Ceramic Figurative Sculptures

Anneke Bogardus "Lion Face" 2023 Entirely hand sculpted. Raku fired. Finished With touches of Oil paint, Pencil, and Acrylic. 67” around, 8” Off the wall. Raku firing is an ancie...

Kensuke Yamada (b. 1979) was born in Kamakura, Kanagawa, Japan. He received his MFA from the University of Montana in 2009 and has a BA from The Evergreen State College, in Olympia,...

Artist Statement I absolutely love working with clay. Creating forms with a chunk of moist earth is a tangible way to cultivate beauty and delight. Through my work, I hope to touch ...

Subrata Biswas - Untitled - 31 x 43 Inches ( framed size ) Terracotta Subrata Biswas’s three sculptures ‘Think Green’, ‘Amigo’ and ‘City Bred’ a conscious selection of elements of f...

The three series that make up her thesis show all center around the woman as an art historical trope who becomes a contemporary archetype of tenderness and tenacity with her own narrative. The tradition of the woman as muse or object is questioned and turned upside down as she gives her women the position of subject, i.e., the position of power. The jars, which uphold pairs of women, are the ultimate overturn of male dominance as she removes and replaces all male characters from famous artworks with women...

Original Painting: Terracotta Relief With Acrylic Painting on Wood Panel Hand signed These works are paintings with a 3D carved sculpture dimension to them, fusing sculpture with painting Mixed media on board depicting a romantic couple, a woman seated on a man's lap. Mark Kanovich...

A lovely hand modelled sculpture in bas relief, depicting the head of a smiling young Parisian lady with a gleam in her eyes. The work dates from from the Belle Epoque, the art nouv...

"Don't Look at Me" Ceramic Sculpture 22" x 8" inch by Lika Brutyan Medium: Clay, Terra Sigillata Lika Brutyan is American photographer, was born in a family of scientists and artis...

This glossy ceramic balloon sculpture is a balloon for life and an art collectors piece. Its Vivid glossy color enhances sophisticated and cheerful space environment. handmade in the picturesque village Arsuf in Israel the balloon creates tension betwen ligtht vs. heavy, temporary vs. enterninty, fragilie vs. solid and more. The baloons can be installed individually as one balloon or in different combinations creating a unique installation for every space and making it an art tool...

Created in 1956, this Madoura small convex wall plaque of white earthenware clay with engraving accentuated with oxidized paraffin in a glaze bath (ivory, brown) is from the edition ...

Title: Horse - Taal Mayon Year: 1981 Medium: Terra Cotta Sculpture, signed and dated Size: 20.5 in. x 23 in. x 6 in. (52.07 cm x 58.42 cm x 15.24 cm)

Mother Holding Baby, large terra-cotta and clay sculpture. From the Totonaca culture (state of Veracruz). Modern Pre Columbian style large sculpt...

This beautiful one of a kind ceramic hand made Dallas Cowboys cap is from Yael Yanay’s latest body of works. These hand-crafted ceramic hats are meticulously designed to resemble ic...

“Animals carry strong associations that make them ideal in portraying, sometimes humorously, our basic disposition or nature. Some animals have a long cultural history while others d...

The artist says of her work... Arrested Symphony is an exhibition incorporating sculptures, reliefs, drawings and hanging works that explore the theme of injustice that is at the roots of the predatory gem and mineral excavation industry. While at a residency in Knoxville, Tennessee, I discovered that Oakridge was only 30 miles away. Oakridge played a key role in the development of the Atom Bomb and the Manhattan Project. I began an exploration and comparison of Uranium and Emeralds. These minerals look very much alike, beautiful but dangerous on their effect on civil conflict. Colombia my birthplace, has the finest Emeralds in the world. The mining of Emeralds was an important element in the continued colonization of the region. Emeralds have helped to fund the more than 60-year conflict which has taken over 450,000 lives and displaced about 5.7 million people. Uranium has brought destruction to a level which altered the future of warfare. The developments made during the Manhattan Project led to the death of about 700,000 people and its effects are still felt around the world. I use Colombia as an example, however this situation is repeating itself in many parts of the world. Sierra Leone, Liberia, the Republic of Congo, the Central African Republic and the Democratic Republic of Congo are all involved in brutal civil conflicts fueled by Blood Diamonds. This project will make visual the human cost extracted with these minerals, once exposed to the light of day they can never be unearthed. My practice is an ongoing object-based exploration through which I create artworks which are organic and improvisational constructions that are infused with hope and renewal. The hand-crafted artworks are poetically and intricately crafted, creating an intimate repository for the individual and collective memory and implement the human body as a symbol and expression of nature, vulnerability and power. The work encourages viewers to reconsider social and historical narratives especially when dealing with the aftermath of Colonialism and raises critical questions about the politics of erasure and exclusion. ESPERANZA CORTÉS is a Colombian born contemporary multidisciplinary artist based in New York City. Cortés has exhibited in the United States in solo and group exhibitions in venues including Smack Mellon Gallery, Neuberger Museum of Art, Bronx Museum of Art, Queens Museum, El Museo Del Barrio, MoMA PS1, Socrates Sculpture Park and White-box Gallery in New York City. Nationally Cortes exhibitions include Cleveland Art Museum, OH, CSU Galleries at Cleveland University, OH, Helen Day Art Center, VT and The Lorenzo Homar...

Artist/Designer; Manufacturer: Joonsang Park (b. 1977) Marking(s); notes: no marking(s) apparent Country of origin; materials: South Korean; ceramic Dimensions (H, W, D): 10.7...

Waiata, Song, ceramic sculpture, Maori art, contemporary cloaked male figure

"My process begins with a thought, a vision, a look, a trigger that draws me to the clay. Gone are the days of exhaustive preliminary sketches and maquettes, I simply visualize how I...

A Sancai, tri color glazed pottery figure of a Tang Dynasty official. Tang Dynasty (618-907 AD).

Figurative Sculpture Clay Ceramic Handmade Artist: (Garo) Karapet Balakeseryan Medium: Clay Ceramic, One of a Kind Year: 2025 Style: Impressionism, Surrealism Title: Time Belt S...

[Portland, OR b. 1971 - Hunstville, Alabama] Dirk Staschke is a full time studio artist who is best known for his exploration of Dutch Vanitas still life themes in the medium of ce...

"Moon" from the famous Series "People", ceramic and acrylic on wood panel, D: 36 inches "Moon" is comprised of 10,000 handmade pigs. The work has many different topographical feature...

This is a one of a kind original wall sculpture by San Diego artist, Cheryl Tall. Its diameter is 12 inches. A Certificate of Authenticity will follow the delivery of this piece. Th...

(MADE TO ORDER) (Hand-painted, hand-made, porcelain) *Lead Time may vary between 1-3 weeks Melanie Sherman "Small Vase" Year: 2021 Porcelain, Glaze, China...

A set of figurative sculptures, ceramic in greens and browns by an unknown Chinese artist. The piece is from the Ming Dynasty and is unsigned.

"Lichtenstein's Portrait of a Woman " is a direct reference to the iconic Roy Lichtenstein's 1979 painting of the same name. Kaplan's ceramic sculpture brings a three dimensionality to Lichtenstein's painting. Sandy Kaplan Lichtenstein's Portrait of a Woman ceramic, glaze 13h x 9w x 6d in 33.02h x 22.86w x 15.24d cm SAK014 Sandy Kaplan b. 1943, St. Louis, MO 2021 Maturity and Its Muse, Art Saint Louis 2020 Storytellers Exhibit, Art Saint Louis 2019 SOFA Chicago, Gallery Victor Armendariz, Navy Pier, Chicago, IL Honors Exhibit, Art Saint Louis Anthony Bourdain - Parts Unknown: Ceramic Centric, Foundry Arts Ctr, St. Charles, MO Current Profiles, Craft Alliance Center, St. Louis, MO 2018 SOFA Chicago, Gallery Victor Armendariz, Navy Pier, Chicago, IL Maturity and Its Muse, Art Saint Louis Works from the Studios, Craft Alliance, St. Louis, MO Drawn From Life: Artful Aging, Washington University, St. Louis, MO 2017 3-D, Gallery Victor Armendariz, Chicago, IL SOFA Chicago, Gallery Victor Armendariz, Navy Pier, Chicago, IL 2016 Works from the Studio, Craft Alliance, St. Louis, MO A Moveable Feast Exhibit, Oak Park Art League, Oak Park, IL Maturity and Its Muse, Art Saint Louis 2015 Writers Round Table, Craft Alliance Gallery, St. Louis, MO 2014 Save the Last Dance for Me, Art Saint Louis XXX...

Vendedor de pájaros - Bird seller Made with natural clay, copper wire and polychrome painting. Hand-modeled technique and cooked in an oven. LISTING =================================== 1 Ceramic Sculpture of a Bird seller =================================== DETAILS =================================== Time of Preparation: 2.5 months Made: Izuca de Matamoros, Puebla, México. Dimensions: 8" x 10" x 5" in or 20 x 25 x 13 cm Artisan: Taller Alfonso Castillo Orta...

This remarkably fluid terracotta bozetto was made in preparation for Pietro Pacilli’s most important public commission, a large-scale marble statue of San Camillo de Lellis for the nave of St Peter’s Basilica in Rome. Expressively modelled, this terracotta sculpture is a rare and significant work made by a major Roman sculptor at a transformative moment of European sculpture. Pacilli began his working life on the great Baroque decorative projects initiated in the seventeenth century, but he found success as a restorer of ancient sculpture working to finish antiquities for a tourist market, becoming an important figure in the emergence of an archaeologically minded Neoclassicism. Pacilli trained Vincenzo Pacetti and provided important decorative work for the Museo Pio-Clementino, at the same time he is recorded restoring some of the most celebrated antiquities excavated and exported during the period. Pacilli was born into a family of Roman craftsmen, his father Carlo was a wood carver, and Pacilli is recorded working with him on the Corsini Chapel in San Giovanni Laternao as early as 1735. In 1738 his terracotta model of Joseph and Potiphar’s Wife won the first prize in the second class of the sculpture concorso at the Accademia di San Luca, this is particularly notable as Bartolomeo Cavaceppi came third. He worked as a carver and stuccoist completing works for the churches of San Marco and SS. Trinita dei Domeniciani Spagnoli. Pacilli operated as a sculptor and restorer of antiquities from his studio at the top of the Spanish Steps, close to Santa Trinita dei Monti, where he is listed as a potential vendor to the Museo Pio-Clementino in 1770. In 1763 Pacilli completed a silver figure of San Venanzio for the treasury of San Venanzio. He is recorded as Pacetti’s first master and it was evidently through Pacilli that he began to acquire his facility as a restorer of ancient sculpture. Pacilli, at his studio ‘poco prima dell’Arco della Regina alla Trinita dei Monti,’ exercised, what the nineteenth-century scholar, Adolf Michaelis called ‘rejuvenating arts’ on several important pieces of classical sculpture, including in 1760 the group of a Satyr with a Flute for the natural brother of George III, General Wallmoden, Hanovarian minister at Vienna. In 1765, Dallaway and Michaelis record that Pacilli was responsible for the restorations, including the addition of a new head, to the Barberini Venus which he had acquired from Gavin Hamilton. The Venus was then sold to Thomas Jenkins, who in turn passed it on to William Weddell at Newby Hall. In 1767 Pacilli exported a series of ancient busts ‘al naturale’ including portraits of Antinous, Julius Ceaser and Marus Aurelius, also a statue of a Muse and a Venus. As early as 1756 Pacilli seems to have been operating as an antiquarian, helping to disperse the collection of the Villa Borrioni. Pacilli supplied sculpture to notable British collectors, including Charles Townley, who on his first trip to Italy purchased the Palazzo Giustiniani statue of Hecate from Pacilli. Pacilli was involved with the Museo Pio Clementino from its conception, supplying busts of Julius Ceaser and a Roman Woman as well as completing stucco putti surmounting the arms of Pope Bendedict XIV to signal the entrance to the new Museo Critiano. In 1750 Il Diario Ordinario del Chracas announced that Pacilli had begun work on a sculpture of San Camillo de Lellis for St Peter’s. Camillo de Lellis founded his congregation, the Camillians, with their distinctive red felt crosses stitched on black habits in 1591. Having served as a soldier in the Venetian army, Camillo de Lellis became a novitiate of the Capuchin friars, he moved to Rome and established a religious community for the purpose of caring for the sick. In 1586 Pope Sixtus V formerly recognised the Camillians and assigned them to the Church of Santa Maria Maddalena in Rome. Camillo de Lellis died in 1614 and was entombed at Santa Maria Maddalena, he was canonised by Benedict XIV on June 26, 1746. It was an occasion that prompted the Camillians to make a number of significant artistic commissions, including two canvases by Pierre Subleyras showing episodes from San Camillo’s life which they presented to Benedict XIV. In 1750 Pacilli was commissioned to fill one of the large niches on the north wall of the nave with a sculpture of San Camillo. The present terracotta bozetto presumably had two important functions, to enable Pacilli to work out his ideas for the finished sculpture and at the same time to show his design to the various commissioning bodies. In this case it would have been Cardinal Alessandro Albani and Monsignor Giovan Francesco Olivieri, the ‘economo’ or treasurer of the fabric of St Peter’s. Previously unrecorded, this terracotta relates to a smaller, less finished model which has recently been identified as being Pacilli’s first idea for his statue of San Camillo. Preserved in Palazzo Venezia, in Rome, the terracotta shows San Camillo with his left hand clutching his vestments to his breast; the pose and action more deliberate and contained than the finished sculpture. In producing the present terracotta Pacilli has expanded and energised the figure. San Camillo is shown with his left hand extended, his head turned to the right, apparently in an attempt to look east down the nave of St Peter’s. The model shows Pacilli experimenting with San Camillo’s costume; prominently on his breast is the red cross of his order, whilst a sense of animation is injected into the figure through the billowing cloak which is pulled across the saint’s projecting right leg. The power of the restrained, axial contrapposto of bent right leg and outstretched left arm, is diminished in the final sculpture where a baroque fussiness is introduced to the drapery. What Pacilli’s terracotta demonstrates, is that he conceived the figure of San Camillo very much in line with the immediate tradition of depicting single figures in St Peter’s; the rhetorical gesture of dynamic saint, arm outstretched, book in hand, head pointed upwards was perhaps borrowed from Camillo Rusconi’s 1733 sculpture of St. Ignatius...

Water Lilies In The Pond With Pots of Flowers (ashtray) By David Hockney David Hockney, a prominent British artist, is celebrated for his versatile and innovative contributions to ...

This red glossy ceramic balloon sculpture is a balloon for life and an art collectors piece. Its Vivid glossy color enhances sophisticated and cheerful space environment. handmade in the picturesque village Arsuf in Israel the balloon creates tension betwen ligtht vs. heavy, temporary vs. enterninty, fragilie vs. solid and more. The baloons can be installed individually as one balloon or in different combinations creating a unique installation for every space and making it an art tool for designers and architects as well as home owners. Harmony and grandeur characterize the work of Reli Smith...

Glossy ceramic balloon sculpture is a balloon for life and an art collectors piece. Its Vivid glossy color enhances sophisticated and cheerful space environment. handmade in the pict...

This aubergine glossy ceramic balloon sculpture is a balloon for life and an art collectors piece. Its Vivid glossy color enhances sophisticated and cheerful space environment. handm...

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.

Picasso Quatre Poissons Polychromes (Four Polychrome Fishes), 1947 is a wondrous mixture of color and charm. In the center of the dish are three fish, e...

Molly Schulps is an artist and educator living in both California and Oregon. She grew up in Southern California and was deeply influenced by her father who was a successful educator...

Jean Cocteau (1889-1963) céramiques originales de Jean Cocteau . Pendentifs : "Chèvre-pied " 1958. pendentif ovale (9cm x7cm) . variante terre blanche en relief. " double masque " 1...

This Totem by Marc Zimmerman is currently on display at Earthbound Farm, nestled in California's Carmel Valley. Farm features including chickens ,birds and various produce form the ...

The artist says of her work... Arrested Symphony is an exhibition incorporating sculptures, reliefs, drawings and hanging works that explore the theme of injustice that is at the roots of the predatory gem and mineral excavation industry. While at a residency in Knoxville, Tennessee, I discovered that Oakridge was only 30 miles away. Oakridge played a key role in the development of the Atom Bomb and the Manhattan Project. I began an exploration and comparison of Uranium and Emeralds. These minerals look very much alike, beautiful but dangerous on their effect on civil conflict. Colombia my birthplace, has the finest Emeralds in the world. The mining of Emeralds was an important element in the continued colonization of the region. Emeralds have helped to fund the more than 60-year conflict which has taken over 450,000 lives and displaced about 5.7 million people. Uranium has brought destruction to a level which altered the future of warfare. The developments made during the Manhattan Project led to the death of about 700,000 people and its effects are still felt around the world. I use Colombia as an example, however this situation is repeating itself in many parts of the world. Sierra Leone, Liberia, the Republic of Congo, the Central African Republic and the Democratic Republic of Congo are all involved in brutal civil conflicts fueled by Blood Diamonds. This project will make visual the human cost extracted with these minerals, once exposed to the light of day they can never be unearthed. My practice is an ongoing object-based exploration through which I create artworks which are organic and improvisational constructions that are infused with hope and renewal. The hand-crafted artworks are poetically and intricately crafted, creating an intimate repository for the individual and collective memory and implement the human body as a symbol and expression of nature, vulnerability and power. The work encourages viewers to reconsider social and historical narratives especially when dealing with the aftermath of Colonialism and raises critical questions about the politics of erasure and exclusion. ESPERANZA CORTÉS is a Colombian born contemporary multidisciplinary artist based in New York City. Cortés has exhibited in the United States in solo and group exhibitions in venues including Smack Mellon Gallery, Neuberger Museum of Art, Bronx Museum of Art, Queens Museum, El Museo Del Barrio, MoMA PS1, Socrates Sculpture Park and White-box Gallery in New York City. Nationally Cortes exhibitions include Cleveland Art Museum, OH, CSU Galleries at Cleveland University, OH, Helen Day Art Center, VT and The Lorenzo Homar...

Created in 1953, ceramic Picador A.R. 200 is a round plate of white earthenware clay with oxidized paraffin decoration (brown, green, white) in a stanniferous enamel bath...

"Lovers 1" Ceramic Abstract Sculpture 23" x 9" inch by Lika Brutyan Medium: Clay, Terra Sigillata Lika Brutyan is American photographer, was born in a family of scientists and arti...

This beautiful Buddha sculpture is made of ceramic covered with glossy car paint. It is part of an edition of 25 and comes in other colors as well. Easy to h...

EDITION Monogrammed inside on the nickel silver plaque: FXL Bears the date-stamp (19)75 in blue from the Manufacture de Sèvres and the mentions in hollow JB 919 P AA9 inside the base...

ROBERT BRADY - UNTITLED DUCK stoneware 14.5 x 15.25 x 4.25” date unknown

'We surround ourselves with elements from nature in the form of manicured lawns, sculpted trees, and our domesticated companions. We bend the natural world to our tastes and create a...

Bear paws in glazed and cracked ceramic PIED FUMEUR BY MATHIEU MATEGOT
 Lacquered metal and rattan base 7 x 18 x 18 cm (Paw) 55 x 32 x 30 cm (Smoking Foot) 63 x 32 cm (Set)

Royal Doulton Figurine - Coralie HN2307 This exquisite porcelain sculpture by Royal Doulton features the stunning figure of Coralie, beautiful...

Artist Statement I absolutely love working with clay. Creating forms with a chunk of moist earth is a tangible way to cultivate beauty and delight. Through my work, I hope to touch ...

Anneke Bogardus "Moon Face №1" 2022 Entirely Hand Sculpted. Fired in a Gas Kiln. 58” Diameter, 18” Long, 18” Wide About the Artist Anneke Bogardus sculptures embody nature and ...

This aubergine glossy ceramic balloon sculpture is a balloon for life and an art collectors piece. Its Vivid glossy color enhances sophisticated and cheerful space environment. handm...

Capturing the moment in which the picador stabs the charging bull with his lance, Picasso creates an image of action and suspense in Pablo Picasso ceramic Picador...

This new work by Tal Nehoray is from her latest body of works called "Happy Pills". All are hand made with ceramic and hand painted with automotive paint. It is a combination of 3 ce...

Manolo Valdes Reina Mariana IV (Las Meninas), 2022 Limoges Porcelain 35 × 23.5 × 17.8 cm (13.8 × 9.3 × 7 in) Edition of 199 In mint condition Images of edition number are example re...

Created in 1952, Pablo Picasso Tete de chevre de profil (Goats head in Profile) Unique color Variant, 1952, A.R. 154 is an original white earthe...

At the edge (with Maurice) is a unique smoke-fired stoneware sculpture by French contemporary artist Cécile Raynal, dimensions are 155 × 128 × 58 cm (61 × 50.4 × 22.8 in). Dimensions...

This beautiful Buddha sculpture is made of ceramic covered with glossy car paint. It is part of an edition of 25 and comes in other colors as well. Easy to h...

**Diogenes.** **Terracotta sculpture, 1939, Giorgio Rossi (1894-1981): Tuscan Sculptor.** **Material:** Hand-modeled terracotta by the artist. **Unique piece.** **Dimensions...

Waylande Gregory (American, 1905-1971) Polo Player, c. 1930s Ceramic Inscribed signature on bottom 11 x 8.5 inches Waylande Gregory was considered a major American sculptor during the 1930's, although he worked in ceramics, rather than in the more traditional bronze or marble. Exhibiting his ceramic works at such significant American venues for sculpture as the Whitney Museum of American Art in New York City and at the venerable Pennsylvania Academy of the Fine Arts in Philadelphia, he also showed his ceramic sculptures at leading New York City galleries. Gregory was the first modern ceramist to create large scale ceramic sculptures, some measuring more than 70 inches in height. Similar to the technique developed by the ancient Etruscans, he fired his monumental ceramic sculptures only once. Gregory was born in 1905 in Baxter Springs, Kansas and was something of a prodigy. Growing up on a ranch near a Cherokee reservation, Gregory first became interested in ceramics as a child during a native American burial that he had witnessed. He was also musically inclined. In fact, his mother had been a concert pianist and had given her son lessons. At eleven, he was enrolled as a student at the Kansas State Teacher's College, where he studied carpentry and crafts, including ceramics. Gregory's early development as a sculptor was shaped by the encouragement and instruction of Lorado Taft, who was considered both a major American sculptor as well as a leading American sculpture instructor. In fact, Taft's earlier students included such significant sculptors as Bessie Potter Vonnoh and Janet Scudder. But, Taft and his students had primarily worked in bronze or stone, not in clay; and, Gregory's earliest sculptural works were also not in ceramics. In 1924, Gregory moved to Chicago where he caught the attention of Taft. Gregory was invited by Taft to study with him privately for 18 months and to live and work with him at his famed "Midway Studios." The elegant studio was a complex of 13 rooms that overlooked a courtyard. Taft may have been responsible for getting the young man interested in creating large scale sculpture. However, by the 1920's, Taft's brand of academic sculpture was no longer considered progressive. Instead, Gregory was attracted to the latest trends appearing in the United States and Europe. In 1928 he visited Europe with Taft and other students. "Kid Gregory," as he was called, was soon hired by Guy Cowan, the founder of the Cowan Pottery in Cleveland, Ohio, to become the company's only full time employee. From 1928 to 1932, Gregory served as the chief designer and sculptor at the Cowan Pottery. Just as Gregory learned about the process of creating sculpture from Taft, he literally learned about ceramics from Cowan. Cowan was one of the first graduates of Alfred, the New York School of Clayworking and Ceramics. Alfred had one of the first programs in production pottery. Cowan may have known about pottery production, but he had limited sculptural skills, as he was lacking training in sculpture. The focus of the Cowan Pottery would be on limited edition, table top or mantle sculptures. Two of the most successful of these were Gregory's "Nautch Dancer," (fig. 1) and his "Burlesque Dancer," (fig. 2). He based both sculptures on the dancing of Gilda Gray, a Ziegfield Follies girl. Gilda Gray was of Polish origin and came to the United States as a child. By 1922, she would become one of the most popular stars in the Follies. After losing her assets in the stock market crash of 1929, she accepted other bookings outside of New York, including Cleveland, which was where Gregory first saw her onstage. She allowed Gregory to make sketches of her performances from the wings of the theatre. She explained to Gregory, "I'm too restless to pose." Gray became noted for her nautch dance, an East Indian folk dance. A nautch is a tight, fitted dress that would curl at the bottom and act like a hoop. This sculpture does not focus on Gray's face at all, but is more of a portrait of her nautch dance. It is very curvilinear, really made of a series of arches that connect in a most feminine way. Gregory created his "Burlesque Dancer" at about the same time as "Nautch Dancer." As with the "Nautch Dancer," he focused on the movements of the body rather than on a facial portrait of Gray. Although Gregory never revealed the identity of his model for "Burlesque Dancer," a clue to her identity is revealed in the sculpture's earlier title, "Shimmy Dance." The dancer who was credited for creating the shimmy dance was also Gilda Gray. According to dance legend, Gray introduced the shimmy when she sang the "Star Spangled Banner" and forgot some of the lyrics, so, in her embarrassment, started shaking her shoulders and hips but she did not move her legs. Such movement seems to relate to the "Burlesque Dancer" sculpture, where repeated triangular forms extend from the upper torso and hips. This rapid movement suggests the influence of Italian Futurism, as well as the planar motion of Alexander Archipenko, a sculptor whom Gregory much admired. The Cowan Pottery was a victim of the great depression, and in 1932, Gregory changed careers as a sculptor in the ceramics industry to that of an instructor at the Cranbrook Academy in Bloomfield Hills, Michigan. Cranbrook was perhaps the most prestigious place to study modern design in America. Its faculty included the architect Eliel Saarinen and sculptor Carl Milles. Although Gregory was only at Cranbrook for one and one half years, he created some of his finest works there, including his "Kansas Madonna" (fig. 3). But, after arriving at Cranbrook, the Gregory's had to face emerging financial pressures. Although Gregory and his wife were provided with complimentary lodgings, all other income had to stem from the sale of artworks and tuition from students that he, himself, had to solicit. Gregory had many people assisting him with production methods at the Cowan Pottery, but now worked largely by himself. And although he still used molds, especially in creating porcelain works, many of his major new sculptures would be unique and sculpted by hand, as is true of "Kansas Madonna." The scale of Gregory's works were getting notably larger at Cranbrook than at Cowan. Gregory left the surface of "Kansas Madonna" totally unglazed. Although some might object to using a religious title to depict a horse nursing its colt, it was considered one of Gregory's most successful works. In fact, it had a whole color page illustration in an article about ceramic sculpture titled, "The Art with the Inferiority Complex," Fortune Magazine, December, 1937. The article notes the sculpture was romantic and expressive and the sculpture was priced at $1,500.00; the most expensive sculpture in the article. Gregory was from Kansas, and "Kansas Madonna" should be considered a major sculptural document of Regionalism. Gregory and his wife Yolande moved to New Jersey in the summer of 1933. And the artist began construction on his new home in the Watchung Mountains of Bound Brook (Warren today) in 1938. His enormous, custom kiln was probably constructed at the start of 1938. Gregory's new sculptures were the largest ceramic sculptures in western art, in modern times. To create these works of ceramic virtuosity, the artist developed a "honeycomb" technique, in which an infrastructure of compartments was covered by a ceramic "skin." Science and atomic energy were a theme in Gregory's most significant work, the "Fountain of the Atom" (fig. 4), at the 1939 New York's World Fair. This major work included twelve monumental ceramic figures at the fairground entrance from the newly constructed railway entrance, giving the work great visibility and prominence. The framework of the fountain itself was of steel and glass bricks. It consisted of a bluish green pool which was sixty five feet in diameter. Above it were two concentric circular tiers, or terraces, as Gregory called them; the first wider than the second. On the first terrace were eight "Electrons," comprised of four male and four female terra cotta figures, each approximately 48 inches high. These relate to the valance shell of the atom. Above them on a narrower terrace, were the much larger and heavier terra cotta figures depicting the four elements, each averaging about 78 inches in height and weighing about a ton and a half. Of the four, "Water" and "Air" were male, while "Earth" and "Fire" were female. This terrace represents the nucleus of the atom. In the center of the fountain, above the "Elements," was a central shaft comprised of sixteen glass tubes from which water tumbled down from tier to tier. At the top, a colorful flame burned constantly. The glass block tiers were lit from within, the whole creating a glowing and gurgling effect. Since the fair was temporary, the figures could be removed after its closing. But the credit for the design of the structure of the fountain belongs to collaborator Nembhard Culin, who was responsible for several other structures on the fair grounds as well. Although Gregory created a figure of "Fire" for the "Fountain of the Atom," he also executed a second, slightly smaller but more defined version which he exhibited at various locations (including Cranbrook, Baltimore Museum, etc.) in 1940-1941, during the second year of the fair (fig.5). Measuring 61 inches in height, "Fire" may be a metaphor for sexual energy, as well as atomic energy. Gregory stated, "Fire is represented by an aquiline female figure being consumed in endless arabesques of flame." Portraiture was also a significant focus of Gregory's sculpture. Gregory produced many commissioned portraits of local people as well as celebrities. He created Albert Einstein's portrait from life (fig. 6, ca. 1940) after Einstein had seen Gregory's "Fountain of the Atom." He also sculpted some of the leading figures in entertainment, including 2 sculptures of Henry Fonda, who became a personal friend. Gregory also sculpted a series of idealized female heads, both in terra cotta and in porcelain. These include "Girl with Olive" (ca. 1932) and "Cretan Girl;"(ca. 1937) both are very reductive and almost abstract works that call to mind Constantine Brancusi's "Mademoiselle Pogany" (1912, Philadelphia Museum of Art). But perhaps one of his most original female heads is "Head of a Child" (fig. 7, ca. 1933), a sensitive white glazed terra cotta portrayal with elaborately crafted braded hair, was originally created as one of a pair. Gregory also produced sculptural works for the Works Progress Administration. The WPA was a work relief project that greatly helped artists during the great depression. Founded by the Federal Government in 1935, an estimated 2500 murals were produced. Among these public works were the iconic post office murals. But, among the painted murals were also sculptural relief murals including Gregory's "R.F.D.," 1938, for the Columbus, Kansas Post Office. But, Gregory's largest WPA relief...

Artisan: Enedina Vaszquez Cruz MASTERPIECE Made with natural clay. Hand-modeled technique and cooked in a wood-fired oven.  - Dimensions: 19" x 19" x 13" in or 47 x 49 x 34 cm - ...

The ceramic sculptures of SunKoo Yuh are composed of tight groupings of various forms including plants, animals, fish, and human figures. While Korean art, Buddhism, and Confucian be...

Miniature wall sculpture created by Ruth Vidal, currently part of the "Côte à Côte" exhibition at the Vilaño de Camariñas Lighthouse, on the Galician Costa da Morte. The artist focus...

“Misanthrope” – A Contemporary Ceramic Sculpture of Solitude and Strength “Misanthrope” is a ceramic bust of a wolf, mounted on a metal base, evoking the timeless structures of huma...

This swarovski magen david ceramic balloon sculpture is a balloon for life and an art collectors piece. Its Vivid glossy color enhances sophisticated and cheerful space environment. ...

The ceramic sculptures of SunKoo Yuh are composed of tight groupings of various forms including plants, animals, fish, and human figures. While Korean art, Buddhism, and Confucian be...

Artist Statement I absolutely love working with clay. Creating forms with a chunk of moist earth is a tangible way to cultivate beauty and delight. Through my work, I hope to touch ...

1997 6 x 30 x 29 cm Ceramic signed on the back

Jeff Koons, Yellow Balloon Dog, 1995-2002 Porcelain with original box and plastic stand 26.7 × 26.7 × 12.7 cm (10 1/2 × 10 1/2 × 5 in) Edition of 2300 Jeff Koons released Balloon...

Anneke Bogardus "Moon Face №2" 2022 Entirely hand sculpted. Raku fired. 47 3/4” around, 15 1/4” Long, 15” Wide, 6 1/2” Off the wall Raku firing is an ancient Japanese ceramics t...

Eathenware; glazed 5 x 5

Bubbling Smiles Bullet Sculpture, a one-of-a-kind, hand-crafted ceramic art piece that is sure to add a unique and cheerful touch to any home or offic...

"People", 2015, Terra-cotta on wood panel, 48" x 48" x 4 inches "People" is comprised of 12,000 handmade pigs. The work has many different topographical features and is visually stri...

French centerpiece from the first half of the 20th century. Finely chiseled terracotta object with masks (faces with different expressions, see photo) and figures of lateral cherubs ...

Robin has worked with clay since the age of eleven. Her sculptures have ranged in size from life sized sculptures to the diminutive porcelain pieces. She has been a resident artist a...

Louis Oury (1867 - 1940) L’Aiglon, 1899 Terracotta with polychromatic patina Signed on the shoulder and Seal from Goldscheider on the reverse Dimensions : 65 x 40 x 30 cm (25 x 15 3/...