Ceramics

Clement Massier, art nouveau flower spike, Vallauris circa 1900.

The Silver Crane Company English Ceramic Parker Pen Pottery Desk Tidy Wear consistent with age and use Collector - Advertising pencil case - desk A scarce novelty ceramic lidded desk tidy modeled as a Parker fountain pen...

The RIPPLE tile by MAKHNO Product is a unique 3D ceramic tile that mimics the serene movement of water ripples. When light falls on the tile, the 3D effect is further emphasized, cr...

Napoleon III Late 19th Century Majolica Pig Unique piece purchased in France. Age appropriate wear, see detailed photos or message us with questions.

"Roger Capron" tile set, Vallauris. Measures: 30x60 fresco. 8 Tiles of 15x15cm. In a perfect state. Beautiful thickness almost 1 cm.

Vase "Voie Lactée I" by Jean François Reboul (1952): Vase made out of enameled ceramic using Raku technique. "Certificate of Authenticity" provided by the gallery. Dimensions: D 10 ...

These handmade decorative accessories combine the traditional Portuguese ceramic and glazing techniques in a modern approach of shapes and color, as they bring such brightness and jo...

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.  

Important glazed stoneware sculpture entitled « Flétrie » by Anne Barrès. circa 2010. Unique piece. Can be displayed both indoors and outdoors. H : 33.5’ x 22.8’ x 22.8’ inches...

These handmade decorative accessories combine the traditional Portuguese ceramic and glazing techniques in a modern approach of shapes and color, as they bring such brightness and jo...

20th century signed French ceramic by Adrée and Michel Hirlet The artistic journey of Andrée and Michel Hirlet was born of an unwavering comp...

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...

These handmade decorative accessories combine the traditional Portuguese ceramic and glazing techniques in a modern approach of shapes and color, as they bring such brightness and jo...

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...

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 ceramic lioness figurine glazed in brown and cream. This mid-century statue will be a fabulous addition to a bookshelf or side table. Created from ce...

A ceramic vase by Lucien Arnaud with glaze decoration. Signed under the base " Lucien Arnaud ". Circa 1920.    

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.

Great condition

Napoleon III Late 19th Century Majolica Rooster Unique piece purchased in France. Age appropriate wear, see detailed photos or message us with questions.

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

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...

A masterfully hand carved sculptural bust of a Roman soldier. This is a modern reproduction of a roman era bust with a glazed finish. The figure holds...

These "nodders" always bring a smile to one's face. They are good conversation pieces as well.

c.1960s Ceramic H46 x W13.5 cm

Wood fired stoneware H19 x W7 x D4.5 cm

Stoneware bellied jug H30 x D20 cm

Crank clay with oxide H23 x D7 cm

Cast porcelain H23 x D8 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

Ceramic H58 x D12 cm

Denby pottery H32 x D19 cm

White glaze H29 x W31 cm With maker’s mark

Hand-built crank clay with oxide H32 x D30 cm

Stoneware H38 x W16 x D16

Blown glassware H25 x D8 cm, 921 ml

Wood fired stoneware H32 x W7.5 x D8 cm

Stoneware with polychrome decoration H60 x D12 cm

2017 Glazed ceramic H51 x D31 cm

With its elegant and delicate design, the FISH is not just a mere wall decoration, but a work of art that elevates any space it is installed in. The tile's intricately detailed patte...

Accolay vase, circa 1960.  

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...

You can almost smell the spicy aroma of the chilies in this skull. Mexican artist, Omar Hernández creates a vivid representation of the ingredient that ...

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

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...

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...

Set of Three Bright Red Terracotta Dutch bowls A wonderful bright coloured set made in glazed terracotta in the Dutch style, in very good condition, ...

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 Fleur De Lis decoration 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...

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

In the heart of the Sierra Norte Mountains in the state of Oaxaca, Mexico, the settlers found that this "cold place" gave them a very special gift, clay, with which they could use to create their household goods. One of the most renowned artisans of this region is Silvia Martínez...

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...

A distinctive studio ceramic vase has a tall narrow shape, brown, with an outer glossy glaze and speckled white detailing. The cylindrical form contains an unglazed area at the neck ...