Ceramics

Mask by Accolay pottery, active between 1947 and 1983, signed

Charcoal Petal Gourd I by Julie Nelson -One Of A Kind- Dimensions: D 28 x H 22 cm Materials: Ceramic stoneware and porcelain. Artist Julie Nelson uses the materiality of clay as a m...

Ceramic panel with 7 tiles including: 4 characters with Venetian mask and musical instruments and 3 with light points. The composition is hand-painted with pure gold trim, made by Ot...

A tall, stoneware ribbed cylindrical vase with imperfect forest green glaze on the body's ribbed portion. This would easily fit in sitting empty on a shelf as a decorative object, or...

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. 2007. 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”. 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...

Star petal gourd III by Julie Nelson One Of A Kind Dimensions: D 22 x H 26.5 cm Materials: Ceramic stoneware and porcelain Artist Julie Nelson uses ...

Napolean III. Late 19th Century Majolica. Beautiful condition. Age appropriate wear, see detailed photos or message us with questions.

A ceramic sculpture "Bloc in motion" by Maarten Stuer. This piece can be put indoor or outdoor. Artist monogram under the base. 2020. Unique piece.

A ceramic sculpture "Bloc in motion" by Maarten Stuer. This piece can be put indoor or outdoor. Artist monogram under the base. 2020. Unique piece.

Mask by Accolay Pottery, active between 1945 and 1983, signed

Benjamin and Miriam, founders of Objekti, discovered the pines on a trip to Mexico and fell instantly in love with these unique and rare pieces. The pine, a symbol long associated wi...

Square ashtray from the 50's by the French ceramist Jean Derval from Vallauris. Very nice glazing on the whole ashtray with a stylized drawing of a bird in the centre. Signature of t...

Very Large Moroccan Ceramic Platter (2026.2) Very Large Moroccan Ceramic Platter. Made in the Atlas mountains these huge platters are a labour of love. They are hand formed and hand ...

Very stylish drip glazed Folk Art vase This beautiful pottery Vase, dating from the 1960s, has an attractive and colourful drip painted decoration, it has a glazed finish and in...

This fine, round, dark grey vessel depicts a complete figure which is rare. It was made by the Mangbetu People. The Mangbetu ethnic group lives deep in the...

Benjamin and Miriam, founders of Objekti, discovered the pines on a trip to Mexico and fell instantly in love with these unique and rare pieces. The pine, a symbol long associated wi...

Benjamin and Miriam, founders of Objekti, discovered the pines on a trip to Mexico and fell instantly in love with these unique and rare pieces. The pine, a symbol long associated wi...

Ceramic mask, Vallauris, France, 1960s Custom made pedestal.

Large Tuscan vintage Italian decorative plate. Completely handcrafted and hand-painted with wonderful bright colors by skilled artisans in Tuscany, this large Italian ceramic round d...

Ceramic Mask, Accolay, France, 1960s Accolay was a pottery center in France, north of Burgundy, founded amongst others, by 4 students of Alexandre Kostanda. Active between 1945 and 1...

Fantastic vintage Postmodern charger. Brilliant hand painted glazed ceramic with an impressive size. Signed on the back. Acquired from a Palm Beach estate.

Ivory Petal Gourd IV by Julie Nelson One Of A Kind Dimensions: D 34 x H 32 cm Materials: Ceramic stoneware and porcelain Artist Julie Nelson uses th...

Ochre mid pentacle III by Julie Nelson. One of a kind. Dimensions: W 24 x D 30 x H 22 cm. Materials: ceramic stoneware and porcelain. Artist Julie Nelson...

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

Imagine a drink only drunk in weddings between royalty, accompanying the dead in their transit to the underworld, and celebrating military victories or successful commercial expediti...

Natural feldspathic, wood-ash glazed ceramic vessel with four small handles and a flared mouth. OUR REFERENCE N7597  

A painted terra cotta rooster.

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

Ivory pentacle IX by Julie Nelson One of a Kind Dimensions: W 36 x D 38 x H 26 cm Materials: Ceramic stoneware and porcelain Artist Julie Nelson use...

This handmade vase was designed and made by the collaboration of Spanish designers Carlos Jiménez, better known as `“Del Amor y la Belleza”´´, and Ranma. The vase is made of ceramic...

Ashtray series "Wave" Ettore Sottsass, 1969 u2028Glazed ceramic ashtray, designed by Ettore Sottsass in 1969 for the Onda series. The work is made of ceramic with cinnabar red glaze,...

Crank clay with oxide H23 x D7 cm

Wood fired stoneware H19 x W7 x D4.5 cm

Stoneware H34 cm

Stoneware, with mixed glazes H9.5 x D12 cm

Impressed mark H41 x D25 cm

Glass H24 x D8 cm

Porcelain H51 x D16 cm

Tenmoku and kaki stoneware glaze with wax resist H29.5 cm

Decorated earthenware H16 x W24 x D17 cm

Hand-built crank clay with oxide H32 x D30 cm

Stoneware H38 x W16 x D16

Inlaid crank clays with oxides H46 x D34 cm

Blown glassware H25 x D8 cm, 921 ml

c.2010 Tall rectangular stoneware bottle covered in tenmoku and kaki glaze H28.5 x W10 x D6 cm

Stoneware with polychrome decoration H60 x D12 cm

Slip decorated earthenware H23 x W9 x D11 cm

2017 Glazed ceramic H51 x D31 cm

The practice of sgraffito is on full display on this plate made by ceramic artist Wayne L Bates. After spending decades teaching at various arts institut...

Ceramic in the shape of a unicorn by Dominique Pouchain.

Francesco Raimondi, Lucky Horn, 2020 glazed earthenware, platinum and gold, hand painted, unique piece Measures: Approximate 100cm x 25 cm A cornicello It...

Unique 1950s sculptural Perignem ceramic wall plaque made by F. Sanchez (signed). This beauty comes in charcoal black with sophisticated red and green colors. Signed on the backside ...

Rare and original ceramic bottle, signed and located in Vallauris, circa 1950/1960.

Late 19th century, a very rare French antique Wall Pocket vase in faience fine, tin-glazed enamel earthenware, in excellent condition. This piece is entirely hand-painted with the hi...

Rita Alaoui is a French-Moroccan artist who lives and works in Paris. She is a graduate of Parsons School of Design in New York City. She seeks to explore and rethink our relationshi...

Wisques Abbey, 2 enamelled stoneware lamps circa 1960 Measure: 35x22 cm 20 x 13 cm.

1970’s Rorstrand Bertil Lundgren art pottery bowl 1970’s Rorstrand Bertil Lundgren art pottery bowl. Handmade in Sweden by Rorstrand. Rorstrand is the second oldest brand of ceramic...

Vintage Mata Ortiz Tadpole Fetish Pot Cesar Dominguez (b. 1961 - ) 1989 Hand-Coiled low fire clay Mata Ortiz, Chihuahua, Mexico This miniature Tadpole Fetish Pot is a rare and very early example (1989) from this first generation Mata Ortiz acknowledged Master Potter, Cesar Dominguez, who began his work in 1984. His pottery is widely collected and his repertoire is huge, from differently colored colored intricately decorated stone -polished ollas to plates, to bowls, to marbleized pottery...