Trout Head Porcelain Stirrup Cup, The Angler's Delight

This intriguing head fragment was once attached to a bust or full effigy figurine crafted in 400 A.D. Mesoamerica. Earthenware figurines were made in great abundance throughout Teotihuacan's history. After 250 A.D. objects made from clay increased dramatically in Teotihuacan, serving a wide variety of purposes and functions from religious rituals to burial offerings. Figurines like this commemorated important people and events within the city of Teotihuacan and other parts of Mesoamerica, portraying individuals of different rank and status such as soldiers, merchants, bureaucrats, and occasionally divinities. This figure is adorned with an elaborate headdress, a thick beaded necklace...

Enhance your table with these delicate porcelain flowers by French artist Samuel Mazy, in collaboration with Maison Nurita. This Lily of the Valley is handmade in biscuit porcelain, glazed in a custom pink for Maison Nurita, with patinated copper leaves and stems, and is placed in a rock crystal pot...

Enhance your table with these delicate porcelain flowers by French artist Samuel Mazy, in collaboration with Maison Nurita. This Lily of the Valley is handmade in biscuit porcelain, glazed in a custom pink for Maison Nurita, with patinated copper leaves and stems, and is placed in a rock crystal pot...

Enhance your table with these delicate porcelain flowers by French artist Samuel Mazy, in collaboration with Maison Nurita. This Lily of the Valley is handmade in biscuit porcelain, glazed in a custom pink for Maison Nurita, with patinated copper leaves and stems, and is placed in a rock crystal pot...

Enhance your table with these delicate porcelain flowers by French artist Samuel Mazy, in collaboration with Maison Nurita. This Lily of the Valley is handmade in biscuit porcelain, glazed in a custom pink for Maison Nurita, with patinated copper leaves and stems, and is placed in a rock crystal pot...

This intriguing head fragment was once attached to a pre-Columbian bust or full effigy figurine. Earthenware figurines like this were made in great abundance throughout Mesoamerican history, serving a wide variety of purposes and functions from religious rituals to burial offerings. Figurines like this commemorated important people and events across Mesoamerica, portraying individuals of different rank and status such as soldiers, merchants, bureaucrats, and occasionally divinities. This figure is adorned with an elaborate headdress, or coiffure, and ear spools...

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

Enhance your table with these delicate porcelain flowers by French artist Samuel Mazy. This Rose Bush is handmade in biscuit porcelain with painted copper leaves...

Enhance your table with these delicate porcelain flowers by French artist Samuel Mazy. This Rose Bush is handmade in biscuit porcelain with painted copper leaves and stems, and is pl...

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...