Europe - Ceramics

Terracotta Wall Plate with Whimsy Children in Farmer Costumes by Johann Maresch A large terracotta wall plate depicting a relief couple of farmers childs in a forest enviroment. Man...

Stoneware lamp with geometric decoration by Georges Martin. Artist monogram on the base. Circa 1970-1980. H : 5.5 x 3.9 inches (ceramic only). Sold with a European electrical system.

Stoneware lamp with geometric decoration by Georges Martin. Artist monogram on the base. Circa 1970-1980. H : 6.7 x 5.9 inches (ceramic only). Sold with a European electrical system.

Stoneware lamp with geometric decoration by Georges Martin. Artist monogram on the base. Circa 1970-1980. H : 7.3 x 4.1 inches (ceramic only). Sold with a European electrical system.

British studio pottery small vase by Bernard Rooke. Featuring leaves and bird decoration. Inscribed BR. Circa 1970. In very good condition, with no damage. Bernard Rooke studied p...

Stoneware lamp with geometric decoration by Georges Martin. Artist monogram on the base. Circa 1970-1980. H : 5.5 x 4.1 inches (ceramic only). Sold with a European electrical system.

Love this painting. The original "The smiling boy" by Frans Hals, 17th century. This Delfs blue tile panel image is hand painted by Nico Koelewijn in the 19...

Big stoneware vase with geometrical decoration by Georges Martin. Artist monogram on the base. Unique piece. Circa 1970-1980. H : 27.5 x 5.5 x 7.1 inches.

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...

Stoneware lamp with geometric decoration by Georges Martin. Artist monogram on the base. Circa 1970-1980. H : 7.1 x 6.3 inches (ceramic only). Sold with a European electrical system.

A ceramic vase by Gerard Brossard to La Borne. Perfect original conditions. Signed under the base. Circa 1990.

Important stoneware sculpture entitled " Cadence" by Maarten Stuer. Unique piece. Artist monogram under the base. This piece can be put indoor or outdoor. 2023.

Ashtray series "Wave" Ettore Sottsass, 1969 u2028Glazed ceramic ashtray, designed by Ettore Sottsass in 1969 for the Onda series. The work is made of ceramic with cinnabar red glaze,...

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 ...

Painted earthenware h57 x w39 x d23 cm

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...

"Pre-Columbian Ceramics – Titicaca Culture" Material: Ceramic Origin: Southern Sierra of Peru, Lake Titicaca Plateau Period: Boom Age (1 AD – 800 AD) Dimensions: 15 x 14 cm in diame...

Pre-Columbian vessel from the Chavín culture in the form of a seated man, probably a hunter, with an animal on his back. Chavín art is known for its complex iconography and mythical ...

Wabi-Sabi Antique Mediterranean Terracotta Jug – 19th Century Rustic Folk Pottery A soulful wabi-sabi piece of hand-crafted Mediterranean terracotta pottery, dating to the 19th cent...

A rare piece from Norway - a beautiful porcelain Kjenge / Ølhøne / Øland with traditional Telemark Year 1790 Rosemaling Pattern decor, Scandinavian / Nordic design Viking ale/beer bo...

Beautiful vertically painted majolica plaque, attributable to the famous Castelli factory, located in Abruzzo (Central Italy), dating back to the first half of the 18th century. The ...

"Pre-Columbian Ceramics – Tiahuanaco Culture" Material: Ceramic Origin: Southern Sierra of Peru, Lake Titicaca Plateau Period: Boom Age (1 AD – 800 AD) Dimensions: 16 x 12 x 14 cm Co...

Small square dish finely enamelled in relief by Swedish artist Sylvia Leuchovius (1915-2003) in the 1960s/70s. The decoration depicts a white bird in the centre surrounded by white f...

Stoneware sculptural pot H15 x D10 cm

"Pre-Columbian Ceramics – Tiahuanaco Culture" Material: Ceramic Origin: Southern Sierra of Peru, Lake Titicaca Plateau Period: Boom Age (1 AD – 800 AD) Dimensions: 9 x 14 cm in diam...

Exceptional ceramic in the shape of a unicorn by Dominique Pouchain. For shipping, request us for receive the best price.  

Stoneware lamp with geometric decoration by Georges Martin. Artist monogram on the base. Circa 1970-1980. H : 7.1 x 11 inches (ceramic only). Sold with a European electrical system.

A pair of Meissen Hoopoe birds naturalistically modelled perched on leafy tree stumps after the models by J J Kandler with blue crossed sword marks, 19th century. Batch 71 61579 ...

This piece of a pottery vessel, embellished with high relief figures, was made by women of the ethnic group of the Bariba (or Baatonu) in the northern provinces of Benin. The Bariba potters passed their trade from mother to daughter. They didn’t make their vessels on a pottery wheel...

Ceramic sculpture entitled " Ailettes" by Jean-Pierre Bonardot. Artist signature under the base « JP ». Unique piece. 2025. H : 28 x 20 cm / 11' x 7.8'

1980 Tin glazed earthenware fish dish with black and white decoration, signed W51 x D43 cm

Ceramic plate by Roger Capron, Vallauris, France, signed

"Pre-Columbian Ceramics – Tiahuanaco Culture" Material: Ceramic Origin: Southern Sierra of Peru, Lake Titicaca Plateau Period: Boom Age (1 AD – 800 AD) Dimensions: 13 x 11 cm in dia...

A porcelain sculpture by Wayne Fischer. Perfect original conditions. Signed. Unique piece. 2007. 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 very stylish studio pottery porcelain mug decorated with columns design by Susan Parkinson for the Richard Parkinson Pottery and made between 1953 an...

Iconic goblet, vase hand-painted with abstract décor in shades of white, blue, yellow, and red, outlined with black lines. The result is an almost architectural effect, characteristi...

"Pre-Columbian Ceramics – Tiahuanaco Culture" Material: Ceramic Origin: Southern Sierra of Peru, Lake Titicaca Plateau Period: Boom Age (1 AD – 800 AD) Dimensions: 15 cm high x 14 cm...

Green ceramic vide de poche by Chambost

Made of earthenware, this set of tiles (5) depicts a beautiful but mysterious winged creature. Chimera, like and placed on a pedestal, this creature sh...

Beautiful brass mounted vintage ceramic bowl. Very good condition and color. Traditional design. Also to be used as wall decoration. Important Shipping Information: All of our rugs ...

This beautiful and highly decorative pair of Costa Rican terracotta bowls are ovoid in shape and come from the Talamancan Mountains region. They are decorated stylized human faces in...

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...

Glazed stoneware dish with floral decoration produced by the Søholm workshop in Denmark in the 1960s/70s. Located on the famous island of Bornholm off the coast of Denmark, which has...

An amazing zoomorphic ceramic by Accolay. Handwritten signature under the base “Accolay,” circa 1960-1970. Perfect original condition.

A gaper is a stone or wooden figurehead, often depicting a Moor, Muslim, or North African. The figurehead first appeared in the late 16th century as a hangout sign used outside the storefronts of drug stores in the Netherlands. The meaning of gaper is the same in English; the figurehead is always displayed with an open mouth, sometimes with a pill resting on his tongue. The gaper's gaping tongue could represent the intake of medicine and grimace represents the bitter taste of the medicine. The gaper takes on various appearances that are symbolic of the origin for the pharmacist...

This demilune flower pot or bough pot for forcing springtime bulbs, is adorned with three landscape panels. Each panel, painted in pink lustre, depicts the same cottage in a pastoral setting from three different vantage points. Moulded into the top and bottom rims are acanthus leaves. Pieces in this shape, color and style have been attributed to the Hackwood company, and usually pieces like these, are not marked. William Hackwood & Son was an earthenware factory in Shelton, England, from 1818 until 1853. In addition to lustre ware...

Square ashtray from the 50's by the French ceramist Jean Derval from Vallauris. Very nice glazing on the whole ashtray with a stylized drawing of a bird in the centre. Signature of t...

Ceramics in the shape of a owl stamped Dominique Pouchain.

Lohoff (Montreau Lohoff) Realised in La Borne circa 1960. Large stoneware ceramic pitcher. Unique handmade piece. Signed under the base. Original perfect condition. ...

Ceramic in the shape of a unicorn by Dominique Pouchain.

A stylish studio pottery tray or shallow dish decorated in bright orange glazes by Eric Leaper, Newlyn and dating from around 1960. The pottery tray is of ...

Wonderful antique ceramic from France, around 1900. Beautiful small ceramic in the shape of a shoe with two mice climbing on it.

Martincamp - France Large brutalist 18th century stoneware ceramic vase grey and brown stoneware ceramic colors Original good contidition - ...

Hervé Rousseau Amazing and large stoneware ceramic Brutalist decorative plate by the French artist Grey and brown stoneware firing ceramic effects...

Ceramic lamp in the style of Georges Pelletier, or Accolay circa 1950/1960.

Rare glazed stoneware deer prod. Royal Copenhagen Stamped to base

O/2956 - Old earthenware bowls and lids from Morocco: terracotta lids can be used to keep food warm in serving dishes. I'm closing my activities, so...

A stylish vintage British studio pottery stoneware vase of simple graduated rounded shape decorated in grey, pink and textured glazes by renowned potter Robin Welch...

A stylish The Friars Aylesford Pottery studio pottery vase decorated in red glazes dating from the 20th century. The Aylesford pottery was founded in 1954 by David Leach who taught...