Ceramic Folk Art

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...

Sometimes called a "Bura bell" due to its shape, this sculptural terra cotta object was part of the Bura tribe's burial ritual. Buried with its flared mouth facing down, this cylindrical storage...

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

A stoneware vase by Jeanne & Norbert Pierlot to Ratilly. Perfect original conditions. Artist monogram under the base "Pierlot." circa 1970. Unique piece.

A ceramic vase by Robert Heraud. Wood firing. Perfect original conditions. Signed under the base. Circa 1980. Unique piece.

Important glazed stoneware sculpture entitled « Flétrie » by Anne Barrès. circa 2010. Unique piece. Can be displayed both indoors and outdoors. H : 32.7’ x 33.8’ x 28.7’ inches...

A big ceramic covered jar with glazes decoration by Alain Gauderbert. Perfect original conditions. Signed under the base " Gaudebert ". Circa 1...

A ceramic covered jar by Jean and Jacqueline Lerat to La Borne. Perfect original conditions. Signed under the base " JJ LERAT LA BORNE ". Circa...

A big ceramic sculpture with black and blue glazes decoration by Michel Lanos (1926-2005). Perfect original decorations. Artist signature under the base, circa 1990. Unique piece.

Sometimes called a "Bura bell" due to its shape, this sculptural terra cotta object was part of the Bura tribe's burial ritual. Buried with its flared mouth facing down, this cylindrical storage...

A ceramic pitcher with glaze decoration by Accolay. Perfect original conditions. Signed under the base, Circa 1960-1970.

Georg Klimt 1867-1931 Unglanized porcelain Signed Good Original condition.

W P A style terracotta "BEAR" sculpture, Art Deco, Modern, charming stylized depiction. Painted, minor chipping (bottom).

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

A ceramic vase by Robert Heraud. Perfect original conditions. Signed under the base. Circa 1970-1980. Unique piece.

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...

Avocado and spruce colored glaze surround this vase with horse and tree design. Made in Italy.

Great Vintage Danish Stoneware Pottery from L. Hjorth of a young boy with a jug in respite. His soft blue palate and artistry makes this a unique 20th century sculpture. A great piec...

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...

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

A porcelain sculpture by Wayne Fischer. Perfect original conditions. Signed. Unique piece. 1989. How can an inert object produce deeply unsuspecting, indecipherable, uncontrollable ...

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

A porcelain sculpture by Wayne Fischer. Perfect original conditions. Signed. Unique piece. 2022. How can an inert object produce deeply unsuspecting, indecipherable, uncontrollable emotions? Wayne Fischer is an artist who can create works that force one to ask such moving questions as this. If he doesn’t know why, if he can’t explain the deepest reasons of his artistic research, he definitely knows the workings and limitations of the artistic process he invented. He has never deviated from the course he set for himself since university; translate life. The works presented here show the evolution of his creations over the past thirty years. If Wayne Fischer has received several international prizes and quickly obtained the recognition of his peers in ceramics, nevertheless he retains a singular position at once unavoidable and disturbing. His sculptures are paradoxical, powerful and sensual, and cause a certain unease. They are beautiful, carnal, touchable, all the while being outside the standard idea of beauty. The ambiguity of attraction and rejection is at the heart of this evolution. The pieces from the 1980s and 90s are imposing by their size, stature and symmetry, which give them balance. They generate surprise, curiosity and play between contrasts that are both soft and aggressive. They reference the body, muscles, and torso, without presenting an exact reality. They are double-faced, seductive, and enigmatic. Wayne’s shapes are inspired by shells, bivalves, sometimes presented as though they are floating in space. But the reference of the marine world to the mysterious female body has only one interpretation and only history and emotion condition the reaction of the spectator: he accepts or refuses to see, to be seduced. He is touched or he flees. The more recent sculptures are appreciated in the fullness of their round volume and the search for a pure universal beauty. “Metamorphosis,” the work recently awarded by the Bettencourt Foundation, is from this series of pieces wheel- thrown and deformed which pushes the porcelain from the inside so the bulges evoke the movement of waves or the musculature of several bodies. The exactness, the clean breaks, the assurance of lines and valleys are testimony to the interior power that governs the creation. The life energy expressed is also felt by the artist as the origin of ceramics. All the pieces are curved and tense. They show no marking, no sign of the hand, no imprints, and yet give an impression of spontaneity, as if a dropped piece of clay found its form by chance. Depending on the angles, the content becomes “the origins of the world...

A porcelain sculpture by Wayne Fischer. Perfect original conditions. Signed. Unique piece. 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...

1984-1995 Mark Hewitt Pottery jug. Speckled brown; elegantly turned. WMH mark with a D. 7.75" h., 5.25" dia. Whitehall Antiques is a family busine...

Charcoal Petal Gourd I by Julie Nelson -One Of A Kind- Dimensions: D 28 x H 22 cm Materials: Ceramic stoneware and porcelain. Artist Julie Nelson uses the materiality of clay as a m...

A ceramic sculpture "Bloc in motion" by Maarten Stuer. This piece can be put indoor or outdoor. Artist monogram under the base. 2020. Unique piece.

A ceramic lioness figurine glazed in brown and cream. This mid-century statue will be a fabulous addition to a bookshelf or side table. Created from ce...

A big ceramic vase to La Borne. Perfect original conditions. circa 1970. Signed at the base.

A ceramic vase by Robert Heraud. Perfect original conditions. Signed under the base. Circa 1970-1980. Unique piece.

A stoneware vase by Leon Pointu (1879-1942) Perfect original conditions. Each vase is signed under the base, circa 1930.    

The DROPS 3D ceramic tile from MAKHNO Product is created with the intention of bringing the raindrops indoors, making you feel like you are standing outside in the midst of a summer ...

A ceramic vase by François Eve with green and white glazes decoration. Perfect original conditions. Signed under the base, circa 1980-1990.  

A hand-crafted Southwestern pottery jug or round pitcher by the Ute Mountain Tribe. Signed on bottom. The base of the jug is hand-painted with a stylized geometric design in black an...

Dolores Porras Enríquez is widely known throughout Mexico and the world for being the creator of a technique rooted in the land of Oaxaca: pottery in natural color, glazed and decora...

Unique ceramic circular blue and gold souvenir plate from Oregon. This beautiful plate is round in form, and features scalloped pierced edges. The piercings are quatrefoil in shape. The edges almost resemble a starburst in how they extend from the center of the plate. The blue around the edges is a pearlized blue color, and alternates between scallops between the pearlized blue and gold. The technique in which the blue and gold has been applied shows slight brush strokes. A lovely detail that makes this piece unique. Inside at the center of the plate, scenes of Oregon are artfully applied. Such as Mt. Thielsen & Diamond Lake, Multnomah Falls...

Beautiful vertically painted majolica plaque, attributable to the famous Castelli factory, located in Abruzzo (Central Italy), dating back to the first half of the 18th century. The ...

A beautiful small ceramic pinch pot vase. Created from clay, this fun piece will be fantastic used in a grouping of other vases and filled with your ...

An unique and extraordinary ceramic sink by Michelle Hartmann (Born in 1936) "Michell" . "Les 2 Potiers". Perfect original conditions, circa 1970-...

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.

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...

Ancient Cypriot Bichrome Ware Amphora – Black-on-Red Pottery, Cypro-Archaic, ca. 800–600 BC A beautifully preserved ancient Cypriot bichrome ware amphora dating to the Cypro-Archaic...

Large 1960s Mid-Century Modern handcrafted large pottery platter. Hand-made stoneware decorative plate with classic sandy fat lava glaze. This ceramics were known to collectors as 'f...

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 calle...

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

Ceramic mask, Vallauris, France, 1960s Custom made pedestal.

Stoneware silhouette double sided sculpture.

These sculptures are considered manifestations of their deceased ancestors and are placed in ancestor shrines.

A rare monumental ceramic vase by Daniel Maes. Perfect conditions. Signed and dated at the base, circa 1992.

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

Round circular scalloped souvenir plate or dish from Kingfisher Oklahoma. This beautiful plate features a lovely emerald green ombre around the edges an...

Mosaic Wall artwork Sculpture Inlaid of colorful squniteuare rocks, colors like blue, gradients of pinks and purples, and blues. There is a sun figure in the middle of the frame with a sad face...

Fetish Bowl 1998 Marvelita Phillips ( 1949 - ) Ceramic pot, pine tar, turquoise, azurite, shells, coral, deer antlers, feathers, jet, horsehair, deer sinew, leather. A truly magnificent Fetish Bowl appearing in near pristine original condition and one of only four examples extant of these largest Fetish Bowls ever made by Marvelita Phillips. The bowl is coated with a pine tar mixture of a proprietary mixture of turquoise, azurite, and coral that stuck to the fetish bowl. This is meant to give the fetishes great importance and value. There are three very large carved shed deer antler Water Serpent...

Ceramic plate by Roger Capron, Vallauris, France, signed

Charming outsider art charger / decorative plate depicting a jovial young girl. Pleasant color palette and figure with age-appropriate crazing to the glaze...

Napoleonic Bear Baiting Jug and Cover, Probably Scottish,

Wonderful intense handcrafted tall stoneware vessel or vase. Good size, just over a foot tall. Heavy. No chips, no cracks.