Ceramic Ceramics

Decorated earthenware with stand H22 x W11 x D7.5 cm

Ceramic H34 x D12 cm

Ceramic H29 x D18 cm

Painted bisque clay H10 x W14 cm

Glazed stoneware D22 cm

Glazed stoneware H30 x D19 cm

Stoneware sculptural pot H15 x D10 cm

Hand-built crank clay with oxide H18 x D23 cm

Stoneware with Tenmoku, kaki and ash glaze Incised decoration and painted signature H30 cm

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

Accolay vase, circa 1960.  

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...

Earthenware sculpture vase by Georges Martin. Artist monogram on the base. Unique piece. Circa 1980- 1990. H : 18.9 x 8.7 x 15.7 inches.

Stoneware duck sculpture by Georges Martin. Unique piece. Artist monogram on the base. Circa 1970-1980. H : 12.9 x 11.8 x 24.8 inches.

Stoneware duck sculpture by Georges Martin. Artist monogram on the base. Unique piece. Circa 1970-1980. H : 12.6 x 9.8 x 19.7 inches.

Stoneware lamp with geometric decoration by Georges Martin. Artist monogram on the base. Circa 1970-1980. H : 7.9 x 7.9 inches (ceramic only). Sold with a European electrical system.

Stoneware lamp with geometric decoration by Georges Martin. Artist monogram on the base. Circa 1970-1980. H : 14.6 x 7.5 inches (ceramic only). Sold with a European electrical system.

Stoneware lamp with geometric decoration by Georges Martin. Artist monogram on the base. Circa 1970-1980. H : 5.9 x 10.2 inches (ceramic only). Sold with a European electrical system.

Stoneware lamp with geometric decoration by Georges Martin. Artist monogram on the base. Circa 1970-1980. H : 6.7 x 11 inches (ceramic only). Sold with a European electrical system.

Stoneware lamp with geometric decoration by Georges Martin. Artist monogram on the base. Circa 1970-1980. H : 11.8 x 11.4 inches (ceramic only). Sold with a European electrical system.

Stoneware lamp with geometric decoration by Georges Martin. Artist monogram on the base. Circa 1970-1980. H : 7.1 x 8.7 inches (ceramic only). Sold with a European electrical system.

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...

One of the largest of our pines is the Acanthus. The multiple layers of glazing achieve an unparalleled brilliance. Majestically shaped, this eye-catching blue and green cactus will ...

Ceramic Mask, anonymous, France, 1960s Custom made pedestal.

Enhance your table with these delicate porcelain flowers by French artist Samuel Mazy, exclusive to Maison Nurita in Canada. Mazy has been working as a ceramist for nearly 20 years i...

Glazed stoneware vase prod. Royal Copenhagen Stamped to base

Vide-poche by Roger Capron, black ceramic, signed

Square stoneware pot with abstract decoration by Georges Martin. Artist monogram under the base. Circa 1970-1980. Unique piece.

Great condition

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

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...

One of the largest of our pines is the Acanthus. The multiple layers of glazing achieve an unparalleled brilliance. Majestically shaped, this eye-catching blue and green cactus will ...

Great condition

Gorgeous Dutch ceramic pottery Art Deco bookends. Designed by Godefridus Boonenkamp in 1931. Very nice, large bookends, made of white baked earthenware ...

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

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...

Beautiful large African urn in terracotta made by the Lobi people of Burkina Faso. This urn is very decorative with a small figure sitting on the lid. The urn is 81 cm high and 45 c...

Blue glazed ceramic dove, 1970s beautiful blue glazed ceramic dove. Measures length 32, width 13, h19 cm

Simpatico Tower I, 2022 Glazed stoneware Measures: 93 x 25 x 25 in.

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...

Vase "Cosmos I" by Jean François Reboul (1952): Vase made out of enameled ceramic using Raku technique. "Certificate of Authenticity" provided by the gallery. Measures: 15 cm D x 48...

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...

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...

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...

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...

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 ...

Large glazed stoneware screen with four leaves by Anne Barrès. Artist signature under the base. Circa 2000-2010. Unique piece. Can be displayed both indoors or outdoors. H : 75.2...

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...

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

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

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...

A porcelain sculpture by Wayne Fischer. Perfect original conditions. Signed. Unique piece. 2022. How can an inert object produce deeply unsuspecting, indecipherable, uncontrol...

Exceptional ceramic in the shape of a unicorn by Dominique Pouchain. For shipping, request us for receive the best price.  

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.

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...

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...