France - Ceramics

Gilbert Portanier, mask France, Vallauris, 1979. Signed Unique piece Enameled ceramic mask with a polychrome decoration. Nose, arches and beard in relief and two slits to crea...

Ceramic vase by Huguette Bessone. Unique piece. Circa 1960-1970. H : 10 x 2.4 inches.

Green glazed stoneware large floor vase by Patrick Crulis. 2024. Unique piece. H : 28.3 x 15.7 x 15.7 inches. Approximate sizes.

Stoneware and oxides sculpture entitled « Rondeurs et taches de rousseur » by Pierre Martinon. Signed at the base « Martinon ». Unique piece. 2023. H : 13.4’ x 11 x 7.5 inches.

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.

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

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.

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'

Sculptural Pitcher by André Aleth Masson. Beautiful Black Satin Ceramic. Signed by the " Triskèle " and 3 Masson "

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

Stoneware lamp with geometric decoration by Georges Martin. Artist monogram on the base. Circa 1970-1980. H : 6.3 x 6.1 inches (ceramic only). Sold with a European electrical system.

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.

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.

An African Ceramic Mask by Marino Le Vaucour. Vallauris, France 1960s Signed. Size the mask : Height : 32cm Large : 14cm Size the pedestal : Height : 51cm Large : 21 X 19cm The p...

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

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 ...

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 11 inches (ceramic only). Sold with a European electrical system.

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

Green ceramic vide de poche by Chambost

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...

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...

A big stoneware pot by Antoine de Vinck. Artist monogram under the base, circa 1980. Perfect original conditions.

In the style of Guidette Carbonell. Original lion ceramic sculpture. Brown and black ceramic glazes decorations. Original perfect condition. Unique handmade piece Mea...

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...

Ceramic plate by Roger Capron, Vallauris, France, signed

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

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

Jeanne de Monvel - Jeanne Pierlot Original 1950 ceramic pitcher by Jeanne de Monvel wife of Norbert Pierlot White and red ceramic glaze color Signed under the base Circa ...

Glazed earthenware vase, decorated with fantastical animals by Jérôme Galvin. Artist’s signature at the base «J.Galvin». 2020. Unique piece. H: 13.4 × 19.7 × 20.1 inches.

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 1...

Glazed ceramic vase by Georges Martin. Artist signature on one side. Circa 1970-1980. H : 11.8’ x 7.5’ x 6.3’ inches.

Purple glazed stoneware large floor vase by Patrick Crulis. 2025. Unique piece. H : 23.6 x 19.6 x 17.3 inches. Approximate sizes.

A stoneware vase with red glaze decoration by John Bailey to La Borne. Perfect original conditions. Circa 1980-1990. Signed at the base. Unique piece.

A ceramic cup with glaze decoration by Sainte- Radegonde. Perfect original conditions. Circa 1950-1960.

Martincamp - France Antic 18th century stoneware ceramic pitcher Original good condition - some original little cracks Height 27 cm Large 17 cm

Accolay Ceramic sculpture representative of a turtle. Orange ceramic glaze color. Signed under the base ACCOLAY Dimensions: 9 x 16 x 10cm.

Pierre Digan, circa 1960 Elegant black and brown stoneware ceramic tureen or decorative box Original perfect condition Signed at the base Measures: Height 22cm, large ...

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

Blue glazed stoneware vase by Brigitte Pénicaud. Artist signature under the base. Circa 2015. H : 11.8 x 11.8 inches.

Glazed stoneware sculpture of Saint-Jean by André Rozay. Artist signature at the back « La Borne - Rozay». Unique piece. Circa 1970-1980. H : 24.4 x 7.9 x 8.3 inches.

Joseph Talbot Signed under the base Original XXth century design large stoneware ceramic vase Perfect condition Blue and brown stoneware ceramic glazes colors Circa 19...

A rare stoneware sculpture attributed to Jöelle de Roubaix, La Borne. Perfect original conditions. Unique piece. circa 1960-1970.

Attributed to Paul pouchol Art deco ceramic sculpture woman and child Signed under the base White , yellow and black ceramic glazes colors Ori...

A geometrical ceramic vase by Pierre Devie, France. Perfect original conditions. Signed and dated under the base "Devie 1971". Unique piece, circa 1971.

Théodore Deck (1823-1891), ceramic vase, signed, circa 1870.

A ceramic dish with glaze decoration by Gisele Buthod-Garçon. Perfect original conditions. Signed under the base. Unique piece. Circa 1990.

Pierre Digan Extra large ceramic pitcher signed at the base Height : 40 cm Large : 30 cm Original perfect condition Light grey ceramic glaze decoration Original 20th m...

A ceramic dish with glaze decoration by Gisele Buthod- Garçon. Perfect original conditions. Signed under the base. Circa 1980. Unique piece.

A stoneware vase with white glaze decoration by the workshop Pierlot, Ratilly, France. Signature at the base. Perfect original conditions, circa 1980-1990.

La Borne - 19th century Large stoneware pottery from center of France Realised circa 1880 Original good condition its peculiarity is to have a piece of another pot fixed...

Steen Kepp Large stoneware ceramic vase Circa 1980 Brown and black ceramic firing colors Original perfect condition Height 37 cm Large 25...

Blue glazed ceramic vase by Robert Deblander. Artist signature under the base. Circa 1990. H : 5.9 x 4.3 inches.

Michel Lanos (1926-2005) Large abstract stoneware ceramic sculpture by french artist Signed under the base Blue, red and black ceramic glazes colors Painted ceramic 20th...

Talbot - La Borne Abstract blue and brown stoneware ceramic vase 20th art deco ceramic vase Signed Original good condition Measures: Height 20 cm Large 12 cm.

Pierre Digan 20th century ceramic pitcher by the french artist Signed under the base Elegant ceramic glazes colors effects Original perfect condition Circa 1970 in La...