Ceramic Ceramics

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

Ceramic H58 x D12 cm

Large Vintage Brown Round Ceramic California Studio Cigar Ashtray Catchall Large vintage 1960s brown round ceramic cigar ashtray. Vintage Pottery Craft Ashtray Tobacciana Collectible Drip Pottery dish. Vintage Pottery Craft Ashtray Catchall Decorative Bowl. Handcrafted ceramic ashtray, this beautiful pottery ashtray catchall has a star design center with sides of stoneware, great design and colors in dark brown, beige and caramel drip. Stamped underneath: Pottery craft 401. Vintage stoneware Mid...

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...

Rare decorative earthenware dish by renowned Californian artist Phillip Herschel Paradise. Hand-painted decor, circa 1955. Signed. Phil Paradise wa...

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...

Pitcher by Pol Chambost Not signed Model : 1038 In white satin. Elegant line for this sculpture pitcher.

Moroccan handcrafted decorative tile with hand painted Arabic writing in brown on ivory crackle glazed ceramic. Arabic writing on ceramic tile hand pai...

A porcelain sculpture by Wayne Fischer. Perfect original conditions. Signed. Unique piece. 2006. 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...

An abstract stoneware sculpture, circa 1970 by La Borne Potters. Signed. Unique piece.

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. 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...

Antique Qajar Middle Eastern Islamic tile plaque. Asian Moorish glazed ceramic tile depicting an outdoor scene with musician and women serving food and da...

"Pre-Columbian Ceramics – Tiahuanaco Culture" Material: ceramics Origin: Southern Sierra of Peru, Lake Titicaca Plateau Period: Boom Age (1 AD – 800 AD) Dimensions: 11 x 10 cm diamet...

A big ceramic covered jar with glazes decoration by Alain Gauderbert. Perfect original conditions. Signed under the base " Gaudebert ". Circa 1...

A rare pair of decorative wall-mounted ceramic by Alfred Renoleau. Perfect conditions. Each piece is signed, circa 1900.

Castañas (chestnuts) is a sculpture made of a series of cups. The individual pieces can be rearranged to create different shapes, and can also be us...

1979 Ceramic H30 x D18 cm

A wall ceramic sculpture with white and green glazes decoration. In the style of sainte radegonde. Perfect original conditions. Circa 1960.

Torcida by Elena Rakochy , Glazed Stoneware Composed of Rounded, Flat and Hexagonal shaped elements juxtaposed with some twisted portions for a dynamic contrast. Artist Bio and State...

A Hungarian Folk Art Red Ware Rooster Lidded Jug/Teapot by Imre Szűcs. A black/brown based rooster decorated with white dots and green, yellow and red painted elements. The spout is...

Set of three, fire, wind, earth, original post modern ceramic tiles by Celestino Piatti. Celestino Piatti (1922-2007) was a Swiss graphic artist designer, painter and book illustrato...

Tenmoku glaze H36 x D13 cm

A brown ceramic planter with a scalloped edge at the top. A ceramic ribbon is sculpted around the edges with tassels in a knot that hang down. Th...

Original German vintage hand-painted "Handgemalt" small triangular shape ceramic plate. Ivory grey with a hand-painted scene of a couple with a dog, trees, birds, in Yellow, blue, gr...

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.

Large scale two-tone studio ceramic vessel in blue and gray with incised detailing all around. The vase features a rounded body that tapers at the bottom with a small opening at the ...

Wheel thrown pottery glazed with a white glaze decorated with a hand painted blue flower pattern. This is a one of a kind object made in the ancient way by hand in a small artisanal ...

Incredible mid 20th century tortured clay art pottery vase in the style of Peter Voulkos / Otis School era. Creamy white and black glaze over twisted square tubing. Stands 22in tall...

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...

small ceramic round vase by Ruelland, signed

The puzzle jug consisting of a handle with pierced yellow painted decoration above and below the band of three spouts, floral painting on each side with int...

Receiving guidance from tribal ancestors was a central aspect of the Luba people's spiritual practices. This ceramic spiritually significant vessel is topped with a crossed leg figure whose head has an opening critical for a divination ritual. Known as an mboko, this handled vessel would have been filled with items like antelope horns, shells, dried beetles, human teeth...

Ash glazed stoneware with incised lines and dots H34 cm

Architectural door pull by Belgian ceramic tile artist Juliette Belarti. Vintage midcentury Belgian tile faced entry door pull handle. Mid-Centu...

Beautiful vertically painted majolica plaque, attributable to the famous Castelli factory, located in Abruzzo (Central Italy), dating back to the first half of the 18th century. The ...

Painted embellished moulded plate earthenware D31 cm

Glazed ceramic large cup with modeled decoration by André Rozay. Artist signature under the base « Androz 1944 La Borne ». Unique piece. Circa 1944. H : 3.9 x 14.9 inches.

Glazed stoneware sculpture of Saint-Jean by André Rozay. Artist signature at the back « La Borne - Rozay». Unique piece. Circa 1970-1980. H : 24.4 x 7.9 x 8.3 inches.

Large glazed stoneware bowl with modeled decoration by André Rozay. Unsigned. Circa 1945. Unique piece. H : 3.9 x 14.9 inches.

Circular ceramic platter in the manner of Jean Cocteau. This bold colorful piece features the portrait of a figurative subject with a pronounced nose, pink skin, red lipstick, long b...

Taukana Regui Wauja Ceramic Yerupoho Piece, 2024 Ceramics and natural pigment This handbuilt ceramic sculpture by Taukana Regui Wauja, an Indigenous artist from the Wauja community ...

AL Malaikah vintage Masonic Shriner iconic burgundy Fez hat design ceramic planter or vase. Vintage fez hat from Los Angeles Al Malaikah Shriner mason...

Originally designed by architect, designer and artistic director Guido Andlovitz in 1936 for Società Ceramica Italiana Laveno, this pair of vases are indeed the rarest of finds. The vases were manufactured in 1942, as attested to by the marking "N - 42" on the base of each vase. The gold rims and aquatic scenes that surround each vase, are unique to each piece and were painted by hand in 1943. They are both signed by the artist "Miruccia". One of the vases has the words “Anni di Guerra” (Year of War) written on the base in reference to the Second World War . Founded in Laveno in 1856 by Severino Revelli and some former employees of the "Richard" manufacturer in Milan. The "SCI" (Italian Ceramic Society) began its activity as a manufacturer of wall tiles and fine tableware. In 1883 it became a limited company and obtained its first successes at numerous national exhibitions. In 1895, Cavalier Luciano Scotti took over the company and, thanks to his intuition and his entrepreneurial skills, the factory grew substantially in a few years. In those years, some Liberty-style pieces designed by Giorgio Spertini, the author of noteworthy elegant "whiplash" creations, were created in the Laveno factory. In 1906 "SCI" presented numerous works at the International Exhibition of Decorative Arts in Milan. Other collaborators from the beginning of the century were Silvio and Piero De Ambrosis, Felice Palucco, Giancarlo Jacopini and the brothers Marco and Luigi Raggiori. However, it was in 1923 that, under the direction of Guido Andlovitz, the company reached the peak of its fame and in 1925 was a resounding success at the 2nd Monza Biennale. Andlovitz, who collaborated with the manufacturer for almost forty years, applied to the production process the principle of seriality, a concept also put into effect by Giò Ponti at "Richard-Ginori", adopting various types of decoration which, although moulded and decal stamped, still retained an undeniable elegance. In 1924 the "Società Ceramica Revelli" became a consortium with the "SCI", the partnership would continue until 1932 and saw Franco Revelli's company marketing pottery and table porcelain on behalf of "SCI". From 1925 porcelain and crockery began to appear in the factory's catalogs. In 1927 the company was present at the 3rd Biennial of Decorative Arts in Monza. Between the end of the 1920's and the beginning of the 1930's, the decorators Giuseppe Bellorini and Daniela Ferretto began to collaborate with the "SCI". As of 1932 the company managed two factories: that of Laveno, which, with over 1300 employees, produced strong pottery, tableware and artistic ceramics and the smaller factory of Verbano, which employed about 400 people and produced, in addition to ceramics for the electrotechnical industry, excellent table porcelain. The products were marketed in the company owned stores in Rome, Genoa and Naples. This was an initiative realised by Andlovitz himself. In the mid-thirties, the decorators Ada Corsi and Ida Fonini among others, collaborated with the "SCI". From 1936 to 1940 the artistic direction of the company was entrusted to the sculptor and modeler Angelo Biancini. In 1939 about 1300 people worked in the Laveno plant and in 1951 about 2300. In the years between the two wars among the collaborators of the factory were Sirio Tofanari...

Glazed stoneware vase by Patrick Crulis. 2025. Unique piece. H : 23.6 x 12.6 x 11.8 inches. Approximate sizes.

Glazed stoneware vase by Patrick Crulis. 2025. Unique piece. H : 22 x 13.4 x 10.6 inches. Approximate sizes.

Round circular scalloped souvenir plate or dish from Kingfisher Oklahoma. This beautiful plate features a lovely emerald green ombre around the edges an...

Stoneware with Tenmoku glaze H36 x D18 cm

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...

This beautiful and highly decorative pair of Costa Rican terracotta bowls are ovoid in shape and come from the Talamancan Mountains region. They are decorated stylized human faces in...

Folk Art Studio Pottery Bunny - We shop a lot and this bunny is one of our favorite finds. A precious little thing with a great spirit and energy. A compl...

Taukana Regui Wauja Ceramic Kamalu hai Snake Canoe I, 2024 Ceramics and natural pigment This handbuilt ceramic sculpture by Taukana Regui Wauja, an Indigenous artist from the Wauja ...

Large Moroccan glazed ceramic vase from Fez. Moorish style ceramic handcrafted and hand-painted with Arabic calligraphy writing. This kind of Art Writing looks calligraphic is calle...

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...

Our Duna tile was hung by winds and created a unique relief that adds to your home a sense of non-primitive movement and a sense of calm. Imagine, as if you are in a desert and you a...

Accolay vase, circa 1960.  

Ceramic H20 x D26.5 cm

c.1970s Ceramic H9.5 x D31 cm

Stoneware H38 x W16 x D16