Ceramic Sculptures

A porcelain sculpture by Wayne Fischer. Perfect original conditions. Signed. Unique piece. 2022. How can an inert object produce deeply unsuspecting, indecipherable, uncontrol...

A large colorful polychrome hand-made ceramic Italian Moorish bust vase or planter of a woman with a flower turban crown. Handmade and glazed in brilliant reds, greens, and yellows, this sculpture depicts the head of a lady wearing a glazed red crown topped with bright red bulbs. She wears circular yellow earrings, red lipstick, and a red necklace...

Sculpture of Mother Mermaid 1930 Lenci Italian Design with child Abele Jacobi.

A fine antique Nymphenburg porcelain figurine. Entitled "Der Gestörte Schlummer", which translates to English as "The Disturbed Slumber". After the 18th Century Frankenthal Porcelain model modeled by Johann Friedrich Lück. Depicting a sleeping gallant attended to (and being awakened by) two maidens. The gallant is sleeping on patches of grass that are supported by a stylized Rococo rocaille base. Simply a wonderful antique Nymphenburg figurine...

Highly decorative depiction of a life-size peppereater with its head turned backwards and a fruit in its beak, clinging to a leafy plant. Painted with strong color accents, on a tre...

Elaborate porcelain group of the 19th century: Young mother in elaborate Rococo clothing, seated on a magnificent Louis XVI-style armchair, resting her left foot on a low pedestal, ...

Rosenthal Art Deco porcelain figurine. Ballerina. 1930s. Measures: 23.5 x 11.5 cm. In excellent condition. Stamped.

Vienna Augarten horse Spanish riding school 'Trab' The sitting rider conducts the horse by the reins. The trotting horse depicts a figurine which is called "Trab". The model was created by Prof. Albin Döbrich...

A porcelain sculpture by Wayne Fischer. Perfect original conditions. Signed. Unique piece. 2015. 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...

Antique Victorian Staffordshire flatback figure of a young boy dressed as a sailor holding his toy boat. In lovely original condition. H 16cm...

Signed stoneware sculpture by the French sculptor Isabell Vigo. Raw , unglazed stoneware.

A very fine early 20th century terracotta bust of Alexandre Brongniart, after the original work by Jean-Antoine Houdon. Demonstrating exacting proportions & finely sculpted features...

Vintage Italian ceramic dog figurine features our cute long-eared friend sitting atop a comfy pillow. Ready to enhance the decor of his new home....

France / Circa1965s Size : W200 D100 H305 mm ? Rare work by Pal Chambost.Original vintage ceramic pitcher with brown and yellow ceramic glazes colors Imitation bamboo ceramic...

A wonderfully whimsical collection of vintage Italian Capodimonte hand-painted porcelain fruits including oranges, pears, and apples, perfe...

A superb 19th-Century English Staffordshire prancing zebra figurine. This charming zebra is hand painted with fine details and would be perfect for disp...

Hand painted glazed terracotta leopard sculpture with open mouth. Heavy sculpture, all hand painted. Good condition 1960's - Italy Dimensio...

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...

Volkstedt Rudolstadt, Germany. Porcelain figure. Reading woman in a skirt. Mid-20th century. Measures: 7 x 6 cm. In very good condition. Minim...

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...

A well-articulated pottery sculpture of a parrot perched upon a tree branch, the body of the parrot is cast in glazed porcelain, while the bottom remains bisque. raised on a ceramic plinth...

Lovely hand-painted golden pheasant porcelain figurine from the famous company of F. Karl Ens around 1920. Artfully crafted by one of the old manufactories for porcelain in Germany (...

Wonderful and detailed figure by this famous World Heritage maker. Heavily patinated, with flaking to original painted surfaces. Not cleaned, presented in as found condition.

Very Rare Art Déco Goldscheider Ceramics Figurine around 1930: Young dancer in a sleeveless top reminiscent of a bathing suit and wide trousers, a sailor hat on the short black curls, looking to the right and taking a step forward with her right leg, leaning her upper body slightly backwards, her hands relaxed in her trouser pockets. The figure is supported on the left leg, below the featured leg, by a model sailing ship...

Phyllis Morris original poodle table lamp, signed, Blue, 1952 Hollywood Regency. Iconic American Pop Design. Signed. Rare custom blue poodle. With original harp and lace shade. From the 1950s to her passing in 1988, Phyllis created hundreds of designs blending the Hollywood Regency and California eclectic styles with her interpretation of Baroque-meets-Fantasy. Phyllis Morris’ first and most iconic design was the Poodle Lamp...

A small ceramic statue of a bird in yellow, green, blue, and brown. Dimensions: 6.5" Tall 4" Wide 3" Deep.  

A good pair English Staffordshire pottery figures portraying a Seated man and woman with a Basket containing flowers dating from around 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”. Femininity and sensuality are exalted. Inspired by the body, before and after birth, or simply the sea, the parts of the sculpture conjugate around a mysterious interior cavity, secret and troubling. The interior wall doesn’t correspond to the exterior, and has its own volumes, deformities, and intimacy. The pieces present two kinds of interior: one open, and partially uncovered, the other totally hidden inside. The differences of their respective deformation reinforce the impression of life : the subjective representation of muscles and bones, of bulges pushed by an interior force, like a visceral movement of respiration. The surface of the ceramic is crackled but soft and fine, even reflecting light like the skin. The nuances of color reinforce the expression of sensuality. The alignment of technique and what it causes one to see and feel has rarely been so intimately successful. Wayne Fischer perfected his technique in the 1970s and has remained faithful to it. He adds fibers to porcelain clay that has been chosen for its whiteness to create and accentuate volume around empty space, by assembling slabs or thrown pieces. Then, he makes another piece that takes its place inside; both parts are formed with no hand...

Mid-19th century pair of French painted and glazed terracotta lions grasping oval Fleur De Lis shields while resting on shaped plinths. Circa 1840. Sculptures of lions were often ...

Superb old porcelain statue depicting the queen of the Tuaregs. Antinéa, a woman of irresistible beauty, tall, with a flawless face, a luminous complexion, immense and ardent eyes a...

A petite ceramic table sculpture was created in Brazil. Made of ceramic, and glazed in crisp white, yellow, and brown, this MCM sculpture of a Cockatiel ...

To keep her elaborate hairstyle intact while sleeping, a well-to-do Qing-dynasty woman once used this ceramic headrest as a pillow. The headrest is shaped as a crouching house cat, w...

Ceramic textured vessel with yellow glaze. The center of the vessel has an opening with hints of red navy and brown. It can be used for holding florals or a finishing piece for displ...

A fabulous pair of vintage Regency Elephants. A glazed ceramic finish with hand painted detail. Perfect for your orchids or glass of wine. You decide. Acquired from a Palm Beach estate.

Vase in ceramic, by Ettore Sottsass, 1983. The Euphrates vase, made of ceramic porcelain. This is part of the Rivers series, designed by Sottsass 1981-1988. Stamped underneath....

Chinese Qing dynasty style Blanc de chine porcelain Quan Yin or Guanyin depicted standing in a flowing robe. Constructed of Dehua porcelain fr...

Three Cubist Art Deco style musicians sculptures in ceramic. These large statues are done in a French technique called Craquele (crackle ware). They are signed and numbered “N.R” (Natacha Roche). Groups of ceramic musicians...

Continental Austrian style (19/20th Cent) white and grey Amphora porcelain figure of owl standing on base (signed).

Early 20th Century figural cast clay face mask mounted on steel stand.

Sèvres style biscuit grouping of children with flowers in landscape, of large size, In remarkable condition, highly detailed grouping, marked wit...

Circa 1960, We offer this MidCentury Mexican Ashtray made in Ceramic by Ceracto, Tlaquepaque Jalisco, Mexico.

Han Dynasty painted pottery horse and rider A Chinese Han Dynasty painted pottery horse & rider. Made from grey pottery and cold-painted in white, red and black pigments. The rider dressed as a warrior and in the pose of holding reins for the horse. Comes with a custom sturdy lucite stand. Measures: Height: 13.5 inches (33cm). Length: 13 inches Depth: 5 inches Han Dynasty (206 BC – AD 220). Condition: Very good with past restoration to legs. The great influence of the horse throughout the history of China can...

This is a rare and beautiful figure of Venus with two doves, made by the bow porcelain factory between 1756 and 1764. We see Venus standing holding her robe with one hand, a flower p...

Ceramica Art Deco Colasanta 1940 - Art - Anno: 1940 circa Colasanta firmata alla base Materiali: Ceramica firmata e smaltata Condizioni: Molto Buone Misure: Cm 44 x cm 1...

This is a beautiful pair of Derby porcelain candlestick figures of a bagpiper and a lady with lute, made between 1759 and 1769, which was the Rococo era. The pair is one of Derby's f...

A very fine and scarce antique German porcelain classical figure of a boy holding flowers by world renowned porcelain makers Meissen and dating fro...

This large ceramic figurative sculpture was made by the well known Le Bertetti company of Torino Italy in approximately 1960 in the period Mid...

A fine Art Deco Swiss Langenthal porcelain model of a lying rabbit designed by Edouard Marcel Sandoz and made in 1948. The porcelain rabbit is ha...

Extraordinary figurative piece of ceramics that represents a nude woman with really wonderful volumes and fantastic strokes reflecting the great skill and talent of the artist, hithe...

Unique and rare French Art Deco Greyhound dog, large size sculpture in ivory color, in a very good condition. Beautiful line, movements and wonderfu...

A Grayson Perry glazed ceramic hand painted Key Worker Staffordshire Figure, which is part of his "Home Worker & Key Worker" series created for the Bristol...

Spherical glazed sculpture. This studio ceramic features a blueish-green swirled glaze throughout the body and a mustard drip glaze around the top. ...

Excellent art ceramic figurine from the 1930s: Young lady with bob hairstyle standing upright, torso turned to the left and supporting both arms on the hips, in a short blue kimono with a floral pattern and high heels. Behind her between the legs is seated a harlequin doll...

A fine antique Staffordshire pottery figural flat back spill vase. In the form of a gypsy family with livestock gathered around a cookin...

Attributed to Paul pouchol Art deco ceramic sculpture woman and child Signed under the base White , yellow and black ceramic glazes colors Ori...

A delightful and scarce Royal Worcester porcelain figurine entitled Joan modelled by Freda G Doughty and dated 1935. The very young child figure stands raised on a half-moon shaped b...

An unusual Austrian art pottery sculptural figure of St Christopher carrying the Christ child across a river attributed to renowned Austrian sculptor, Ceramist, designer and teacher Michael Powolny (Austrian, 1871-1954) and probably dating between 1920 and 1930. The hand-crafted figure shows St Christopher with the Christ child on his shoulder and a wooden staff...

Crafted in the Czech Republic circa 1930, the Art Deco sculpture features a woman statue sited on the edge of a basin and filling up her water jug. The carved dish composition is in excellent condition, with a rich patinated finish, and stamped on the bottom Royal Dux. Place this decorative porcelain dish on your entry commode...