Ceramic Sculpture of a Bathing Female by Hendrick Grise

This 1969 resin sculpture by Li Ching embodies an aesthetic of purity. The form of the cat, reduced to continuous curves and a smooth surface, avoids any anecdotal detail. It is not ...

Capistrano Gemma Taccogna, a Mexican artist of Italian descent, left a distinctive mark in folk art with her mastery of papier-mâché for the small one, and of ceramic for the big one, which she transformed into an illusion of porcelain. Her style is immediately recognizable: faces with clean features, large, stylized eyes outlined in black, and a playful approach to form. These two vases, attributed to Taccogna, evoke Russian dolls known as Matryoshkas, due to the way the faces are painted, associated with the archetype of the mother of a large family, a symbol of motherhood and fertility. The larger one, a mix of ceramics and papier-mâché, and the smaller one, entirely made of papier-mâché, share this common aesthetic, reinforced by generous, solid shapes. Their gazes seem to observe without truly concentrating, as if absorbed in a distant thought. This lack of focus gives them a presence that is both peaceful and enigmatic, suspended between wakefulness and dream. The relief necklaces, applied with a deliberately naïve touch, add a sculptural dimension to the whole. The matte, textured material contrasts with the porcelain-like visual effect. One of the vases is signed "Bunny Price" and dated 1964, while the other remains anonymous. However, their attribution is unquestionable. Presented together, these vases belong to the movement of the Mexican craft...

This ceramic female nude sculpture may be artist signed, but illegible, but clearly identified as originating from Italy and dating to approximately 1950 and done in the period Mid-C...

Frank Schillo. “Ausschnitte,” 2008. Impressed artist’s signature to underside. Dated. Each part ca. 21.8 in. h x 11.2 in. w x 4.2 in. d