Ceramics

Elegant white and blue vase made with the Talavera technique. Artist, Cesar Torres portraits the colonial art of Mexico. The Talavera is not just a simple painted ceramic: its exquisite decoration is the product of a delicate process of alchemy that translates into fine enamels. In Puebla, Mexico few people still produce using Talavera with the ancestral techniques. One of those few is Cesar Torres, Don Cesar learned his art in the workshop of the Uriarte family, an excellent workshop where his grandfather worked. In his creations he uses the black and white mud that is obtained from the nearby hills of Loreto and Guadalupe, and colors of mineral origin that he creates in his workshop with recipes from his grandfather. All the pieces are modeled in a traditional way and go through a production process that usually takes from one to two months, between drying, burning, and painting. Being surrounded by a living tradition, Cesar Torres Jr., learned from his father since childhood. Architect by profession, Cesar Jr. has come to revolutionize and modernize with new designs and ideas of the current world, nevertheless always respecting the tradition of the processes and materials that make Talavera a Creole art...

La Borne Realised in 2007 Stoneware black or brown ceramic bottle or vase Original good condition Signed Measures: Height 21 cm Large 9 cm.

Excellent vintage hand made Colombian water jug /container. Features a spherical shape.  

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...

Traditional Spanish rustic ceramic trumpet. Manufactured in Spain by unknown manufacturer, circa 1960. In original condition, with minor wear consistent of age and use, preserv...

German-born artist Josef Albers wonderfully designed Homage to the Square, four glazed Italian porcelain ceramic platters, chargers, plates, each hallmarked/stamped on verso, from a limited sold-out edition. Each platter comes in its original box and is based on Albers' 1954 original oil on masonite work. Albers is widely considered one of the most influential artists and teachers of the visual arts in the twentieth century. The platters were done in a limited edition run of 1500 in 1999 and quickly sold out. They were all made in Italy specifically for MOCA (Museum of Contemporary Art). Would be a great addition to any modern art or ceramic collection. These platters have become rare and scarce - especially in this pristine, as new condition. Platter dimensions: .75" high, 11.75" wide, 11.75" deep...

A wonderful and extremely rare/scarce early work by famed Los Angeles (Echo Park), California-based artist Peter Shire who was a founding member (along with Italian designer Ettore S...

A fine quality pair of late 19th century Meissen porcelain Nodding Pagodas, each with wonderful bold coloring moving heads, tongues and hands....

Vintage handmade fully glazed Swedich midcentury modern wall platter / centrepiece with organic, floral decor depicting a gazelle with a direct gaze surrounded by vegetation in brown, ochre, green, white and bright pink colors on a striped dark blue background created with the experimental sgraffito technique that Tilgmans became famous for. Designed and handpainted in the late 1950s by Eivor Lang and manufactured by German/Finnish Paul Harald Tilgman in his workshop in the small town of Kortedala close to Gothenburg, Sweden. Milky white glaze on the base and sides with curved, muted green decor framing the image along the edge. Three holes for hanging - two in use with metal wire. Signed under base. An handpainted piece in beautiful condition. Paul Harald “Harry” Tilgmann was born in Dresden, Germany in 1904 and emigrated to Sweden during WWII where he started Tilgmans Keramik (= Ceramics) in 1948 in the small town of Utbynäs close to Gothenburg. Tilgman had 16 employees working for him and when he hired the Polish refugee Marian Zawadzki (1912-1978) as artistic director in 1953, Tilgman Keramik started experimenting with the distinct sgraffito technique. The sgraffito technique consists of carving fine lines into the background of a design through a light colored glaze down to a dark grey clay slip. This created a unique textured ground which has become a style associated with Tilgmans Keramik in particular. The decorative elements also appear to be outlined with a carved line and then hand painted with overglazes where birds, fish, flowers, butterflies and other animals were a common theme. This type of work was the most popular in midcentury Sweden alongside Tilgmans small animal figurines...

A fine vintage Winchcombe press-molded baking dish decorated with trailed slip designs attributable to Michael Cardew (British, 1901-1983) and probably ...

La Borne Unique handmade piece, stoneware ceramic table lamp Brown stoneware ceramic color Original perfect condition Circa 1970 Measures: Height 23 cm Height with el...

Vintage highly decorative Hollywood Regency Moorish Majolica camel garden seat. Hollywood Regency 1950s poly-chrome glazed Italian terracotta garden st...

5388 William De Morgan Jug decorated with Flowers and Foliage in the Persian Palate, with a turquoise handle. Small frit to rim. 23.5cm high, 16cm wide ci...

A gorgeously crafted, beautifully glazed, Mid-Century Modern curved bowl by California master ceramist Rupert Deese who worked closely with pottery legend Harrison Mcintosh. Signed with Deese's cipher/ stamp on the base. Would be a great addition to any Mid-Century Modern ceramics and pottery collection or a very eye-catching stand-alone accent piece in about any setting. Deese's work can be found in numerous collections and museums including: Museum of Fine Arts, Boston, Boston Everson Museum, Syracuse, New York Henry Art Gallery, University of Washington, Seattle Long Beach Museum of Art, Long Beach, California Los Angeles County Museum of Art, Los Angeles Maloof Foundation, Alta Loma, California Millard Sheets Collection, Gualala, California Mingei International Museum, San Diego Nora Eccles Harrison Museum of Art, Logan, Utah Renwick Gallery, Smithsonian Institution, Washington, DC Richard & Alice Petterson Museum, Claremont, California Roger Corsaw...

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

La Borne - 19th century Large stoneware pottery from center of France Realised circa 1880 Original good condition its peculiarity is to have a piece of another pot fixed...

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...

A wonderfully made and beautifully designed Mid-Century Modern pottery charger by famed California potter and sculptor Robert Maxwell. Maxwell co-founded Earthgender pottery with fellow potter David Cressey. This charger/platter was made at his Venice beach, California Pottery studio in the early 1960s as verified by his wife. It is a very rare piece in respect to design, pattern, and sheer Size/heft (it is a very heavy work). We have not seen another quite like it. Apparently, he only made a few with some filled with melted glass to create the design/pattern. Signed by Maxwell on the base. Would clearly be a great addition to any mid-century pottery/ceramics collection...

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...

Unique face jar with lid, signed Waar, 1986 Unique and intersting. This jar will add interest to any room. Nice glaze.

French Majolica wire basket Gien circa 1890. Chinoiserie scene with pagoda.

The Dark River Moon Jar is an elegant moon jar made of black sculpture clay. Mysterious in its minimal and refined nature. The raw clay provides a texture that displays the marks of the maker, simple and stunning. This vessel is part of the Mugly. NYC winter...

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...

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 ...

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...

Ceramic in the shape of a unicorn by Dominique Pouchain.

A set of three antique stoneware gin bottles from Germany. Each one has the impressed name of the maker. Gracefully shaped, with small thumb handles, these ...

A glazed ceramic art vessel in two parts. Decorated as a female head, the pedestal has eyes, cheek dimples and lips all glazed while the pedestal has moulded undulating polka dot dec...

Lovely spongeware dish Probably Welsh Wonderful naive decoration  

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...

A beautiful Japanese yunomi teacup, darkly glazed and featuring the artisan's signature creature figure painted on the cup. This work (along with a second yunomi - clearly from the same artist. Please see the last image) came from a collector of fine Japanese and Asian ceramics - a collection like no other we have seen before. The yunomi teacup has a very Wabi-Sabi feel and appearance to it. Would be a great addition to any Asian or Japanese pottery/ceramics collection...

A very stylish German Bauhaus studio ceramic vase decorated in black and brown glazes by Heiner Hans Körting (1911-1991) and dating from 1940-50. T...

Vintage Mexican Tonala hand painted pottery birds Folk Art with brass decoration in the style of Sergio Bustamante. Vintage Mexican ceramic and brass hand painted Tonala pottery duc...

A very rare early work featuring a dark chocolate brown glaze by master Mid-Century Modern ceramist/potter Glen Lukens whose work has become quite collectible and relatively scarce and difficult to find. The work is signed and dated (1924) by Lukens on the underside (we have only seen one other piece dated this early and that piece is in the Forrest Merrill Collection). Lukens was the founder of the University of Southern California (USC) Architectural School’s Ceramics Department where he helped establish and promote clay pottery as a universally acceptable art form. The current popularity of Studio Pottery and ceramics is widely accepted to have started with Lukens who is oft credited with being one of the first artists to raise the stature of Mid-Century Modern Studio Pottery within the art world. Lukens is famed for his experiments with various glazes and glazing techniques. His influence and glazes can be clearly seen in the works of Otto and Gertrud Natzler, Beatrice Wood, James Lovera, etc. He was also known for combining bright, colorful textile glazes (using natural, organic materials and elements he found in the Mojave Desert, Palm Springs, and Death Valley to make what he referred to as "California Colors") with the rough and raw clay surfaces of his often rudimentary forms and vessels. Lukens currently has an award in his name (Glen Lukens Award) at the University of Southern California's School of fine Arts. A very rare, unique, and truly special work This piece would be a tremendous stand-out addition to any collectors of Lukens' work or Mid-Century Modern ceramics collection or eye-catching accent piece in about any setting, modern or otherwise. A must-have. Lukens work can be found in various museum collections including: Arizona State University Art Museum, Tempe, Arizona Huntington Library...

This collection of five 19th century sponge ware pottery custard cups ate in good condition.

Monumental ceramic vase with glaze decoration. Unique piece. Signed and dated 2020 at the base. Perfect original conditions.

These extra large bowls could be used for many different purposes. Original they were used for waste bowls. They are in mint condition.

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...

Unique handmade indigo blue ceramic plate for wall or table decoration. Pastel blue, rose and yellow dots placed along white lines resembling flora...

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...

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.

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...

O/2956 - Old earthenware bowls and lids from Morocco: terracotta lids can be used to keep food warm in serving dishes. I'm closing my activities, so...

This huge signed Roseville sponge ware pottery mixing bowl is in pristine condition. These large size bowls are super rare and in fine condition is even be...

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 ...

A pretty piece of studio pottery. Unglazed and unpainted, this pitcher is created from clay and has no signature. It would be a beautiful piece for display on a shelf or table. Dim...

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...

J. & E. Norton Bennington VT.Folky hand painted or decoratetd salt glaze jug with exaggerated flowers in a basket.The condition is very good with a mi...

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...

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...

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...

Moroccan large ceramic decorative serving bowl 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...

Claude Gaget Unique handmade piece Large stoneware ceramic box with bird decoration Brown stoneware ceramic glaze Original perfect condition ...

Ceramic statue in the shape of a bull. Stamped Dominique Pouchain.

This monumental 19th century sponge ware bowl is in pristine condition and it measures 13.5" across. Perfect fruit bowl for a large table.

Circa 1800 Spanish Majolica Faience centerpiece bowl or charger. This charming collectible antique painted ceramic dish is decorated with a large rear facing bull and with polychrom...

Claude Gaget Large stoneware ceramic decorative box realised in La Borne original perfect condition Measures: Height 18 cm Large 17 cm.

A beautiful ceramic nemadji vase. Marbled in unglazed turquoise, brown, and orange, this will be a beautiful piece to add to a current collection. Dim...