Pablo Picasso

Sujet Poisson (A.R. 139). Ceramic Stamped Madoura Plein Feu, Edition Picasso

1952

PABLO PICASSO (1881-1973) Trois poissons sur fond gris (A.R. 396) stamped, marked and numbered 'Edition Picasso / Madoura Plein Feu / N 106 / Edition Picasso / 80/175' (underneath) t...

PABLO PICASSO Spanish, 1881-1973 CHOPE VISAGE (A.R. 432) stamped and marked 'Edition Picasso / Madoura Plein Feu / Edition Picasso / 268/300 / Madoura' (...

PABLO PICASSO (1881-1973) LE BARBU (A.R. 217) stamped and marked 'Edition Picasso/Madoura Plein Feu/Edition Picasso/Madoura' (underneath) white earthenware ceramic pitcher, partially engraved, with colored engobe and glaze Height: 12¾ in. (31.5 cm.) Conceived in 1953 and executed in an edition of 500 LITERATURE: - Ramié, Alain: Picasso, Catalogue of the Edited...

PABLO PICASSO (1881-1973) Hibou rouge sur fond noir (A.R. 399) stamped, marked and numbered 'Madoura Plein Feu / Edition Picasso / N 103 / Edition Picasso / 1/150 / Madoura' (underne...

Pablo Picasso (1881-1973) Sujet colombe (A.R. 435) stamped, marked and numbered 'Edition Picasso / Madoura Plein Feu / Edition Picasso / 188/500 / Madoura' (...

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...

Robert Fournier (1915-2008), stoneware, tall flattened, bottle, circa 1960-1965 - This bottle is from the same series as No.2008.658.18 in the Metrop...

Alan Wallwork (1931-2019): Organic landscape sculptural vessel, 1960-1965 -Exhibiting the articulated, inventive, organic qualities & tactility of Wallwork’s early oeuvre for which he is best known - This sculptural landscape vessel has been handmade by coiling, slabbing and shaping the clay. The totemic form and pitted and pierced surfaces draw on the abstract landscape and tactility of elements in nature. matte glazes and oxides have been skillfully used to enhance the rich textures of the surfaces and the organic aesthetic. - Wallwork is one of the great individualists in British pottery, developing an archetypal language that echoed some of the wider artistic obsessions of that period, what the art critic Herbert Read called the “postwar ferment” of sculptural activity. - This piece was made during 1960-1965, the time that Wallwork was sharing a studio in Greenwich with Bernard Rooke and comes from a private collection along with a waterscape vase by Rooke and a bottle by Robert Fournier...

Rare and wonderful mid-century modern ceramic wall hanging by Marianna von Allesch. Incised design on ceramic panel. Signed lower right corner. Me...

(Note: This work is part of our exhibition Connected by Creativity: WPA Era Works from the Collection of Leata and Edward Beatty Rowan) Glazed and incised ceramic, 8 ½ inches diamet...

Paire Bougeoirs Elephant, Candle Stick, Animal, Ceramic, Lalanne, Design Paire Bougeoirs Elephant Ed. 80 pcs 1985 Glazed ceramic and copper with original boxes 15 x 15.3 x 6 cm / 5....

“Untitled” ceramic, is an example of the kind of work by which John Glick became so famous. He was seduced by the effects of the reduction kiln, which decreased the levels of oxygen during firing, inducing the flame to pull oxygen out of the clay and glazes changing the colors of the glazes depending on their iron and copper content. In this way he achieved the rich gradients of ochre and umber and variations in stippling and opacity. This piece is signed on the bottom and can be found on page 129, plate #236 in “John Glick: A Legacy in Clay.” John was an American Abstract Expressionist ceramicist born in Detroit, MI. Though open to artistic experimentation, Glick was most influenced by the styles and aesthetics of Asian pottery—an inspiration that shows in his use of decorative patterns and glaze choices. He has said that he is attracted to simplicity, as well as complexity: my work continually reflects my re-examination that these two poles can coexist… or not, in a given series. Glick also took influences from master potters of Japan, notably Shoji Hamada and Kanjrio Kawai, blending their gestural embellishments of simple forms with attitudes of Abstract Expressionism. He was particularly drown to the work of Helen Frankenthaler whose soak-stain style resonated with Glick’s multi-layered glaze surfaces, which juxtaposed veils of atmospheric color with gestural marks and pattern. He spent countless hours developing and making his own tools in order to achieve previously unseen results in his work with clay and glaze. Glick’s “Plum Tree Pottery...