Samuel Mazy Furniture

An elegant porcelain sculpture represented a woman body with mat black glaze decoration by Tim and Jacqueline Orr. Signed at the base "Tim Orr". circa 1970-1980.

A wonderfully designed and colored figurine of two playful fighting/wresting polar bears by Danish Royal Copenhagen. Stamped, numbered (2317), and signed ("OP") on the base. W...

Vintage Porcelain Bear Statue, Germany, ca 1950s Item e7269 An old porcelain bear statue, decorated with polychrome colors. Made in Germany ca. 1950s. Illegible maker's signature on ...

Beautiful German ceramic birds set up under an antique glass dome.

Francesco Raimondi, Lucky Horn, 2020 glazed earthenware, platinum and gold, hand painted, unique piece Measures: Approximate 100cm x 25 cm A cornicello It...

Brown glazed stoneware sculpture by Simone Couderc. Artist signature under the base. Circa 1990-2000. H : 9.2’ x 12.9’ x 4.3’ inches.

An elegant porcelain sculpture represented a woman body with glossy black glaze decoration. Signed at the base "Tim Orr", circa 1970-1980.

A ceramic sculpture " Bloc in motion" by Maarten Stuer. This piece can be put indoor or outdoor. Artist monogram under the base. 2020. Unique piece.

A ceramic sculpture "Bloc in motion" by Maarten Stuer. This piece can be put indoor or outdoor. Artist monogram under the base. 2020. Unique piece.

Porcelain Children Figurine by Danish designer Svend Lindhart for Bing & Grondahl. Scandinavian Modern, Made in Denmark circa 1970's. $375 for the s...

Vintage Porcelain Statue with Playing Bears, Germany, ca 1950s Item e7267 An vintage porcelain statue depicting playing bears, decorated with polychrome colors. Made in Germany ca. 1...

A porcelain sculpture by Wayne Fischer. Perfect original conditions. Signed. Unique piece. 2022. How can an inert object produce deeply unsuspecting, indecipherable, uncontrollable emotions? Wayne Fischer is an artist who can create works that force one to ask such moving questions as this. If he doesn’t know why, if he can’t explain the deepest reasons of his artistic research, he definitely knows the workings and limitations of the artistic process he invented. He has never deviated from the course he set for himself since university; translate life. The works presented here show the evolution of his creations over the past thirty years. If Wayne Fischer has received several international prizes and quickly obtained the recognition of his peers in ceramics, nevertheless he retains a singular position at once unavoidable and disturbing. His sculptures are paradoxical, powerful and sensual, and cause a certain unease. They are beautiful, carnal, touchable, all the while being outside the standard idea of beauty. The ambiguity of attraction and rejection is at the heart of this evolution. The pieces from the 1980s and 90s are imposing by their size, stature and symmetry, which give them balance. They generate surprise, curiosity and play between contrasts that are both soft and aggressive. They reference the body, muscles, and torso, without presenting an exact reality. They are double-faced, seductive, and enigmatic. Wayne’s shapes are inspired by shells, bivalves, sometimes presented as though they are floating in space. But the reference of the marine world to the mysterious female body has only one interpretation and only history and emotion condition the reaction of the spectator: he accepts or refuses to see, to be seduced. He is touched or he flees. The more recent sculptures are appreciated in the fullness of their round volume and the search for a pure universal beauty. “Metamorphosis,” the work recently awarded by the Bettencourt Foundation, is from this series of pieces wheel- thrown and deformed which pushes the porcelain from the inside so the bulges evoke the movement of waves or the musculature of several bodies. The exactness, the clean breaks, the assurance of lines and valleys are testimony to the interior power that governs the creation. The life energy expressed is also felt by the artist as the origin of ceramics. All the pieces are curved and tense. They show no marking, no sign of the hand, no imprints, and yet give an impression of spontaneity, as if a dropped piece of clay found its form by chance. Depending on the angles, the content becomes “the origins of the world...