Ceramics

A wonderful gem of a piece by famed American/California ceramicist Beatrice Wood featuring her highly coveted, gorgeously radiant turquoise luster glaze. A beautiful design with a delicate long neck rising from a circular base. Classic and timeless. Signed by Beatrice in her customary "Beato" on the underside of the base (with noted inventory number). Would be an amazing addition to any Mid-Century Modern pottery collection or personal collectors of her work or a fabulous stand-alone accent piece in about any setting. One of the best Beatrice Wood's luster glaze vases we have come across in quite a while. Know famously in the art world as "The Mama of Dada", Wood lived a long (1893-1998) and very fruitful, creative life and is considered by many experts and collectors alike to have been a centerpiece in the modern ceramic art movement of the 1950s, 1960s, and 1970s. At one point in her career, Wood studied with master potters Otto and Gertrud Natzler and later become famed in her own right for her distinct luster-glazing techniques. In 1994, the Smithsonian Institution named Wood an "Esteemed American Artist". Her other awards include: 1994 Governor’s Awards for the Arts (California) 1993 Recognition as A Role Model by Women in Film 1992 Gold Medal for Highest Achievement in Craftsmanship, American Craft Council 1988 Distinguished Service Award, Arizona State University 1987 Fellow of American Craft Council Women’s Art Caucus, National Award (NCECA Award) 1986 Women’s Building Award 1984 Living Treasure of California 1983 Symposium Award of the Institute for Ceramic History 1961 Goodwill Ambassador from USA...

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

A very stylish studio pottery porcelain mug decorated with columns design by Susan Parkinson for the Richard Parkinson Pottery and made between 1953 an...

A pair of modernist horse figurines, made in Tonala, Mexico, is in a great vintage condition with no signs of use. The figurines are a size of large chopsticks or knife rests, but i...

This fine blue decorated hand made pottery crock. It has the original double handles and in fine condition. Minor base chip (tiny). Fantastic glaze surface. This is a large three gallon...

A ceramic sculpture with white glaze decoration representing a head by Gisele Buthod-Garçon. Perfect original conditions. Signed under the base. Circa 2017. Unique piece.

Handcrafted ceramic bowl by Mathew. Handpainted panther in light grey over blue background.

19th century decorated stoneware jug with a bird on the face. This is a New York State jug. The condition is very good.

A fine antique 18th century Dutch Delft pottery tile. Depicting a mermaid in the ocean wringing a snake with her hands. Simply a wonderful Dutch Delft tile! Date: 18th Cent...

A beautifully designed, gorgeously glazed, original ceramic three three-bead set (one burnt red, one ocean blue, one white crackle glaze) by famed mid-century American artist and potter Doyle Lane...

A beautifully designed and gorgeously glazed large stoneware Mid-century Modern low bowl by California studio pottery artist Barbara Willis (1917-2011). The elongated curved contour...

Set of six decorative blue, green and white glazed terracotta ceramic bowls Spanish Fajalauza from the 20th century made and hand painted. Fajalauza is a style that originates in th...

A relatively rare and wonderfully hand-painted charger featuring a mischievous cat by famed American/ California ceramist Beatrice Wood. The portrait of the feline features Wood's un...

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 ...

Enhance your table with these delicate porcelain flowers by French artist Samuel Mazy. This purple and blue hydrangea is handmade in glazed porcelain, with handpainted copper leaves ...

A wonderful 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) of The Memph...

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...

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...

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

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

Porcelain sculpture entitled "Solstice" . Unique piece. Signed under the base. 2022.

Porcelain sculpture entitled "Solstice". Unique piece. Signed under the base. 2022.

Turkish polychrome hand painted ceramic Kutahya decorative hanging Plate. Kütahya is famous for its kiln products, such as tiles and pottery, which...

Wall sculpture in glazed stoneware entitled « Le Crapeau » by Anne Barrès. Artist signature on the back « Anne Barrès ». 1977. Unique piece. Can be displayed both indoors and outd...

Wall sculpture entitled « Tressage » in porcelain, stoneware and rope by Anne Barrès. circa 1980-1990. Unique piece. H : 31.5’ x 31.9’ x 3.9’ inches. Approximate dimensions.

Wall sculpture entitled « Tressage » in porcelain, stoneware and rope by Anne Barrès. Circa 1970-1980. Unique piece. H : 36.6’ x 20.0’ x 2.7’ inches. Approximate dimensions.

Large glazed stoneware screen composed of 84 modular elements by Anne Barrès. 2010. Unique piece. Can be displayed both indoors and outdoors. H : 95.5’ x 93.7’ inches (claustr...

Glazed stoneware sculpture entitled « L’éffondrée bleue » by Anne Barrès. circa 2010. Unique piece. H : 22.4’ x 25.6’ x 27.5’ inches. Approximates dimensions.

Large porcelain biscuit screen with four adjustable leaves by Anne Barrès. Artist signature on the back. circa 2010. Unique piece. Patinated metal structure. H : 76.6’ x 24.8’ x 3.5...

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 ...

Chinese Antique Ming Dynasty glazed pottery figure  Ming Dynasty circa (14-16 century AD) China, The earthenware with green and yellow glaze Meas...

A wonderful and quite impressive large, heavy, hand-decorated bowl by Ohio-born Midwest American master potter/ artist Cyde Burt who early in his career studied under Maija Grotell...

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 ...

Dolores Porras Enríquez is widely known throughout Mexico and the world for being the creator of a technique rooted in the land of Oaxaca: pottery in natural color, glazed and decora...

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

Vintage handmade fully glazed Swedich midcentury modern wall platter / centrepiece with organic, floral decor depicting a gazelle with a direct gaze surrounded by vegetation in brown, ochre, green, white and bright pink colors on a striped dark blue background created with the experimental sgraffito technique that Tilgmans became famous for. Designed and handpainted in the late 1950s by Eivor Lang and manufactured by German/Finnish Paul Harald Tilgman in his workshop in the small town of Kortedala close to Gothenburg, Sweden. Milky white glaze on the base and sides with curved, muted green decor framing the image along the edge. Three holes for hanging - two in use with metal wire. Signed under base. An handpainted piece in beautiful condition. Paul Harald “Harry” Tilgmann was born in Dresden, Germany in 1904 and emigrated to Sweden during WWII where he started Tilgmans Keramik (= Ceramics) in 1948 in the small town of Utbynäs close to Gothenburg. Tilgman had 16 employees working for him and when he hired the Polish refugee Marian Zawadzki (1912-1978) as artistic director in 1953, Tilgman Keramik started experimenting with the distinct sgraffito technique. The sgraffito technique consists of carving fine lines into the background of a design through a light colored glaze down to a dark grey clay slip. This created a unique textured ground which has become a style associated with Tilgmans Keramik in particular. The decorative elements also appear to be outlined with a carved line and then hand painted with overglazes where birds, fish, flowers, butterflies and other animals were a common theme. This type of work was the most popular in midcentury Sweden alongside Tilgmans small animal figurines...

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 gorgeous, rare, and unique large stoneware vase by famed Mexican American California studio art potter Dora De Larios. De Larios was born in Los Angeles to Mexican immigrant parents. She grew up in the artistic Silver Lake district near downtown Los Angeles amongst Mexican and Nisei Japanese immigrants. As a result, De Larios was heavily influenced by ancient American...

A pretty piece of studio pottery. Unglazed and unpainted, this pitcher is created from clay and has no signature. It would be a beautiful piece for display on a shelf or table. Dim...

A wonderfully made and colored heavy bowl by Mexican born ceramic master Raul Coronel who played an important role in the American (he became a naturalized ...

Pair of large French planters. Origin France, circa 1900. Attributed roun. Excellent condition. Material: porcelain. No restorations In 1644, Nico...

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 beautiful, gorgeously formed, striking work by Japanese American, California architectural potter/ artist Kazuko Matthews. The large green glazed vase/ sculptural vessel with applied features is signed on the base by Matthews. Mathews previously studied with famed ceramists couple Otto and Vivia Heino at Chouinard and also with Raku master potter Paul Soldner at Scripps College...

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. 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...

Very tasty duo of mid-century modern birds in a stylized shape and wonderful glaze pattern. The downward looking animal has a cheerful flower pattern on both wings. The upward looki...

A wonderful Scandanavian glazed stoneware pottery footed vase by Annikki Hovisaari for Arabia Finland. This piece features a sea-like turquoise/ blue glaze and gourd-like shape. ...

A wonderful, whimsical work by Japanese American, California architectural potter/ artist Kazuko Matthews. This large black and white checkboard rhombus-shaped bowl/ vessel is signed on the base by Matthews. The piece is reminiscent of the works of Peter Shire. Mathews previously studied with famed ceramists couple Otto and Vivia Heino at Chouinard and also with Raku master potter Paul Soldner at Scripps...

Exceptional large vintage Colombian hand made clay water container / jug. Displays a fantastic native influenced design around the top.  

Vintage Mexican ceramic duck form Tonala Pottery. Beautiful vintage Mexican hand made and hand painted TONALA Art pottery. Vintage Collectible Mexican Tonala hand painted pottery bird Folk Art. El Palomar...

A ceramic cup with white and green glaze decoration by Sainte Radegonde. Perfect original conditions. Signed " D" under the base. Circa 1960.

A large and stylish unusual Norwegian brutalist studio pottery lidded vessel in the form of a tea or water pot with makers marks ODK to the base and believed to date from the mid-20t...