Art by Medium: Porcelain

Ron Nagle Ship Cup porcelain, glaze and red enamel overglaze 2015 Ron Nagle is one of the most important sculptors in the United States. He work is highly collected and included in museum collections such as Shigaraki Museum, Japan; Los Angeles County Museum of Art; Musée de Plastique, Paris; San Francisco Museum of Modern Art; and the Stedelijk Museum in the Netherlands. He was born in San Francisco and began working with ceramics during the 1950s as a high school student. In 1961 he apprenticed to Peter Voulkos at the University of California, Berkeley, and later exhibited his work alongside Voulkos, Ken Price, and other innovative West Coast artists working in clay. His work is inspired by such artists as Giorgio Morandi, Phillip Guston, and George Herriman...

Jeff Koons Diamond (Red), 2020 porcelain 31.8 x 39.3 x 32 cm edition of 599

“Untitled” 2018-2019 Porcelain, Paper Clay Cone 6 Size: 10 in. 9 in. Danielle Weigandt explores the construct of events in time and their role in our lives. Time cannot be seen, hea...

“Untitled” 2018-2019 Porcelain, Paper Clay Cone 6 Size: 3.5 in. x 34.5 in. Danielle Weigandt explores the construct of events in time and their role in our lives. Time cannot be see...

“Untitled” 2018-2019 Porcelain, Paper Clay Cone 6 Size: 16 in. x 30 in. Danielle Weigandt explores the construct of events in time and their role in our lives. Time cannot be seen, ...

Stephanie Lanter Title : "Full" Materials : Porcelain, glaze, stoneware Date : 2020 Dimensions : 15" x 12" x 5" Description : Manually slip-trailed & coil built sculpture Stephanie is an artist and educator working in clay, fiber, and various media. Assistant Professor of Ceramics at Emporia State University, she previously taught at Washburn University and Wichita State University. She has also been fortunate enough to be a resident artist at the Archie Bray Foundation, the LH Project, the Red Lodge Clay Center, the Anderson Ranch Arts Center, and the Mendocino Arts Center, and was the first Jentel/Archie Bray Foundation “Critic at the Bray.” Abstract, abstract art, contemporary art, ceramcs, porcelain, contemporary ceramics, mixed media, fine art, glaze, gold luster, abstract geometric, minimalism, contemporary fine art, ceramic artists, sculptural ceramics, hand-build porcelain, crocheted, Betty Woodman, Toshiko Takaezu, Richard T. Notkin, Tony Marsh...

Stephanie Lanter Title : "Missed" Materials : Porcelain, glaze, stoneware Date : 2019 Dimensions : 15" x 13.5" x 11" Description : Manually slip-trailed sculpture on coil built pedestal Stephanie is an artist and educator working in clay, fiber, and various media. Assistant Professor of Ceramics at Emporia State University, she previously taught at Washburn University and Wichita State University. She has also been fortunate enough to be a resident artist at the Archie Bray Foundation, the LH Project, the Red Lodge Clay Center, the Anderson Ranch Arts Center, and the Mendocino Arts Center, and was the first Jentel/Archie Bray Foundation “Critic at the Bray.” Abstract, abstract art, contemporary art, ceramcs, porcelain, contemporary ceramics, mixed media, fine art, glaze, gold luster, abstract geometric, minimalism, contemporary fine art, ceramic artists, sculptural ceramics, hand-build porcelain, crocheted, Betty Woodman, Toshiko Takaezu, Richard T. Notkin, Tony Marsh...

Stephanie Lanter Title : "Find the Line" Materials : Porcelain, glaze, stoneware Date : 2018 Dimensions : 12" x 8.5" x 9" Description : Manually slip-...

Stephanie Lanter Title : "Screenmeat" Materials : Porcelain, glaze, nichrome wire Date : 2018 Dimensions : 12" x 11" x 5" Description : Manually slip-trailed word sculpture on hand-built stand Stephanie is an artist and educator working in clay, fiber, and various media. Assistant Professor of Ceramics at Emporia State University, she previously taught at Washburn University and Wichita State University. She has also been fortunate enough to be a resident artist at the Archie Bray Foundation, the LH Project, the Red Lodge Clay Center, the Anderson Ranch Arts Center, and the Mendocino Arts Center, and was the first Jentel/Archie Bray Foundation “Critic at the Bray.” Abstract, abstract art, contemporary art, ceramcs, porcelain, contemporary ceramics, mixed media, fine art, glaze, gold luster, abstract geometric, minimalism, contemporary fine art, ceramic artists, sculptural ceramics, hand-build porcelain, crocheted, Betty Woodman, Toshiko Takaezu, Richard T. Notkin, Tony Marsh...

Stephanie Lanter Title : "If Nothing Else" Materials : Porcelain, glaze, stoneware Date : 2019 Dimensions : 15" x 15.5" x 8" Description : Manually sl...

Stephanie Lanter Title : Truthology Materials : Porcelain, glaze, stoneware Date : 2018 Dimensions : 20" x 13" x 8" Description : Manually slip-trailed word sculpture on coil built p...

Stephanie Lanter Title : "Lopsided" Materials : Porcelain, glaze, stoneware Date : 2018 Dimensions : 15" x 10" x 7" Description : Manually slip-traile...

Stephanie Lanter Title : "You" Materials : Porcelain, glaze, stoneware Date : 2019 Dimensions : 15" x 10" x 6" Description : Manually slip-trailed word sculpture on coil built pedestal Stephanie is an artist and educator working in clay, fiber, and various media. Assistant Professor of Ceramics at Emporia State University, she previously taught at Washburn University and Wichita State University. She has also been fortunate enough to be a resident artist at the Archie Bray Foundation, the LH Project, the Red Lodge Clay Center, the Anderson Ranch Arts Center, and the Mendocino Arts Center, and was the first Jentel/Archie Bray Foundation “Critic at the Bray.” Abstract, abstract art, contemporary art, ceramcs, porcelain, contemporary ceramics, mixed media, fine art, glaze, gold luster, abstract geometric, minimalism, contemporary fine art, ceramic artists, sculptural ceramics, hand-build porcelain, crocheted, Betty Woodman, Toshiko Takaezu, Richard T. Notkin, Tony Marsh, Eva Hesse, Lee Bontecou, Judith...

Due to the current situation related to the Novel Coronavirus pandemic, our gallery will donate 10% of our commission from this sale to the Kansas City Artists Coalition, which has been supporting local Kansas City Artists for the past 40 years. The Kansas City Artists Coalition (KCAC), is a non-profit, artist-centered, artist-run alternative space, supporting artists at every level in their career through exhibitions, continuing education and artist studios. Title : Flying Geese...

Tom Wesselmann, (1931-2004) "Still Life" (Stilleben) 1988 Porcelain with Polychrome Ed. 169/299 Porcelain Size: approx. 13 x 14 inches Overall Size: approx. 18 3/4 x 20 inches Foun...

"Pagoda" Porcelain Sculpture 30" x 18" x 18" inch Edition AP by Huang Yulong Edition of 3 - sold out AP available Other colors available per request * * * ATT: handling time mig...

Set of 4 plates and 3 mugs. Made by Swid Powell. Donald Sultan design titled "GAME SET CARDS I" Plates are 8" diameter mugs are 12oz and measure 3.25x3...

Artist : Sam McPherson Title : Collection of stones, wall installation Materials : Ceramic, porcelain on nail Date : 2018 Dimensions : 40"x 36"x 5" Description : Wall stones are designed to hang in multiple positions and can easily be rearranged or altered. The back of each stone as designs cut into it like the picture shown. The design on the back double as nail holes, so you can alter the position of the stone by selecting which space to hang on the nail. *** Designs will not always match the one shown, but are similar in concept. This arrangement includes 19 black porcelain stones. Photo shows stones installed between hallway and door frame. These can be arranged in any design, on any wall, and in any order. To discover the unseen hidden beneath or within an object inspires Sam McPherson to share her imagination and fascination of ‘what could be’. McPherson tries to use these ideas in her work to create something that requires the viewer to invest in the piece to see what it has to offer, to reward curiosity, and to those unwilling to stop and look closely to explore and discover, they may never know. Abstract, abstract art, contemporary art, ceramcs, porcelain, contemporary ceramics, mixed media, fibers, fiber arts, contemporary fine art, ceramic artists, sculptural ceramics, hand-build porcelain, crocheted, Betty Woodman, Toshiko Takaezu, Richard T. Notkin, Tony Marsh, Eva Hesse, Lee Bontecou, Judith Scott, wall sculpture, contemporary sculpture, minimalist sculpture, minimalism, Richard Serra, Rachel Whiteread, Ursula von...

Artist : Sam McPherson Title : Collection of 8 stones, wall installation Materials : Ceramic, porcelain on nail Date : 2019 Dimensions : 18"x 36"x 5" in. Description : Wall stones are designed to hang in multiple positions and can easily be rearranged or altered. The back of each stone as designs cut into it like the picture shown. The design on the back double as nail holes, so you can alter the position of the stone by selecting which space to hang on the nail. *** Designs will not always match the one shown, but are similar in concept. This arrangement includes 5 black porcelain stones, and 3 marbled stones. To discover the unseen hidden beneath or within an object inspires Sam McPherson to share her imagination and fascination of ‘what could be’. McPherson tries to use these ideas in her work to create something that requires the viewer to invest in the piece to see what it has to offer, to reward curiosity, and to those unwilling to stop and look closely to explore and discover, they may never know. Abstract, abstract art, contemporary art, ceramcs, porcelain, contemporary ceramics, mixed media, fibers, fiber arts, contemporary fine art, ceramic artists, sculptural ceramics, hand-build porcelain, crocheted, Betty Woodman, Toshiko Takaezu, Richard T. Notkin, Tony Marsh, Eva Hesse, Lee Bontecou, Judith Scott, wall sculpture, contemporary sculpture, minimalist sculpture, minimalism, Richard Serra, Rachel Whiteread, Ursula von...

Artist : Sam McPherson Title : Pebbles, wall installation Materials : Ceramic, black porcelain, steel Date : 2019 Dimensions : 32"x 12"x .5" Description : Wall pebbles are installed with a pin on the back of each piece. These can be installed in your space in any arrangement. Shown is a set including 90 pebbles in a geometric design. Each pebble ranges from .5" up to 3". When installing these I recommend they are approximately 1 to 2 inches apart. To discover the unseen hidden beneath or within an object inspires Sam McPherson to share her imagination and fascination of ‘what could be’. McPherson tries to use these ideas in her work to create something that requires the viewer to invest in the piece to see what it has to offer, to reward curiosity, and to those unwilling to stop and look closely to explore and discover, they may never know. Abstract, abstract art, contemporary art, ceramcs, porcelain, contemporary ceramics, mixed media, fibers, fiber arts, contemporary fine art, ceramic artists, sculptural ceramics, hand-build porcelain, crocheted, Betty Woodman, Toshiko Takaezu, Richard T. Notkin, Tony Marsh, Eva Hesse, Lee Bontecou, Judith Scott, wall sculpture, contemporary sculpture, minimalist sculpture, minimalism, Richard Serra, Rachel Whiteread, Ursula von...

Artist : Stephanie Lanter Title : Why Won't You Materials : Porcelain, glaze, thread, enamel, wire Date : 2016 Dimensions : 15" x 17" x 12" Description : Manually slip-trailed & hand...

Artist : Stephanie Lanter Title : More Materials : Porcelain, underglaze, glaze, enamel, thread Date : 2016 Dimensions : 15" x 12" x 8" Description : ...

Artist : Stephanie Lanter Title : Bound Materials : Porcelain, thread Date : 2014 Dimensions : 6" x 9" x 2" Description : Manually slip-trailed & hand...

Artist : Stephanie Lanter Title : Intersection Materials : Porcelain, underglaze, oxides Date : 2015 Dimensions : 5" x 8.5" x 5" Description : Manually slip-trailed sculpture...

Artist : Stephanie Lanter Title : The Likers Materials : Porcelain, underglaze, stain, glaze, thread Date : 2015 Dimensions : 10" x 5" x 2.5" Description : Manually slip-trailed & ha...

Cast porcelain coated with a reflective finish Edition of 2300 Produced by Bernardaud, Limoges Published by the Los Angeles Museum of Contemporary Art, with the label verso Stamp sig...

Michael Stumbras Vase Year: 2019 Materials: Porcelain, Gold Luster Size: 10.25 x 6.75 inches Michael Stumbras work explores the beauty and horror of our existential uncertainties as...

Artist: Rachel Hubbard Kline Title : Cobalt Whiskey Cups Materials : Porcelain, Underglaze, Glaze, Luster Date : 2018 Dimensions : 4" x 3.25" x 3.25" Descr...

Artist: Rachel Hubbard Kline Title : Eleanor Rhino Whiskey Cups Materials : Porcelain, Underglaze, Glaze, Decals Date : 2018 Dimensions : 4" x 3.25" x 3.25...

NICK KNIGHT (*1958, Great Britain) Porcelain Kate 2013 Nymphenburger hard porcelain in white bisque Sculpture 36,6 x 61 x 15 cm (14 3/8 x 24 x 5 7/8 in.) Edition of 25; Ed. no. 6/25 Nick Knight is among the world’s most influential and visionary photographers. He has worked on a range of often controversial issues during his career – from racism, disability, ageism, and more recently fat-ism. He continually challenges conventional ideals of beauty. The photographer Nick Knight has been portraying international supermodel Kate Moss for more than two decades. As one of the most photographed women in the world who has been accompanied by Knight for many years, Moss serves as the subject of his work. In cooperation with the Porzellan Manufaktur Nymphenburg, the world famous photographer has eternalised a three-dimensional portrait of the Briton in biscuit porcelain for the first time. The figurine developed in the master workshops of Nymphenburg in 2014 is reminiscent of Christian iconography. Attributes such as the filigree crown of thorns and the voluminous loincloth make reference to religious relics...

“Untitled” 2018-2019 Porcelain, Paper Clay Cone 6 Size: 23 in. x 34.25 in. Danielle Weigandt explores the construct of events in time and their role in our lives. Time cannot be see...

“Untitled” 2018-2019 Porcelain, Paper Clay Cone 6 Size: 3.25 in. x 35 in. Danielle Weigandt explores the construct of events in time and their role in our lives. Time cannot be seen...

“Untitled” 2018-2019 Porcelain, Paper Clay Cone 6 Size: 32.5 in. x 48.75 in. Danielle Weigandt explores the construct of events in time and their role in our lives. Time cannot be s...

“Untitled” 2018-2019 Porcelain, Paper Clay Cone 6 Size: 27 in. x 27.5 in. Danielle Weigandt explores the construct of events in time and their role in our lives. Time cannot be seen...

“Untitled” 2019 Porcelain Unfired Poplar Wood, Plex Size: 5.5in. x 5.5in.

“Untitled” 2019 Porcelain Unfired Poplar Wood, Plex Size: 5.5 in. x 5.5 in.

“Untitled” 2019 Porcelain Unfired Poplar Wood, Plex Size: 8 in. x 8 in. Danielle Weigandt explores the construct of events in time and their role in our lives. Time cannot be seen, ...

“Untitled” 2019 Porcelain Unfired Poplar Wood, Plex Size: 8 in. x 8 in. Danielle Weigandt explores the construct of events in time and their role in our lives. Time cannot be seen, ...

“Untitled” 2019 Porcelain Unfired Poplar Wood, Plex Size: 5.5 in. x 5.5 in. Danielle Weigandt explores the construct of events in time and their role in our lives. Time cannot be se...

“Untitled” 2019 Porcelain Unfired Poplar Wood, Plex Size: 5.5 in. x 5.5 in. Danielle Weigandt explores the construct of events in time and their role in our lives. Time cannot be se...

“Untitled” 2019 Porcelain Unfired Poplar Wood, Plex Size: 8 in. x 8 in. Danielle Weigandt explores the construct of events in time and their role in our lives. Time cannot be seen, ...

“Untitled” 2019 Porcelain Cone 5 (comes in a bag) Size: 10.5 in. x 12.5 in. Danielle Weigandt explores the construct of events in time and their role in our lives. Time cannot be se...

“Untitled” 2018-2019 Porcelain, Paper Clay Cone 6 Size: 3 in. x 35.5 in. Danielle Weigandt explores the construct of events in time and their role in our lives. Time cannot be seen,...

“Untitled” 2018-2019 Porcelain, Paper Clay Cone 6 Size: 10 in. x 10 in. Danielle Weigandt explores the construct of events in time and their role in our lives. Time cannot be seen, ...

“Untitled” 2018-2019 Porcelain, Paper Clay Cone 6 Size: 16.5 in. x 16 in. Danielle Weigandt explores the construct of events in time and their role in our lives. Time cannot be seen...

“Untitled” 2018-2019 Porcelain, Paper Clay Cone 6 Size: 10 in. x 10 in. Danielle Weigandt explores the construct of events in time and their role in our lives. Time cannot be seen, ...

“Untitled” 2018-2019 Porcelain, Paper Clay Cone 6 Size: 10 in. x 23.5 in. Danielle Weigandt explores the construct of events in time and their role in our lives. Time cannot be seen...

“Untitled” 2018-2019 Porcelain, Paper Clay Cone 6 Size: 16 in. x 35 in. Danielle Weigandt explores the construct of events in time and their role in our lives. Time cannot be seen, ...

“Untitled” 2018-2019 Porcelain, Paper Clay Cone 6 Size: 27 in. x 7 in. Danielle Weigandt explores the construct of events in time and their role in our lives. Time cannot be seen, h...

KPM Porcelain After Angelo Asti (French, 1847-1903) "Épanouissement" c. 1900 With Original Gold Gilded Frame Image Size: approx. 6 x 4 inches Framed Size: approx. 9 x 6 inches Eve...

KPM Style German "Napoleon" c. late 19th c. Signed "Bock" Original Hand-Painted Porcelain Marked Verso approx 7 x 5 inches/approx 10 x 8 framed

KPM Porcelain "Queen Louise" c. late 19th century Original Hand-Painted Porcelain Signed "R. Dittrich" Since 250 years, the royal sceptre brand stands fo...

Marguerite Hand Painted Porcelain w/crown stamp #107 Signed "Wagner" Original Gilded Florentine Frame approx 6 x 4 inches /approx 14 x 8 inches framed Since 250 years, the royal sc...

Sevres 19th C. Original Hand Painted Porcelain Signed "G Poitevin" approx 9 x 5 inches/15 x 12 framed The vast and diverse production of the Sèvres factory in the nineteenth century resists easy characterization, and its history during this period reflects many of the changes affecting French society in the years between 1800 and 1900. Among the remarkable accomplishments of the factory was the ability to stay continuously in the forefront of European ceramic production despite the myriad changes in technology, taste, and patronage that occurred during this tumultuous century. The factory, which had been founded in the town of Vincennes in 1740 and then reestablished in larger quarters at Sèvres in 1756, became the preeminent porcelain manufacturer in Europe in the second half of the eighteenth century. Louis XV had been an early investor in the fledgling ceramic enterprise and became its sole owner in 1759. However, due to the upheavals of the French Revolution, its financial position at the beginning of the nineteenth century was extremely precarious. No longer a royal enterprise, the factory also had lost much of its clientele, and its funding reflected the ruinous state of the French economy. However, the appointment in 1800 of Alexandre Brongniart (1770–1847) as the administrator of the factory marked a profound shift in its fortunes. Trained as both an engineer and a scientist, Brongniart was both brilliant and immensely capable, and he brought all of his prodigious talents to the running of the troubled porcelain factory. He directed the Sèvres factory as administrator until his death in 1847, and during those five decades influenced every aspect of its organization and production. Much of the factory’s old, undecorated stock was immediately sold off, and new forms—largely in the fashionable, more severe Neoclassical style—were designed to replace out-of-date models. The composition for hard-paste porcelain was improved, and the production of soft paste, for which the factory had been famous in the previous century, was abandoned in 1804. New enamels colors were devised, and Brongniart oversaw the development of a new type of kiln that was both more efficient and cost-effective. Much of the factory’s output during Brongniart’s first decade reflected the prevailing Empire taste, which favored extensive gilding, rich border designs, and elaborate figural scenes (56.29.1–.8). Backgrounds simulating marble or a variety of hardstones were employed with greater frequency (1987.224); the new range of enamel colors developed under Brongniart made it easier to achieve these imitation surfaces, and it is thought that his interest in mineralogy provided the impetus for this type of decoration. For objects produced in sets, such as dinner, tea, and coffee services, and even garnitures of vases, Brongniart preferred decorative schemes that linked the objects in terms of subject matter as well as stylistically. Dinner services were given coherence by the use of an overall theme, in addition to shared border patterns and ground colors. One of the best examples of this can be found in the “Service des Départements,” which was conceived by Brongniart in 1824 (2002.57). Each of the plates in the service was decorated with a famous topographical view of the département (administrative unit) of France that it represented, and its border was painted with small cameo portraits of figures from the region, as well as symbols of the major arts, industries, and products of the area. This same type of thematic unity is found on a coffee service produced in 1836 (1986.281.1ab–4). All of the pieces of the service are decorated with scenes depicting the cultivation of cacao, from which chocolate is made, or various stages in the preparation of chocolate as a beverage. The compositions were conceived and executed by Jean Charles Develly, a painter at Sèvres who was responsible for many of the most ambitious dinner services produced at the factory during Brongniart’s tenure. The range of objects produced in the first half of the nineteenth century was enormous, as were the types of decoration that they employed. A recent exhibition catalogue devoted to Brongniart’s years at Sèvres indicates that ninety-two new designs for vases were introduced, as were eighty-nine different cup models, and the types of objects produced by the factory included every sort of form required by a dinner or dessert service, coffee and tea wares, decorative objects such as vases, and functional objects such as water jugs, basins, and toiletry articles. A new form rarely replaced an older one; the range of production simply increased. The same was true with types of decoration, as the factory was working in a wide variety of styles at any given time. From the earliest years of the Sèvres factory, its painters had copied not only contemporary compositions but also prints and paintings from earlier periods. However, under Brongniart, the factory sought to copy famous paintings with the specific intention of recording the “true” appearance of works increasingly perceived to be fragile. Works by a wide variety of artists were copied, but those by Raphael were especially popular. Raphael’s stature is reflected in a vase of 1834 in which a cameo-style portrait of the artist decorates the primary reserve, while on the back an artist’s palette is encircled by the names Titian, Poussin, and Rubens (1978.373). Just as works by earlier artists were copied, so too were decorative techniques of previous centuries. The interlace patterns of so-called Saint-Porchaire ceramic ware of the sixteenth century served as the inspiration for the decoration on a cup of 1837 (2003.153). The form of the cup itself derives from Renaissance silver forms made in Italy and France. However, the palette of vibrant reds, greens, blues, and yellows contrasts markedly with the muted browns and off whites of Saint-Porchaire wares and reflects the reinterpretation of historical styles that was characteristic of so much of nineteenth-century decorative arts. Interest in the Gothic style emerged early in Brongniart’s tenure at Sèvres and remained popular for much of the nineteenth century. Strict adherence to Gothic motifs was rarely observed, however, and the Gothic style was more evoked than faithfully copied. This tendency is reflected in a pair of vases (1992.23.1) for which the model was designated vase gothique Fragonard (named after the vase’s designer, Alexandre Evariste Fragonard [1780–1850]. The Gothic elements lie more in the painted decoration than in the form itself, and the style of the painting reflects a Renaissance technique rather than a medieval one. The palette of grays and whites on a blue ground instantly recalls the enamel-on-copper wares produced in Limoges, France, in the sixteenth century, and its use on these vases indicates the willingness to freely mix artistic styles and techniques of different periods in order to achieve new aesthetic effects. The eclecticism and historicism that characterized so much of the production during Brongniart’s tenure continued after his death in 1847. The factory’s output reflected an ongoing desire for technical innovation as well as a wide embrace of diverse decorative styles that were employed simultaneously. A tea and coffee service of 1855–61 (69.193.1–.11) embodies the selective borrowing of forms and motifs that is found so frequently in Sèvres production of the middle decades of the nineteenth century. The shapes used for the different components of the service evoke both China and the Near East, an obvious allusion to the origins of the two beverages. The openwork decoration refers directly to Chinese ceramics made in this technique, and the decoration employs a variety of Chinese emblems. However, the palette of pink and gold, entirely European in character, serves to neutralize the Asian aspects of the service. Perhaps the only thread that can be said to run through much Sèvres production of the nineteenth century is the proclivity to borrow freely from various historical styles and then to either reinterpret these styles or combine them in unprecedented ways. A standing cup of 1879 (1990.238a,b) draws upon silver cups of the Renaissance for its form, but in this instance the size of the porcelain cup dwarfs any of its metal prototypes. Its style of decoration derives from Limoges painted enamels of the sixteenth century, but the prominent use of gilding throughout reflects its wholly nineteenth-century character. This cup was presented by the French government to one of the first-prize winners at the 1878 Exposition Universelle. It was with the advent of the Art Nouveau style at the very end of the nineteenth century that historicism lost its grip at Sèvres, and indeed throughout the decorative arts, and forms inspired by nature and often characterized by asymmetry become dominant. This reliance upon natural forms is fully evident in a coffee service of 1900–1904 (1988.287.1a,b). The designer, Léon Kann...

KPM Porcelain "Ruth" c. 1900 Original hand-painted KPM Porcelain In Original Gilded Florentine Frame 7 x 4 (16 x 9 framed) Since 250 years, the royal sceptre brand stands for finest...

KPM Porcelain "Queen Louise" c. 1900 Original hand-painted KPM Porcelain approx. 14 x 11 inches approx. 21 x 15 inches framed Since 250 years, the royal ...

Porcelain plate with 24-carat gold border (Edition of 500) Signed and numbered, verso This artwork is offered by ClampArt, located in New York City. Jack Pierson was born in 1960 in Plymouth, Massachusetts, and educated at the Massachusetts College of Art in Boston. Pierson's work spans an array of media, including photographs, collages, word sculptures, installations, drawings, and artist's books. He is considered to be part of a group of photographers known as the Boston School, which includes David Armstrong, Philip-Lorca diCorcia, Nan Goldin, Mark Morrisroe, and Doug and Mike Starn...

Title : Asanoha Yunomi II Materials : wood-fired porcelain Date : 2017 Dimensions : 4.5x3x3"

Artist: Ilena Finocchi Title: Bottles Year: circa 2009 Medium: Plaster-Cast Ceramic Molds, Lights, Wooden Display Light Box Size: 16 x 20 x 20 in. (40.6...

"Title : Urn of Abandonment Materials : Cone 10 Soda Fired Porcelain Date : 2017 Dimensions : 20.5”x7.5”x6.5” Description : A tall funerary urn, with a crazed celadon glaze, and a "v...