Ceramic More Art

This fascinating piece of black ware pottery by Macario Ortiz is in the 20th century Mata Ortiz tradition. It measures 7.5" x 6.25" in height and diameter, respectively.M

Keith Haring (US American, 1958–1990) Title: Untitled, 1985 Created: 2020 Medium: Fine bone china Dimensions: 26.7 cm diameter (10 1/2 in diameter) Edition of 175: Signed in plate, b...

Artists Statement: My interest is in exploring ways of building structural forms in ceramics. Many ideas for the forms come from architecture while the inherent organic quality of th...

Skuldelev Vessel Stoneware with tenmoku glaze

Standing atop a textured, frothy pastel sea, a classic green Art Nouveau maiden stands cradled by figural waves with an offering of a lily pad. An excellent example of the "ivory por...

A large ceramic shoulder vase by Carstens-Tönnieshof from its high-end Atelier Series helmed by designer Gerda Heuckeroth. This form is accented by textured glazes in hues of green, ...

Teardrops is a beautiful hand-made flat ceramic dish realized by the Russian emerging artist, Anastasia Kurakina in 2019. Signed and dated by the artist on the back. This is a cer...

Lady is a wonderful hand-made flat ceramic dish realized by the Russian emerging artist, Anastasia Kurakina in 2019. Unique copy. Signed and dated on the back at the center. This i...

Plum Blossom Plate is an original decorative limited edition porcelain plate realized in the 1990s. This charming and very rare plate was produced for H...

Colour in the Night By Devin Troy Strother 2018 Signed and numbered COA Porcelain black-glazed lamp 70.9 x 41.9 cm Edition of 100 + 10APs

A Kiss of Autumn is a hand-made flat ceramic dish realized by the Russian emerging artist, Anastasia Kurakina in 2019. This is a beautiful ceramic dish representing two red, sensu...

Looking at You is a hand-made flat ceramic dish realized by the Russian emerging artist, Anastasia Kurakina in 2019. Signed and dated on the back at the center. This is a beautif...

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Roberto Lugo Tiger and Snake Vessel Incredible piece!

Very Big Ceramic from "Les Argonautes" Vallauris Workshop "Les Argonautes", Vallauris: Isabelle Ferlay (1917-?) And Frédérique Bourguet (1925-1997) Isabelle Ferlay and Frédérique Bourguet founded their ceramic workshop in Vallauris in 1953, which they named "Les Argonautes", in reference to the famous Greek epic. Isabelle studied painting at the Fine Arts school of Lyon in 1940, then she attended the Fine Arts in Marseille. Finally, she finished her artistic training in Montpellier, at the Fontcarade national school, where she learned ceramics. Françoise dit Frédérique Bourguet studied at the Beaux-Arts in Montpellier until 1945 and it was in Sèvres, in Françoise Bizette's studio, that she trained in the art of ceramics. She created her first workshop in Paris in 1945, which she shared with Valentine Schlegel until 1951. The two women ceramicists then practiced modeling technique. It was in 1953 that she met Isabelle Ferlay and together, they decided to set up a workshop in Vallauris. They produce shaped pieces, sometimes molded, made of earthenware, enamelled in bright colors. In the 1970s they made stoneware cooked over a wood fire. Some ceramists frequented their workshop, notably the very talented Jacques Innocenti and François Raty.

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This masterpiece is exhibited in the Zimmerman Gallery, Carmel CA. Dive into the whimsical realm of mystique with this utterly enchanting totem. Crafted with meticulous detail, this...

A colorful ceramic vase with hand-painted flowers in bright cloisonné enamels. Stamped Amphora in the base, and numbered. Riessner, Stellmacher and Kessel (RStK), later known as Amp...

Majorca. Original unique ceramic piece Painter born in the town of Estellencs on the island of Mallorca, since his youth he dedicated himself to drawing and watercolor, later enterin...

This masterpiece is exhibited in the Zimmerman Gallery, Carmel CA. Please note: The base is not included. We will guide you through a simple installation process for outdoor or indo...

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Marcello Fantoni (Italian, 1915-2011) Faces Vase Ceramic Signed on bottom 10.5 x 5.5 x 6 inches Marcello Fantoni was an Italian sculptor, ceramicist, metalworker, multi-media artist...

bone china with lustre rim 21 cm diameter Grayson Perry hallmark on the back. These decorative plates are inspired by the artwork The Great Beauty, 2024. The original piece is a cab...

Porcelain plate - A cyclist with wings. 2016, d 36 cm This Porcelain Plate depicting a figure in motion is a remarkable piece of art that combines whimsy and creativity. Crafted from delicate porcelain, this plate has a diameter of 36 cm, making it a visually striking and sizable decorative object. The central focus of the plate is a cyclist, portrayed with wings, adding a touch of fantasy and imagination to the artwork. This composition suggests a sense of freedom, adventure, and the ability to transcend boundaries. It symbolizes the joy of movement and the exploration of new horizons. Inese Margevica (1960) Education: 2004 – LU, master's degree of educational sciences in art pedagogy; 2001 – LMA, Master of Arts degree; 1990 – LMA, Department of Applied Decorative Arts; 1981 – Riga Applied Arts Secondary School; 1977 – Riga 5th secondary school; Professional unions: 1992 – Artists' Union of Latvia; 1991 – ceramics association "Logs" Personal exhibitions: 2006 – "Black and white", in "Apsida" gallery, Riga; 2005 – "Touch", in the "Apsida" gallery in Riga; 2003 – "Black and white stories", in Satakunta Museum, Pori (Finland); 2003 – "Black and white stories", in the gallery "Apsīda" in Riga; 2000 – "Ceļabiedri", in the gallery "Apsīda" in Riga; 1998 – "Gaisma", Unibank branch in Riga; 1996 – "Feast over water", in the gallery "Jāņas sēta" in Riga; 1994 – "Ornamentalism and figuralism", in the gallery "Kolonna" in Riga; 1993 – "Chamots", in Reiterna House in Riga; Exhibitions: 2006 – Exhibition dedicated to the Assembly of the International Academy of Ceramics "Clay is everywhere" at the Museum of Decorative Arts and Design in Riga; 2006 – International mini-ceramics exhibition at the Riga Porcelain...

Tall Amphora vase with a floral wreath encircling the mouth, trailing down on two sides into light green and rose crackling, and finished with a linear "Dachsel style" relief in the ...

Ceramic from Vallauris Workshop "Les Argonautes", Vallauris: Isabelle Ferlay (1917-?) And Frédérique Bourguet (1925-1997) Isabelle Ferlay and Frédérique Bourguet founded their ceramic workshop in Vallauris in 1953, which they named "Les Argonautes", in reference to the famous Greek epic. Isabelle studied painting at the Fine Arts school of Lyon in 1940, then she attended the Fine Arts in Marseille. Finally, she finished her artistic training in Montpellier, at the Fontcarade national school, where she learned ceramics. Françoise dit Frédérique Bourguet studied at the Beaux-Arts in Montpellier until 1945 and it was in Sèvres, in Françoise Bizette's studio, that she trained in the art of ceramics. She created her first workshop in Paris in 1945, which she shared with Valentine Schlegel until 1951. The two women ceramicists then practiced modeling technique. It was in 1953 that she met Isabelle Ferlay and together, they decided to set up a workshop in Vallauris. They produce shaped pieces, sometimes molded, made of earthenware, enamelled in bright colors. In the 1970s they made stoneware cooked over a wood fire. Some ceramists frequented their workshop, notably the very talented Jacques Innocenti and François Raty.

The rich tones of the stoneware clay come through the soft creamy glaze that drips over the surface like melted vanilla ice cream over red devil cake. This beautifully rendered ceramic vessel is perched on little decorative feet that poke out of the body of the piece. Of particular interest and commanding presence are the decorative forms attached to the top and sides. They twisted shapes of bent organic growth and provide endless entertainment for the creative imagination. American Post War and Contemporary Artist, Gawaine Dart...

This 40" totem has delightful color and color contrast as well as intricate and flowing scrafitto carving ; a classic, playful Zimmerman totem!

This masterwork is currently on display at the Zimmerman Gallery in Carmel, CA Please note: The base is not included. We will guide you through a simple installation process for out...

This Totem by Marc Zimmerman is currently on display at Earthbound Farm, nestled in California's Carmel Valley. A country totem with a playful chicken and farm produce brings fun an...

Keith Haring (US American, 1958–1990) Title: Untitled Created: 2021 Medium: Fine bone china Dimensions: 26.7 cm diameter (10 1/2 in diameter) Edition of 250: Signed in plate, backsid...

From the Amphora series that came to be known as the Confetti Decor; a delightfully petite vase featuring cobalt underglaze painting with large crackling that reveals spots of green,...

This large ceramic vase from the Carstens Luxus line features a rugged volcanic lava finish in an earthy shade of garnet. Stamped in the base, and numbered, with original Carstens Lu...

A large bulbous horned vase formed studio pottery vessel by American ceramicist Robert Sperry. Sperry is an important figure in the American studio craft movement. He was born in Bu...

PABLO PICASSO Spanish, 1881-1973 VISAGE DE FEMME (A.R. 192) stamped, marked and numbered 'Edition Picasso / Madoura Plein Feu / Edition Picasso / 154/200 / Madoura' (underneath) whi...

“Tenebris” is a sculptural ceramic vessel by Heather Knight, founder of Element Clay Studio (est. 2007), a Savannah-based studio known for organic modern ceramics and collectible des...

“Avalon” is a sculptural ceramic vessel by Heather Knight, founder of Element Clay Studio (est. 2007), a Savannah-based studio recognized for organic modern ceramics and collectible ...

This masterwork is currently on display at the Zimmerman Gallery in Carmel, CA Please note: The base is not included. We will guide you through a simple installation process for out...

Harding Black San Antonio (1912 - 2004) Huge Heavy Oxblood Vase 1984 Height 17'' At widest 5'' Biography Harding Black San Antonio (1912 - 2004) Harding Black was born on a farm in Nueces County between Ingleside and Aransas Pass and moved with his family to San Antonio in 1916. There he graduated from Brackenridge High School and attended San Antonio Junior College (1929-30). In 1931 Black joined an archaeological expedition to the Big Bend area sponsored by the Witte Memorial Museum. Initially a painter, he was taught by Rudolph Staffel in 1933 to make wheel- thrown pottery and in the same year began to teach children's ceramic classes at the Witte. Between 1937 and 1939, Black directed ceramic installation in a San Antonio reconstruction project sponsored by the National Youth Administration and the Works Progress Administration art program. In 1955 he retired from teaching and devoted his time to ceramics. Black became a well-known ceramist from his research, innovations, and writings in the field. Exhibitions: 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, Washington D.C. (1951, 1956); Dallas Museum of Fine Arts (1952 one-man); Martin Museum of Art, Baylor University (1991 one-man); San Antonio Museum of Art (1995 retrospective); National Museum of Art, Washington, D.C. (1995); University of Texas at Dallas, Irving (1998 retrospective). Collections: Dallas Museum of Art; Museum of Fine Arts, Houston; San Angelo Museum of Fine Arts; San Antonio Museum of Art; Martin Museum of Art, Baylor University, Waco; National Museum of American Art, Washington D.C.; New Orleans Museum of Art; Everson Museum of Art, Syracuse, new York; Alfred University (New York). Harding Black resided in San Antonio Texas where he worked as a potter for over 60 years and far as anyone knows he was completely self taught. I find it amazing that anyone could ever accomplish what he did with with no formal training in either ceramics or chemistry. It was a long and prolific journey from the early hand built earthenware pottery to become recognized as a master of glazes. While I feel that his forms often could be better this is more than compensated for by the spectacular glazes he developed. Constant experimentation and his acquired knowledge of chemistry were the foundations for the wonderful glazes that adorn his pottery. The following quote is from an interview with Rudolf Staffel His copper reds are unbelievably beautiful. Harding was a master of glazes and one of the most generous human beings in the ceramic field that I've known. He had literally a room full of beautifully organized test tiles of all his glazes, and he would just throw the room open to anybody who wanted to rummage through his tiles. All the recipes were there and he shared them with anyone who was interested. It was wonderful to go and visit him. Although accurate records of all test firings were kept for reference it I have been told that it would be difficult to reproduce many of these glazes because of the kiln he built and clays he used. This may not be the case because in a recent phone conversation (4/11/2007) with Peter Pinnell he told me that some of his students had success replicating some glazes using Harding's formulas By concentrating on the bowl and vessel forms Harding remained true to the historical traditions of pottery making. The magnificent Harding Black journey began in 1932. At that time he joined the Witte Museum Archaeological Society which provided him with access to their collections of Native American pottery. Harding became fascinated by these pollychromed vessels and he began attempting to create hand built pots. He had very little or no success but a life long of working in clay had begun. It was about this time that he met up with Rudolf Staffel and it was from him that Harding learned wheel throwing and developed ideas of how to operate a studio. Harding was given access to working space at the Witte where he built a wheel and in 1933 he was given a position as ceramic instructor. In this position it was his responsibility to establish a ceramics department. The first kiln Harding built was using plans that were obtained from Newcomb College. He scrounged parts from a junkyard which were used in its construction. This project was not totally successful because of problems reaching required temperatures. As usual this did not deter Harding. He seemed to have a wonderful ability to learn from failure and move on. In the early 1940's Harding began working with formulas for copper red glazes prepared by Arthur Baggs and Edgar Littlefield. This work only added to his interest in Oriental pottery and fostered a desire to rework many old glazes. Being greatly influenced by A Potters Book published in 1940 by Bernard Leach Harding was now on his way seeking to incorporate form, function and surface treatment into a single entity where the whole is greater than the sum of the parts. In the 1950's Harding left the Witte and built his own studio where he spent the rest of his life creating his wonderful art. The body of his work is a living tribute to the Harding Black lifelong love of ceramics. Along with being a researcher he was also a teacher always willing to share his knowledge with others. He spent his life producing pots and occasionally taking time off to do a bit if fishing. According to Harding Black - Harding Black 11/14/90 "I am one of the lucky ones. When I get up in the morning I can hardly wait to get to work." 1912 Born April 15 near Aransas Pass, Texas 1916 Family moved to San Antonio 1929 Graduated from Breckenridge High School 1929-30 Attended San Antonio Junior College 1931 Joined Archaeological Society of the Witte Museum, San Antonio, and participated in excavations of ancient Basket maker Indian mounds and caves in the Big Bend area of Texas 1933 Taught by Rudolf Staffel to make wheel-thrown pottery. Set tip studio in a streetcar behind Witte Museum and began teaching children’s ceramic classes 1937-39 Appointed Superintendent of Ceramic Installation for N Y A /W P A reconstruction project in San Antonio 1943 Moved from streetcar studio to new facilities in the reconstructed Ruiz House on the grounds of the Witte Museum Began firing to stoneware temperatures 1947-54 Exhibited each year in the annual National Ceramic Exhibition, Syracuse Museum of Art 1951 Exhibited at the National Museum of Art, Washington, DC 1952 Toured ceramic centers throughout the United States 1953 “Opening the Door to Copper-Reds” by Harding Black, published in January issue of Ceramics Monthly “Harding Black Profile” published in February issue of Ceramics Monthly 1954 “Iron Spotted Glazes” by Harding Black, published in February issue of Ceramics Monthly 1955 Built present studio at 8212 Broadway, San Antonio Retired from teaching at the Witte Museum 1956 Exhibited at the National Museum of Art, Washington, DC 1961 “Lava Glazes” by Harding Black, published in October issue of Ceramics Monthly 1964 “Harding Black Texas Potter” by Jean R Lange, published in November issue of Ceramics Monthly 1971 The Meyer Family Master Potters of Texas, co-authored by Harding Black and Georgeanna H Greet 1980 Harding Black’s biographical information entered into the archives of the Smithsonian Institution, Washington, D C 1983 Harding Black traveled throughout China 1984 Awarded Glaze Research Grant by Southwest Craft Center, San Antonio 1985 Solo exhibition at the Southwest Crafts Center 1987 Selected as Artist of the Year by the San Antonio Art League 1988 Incarnate Word College, San Antonio, establishes Harding Black Fund to aid ceramics students 1990 “Harding Black Pottery...

Harding Black San Antonio (1912 - 2004) Huge Heavy Crackle Vase 1985 Height 14'' Across Widest 8" Biography Harding Black San Antonio (1912 - 2004) Harding Black was born on a farm in Nueces County between Ingleside and Aransas Pass and moved with his family to San Antonio in 1916. There he graduated from Brackenridge High School and attended San Antonio Junior College (1929-30). In 1931 Black joined an archaeological expedition to the Big Bend area sponsored by the Witte Memorial Museum. Initially a painter, he was taught by Rudolph Staffel in 1933 to make wheel- thrown pottery and in the same year began to teach children's ceramic classes at the Witte. Between 1937 and 1939, Black directed ceramic installation in a San Antonio reconstruction project sponsored by the National Youth Administration and the Works Progress Administration art program. In 1955 he retired from teaching and devoted his time to ceramics. Black became a well-known ceramist from his research, innovations, and writings in the field. Exhibitions: 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, Washington D.C. (1951, 1956); Dallas Museum of Fine Arts (1952 one-man); Martin Museum of Art, Baylor University (1991 one-man); San Antonio Museum of Art (1995 retrospective); National Museum of Art, Washington, D.C. (1995); University of Texas at Dallas, Irving (1998 retrospective). Collections: Dallas Museum of Art; Museum of Fine Arts, Houston; San Angelo Museum of Fine Arts; San Antonio Museum of Art; Martin Museum of Art, Baylor University, Waco; National Museum of American Art, Washington D.C.; New Orleans Museum of Art; Everson Museum of Art, Syracuse, new York; Alfred University (New York). Harding Black resided in San Antonio Texas where he worked as a potter for over 60 years and far as anyone knows he was completely self taught. I find it amazing that anyone could ever accomplish what he did with with no formal training in either ceramics or chemistry. It was a long and prolific journey from the early hand built earthenware pottery to become recognized as a master of glazes. While I feel that his forms often could be better this is more than compensated for by the spectacular glazes he developed. Constant experimentation and his acquired knowledge of chemistry were the foundations for the wonderful glazes that adorn his pottery. The following quote is from an interview with Rudolf Staffel His copper reds are unbelievably beautiful. Harding was a master of glazes and one of the most generous human beings in the ceramic field that I've known. He had literally a room full of beautifully organized test tiles of all his glazes, and he would just throw the room open to anybody who wanted to rummage through his tiles. All the recipes were there and he shared them with anyone who was interested. It was wonderful to go and visit him. Although accurate records of all test firings were kept for reference it I have been told that it would be difficult to reproduce many of these glazes because of the kiln he built and clays he used. This may not be the case because in a recent phone conversation (4/11/2007) with Peter Pinnell he told me that some of his students had success replicating some glazes using Harding's formulas By concentrating on the bowl and vessel forms Harding remained true to the historical traditions of pottery making. The magnificent Harding Black journey began in 1932. At that time he joined the Witte Museum Archaeological Society which provided him with access to their collections of Native American pottery. Harding became fascinated by these pollychromed vessels and he began attempting to create hand built pots. He had very little or no success but a life long of working in clay had begun. It was about this time that he met up with Rudolf Staffel and it was from him that Harding learned wheel throwing and developed ideas of how to operate a studio. Harding was given access to working space at the Witte where he built a wheel and in 1933 he was given a position as ceramic instructor. In this position it was his responsibility to establish a ceramics department. The first kiln Harding built was using plans that were obtained from Newcomb College. He scrounged parts from a junkyard which were used in its construction. This project was not totally successful because of problems reaching required temperatures. As usual this did not deter Harding. He seemed to have a wonderful ability to learn from failure and move on. In the early 1940's Harding began working with formulas for copper red glazes prepared by Arthur Baggs and Edgar Littlefield. This work only added to his interest in Oriental pottery and fostered a desire to rework many old glazes. Being greatly influenced by A Potters Book published in 1940 by Bernard Leach Harding was now on his way seeking to incorporate form, function and surface treatment into a single entity where the whole is greater than the sum of the parts. In the 1950's Harding left the Witte and built his own studio where he spent the rest of his life creating his wonderful art. The body of his work is a living tribute to the Harding Black lifelong love of ceramics. Along with being a researcher he was also a teacher always willing to share his knowledge with others. He spent his life producing pots and occasionally taking time off to do a bit if fishing. According to Harding Black - Harding Black 11/14/90 "I am one of the lucky ones. When I get up in the morning I can hardly wait to get to work." 1912 Born April 15 near Aransas Pass, Texas 1916 Family moved to San Antonio 1929 Graduated from Breckenridge High School 1929-30 Attended San Antonio Junior College 1931 Joined Archaeological Society of the Witte Museum, San Antonio, and participated in excavations of ancient Basket maker Indian mounds and caves in the Big Bend area of Texas 1933 Taught by Rudolf Staffel to make wheel-thrown pottery. Set tip studio in a streetcar behind Witte Museum and began teaching children’s ceramic classes 1937-39 Appointed Superintendent of Ceramic Installation for N Y A /W P A reconstruction project in San Antonio 1943 Moved from streetcar studio to new facilities in the reconstructed Ruiz House on the grounds of the Witte Museum Began firing to stoneware temperatures 1947-54 Exhibited each year in the annual National Ceramic Exhibition, Syracuse Museum of Art 1951 Exhibited at the National Museum of Art, Washington, DC 1952 Toured ceramic centers throughout the United States 1953 “Opening the Door to Copper-Reds” by Harding Black, published in January issue of Ceramics Monthly “Harding Black Profile” published in February issue of Ceramics Monthly 1954 “Iron Spotted Glazes” by Harding Black, published in February issue of Ceramics Monthly 1955 Built present studio at 8212 Broadway, San Antonio Retired from teaching at the Witte Museum 1956 Exhibited at the National Museum of Art, Washington, DC 1961 “Lava Glazes” by Harding Black, published in October issue of Ceramics Monthly 1964 “Harding Black Texas Potter” by Jean R Lange, published in November issue of Ceramics Monthly 1971 The Meyer Family Master Potters of Texas, co-authored by Harding Black and Georgeanna H Greet 1980 Harding Black’s biographical information entered into the archives of the Smithsonian Institution, Washington, D C 1983 Harding Black traveled throughout China 1984 Awarded Glaze Research Grant by Southwest Craft Center, San Antonio 1985 Solo exhibition at the Southwest Crafts Center 1987 Selected as Artist of the Year by the San Antonio Art League 1988 Incarnate Word College, San Antonio, establishes Harding Black Fund to aid ceramics students 1990 “Harding Black Pottery...

Her poetic porcelain plates examine and reimagine the history of art in a way that values women, not only in body, but in wholeness, power, and love. Focusing on the narrative qualit...

This masterpiece is exhibited in the Zimmerman Gallery, Carmel CA. Please note: The base is not included. We will guide you through a simple installation process for outdoor or indo...

Subrata Biswas - Untitled Vitrified Terracotta H 27.75 x W 14 x D 11 inches ( Delivered ) Style : The motive of a child in its most basic form appears quite repeatedly in the works ...

A highly decorated Bauhaus inspired vase by California woman artist Marguerite Wildenhain. This vase was created while Wildenhain was teaching at Pond Farm, in Guerneville, CA. Wild...

This beautiful Porthleven studio pottery planter was in the mid century planter was in the collection of George and Ann Dannatt. Graham Fern set up his pottery in the small seasid...

This beautiful vase was in the mid century ceramic collection of George and Ann Dannatt.

Adam Dworski was born near Rijeka (Croatia) in 1917 during the demise of Austria-Hungary, he witnessed the birth of the new Yugoslavia. After World War II, he met and married an Engl...

bone china with lustre rim 21 cm diameter Grayson Perry hallmark on the back. These decorative plates are inspired by the artwork The Great Beauty, 2024. The original piece is a cab...

A beautiful stoneware vase by Annette Chatting from the Myrtle Pottery, Hampshire England. Makers mark

Beautiful contemporary shabby chic handcrafted vase finished in salt glaze and hand painted finish abstract in design.

Kunsttöpferei Kandern (1897-1927), Bulbous vase with clay-colored gradient glaze on a black-blue ground, between 1914 and 1927. Terracotta, marked 'KTK' on the underside and identifi...

Kunsttöpferei Kandern (1897-1927), Bulbous vase with clay-colored gradient glaze on a black-blue ground, between 1914 and 1927. Terracotta, marked 'KTK' on the underside and identifi...

Piero Fornasetti Decorative plate “Tema e Variazioni” No. 21 1980 Rosenthal edition Dimensions: Ø 23.5 × h 2.5 cm

Girona. Original unique ceramic piece. La Bisbal d'Empordà, capital of the Baix Empordà region, is a town with a long pottery and pottery tradition for centuries, as well as one of t...

Albrecht was half way through his MFA program (ceramics) at the University of Iowa when he was deployed to Iraq (03-04 medic/security work). His work explores the collision of war m...

Large Madoura Pottery Ceramic Platter Stamped "MADOURA PLEIN FEU" This is not marked Picasso. It is an early piece. i am uncertain who the artist is. It appears to be an abstract fi...