Ceramic Ceramics

A very fine and stylish English studio pottery teapot and cover decorated in red glazes with blue spot designs by Kent based potter Karen Ann Woo...

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, 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...

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...

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 Japanese yunomi teacup, darkly glazed and featuring the artisan's signature creature figure painted on the cup. This work (along with a second yunomi - clearly from the same artist. Please see the last image) came from a collector of fine Japanese and Asian ceramics - a collection like no other we have seen before. The yunomi teacup has a very Wabi-Sabi feel and appearance to it. Would be a great addition to any Asian or Japanese pottery/ceramics collection...

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 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”. 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...

The “Andy” ceramic collection VG presents a collection of classic sculptures which revisits the techniques of pop art. The original work is taken apart; a few details are then remove...

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

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.

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...

Stoneware oatmeal glazed bowl with small crater and speckled inclusions with a wavy rim with a fine manganese glazed edge by Lucie Rie (Austrian/British, 1902-1995) dating from aroun...

19th Century rustic popular traditional ceramic. By unknown artisan, France. In original condition, with minor wear consistent with age and use, preserving a beautiful patina. M...

A stunning Canadian studio pottery miniature bowl decorated in yellow glazes with an associated pottery stand by Lane Gordon Thorlaksson (Canadian, 1937-2009) dated 1976. Lane Gordon Thorlaksson was born in 1937 in Winnipeg, Manitoba and moved to Vancouver as a child. In his twenties, he represented Canada in the 1959 Chicago Pan-American Games, running alongside Henry 'Harry' Winston Jerome in both the 100 yard and 220-yard dash. Following this, he attended San Jose University of California and in 1966 received a BFA in Ceramics. Working with clay was Thorlaksson’s passion. He was fascinated with Asian ceramics, in particular the Song dynasty Chinese pot forms and glazes. In 1985, the Mayor of Vancouver, Mike Harcourt, visited China on a goodwill mission for the twinning of Vancouver with Guangzhou China. As gifts, he took with him several of Thorlaksson’s ceramics and presented them to Cao Yun-ping, Secretary-General of the People's Municipal Government of Guangzhou. The pieces were well received and local Chinese potters were interested to learn about his glazing techniques. In 1987, Thorlaksson was invited to visit China’s Guangzhou University to exhibit more of his work. He was aided in this exchange by Joanne Mah, the Director of Intercultural Training and Educational Consultants (ITEC), who had worked with the Harcourt exchange. In 1988, she and her husband sponsored a pre-gallery showing of Thorlaksson’s ceramics at the ITEC’s Hong Kong office, prior to an exhibition at Alvin Gallery in Hong Kong. Thorlaksson was celebrated and introduced to academics and the media, including the head of ceramics at the Guangzhou Institute of Fine Arts. Local Chinese potters were eager to learn about his firing techniques, which used multiple firings to create special glaze characteristics. They were also intrigued to understand how he designed his own stands as an integrated part of his presentation. Unlike Asian potters who used wooden stands, Thorlaksson produced his stands in clay, matching each stand in aesthetic and tone to its pot. This two-part process elevated his pieces to sculpture. He believed that ceramics should be viewed as fine art and not craft. He was inspired by the female form and was quoted as saying 'Most potters make pots; I make parts of people'. The bowl is of wide squat rounded form with a fold over rim and is decorated in pale yellow glazes over a brown ground and stands on a narrow round unglazed foot. The design is probably based and inspired by a Chinese brush washer...

A pretty one-of-a-kind Americana Revival petite ceramic hand-made studio pottery vase. Created from ceramic, this vase reminds of stoneware and is round in form. The top of the piece...

A large and stylish unusual Norwegian brutalist studio pottery lidded vessel in the form of a tea or water pot with makers marks ODK to the base and believed to date from the mid-20t...

Handcrafted Moorish Moroccan blue decorative ceramic Bowl, dish from Fez. Moroccan ceramic bowl in Bleu de Fez, very nice designs hand painted by artist in Fez. Geometrical and flora...

Claude Gaget Large stoneware ceramic decorative box realised in La Borne original perfect condition Measures: Height 18 cm Large 17 cm.

Ivory Petal Gourd IV by Julie Nelson One Of A Kind Dimensions: D 34 x H 32 cm Materials: Ceramic stoneware and porcelain Artist Julie Nelson uses th...

A very rare and stunning Arts & Crafts studio pottery vase of twisted floral shape made in London by Horace Elliott (British, 1851-1938) dating from the...

A wonderfully crafted and beautifully glazed (in Fall greens and browns) large bowl by renowned American potter Laura Andreson. Gorgeous in its Mid-Century Modern design and shifting colors. Signed on the base by Andreson. A quite special and rare work. Certainly, one of the best pieces of Andreson's work we have had the pleasure to come across. Highly collectible. Would be a great addition to any midcentury ceramics collection or a very eye-catching stand-alone work in about any setting. Andreson, who studied under Glen Lukens, founded and headed the ceramics department at UCLA from 1933-1970. Her work can be found in many collections and museums worldwide including: Metropolitan Museum of Art The Museum of Modern Art Museum of Fine Arts, Boston Smithsonian Museum of American Art The Los Angeles County Museum of Art The Walker Art Center The Nora Eccles Harrison Museum of Art. Her exhibitions include: 1937 Rene Rosenthal Gallery, New York City, New York. 1938 First California Ceramic Exhibition, San Diego, California 1940 Honolulu Academy of Art. 1947 Eleventh National Ceramics Exhibition, Metropolitan Museum of Art. 1970 Fredric Art Gallery, UCLA, Los Angeles, California. 1970 Laguna Beach Art Gallery. 1971 Mills College Art Gallery, Oakland, California. 1971 Hoover Art Gallery, San Francisco, California. 1971 San Diego Fine Arts Gallery, San Diego, California. 1971 Utah State University, Logan, Utah. 1972 Pasadena Art Museum, Pasadena, California. 1972 Ceramics West, Utah State University, Logan, Utah. 1972 Ogden Art Center, Ogden, Utah. 1972 Bower Museum, Santa Ana, California. 1973 Utah Museum of Fine Art, Salt Lake City, Utah. 1973 Clay and Fiber Gallery, Taos, New Mexico. 1973 California Crafts VIII, Crocker Art Gallery, Sacramento, California. 1974 California Ceramics...

VG is dedicating a collection of ceramics to the genius of Coco Chanel, a leading figure in the story of modern fashion, and a designer who crea...

19th Century English Staffordshire Cottage.

A wonderful hand painted and decorated traditional Okinawan ceramic awamori/sake flask, also known as a dachibin. These handcrafted pieces were originally designed to be carried and worn against the hip, hence the curved shape. This piece is from a collector of fine Japanese and Asian ceramics and pottery works - a collection like no other we have seen. We believe this flask is from the early to mid-1900s. Would be a great addition to any Japanese ceramics...

Antique Mediterranean Ceramic, Spain circa s.XIX. In original condition, wear consistent with age and use, preserving a beautiful patina. Materials: Ceramic Dimensions: ø ...

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...

La Borne Unique handmade piece, stoneware ceramic table lamp Brown stoneware ceramic color Original perfect condition Circa 1970 Measures: Height 23 cm Height with el...

Claude Gaget Unique handmade piece Large stoneware ceramic box with bird decoration Brown stoneware ceramic glaze Original perfect condition ...

Vintage Mexican ceramic duck form Tonala Pottery. Beautiful vintage Mexican hand made and hand painted TONALA Art pottery. Vintage Collectible Mexican Tonala hand painted pottery bird Folk Art. El Palomar...

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...

This very early and rare 19thc sponge ware one cup tea pot is in pristine condition.This wonderful little charming piece is a great addition to any collection.

Delightful studio pottery raku glazed figure of a resting pig dating from the 20th century. The hollow hand-crafted ceramic pig is simply detailed in a lying position with its head r...

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

A rare Haniwa figural head  Kofun period (3rd-7th century), circa 500-600. The hand-built yellow earthenware hollow figure of typical form, the face...

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 ...

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 gorgeous work by 20th century master American and renowned Minnesota studio potter/artist Warren MacKenzie. The three-footed tenmoku glazed bowl is signed/ stamped along the foot rim by MacKenzie and features a unique decorative pattern. The dark, rich glaze radiates in the light. This work would a great addition to any Warren Mackenzie or modern pottery/ ceramic collection or eye-catching stand-alone accent piece in about any setting. A student of both famed ceramic artists Bernard Leach and Shoji Hamada, Mackenzie is credited with bringing the functional Japanese Mingei tradition and craft to the United States and spreading it through his own art and teaching mentorship during his long tenure at the University of Minnesota. Along with being named a Regent’s Professor, and a fellow of the International Academy of Ceramics, the highly decorated and awarded MacKenzie was the first to receive the Minnesota Governor’s Award in Crafts in 1986. He later received the Lifetime Achievement Award from the Minnesota Crafts Council in 1997 and a year later he was honored with the Gold Medal from the American Crafts Council. His work can be found in numerous collections and museums including: The Metropolitan Museum of Art in New York The Smithsonian Institution in Washington, D.C. The National Folk Art Museum in Tokyo, Japan The Victoria and Albert Museum in London, England Contemporary American Crafts...

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...

Madonna ceramic sculpture, 1940s. Dimensions: H= 26 cm; W= 15 cm; D=10 cm.

This is a fine example of an unsigned hand-painted stick spatter plate with painted rabbits surround the border. The condition is very good with old craz...

A stylish and finely made studio pottery jug and vase decorated in trailed glazes by Elizabeth L Anderson and made at the Harbour Pottery at South Quay Studios in Maryport, Cumbria a...

Lovely German wire basket aqua plate with swallows, circa 1900.

Terracota Sculptures handmade by Serapio Medrano, son of the late Candelario Medrano.  

Exceptional large vintage Colombian hand made clay water container / jug. Displays a fantastic native influenced design around the top.  

French pottery cider bottle from Normandy, end of 19th century. 13 bottles available, sold separately. Different sizes.

Ceramics in the shape of a goat stamped Dominique Pouchain.

Terracotta bulldog Bavent Filmont, circa 1900.

This is a wonderful Folk Art collection of Mexican traditional Day-of-the-Dead ceramic figures. Although unsigned these figures are in the style of the Aguilar Family of Oaxacan pott...

A fantastic early work (circa early 1950s) by Master Greek-American potter Peter Voulkos. Signed on base with incised signature by Voulkos. Voulkos is widely considered to be the most important and impactful ceramists of the modern era. He won the Rodin Museum prize at the first Paris Biennale in 1959 and was the winner of a Guggenheim fellowship in 1984. Voulkos received the College Art Association’s Distinguished Artist Award for Lifetime Achievement in 1997. He was made an honorary member of the American Academy and Institute of Arts and Letters in 2001. He also received six honorary. Doctorate degrees as well as three National Endowment for the Arts awards. His work can be found in many prominent collections and museums including: Aichi Prefectural Ceramic Museum, Nagoya, Japan Albany Mall, Albany, New York American Museum of Ceramic Art...

Ceramic goat to hang on the wall. Stamped Dominique Pouchain. 5 items, possibility to buy per item.

A ceramic vase with wood firing by Bruno H' rdy. Signed at the base. Perfect original conditions. Circa 1970-1980. Unique piece.