Ceramic Folk Art

Ceramic panel with 7 tiles including: 4 characters with Venetian mask and musical instruments and 3 with light points. The composition is hand-painted with pure gold trim, made by Ot...

Large, mixed media, Folk Art angel is plaster sculpture with acrylic paint on wood cutout with newspaper backing on her wings. The angel is signed and date...

Very rare Diselpunk trade sign from 1978, Adriano Goldschmied Renzo Rosso This is the best of Art from of 1970s Era, a trade sign designed to promote the Diesel Brand, Punk, it ...

MAM Collection Place of origin: Department of Huehuetenango, Guatemala Collection of jars made of red clay. They have traditionally been used to c...

Small ceramic dish by Marianne Johnson for Royal Copenhagen in the 1950s, from the ‘Tenera’ series. 17x17cm H:3,5cm Royal Copenhagen is one of Europe's oldest porcelain manufacturer...

Simpatico Tower I, 2022 Glazed stoneware Measures: 93 x 25 x 25 in.

Gorgeous Dutch ceramic pottery Art Deco bookends. Designed by Godefridus Boonenkamp in 1931. Very nice, large bookends, made of white baked earthenware ...

Vintage Mata Ortiz Tadpole Fetish Pot Cesar Dominguez (b. 1961 - ) 1989 Hand-Coiled low fire clay Mata Ortiz, Chihuahua, Mexico This miniature Tadpole Fetish Pot is a rare and very early example (1989) from this first generation Mata Ortiz acknowledged Master Potter, Cesar Dominguez, who began his work in 1984. His pottery is widely collected and his repertoire is huge, from differently colored colored intricately decorated stone -polished ollas to plates, to bowls, to marbleized pottery...

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...

An exquisite handcrafted clay vessel, a stunning fusion of tradition and design. Made in the northern mountains of Oaxaca, Mexico, this one-of-a-kind piece is shaped by hand and fire...

Stoneware lamp with geometric decoration by Georges Martin. Artist monogram on the base. Circa 1970-1980. H : 14.6 x 7.5 inches (ceramic only). Sold with a European electrical system.

Stoneware lamp with geometric decoration by Georges Martin. Artist monogram on the base. Circa 1970-1980. H : 5.9 x 10.2 inches (ceramic only). Sold with a European electrical system.

Stoneware lamp with geometric decoration by Georges Martin. Artist monogram on the base. Circa 1970-1980. H : 6.7 x 11 inches (ceramic only). Sold with a European electrical system.

Stoneware lamp with geometric decoration by Georges Martin. Artist monogram on the base. Circa 1970-1980. H : 11.8 x 11.4 inches (ceramic only). Sold with a European electrical system.

Stoneware lamp with geometric decoration by Georges Martin. Artist monogram on the base. Circa 1970-1980. H : 7.1 x 8.7 inches (ceramic only). Sold with a European electrical system.

A large mosaic panel artwork representing the bicentennial celebration in New York harbor on the evening of July 4, 1976. A memorable evening throughout the United States and partic...

C1900 French Ceramic Red Squirrel. Unique piece purchased in France. Age appropriate wear, see detailed photos or message us with questions.

Accolay vase, circa 1960.  

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

Antique handmade African red slip ware vase. Circa 300-600 CE (AD), this beautiful handmade piece red slip ware pottery was handmade in North Africa. This pi...

Mask by Accolay Pottery, active between 1945 and 1983, signed

Large Clay Bust of a Child by Philippe Seené, 2004 set on Bronze Life size signed bust of a cherubic child, the bust is made in clay and is set into a bronze plinth, the signatur...

With its elegant and delicate design, the FISH is not just a mere wall decoration, but a work of art that elevates any space it is installed in. The tile's intricately detailed patte...

Fantastic vintage Postmodern charger. Brilliant hand painted glazed ceramic with an impressive size. Signed on the back. Acquired from a Palm Beach estate.

Ceramic Mask, anonymous, France, 1960s Custom made pedestal.

Napolean III. Late 19th Century Majolica. Beautiful condition. Age appropriate wear, see detailed photos or message us with questions.

Figure of a statesman. Painted stoneware pottery. Signed John Hewitt and dated 1867. Original paint. H 15-5/8".

A set of four antique Minton tiles after designs by Dutch Delft tiles, sourced from an ex British private collection. Dating to circa 1860, these striking 5-inch tiles have been in ...

Mayan Bichrome Tripod Bowl (Usulatan Ware). Quiche Area, Guatemala. C. 200 - 950 CE/ Mayan. Intact with small rim chip. Light orange and dark Mayan bowl is ...

Great condition

Double-sided porcelain directional arrow sign. This piece features white block text over a royal blue arrow, creating a high-contrast item; also present are two grommets for fasteni...

Benjamin and Miriam, founders of Objekti, discovered the pines on a trip to Mexico and fell instantly in love with these unique and rare pieces. The pine, a symbol long associated wi...

Signed stoneware sculpture by the French sculptor Isabell Vigo. Raw , unglazed stoneware.

Very stylish drip glazed Folk Art vase This beautiful pottery Vase, dating from the 1960s, has an attractive and colourful drip painted decoration, it has a glazed finish and in...

This small head of a ceramic figure with a bird headdress is probably Pre-Columbian. It seems to originate from the territory of present-day Mexico. Fur...

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

Created in Benin some time during the late 19th Century, and acquired at the Albert F. Gordon Tribal Arts Gallery in New York in the early 1970s, this is a bronze cast bust embellish...

Simpatico Tower II, 2022 Glazed stoneware 63 x 23 x 23 in Inv #TDM1182

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

A French faience corpus manufactured in Rouen. The cross now missing and with historic damage to the wrists and ankles.

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

Clement Massier, art nouveau flower spike, Vallauris circa 1900.

This fine, round, dark grey vessel depicts a complete figure which is rare. It was made by the Mangbetu People. The Mangbetu ethnic group lives deep in the...

Ashtray series "Wave" Ettore Sottsass, 1969 u2028Glazed ceramic ashtray, designed by Ettore Sottsass in 1969 for the Onda series. The work is made of ceramic with cinnabar red glaze,...

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

Vase "Cosmos I" by Jean François Reboul (1952): Vase made out of enameled ceramic using Raku technique. "Certificate of Authenticity" provided by the gallery. Measures: 15 cm D x 48...

Cream slip pottery, large standing female figure with arms raised. Nicely painted red and chocolate-brown face, with a finely detail geometric headband. Scattered mineral deposits on...

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...

Important glazed stoneware sculpture entitled « Flétrie » by Anne Barrès. circa 2010. Unique piece. Can be displayed both indoors and outdoors. H : 33.5’ x 22.8’ x 22.8’ inches...

Colourful North African terra cotta elephant statue seat A very bright and attractive piece of Folk Art from North Africa, he dates from the l...

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 ...

Palanquin and its bearers Glazed terracotta 5 pieces Ming period (1368-1644) Figure: h31 x w 6.5 x d 6.5 cms Palanquin : h 29 x w 16 x d 12 cms Thermoluminescence test Rare Very ...

Exceptional ceramic in the shape of a unicorn by Dominique Pouchain. For shipping, request us for receive the best price.  

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

These handmade decorative accessories combine the traditional Portuguese ceramic and glazing techniques in a modern approach of shapes and color, as they bring such brightness and jo...

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

A porcelain sculpture by Wayne Fischer. Perfect original conditions. Signed. Unique piece. 2007. How can an inert object produce deeply unsuspecting, indecipherable, uncontrollable emotions? Wayne Fischer is an artist who can create works that force one to ask such moving questions as this. If he doesn’t know why, if he can’t explain the deepest reasons of his artistic research, he definitely knows the workings and limitations of the artistic process he invented. He has never deviated from the course he set for himself since university; translate life. The works presented here show the evolution of his creations over the past thirty years. If Wayne Fischer has received several international prizes and quickly obtained the recognition of his peers in ceramics, nevertheless he retains a singular position at once unavoidable and disturbing. His sculptures are paradoxical, powerful and sensual, and cause a certain unease. They are beautiful, carnal, touchable, all the while being outside the standard idea of beauty. The ambiguity of attraction and rejection is at the heart of this evolution. The pieces from the 1980s and 90s are imposing by their size, stature and symmetry, which give them balance. They generate surprise, curiosity and play between contrasts that are both soft and aggressive. They reference the body, muscles, and torso, without presenting an exact reality. They are double-faced, seductive, and enigmatic. Wayne’s shapes are inspired by shells, bivalves, sometimes presented as though they are floating in space. But the reference of the marine world to the mysterious female body has only one interpretation and only history and emotion condition the reaction of the spectator: he accepts or refuses to see, to be seduced. He is touched or he flees. The more recent sculptures are appreciated in the fullness of their round volume and the search for a pure universal beauty. “Metamorphosis,” the work recently awarded by the Bettencourt Foundation, is from this series of pieces wheel- thrown and deformed which pushes the porcelain from the inside so the bulges evoke the movement of waves or the musculature of several bodies. The exactness, the clean breaks, the assurance of lines and valleys are testimony to the interior power that governs the creation. The life energy expressed is also felt by the artist as the origin of ceramics. All the pieces are curved and tense. They show no marking, no sign of the hand, no imprints, and yet give an impression of spontaneity, as if a dropped piece of clay found its form by chance. Depending on the angles, the content becomes “the origins of the world”. Femininity and sensuality are exalted. Inspired by the body, before and after birth, or simply the sea, the parts of the sculpture conjugate around a mysterious interior cavity, secret and troubling. The interior wall doesn’t correspond to the exterior, and has its own volumes, deformities, and intimacy. The pieces present two kinds of interior: one open, and partially uncovered, the other totally hidden inside. The differences of their respective deformation reinforce the impression of life : the subjective representation of muscles and bones, of bulges pushed by an interior force, like a visceral movement of respiration. The surface of the ceramic is crackled but soft and fine, even reflecting light like the skin. The nuances of color reinforce the expression of sensuality. The alignment of technique and what it causes one to see and feel has rarely been so intimately successful. Wayne Fischer perfected his technique in the 1970s and has remained faithful to it. He adds fibers to porcelain clay that has been chosen for its whiteness to create and accentuate volume around empty space, by assembling slabs or thrown pieces. Then, he makes another piece that takes its place inside; both parts are formed with no hand...

A porcelain sculpture by Wayne Fischer. Perfect original conditions. Signed. Unique piece. 2022. How can an inert object produce deeply unsuspecting, indecipherable, uncontrollable emotions? Wayne Fischer is an artist who can create works that force one to ask such moving questions as this. If he doesn’t know why, if he can’t explain the deepest reasons of his artistic research, he definitely knows the workings and limitations of the artistic process he invented. He has never deviated from the course he set for himself since university; translate life. The works presented here show the evolution of his creations over the past thirty years. If Wayne Fischer has received several international prizes and quickly obtained the recognition of his peers in ceramics, nevertheless he retains a singular position at once unavoidable and disturbing. His sculptures are paradoxical, powerful and sensual, and cause a certain unease. They are beautiful, carnal, touchable, all the while being outside the standard idea of beauty. The ambiguity of attraction and rejection is at the heart of this evolution. The pieces from the 1980s and 90s are imposing by their size, stature and symmetry, which give them balance. They generate surprise, curiosity and play between contrasts that are both soft and aggressive. They reference the body, muscles, and torso, without presenting an exact reality. They are double-faced, seductive, and enigmatic. Wayne’s shapes are inspired by shells, bivalves, sometimes presented as though they are floating in space. But the reference of the marine world to the mysterious female body has only one interpretation and only history and emotion condition the reaction of the spectator: he accepts or refuses to see, to be seduced. He is touched or he flees. The more recent sculptures are appreciated in the fullness of their round volume and the search for a pure universal beauty. “Metamorphosis,” the work recently awarded by the Bettencourt Foundation, is from this series of pieces wheel- thrown and deformed which pushes the porcelain from the inside so the bulges evoke the movement of waves or the musculature of several bodies. The exactness, the clean breaks, the assurance of lines and valleys are testimony to the interior power that governs the creation. The life energy expressed is also felt by the artist as the origin of ceramics. All the pieces are curved and tense. They show no marking, no sign of the hand, no imprints, and yet give an impression of spontaneity, as if a dropped piece of clay found its form by chance. Depending on the angles, the content becomes “the origins of the world”. Femininity and sensuality are exalted. Inspired by the body, before and after birth, or simply the sea, the parts of the sculpture conjugate around a mysterious interior cavity, secret and troubling. The interior wall doesn’t correspond to the exterior, and has its own volumes, deformities, and intimacy. The pieces present two kinds of interior: one open, and partially uncovered, the other totally hidden inside. The differences of their respective deformation reinforce the impression of life : the subjective representation of muscles and bones, of bulges pushed by an interior force, like a visceral movement of respiration. The surface of the ceramic is crackled but soft and fine, even reflecting light like the skin. The nuances of color reinforce the expression of sensuality. The alignment of technique and what it causes one to see and feel has rarely been so intimately successful. Wayne Fischer perfected his technique in the 1970s and has remained faithful to it. He adds fibers to porcelain clay that has been chosen for its whiteness to create and accentuate volume around empty space, by assembling slabs or thrown pieces. Then, he makes another piece that takes its place inside; both parts are formed with no hand...

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

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