French Ceramics
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Place of Origin: French
Brown Stoneware Ceramic Pitcher by Benoit Favre La Borne circa 1970
By La Borne Potters
Located in Neuilly-en- sancerre, FR
Benoit Favre
Unique handmade piece
Brown stoneware ceramic pitcher
Signed at the base
Measures: Height 17 cm
Large 12 cm.
Category
20th Century Mid-Century Modern French Ceramics
Materials
Ceramic
Pair of Large French Planters
By Rouen
Located in Buenos Aires, Argentina
Pair of large French planters.
Origin France, circa 1900.
Attributed roun.
Excellent condition. Material: porcelain.
No restorations
In 1644, Nico...
Category
Early 1900s Empire Antique French Ceramics
Materials
Ceramic
Pair of Ceramic Vases by Guieba, with Geometrical Decoration, 2022
By Charles-Henri Guiéba
Located in Saint-Ouen, FR
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.
Category
21st Century and Contemporary Beaux Arts French Ceramics
Materials
Ceramic
Théodore Deck, Ceramic Vase, Signed, circa 1870
By Theodore Deck
Located in Saint-Ouen, FR
Théodore Deck (1823-1891), ceramic vase, signed, circa 1870.
Category
Late 19th Century Art Nouveau Antique French Ceramics
Materials
Ceramic
Stoneware Vase by Eric Astoul to La Borne, circa 1997
By Eric Astoul
Located in Saint-Ouen, FR
A stoneware vase by Eric Astoul to La Borne.
Perfect original conditions.
Circa 1997.
Signed under the base.
Unique piece.
Category
20th Century Beaux Arts French Ceramics
Materials
Ceramic
A porcelain sculpture by Wayne Fischer, 1997
By Wayne Fischer
Located in Saint-Ouen, FR
A porcelain sculpture by Wayne Fischer.
Perfect original conditions.
Signed.
Unique piece.
1997.
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...
Category
21st Century and Contemporary Beaux Arts French Ceramics
Materials
Ceramic
Porcelain Sculpture by Wayne Fischer, 2007
By Wayne Fischer
Located in Saint-Ouen, FR
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...
Category
21st Century and Contemporary Beaux Arts French Ceramics
Materials
Ceramic
A porcelain sculpture by Wayne Fischer, 2022
By Wayne Fischer
Located in Saint-Ouen, FR
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...
Category
21st Century and Contemporary Beaux Arts French Ceramics
Materials
Ceramic
Porcelain Sculpture by Wayne Fischer, 2022
By Wayne Fischer
Located in Saint-Ouen, FR
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...
Category
21st Century and Contemporary Beaux Arts French Ceramics
Materials
Ceramic
A porcelain sculpture by Wayne Fischer, 2015
By Wayne Fischer
Located in Saint-Ouen, FR
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...
Category
21st Century and Contemporary Beaux Arts French Ceramics
Materials
Ceramic
Porcelain Sculpture by Wayne Fischer, 2022
By Wayne Fischer
Located in Saint-Ouen, FR
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...
Category
21st Century and Contemporary Beaux Arts French Ceramics
Materials
Ceramic
Porcelain Sculpture by Wayne Fischer, 2022
By Wayne Fischer
Located in Saint-Ouen, FR
A porcelain sculpture by Wayne Fischer.
Perfect original conditions.
Signed.
Unique piece.
2022.
How can an inert object produce deeply unsuspecting, indecipherable, uncontrol...
Category
21st Century and Contemporary Beaux Arts French Ceramics
Materials
Ceramic
Porcelain Sculpture by Wayne Fischer, 2022
By Wayne Fischer
Located in Saint-Ouen, FR
A porcelain sculpture by Wayne Fischer.
Perfect original conditions.
Signed.
Unique piece.
2022.
How can an inert object produce deeply unsuspecting, indecipherable, uncontrol...
Category
21st Century and Contemporary Beaux Arts French Ceramics
Materials
Ceramic
Porcelain Sculpture by Wayne Fischer, 2022
By Wayne Fischer
Located in Saint-Ouen, FR
A porcelain sculpture by Wayne Fischer.
Perfect original conditions.
Signed.
Unique piece.
2022.
How can an inert object produce deeply unsuspecting, indecipherable, uncontrol...
Category
21st Century and Contemporary Beaux Arts French Ceramics
Materials
Ceramic
Porcelain Sculpture by Wayne Fischer, 2022
By Wayne Fischer
Located in Saint-Ouen, FR
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...
Category
21st Century and Contemporary Beaux Arts French Ceramics
Materials
Ceramic
A porcelain sculpture by Wayne Fischer, 1989
By Wayne Fischer
Located in Saint-Ouen, FR
A porcelain sculpture by Wayne Fischer.
Perfect original conditions.
Signed.
Unique piece.
1989.
How can an inert object produce deeply unsuspecting, indecipherable, uncontrollable ...
Category
21st Century and Contemporary Beaux Arts French Ceramics
Materials
Ceramic
Porcelain Sculpture by Wayne Fischer, 2006
By Wayne Fischer
Located in Saint-Ouen, FR
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...
Category
21st Century and Contemporary Beaux Arts French Ceramics
Materials
Ceramic
19th Century Rustic Popular Traditional Ceramic
Located in Barcelona, Barcelona
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...
Category
19th Century Rustic Antique French Ceramics
Materials
Ceramic
A porcelain sculpture by Wayne Fischer, 2022
By Wayne Fischer
Located in Saint-Ouen, FR
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...
Category
21st Century and Contemporary Beaux Arts French Ceramics
Materials
Ceramic
Porcelain Sculpture by Wayne Fischer, 2022
By Wayne Fischer
Located in Saint-Ouen, FR
A porcelain sculpture by Wayne Fischer.
Perfect original conditions.
Signed.
Unique piece.
2022.
How can an inert object produce deeply unsuspecting, indecipherable, uncontrol...
Category
21st Century and Contemporary Beaux Arts French Ceramics
Materials
Ceramic
Porcelain Sculpture by Wayne Fischer, 2022
By Wayne Fischer
Located in Saint-Ouen, FR
A porcelain sculpture by Wayne Fischer.
Perfect original conditions.
Signed.
Unique piece.
2022.
How can an inert object produce deeply unsuspecting, indecipherable, uncontrol...
Category
21st Century and Contemporary Beaux Arts French Ceramics
Materials
Ceramic
Porcelain Sculpture by Wayne Fischer, 2022
By Wayne Fischer
Located in Saint-Ouen, FR
A porcelain sculpture by Wayne Fischer.
Perfect original conditions.
Signed.
Unique piece.
2022.
How can an inert object produce deeply unsuspecting, indecipherable, uncontrol...
Category
21st Century and Contemporary Beaux Arts French Ceramics
Materials
Ceramic
A porcelain sculpture by Wayne Fischer, 2022
By Wayne Fischer
Located in Saint-Ouen, FR
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...
Category
21st Century and Contemporary Beaux Arts French Ceramics
Materials
Ceramic
Porcelain Sculpture by Wayne Fischer, 2018
By Wayne Fischer
Located in Saint-Ouen, FR
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...
Category
21st Century and Contemporary Beaux Arts French Ceramics
Materials
Ceramic
Porcelain Sculpture by Wayne Fischer, 2022
By Wayne Fischer
Located in Saint-Ouen, FR
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...
Category
21st Century and Contemporary Beaux Arts French Ceramics
Materials
Ceramic
Porcelain Sculpture by Wayne Fischer, 2018
By Wayne Fischer
Located in Saint-Ouen, FR
A porcelain sculpture by Wayne Fischer.
Perfect original conditions.
Signed.
Unique piece.
2018.
How can an inert object produce deeply unsuspecting, indecipherable, uncontrol...
Category
21st Century and Contemporary Beaux Arts French Ceramics
Materials
Ceramic
Porcelain Sculpture by Wayne Fischer, 1989
By Wayne Fischer
Located in Saint-Ouen, FR
A porcelain sculpture by Wayne Fischer.
Perfect original conditions.
Signed.
Unique piece.
1989.
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...
Category
21st Century and Contemporary Beaux Arts French Ceramics
Materials
Ceramic
Goat Ceramic by Dominique Pouchain
By Dominique Pouchain
Located in Lasne, BE
Ceramics in the shape of a goat stamped Dominique Pouchain.
Category
1990s Mid-Century Modern French Ceramics
Materials
Ceramic
Terracotta Majolica Bulldog Bavent Filmont, circa 1900
By J. Filmont Caen
Located in Austin, TX
Terracotta bulldog Bavent Filmont, circa 1900.
Category
Early 1900s French Provincial Antique French Ceramics
Materials
Terracotta
Goat Ceramic by Dominique Pouchain
By Dominique Pouchain
Located in Lasne, BE
Ceramics in the shape of a goat stamped Dominique Pouchain.
Category
1990s Mid-Century Modern French Ceramics
Materials
Ceramic
Talbot La Borne 1930 Abstract Blue and Brown Ceramic Vase Art Deco
By La Borne Potters
Located in Neuilly-en- sancerre, FR
Talbot - La Borne
Abstract blue and brown stoneware ceramic vase
20th art deco ceramic vase
Signed
Original good condition
Measures: Height 20 cm
Large 12 cm.
Category
20th Century Art Deco French Ceramics
Materials
Ceramic
Jacques Migeon Grey Stoneware Ceramic Tea Pot La Borne 1970 Design Unique Piece
By La Borne Potters
Located in Neuilly-en- sancerre, FR
Jacques Migeon - La Borne
20th grey stoneware ceramic tea pot
Unique handmade piece
French mid century design
Signed under the base
Original perfect condition
Heigh...
Category
20th Century Mid-Century Modern French Ceramics
Materials
Ceramic
Ceramic Mask, Accolay, France, 1960s
By Accolay Pottery
Located in Paris, FR
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...
Category
1960s Vintage French Ceramics
Materials
Ceramic
Large Stoneware Ceramic Animal Rabbit Decorative Box by Claude Gaget La Borne
By La Borne Potters
Located in Neuilly-en- sancerre, FR
Claude Gaget
Large stoneware ceramic decorative box realised in La Borne
original perfect condition
Measures: Height 18 cm
Large 17 cm.
Category
Late 20th Century Mid-Century Modern French Ceramics
Materials
Ceramic
20th Century Stoneware Ceramic Box by Claude Gaget La Borne circa 1990 Birds
By La Borne Potters
Located in Neuilly-en- sancerre, FR
Claude Gaget
Unique handmade piece
Large stoneware ceramic box with bird decoration
Brown stoneware ceramic glaze
Original perfect condition
...
Category
Late 20th Century Mid-Century Modern French Ceramics
Materials
Ceramic
Large Rustic XXth Century Design Brown and Grey Ceramic Pitcher Lohoff La Borne
By La Borne Potters
Located in Neuilly-en- sancerre, FR
Lohoff (Montreau Lohoff)
Realised in La Borne circa 1960.
Large stoneware ceramic pitcher.
Unique handmade piece.
Signed under the base.
Original perfect condition.
...
Category
20th Century Mid-Century Modern French Ceramics
Materials
Ceramic
Ceramic wall goat by Dominique Pouchain
By Dominique Pouchain
Located in Lasne, BE
Ceramic goat to hang on the wall. Stamped Dominique Pouchain.
5 items, possibility to buy per item.
Category
1990s Mid-Century Modern French Ceramics
Materials
Ceramic
19th Century French Pottery Cider Bottle from Normandy
Located in Austin, TX
French pottery cider bottle from Normandy, end of 19th century.
13 Bottles available, sold separately.
Different sizes.
Category
1880s Country Antique French Ceramics
Materials
Pottery
Pablo Picasso Signed Madoura Ceramic Tile Plaque 'Tête Polychrome' Ramié 455
By Pablo Picasso
Located in Studio City, CA
A wonderful, original hand painted ceramic tile plaque by famed artist Pablo Picasso titled "Tete Polychrome". The work features an abstract face w...
Category
1960s Mid-Century Modern Vintage French Ceramics
Materials
Ceramic, Earthenware, Pottery
Ceramic Cup by Sainte, Radegonde with White and Green Glazes, circa 1950- 1960
By Sainte Radegonde
Located in Saint-Ouen, FR
A ceramic cup with white and green glaze decoration by Sainte Radegonde.
Perfect original conditions.
Signed " D" under the base.
Circa 1960.
Category
20th Century Beaux Arts French Ceramics
Materials
Ceramic
Stoneware Vase by John Bailey to La Borne, circa 1997
By La Borne Potters
Located in Saint-Ouen, FR
A stoneware vase with red glaze decoration by John Bailey to La Borne.
Perfect original conditions.
Circa 1980-1990.
Signed at the base.
Unique piece.
Category
20th Century Beaux Arts French Ceramics
Materials
Ceramic
19th Century French Pottery Cider Bottle from Normandy
Located in Austin, TX
French pottery cider bottle from Normandy, end of 19th century.
13 bottles available, sold separately.
Different sizes.
Category
1880s Country Antique French Ceramics
Materials
Pottery
Folk Art Terracotta Cat Egg Cup or Votive
Located in Los Angeles, CA
Unique and delicate - a terracotta ceramic cat acquired in Paris France.
the piece is a compliment to many settings and would work well in a Childs space, or someone who is very fond of felines.
The body has a bell inside (this I believe is to remind the owner that the person that gave it them Is always thinking of them... purchased for a special person, for sure. Could be used as an egg cup, for a votive or small office supplies...
Category
20th Century Folk Art French Ceramics
Materials
Ceramic, Terracotta
Roger Capron - Le Pelerin Sculpture
By Roger Capron
Located in Stratford, CT
Beautiful work from Roger and Jacotte Capron. What is remarkable in this couple is their symbiosis; Roger Capron designs and shapes the piece, Jacotte C...
Category
20th Century Mid-Century Modern French Ceramics
Materials
Ceramic
19th Century French Pottery Cider Bottle from Normandy
Located in Austin, TX
French pottery cider bottle from Normandy, end of 19th century.
13 bottles available, sold separately.
Different sizes.
Category
1880s Country Antique French Ceramics
Materials
Pottery
Ceramic Mask, Accolay, France, 1960s
By Accolay Pottery
Located in Paris, FR
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...
Category
1960s Vintage French Ceramics
Materials
Ceramic
Ceramic Vase with Glaze Decoration, circa 1950 of Marcel Guillot
By Marcel Guillot
Located in Saint-Ouen, FR
A ceramic vase with glaze decoration by Marcel Guillot.
Signature under the base.
Perfect original conditions.
Circa 1950.
Category
20th Century Beaux Arts French Ceramics
Materials
Ceramic
Ceramic Mask, Accolay, France, 1960s
By Accolay Pottery
Located in Paris, FR
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...
Category
1960s Vintage French Ceramics
Materials
Ceramic
19th Century French Pottery Cider Bottle from Normandy
Located in Austin, TX
French pottery cider bottle from Normandy, end of 19th century.
13 bottles available, sold separately.
Different sizes.
Category
1880s Country Antique French Ceramics
Materials
Pottery
Ceramic Mask, Accolay, France, 1960s
By Accolay Pottery
Located in Paris, FR
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...
Category
1960s Vintage French Ceramics
Materials
Ceramic
Ceramic Vase with White Glaze Decoration of Michel Leveque to La Borne, 1970
By La Borne Potters
Located in Saint-Ouen, FR
A ceramic vase with white glaze decoration by Michel Levêque, Potter of La Borne.
Perfect original conditions.
Signed " M. Levêque" under the base.
Circa 1970.
Category
20th Century Beaux Arts French Ceramics
Materials
Ceramic
19th Century, French, Pottery Cider Bottle from Normandy
Located in Austin, TX
French pottery cider bottle from Normandy, end of 19th century.
13 bottles available, sold separately.
Different sizes.
Category
1880s Country Antique French Ceramics
Materials
Pottery
Joseph Talbot La Borne circa 1930 20th Century Blue and Brown Ceramic Vase
By Joseph Talbot
Located in Neuilly-en- sancerre, FR
Joseph Talbot
Signed under the base
Original XXth century design large stoneware ceramic vase
Perfect condition
Blue and brown stoneware ceramic glazes colors
Circa 19...
Category
20th Century Mid-Century Modern French Ceramics
Materials
Ceramic
19th Century French Pottery Cider Bottle from Normandy
Located in Austin, TX
French pottery cider bottle from Normandy, end of 19th century.
Category
1880s Country Antique French Ceramics
Materials
Pottery
A ceramic vase with pink glaze decoration, circa 1930 attributed to CAB.
By Ceramique d'Art de Bordeaux
Located in Saint-Ouen, FR
A ceramic vase with pink and white glaze decoration attributed to " Céramique d 'Art de Bordeaux".
Stamp signature under the base.
Perfect original signature.
Circa 1930.
Category
20th Century Art Deco French Ceramics
Materials
Ceramic
Wall Ceramic Sculpture with White and Green Glazes Decoration, circa 1950-1960
By Sainte Radegonde
Located in Saint-Ouen, FR
A wall ceramic sculpture with white and green glazes decoration.
In the style of sainte radegonde.
Perfect original conditions.
Circa 1960.
Category
20th Century Beaux Arts French Ceramics
Materials
Ceramic
Big Ceramic Sculpture by Pierre Baey, circa 1990
By Pierre Baey
Located in Saint-Ouen, FR
A big ceramic sculpture by Pierre Baey.
Unique piece.
Perfect original conditions.
Circa 1990.
Category
20th Century Beaux Arts French Ceramics
Materials
Ceramic
19th Century French Rustic Pottery Pitcher
Located in Austin, TX
19th Century French pottery pitcher.
Pottery from Normandy.
Category
1880s Country Antique French Ceramics
Materials
Pottery
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