Ceramics

A wonderful hand painted and decorated traditional Okinawan ceramic awamori/sake flask, also known as a dachibin. These handcrafted pieces were originally designed to be carried and worn against the hip, hence the curved shape. This piece is from a collector of fine Japanese and Asian ceramics and pottery works - a collection like no other we have seen. We believe this flask is from the early to mid-1900s. Would be a great addition to any Japanese ceramics...

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...

A porcelain sculpture by Wayne Fischer. Perfect original conditions. Signed. Unique piece. 2022. How can an inert object produce deeply unsuspecting, indecipherable, uncontrol...

French pottery cider bottle from Normandy, end of 19th century.  

Vintage Mexican Tonala hand painted pottery bird Folk Art. Flora de la Cruz Acapulco Gro Mexico hand painted bird dove ceramic. Warm earth tone polych...

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...

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...

A porcelain sculpture by Wayne Fischer. Perfect original conditions. Signed. Unique piece. 2018. How can an inert object produce deeply unsuspecting, indecipherable, uncontrol...

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...

19th Century French pottery pitcher. Pottery from Normandy.  

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.

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...

19th Century English Staffordshire Cottage.

A ceramic vase with glaze decoration by Daniel de Montmollin. Perfect original conditions. Signed at the base. Circa 1980-1990. Unique piece.   

Create a sculptural arrangement of organic shapes, combining style statement and functionality with these Italian vintage earthenware Art pieces: a group of 4 Mid-Century Modern different ceramics is available, 3 vases and a bowl/catch-all, by Bertoncello and designer Roberto Rigon, showing inspiration from Barbara Hepworth and Henry Moore work. This particular postmodern sculpture bowl is quite innovative in its aerodynamic shape for the period and particularly in the mid-20th-century ceramic sector, glazed in a beige terracotta...

Vintage Turkish Polychrome Hand Painted Ceramic Kutahya Platter. Circa 1950's. Hand painted and handcrafted Turkish Kutahya ceramic wall decorative...

Steen Kepp - La Borne Realised circa 1975-1980 Large brown and white stoneware ceramic floor vase. Signed under the base Original perfect condition Measures: Height 38...

A hand-thrown, well-crafted, piercing green glazed ceramicpitcher by famed Texas-born San Antonio ceramic master Harding Black. A perfect combination of form and function. Signed and dated (1983) by the Black on the base. This work has a great feel and heft to them. The deep rich colors are striking. Harding Blacks Exhibitions include: San Antonio Local Artists Annual Exhibition (1939-42, 1945, 1947); Texas General Exhibition (1940 award, 1942, 1948 honorable mention); National Ceramic Annual Exhibition, Syracuse Museum of Art (1947-54); River Art Group, San Antonio (1948-49); National Collection of fine Arts...

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...

Beautiful cobalt blue Moroccan footed ceramic bowl with silvered metal overlay. Great large decorative ceramic bowl. Measures: Diameter 11 inches x 4 ...

Terracotta bulldog Bavent Filmont, circa 1900.

A ceramic bowl by Camille Virot. Perfect original conditions. Signed at the base, Circa 1990-2000. Unique piece.

A rare English Aesthetic Period salt glazed stoneware spirit flagon designed by John Seddon for Bailey & Co, Fulham and dated 29th December 1880. The flagon is of square shape with a...

A stylish Belgian Art Nouveau twin handled art pottery vase decorated in streaked glazes dating from around 1900. The earthenware vase is of tall cylindrical shape with a rounded bow...

Ceramic Mask, Accolay, France, 1960s Accolay was a pottery center in France, north of Burgundy, founded amongst others, by 4 students of Alexandre Kostanda. Active between 1945 and 1...

A large and stylish studio pottery bowl decorated with an abstract feather patterned design in a grey powdered glaze by David Leach (1911-2005) and probably dating from his early day...

David Louveau Original and unique handmade ceramic tea pot White stoneware ceramic color Wood firing ceramic effects Original perfect condition Measures: Height 13 cm ...

La Borne Original french stoneware ceramic pitcher Brown and white pottery colors Signed Original perfect condition Measures: h...

French pottery cider bottle from Normandy, end of 19th century. 13 bottles available, sold separately. Different sizes.

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...

Collection of three 19th century spatter ware water pitchers in pristine condition. The shorter of the three is really quite unusual and is more of a desi...

This is a 19th-century Intaglio Tassie - A seal with the bust of a man on it. Thick gilt paper wrapped around the edge mimicking a frame. There are a few tiny faults in the mold but ...

A wonderfully crafted Korean stoneware pottery teapot with a beautiful muted green and brown glaze, color, and nicely aged patina. This work radiates ...

A truly magnificent in size and execution Japanese stoneware studio pottery charger/bowl. This exceptionally large and heavy asymmetrical work features a circular swirl design patter...

A stoneware vase with red glaze decoration by John Bailey to La Borne. Perfect original conditions. Circa 1980-1990. Signed at the base. Unique piece.

We are delighted to offer for sale this one of a kind, fully signed, original circa 1930 Roger Guerin ceramic pots of large proportions with Deer decoration and handles I have three posts for sale, one has a stitched detailing, another, fleur de lis and lastly one with handles and Deers, this sale is for the pot pictured alone. Roger Guèrin (1896-1954) was one of the leading Belgian ceramists in Bouffioulx near Charleroi. Typical was his use of flowing glazes in his decorations. He was true to the history of this region, often working on a type of hard ceramic (fired to over 1250 degrees Celsius) which was made there since the late Middle Ages. He exhibited at the Paris expos...

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...

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...

A very stylish Belgian Art Nouveau four handled art pottery vase with stylized floral designs dating from around 1900. The vase stands on a narrow round foot with a wide round lower ...

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 ...

A large and stylish unusual Norwegian brutalist studio pottery lidded vessel in the form of a tea or water pot with makers marks ODK to the base and believed to date from the mid-20t...

A wonderful Pre-Columbian spouted vessel with distinct features that of an ox or horned bull. Well crafted with a nice feel and look to it. From a collection of Primitive and tribal artifacts...

A pretty one-of-a-kind Americana Revival petite ceramic hand-made studio pottery vase. Created from ceramic, this vase reminds of stoneware and is round in form. The top of the piece...

Rouillard Unique handmade mid XXth century ceramic pitcher Original brown stoneware ceramic color Signed under the base Original perfect condition Measures: Height 21 ...

Ceramic goat to hang on the wall. Stamped Dominique Pouchain. 5 items, possibility to buy per item.

Simon Moore studio hand made ceramic, pottery bowl, free form. White color, signed. Japanese style, very delicate and light.

This petite hand-formed vessel bears a richly textured surface of worn red clay slip and dark smoke marks. Likely intended for everyday use, the simple bottle-form vessel reflects th...

An under-glazed painted pottery bowl with abstract naive design, blue, ochre, brown. Moroccan antique pottery bowl of deep rounded form with flattened rim rising on a low ring foot, hand-painted on the exterior with black decoration, the interior in polychrome painted, having abstract design in blue and ochre with turquoise accents, crack lure. Handcrafted antique ceramic dish, Fez, Morocco, Circa 1880, Museum quality piece. Antique Mokhfia (couscous bowl...

Ceramic Mask, Accolay, France, 1960s Accolay was a pottery center in France, north of Burgundy, founded amongst others, by 4 students of Alexandre Kostanda. Active between 1945 and 1...

Delightful studio pottery raku glazed figure of a resting pig dating from the 20th century. The hollow hand-crafted ceramic pig is simply detailed in a lying position with its head r...

Old - set of 5 Japanese Teacups with hand-painted paintings, signed at the bottoms. Original box included In good original new condition and just foun...

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...

Large Moroccan ceramic decorative serving tajine polychrome with leather, stones and metal overlay with conical overlay lid. The bottom is a circular ceramic bowl and the top of the tagine is distinctively shaped into a cone. Handcrafted and hand painted with Moorish designs by artisans in Fez Morocco. Great decorative Moroccan Folk ceramic...

Attributed to Paul pouchol Art deco ceramic sculpture woman and child Signed under the base White , yellow and black ceramic glazes colors Ori...

The Arts of Persia Ronald W. Ferrier Hardcover Book. Published by Yale University Press, 1989 344 pages, Hardcover First published September 10, 1989 Persian art, with its detail...

A fine antique Staffordshire pottery Toby jug. In the form of a seated, smiling man holding a jug. The man's tricorn hat serves as a lid, and an inte...

An exceptionnel ceramic dish with abstract glazes decoration by Jean Linard to La Borne, circa 1970. Perfect conditions. Signed under the base " Linard". Unique piece.

8-240 Swedish bathing beauty in hand painted glazed ceramic 1970s Mat finish on body with high glass decorative glaze on swimsuit Piece is unsigned.