Ceramic More Art

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Ceramic Bowl, signed by artist. 16.5" x 18"

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...

Smiling Woman is a hand-made ceramic dish, hand-painted and realized by the artist, Anastasia Kurakina in 2019. Signed and dated on the back at the center. This is a wonderful art...

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Ceramic vase designed by Paul Dachsel for Amphora featuring delicate gold cross-hatching and relief elements to evoke peacock feathers. Polished gold glaze around mouth, on handles, and base relief...

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, ...

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 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...

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

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...

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...

Willow Tree Plate is an original decorative limited edition porcelain plate realized in the 1990s. This beautiful and very rare plate was produced for Hous...

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...

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...

This naturalistic ceramic vase by Dümler & Breiden features a scalloped mouth that evokes both clams and waves, along with undulating, sand-colored glaze elements with hints of ocean...

This Earthenware Vessel is believed to be Tarahumara (from Northern Mexico). The artist and date of creation is unknown. It measures approximately 11.5 x 10 inches. Dried animal hide...

Ceramic and powdered steel

Skuldelev Vessel Stoneware with tenmoku glaze

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 ...

Carved folk art vase, with hand-painted bright cloisonné enamel embellishments. The form's contrasting glazes amplify its intricate carvings and mottled texture. Stamped Amphora in t...

Porcelain plate (Edition of 3000) This artwork is offered by ClampArt, located in New York City.

The Untitled Blue Plate, (IKB 54), was executed in 1957 at a pivotal moment in Yves Klein’s career, the same year in which he perfected the production of the colour-matter that he wo...

Jar with lid Stoneware with volcanic ash glaze

This piece is unique in a series of only seven made. Wall-hanging sculpture, Torino, Italy, ca. 1965; Copper-washed ironwork and welded spill castings, metallic enameled copper; sign...

'Bowl (Blue & White)' is a hand-thrown glazed stoneware bowl made by Mark Shekore, signed with his last name on the bottom of the piece. 3.75 x 8.75 in Mark Shekore attended the Un...

Graphic symbol of the manufacture with “Winterling Markleuthem Bavaria” in green; “Made in France” in gold; “Hermès - Paris”. Have a band bordered by two ribbons with geometric motif...

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...

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...

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...

Hand Thrown Glazed Stoneware signed on bottom by Robert Piper 3 1/2 x 5 1/2"dia.

Drop. Small abstract sculpture from porcelain, h 16 cm Elina Titane represents the younger generation of modern ceramic art in Latvia. Emoti...

This is a one of a kind original cup made by southern California artist, Ron Carlson. Its dimensions are 5 x 2.5 x 2.5 in (L x H x D). A certificate of authenticity will follow deliv...

Glazed stoneware, wheel thrown with hand-built slabs, signed on the bottom by Dennis McLaughlin. 7' x 10" diameter McLaughlin’s artistic sensibilit...

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...

A pair of exceptional earthenware vases by Clément Massier in a unique rectangular form, featuring albino peacock feathers enhanced by accents of purple and gold glazing. As Massier ...

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...

Kunsttöpferei Kandern (1897-1927), Thrown vase with two layers of glaze, between 1914 and 1927, terracotta, marked 'KTK' on the underside and marked as model number '781', 19 cm (hei...

"Bowl (Olive Green)" is a hand-thrown glazed stoneware bowl made by Mark Shekore, signed with his last name on the bottom of the piece. 9 1/8" x 8" diameter Mark Shekore attended ...

Stunning ceramic thermometer by French ceramicist Mithé Esplet

Unique earthenware bowl featuring a pair of golden Egyptian sphinxes and stylized purple flowers in an incised pattern, with an iridescent glaze of rich green, blue, and purple hues....

Following the release of the first “Upside Down Face Vase”, Parra presents the latest addition to the series. This female counterpart marks the conclusion of these iconic vases. Where the first edition stood out because of its boldness, this bird girl exhibits remarkable elegance and sophistication. Long red flowing hair forms the base of the hand painted ceramic sculpture, with her graceful neck embracing your bouquet of flowers. Dutch illustrator, painter, and animator Piet Parra...

Vase 2017. Stone mass, 14x15.5x12 cm

Earthy, textured water lily leaf vase with gilted, figural stem arms which encircle the golden mouth of the piece with their flowers. Stamped Ernst Wahliss and numbered in the base. ...

Figure - Girl, h 28 cm This artistic piece captures the essence of a young girl in a three-dimensional form, adding beauty and charm to any space. Crafted from ceramic, a versatile...

Apple topper totem delights the viewer in royal blue with strong color accents. The colums are carved in great detail, yet simplicity prevails. The apple finalizes the design with ir...

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.

Birds 2009, painted porcelain plate, diam. 20.5 cm The central focus of the plate is the depiction of two birds surrounded by blooming flowers. The artist has skillfully painted the birds, capturing their graceful forms and vibrant colors. The flowers add a touch of beauty and provide a visually appealing backdrop for the avian subjects. The combination of birds, blooming flowers, and the mysterious...

This is a one of a kind original functional vessel made by southern California artist, Ron Carlson. Its dimensions are 3.75 x 1.5 in (L x H). A certificate of authenticity will follow delivery. Lead free; hand washing highly recommended. Safe for microwave use...

This is a one of a kind original functional vessel made by southern California artist, Ron Carlson. Its dimensions are 3 x 2.5 in (L x H). A certificate of authenticity will follow d...

This is a one of a kind original function vessel made by southern California artist, Ron Carlson. Its dimensions are 3.5 x 1.88 x 3.5 in (L x H x D). A certificate of authenticity wi...

“Agapanthes” Mirror, stamped and enameled midnight-blue clay with agapanthes on a blue background. Lined on the back with green felt.

Vase blue flower. 2017. Stone mass, h 13 cm, diam. 15.5 cm

"Medium Yellow Hive", Contemporary, Ceramic, Sculpture, Design, Stoneware, Glaze