn’t know why, if he can’t explain the deepest reasons of his artistic research, he definitely knows the workings and limitations of the artistic process he invented.
He has never deviated from the course he set for himself since university; translate life. The works presented here show the evolution of his creations over the past thirty years. If Wayne Fischer has received several international prizes and quickly obtained the recognition of his peers in ceramics, nevertheless he retains a singular position at once unavoidable and disturbing. His sculptures are paradoxical, powerful and sensual, and cause a certain unease. They are beautiful, carnal, touchable, all the while being outside the standard idea of beauty. The ambiguity of attraction and rejection is at the heart of this evolution.
The pieces from the 1980s and 90s are imposing by their size, stature and symmetry, which give them balance. They generate surprise, curiosity and play between contrasts that are both soft and aggressive. They reference the body, muscles, and torso, without presenting an exact reality. They are double-faced, seductive, and enigmatic. Wayne’s shapes are inspired by shells, bivalves, sometimes presented as though they are floating in space. But the reference of the marine world to the mysterious female body has only one interpretation and only history and emotion condition the reaction of the spectator: he accepts or refuses to see, to be seduced. He is touched or he flees.
The more recent sculptures are appreciated in the fullness of their round volume and the search for a pure universal beauty. “Metamorphosis,” the work recently awarded by the Bettencourt Foundation, is from this series of pieces wheel- thrown and deformed which pushes the porcelain from the inside so the bulges evoke the movement of waves or the musculature of several bodies. The exactness, the clean breaks, the assurance of lines and valleys are testimony to the interior power that governs the creation. The life energy expressed is also felt by the artist as the origin of ceramics. All the pieces are curved and tense. They show no marking, no sign of the hand, no imprints, and yet give an impression of spontaneity, as if a dropped piece of clay found its form by chance. Depending on the angles, the content becomes “the origins of the world...
Category
21st Century and Contemporary French Beaux Arts Ceramics
Materials
Ceramic
Sculpture Right Hand, White Bassano Ceramic, Italy
Located in Treviso, Treviso
The “Andy” ceramic collection VG presents a collection of classic sculptures which revisits the techniques of pop art. The original work is taken apart; a few details are then remove...
Category
2010s Italian Modern Ceramics
Materials
Ceramic
A porcelain sculpture by Wayne Fischer, 2022
Located in Saint-Ouen, FR
A porcelain sculpture by Wayne Fischer.
Perfect original conditions.
Signed.
Unique piece.
2022.
How can an inert object produce deeply unsuspecting, indecipherable, uncontrollable emotions?
Wayne Fischer is an artist who can create works that force one to ask such moving questions as this. If he doesn’t know why, if he can’t explain the deepest reasons of his artistic research, he definitely knows the workings and limitations of the artistic process he invented.
He has never deviated from the course he set for himself since university; translate life. The works presented here show the evolution of his creations over the past thirty years. If Wayne Fischer has received several international prizes and quickly obtained the recognition of his peers in ceramics, nevertheless he retains a singular position at once unavoidable and disturbing. His sculptures are paradoxical, powerful and sensual, and cause a certain unease. They are beautiful, carnal, touchable, all the while being outside the standard idea of beauty. The ambiguity of attraction and rejection is at the heart of this evolution.
The pieces from the 1980s and 90s are imposing by their size, stature and symmetry, which give them balance. They generate surprise, curiosity and play between contrasts that are both soft and aggressive. They reference the body, muscles, and torso, without presenting an exact reality. They are double-faced, seductive, and enigmatic. Wayne’s shapes are inspired by shells, bivalves, sometimes presented as though they are floating in space. But the reference of the marine world to the mysterious female body has only one interpretation and only history and emotion condition the reaction of the spectator: he accepts or refuses to see, to be seduced. He is touched or he flees.
The more recent sculptures are appreciated in the fullness of their round volume and the search for a pure universal beauty. “Metamorphosis,” the work recently awarded by the Bettencourt Foundation, is from this series of pieces wheel- thrown and deformed which pushes the porcelain from the inside so the bulges evoke the movement of waves or the musculature of several bodies. The exactness, the clean breaks, the assurance of lines and valleys are testimony to the interior power that governs the creation. The life energy expressed is also felt by the artist as the origin of ceramics. All the pieces are curved and tense. They show no marking, no sign of the hand, no imprints, and yet give an impression of spontaneity, as if a dropped piece of clay found its form by chance. Depending on the angles, the content becomes “the origins of the world...
Category
21st Century and Contemporary French Beaux Arts Ceramics
Materials
Ceramic
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