European Ceramics

1950's New Old Stock French Byrrh Ashtrays - Small Batch Available. Byrrh was founded in the late 19th Century, producing a classic French aperitif. New old stock white opaline press...

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 1...

Ceramic in the shape of a goat designed by Dominique Pouchain. Stamped on the underside. For shipping, request us for receive the best price.

A rare 19th century French earthenware cake or baking from Soufflenheim in the Alsace region, circa 1880s. In the shape of a lobster or crayfish, this Alsatian mold symbolizes fertil...

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 1...

British studio pottery small vase by Bernard Rooke. Featuring leaves and bird decoration. Inscribed BR. Circa 1970. In very good condition, with no damage. Bernard Rooke studied p...

Hand-Painted Ceramic Figure, Italy, 1970s This hand-painted ceramic figure from the 1970s embodies the unique charm of Italian craftsmanship. With its meticulous detailing and expre...

Small ceramic vase by Ruelland, signed

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...

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

Ceramic in the shape of a unicorn by Dominique Pouchain.

Flower column / flower vase Majolika Austria, museum circa 1885 Richly carved body (two-part) with plastic vine leaves on a plastic rock surface. In t...

Great condition

Accolay vase, circa 1960 the color is pink / brown.

Vase "Voie Lactée I" by Jean François Reboul (1952): Vase made out of enameled ceramic using Raku technique. "Certificate of Authenticity" provided by the gallery. Dimensions: D 10 ...

Rare glazed stoneware donkey prod. Royal Copenhagen Stamped to base

Large Tuscan vintage Italian decorative plate. Completely handcrafted and hand-painted with wonderful bright colors by skilled artisans in Tuscany, this large Italian ceramic round d...

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 Deer decoration and handles I have three posts for sale, one has a stitched detailing, another, fleur de lis and lastly one with handles and Deers, this sale is for the pot pictured alone. 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...

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...

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...

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 "nodders" always bring a smile to one's face. They are good conversation pieces as well.

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...

Ceramic owl vide-poche by Accolay perfect condition

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...

We are delighted to offer for sale this one of a kind, fully signed, original circa 1930 Roger Guerin ceramic pots of large proportions. I have three posts for sale, one has a stitched detailing, another, fler de lis and lastly one with handles and Deers, this sale is for the pot pictured alone, the others are listed under my other items and not included in this sale 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...

Francesco Raimondi, Lucky Horn, 2020 glazed earthenware, platinum and gold, hand painted, unique piece Measures: Approximate 100cm x 25 cm A cornicello It...

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...

The FLAPJACK tile from MAKHNO Product is a truly innovative and versatile piece of design that offers both functionality and beauty. This multifunctional wall tile is a true master...

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...

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

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.

Ceramics in the shape of a owl stamped Dominique Pouchain.

This demilune flower pot or bough pot for forcing springtime bulbs, is adorned with three landscape panels. Each panel, painted in pink lustre, depicts the same cottage in a pastoral setting from three different vantage points. Moulded into the top and bottom rims are acanthus leaves. Pieces in this shape, color and style have been attributed to the Hackwood company, and usually pieces like these, are not marked. William Hackwood & Son was an earthenware factory in Shelton, England, from 1818 until 1853. In addition to lustre ware...

Ochre mid pentacle III by Julie Nelson. One of a kind. Dimensions: W 24 x D 30 x H 22 cm. Materials: ceramic stoneware and porcelain. Artist Julie Nelson...

Great condition

Ceramic lamp in the style of Georges Pelletier, circa 1950/1960. Double lighting, interior, exterior.  

Ceramic Mask attributed to Jean Austruy, France, 1960s Custom made pedestal.

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...

Napoleon III Late 19th Century Majolica Pig Unique piece purchased in France. Age appropriate wear, see detailed photos or message us with questions.

Rare glazed stoneware deer prod. Royal Copenhagen Stamped to base

A painted terra cotta rooster.

Accolay vase, circa 1960.  

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

Ceramic goat to hang on the wall. Stamped Dominique Pouchain. For shipping, request us for receive the best price.

Rita Alaoui is a French-Moroccan artist who lives and works in Paris. She is a graduate of Parsons School of Design in New York City. She seeks to explore and rethink our relationshi...

Rita Alaoui is a French-Moroccan artist who lives and works in Paris. She is a graduate of Parsons School of Design in New York City. She seeks to explore and rethink our relationshi...

Rare and original ceramic bottle, signed and located in Vallauris, circa 1950/1960.

Very Large Moroccan Ceramic Platter (2026.3) Very Large Moroccan Ceramic Platter. Made in the Atlas mountains these huge platters are a labour of love. They are hand formed and hand ...

Wisques Abbey, 2 enamelled stoneware lamps circa 1960 Measure: 35x22 cm 20 x 13 cm.

Unique 1950s sculptural Perignem ceramic wall plaque made by F. Sanchez (signed). This beauty comes in charcoal black with sophisticated red and green colors. Signed on the backside ...

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...

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

1970’s Rorstrand Bertil Lundgren art pottery bowl 1970’s Rorstrand Bertil Lundgren art pottery bowl. Handmade in Sweden by Rorstrand. Rorstrand is the second oldest brand of ceramic...

Cosmos I vase by Jean François Reboul made out of enameled ceramic using Raku technique. A“Certificate of Authenticity” is provided by the gallery. Jean-François Reboul, born in 19...