Ceramics

Stoneware studio pottery 'split pod' form designed by Alan Wallwork (British, 1931-2019) and dating from around 1980. The heavily made sculptural pod sta...

19th century Lewis Jones Pittston PA. Fine 3-gallon blue cobalt decorated stoneware crock. Stamped with maker’s mark. Hand Brisked cobalt floral decor...

A wonderful and scarce work by famed Los Angeles (Echo Park), California based artist Peter Shire who was a founding member (along with Italian designer Ettore Sottsass and others) o...

Italian ceramic Essevi Sandro Vacchetti 1930 Dutch little girl Collectible ceramic produced by the famous Sardinian sculptor Sandro Vacchetti in the thirties, it is in an very good ...

Beautiful blue ceramic jug in national folk ornaments in white color. Handmade in Czechoslovakia in 1950s. The jug shows off a typical folk pattern and colors. Original condition. Th...

A fine antique English Staffordshire pottery figurine. Depicting a seated Spaniel. With confetti fur and painted black highlights. Simply a wonderful Staffordshire dog figurine...

A rare and fine quality pair of 19th century Meissen porcelain nodding Pagodas, each with wonderful bold coloured hand painted decoration, wit...

Vintage Mexican Tonala hand painted pottery bird Folk Art. Flora de la Cruz Acapulco Gro Mexico hand painted bird dove ceramic. Warm earth tone polychrome colors with abstract desi...

Famed California Mid-Century Modern artist Beatrice Wood signed bowl featuring a unique pink lava glaze and piercing blue crackle glass in the cente...

A pair of Meissen Hoopoe birds naturalistically modelled perched on leafy tree stumps after the models by J J Kandler with blue crossed sword marks, 19th century. Batch 71 61579 ...

Ceramic plate features a square shape with turned up corners. The plate is glazed in a soft cream and beige coloring with speckling throughout. The piece is finished with two hand pa...

A fine vintage Winchcombe press-molded baking dish decorated with trailed slip designs attributable to Michael Cardew (British, 1901-1983) and probably ...

A fine quality pair of late 19th century Meissen porcelain Nodding Pagodas, each with wonderful bold coloring moving heads, tongues and hands....

A truly gorgeous and wonderfully crafted large art bowl by Swiss American sculptor/artist/ceramicist Paul Ami Bonifas (1893-1967). The glaze on this par...

Ceramic vase by Arnold Zahner, circa 1960s, Rheinfelden, Switzerland. This vase features a blue glossy crackle glaze throughout. The neck has a ribbed detailing and tulip opening. Ar...

Moroccan ceramic urn with lid, blue with copper color. Modern form with clean lines, textured design. Great to use in the kitchen or in the bath...

Théodore Deck (1823-1891), ceramic vase, signed, circa 1870.

Elegant white and blue plate made with the Talavera technique. Artist, Cesar Torres portraits the colonial art of Mexico. The Talavera is not just a simple painted ceramic: its exquisite decoration is the product of a delicate process of alchemy that translates into fine enamels. In Puebla, Mexico few people still produce using Talavera with the ancestral techniques. One of those few is Cesar Torres, Don Cesar learned his art in the workshop of the Uriarte family, an excellent workshop where his grandfather worked. In his creations he uses the black and white mud that is obtained from the nearby hills of Loreto and Guadalupe, and colors of mineral origin that he creates in his workshop with recipes from his grandfather. All the pieces are modeled in a traditional way and go through a production process that usually takes from one to two months, between drying, burning, and painting. Being surrounded by a living tradition, Cesar Torres Jr., learned from his father since childhood. Architect by profession, Cesar Jr. has come to revolutionize and modernize with new designs and ideas of the current world, nevertheless always respecting the tradition of the processes and materials that make Talavera a Creole art...

This unique polychrome Native American seed pot is round in form and decorated in an array of geometric shapes with a figural design on top. The colors are de...

A stunning Canadian studio pottery miniature bowl decorated in yellow glazes with an associated pottery stand by Lane Gordon Thorlaksson (Canadian, 1937-2009) dated 1976. Lane Gordon Thorlaksson was born in 1937 in Winnipeg, Manitoba and moved to Vancouver as a child. In his twenties, he represented Canada in the 1959 Chicago Pan-American Games, running alongside Henry 'Harry' Winston Jerome in both the 100 yard and 220-yard dash. Following this, he attended San Jose University of California and in 1966 received a BFA in Ceramics. Working with clay was Thorlaksson’s passion. He was fascinated with Asian ceramics, in particular the Song dynasty Chinese pot forms and glazes. In 1985, the Mayor of Vancouver, Mike Harcourt, visited China on a goodwill mission for the twinning of Vancouver with Guangzhou China. As gifts, he took with him several of Thorlaksson’s ceramics and presented them to Cao Yun-ping, Secretary-General of the People's Municipal Government of Guangzhou. The pieces were well received and local Chinese potters were interested to learn about his glazing techniques. In 1987, Thorlaksson was invited to visit China’s Guangzhou University to exhibit more of his work. He was aided in this exchange by Joanne Mah, the Director of Intercultural Training and Educational Consultants (ITEC), who had worked with the Harcourt exchange. In 1988, she and her husband sponsored a pre-gallery showing of Thorlaksson’s ceramics at the ITEC’s Hong Kong office, prior to an exhibition at Alvin Gallery in Hong Kong. Thorlaksson was celebrated and introduced to academics and the media, including the head of ceramics at the Guangzhou Institute of Fine Arts. Local Chinese potters were eager to learn about his firing techniques, which used multiple firings to create special glaze characteristics. They were also intrigued to understand how he designed his own stands as an integrated part of his presentation. Unlike Asian potters who used wooden stands, Thorlaksson produced his stands in clay, matching each stand in aesthetic and tone to its pot. This two-part process elevated his pieces to sculpture. He believed that ceramics should be viewed as fine art and not craft. He was inspired by the female form and was quoted as saying 'Most potters make pots; I make parts of people'. The bowl is of wide squat rounded form with a fold over rim and is decorated in pale yellow glazes over a brown ground and stands on a narrow round unglazed foot. The design is probably based and inspired by a Chinese brush washer...

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...

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

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 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...

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 pretty one-of-a-kind Americana Revival petite ceramic hand-made studio pottery vase. Created from ceramic, this vase reminds of stoneware and is round in form. The top of the piece...

A gorgeously crafted, beautifully glazed, Mid-Century Modern curved bowl by California master ceramist Rupert Deese who worked closely with pottery legend Harrison Mcintosh. Signed with Deese's cipher/ stamp on the base. Would be a great addition to any Mid-Century Modern ceramics and pottery collection or a very eye-catching stand-alone accent piece in about any setting. Deese's work can be found in numerous collections and museums including: Museum of Fine Arts, Boston, Boston Everson Museum, Syracuse, New York Henry Art Gallery, University of Washington, Seattle Long Beach Museum of Art, Long Beach, California Los Angeles County Museum of Art, Los Angeles Maloof Foundation, Alta Loma, California Millard Sheets Collection, Gualala, California Mingei International Museum, San Diego Nora Eccles Harrison Museum of Art, Logan, Utah Renwick Gallery, Smithsonian Institution, Washington, DC Richard & Alice Petterson Museum, Claremont, California Roger Corsaw...

A wonderful, original hand painted ceramic tile plaque by famed artist Pablo Picasso titled "Tete Polychrome". The work features an abstract face w...

A wall ceramic sculpture with white and green glazes decoration. In the style of sainte radegonde. Perfect original conditions. Circa 1960.

This matching set of four 19thc sponge ware mush cups and saucers are in pristine condition.Many different shades of blues.Found in Pennsylvania private collection. Sold as a set of Four cups...

Create a sculptural arrangement of organic shapes, combining style statement and functionality with these Italian vintage earthenware Art pieces: a group of 4 Mid-Century Modern different ceramics is available, 3 vases and a bowl/catch-all, by Bertoncello and designer Roberto Rigon, showing inspiration from Barbara Hepworth and Henry Moore work. This particular postmodern sculpture bowl is quite innovative in its aerodynamic shape for the period and particularly in the mid-20th-century ceramic sector, glazed in a beige terracotta...

Circa 1800 Spanish Majolica Faience centerpiece bowl or charger. This charming collectible antique painted ceramic dish is decorated with a large rear facing bull and with polychrom...

Delightful studio pottery raku glazed figure of a resting pig dating from the 20th century. The hollow hand-crafted ceramic pig is simply detailed in a lying position with its head r...

A truly magnificent in size and execution Japanese stoneware studio pottery charger/bowl. This exceptionally large and heavy asymmetrical work features a circular swirl design patter...

Vessel is instantly recognizable as the work of Wishon-Harrell artist Frank Wilett. The circular appliqué pieces are instantly a giveaway. The lid is an unusual shape that mimics the...

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

A very fine stoneware cup decorated in experimental glazes by renowned ceramic artist Eric James Mellon (British, 1925-2014) and dated 2006. Trained at the Central School of Arts and...

A very stylish graduated trio of gourd shaped studio pottery vases decorated in turquoise glazes and probably dating from the latter 20th century. The stoneware vases are finely hand...

We are delighted to offer for sale this one of a kind, fully signed, original circa 1930 Roger Guerin ceramic pots of large proportions with Deer decoration and handles I have three posts for sale, one has a stitched detailing, another, fleur de lis and lastly one with handles and Deers, this sale is for the pot pictured alone. Roger Guèrin (1896-1954) was one of the leading Belgian ceramists in Bouffioulx near Charleroi. Typical was his use of flowing glazes in his decorations. He was true to the history of this region, often working on a type of hard ceramic (fired to over 1250 degrees Celsius) which was made there since the late Middle Ages. He exhibited at the Paris expos...

A wonderfully made and beautifully designed Mid-Century Modern pottery charger by famed California potter and sculptor Robert Maxwell. Maxwell co-founded Earthgender pottery with fellow potter David Cressey. This charger/platter was made at his Venice beach, California Pottery studio in the early 1960s as verified by his wife. It is a very rare piece in respect to design, pattern, and sheer Size/heft (it is a very heavy work). We have not seen another quite like it. Apparently, he only made a few with some filled with melted glass to create the design/pattern. Signed by Maxwell on the base. Would clearly be a great addition to any mid-century pottery/ceramics collection...

This is a 19th-century Intaglio Tassie - A seal with the bust of a man on it. Thick gilt paper wrapped around the edge mimicking a frame. There are a few tiny faults in the mold but ...

Ceramic Mask attributed to Jean Austruy, France, 1960s Custom made pedestal.

Holly Curcio is a ceramics artist from Massachusetts. She earned her MFA in ceramics from Arizona State University and her BFA in ceramics from the University of Massachusetts, Dartmouth. Curcio's abstract 'cloud' form whimsically plays with subtle color, texture and shape and was part of her solo exhibition "Suspending Disbelief," at Harry Wood...

Mata Ortiz polychrome pottery vessel Rito Talvera Quezada 1989 Hand-coiled low fire clay Pueblo Quezada, Mata Ortiz, Chihuahua, Mexico.

Slipware marriage plate. decorated with the key to unlock the heart of love. France Circa 1780. Probably unique, made specifically for the happy couple as a...

VG presents a collection of classic sculptures which revisits the techniques of pop art. The original work is taken apart; a few details are then removed and highlighted, becoming t...

Interesting hand thrown Japanese studio pottery creamware vase with a craquelure glaze by Takeshi Yasuda (Japanese, b.1943) dating from the 1980’s. The ...

Famed California Mid-Century Modern artist Beatrice wood signed bowl featuring her highly coveted deep ash blue iridescent lustre/luster glaze. In certain light, the glaze radiates as a purple hue in some areas. The glaze runs down the sides and gathers in areas underneath. This piece comes with an interesting history/ provenance. This piece came from Beatrice's personal collection. She was using it as a coin and key holder in her Ojai house which accounts for the cracks in the glaze. It was gifted to Maria Anderson who assisted Beatrice around her home. We considered having the work restored but because of its history feel that it offers more value to the next owner as shown. This was apparently the condition it was given in as Wood was famous for noting about her work that objects that are not quite perfect are simply that...perfect because of their imperfections. A very Wabi-Sabi view. Flawed Beauty. We love the piece and the history. Signed with her customary "Beato" on the underside. Would be an amazing addition to any collection of her work or a fabulous, eye-catching Stand-alone piece in any setting, Mid-Century Modern or otherwise. Know famously in the art world as "The Mama of Dada...

A rare and unusual antique English large salt glazed stoneware jug modelled a a thatched cottage by Brampton and dating from around 1820. The six sided jug stands raised on a molded ...

Jeanne de Monvel - Jeanne Pierlot Original 1950 ceramic pitcher by Jeanne de Monvel wife of Norbert Pierlot White and red ceramic glaze color Signed under the base Circa ...

Mata Ortiz polychrome pottery vessel Ramiro Veloz Sr., Master Potter 1990 Hand-Coiled low fire clay Pueblo Quezada, Mata Ortiz, Chihuahua, Mexico An extraordinary ultra thin walled ...

A rare and unusual studio pottery head sculpted by renowned ceramic artist Eric James Mellon (British, 1925-2014) and dated 1963. Trained at the Central S...

Ceramic lamp in the style of Georges Pelletier, circa 1950/1960. Double lighting, interior, exterior.  

A decorative incised brown seed pot by Hopi pottery artist Carla Claw Nampeyo (b. 1961). Markings include [CR Claw Nampeyo] carved to base. Very good cond...

A stylish English studio pottery teapot and cover decorated in green ash glazes by renowned potter Mike Dodd (British, b. 1943) and dating from t...

A stunning studio ceramic porcelain squat shaped miniature rounded vase decorated in a brown stained craquelure glazed finish on a white ground by renowned Cambridgeshire based potte...

This is a wonderful Folk Art collection of Mexican traditional Day-of-the-Dead ceramic figures. Although unsigned these figures are in the style of the Aguilar Family of Oaxacan pott...

A wonderful free-form organic bowl vessel by acclaimed British potter Peter Simpson. Simpson's works, such as this early piece, are inspired by organ...