Simpatico Tower I

Simpatico Tower II, 2022 Glazed stoneware 63 x 23 x 23 in Inv #TDM1182

Trish DeMasi Haeckel, 2019 Glazed ceramic 19 x 14 x 14 in

Trish DeMasi Sakura brown, 2020 Glazed ceramic Measures: 22 x 18 x 18 in.

Trish DeMasi Schneeballen bowl, 2021 Glazed ceramic Measures: 3.25 x 7.5 x 7 in.

Trish DeMasi Lamella/Spora Table, 2021 Glazed ceramic with metallic elements Measure: 18.5 x 14 x 21 in.

Trish DeMasi Lamella, 2021 Glazed ceramic Measure: 14 x 14 x 29 in.

Very tasty duo of mid-century modern birds in a stylized shape and wonderful glaze pattern. The downward looking animal has a cheerful flower pattern on both wings. The upward looki...

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...

Rare decorative earthenware dish by renowned Californian artist Phillip Herschel Paradise. Hand-painted decor, circa 1955. Signed. Phil Paradise wa...

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...

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 big ceramic covered jar with glazes decoration by Alain Gauderbert. Perfect original conditions. Signed under the base " Gaudebert ". Circa 1...