Europe - Ceramics

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 ...

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...

Set of porcelain display columns. Circa 1930. H 13/19cm x W 7/8cm x D 7/8cm

Sculpture in black glazed stoneware by Jean-Pierre Bonardot. Artist signature under the base « JP Bonnardot ». Unique piece. Circa 1990-2000. H : 13.8’ x 18.5’ x 10.6’ inches.

Large tubular vase « Bambou » in black glazed stoneware by Jean-Pierre Bonardot. Artist monogram under the base. Unique piece. Circa 1990. H : 30.3’ X 6.3’ X 5.1’ inches.

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...

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. 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...

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...

Vide-poche by Roger Capron, black ceramic, signed

We are delighted to offer for sale this one of a kind, fully signed, original circa 1930 Roger Guerin ceramic pots of large proportions with Deer decoration and handles I have three posts for sale, one has a stitched detailing, another, fleur de lis and lastly one with handles and Deers, this sale is for the pot pictured alone. Roger Guèrin (1896-1954) was one of the leading Belgian ceramists in Bouffioulx near Charleroi. Typical was his use of flowing glazes in his decorations. He was true to the history of this region, often working on a type of hard ceramic (fired to over 1250 degrees Celsius) which was made there since the late Middle Ages. He exhibited at the Paris expos...

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

small ceramic round vase by Ruelland, signed

Small ceramic vase by Ruelland, signed

Vide-poche by Roger Capron, black ceramic, signed

Accolay vase, circa 1960.  

"Roger Capron" tile set, Vallauris. Measures: 30x60 fresco. 8 Tiles of 15x15cm. In a perfect state. Beautiful thickness almost 1 cm.

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...

Ceramic panel with 7 tiles including: 4 characters with Venetian mask and musical instruments and 3 with light points. The composition is hand-painted with pure gold trim, made by Ot...

Francoise Deyrieux Ceramic dish Hand painted One of a kind Circa 2018 27 x 27 cms 290 euros.

Wisques Abbey, 2 enamelled stoneware lamps circa 1960 Measure: 35x22 cm 20 x 13 cm.

Ceramic in the shape of a unicorn designed by Dominique Pouchain. Stamped on the back.

Beautiful German ceramic birds set up under an antique glass dome.

Ceramic goat to hang on the wall. Stamped Dominique Pouchain. For shipping, request us for receive the best price.

Mid Century Rorstrand White Ceramic Blanca Jug. Elegant ceramic jug by the Swedish ceramicist Rorstrand. This is in excellent condition, no chips, cr...

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 ...

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...

Contemporary Tamagroute Earth Candlestick - Morocco. Tamegroute is a small Moroccan village simply known for it's rich traditional ceramics. The clay is cut by hand from the banks of...

Contemporary Tamagroute Green Candlestick - Morocco. Tamegroute is a small Moroccan village simply known for it's rich traditional ceramics. The cl...

This fine, round, dark grey vessel depicts a complete figure which is rare. It was made by the Mangbetu People. The Mangbetu ethnic group lives deep in the...

Ceramic mask, Vallauris, France, 1960s Custom made pedestal.

Ceramic Mask, anonymous, France, 1960s Custom made pedestal.

Ceramic Mask attributed to Jean Austruy, France, 1960s Custom made pedestal.

Ochre mid pentacle III by Julie Nelson. One of a kind. Dimensions: W 24 x D 30 x H 22 cm. Materials: ceramic stoneware and porcelain. Artist Julie Nelson...

Flower column / flower vase Majolika Austria, museum circa 1885 Richly carved body (two-part) with plastic vine leaves on a plastic rock surface. In t...

Beautiful large African urn in terracotta made by the Lobi people of Burkina Faso. This urn is very decorative with a small figure sitting on the lid. The urn is 81 cm high and 45 c...

Rare and original ceramic bottle, signed and located in Vallauris, circa 1950/1960.

The table showcases intricate Boulle marquetry, a technique that involves inlaying thin sheets of brass and tortoiseshell onto a contrasting ground (likely ebony in this case). This ...

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...

Accolay vase, circa 1960 the color is pink / brown.

Ceramic lamp in the style of Georges Pelletier, circa 1950/1960. Double lighting, interior, exterior.  

Rare glazed stoneware donkey prod. Royal Copenhagen Stamped to base

White glazed vessel on black clay H58 x W28 cm With maker’s mark

Decorated earthenware H25 x W18 x D11 cm

Stoneware H25 x W18 x D13 cm

Painted earthenware H39 x W28 x D20 cm

H31 cm Tenmoku glaze with horizontal bands and incised spirals. Glaze-filled artist's monograms H32 x D17 cm

Painted and glazed stoneware H10 x D34 cm

c.1970 Stoneware with Tenmoku and Kaki glaze H30 x D18 cm

Hand thrown and glazed stoneware H30 x W20 x D12 cm

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

Glazed stoneware H30 x D19 cm

Inlaid crank clays with oxides H46 x D34 cm

Blue glazed ceramic dove, 1970s beautiful blue glazed ceramic dove. Measures length 32, width 13, h19 cm

Very Large Moroccan Ceramic Platter (2026.1) Very Large Moroccan Ceramic Platter. Made in the Atlas mountains these huge platters are a labour of love. They are hand formed and hand ...

This handmade vase was designed and made by the collaboration of Spanish designers Carlos Jiménez, better known as `“Del Amor y la Belleza”´´, and Ranma. The vase is made of ceramic ...

1970’s Rorstrand Bertil Lundgren art pottery bowl 1970’s Rorstrand Bertil Lundgren art pottery bowl. Handmade in Sweden by Rorstrand. Rorstrand is the second oldest brand of ceramic...

Urn designed by Gunnar Nylund for Rörstrand, Sweden, 1936. Stoneware. Signed. Dimensions: H: 78.5 cm / 2' 7'' D: 53 cm / 21'' Exhibitions: In Paris 1937 at the World's Fair, Gunn...