Ceramics

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

A striking, large ceramic wall plate or centrepiece, handcrafted in Italy in 1970 by Giacomini Orvieto, renowned for their exceptional Italia...

A ceramic vase with white, green, black glazes decoration, attributed to Sainte Radegonde. Perfect original conditions. Circa 1950-1960.

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...

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...

Silo is a sculpture that bases its beauty on the material in which it is made. Made of wild clay from the Mixteca mountains, this clay is cleaned in filters...

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...

Glazed in an almost metallic-looking paint, this petite round vase will be fabulous on a nightstand, bookshelf, or side table. Studio Pottery is a...

Porcelain sculpture entitled "Solstice" . Unique piece. Signed under the base. 2022.

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

A large earthenware ceramic jardiniere or planter. This piece is decorated with a creamy white and blue design. Each side features an applied free-form handle. This would be great in...

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 big ceramic sculpture by Pierre Baey. Unique piece. Perfect original conditions. Circa 1990.  

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

The jug is made of fine pottery with a cream colored glaze cover. The flared body shows elements in relief in the first elevation. Then a central band wit...

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

19th century Staffordshire cottage from England with swans flanking the front door and a cobalt room with flocking detail. Lovely form.

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

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

This striking black ceramic ashtray by French artist Roger Capron features a stylized Africanist figure with elongated forms and geometric lines. Combining functionality with sculptu...

The Nupe people of Nigeria were touted as some of the finest ceramicists in Africa. Everyday objects, like this water vessel, received detailed attention. The vessel's varied texture...

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

Porcelain sculpture entitled "Solstice" . Unique piece. Signed under the base. 2022.

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

Rare decorative earthenware dish by renowned Californian artist Phillip Herschel Paradise. Hand-painted decor, circa 1955. Signed. Phil Paradise wa...

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

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

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

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

Moroccan glazed ceramic urn with lid from Fez. Moorish style ceramic handcrafted and hand-painted with Arabic calligraphy pink writing. This kind of Art Writing looks calligraphic...

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.

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

A porcelain sculpture by Wayne Fischer. Perfect original conditions. Signed. Unique piece. 2018. How can an inert object produce deeply unsuspecting, indecipherable, uncontrol...

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

A porcelain sculpture by Wayne Fischer. Perfect original conditions. Signed. Unique piece. 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 brown ceramic planter with a scalloped edge at the top. A ceramic ribbon is sculpted around the edges with tassels in a knot that hang down. Th...

Round stone resin seashell serving dish or platter. The piece is very heavy and is blue, light gray and yellow in color. Three indentions in the shape of shells for serving oysters, ...

A zoomorphic ceramic-sculpture- vase by Guerin. Signed under the base. Circa 1950-1960.  

The works by Barbara Sorensen depicted in the image are three stoneware wall plaques from her "Shield Series," inspired by the weathered surfaces of stucco farmhouses in the Pyrenees...

Wheel thrown pottery glazed with a white glaze decorated with a hand painted blue flower pattern. This is a one of a kind object made in the ancient way by hand in a small artisanal ...

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

A unique ceramic jug or vase with a handle. This piece is created from ceramic and circular in form. The body is decorated in a textured blue and brown design. The neck is narrow, an...

A wall ceramic sculpture with white and green glazes decoration. In the style of sainte radegonde. Perfect original conditions. Circa 1960.

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

An abstract stoneware sculpture, circa 1970 by La Borne Potters. Signed. Unique piece.

Handsome black clay or barro negro pottery hot chocolate set most likely from Oaxaca, Mexico consisting of 4 mugs, tray with Fish design, and wooden ...

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

A big ceramic vase by Eugene Lion with glaze decoration. Signed under the base " E. Lion". Circa 1920.   

A Mid-Century Modern chip and dip serving platter in black, green, pink, and purple. This handmade ceramic piece is round in form and glazed in a glossy b...

A Decorative Plate by Simone Picault Vallauris France 1970s. Wife of the famous artist Robert Picault. In good condition.

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

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

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

2022 Porcelain and brass candlestick with wooden base H34 x W30 x D17 cm

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

A whimsical round ceramic platter made in Portugal. The decorative plate is decorative in whimsical design of Spring. A rabbit in gray, castle and bird are surrounded by hand painted flourishes and stylized flowers. A braided ceramic...

Glazed ceramic

Shigaraki the potters valley 1st Edition 1979 Japan. by Louise Allison Cort. This is a study of one of the most influential ceramic traditions to emerge from Japan. It details the site of Shigaraki, its valuable wares and the potters who produced them, from their beginnings in the 10th century, to the present day. The farmer-potters of Shigaraki, a rural valley outside the ancient capital...

Monumental tall Hollywood Regency ceramic table lamp. This beautiful piece is in white or cream, with hand painted green bamboo detail at the sides. A deep brown wood base is affixed...

Deep blue ceramic dish with matching lid. This beauty features a pretty white ceramic Magnolia flower with green leaves at the top of the lid. Measures: 4.25" tall 8" diameter 1...