Europe - Ceramics

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...

20th Century Stoneware model of a house, signed H15 x W13 x D9 cm

Stoneware H9 x D7.5 cm

A set of three Moroccan ceramic pieces dating from the mid-20th century, consisting of two octagonal dishes and a trinket tray. Each piece is adorned with hand-painted enamel featur...

Important glazed stoneware sculpture entitled « Flétrie »by Anne Barrès. Circa 2010. Unique piece. Can be displayed both indoors and outdoors. H : 17.7’ x 19.7’ x 19.7’ inches (c...

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

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.

Glazed stoneware sculpture entitled « L’éffondrée bleue » by Anne Barrès. circa 2010. Unique piece. H : 22.4’ x 25.6’ x 27.5’ inches. Approximates dimensions.

Painted and glazed stoneware H10 x D34 cm

A ceramic covered jar by Jean Lerat to La Borne. Perfect original conditions. Signed under the base " J LERAT ". Circa 1952. Unique piece.

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

Slipware marriage plate. decorated with the key to unlock the heart of love. France Circa 1780. Probably unique, made specifically for the happy couple as a...

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...

Glazed Ceramic H26 x W25 x D19 cm

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.

Early Rye Pottery individual brown glazed studio pottery vase by John Cole (British, 1908-88) and made around 1947. The heavily made stoneware vase is of w...

Ceramic H29 x D17 cm

Unglazed porcelain H4 x W8 x D5 cm

Terracotta H57 x D44 cm

Ceramic H6 x W7 cm

Pitcher by Pol Chambost Not signed Model : 1038 In white satin. Elegant line for this sculpture pitcher.

A ceramic dish with an abstract glazes decoration by Robert Deblander. Perfect original conditions. Signed under the base. Circa 1965-1970.

Black bear paw by Georges Jouve, signed, 1960's

Stoneware studio pottery bowl in a blue and white glaze with a maker's signature on the bottom H6 x W21cm

Decorated earthenware H17.5 x D12 cm

For Newlyn Harbour Pottery, c.1960s Ceramic H29 x D14 cm

Painted earthenware H39 x W28 x D20 cm

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...

This vintage plate is an original decorative ceramic object realized in Italy during the 20th century by Molaroni Pesaro manufacture, Italy. This very rare and colored ceramic pla...

Glazed ceramic

Hand thrown and glazed stoneware H30 x W20 x D12 cm

Stoneware with impressed marks H9.5 x D9 cm

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...

A Ceramic Panel by Simone Picault Vallauris France 1970s Wife of famous artist Robert Picault. Report : minor chip on the edge and behind.

Vide-poche by Roger Capron, black ceramic, signed

White glaze on black clay H58 x W41 cm With maker’s mark

A beautiful Aldo Londi designed fish from the "Pesci" series in "Rimini Blu" color and glaze. Manufactured from Bitossi in the 70s customized for Sardartis Castelsardo company in Sa...

Glazed stoneware dish with floral decoration produced by the Søholm workshop in Denmark in the 1960s/70s. Located on the famous island of Bornholm off the coast of Denmark, which has...

An African Ceramic Mask by Marino Le Vaucour. Vallauris, France 1960s Signed. Size the mask : Height : 32cm Large : 14cm Size the pedestal : Height : 51cm Large : 21 X 19cm The p...

Ceramics in the shape of a goat stamped Dominique Pouchain. FOR SHIPPING, REQUEST US FOR RECEIVE THE BEST PRICE

Ceramics in the shape of a goat stamped Dominique Pouchain.

Blue glazed ceramic vase attributed to Raoul Lachenal. Unsigned. Circa 1930. H : 15.7’ x 7.9’ x 7.9’ inches.

Ceramic plate by Roger Capron, Vallauris, France, signed

Martincamp - France Antic 18th century stoneware ceramic pitcher Original good condition - some original little cracks Height 27 cm Large 17 cm

Stoneware dish glazed by the Bangholm workshop in the 1960s. One side is glazed, the other is left unglazed, with beautiful material effects. Note a very small chip, see detail photo...

Le Corbusier Collection Chandigarh Square Tray For Cassina Cassina looks to the genius of Le Corbusier as inspiration for a collection of three modern trays in pure, unglazed porce...

Square ashtray from the 50's by the French ceramist Jean Derval from Vallauris. Very nice glazing on the whole ashtray with a stylized drawing of a bird in the centre. Signature of t...

A pair of Meissen Hoopoe birds naturalistically modelled perched on leafy tree stumps after the models by J J Kandler with blue crossed sword marks, 19th century. Batch 71 61579 ...

Green ceramic vide de poche by Chambost

Pierre Digan 20th century ceramic pitcher by the french artist Signed under the base Elegant ceramic glazes colors effects Original perfect condition Circa 1970 in La...

We are delighted to offer for sale this one of a kind, fully signed, original circa 1930 Roger Guerin ceramic pots of large proportions. I have three posts for sale, one has a stitched detailing, another, fler de lis and lastly one with handles and Deers, this sale is for the pot pictured alone, the others are listed under my other items and not included in this sale Roger Guèrin (1896-1954) was one of the leading Belgian ceramists in Bouffioulx near Charleroi. Typical was his use of flowing glazes in his decorations. He was true to the history of this region, often working on a type of hard ceramic (fired to over 1250 degrees Celsius) which was made there since the late Middle Ages. He exhibited at the Paris expos...

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...

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...

A truly wonderful design piece, and one of my favorite, is this Japanese hand-built wood fired twin handled studio pottery vase of sculptural form by Hajimo Kato (b.1947) dating from...

Ceramic Mask, Accolay, France, 1960s Accolay was a pottery center in France, north of Burgundy, founded amongst others, by 4 students of Alexandre Kostanda. Active between 1945 and 1...

Ceramic 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 ...

Beautiful unique ceramic vase made by Bottega Gatti in Faenza, most probably during the 1950s or earlier. The vase is hand painted, hand carved and glaz...

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...