Ceramics

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. 2022. 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, uncontrol...

A porcelain sculpture by Wayne Fischer. Perfect original conditions. Signed. Unique piece. 2022. How can an inert object produce deeply unsuspecting, indecipherable, uncontrol...

Lovely German wire basket aqua plate with swallows, circa 1900.

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”. 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, 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 wonderful hand painted and decorated traditional Okinawan ceramic awamori/sake flask, also known as a dachibin. These handcrafted pieces were originally designed to be carried and worn against the hip, hence the curved shape. This piece is from a collector of fine Japanese and Asian ceramics and pottery works - a collection like no other we have seen. We believe this flask is from the early to mid-1900s. Would be a great addition to any Japanese ceramics...

A pretty one-of-a-kind Americana Revival petite ceramic hand-made studio pottery vase. Created from ceramic, this vase reminds of stoneware and is round in form. The top of the piece...

A gorgeous work by 20th century master American and renowned Minnesota studio potter/artist Warren MacKenzie. The three-footed tenmoku glazed bowl is signed/ stamped along the foot rim by MacKenzie and features a unique decorative pattern. The dark, rich glaze radiates in the light. This work would a great addition to any Warren Mackenzie or modern pottery/ ceramic collection or eye-catching stand-alone accent piece in about any setting. A student of both famed ceramic artists Bernard Leach and Shoji Hamada, Mackenzie is credited with bringing the functional Japanese Mingei tradition and craft to the United States and spreading it through his own art and teaching mentorship during his long tenure at the University of Minnesota. Along with being named a Regent’s Professor, and a fellow of the International Academy of Ceramics, the highly decorated and awarded MacKenzie was the first to receive the Minnesota Governor’s Award in Crafts in 1986. He later received the Lifetime Achievement Award from the Minnesota Crafts Council in 1997 and a year later he was honored with the Gold Medal from the American Crafts Council. His work can be found in numerous collections and museums including: The Metropolitan Museum of Art in New York The Smithsonian Institution in Washington, D.C. The National Folk Art Museum in Tokyo, Japan The Victoria and Albert Museum in London, England Contemporary American Crafts...

VG is dedicating a collection of ceramics to the genius of Coco Chanel, a leading figure in the story of modern fashion, and a designer who crea...

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...

A very stylish studio pottery lidded jar decorated with deer and birds in an abstract landscape made at Morvern Pottery in Cumbria by Chris Barnes (British, b.1959) dating from aroun...

Antique hand-painted and handcrafted Moroccan ceramic bowl or wall art decorative plate, Large Moroccan ceramic bowl handcrafted in Fez by artisans. Hand painted Moorish ceramic pla...

porcelain handle representing a shell with three childrens. Silver ring. Malacca wood shaft. Metal ferrule. Capodimonte ceramic, Neaples, Italy 188...

A pair of fabulous Mid-Century Modern green and yellow lava-glazed ribbed ceramic table lamps. Quite fantastic, beautifully colored, and designed. Caught o...

A wonderful, whimsical work by Japanese American, California architectural potter/ artist Kazuko Matthews. This large black and white checkboard rhombus-shaped bowl/ vessel is signed on the base by Matthews. The piece is reminiscent of the works of Peter Shire. Mathews previously studied with famed ceramists couple Otto and Vivia Heino at Chouinard and also with Raku master potter Paul Soldner at Scripps...

Vintage Gouda folk art pottery jug or decanter with stopper - hand painted stylized floral decoration to the front and back - clear high gloss glaze with...

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.

An unusual Castle Hedingham medieval style pottery jug marked for William Rufus (William II, son of William the Conqueror) and made by Edward Bingham ...

Exceptional large vintage Colombian hand made clay water container / jug. Displays a fantastic native influenced design around the top.  

Elegant white and blue plate made with the Talavera technique. Artist, Cesar Torres portraits the colonial art of Mexico. The Talavera is not just a simple painted ceramic: its exquisite decoration is the product of a delicate process of alchemy that translates into fine enamels. In Puebla, Mexico few people still produce using Talavera with the ancestral techniques. One of those few is Cesar Torres, Don Cesar learned his art in the workshop of the Uriarte family, an excellent workshop where his grandfather worked. In his creations he uses the black and white mud that is obtained from the nearby hills of Loreto and Guadalupe, and colors of mineral origin that he creates in his workshop with recipes from his grandfather. All the pieces are modeled in a traditional way and go through a production process that usually takes from one to two months, between drying, burning, and painting. Being surrounded by a living tradition, Cesar Torres Jr., learned from his father since childhood. Architect by profession, Cesar Jr. has come to revolutionize and modernize with new designs and ideas of the current world, nevertheless always respecting the tradition of the processes and materials that make Talavera a Creole art...

A gorgeously crafted, beautifully glazed, Mid-Century Modern curved bowl by California master ceramist Rupert Deese who worked closely with pottery legend Harrison Mcintosh. Signed with Deese's cipher/ stamp on the base. Would be a great addition to any Mid-Century Modern ceramics and pottery collection or a very eye-catching stand-alone accent piece in about any setting. Deese's work can be found in numerous collections and museums including: Museum of Fine Arts, Boston, Boston Everson Museum, Syracuse, New York Henry Art Gallery, University of Washington, Seattle Long Beach Museum of Art, Long Beach, California Los Angeles County Museum of Art, Los Angeles Maloof Foundation, Alta Loma, California Millard Sheets Collection, Gualala, California Mingei International Museum, San Diego Nora Eccles Harrison Museum of Art, Logan, Utah Renwick Gallery, Smithsonian Institution, Washington, DC Richard & Alice Petterson Museum, Claremont, California Roger Corsaw...

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...

A ceramic lioness figurine glazed in brown and cream. This mid-century statue will be a fabulous addition to a bookshelf or side table. Created from ce...

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...

French pottery cider bottle from Normandy, end of 19th century. 13 Bottles available, sold separately. Different sizes.

Terracotta bulldog Bavent Filmont, circa 1900.

Old - set of 5 Japanese Teacups with hand-painted paintings, signed at the bottoms. Original box included In good original new condition and just foun...

Vintage Mexican Tonala hand painted pottery birds Folk Art with brass decoration in the style of Sergio Bustamante. Vintage Mexican ceramic and brass hand painted Tonala pottery duc...

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...

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

Ceramic goat to hang on the wall. Stamped Dominique Pouchain. 5 items, possibility to buy per item.

A beautiful, gorgeously formed, striking work by Japanese American, California architectural potter/ artist Kazuko Matthews. The large green glazed vase/ sculptural vessel with applied features is signed on the base by Matthews. Mathews previously studied with famed ceramists couple Otto and Vivia Heino at Chouinard and also with Raku master potter Paul Soldner at Scripps College...

A stylish English studio pottery teapot and cover decorated in green ash glazes by renowned potter Mike Dodd (British, b. 1943) and dating from t...

A large and stylish unusual Norwegian brutalist studio pottery lidded vessel in the form of a tea or water pot with makers marks ODK to the base and believed to date from the mid-20t...

Madonna ceramic sculpture, 1940s. Dimensions: H= 26 cm; W= 15 cm; D=10 cm.

Claude Gaget Unique handmade piece Large stoneware ceramic box with bird decoration Brown stoneware ceramic glaze Original perfect condition ...

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...

A beautiful ceramic nemadji vase. Marbled in unglazed turquoise, brown, and orange, this will be a beautiful piece to add to a current collection. Dim...

Jacques Migeon - La Borne 20th grey stoneware ceramic tea pot Unique handmade piece French mid century design Signed under the base Original perfect condition Heigh...

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.

A wonderfully made and beautifully designed Mid-Century Modern pottery charger by famed California potter and sculptor Robert Maxwell. Maxwell co-founded Earthgender pottery with fellow potter David Cressey. This charger/platter was made at his Venice beach, California Pottery studio in the early 1960s as verified by his wife. It is a very rare piece in respect to design, pattern, and sheer Size/heft (it is a very heavy work). We have not seen another quite like it. Apparently, he only made a few with some filled with melted glass to create the design/pattern. Signed by Maxwell on the base. Would clearly be a great addition to any mid-century pottery/ceramics collection...

19th Century English Staffordshire Cottage.

A very stylish Belgian Art Nouveau four handled art pottery vase with stylized floral designs dating from around 1900. The vase stands on a narrow round foot with a wide round lower ...

Moroccan ceramic urn with lid, blue with copper color. Modern form with clean lines, textured design. Great to use in the kitchen or in the bath...

Antique Mediterranean Ceramic, Spain circa s.XIX. In original condition, wear consistent with age and use, preserving a beautiful patina. Materials: Ceramic Dimensions: ø ...

A beautiful Japanese yunomi teacup, darkly glazed and featuring the artisan's signature creature figure painted on the cup. This work (along with a second yunomi - clearly from the same artist. Please see the last image) came from a collector of fine Japanese and Asian ceramics - a collection like no other we have seen before. The yunomi teacup has a very Wabi-Sabi feel and appearance to it. Would be a great addition to any Asian or Japanese pottery/ceramics collection...

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...

Vintage Mexican ceramic duck form Tonala Pottery. Beautiful vintage Mexican hand made and hand painted TONALA Art pottery. Vintage Collectible Mexican Tonala hand painted pottery bird Folk Art. El Palomar...

A ceramic cup with white and green glaze decoration by Sainte Radegonde. Perfect original conditions. Signed " D" under the base. Circa 1960.

A fine antique Staffordshire pottery Toby jug. In the form of a seated, smiling man holding a jug. The man's tricorn hat serves as a lid, and an inte...

Unique and delicate - a terracotta ceramic cat acquired in Paris France. the piece is a compliment to many settings and would work well in a Childs space, or someone who is very fond of felines. The body has a bell inside (this I believe is to remind the owner that the person that gave it them Is always thinking of them... purchased for a special person, for sure. Could be used as an egg cup, for a votive or small office supplies...

A wonderful, original hand painted ceramic tile plaque by famed artist Pablo Picasso titled "Tete Polychrome". The work features an abstract face w...

Claude Gaget Large stoneware ceramic decorative box realised in La Borne original perfect condition Measures: Height 18 cm Large 17 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...