Ceramic Ceramics

Urn designed by Gunnar Nylund for Rörstrand, Sweden, 1936. Stoneware. Signed. Dimensions: H: 78.5 cm / 2' 7'' D: 53 cm / 21'' Exhibitions: In Paris 1937 at the World's Fair, Gunn...

Beautiful vintage vase, made of ceramic with glazed finish. Interesting design and color combination. The vase is in a brown shade of color with a blue details on the neck of the vas...

Ceramic in the shape of a unicorn designed by Dominique Pouchain. Stamped.

Vintage Ken Edwards Mexican ceramic quail bird form Tonala Pottery. Beautiful vintage Mexican hand made and hand painted TONALA Art Pottery. Deco...

A beautifully designed and gorgeously earth-toned glazed plate by famed Mexican-American California studio art potter Dora De Larios. De Larios was born in Los Angeles to Mexican i...

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 Large Moroccan Ceramic Platter (2026.1) Very Large Moroccan Ceramic Platter. Made in the Atlas mountains these huge platters are a labour of love. They are hand formed and hand ...

A beautiful piece of red earthenware studio pottery. Created from a rich red clay material, this piece was found in Oklahoma. It is glazed in a transparent clear glaze on the inside ...

Silo is a sculpture that bases its beauty on the material in which it is made. Made of wild clay from the Mixteca mountains, this clay is cleaned in filters...

Vintage highly decorative Hollywood Regency Moorish Majolica camel garden seat. Hollywood Regency 1950s poly-chrome glazed Italian terracotta garden st...

A set of three antique stoneware gin bottles from Germany. Each one has the impressed name of the maker. Gracefully shaped, with small thumb handles, these ...

A fine antique American stoneware jug. Attributed to the Branch Green Pottery in Philadelphia, PA. Of ovoid form with an applied handle an...

Montreau Lohoof Realised in La Borne circa 1970 Original large stoneware ceramic tea pot Signed under the base : ML Original good conditions Measures: height 11 cm L...

Create a sculptural arrangement of organic shapes, combining style statement and functionality with these Italian vintage earthenware Art pieces: a group of 5 Mid-Century Modern different ceramics is available, 4 vases and a bowl/catch-all, by Bertoncello and designer Roberto Rigon, showing inspiration from Barbara Hepworth and Henry Moore work. This particular postmodern abstract sculpture vase, quite innovative for the period and particularly in the mid 20th-century ceramic sector, has a sleek slanted slice quite unexpectedly decorated with a hole in the Silhouette, leaving the admirer the feeling of looking at the moon in the night sky. Glazed in a beige terracotta...

A fantastic 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 Memphis Group, an international design movement that came out of Italy during the 1980s (1980-1988), and specialized in postmodern furniture, lighting, fabrics, carpets, ceramics, glass, and metal objects. This work is from 2001 and is dated and signed with Shire's customary "EXP" (Echo Park Pottery...

Vintage Turkish Polychrome Hand Painted Ceramic Kutahya Platter. Circa 1950's. Hand painted and handcrafted Turkish Kutahya ceramic wall decorative...

“My purpose in making this skull is to represent the different types of native maize that since remote times have brought food security to our ancestors, giving them the time to develop the knowledge and arts to the extent they did,” says Mexican ceramist Omar Hernández...

Retro vintage Vallauris La Grange wall plate / tile tableau Retro vintage wall plate / tile tableau / wall decoration with glazed tiles. Vallaur...

The Nupe people of Nigeria were touted as some of the finest ceramicists in Africa. Everyday objects, like this water vessel, received detailed attention. The vessel's varied texture...

William Moorcroft vase decorated in the "Spanish" design

Pierre Digan. Pair of stoneware ceramic pitchers. Original perfect condition. Black and brown stoneware ceramic colors. Realised in la Borne circa 1970. Measures: Num...

A stylish The Friars Aylesford Pottery studio pottery vase decorated in red glazes dating from the 20th century. The Aylesford pottery was founded in 1954 by David Leach who taught...

A gorgeously crafted, beautifully yellow glazed, Mid-Century Modern pedestal bowl by California master ceramist Rupert Deese who worked closely with pottery legend Harrison Mcintosh. Signed with Deese's cipher/ stamp on the base as well as the original label. Would be a great addition to any collectors of Deese's work or Mid-Century Modern ceramics/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...

Woodfired ceramic vase by Eric Astoul. Artist signature under the base. 1987. H : 12.6’ x 9.8’ inches.

Sculpture in glazed stoneware and engobed by Jean-Pierre Bonardot. Artist signature under the base « JP Bonardot 05 ». Unique piece. 2005. H : 18.1’ x 11.8’ x 7.08’ inches.

Stoneware and steel screen by Anne Barrès. circa 2000. Unique piece. Can be displayed both indoors and outdoors. H : 31.9’ x 32.3’ x 2.9’ inches (ceramic only). H : 37.40’ x 34.6...

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 Memphis Group, an international design movement that came out of Italy during the 1980s (1980-1988), and specialized in postmodern furniture, lighting, fabrics, carpets, ceramics, glass, and metal objects. This work is from 1981 and is signed with Shire's customary "EXP" pottery (Echo Park Pottery...

A beautiful Japanese yunomi teacup featuring a muted green glaze with a white overlay and subtle shifts in color and texture. The work glows in the light. This little gem came from a collector of fine Japanese and Asian ceramics - a collection like no other we have seen before. The yunomi teacup has a somewhat Wabi-Sabi feel and appearance to it. Signed by the maker/artist on the base. Would be a great addition to any Asian or Japanese pottery/ceramics collection...

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 ...

A wonderful, unique, beautifully glazed, quite rare, and special double-faced "Haniwa" pottery sculpture by American California studio pottery master ceramists Stan Bitters whose work was instrumental in shaping the organic modernist movement in the 1960s. Bitters received his Bachelor of Arts degree in painting from the University of California Los Angeles (UCLA) in 1958. He also studied under Peter Voulkos at Otis College. After graduating, he worked for Hans Sumpf as the company's resident artist. During this time he created architectural murals, tiles, birdhouses, planters, and sculptural objects – designs that would earn him recognition later on as a pioneer of the organic modernist craft movement - many still some of the most iconic designs today. Stan Bitters' work was featured as a part of the prestigious California Design series of exhibitions and annuals that chronicled art and design in California from 1954-1976. His works were also featured as part of a group show entitled Golden State of Craft 1960-1985 at the Craft and Folk Art Museum in Los Angeles, CA. This show was part of Pacific Standard Time: Art in L.A. 1945-1980, an unprecedented collaboration of more than 60 museums and other cultural institutions in Southern California, celebrating the birth of the Los Angeles art scene. Bitters' work was also exhibited at Heath Ceramics' Boiler Room...

A stoneware vase by Eric Astoul to La Borne. Perfect original conditions. Circa 1997. Signed under the base. Unique piece.

Superb high fired Cobridge trial art pottery Baluster vase designed by Andrew Hull and dated 2004. The heavily made stoneware vase is of baluster shape wit...

Excellent vintage hand made Colombian water jug /container. Features a spherical shape.  

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 very rare early work featuring a dark chocolate brown glaze by master Mid-Century Modern ceramist/potter Glen Lukens whose work has become quite collectible and relatively scarce and difficult to find. The work is signed and dated (1924) by Lukens on the underside (we have only seen one other piece dated this early and that piece is in the Forrest Merrill Collection). Lukens was the founder of the University of Southern California (USC) Architectural School’s Ceramics Department where he helped establish and promote clay pottery as a universally acceptable art form. The current popularity of Studio Pottery and ceramics is widely accepted to have started with Lukens who is oft credited with being one of the first artists to raise the stature of Mid-Century Modern Studio Pottery within the art world. Lukens is famed for his experiments with various glazes and glazing techniques. His influence and glazes can be clearly seen in the works of Otto and Gertrud Natzler, Beatrice Wood, James Lovera, etc. He was also known for combining bright, colorful textile glazes (using natural, organic materials and elements he found in the Mojave Desert, Palm Springs, and Death Valley to make what he referred to as "California Colors") with the rough and raw clay surfaces of his often rudimentary forms and vessels. Lukens currently has an award in his name (Glen Lukens Award) at the University of Southern California's School of fine Arts. A very rare, unique, and truly special work This piece would be a tremendous stand-out addition to any collectors of Lukens' work or Mid-Century Modern ceramics collection or eye-catching accent piece in about any setting, modern or otherwise. A must-have. Lukens work can be found in various museum collections including: Arizona State University Art Museum, Tempe, Arizona Huntington Library...

A ceramic vase with white glaze decoration. Perfect original conditions. Signed "Lion" under the base, circa 1920-1930.

A large mid 20th century decorative owl wall hanging, artist unknown. Ceramic pottery with a glaze and embedded hooks for wall hanging. Originated as ...

Sand Mountain Alabama pottery is well known, oft curated and infrequently available on the market. The variety of glazes, forms and makers is remarkabl...

Vintage Mid-Century Modern Brutalist Signed Studio Pottery vase 1970s. Very unique brutalist stoneware vase, textured, rectangular form with relief carved design detailed with raise...

Bark decorated folk pottery grouping. These are believed to be tourist ware made by an unidentified couple in the Montgomery area before and about the time of WW2. To date, their nam...

This petite hand-formed vessel bears a richly textured surface of worn red clay slip and dark smoke marks. Likely intended for everyday use, the simple bottle-form vessel reflects th...

O/2956 - Old earthenware bowls and lids from Morocco: terracotta lids can be used to keep food warm in serving dishes. I'm closing my activities, so...

A pair of fabulous Mid-Century Modern green and yellow lava-glazed ribbed ceramic table lamps. Quite fantastic, beautifully colored, and designed. Caught o...

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 beautiful hand thrown vase/vessel by renowned ceramic artist Stephen Polchert (1920-2008). Polchert attended Cranbrook Academy in the 1950s and was an assistant and friend of Maija Grotell.

A beautiful and wonderfully glazed vase by Swedish master ceramicist/designers Erich and Ingrid Triller who were husband-and-wife ceramists specializing in stoneware. The couple was trained in Germany and established a studio (Tobo) in Sweden, which they operated for thirty-seven years. This gorgeous work features a Classic shape and striking glaze that radiates and changes colors (browns, greens, with a tinge of yellows) in the light. Signed on the base with their customary "Triller Tobo" signature. Erich and Ingrid Triller's work was heavily influenced by the Bauhaus ceramics. They were also much influenced by the forms and glazes of ancient Chinese ceramics...

Vintage Mexican Tonala hand painted pottery bird Folk Art. Flora de la Cruz Acapulco Gro Mexico hand painted bird dove ceramic. Warm earth tone polych...

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 truly fantastic, large, heavy charger/plate/platter by American master potter/artist Peter Voulkos who is known for his abstract expressionist ceramic pottery pieces and sculptures...

MAM Collection Place of origin: Department of Huehuetenango, Guatemala Collection of jars made of red clay. They have traditionally been used to c...

A very stylish Japanese Mashiko Yaki studio pottery Yunomi with stylized designs in panels set within a brown glazed body in the manner of Shoji Hamada an...

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 ...

Pippo Pozzi, Alessandria 1910 / Biella 1999, Italy in years 1960 ceramic plate design measure diameter 13 inches x 1,2" deep, in perfect condition A is very rare. signed in t...

La Borne - 19th century Large stoneware pottery from center of France Realised circa 1880 Original good condition its peculiarity is to have a piece of another pot fixed...

A good antique Palissy Ware style Portuguese majolica wall plate, circa 1900. The plate decorated with a large lobster to the center resting on a textu...

A rare English Aesthetic Period salt glazed stoneware spirit flagon designed by John Seddon for Bailey & Co, Fulham and dated 29th December 1880. The flagon is of square shape with a...

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...

Vintage Mexican Tonala hand painted pottery birds Folk Art with brass decoration in the style of Sergio Bustamante. Vintage Mexican ceramic and brass hand painted Tonala pottery duc...