Michigan Planters, Cachepots and Jardinières

Large unique ceramic vessel by Stig Lindberg for Gustavsberg Studio Sweden circa 1960's Cylindrical form with molten spotted glaze in contrasting oxblood and mossy green Signed to u...

Grouping of three sculptural round hammered copper vessels In the style of Santa Clara del Cobre Michoacán region Mexico circa 1960s Handcrafted asymmetrical bowls with off center ...

Beautifully grained rosewood trash can. Designed in Norway by Einar Barnes for P.S. Hegen.

France has always been the pioneer of the European garden. These once functional olive jars eventually found their way to cascading gardens once retired, thus creating the iconic Fre...

An antique English leather fire bucket, nice color and patina.

The Ceramic Garden Planterette is an example of the kind of work by which John Glick became so famous. He was seduced by the effects of the reduction kiln, which decreased the levels of oxygen during firing, inducing the flame to pull oxygen out of the clay and glazes changing the colors of the glazes depending on their iron and copper content. In this way he achieved the rich gradients of ochre and umber and variations in stippling and opacity. The piece is signed by Glick and stamped with the name of his studio: Plum Street Pottery on the verso. John was an American Abstract Expressionist ceramicist born in Detroit, MI. Though open to artistic experimentation, Glick was most influenced by the styles and aesthetics of Asian pottery—an inspiration that shows in his use of decorative patterns and glaze choices. He has said that he is attracted to simplicity, as well as complexity: my work continually reflects my re-examination that these two poles can coexist… or not, in a given series. Glick also took influences from master potters of Japan, notably Shoji Hamada and Kanjrio Kawai, blending their gestural embellishments of simple forms with attitudes of Abstract Expressionism. He was particularly drown to the work of Helen Frankenthaler whose soak-stain style resonated with Glick’s multi-layered glaze surfaces, which juxtaposed veils of atmospheric color with gestural marks and pattern. He spent countless hours developing and making his own tools in order to achieve previously unseen results in his work with clay and glaze. Glick’s “Plum Tree Pottery” (now a designated historic landmark in Farmington Hills, Michigan) studio opened around 1965 and closed in the summer of 2016. It was a private studio space for John and a number of his students and assistants. He believed his shapes evolved guided by forces apparently outside his control. This was instinctual, intellectual and due to his openness to change, fusing into what he thought was the most positive force behind a potter’s approach: evolution and growth. Some have called it inspiration. John was not only a major figure in the Detroit creative community, but in the ceramics world at large. According to Shelley Selim in her book on John, “John Glick: A Legacy in Clay” John remains: “one of the most recognizable names in the field of studio pottery – known for lecturing, publishing, and offering workshops widely – and his work has been featured in well over a hundred local, national and international exhibitions since he was a college student in the late 1950s.” Along with this John has mentored over thirty studio apprentices over five and a half decades, received numerous grants and awards for his work, and has been prolific, with an estimated 300,000 ceramic wares throughout the world. He received his Masters from Cranbrook Academy of Art in Bloomfield Hills, Michigan, working with Maija Grotell, a legendary and influential teacher. Grotell was noted for her deep interest in the human connection to nature’s rhythms and patters. These ideas often grounded her dialog with her students including Glick, affecting, a profund and lasting influence on his future work. This famous Art Academy was designed by architect and faculty member, Eliel Saarinen who collaborated with Charles and Ray Eames on chair and furniture design. Numerous creative artists who are alumni of Cranbrook include: Harry Bertoia, Florence Knoll, Jack Lenor Larsen, Donald Lipski, Duane Hanson, Nick Cave, Hani Rashid, George Nelson, Urban Jupena (Nationally recognized fiber artist), Artis Lane (the first African-American artist to have her sculpture, "Sojourner Truth," commissioned for the Emancipation Hall in the Capital Visitor Center in Washington DC), Cory Puhlman (televised Pastry Chef extraordinaire), Thom O’Connor (Lithographs), Paul Evans (Brutalist-inspired sculpted metal furnishings), Eugene Caples (small bronze images/abstract), Morris Brose (Bronze Sculptures), Herb Babcock (blown glass), Larry Butcher (mixed media) and Lauren Anais Hussey...

France has always been the Pioneer of the European garden. These once functional olive jars eventually found their way to cascading gardens once retired, thus creating the iconic Fre...

Kenji Fujita design salt and pepper shakers. Pepper in matte black, salt in gloss white glaze. Student of Lagardo Tackett of Architectural Pottery . This set designed for Freeman Le...

Large Gainey of Laverne California planter pot. Finished in a matte black glaze. No cracks or chips no drill through. Very clean exterior. Evidence of use...

A modernist stoneware glazed ceramic planter by Detroit artist John Glick of Plum Tree Pottery. Circa late 20th century. Glazed in earthtones. Artisisnal yet functional and makes a u...

Sergio Bustamante (Mexican, b. 1949). Welded brass and copper. Height: 10", Length: 19", Depth: 11". Welded copper and brass sheet duck planter. Appears unsigned.

Substantial body Art Deco styled planter pot. Tapers up from 6.75" diameter base to 10.5" opening at top. Matte white glaze. Marked McCoy on underside.

We are very pleased to offer a pair of vintage, Italian ceramic planters, circa the 1960s. Perfect for highlighting your favorite botanicals in...

Nicely grained Travertene stone floor vase. Could double as umbrella holder or planter pot.

Beautiful twilight blue with subtle contrasting blue vertical design. Marked Nymolle Denmark. Nice size at twenty inches tall.

Early 19th to mid 19th century Chinese, Iron, water bath. With the patina of decades, this cast-iron sarcophagus-shaped bath has its original handles and exudes a timeless floral dec...

Faux Bois was at its height during the Art Nouveau era in France between the 19th and 20th century. Now reimagined for a contemporary audience, this hand sculpted trough features cla...

Spectacular textured crystal vase signed.

In 1960, Poterie Goicoechea was established in Ossès, France. A family owned company of exceptional quality, their process involves a dramatic technique involving a mould made from wood and rope coiled into tall tubes. Moist clay extracted from the family quarry in Navarra is then packed all around the rope structure and then smoothed as the pot revolves. Using expert glazing and firing techniques, the artisans at Poterie Goicoechea are able to achieve a dazzling array of lacquered finishes such as this dazzling apple green tube vase...

Neo-Classical style silver plated rectangular planter with silk flowers.

As of the mid-20th century, the work of Willy Guhl was a revolutionary feat of industry and design with a distinct style that transcends decades. True to form and function, Guhl work...

As part of the Art Nouveau movement, faux bois was the height of sophistication and expertly crafted throughout Europe. These unique faux bois planters is a one of a kind set. Incred...

Handsome collection of English Tole Items including waist paper, large tray, two planters.