Stoneware Sculptures

Sympoiesis No 94 Vessel by Studio Viv Lee Unique and signed Dimensions: W 17 x D 9 x H 34.5 cm Materials: White Stoneware, iron glaze, underglaze, glaze. ...

Cream white glazed ceramic cat made by Bruno Gambone in the 1970s, signed Gambone Italy on the bottom.

A beautiful, decorative midcentury Rimini blue glazed fish sculpture. Designed by Aldo Londi, manufactured by Bitossi Ceramiche / Italy in the 19...

Unique piece Signed: Astoul. Master ceramicist Eric Astoul created this piece as part of a series inspired by both modern and ancient stoneware, which, with its rough firing, fli...

An abstract unglazed ceramic sculpture by Stan Bitters, c. 2006, USA. This piece features a ribbed green form at the top of the sculpture which ombres dow...

Mandrill sculpture designed by Vicke Lindstrand for Uppsala Ekeby Sweden, 1940s Stoneware. Signed. H: 31 cm / 1'' L: 43 cm / 1'' 1' 3 / 4

Lisa Larson “Polar Bear” Figurine for Gustavsberg — From the Lilla Zoo Series, 1976 A charming vintage Polar Bear figurine designed by renowned Swedish ceramic artist Lisa Larson fo...

'Dip Fold IV' is a unique sculptural vessel by the British artist Steven Edwards. In the words of the artist: “Stoneware and parian clay spheres are halved and folded together to bu...

Exploring new firing and glazing techniques and their myriad effects on traditional forms was an exciting approach for many experimental turn-of-the-century ceramists. Here the acid ...

Date / Origin: Staffordshire, England, circa 1745 – 1760 A salt-glazed seated cat with upright ears and grounded paws, holding a small brown mouse in its mouth. The figure is formed ...

Wonderful Minimalist bear form, golden speckle textured matte glaze. Over 1 foot high and 15 lbs.

A stunning and unique stoneware rooster sculpture with amazing glaze. Made by Tyra Lundgren. Executed in her own studio in Sweden, 1955. Great condition, but with a couple of chips to the base (pictured). Signed by the artist in two places, and dated 1955-06-20. Provenance: bought from the estate of the artist in 1979. Tyra Lundgren (1897-1979) was one of the most multifaceted artists and modernists of the twentieth century. She was a painter, drawer, sculptor, ceramist, glass- and textile designer, as well as an author and an art critic. She was the first woman who designed glass for Paolo Venini at Murano in Venice and she also served as the artistic leader at Arabia in Helsinki at a time when men tended to hold those kinds of positions. Tyra Lundgren grew up in Djursholm, near Stockholm. Her parents were John Petter Lundgren, professor at Veterinärinstitutet (institute of veterinary sciences) in Stockholm, and Edith Lundgren née Åberg, who was a housewife and raised their six children. The bourgeois home also comprised a nanny and a female cook. The family were very socially active, travelled often, and enjoyed the outdoor lifestyle. Tyra Lundgren’s schooling began at Djursholm coeducational school, where her teachers included Natanael and Elsa Beskow and Alice Tegnér. Her school friends included Greta Knutson-Tzara, Stellan Mörner, and Ingrid Rydbeck-Zuhr. Tyra Lundgren knew from the time she was five years old that she wanted to be an artist. She first became aware of the profession through Axel Fahlcrantz, who rented a studio on the plot of land where she lived with her family. In 1913 she began to attend Högre konstindustriella skolan (HKS, now known as Konstfack, college of arts, crafts and design) where she studied decorative art as well as handicrafts in various forms until 1917. One of her fellow students and friends there was Estrid Ericson, who later founded Svenskt Tenn AB in 1924. Whilst attending HKS Tyra Lundgren also took painting lessons at the Althin school of painting. In 1917 she was accepted as a candidate at the Royal Swedish Academy of Fine Arts where, apart from breaks during which she undertook studies abroad, she remained until 1922. She spent a couple of months taking lessons from Anton Hanak in Vienna and from 1920–1923 she was a student of André Lhote in Paris. Tyra Lundgren was primarily active in four countries: Sweden, Finland, France, and Italy. She spent much of her professional life travelling and considered herself to be a European. Greece and Mexico also formed important centres in her artistic life, as did the USA. She had an extensive social network which included focal individuals within twentieth century-European and American artistic and cultural circles. Tyra Lundgren’s main artistic motifs were birds, fish, and people which she depicted through different techniques and materials. Her artistic expression involved a variety of different directions and styles. She was a pioneer of the 1920s Swedish Grace style, the name of which had been coined by the art critic Morton Shand at the Stockholm Exhibition of 1930. This was a Swedish Art Deco style, characterised by elegance and traditional art which contrasted with the current artistic ideals of functionalism. Tyra Lundgren made her debut at a group exhibition held at Kungliga Akademien för de fria konsterna in 1921. She went on to show her work at various exhibitions throughout the 1920s. After that period she only very rarely exhibited her paintings. Tyra Lundgren’s painted output can be divided into different periods or stylistic directions. The first of these, and the most extensive, was her post-Cubist period which began in 1920 on her arrival in Paris. Her paintings from this time and right up to the mid-1930s typically comprise portraits, self-portraits, live-model painting, still-lifes, interiors, and landscapes in the Cubist style. Many of the great number of self-portraits she painted were produced in the New Objective style, displaying broad variation in terms of clothes, poses and techniques. Two of these – Huvud med vit duk and Självporträtt both from 1921 – can be seen at Moderna Museet in Stockholm, although the majority of these works are at Gotlands Museum. Tyra Lundgren’s second artistic period comprises the years of 1927 to 1929 and is characterised by the New Objective style inspired by medieval techniques and materials (Giotto, Piero della Francesca). Her motifs were still-lifes and landscapes. At this point she was living in Rome and was close to the circle involved in the Valori plastici: rivista d’arte art journal. This period saw a breakthrough in her development as a painter. From the 1950s through the 1970s her work can almost be described as belonging to the Concrete style. Using light pastel colours her paintings sought light in a sometimes non-figurative expression, but often depicting abstract bird-shapes or other nature-inspired imagery. Her paintings from this period are outsized and display powerful colours, in yellows, reds, and blues. Tyra Lundgren maintained a constant production of drawings, both in terms of individual artworks and sketches for patterns and designs. She also produced the illustrations for her book Fagert i Fide. Årstiderna på en gammal gotlandsgård, published in 1961. During her early years she also produced advertising illustrations. She spent the final years of her life primarily working with lithographs which were printed at Galleri Prisma and depicted images of doves, swallows, magpies and crows. Tyra Lundgren is meanwhile best known for her work as a ceramist and in this sphere she was one of Sweden’s leading exponents. She worked in the porcelain industry as a designer and as an artisan and ceramic sculptor. Her first job was at St Eriks Lervarufabrik in Uppsala from 1922–1924, she then worked at Arabia from 1924–1937, and at Rörstrand and Lidköping Porslinsfabrik. She was the artistic leader at Arabia ahead of the 1930 Stockholm Exhibition and she exhibited her work at the World’s Fairs. During the 1934–1938 period she was connected to the Manufacture nationale de Sèvres porcelain factory in Paris. Tyra Lundgren was a pioneer when it came to giving ceramic art a public space in Sweden. She produced around 20 outsized reliefs in stoneware, so-called monumental reliefs. One of these is Märkeskvinnor, from 1947, for the former girls’ school at Bohusgatan in Stockholm. From the 1940s onwards Tyra Lundgren produced sculptural objects in Chamotte clay and stoneware, with various glazings. Her small birds are well-known and popular with many. When her ceramic efforts became too much for her during the 1970s she then produced models for sculptures in bronze. There are six of these in various places around the globe, including Solfågel in Almedalen, Visby. Tyra Lundgren began to work as a glassware designer at Moser in Karlsbad in 1922 where she designed new table services and modernised older ones. She also worked freelance for Riihimäki factory in Finland during the 1924–1929 period. From 1934 to 1938 she was employed by Kosta glass factory where she mainly designed thick-walled bowls and vases, engraved with classical motifs. She was introduced to the glassmaker Paolo Venini at Murano during the Triennale di Milano of 1936 and they began a collaboration that lasted into the 1950s. As part of this collaboration Tyra Lundgren became the first woman to design glassware and, in conjunction with the glassblower Arturo Biasutto, she developed new techniques of glass production. Her motifs at this point were birds, fish, snail-shaped designs and leaf-patterned bowls using traditional techniques as well as in new designs. It was during this time that she created the so-called tissue-shaped bowls and it remains unclear as to who specifically came up with the design but Tyra Lundgren claimed it was of her making. Tyra Lundgren was active as textile designer for Licium (now HV Licium), the sacred textiles...

This hand built ceramic sculpture evokes many things, but mostly the game of "jacks" from my childhood, or of an abstracted image of the atomic energy symbol. Strange, evocative, pl...

Kuno Norvark (1913-1989) for Bing and Grondahl. Colossal and rare figurine of a bison in glazed stoneware. Model number 7054. Approx. 1970s Marked. Second factory quality. In very...

Centerpiece Sculpture made of stoneware by Dominique Legros Unique piece, signed. Material: Soneware, hand-polish Dimensions: H 16 x 30 x 29 cm Y...

This series of elephants/mammoths, bears, monkeys etc was designed by the Danish ceramist Knud Kyhn (KK) all the way back in 1929-36. Hugely inspired by the sung glazes applied in Ax...

A chubby and unusual Money bank pig executed in glazed studio stoneware. A unique design by the Danish ceramist Per Steffen Petersen who from the 1940s onwards worked at Kähler in De...

Dagmar Norell Sculpture by Dagmar Norell, Sweden, 1950s Signed. Stoneware and cork. H: 9 cm W: 7 cm D: 6.5 cm Base diameter: 5 cm

Egg designed by the Swedish ceramicist Hans Hedberg, who lived and worked in Biot, France. This egg is 25 cm (10") high including the stand. It do have a lovely brown and yellow colo...

Article: ceramic pottery vase. Origin: Germany. Producer: Carstens Tönnieshof, Germany. Decade: 1970s. This original vintage pottery object was designed and produced by C...

An important homage to love, this large black basalt figure is an impressive example of Wedgwood's artistry and imagination. Cupid, the ancient Roman god of love, is standing amongst billowing clouds with a pair of doves at his feet. Gazing towards earth with one hand shielding his eyes, the other hand holds an arrow. His bow and quiver rest at his side, ready to take aim. "CUPID" is etched into the base. Considered a crowning achievement of Wedgwood, black basalt was created by blending manganese with an iron-oxide rich slurry procured from coal mines called carr. In addition to the impressive color, this combination also provided additional strength and solidity. While it initially proved challenging to fire because of its weight, that same characteristic was advantageous in creating ornaments, lending stability to library...

CLAUDI CASANOVAS Ceramic model “Lluna Nova” Manufactured by Claudi Casanovas Olot, 2017 Stoneware and glaze Details Unique piece About Claudi Casanovas (b.1956) is one of the most...

A unique stoneware sculpture designed by Bertil Lundgren at Rörstrand in 1975. The sculpture is 32.5 cm (13") high and 16 x 16 cm (6.4" x 6.4"). It is in excellent condition and mark...

A massive stoneware abstract sculpture with a yellow partial glaze. Vaguely resembles a molar tooth or a couple embracing. Quite heavy and apparently unsigned. We have it set on a 54 inch diameter Eero Saarinen for Knoll Marble Top table surrounded by Laverne tulip chairs...

Article: ceramic pottery vase. Origin: Germany. Designer: Heinz Siery. Producer: Carstens Tönnieshof, Germany. Decade: 1970s. This original vi...

Stoneware woman posing distributed by Gladding, McBean. Sculpture measures 19" wide, 21" deep and 28" high. Base is 16" diameter. Sculpture is not signed but well documented. Thi...

Vintage "Man with the Bowler Hat" stoneware sculpture by David Gil for Bennington Pottery of Vermont, circa 1960s. The piece features a stonew...

A Monumental Stoneware Sculpture of the The Holy Family consists of the Child Jesus, the Virgin Mary and Saint Joseph by Georges Wasterlain (1889-1963) Georges WASTERLAIN (1889-1963...

A stoneware wall plaque in shape of a fish designed by Carl-Harry Stålhane at Rörstrand. It is 38.5 cm long (15.4") and 15.5 cm (6.2") tall. It is in excellent condition and marked a...

Article: Ceramic pottery vase Origin: Germany, GDR Producer: Strehla, Germany GDR Decade: 1970s This original vintage pottery object was designed and ...

Fantastic Polar Bear made of stoneware designed by Oscar Hartung for Ego Stengods in the 70s.

Christina Muff, Danish contemporary ceramicist (b. 1971). Tall hand-modelled cubist stoneware bust. 'Keep your head held high' from the Kilnfolk series. The glaze is cream-white ma...

Christina Muff, Danish contemporary ceramicist (b. 1971). Tall hand-modelled cubist stoneware bust. "The art of being extravagant" from the Kilnfolk series. The glaze is cream-white...

"Brick" by Lauren Klenow 2024 Geometric black glazed ceramic sculpture hand-made by the artist. 3x2.75x7.25"H Lauren Klenow is a New York based sculptor whose work incorporates b...

A wonderful stoneware pottery model of a Monkey designed by Knud Khyn for Royal Copenhagen. Knud Khyn (1880-1969) was a Danish sculptor and painter. He was an important, long-term...

This tall "Modern Totem" sculpture consists of softly rectangular rings stacked one on top of the other, on short angled feet. Another smaller angled foot shape is replicated above u...

This sculptural ceramic form is an exploration of balance, movement, and material presence. Defined by its fluid, asymmetrical silhouette, the piece evokes the human body in an abstr...

A set of 6 porcelain wall tiles / plaques designed by Olle Alberius at Rörstrand in the late 1960s. These plaques have a decor of birds, flowers and trees in a black and green/yellow...

"La Sirène" by Agnes Debizet Material: Stoneware, porcelain slip Dimensions: H 150 x 52 x 50 cm Year: 2021 Through her lens of imagination, Agnès Debizet examines the enduring fascination with material transformation and alchemical thinking in artmaking. « La Sirène » ("The Mermaid") is a large stoneware sculpture...

Staffordshire, England, circa 1745 – 1760 This charming and unusual figure depicts a seated cat, its body marbled in tones of buff, grey, and warm brown, the patterns flowing like fur beneath a translucent salt glaze. From the crown of its head rises a small candleholder—an enchanting, functional variation that transforms the cat into a decorative light for the Georgian home. The salt-glazed surface has a gentle satin sheen, enlivened by a cobalt wash brushed across the ears and shoulders, a subtle touch of color that draws the eye. The figure is compact and beautifully balanced, exuding both humor and grace: a work of wit and craftsmanship meant to charm and amuse as much as to illuminate. As a pair, this cat with candleholder and its companion cat carrying a mouse form a dialogue of light and life—one playful, one practical—representing the Staffordshire potters’ genius for turning everyday subjects into artful curiosities. Attribution and Significance Within the history of English ceramics, agateware animals represent the marriage of experimentation and domestic charm. They were objects of conversation—proof of a potter’s technical mastery and a household’s refinement. This cat, with its delicate candleholder, captures that artistic playfulness and innovation. The glaze’s clarity, the elegant pose, and the subtle marbling make it not only an artifact of mid-18th-century Staffordshire but also a small masterpiece of whimsy and craft. Scholarly Analysis and Authentication The figure is made from laminated clays of contrasting colors, known as laid agate, a technique perfected in Staffordshire workshops during the 1740s and 1750s. Strata of buff, pale grey, and iron-bearing brown clay were rolled together, pressed into a two-part mold, and luted along the spine before firing. The cat’s body thus shows true through-body marbling: the veining continues through the thickness of the clay, not merely applied on the surface. The candle socket, made from a single buff clay rather than agate, was luted to the head before glazing. This practical choice prevented distortion during firing and was a typical workshop economy seen in other mid-18th-century functional animal forms. The piece was salt-glazed in a wood- or coal-fired kiln into which common salt was introduced near peak temperature. Sodium vapor combined with the silica of the clay to form a thin, glassy coating. Here, the glaze is smooth and even, suggesting the cat was fired within a protective sagger. The underside of the figure is open, revealing the pressed-clay interior. Two or three very small stilt contacts are visible on the bottom ledge, confirming that the figure rested on kiln props during firing rather than being supported from beneath a closed base. The cobalt wash was brushed under the glaze before firing. It fuses permanently into the surface, creating soft haloes of blue wholly consistent with decoration on salt-glazed figures from the Whieldon circle circa 1750-1760. Later 19th-century reproductions employ overpainted enamels that sit atop the glaze. The open underside, authentic stratified body, integrated socket, and original cobalt staining collectively identify this as a genuine product of Staffordshire’s mid-18th-century agateware tradition, most plausibly from the orbit of Thomas Whieldon at Fenton Vivian or a closely related potter. The measured height, modelling, and marbling correspond closely to examples in the Burnap Collection (nos.. 362–363, Nelson-Atkins Museum) and Sotheby’s (2015) — “A Staffordshire agateware cat-form candlestick, circa 1755. Provenance / Condition: Current Condition: Excellent, with one ear repaired at the tip and restoration at the top of the candleholder; the glaze remains bright and continuous across the body and socket. References: Burnap Collection, English Pottery 1675–1825, nos. 362–363. Sotheby’s (2015) — “A Staffordshire agateware cat-form candlestick, circa 1755. Christie’s, London 2010, lot 82. 1stDibs “Staffordshire Agateware Pottery Saltglaze Figure of a Cat,” item ref LU95812370442 Price: $3100 Chipstone Foundation, Marbled Agateware: Techniques and Identification, 2005. Henry Sandon, Staffordshire Pottery, 1970, pp. 52–54. John Howard Antiques, Antique Agateware...

Christina Muff, Contemporary Danish ceramic artist (born 1971). Monumental sculpture, cubistic style. The stoneware surface is covered in a glossy cream-coloured glaze. Measurements...

A striking and highly decorative ceramic sculptural piece estimated to be from the 1900s, possibly originating from the renowned Søholm ceramic factory during its Skønvirke period un...

Stoneware sculpture of a stylized or abstract bird. Made by Erling and Karin Heerwagen Made in Denmark, circa 1980. 6.25 inches wide. 6.5 inches high. 4.5 inches deep.

“Gazelle” Tree by Agnès Debizet, 2002 Sculpture in stoneware and porcelain slip depicting a tree and its roots, unique piece signed and dated. Dime...

A stone object of unknown author from Japan. The stone is carved and polished. Very attractive shape and high quality nice work.

Vintage French earthenware sculpture of a man, by Albert Thiry (circa 1990s). Not one of his usual subjects, ceramicist Thiry created this figure wearing the garb and cap of a mediev...

Large spherical stoneware vase by Ingeborg and Bruno Asshoff (circa 1960s). A multi-hued overflow glaze with mulberry and turquoise sections over olive, o...

In the style of Lisa Larsson comes this chubby fella in uniform. It has delicate glazes and hilarious features like the stout nose and the jacket that splits over his stomach. It is ...

"Large Sliced Jupiter Vase" by Lauren Klenow 2024 5.5" dia. x 9.25" H Sculptural ceramic flower vase hand made by the artist using a multicolored stoneware clay. Lauren Klenow is ...

"Jupiter Vase" by Lauren Klenow 2024 7" dia. x 6" H Sculptural ceramic flower vase hand made by the artist using a stoneware clay. Lauren Klenow is a New York based sculptor whose...

Glazed organic Mid-Century Modern tactile ceramic sculpture vase by Danish ceramic artist Kirsten Günther for Knabstrup in the early 1970s. Peanut brow...

Stout, chubby and charming lumpfish / lumpsucker (Cyclopterus) in glazed stoneware. Earthy brown, grey and naturally perceived color. Executed by Axella in Denmark circa 1970. Measur...

A new series of small sculptures in the Modern Totemic vein. Not exactly humanistic, but they do have feet and personality. They are abstracted, offering a feeling of historic beings...

A masterful sculptural work blending architectural rigor with telluric expression. This exceptional grogged stoneware (grès chamotté) sculpture is an original work by the artist Jo ...

This sculptural stoneware piece from the 20th century is a distinct example of artisan work in gres, directly inspired by the natural form of a chestnut burr. The artist skillfully u...

Esther Shimazu's bald and chunky male sculpture. She uses hand-built techniques to construct clay figures using colored slips, oxides when firing, then hand sands them and rubs in pi...

This sculptural ceramic object is handcrafted in stoneware and finished with a highly textured volcanic surface that highlights its organic form. The piece features a wide, biomorphi...

A rare stoneware bird by Svend Aage Holm Sørensen made in the in the 1950s. A perfect detail. * A stoneware desk bird with brown glaze * Designer: Svend Aage Holm Sørensen * Year:...

An interesting set of oval wall platters in glazed stoneware. The subject matter is rather abstract and up for interpretation. But it seems they depicts to human beings dancing one w...

Knud Kyhn designed this sung glazed stoneware Mammoth in the 1920's for Royal Copenhagen, Denmark. This item was purchased 45 years ago at Georg Jensen in New York and is in 'as new...