USA - Ceramics

Petite burnt orange French mid-century ceramic vessel with splayed black paint overlay. ' Signed underneath J Blin.

A substantial coffee or cocoa mug with golden matte glaze.

A 19th century earthenware confit pot from the Southwest of France with traditional yellow glaze. Chips, cracks and losses to glaze. These ordinary earthenware vessels were once used...

A 19th century earthenware confit pot from the Southwest of France with traditional yellow glaze. Chips, cracks and losses to glaze. Large hole in bottom. These ordinary earthenware ...

This beautiful elongated modernist serving platter was realized by the esteemed artist Jurg Lanrein in Switzerland during the latter half of the 20th century. It offers a rectangular form with raised sides and hand embellished organic striations running lengthwise from end to end. Reminiscent of a deconstructed Morris Louis painting...

A pair of trumpet vases in the ‘Sumatra’ dragon pattern on a striking orange glaze with cobalt chinoiserie details, made in England by Mason's Ashworth circa 1910. The ‘Sumatra’ pattern’s bold chinoiserie aesthetic is timeless, maintaining popularity across generations. It was rereleased in 1996 to celebrate the 200th anniversary of Masons. These Masons ironstone china vases...

Inspired by Mid-Century Modern design, this bowl is wheel thrown and hand pierced stoneware. The satin glaze varies subtly from rhubarb to pale pink to eggshell to white. Controlled,...

Arts and Crafts movement, petite ceramic bowl by Fannie Levine for Saturday Evening Girls. This early modernist design was created using the cuerda se...

Early 20th Century English Porcelain Fox with Grape Motif stirrup cup Hand-painted porcelain. England, 1900-1930. No makers mark. Measures: 5" H, 3" W...

Contemporary Chinese handmade pin dotted vase. Dark olive with orange dots all applied using a fine quill paint brush.

Ceramic vase by Aldo Londi Bitossi, Italy, C 1960, signed. Cylinder vase glazed in orange with gold details. Signed on the bottom, 79/2, Italy.

This stunning sculpture of an Art Deco Pouncing Tiger is realized in a pale terra-cotta glaze ceramic .It features a stylized Tiger on a stepped geometric base echoing the design of ...

Ceramic vase by Aldo Londi Bitossi, Italy, circa 1960. Cylinder vase with orange glaze and organic style decorations in gold color. Signature at the bottom, 79/3.

Contemporary textured round ceramic earthenware vase. Classical shape textural design vase inspired by the landscape. Bright bottle orange in spiral bands with a shot of green. T...

This elegant Mid-Century Modern vase was realized by Gunnar Nylund for Rorstrand in Sweden circa 1960. It features an hourglass form tapered body in glazed ceramic in a sophisticated...

Keith Simpson rather instinctively made ceramic cacti for the show. They were a last minute thought that evolved out of a daydream. Keith was musing about the possibility of moving t...

Impressive modernist studio pottery bowls, signed by Jill Peterson. Hand built with great skill from delicate porcelain, these large bowls feature an abstract decor in a bold and bri...

A monumental and heavy Clyde Burt ceramic lamp, signed on the inside, circa 1960s.

1970s stoneware sculpture representing a pigeon. Surrealist in style, with humanistic characteristics / physical features. Minor loss to the brown glaze "straps" in the back. Like...

The glazed terracotta pots of Françoise Blondeau and AÏt Lhaj Hassan possess a symmetry and balance that pits their natural, earthy medium against an elegant beauty specific to man-m...

Beautiful and rare pair of ceramic candleholders by Bennington Potters, in beautiful condition nice color and design. In mustard and black design.

The glazed terracotta pots of Françoise Blondeau and AÏt Lhaj Hassan possess a symmetry and balance that pits their natural, earthy medium against an elegant beauty specific to man-m...

The glazed terracotta pots of Françoise Blondeau and AÏt Lhaj Hassan possess a symmetry and balance that pits their natural, earthy medium against an elegant beauty specific to man-m...

Set of three ceramics in a bright red/orange color with raised areas of un-glazed matte brown in bands/diamond pattern. With original sticker, 'Frank Keramik...

Offering a Christopher Dresser attributed group of Torquay pieces. The plate (10.25" diameter) with a decal of a Geiko, and a carafe (10.25" height) with its cover and under plate al...

Glazed in brilliant white, deep red, gold and black, this striking round plaque was made by Waylande Gregory, the renowned WPA sculptor and innovative ceramicist. Prodigious and inde...

Autumn, 2019 (Ceramic, C. 8.5 in. h x 14 in. w x 9 in. d, Object No.: 3569) Sangwoo Kim was born in Korea in 1980 and currently lives and works in France. He received his degree fro...

FAPG 20247D John Bennett (1840-1907), New York Plaque with pink and blue phlox, circa 1881-1882 Earthenware, painted and glazed Measures: 14 7/8 in. diameter, 1 13/16 in. high Signed and inscribed (on the back): J B[monogram] ENNETT / E 24 NY. / MC [or] CM If the Herter Brothers was the most distinguished and successful cabinet making and decorating firm in New York in the 1870s-1880s, the transplanted Englishman John Bennett was probably the most gifted ceramicist working in New York in the Aesthetic period. (Bennett was included in The Metropolitan Museum of Art’s landmark exhibition, In pursuit of beauty: Americans and the Aesthetic Movement, in 1986–87, and Alice Cooney Frelinghuysen’s chapter, “Aesthetic Forms in Ceramics and Glass,” pp. 216–19, significantly informs this essay). Born in England, the son of a potter who worked in the Staffordshire district, Bennett came under the influence of John Sparkes, head of London’s Lambeth School of Art. Soon thereafter, he was hired by Henry Doulton of the eponymous firm to teach artisans there the new art of underglaze faience decoration, which was part of a revival of the sixteenth-century interest in hand-painted ceramics. A number of Bennett’s works for Doulton were shown in the Doulton display at the Centennial Exposition in Philadelphia in 1876, and the considerable success enjoyed by Bennett and Doulton from an American audience undoubtedly played an important role in Bennett’s decision to leave Doulton and England and set up shop in New York in 1877. By the next year, he had already established a studio in New York, where he produced his own pottery in the tradition of the Arts & Crafts innovators, William Morris and William De Morgan, and also taught classes at the new Society of Decorative Art to the growing band of women who had taken up china painting, both professionally and avocationally. Bennett’s pottery developed a very serious following among students and collectors, and was offered for sale at such leading retail establishments as Tiffany & Company in New York. Typically, his work was brilliantly colored, with carefully drawn naturalistic flowers against a monochromatic background. Bennett’s fully developed American work, particularly pieces of larger scale, is exceedingly rare, as he worked in New York only from 1877 to 1883, in which year he withdrew to a farm in rural West Orange, New Jersey, where his production continued on a limited basis. He remained listed as a ceramicist there until 1889. While in New York City, Bennett maintained a studio at 412 East 24th Street. The present charger, boldly featuring pink and blue phlox, is signed by Bennett, and is inscribed “E 24 NY,” indicating its manufacture during Bennett’s time in New York. Although it is not dated, this piece is closely related stylistically to various dated pieces from 1881–82, which would place its production toward the end of Bennett’s New York years. Although we do not know whether Bennett worked out of this 24th Street studio from the outset, he was indeed working there by 1879 when he made (and signed, inscribed, and dated) a charger with white and red flowers now in the collection of the Art Institute of Chicago, which specifically points to “412 East 24 / NY” (acc. no. 1998.317). Additionally, the U.S. Census of 1880 lists Bennett as a ceramicist located at that same address, married to Mary Bennett with whom he had had six children. There are several other examples from Bennett’s time in New York City, which also give his studio address on East 24th Street, including a covered jar in cadmium yellow with indigo and green flowers made in 1881; an undated footed vase with lilac...

Salmon & Auberginne Painted Large Fish Tureen