Europe - Ceramics
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Item Ships From: Europe
Castle Hedingham William II Medieval Style Art Pottery Jug
Located in Bishop's Stortford, Hertfordshire
An unusual Castle Hedingham medieval style pottery jug marked for William Rufus (William II, son of William the Conqueror) and made by Edward Bingham ...
Category
19th Century English Medieval Antique Europe - Ceramics
Materials
Pottery
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 French Art Nouveau Antique Europe - Ceramics
Materials
Ceramic
Roger Michell Two Studio Pottery Marbled Clay Miniature Teapots
Located in Bishop's Stortford, Hertfordshire
A stylish pair vintage miniature Studio Pottery marbled clay teapots of egg shape with tall loop kettle style handles by Robert Michell and dated 1984. The teapots are press molded with marbled clay, this is colored clay pressed and rolled together to give these beautiful colored and marbled designs. One teapot combines contrasting black and white clays while the other combines colored clays both with a black clay ring foot, spout and loop handle. The teapots have incised signatures to the lower body below the handles and are dated 84. An unusual and stylish pair of Studio Pottery teapots.
Provenance: The Joseph...
Category
1980s English Modern Vintage Europe - Ceramics
Materials
Pottery
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 French Beaux Arts Europe - Ceramics
Materials
Ceramic
Bull Ceramic by Dominique Pouchain
By Dominique Pouchain
Located in Lasne, BE
Ceramic statue in the shape of a bull. Stamped Dominique Pouchain.
Category
1990s French Mid-Century Modern Europe - Ceramics
Materials
Ceramic
William Moorcroft Bowl for Liberty & Co
By William Moorcroft
Located in Chipping Campden, GB
5361
William Moorcroft for Liberty & Co.
An inverted Bowl decorated with a superb example of the Claremont design
Circa 1908
Category
Early 1900s Antique Europe - Ceramics
Materials
Earthenware
Vase Potiche Coco with Lid, Matt White Ceramic, Italy
By VG-VGnewtrend
Located in Treviso, Treviso
VG is dedicating a collection of ceramics to the genius of Coco Chanel, a leading figure in the story of modern fashion, and a designer who crea...
Category
2010s Italian Modern Europe - Ceramics
Materials
Ceramic
Karen Ann Wood Studio Pottery Red Glazed Spot Design Lidded Teapot
Located in Bishop's Stortford, Hertfordshire
A very fine and stylish English studio pottery teapot and cover decorated in red glazes with blue spot designs by Kent based potter Karen Ann Woo...
Category
1970s English Modern Vintage Europe - Ceramics
Materials
Stoneware
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 French Vintage Europe - Ceramics
Materials
Ceramic
Ceramic Abstract Wall Sculpture Perignem, Belgium
By Perignem, Paul Vermeire
Located in Antwerp, BE
Beautiful colorful ceramic wall sculpture in organic nature details with abstract mushrooms and mosses designed by Paul Vermeire for Perignem,Belgium, 1960s.
Paul Vermeire was a Bel...
Category
1960s Belgian Mid-Century Modern Vintage Europe - 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 French Mid-Century Modern Europe - 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 French Beaux Arts Europe - Ceramics
Materials
Ceramic
Star Petal Gourd III by Julie Nelson
Located in Geneve, CH
Star petal gourd III by Julie Nelson
One Of A Kind
Dimensions: D 22 x H 26.5 cm
Materials: Ceramic stoneware and porcelain
Artist Julie Nelson uses ...
Category
2010s British Post-Modern Europe - Ceramics
Materials
Ceramic, Porcelain
Ceramic Mask, Vallauris, France, 1960s
By Vallauris
Located in Paris, FR
Ceramic mask, Vallauris, France, 1960s
Custom made pedestal.
Category
1960s French Vintage Europe - Ceramics
Materials
Ceramic
1970s Pippo Pozzi Alessandria/Biella Italy Ceramic Plate
By Pozzi
Located in Biella, IT
Pippo Pozzi, Alessandria 1910 / Biella 1999, Italy in years 1960 ceramic plate design
measure diameter 13 inches x 1,2" deep, in perfect condition A is very rare.
signed in t...
Category
1970s Italian Modern Vintage Europe - 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 French Beaux Arts Europe - Ceramics
Materials
Ceramic
Heiner Hans Körting German Bauhaus Black & Brown Glazed Pottery Vase
By Bauhaus Deutschland
Located in Bishop's Stortford, Hertfordshire
A very stylish German Bauhaus studio ceramic vase decorated in black and brown glazes by Heiner Hans Körting (1911-1991) and dating from 1940-50. T...
Category
Mid-20th Century German Bauhaus Europe - 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 French Beaux Arts Europe - 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 French Beaux Arts Europe - Ceramics
Materials
Ceramic
Ceramic Vase by Robert Heraud, circa 1970-1980
By Annie Maume & Robert Heraud
Located in Saint-Ouen, FR
A ceramic vase by Robert Heraud.
Perfect original conditions.
Signed under the base.
Circa 1970-1980.
Unique piece.
Category
20th Century French Beaux Arts Europe - Ceramics
Materials
Ceramic
Espectacular Pareja De Cántaros De Barro Españoles
Located in Madrid, ES
Están realizado en barro y son de origen andaluz , concretamente de los alfareros de Granada,dos piezas únicas que encajan tantos en ambientes modernos y con...
Category
1860s Spanish Antique Europe - 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 French Beaux Arts Europe - 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 French Beaux Arts Europe - 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 French Beaux Arts Europe - 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 French Beaux Arts Europe - 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 French Beaux Arts Europe - 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 French Beaux Arts Europe - 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 French Beaux Arts Europe - Ceramics
Materials
Ceramic
Brown 20th Century Stoneware Ceramic Bottle or Vase La Borne Pottery 2007
By La Borne Potters
Located in Neuilly-en- sancerre, FR
La Borne
Realised in 2007
Stoneware black or brown ceramic bottle or vase
Original good condition
Signed
Measures: Height 21 cm
Large 9 cm.
Category
21st Century and Contemporary French Modern Europe - Ceramics
Materials
Ceramic
Ivory Pentacle IX by Julie Nelson
Located in Geneve, CH
Ivory pentacle IX by Julie Nelson
One of a Kind
Dimensions: W 36 x D 38 x H 26 cm
Materials: Ceramic stoneware and porcelain
Artist Julie Nelson use...
Category
2010s British Post-Modern Europe - Ceramics
Materials
Ceramic, Porcelain
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 French Beaux Arts Europe - 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 French Beaux Arts Europe - 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 French Beaux Arts Europe - 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 French Beaux Arts Europe - 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 French Beaux Arts Europe - Ceramics
Materials
Ceramic
Large Art Deco Stoneware Ceramic Pitcher by Alexandre Foucher La Borne 1940
By La Borne Potters
Located in Neuilly-en- sancerre, FR
Alexandre Foucher
Circa 1940
Large colored stoneware ceramic pitcher by Alexandre Foucher
Realised in la Borne
XXth century art deco pitcher
Original perfect conditio...
Category
20th Century French Art Deco Europe - 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 French Beaux Arts Europe - 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 French Beaux Arts Europe - Ceramics
Materials
Ceramic
Ceramic Vase by Bruno H' Rdy to La Borne, circa 1970-1980
By La Borne Potters
Located in Saint-Ouen, FR
A ceramic vase with wood firing by Bruno H' rdy.
Signed at the base.
Perfect original conditions.
Circa 1970-1980.
Unique piece.
Category
20th Century French Beaux Arts Europe - Ceramics
Materials
Ceramic
Ceramic Vase with White Glaze Decoration, Signed Lion, circa 1920-1930
By Eugène Lion
Located in Saint-Ouen, FR
A ceramic vase with white glaze decoration.
Perfect original conditions.
Signed "Lion" under the base,
circa 1920-1930.
Category
20th Century French Art Deco Europe - 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 French Beaux Arts Europe - Ceramics
Materials
Ceramic
John Seddon Bailey & Co Fulham Pottery Salt Glazed Stoneware Spirit Flagon
By Fulham Pottery
Located in Bishop's Stortford, Hertfordshire
A rare English Aesthetic Period salt glazed stoneware spirit flagon designed by John Seddon for Bailey & Co, Fulham and dated 29th December 1880. The flagon is of square shape with a...
Category
1880s English Aesthetic Movement Antique Europe - Ceramics
Materials
Stoneware
Ceramic Bowl by Camille Virot, circa 1990-2000
By Camille Virot
Located in Neuilly-en- sancerre, FR
A ceramic bowl by Camille Virot.
Perfect original conditions.
Signed at the base,
Circa 1990-2000.
Unique piece.
Category
20th Century French Beaux Arts Europe - Ceramics
Materials
Ceramic
White Ceramic Tea Set by David Louveau La Borne Stoneware Handmade Pottery
By La Borne Potters
Located in Neuilly-en- sancerre, FR
David Louveau
Original and unique handmade ceramic tea pot
White stoneware ceramic color
Wood firing ceramic effects
Original perfect condition
Measures: Height 13 cm ...
Category
21st Century and Contemporary French Mid-Century Modern Europe - Ceramics
Materials
Ceramic
Brown and White Stoneware Ceramic Pitcher La Borne circa 1990 Pottery
By La Borne Potters
Located in Neuilly-en- sancerre, FR
La Borne
Original french stoneware ceramic pitcher
Brown and white pottery colors
Signed
Original perfect condition
Measures: h...
Category
1990s French Modern Europe - 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 French Rustic Antique Europe - Ceramics
Materials
Ceramic
Lane Gordon Thorlaksson Canadian Studio Pottery Bowl with Stand
Located in Bishop's Stortford, Hertfordshire
A stunning Canadian studio pottery miniature bowl decorated in yellow glazes with an associated pottery stand by Lane Gordon Thorlaksson (Canadian, 1937-2009) dated 1976.
Lane Gordon Thorlaksson was born in 1937 in Winnipeg, Manitoba and moved to Vancouver as a child. In his twenties, he represented Canada in the 1959 Chicago Pan-American Games, running alongside Henry 'Harry' Winston Jerome in both the 100 yard and 220-yard dash. Following this, he attended San Jose University of California and in 1966 received a BFA in Ceramics.
Working with clay was Thorlaksson’s passion. He was fascinated with Asian ceramics, in particular the Song dynasty Chinese pot forms and glazes. In 1985, the Mayor of Vancouver, Mike Harcourt, visited China on a goodwill mission for the twinning of Vancouver with Guangzhou China. As gifts, he took with him several of Thorlaksson’s ceramics and presented them to Cao Yun-ping, Secretary-General of the People's Municipal Government of Guangzhou. The pieces were well received and local Chinese potters were interested to learn about his glazing techniques.
In 1987, Thorlaksson was invited to visit China’s Guangzhou University to exhibit more of his work. He was aided in this exchange by Joanne Mah, the Director of Intercultural Training and Educational Consultants (ITEC), who had worked with the Harcourt exchange. In 1988, she and her husband sponsored a pre-gallery showing of Thorlaksson’s ceramics at the ITEC’s Hong Kong office, prior to an exhibition at Alvin Gallery in Hong Kong. Thorlaksson was celebrated and introduced to academics and the media, including the head of ceramics at the Guangzhou Institute of Fine Arts. Local Chinese potters were eager to learn about his firing techniques, which used multiple firings to create special glaze characteristics. They were also intrigued to understand how he designed his own stands as an integrated part of his presentation. Unlike Asian potters who used wooden stands, Thorlaksson produced his stands in clay, matching each stand in aesthetic and tone to its pot. This two-part process elevated his pieces to sculpture. He believed that ceramics should be viewed as fine art and not craft. He was inspired by the female form and was quoted as saying 'Most potters make pots; I make parts of people'.
The bowl is of wide squat rounded form with a fold over rim and is decorated in pale yellow glazes over a brown ground and stands on a narrow round unglazed foot. The design is probably based and inspired by a Chinese brush washer...
Category
1970s Canadian Mid-Century Modern Vintage Europe - Ceramics
Materials
Pottery
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 French Beaux Arts Europe - 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 French Mid-Century Modern Europe - Ceramics
Materials
Ceramic
18th Century Slipware Marriage Serving Plate
Located in Pease pottage, West Sussex
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...
Category
Late 18th Century French Antique Europe - Ceramics
Materials
Pottery
Mid-Century Modern Pair of Ceramic Birds with Beautiful Glaze Signed KW 9723
Located in Doornspijk, NL
Very tasty duo of mid-century modern birds in a stylized shape and wonderful glaze pattern.
The downward looking animal has a cheerful flower pattern on both wings. The upward looki...
Category
Mid-20th Century Dutch Mid-Century Modern Europe - Ceramics
Materials
Ceramic
20th Century Green Stoneware Ceramic Pitcher by Jean Maubrou Saint Amand, 1950
Located in Neuilly-en- sancerre, FR
Jean Maubrou.
Large stoneware ceramic pitcher.
Green and colored stoneware ceramic glazes colors.
Signed under the base.
Original perfect cond...
Category
Mid-20th Century French Mid-Century Modern Europe - Ceramics
Materials
Ceramic
Andrew Hull Cobridge High Fired Trial Art Pottery Baluster Vase
Located in Bishop's Stortford, Hertfordshire
Superb high fired Cobridge trial art pottery Baluster vase designed by Andrew Hull and dated 2004. The heavily made stoneware vase is of baluster shape wit...
Category
Early 2000s English Modern Europe - Ceramics
Materials
Stoneware
Set of Three Stoneware Ceramic Bottles XIXth Century French Production La Borne
By La Borne Potters
Located in Neuilly-en- sancerre, FR
La Borne potters
Original set of three XIXth century ceramic bottles, circa 1850
All in good condition
Measures
From the left to the right : 20 cm 19 cm 18 cm.
Category
Mid-19th Century French Antique Europe - Ceramics
Materials
Ceramic
Elizabeth Anderson Harbour Pottery Studio Pottery Jug and Vase
Located in Bishop's Stortford, Hertfordshire
A stylish and finely made studio pottery jug and vase decorated in trailed glazes by Elizabeth L Anderson and made at the Harbour Pottery at South Quay Studios in Maryport, Cumbria a...
Category
20th Century English Modern Europe - Ceramics
Materials
Stoneware
Goat Ceramic by Dominique Pouchain
By Dominique Pouchain
Located in Lasne, BE
Ceramics in the shape of a goat stamped Dominique Pouchain.
Category
1990s French Mid-Century Modern Europe - 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 French Mid-Century Modern Europe - Ceramics
Materials
Ceramic
ODK Norwegian Unusual Large Brutalist Lidded Studio Pottery Vessel
Located in Bishop's Stortford, Hertfordshire
A large and stylish unusual Norwegian brutalist studio pottery lidded vessel in the form of a tea or water pot with makers marks ODK to the base and believed to date from the mid-20t...
Category
Mid-20th Century Norwegian Mid-Century Modern Europe - Ceramics
Materials
Stoneware
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