European Ceramics

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

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

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

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

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.

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

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 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...

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

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...

Superb and rare earthenware Dourne Quercy water jug with comb decorations. Painted in the antique style with Kaolin clay. France late 1800s. Dimensions in cm ( H x D ) : 29 x 42.5 Secure shipping. The dourne is part of the family of head jugs intended to hold domestic water. Its shape is very large and not very open. It has a tubular spout and one or more flat handles. The Quercy dourne has four handles. Its thin walls made it light and favored perspiration to refresh the water. The user would pierce a hole in the side. With a wooden peg, this opening allowed water to flow on demand over the sink...

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

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...

19th century Staffordshire pottery penny bank from England in the form of a cottage with flocked details. The coin slot has a few nicks from age and use.

Each with one leg bent, and nicely colored with dotted fur details slightly different from each other, circa 1860. Green double palm trees with red fruit form the supports at the bac...

A fine vintage British studio pottery lidded vessel by renowned potter Micki Schloessingk (b. 1949) and made in Swansea, Wales. The stoneware vessel is of tall slightly graduated cyl...

Large 1960s Mid-Century Modern handcrafted large pottery platter. Hand-made stoneware decorative plate with classic sandy fat lava glaze. This ceramics were known to collectors as 'f...

Beautiful blue ceramic jug in national folk ornaments in white color. Handmade in Czechoslovakia in 1950s. The jug shows off a typical folk pattern and colors. Original condition. Th...

Enhance your table with these delicate porcelain flowers by French artist Samuel Mazy, exclusive to Maison Nurita in Canada. Mazy has been working as a ceramist for nearly 20 years in Paris. He sculpts porcelain flowers to create poetic floral compositions. His work is directly inspired by the masters and manufacturers of Sevres Porcelain. This Morning Glory is handmade in biscuit porcelain with copper leaves, stems, and trellis, and is placed in a white biscuit porcelain...

A Hungarian Folk Art Red Ware Rooster Lidded Jug/Teapot by Imre Szűcs. A black/brown based rooster decorated with white dots and green, yellow and red painted elements. The spout is...

A stylish studio pottery porcelain miniature teapot with Islamic influence design in rich gilding on a green coloured ground by renowned potter Mary Rich (b.1940) and dating from the 20th Century. The small barrel...

This beautiful ceramic object is emblematic of the work of Mithé Espelt, a French artist who embellishes the everyday with her refined, luminous objects. Crackled gilding is one of t...

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

A truly wonderful design piece, and one of my favourite pieces, is this hand-built wood fired three cornered triangular studio pottery dish of scul...

The Silver Crane Company English Ceramic Parker Pen Pottery Desk Tidy Wear consistent with age and use Collector - Advertising pencil case - desk A scarce novelty ceramic lidded desk tidy modeled as a Parker fountain pen...

Napoleonic Bear Baiting Jug and Cover, Probably Scottish,

Museum-quality A unique and very special piece purchased in Spain, but it could have come from somewhere else, as it bears no resemblance to the lamps produced in that area, neither in design nor workmanship. It's a higher-quality piece than average. I've never seen one of such quality. In terms of design, texture, and color, this lamp is superior to those made in Spain, specifically in Manises. However, it could have been made elsewhere in Spain, as many porcelain factories still existed in the early 20th century, especially in northern Spain, but they didn't make lamps. I've been looking for a similar one for many years and have only seen one. I've seen a similar design by a German artist, but I can't identify it. It's in excellent condition, like new. It's likely a designer piece, but I couldn't say who made it. It's an exceptional piece; the pictures don't do it justice. It's large, much larger than average. When illuminated internally and allowing light to escape through the round holes in the design, it creates an exceptional image and atmosphere. It is undoubtedly a signature piece or a piece of art, surely designed by an artist who worked in the Manises workshops or in any Spanish workshop, or someone bought it and brought it here. Interior lighting, and the lower part of the lamp. The uz comes out through the holes and it is spectacul Buy in Manises Valencia Spain, place of production of ceramics and porcelain throughout the centuries This lamp is a masterpiece, with a higher quality than any typical peanut lamp...

Our Duna tile was hung by winds and created a unique relief that adds to your home a sense of non-primitive movement and a sense of calm. Imagine, as if you are in a desert and you a...

This is a Daniel Zuloaga Boneta (1852-1921) decorative hand painted wall plate. It depicts in the center a rural Spaniard village street scene of two peasants. One is riding his donkey that is carrying a double basket in its body and the other one is ready to sit in his ox cart that has some horse hay. The border of the plate is hand painted cobalt blue and decorated with silver color flowers and a garland made with leaves and bows. The right lower front of the plate is signed by Daniel Zuloaga and the back has his hallmark. He was the uncle of the famous painter Ignacio Zuloaga...

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

Mari Simmulson (1911-2000) for Upsala-Ekeby, Sweden. Large ceramic figure of a woman. Hand-decorated with white, black and cobalt blue (hands and face unglazed). Model 9032M. Appro...

A set of 6 Hungarian Folk Art Red Ware tea cups and saucers by Imre Szűcs. A black/brown based glaze decorated with white dots. The undersides are signed by Imre Albert Szucs and mar...

Gabriele Pütz vintage abstract realism ceramic artwork made in Germany, 1982. This work is made of a round clay tower / pillar with pillow edge details. On the body of the tower is w...

Enhance your table with these delicate porcelain flowers by French artist Samuel Mazy, exclusive to Maison Nurita in Canada. Mazy has been working as a ceramist for nearly 20 years i...

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

Late 19th Century French Majolica Vase. Very Rare & Excellent Condition. Purchased in France. Age appropriate wear, see detailed photo or message us with questions.

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...

Enhance your table with these delicate porcelain flowers by French artist Samuel Mazy, exclusive to Maison Nurita in Canada. Mazy has been working as a ceramist for nearly 20 years in Paris. He sculpts porcelain flowers to create poetic floral compositions. His work is directly inspired by the masters and manufacturers of Sevres Porcelain. This Hyacinth is handmade in hand painted glazed porcelain with copper leaves and stems, and is placed in a white biscuit porcelain...

Art Nouveau vase designed by noted Scandinavian ceramicist, Alf Wallander for Rörstrand, Sweden, circa 1904. Signed by artist on underside. 

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

Discover the artistry of Paul Philp Ceramics, where every piece is a testament to craftsmanship and creativity. Paul combines traditional handcrafting techniques with a modern sensib...

These splendid ceramic creations are born from the artistic laboratory of Mosche Bianche. The piggy bank, a means that has always been used to remind us of the importance of savi...

These splendid ceramic creations are born from the artistic laboratory of Mosche Bianche. The piggy bank, a means that has always been used to remind us of the importance of savi...

These splendid ceramic creations are born from the artistic laboratory of Mosche Bianche. The piggy bank, a means that has always been used to remind us of the importance of savi...

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...

Ceramic owl vide-poche by Accolay perfect condition

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...

Rustic bud vase by master ceramicist Guido Gambone. Hand-thrown in an alluring organic shape with an elongated neck. The vase depicts a pastoral scene of a shepherd with his herd pai...

Square stoneware pot with abstract decoration by Georges Martin. Artist monogram under the base. Circa 1970-1980. H : 10.4’ x 10.4’ x 8.7’ inches.

Originally designed by architect, designer and artistic director Guido Andlovitz in 1936 for Società Ceramica Italiana Laveno, this pair of vases are indeed the rarest of finds. The vases were manufactured in 1942, as attested to by the marking "N - 42" on the base of each vase. The gold rims and aquatic scenes that surround each vase, are unique to each piece and were painted by hand in 1943. They are both signed by the artist "Miruccia". One of the vases has the words “Anni di Guerra” (Year of War) written on the base in reference to the Second World War . Founded in Laveno in 1856 by Severino Revelli and some former employees of the "Richard" manufacturer in Milan. The "SCI" (Italian Ceramic Society) began its activity as a manufacturer of wall tiles and fine tableware. In 1883 it became a limited company and obtained its first successes at numerous national exhibitions. In 1895, Cavalier Luciano Scotti took over the company and, thanks to his intuition and his entrepreneurial skills, the factory grew substantially in a few years. In those years, some Liberty-style pieces designed by Giorgio Spertini, the author of noteworthy elegant "whiplash" creations, were created in the Laveno factory. In 1906 "SCI" presented numerous works at the International Exhibition of Decorative Arts in Milan. Other collaborators from the beginning of the century were Silvio and Piero De Ambrosis, Felice Palucco, Giancarlo Jacopini and the brothers Marco and Luigi Raggiori. However, it was in 1923 that, under the direction of Guido Andlovitz, the company reached the peak of its fame and in 1925 was a resounding success at the 2nd Monza Biennale. Andlovitz, who collaborated with the manufacturer for almost forty years, applied to the production process the principle of seriality, a concept also put into effect by Giò Ponti at "Richard-Ginori", adopting various types of decoration which, although moulded and decal stamped, still retained an undeniable elegance. In 1924 the "Società Ceramica Revelli" became a consortium with the "SCI", the partnership would continue until 1932 and saw Franco Revelli's company marketing pottery and table porcelain on behalf of "SCI". From 1925 porcelain and crockery began to appear in the factory's catalogs. In 1927 the company was present at the 3rd Biennial of Decorative Arts in Monza. Between the end of the 1920's and the beginning of the 1930's, the decorators Giuseppe Bellorini and Daniela Ferretto began to collaborate with the "SCI". As of 1932 the company managed two factories: that of Laveno, which, with over 1300 employees, produced strong pottery, tableware and artistic ceramics and the smaller factory of Verbano, which employed about 400 people and produced, in addition to ceramics for the electrotechnical industry, excellent table porcelain. The products were marketed in the company owned stores in Rome, Genoa and Naples. This was an initiative realised by Andlovitz himself. In the mid-thirties, the decorators Ada Corsi and Ida Fonini among others, collaborated with the "SCI". From 1936 to 1940 the artistic direction of the company was entrusted to the sculptor and modeler Angelo Biancini. In 1939 about 1300 people worked in the Laveno plant and in 1951 about 2300. In the years between the two wars among the collaborators of the factory were Sirio Tofanari...