2007 Signed Pottery Lion by Crystal King, Seagrove, NC

Pottery "Frog King" by Crystal King, dated 2010, Seagrove, NC. Known for her charming animals, the "Frog King" with crown, robe & orb is great fun! Inscribed & dated. 6" d., 5 7/8" w...

1984-1995 Mark Hewitt Pottery jug. Speckled brown; elegantly turned. WMH mark with a D. 7.75" h., 5.25" dia. Whitehall Antiques is a family busine...

November, 1995 large pottery pitcher by Mark Hewitt, Chatham Co., NC. Incised line design; from Mark's 40th birthday firing (insignia glyph XXXX). Never laying down the stylus, it mi...

Standing pottery lion, Scottish. Great treacle glaze; foot raised on a "stone" ball, circa 1880. Well modeled and rarely found large size. One eye possibl...

A "King George" pattern sterling silver serving or table spoon by Gorham, dated 1904. Retailer mark "J.E. Caldwell & Co" & "Pat 1894" for Gorham's pattern patent date. Monogram "JLT"...

1997 Jugtown Ware pottery vase by Vernon Owens. Elegant Asiatic form with aubergene glaze. Inscribed & stamped marks. 5.5" dia., 4.5" h. Whitehall Antiqu...

A fine Glazed Ceramic Studio Ceramic by noted artist Greg Kuharic. Signed and dated 2005 on the base. An olive green gourd with textured spiky ribs and a ...

A very finely made studio pottery lidded conserve jar decorated in tenmoku glazes with a ribbon and bow pattern applied around the body of the jar by Scottish based potter David Hemi...

Wheel thrown pottery glazed with a white glaze decorated with a hand painted blue flower pattern. This is a one of a kind object made in the ancient way by hand in a small artisanal ...

M. MIXA?HE - Vintage folk art pottery charger or wall plate - large size - hand made and hand painted and incised with a sheep and flowers - applied slip decorative scrolls to the ba...

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...

English pottery model of a lion, Whieldon-type creamware tortoise-shell glaze, circa 1765-1785 The English pottery model of a seated lion with a Whieldon-type creamware tortoise-she...