Ceramic Ceramics

Alexandre Foucher Circa 1940 Large colored stoneware ceramic pitcher by Alexandre Foucher Realised in la Borne XXth century art deco pitcher Original perfect conditio...

Set of 3 ceramic carnival animal figures / whistles from Morelos, Mexico. These colorful figures were hand crafted and hand painted using paint glaze. The lively pieces were prominent in the 1980´s and 1990´s. Some of the whistles...

A hand-thrown, well-crafted, piercing green glazed ceramicpitcher by famed Texas-born San Antonio ceramic master Harding Black. A perfect combination of form and function. Signed and dated (1983) by the Black on the base. This work has a great feel and heft to them. The deep rich colors are striking. Harding Blacks Exhibitions include: San Antonio Local Artists Annual Exhibition (1939-42, 1945, 1947); Texas General Exhibition (1940 award, 1942, 1948 honorable mention); National Ceramic Annual Exhibition, Syracuse Museum of Art (1947-54); River Art Group, San Antonio (1948-49); National Collection of fine Arts...

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 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 ...

The pichancha or Tlalchiquihuite is a clay pot with small holes, which is used to wash the nixtamal. This utensil allows you to strain the nejayote (the lime water in which the corn ...

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...

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...

A fantastic, quite unique, and rare early work by famed American studio potter Rose Cabat who became well known for her ceramic "feelies" and use of innovative glazes. These formative early pieces are very scarce. This handsome work has a very natural, organic feel to it and displays a beautiful repeating pattern. This piece is signed by Cabat on the base. Would be a wonderful addition to collectors of Cabat or other midcentury potter...

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...

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”. 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...

La Borne Original french stoneware ceramic pitcher Brown and white pottery colors Signed Original perfect condition Measures: h...

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 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, uncontrol...

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, 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...

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 ...

Exhibiting a rich patina and a beautifully irregular pattern of pitted wear, this petite redware olla vessel shows many telltale signs of Pre-Columbian pottery. The vessel has a glob...

A wonderful Pre-Columbian spouted vessel with distinct features that of an ox or horned bull. Well crafted with a nice feel and look to it. From a collection of Primitive and tribal artifacts...

A porcelain sculpture by Wayne Fischer. Perfect original conditions. Signed. Unique piece. 2018. How can an inert object produce deeply unsuspecting, indecipherable, uncontrol...

A pair of ceramic vases by Charles-Henri Guieba with geometrical decoration. Wood firing. Perfect original conditions. Each piece is signed under the base. Unique piece. 2022.

Rouillard Unique handmade mid XXth century ceramic pitcher Original brown stoneware ceramic color Signed under the base Original perfect condition Measures: Height 21 ...

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

La Borne potters Original set of three XIXth century ceramic bottles, circa 1850 All in good condition Measures From the left to the right : 20 cm 19 cm 18 cm.

Old - set of 5 Japanese Teacups with hand-painted paintings, signed at the bottoms. Original box included In good original new condition and just foun...

A stoneware vase with red glaze decoration by John Bailey to La Borne. Perfect original conditions. Circa 1980-1990. Signed at the base. Unique piece.

Roz Herrin Stoneware ceramic stool by the English artist based in France in La Borne. Woodfiring ceramic production. Original perfect condition, si...

An exceptionnel ceramic dish with abstract glazes decoration by Jean Linard to La Borne, circa 1970. Perfect conditions. Signed under the base " Linard". Unique piece.

From an extensive collection of studio pottery we are pleased to offer this fine abstract form studio pottery mug by Cornish based potter Paul Northmore...

A ceramic bowl by Camille Virot. Perfect original conditions. Signed at the base, Circa 1990-2000. Unique piece.

A stylish Belgian Art Nouveau twin handled art pottery vase decorated in streaked glazes dating from around 1900. The earthenware vase is of tall cylindrical shape with a rounded bow...

A very stylish Belgian Art Nouveau four handled art pottery vase with stylized floral designs dating from around 1900. The vase stands on a narrow round foot with a wide round lower ...

A big ceramic dish by Gustave Tiffoche. Perfect original conditions. Circa 1970-1980. Signed under the base.

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...

A ceramic vase with glaze decoration by Marcel Guillot. Signature under the base. Perfect original conditions. Circa 1950.

French red Majolica creamer pitcher Onnaing, circa 1920.   

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

Painted ceramic hen whistle from Morelos, Mexico, 1980s. These figure were available in the traveling carnivals in the early 1980s.

A ceramic vase with glaze decoration by Daniel de Montmollin. Perfect original conditions. Signed at the base. Circa 1980-1990. Unique piece.   

Set of 3 ceramic carnival animal figures / whistles from Morelos, Mexico. These colorful figures were hand crafted and hand painted using paint glaze. The lively pieces were prominen...

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...

Unusual tea pot with the handle mounted on the side.

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...

A ceramic vase with glaze decoration by Alain Girel. Perfect original conditions. Signed under the base. Circa 1987. Unique piece.   

Pierre Digan 20th century ceramic pitcher by the french artist Signed under the base Elegant ceramic glazes colors effects Original perfect condition Circa 1970 in La...

Wonderfully dripped glazed thin-walled (learned no doubt from her time with the Natzlers) bowl by master potter Beatrice wood. Signed by the artist on the underside of the base. Would be an amazing addition to any collection and sure to stand out. Know famously in the arts world as "The Mama of Dada...

Alain Girel Brown stoneware ceramic vase by the french artist Original good condition XXth century pottery ceramic vase Signed under the base Measures: Height : 20 cm ...

A charming unusual and very rare antique English Brampton salt glazed container modelled as gentleman wearing a coat dating from around 1830. The stoneware container is a half-length...

An absolutely gorgeous Shino ware pottery sake/ teacup by Japanese master potter Kitaoji Rosanjin (1883-1959) who was arguably one of if not the great...

A stoneware pitcher by Robert Héraud to La Borne. Perfect original conditions. Circa 1980-1990. Signed under the base. Unique piece.

Art Deco pottery vase possibly Delaherche circa 1930.   

A Japanese Mashiko Cup studio pottery with stylized designs in the brown glazed body in the manner of cloud-water flowing pattern and dating from arou...

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

A ceramic vase by Alexandre Foucher to La Borne. Perfect original conditions. Signed under conditions. Circa 1970-1980.

A ceramic covered jar by Jean and Jacqueline Lerat to La Borne. Perfect original conditions. Signed under the base " JJ LERAT LA BORNE ". Circa...