Ceramic Folk Art

This vase is made of glazed terracotta. African work. Circa 1950.

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

Fine quality hand painted porcelain humidor is in excellent all original condition with no chips, repairs, or overpaint; nice bright crisp paint and detail. No mark, but definitely American, circa 1900 era. Note the detail to the Indian's face and his elaborate headdress. Native American Indians were especially attracted to tobacco and related products and relished the opportunity to pose for pictures on that topic; note cigar store "Indians", match safes, and humidors. This is a very desirable and item of tobacciana with the Indian subject matter and the attractive multicolored hand painted Indian chief with headdress, probably of note but I have not been able to accurately identify him; quite possibly "Big Bow" an Indian warrior who has been identified on other similar objects. Grace Young...

A Trilobite fossil from Morocco,great patina and shine of the fossilized stone, Trilobits are extinct marine arthropods,easily recognized by their distinctive three-lobed, three-seg...

A glazed ceramic art vessel in two parts. Decorated as a female head, the pedestal has eyes, cheek dimples and lips all glazed while the pedestal has moulded undulating polka dot dec...

A large earthenware ceramic jardiniere or planter. This piece is decorated with a creamy white and blue design. Each side features an applied free-form handle. This would be great in...

This hand painted Italian Deruta Pottery Tureen has a beautiful rich blue patina. It has suffered a few dings in its surface. However we do not ...

Stoneware sculptural plate with geometric decoration by Georges Martin. Artist signature on the base. Circa 1970-1980. Unique piece. H : 18.7 x 0.9 inches.

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...

19th century Staffordshire pottery penny bank from England in the form of a cottage with flocked details. The coin slot has a few nicks from age and use.

This rare and wonderful example of a formative stage figure from the woodland period is attached to a small wire and wood stand, and is in extraordinarily very good condition for its...

Although this whimsical sculpture by Allan Winkler has the look of outsider art, this ceramic work stems from the art school-trained artist’s interest in...

An exceptionnel ceramic dish with abstract glazes decoration by Jean Linard to La Borne, circa 1970. Perfect conditions. Signed under the base " Linard". Unique piece.

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

Gabriele Pütz vintage abstract realism ceramic artwork made in Germany, 1982. This work is made of a round clay tower / pillar with pillow edge details. On the body of the tower is w...

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...

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

Sculpture in glazed stoneware and engobed by Jean-Pierre Bonardot. Artist signature under the base « JP Bonardot 99 ». Unique piece. 1999. H : 7.08’ x 21.6’ x 13.8’ inches.

Théodore Deck (1823-1891), ceramic vase, signed, circa 1870.

Terra cotta facade ornament from Western Methodist book exchange. Designed by Kristian Schneider. Includes new custom base. Rare.

Moche Red Ware Pottery Vessel with man figure. Moche Horizon of Peru, Circa 450 - 550 CE. In overall good condition, some chipping around the mouth of the narrow spout, and there’s a small spiderweb push on the back of the jar that appears to have resulted from a probe that penetrated the left side just below the figure (two small holes, one on the front upper left corner of the throne, and the other just around to the side, have been repaired). 6” x 4” x 6”. Ex. Hank Johnson Collection. Hank Johnson was a geologist, and passionate collector of historical and ancient artifacts. Starting with relics and bottles from ghost towns, he later focused on Anasazi pottery...

Sculpture in glazed stoneware and engobed by Jean-Pierre Bonardot. Artist signature under the base « JP Bonardot 05 ». Unique piece. 2005. H : 18.1’ x 11.8’ x 7.08’ inches.

Important sculpture with wings in black glazed stoneware by Jean-Pierre Bonardot. Handwritten signature of the artist. Unique piece. 2022. H : 23.6’ x 7.08’ x 7.08’ inches.

Large vintage garden snail sculpture from France. Hand-made circa 1950-1969 from concrete with ceramic "Pique assiette" type mosaic decoration.

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...

Elegance in imperfection. Fun handmade textured ceramic pot.

A ceramic vase by Jacques Pouchain and l' Atelier Dieulefit. Perfect original conditions. Signed under the base. Circa 1970-1980. Unique piece.

A zoomorphic ceramic sculpture by Pierre Roulot. Perfect original conditions. Signed under the base "Roulot". circa 1950-1960.

A stoneware pitcher by Robert Héraud to La Borne. Perfect original conditions. Circa 1980-1990. Signed under the base. Unique piece.

Joseph Holdcroft Majolica Figure of a Little Girl and Dog, English, ca. 1880. Good condition with two small chips (pictured) to the rear pedesta...

A masterfully hand carved sculptural bust of a Roman soldier. This is a modern reproduction of a roman era bust with a glazed finish. The figure holds...

British pottery pearlware sponged spirit flasks modeled in form of boots, Scottish, circa 1840-1850. Great fun & so decorative! The pair of unusual flasks are sponged in mottled ...

Large porcelain biscuit screen with four adjustable leaves by Anne Barrès. Artist signature on the back. circa 2010. Unique piece. Patinated metal structure. H : 76.6’ x 24.8’ x 3.5...

Large pair of Moorish Moroccan glazed polychrome ceramic jars tureen with cover. Hand painted ceramic Jubbana, handcrafted by skilled Moroccan artisans in Fez Morocco. Moorish desi...

A big ceramic dish by Gustave Tiffoche. Perfect original conditions. Circa 1970-1980. Signed under the base.

Modernist Vintage ceramic vase, Italy 1960's. Beautiful Bitossi style etched vase. Handcrafted Modernist Minimalist vintage Mid Century Modern studio pottery ceramic Vase in brown ...

Porcelain sculpture entitled "Solstice" . Unique piece. Signed under the base. 2022.

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

Large wall sculpture entitled « Grande voile » in grey clay and rebar by Anne Barrès. Circa 1970-1980. Unique piece. H : 19.7’ x 59.4’ x 4.1’ inches.

A big ceramic sculpture by Pierre Baey. Unique piece. Perfect original conditions. Circa 1990.  

A set of 6 Hungarian Folk Art Red Ware tea cups and saucers by Imre Szűcs. A black/brown based glaze decorated with white dots. The undersides are signed by Imre Albert Szucs and mar...

Woodfired ceramic vase by Eric Astoul. Artist signature under the base. 1987. H : 12.6’ x 9.8’ inches.

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...

Glazed stoneware wall sculpture entitled « Burka » by Anne Barrès. Artist signature on the back « Anne Barrès ». circa 2000-2010. Unique piece. Can be displayed both indoors and o...

Covered in a beautifully worn red clay slip, this hand-formed African vessel has a dramatic silhouette of a squat, ovoid body and a long, narrow neck. Subtly etched crosshatch patter...

The Nupe people of Nigeria were touted as some of the finest ceramicists in Africa. Everyday objects like this elegant, cylindrical vessel support received detailed attention. This f...

A pretty piece of studio pottery. Unglazed and unpainted, this pitcher is created from clay and has no signature. It would be a beautiful piece for display on a shelf or table. Dim...

Lonnie Vigil (1949 -) Micaceous Bowl 1994 8 inches H. x 13 inches in Diameter This striking bowl is by renown master potter Lonnie Vigil of Nambe Pueblo. Made from hand coils of micaceous clay, the surface is then slipped with micaceous clay and traditionally pit fired. Micaceous clay is so rich in the mineral mica that the mica's tiny gold-colored flakes impart a softly glowing, subtly textured surface to the finished pottery. So it is not just the form, but the surface that is so stunning on this beautiful piece. The bowl was fired to a deep golden orange, with the surface patterned by fire clouds. These fire clouds are varied in coloration forming an exquisite pattern on the surface of the bowl. Lonnie Vigil is the recognized master and innovator of micaceous pottery...

A whimsical round ceramic platter made in Portugal. The decorative plate is decorative in whimsical design of Spring. A rabbit in gray, castle and bird are surrounded by hand painted flourishes and stylized flowers. A braided ceramic...

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

Ceramic bowl, model 20.717, with oxblood colored glaze, designed by Axel Salto for Royal Copenhagen. The bowl is a classic example of Salto's experimental approach to ceramics, where...

Tall Hollywood Regency style pink imperial line vase in the shape of a seahorse. This eye catching vessel is tall in form, and features a figural statue of a seahorse with shell crow...

Porcelain sculpture entitled "Solstice" . Unique piece. Signed under the base. 2022.

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

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

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.