Ceramics

A very stylish studio pottery lidded jar decorated with deer and birds in an abstract landscape made at Morvern Pottery in Cumbria by Chris Barnes (British, b.1959) dating from aroun...

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...

Beautiful colorful ceramic wall sculpture in organic nature details with abstract mushrooms and mosses designed by Paul Vermeire for Perignem,Belgium, 1960s. Paul Vermeire was a Bel...

A ceramic lioness figurine glazed in brown and cream. This mid-century statue will be a fabulous addition to a bookshelf or side table. Created from ce...

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...

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...

Wonderful work my well-known Hungarian-born, Midwest potter Eugene Deutch. This magnificently glazed vase/ vessel features a dark, rich glaze that drips freely down the inside of the work. Signed and dated (1950) on the underside. Would make for a great addition to any midcentury pottery collection or eye-catching Stand-alone work in about any setting. Deutch's work is held in many private collections and museums and he was exhibited in solo shows at the Dallas Museum of Art...

A stylish French faience pottery hand painted flask with a Breton figure by Quimper and dating from the latter 19th century. The small rounded flask has a ...

This is a wonderful Folk Art collection of Mexican traditional Day-of-the-Dead ceramic figures. Although unsigned these figures are in the style of the Aguilar Family of Oaxacan pott...

Moroccan handcrafted decorative tile with hand painted Arabic writing in brown on ivory crackle glazed ceramic. Arabic writing on ceramic tile hand pai...

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 ...

Roz Herrin Stoneware ceramic stool by the English artist based in France in La Borne. Woodfiring ceramic production. Original perfect condition, si...

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...

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

A porcelain sculpture by Wayne Fischer. Perfect original conditions. Signed. Unique piece. 1989. How can an inert object produce deeply unsuspecting, indecipherable, uncontrollable ...

Maya Signed under the base Colored stoneware ceramic pitcher Original good condition Red and blue colors Height 20 cm Large 16 cm

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...

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...

Superb high fired Cobridge trial art pottery Baluster vase designed by Andrew Hull and dated 2004. The heavily made stoneware vase is of baluster shape wit...

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...

A wonderful, whimsical work by Japanese American, California architectural potter/ artist Kazuko Matthews. This large black and white checkboard rhombus-shaped bowl/ vessel is signed on the base by Matthews. The piece is reminiscent of the works of Peter Shire. Mathews previously studied with famed ceramists couple Otto and Vivia Heino at Chouinard and also with Raku master potter Paul Soldner at Scripps...

A stylish pair vintage miniature Studio Pottery marbled clay teapots of egg shape with tall loop kettle style handles by Robert Michell and dated 1984. The teapots are press molded with marbled clay, this is colored clay pressed and rolled together to give these beautiful colored and marbled designs. One teapot combines contrasting black and white clays while the other combines colored clays both with a black clay ring foot, spout and loop handle. The teapots have incised signatures to the lower body below the handles and are dated 84. An unusual and stylish pair of Studio Pottery teapots. Provenance: The Joseph...

A pair of fabulous Mid-Century Modern green and yellow lava-glazed ribbed ceramic table lamps. Quite fantastic, beautifully colored, and designed. Caught o...

An unusual Castle Hedingham medieval style pottery jug marked for William Rufus (William II, son of William the Conqueror) and made by Edward Bingham ...

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...

Lovely German wire basket aqua plate with swallows, circa 1900.

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.

Superb and rare earthenware Dourne Quercy water jug with comb decorations. Painted in the antique style with Kaolin clay. France late 1800s. Dimensions in cm ( H x D ) : 29 x 42.5 Secure shipping. The dourne is part of the family of head jugs intended to hold domestic water. Its shape is very large and not very open. It has a tubular spout and one or more flat handles. The Quercy dourne has four handles. Its thin walls made it light and favored perspiration to refresh the water. The user would pierce a hole in the side. With a wooden peg, this opening allowed water to flow on demand over the sink...

19Thc Original Decorated salt glaze crock from south Western Pennsylvania.This crock is in mint condition. Such a great form.

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...

5361 William Moorcroft for Liberty & Co. An inverted Bowl decorated with a superb example of the Claremont design Circa 1908

Pair of large French planters. Origin France, circa 1900. Attributed roun. Excellent condition. Material: porcelain. No restorations In 1644, Nico...

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

Pippo Pozzi, Alessandria 1910 / Biella 1999, Italy in years 1960 ceramic plate design measure diameter 13 inches x 1,2" deep, in perfect condition A is very rare. signed in t...

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...

Madonna ceramic sculpture, 1940s. Dimensions: H= 26 cm; W= 15 cm; D=10 cm.

VG is dedicating a collection of ceramics to the genius of Coco Chanel, a leading figure in the story of modern fashion, and a designer who crea...

Alexandre Foucher Circa 1940 Large colored stoneware ceramic pitcher by Alexandre Foucher Realised in la Borne XXth century art deco pitcher Original perfect conditio...

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...

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...

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...

A good antique Palissy Ware style Portuguese majolica wall plate, circa 1900. The plate decorated with a large lobster to the center resting on a textu...

Vintage Mexican ceramic duck form Tonala Pottery. Beautiful vintage Mexican hand made and hand painted TONALA Art pottery. Vintage Collectible Mexican Tonala hand painted pottery bird Folk Art. El Palomar...

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. 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...

A good antique Islamic Ottoman Kutahya pottery rosewater dropper, Turkey, circa 1900. The rosewater dropper of globular form with a tall tapering neck...

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...

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

Vintage studio pottery folk art terracotta vase with clear glaze - yellow slip sgraffito decorated with stylized flowers and leaves - heavily potted - unsi...

In Bassano ceramics have been produced for 300 years. In fact, from the 17th century this art has been developed in Veneto thanks to the presence of plastic clay, solder and kaolin i...

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...

A big ceramic vase by Eugene Lion with glaze decoration. Signed under the base " E. Lion". Circa 1920.   

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

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

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

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...

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 Fleur De Lis decoration 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...