Unglazed Clay

Large handmade modern brutalist stoneware lamp by Belka Stentøj in the 1960s. Raw and unglazed

triangular shaped base of chamotte clay is left unglazed apart from an abstract white decoration with a speck

Artistic Double Gourd form Raku pottery vase, unglazed diagonal ribbon exposing black clay body

blossoms are plum color, with areas of the original clay vessel left unglazed, giving the bowl a raw and

horizontal slip decoration, created through a layered throwing process that allows contrasting clay tones to

the top. The footing on both the underplate and the tureen is unglazed, in white clay. Marked at the

unglazed tan clay. This is a striking piece that looks wonderful as part of a group, or independently on a

• Color: White with black clay accent • Finish: Crackle glaze with raw unglazed top • Signed: Yes

. Finished in a vibrant blue glaze across the main body, it contrasts beautifully with the raw, unglazed

and more uniform across the upper body, darker and more mottled toward the base, where the unglazed

. Laura’s pieces are sculpture, celebrating asymmetry, raw textures, and the intrinsic qualities of clay

. Laura’s pieces are sculpture, celebrating asymmetry, raw textures, and the intrinsic qualities of clay

. Laura’s pieces are sculpture, celebrating asymmetry, raw textures, and the intrinsic qualities of clay

consistent with age and use. The base is unglazed, showing the stoneware clay body.Such bottles were both

consistent with age and use. The base is unglazed, showing the stoneware clay body.Such bottles were both

authentic handcrafted origin. The unglazed white clay base features a subtle artist’s cipher, ensuring its

, finished in cream and light- and dark-brown glazes, contrasted by unglazed raw clay at the base. Retains

. Laura’s pieces are sculpture, celebrating asymmetry, raw textures, and the intrinsic qualities of clay

nuanced green, grey, and earthy brown tones that beautifully reveal the underlying clay body. The unglazed

, giving a natural, sculptural aesthetic. Left unglazed to enhance the texture of the clay and the

unglazed base reveals the raw clay body and bears the artist’s impressed seal, adding to its authenticity

. Laura’s pieces are sculpture, celebrating asymmetry, raw textures, and the intrinsic qualities of clay

textural pottery traditions. The unglazed base reveals natural terracotta clay, further emphasizing its

. Laura’s pieces are sculpture, celebrating asymmetry, raw textures, and the intrinsic qualities of clay

glazed near the rim, and the unglazed base reveals the natural clay body, consistent with studio ceramic

for substantial plants or sculptural arrangements. The interiors are left unglazed, revealing the

interior surface, while the edges and underside are left unglazed, revealing the natural clay. This

glaze variations that underscore its unique, one-of-a-kind artisanal nature. The bottom remains unglazed

. Laura’s pieces are sculpture, celebrating asymmetry, raw textures, and the intrinsic qualities of clay

glaze variations that underscore its unique, one-of-a-kind artisanal nature. The bottom remains unglazed

inspiration from tribal, Southwestern, and ethnographic decorative styles. The unglazed base and visible clay

. The base of the bowl is unglazed, and the exposed clay shows an iron rich red color. The celadon glaze

. Laura’s pieces are sculpture, celebrating asymmetry, raw textures, and the intrinsic qualities of clay

. Laura’s pieces are sculpture, celebrating asymmetry, raw textures, and the intrinsic qualities of clay

remains largely unglazed, revealing raw clay with visible throwing marks and mineral residue, while a

handmade nature of the piece. The base is left unglazed, revealing the clay body and kiln firing marks

sculpture, celebrating asymmetry, raw textures, and the intrinsic qualities of clay. Often left unglazed to

texture characteristic of Bang’s stoneware. The unglazed interior and the exposed clay band reveal the

lines that surround the entire body and the top of the form. These incisions reveal the natural raw clay

unglazed red clay and original Gainey Ceramics stamp. Whether used to house a large architectural specimen

tall. The piece is in great vintage condition, showcasing an unglazed reddish-brown clay foot that

scalloped rim, typical of provincial craftsmanship. The interior remains unglazed in its natural warm clay

ridges with a thin band of unglazed raw clay at the foot. The white glaze in sections is dull, streaky

deep relief carved ridges with a thin band of unglazed raw clay at the foot. Signed with a Rosenthal

interior. The lower half remains unglazed, exposing the pale clay body with organic drip lines and

surface has an elemental feel. The unglazed treatment of clay, as well as its reduction of form is likely

stoneware clay, indicating it was fired at high tempatures. The base shows the unglazed earthy tone of the

intrinsic qualities of clay. Often left unglazed to honor the material in its purest form, her works bear

intrinsic qualities of clay. Often left unglazed to honor the material in its purest form, her works bear

an unglazed natural warm brown clay interior and exterior.  The petite table planter has a large

. Marbled creams & brown/reddish brown clays. Comingled solid clays unglazed on rockers indicative of this

intrinsic qualities of clay. Often left unglazed to honor the material in its purest form, her works bear

collection of imaginary creatures to follow. The sculptural candelabra is made of unglazed, white

textures, and the intrinsic qualities of clay. Often left unglazed to honor the material in its purest form

cut, leaving the reddish clay body unglazed; the exposed areas show oxidation typical of excavated

textures, and the intrinsic qualities of clay. Often left unglazed to honor the material in its purest form

textures, and the intrinsic qualities of clay. Often left unglazed to honor the material in its purest form