Monthly Archives: May 2012

Jugs, pitchers and 2 coffee pots

 

 

The oldest example of functional pottery would have to be the water vessel, due to it being essential to primitive survival, and from this you could claim that the “jug” is probably the original  fuctional ware.  The word jug was first recorded in the late 15th century as jugge or jubbe. It is of unknown origin, but perhaps comes from jug, a familiar name used to describe  a maidservant at this time.The jug as a musical instrument reached its height of popularity in the 1920s, when jug bands, were popular. It could also be considered as the original wind bass instrument.

 

 

Red/brown glaze Denbac Pitcher Liqueur Flask

Denbac Pitcher Liqueur Flask

 

 

 

 

Two Purple/Blue floral wrapped jugs - Jane Bygrave

Blue floral wrapped jugs – Jane Bygrave

 

Charan Sachar turquoise and black ceramic pitcher - Creative With Clay

Charan Sachar

 

Green Denbac Curved Pitcher - French art pottery Denbac curved pitcher with ribbed design. - Terra Mare Antiques

Denbac Curved Pitcher

Terra Mare Antiques

 

 

Large-handpainted-Mid-Century-Ruscha-jug-by-Kurt-Tschörner-and-Cilli-Wörsdörfer,

Large handpainted Ruscha jug by Kurt Tschörner and Cilli Wörsdörfer, Germany

 

 

Daniel Slack - tall green pitcher - carved stoneware decorated with metallic oxide stains

Ceramic pitcher Wheel-thrown and carved stoneware decorated with metallic oxide stains brushed over a base glaze – Daniel Slack

 

 

 

 

Daum-Pate-De-Verre-Frosted-Glass-Mythologie-Pitcher,

Daum Pate De Verre Frosted Glass Mythologie Pitcher

 

 

 

Red VALLAURIS-ceramic-jug--free-form--pitcher--design

Rich red glaze Vallauris ceramic jug

 

 

 

Edmond-lachenal--(1855-1948)---Spectacular-pitcher

French pitcher – Edmond  Lachenal

 

Burnt orange Jug with a dancing Aboriginal motif - Florenz pottery, Australia 1970

Florenz pottery, NSW,  Australia

circa 1970

 

 

Forest-L.-Middleton jug

Coffee Pot  – Forest L. Middleton

Pattern created with silkscreen and embossment transfers

 

 

Butter-Bell-Green Antique-Pitcher

Butter Bell Antique Pitcher

 

BlackTree Studio Pottery Sculpted Functional Stoneware Jug

BlackTree Studio Pottery Sculpted Functional Stoneware Jug

 

 

 

Jug Rock is a natural geological formation located outside of Shoals, Indiana, in the valley of the East Fork of the White River.

Named as such for obvious reasons.

 

 

 

Martina Lantin jug with botanical decoartion

Martina Lantin jug

 

Claire Prenton-ceramic-pitcher with branch handle and botanical decoration

Claire Prenton Céramiques

 

 

Harvest-jug, Barnstaple with incised decoration of a unicorn

Harvest-jug, Barnstaple  ( The Chipstone Collection )

This jug has the following rhyme placed beneath the handle :

Now I am come for to supply
Your workmen when in harvest dry
When they do labour hard and sweat
Good drink is better fare then meat
Also in winter when tis cold
I like wise then good drink can hold
Both Seasons do the same require
Also most men do good drink desire
John Hockin
1748

Bruce Johnson brown glazed jug

Bruce Johnson

 

 

Masons-green-glazed jug

Masons green glazed jug with Hydra Chartreuse pattern

 

 

 

Dorothy-Hafner-Rosenthal-Studio-Line-'Flash'-Juice-Jug-Pitcher

Dorothy Hafner Rosenthal Studio Line ‘Flash’ Juice Jug-Pitcher

 

 

Kaj-Franck-Sunflower-Enamel-Pitcher---Arabia-Finland

Kaj Franck Sunflower Enamel Pitcher – Arabia Finland.

 

Gold eosin Zsolnay jug

Zsolnay Jug ( The Zsolnay Store )

 

 

Hoffmans Pottery jug with wavey top edge

Hoffmans Pottery

 

 

French Art Nouveau pitcher - Lucien Gaillard

Art Nouveau pitcher with silver filigree decoration – Lucien Gaillard

Glatigny 19o5

 

 

 

60s Arthur Wood orange ceramic Art Deco jug with geometric handle

Vintage British 60s Arthur Wood ceramic Art Deco jug

( The Art Deco Store )

 

 

Masons Old Fenton octagonal jug with floral patterns

Masons Old Fenton octagonal jug

 

 

 

Masons Hydra Chinoiserie jug

Masons Hydra Chinoiserie

 

 

Posey Bacopoulos, NY

Posey Bacopoulos, NY

 

 

Sue Tirrell jug with large red hare motif

Sue Tirrell jug

 

 

Sylvac-style-brown-glazed mottled texture jug

Sylvac style brown glazed floral jug

 

 

Art Deco jug in green, black and white

Art Deco Jug –  ( the art deco store )

 

 

Amber antique ceramic puzzle jug

Puzzle Jug – only by closing a certain combination of holes can the contents be extracted.

Popular in homes and taverns, especially during the 18th and 19th centuries.

 

 

Wade Heath lidded Coffee Pot in blue and white

Vintage Wade Heath Coffee Pot

 

” Jug with attitude ” – Lilach Lotan pottery

 

 

Ceres Goddess jug from 1797, Bideford in red and yellow

A Ceres Goddess jug from 1797, Bideford, UK

 

 

Julia Galloway elegant ceramic Jug

Julia Galloway

 

 

Wade Sylvac Carltonware Art Deco jug

Wade Sylvac Carltonware

 

 

Tall and slender Del-Genio crackle pitcher

A Del-Genio crackle pitcher

 

 

Antique French jug in pale green glass

Antique French jug

Corinthian Jug - “animal frieze” style, ca. 580 BC.

Corinthian Jug – “animal frieze” style, ca. 580 BC.

Sarah Dunstan Pitcher with swallow motifs

Sarah Dunstan

 

 

Jug-in-'Inglaze-Blue-Cat'-design-by-Heron-Cross-Pottery.

Jug in “Inglaze Blue Cat” design by Heron Cross Pottery.

 

 

Ceramic-Ewer-Pitcher-by-Fantoni-for-Raymor,-1961 with man riding a horse

Ceramic Ewer Pitcher by Fantoni for Raymor

1961

 

Large-Scale-Earthenware-Pitcher-by-Marcello-Fantoni-DonzellaNY-1956--oo-25inches
Large Scale Earthenware Pitcher by Marcello Fantoni – Donzella, NY

1956  Height – 25inches

 

 

David-Allnatt blue pitcher

David Allnatt

 

 

 

 

 

Korean Ceramic Arts, traditional meets contemporary

 

Most of the Korean art forms–calligraphy, painting, architecture, or sculpture–are strongly linked with that of neighboring China, while Korean ceramics stand out as highly individual and largely independent of such cultural exchanges. Perhaps their most remarkable quality is an inherent spontaneity, seen in their uneven shapes and playful designs. Imperfection–a characteristic that strongly distinguishes Korean ceramics from Chinese–is not only tolerated but accepted and respected as enhancing the beauty and individuality of a piece.

In the early part of the 18th century, Chinoiserie was in vogue in Europe followed by Japonism in the latter part, this Eastern influence having an impact on shaping the arts in  Modernism at that time.The Korean influence on the pottery of Japan and China didn’t receive recognition till later in the West. The Chinese and Japanese have always regarded Korean ceramics as unique and refined and have drawn inspiration from the Korean ceramic arts and techniques. It is always refreshing to see the contemporary Korean ceramic artists revitalizing  their traditional styles into new interpretations that look contemporary while remaining  respectful to their rich heritage in ceramics. The Korean aesthetic lies in its subtle details  while maintaining elegant simplicity.

 

 

Ree Soo Jung Large Jar

Large Jar 2 – Ree Song-Jong

 

Lee Kang Hyo

Korean artist, Lee Kang Hyo (1961) creates masterful works combining ancient traditions with earthly red and white clay materials from his homeland.

“A true potter only speaks through vessel,” he says. He attempts to show the right working attitude in modernizing the artistic sense and lifestyle inherited by his forefathers to the people’s tastes of today. The works of  Lee Kang-Hyo  infuses ancient tradition with whimsical and contemporary interpretation.

 

 

Lee Kang Hyo squat bottle vessel with tree motif, white on black

Tree motif flattened ceramic bottle – Lee Kang hyo

Lee Kang Hyo square bottle with rounded edges, orange on celedon glaze

Square bottle, rounded edges – Laa Kang Hyo

Ceramic bottle with incised surface - Lee Kang Hyo

Ceramic bottle Lee Kang Hyo

 

Lee Kang Hyo ceramic bottle

Lee Kang Hyo bottle

 

 

 

Lee Kang Hyo plate – 2011

 

 

Korean ceramic plate - Lee Kang Hyo

Lee Kang Hyo plate

Lee Kang Hyo

Lee Kang Hyo -Buncheong Big Pitcher   white abstract pattern on white

Large Buncheong Pitcher –   Lee Kang Hyo

Ceramic vessel - Lee Kang Hyo

Lee Kang Hyo

Bungcheong Flat Bottle with Ash Glaze by Lee Kang Hyo

Buncheong Bottle  with Ash Glaze – Lee Kang Hyo

 

 

My House - ceramic sculpture by lee Kang Hyo

‘My House 3’ – Lee Kang Hyo

 

 

 

My House 2 - cermaic sculpture by Laa Kang Hyo

‘My house 2’ – Lee Kang Hyo

 

 

Lee Kang Hyo pottery plate

Lee Kang Hyo plate

SunKoo Yuh

” My work is a means of transformation from interior images to tangible ceramic sculptures, sometimes monumental, sometimes small. Images come from inside me then I draw intuitively and spontaneously with ink and brush. These two-dimensional images contain unconscious concerns in my life. I closely study my drawings and select a few to transform into three-dimensional clay sculptures. My work expresses my inner emotions, communicates about life, and directly draws from mundane experiences. I want to record my daily impressions through my works with the hope that it will lead me to small insights into my life and family.”

 

Pottery figurine 'I want to know you better' - Sun Koo Yuh

 

‘I want to know you better’ – Sun Koo Yuh

 

 

Inspiration polychrome sculpture figurine by  Sun Koo Yuh

‘Inspiration’ – Sun Koo Yuh

‘Just you and me/Year of the Rabbit’  – Sun Koo Yuh

 

 

Won Dae-jong

 

Large white glaze bottle - Won Dae Jong

 Won Dae-jong (born 1920) made this pot in 1994. Porcelain with incised and inlaid decoration of copper oxide.

( British Museum )

Jin-Jang

Jin-Jang - pale turquoise glaze contemporary bowl

 ‘Blue Bowl-Silver’  – Jin Jang

2009

 

 

 

Ree Soo-jong

 

Ree Soo-jong is a much-admired artist whose interpretation of traditional Korean ceramics has earned him high praise worldwide. Korea’s ceramic traditions, in particular that of punch’ŏng  stonewares, form the base of Ree Soo-jong’s work.

Typical of punch’ŏng is the wide range of decorative techniques which potters used, including stamped, incised, inlaid and sgraffiato-cut motifs. Underglaze iron-painted designs were also popular as were wares that were either brushed with or dipped in slip. Through the use of similar decorative techniques Ree Soo-jong has consciously sought to emulate the earthy quality and unsophisticated beauty of punch’ŏng. Many of his wares are spontaneously painted with white slip, which he often applies with his fingers. Some are further decorated with abstract compositions in iron oxide, resulting in a rich brown colour. Like punch’ŏng which are famed for their unrestrained and innovative shapes, Ree Soo-jong’s pieces expose an air of easy elegance in their natural and unrestrained forms. His work is very varied and ranges from sculptural abstractions to dishes, trays and tea pots. Many of his wares are containers, ranging from bowls to wide-shouldered vases. For Ree the bowl carries a particular importance. He argues: “More than being a simple container, the bowl bears a cultural definition.” Being sceptical about man’s ability to live in a purely linear and rational manner, for him the bowl takes on a strong symbolic role as a container for life in its more chaotic and less defined state.

Although a hard material when fired, the warm, soft and malleable qualities of the wet clay is expressed in many of Ree’s works. In their textures, colours and shapes, his vessels superbly embody the basic and natural characteristics of the material with which he works.  Lee feels that a potter should become one with nature and should see clay as a natural part of this process. Thus, rather than fighting against the clay, he allows for its intrinsic beauty to emerge. He does not disguise the ways in which it has been handled and modelled, nor how the slip and the paint have been applied. Instead the surfaces of his irregularly shaped wares frequently carry imprints of his fingers and often the applied slip is allowed to freely form uneven droplets. ( via Mindy Solomon Gallery, Florida )

 

 

Lee Soo-jong Bouchong bottle

Bottle #1 – Ree Soo-jong

 

 

 

Ree Song Jung - flower motif vessel

Ree Soo-jong

 

 

Ree Soo-jong

 

 

Ree Soo Jong ceramic bowl

Ree Soo-jong

 

 

Ree Soo Jong ceramic vessel

Ree Soo-jong

Mindy Solomon Gallery

 

 

Choi Seong-Jae

Choi Seong-Jae uses a technique called  Boon-chung which  is achieved by painting the exterior of the vessel and scratching  it with the  finger to draw natural figures, including reed, bamboo or  lotus flower and other designs.

Choi Seong-Jae square ceramic bottle

Choi Seong-Jae – Boon-chung bottle

 

 

Choi Seong-Jae flat face round bottle

Bamboo motif bottle – Choi Seong-Jae

 

 

Choi Seong-Jae ceramic jar

Choi Seong-Jae

Choi Seong-Jae - pottery flat faced square bottle

Choi Seong-Jae

Kim Ik-Yeong

Kim Ik-Yeong Sth Korean pottery vessel

Kim Ik-Yeong

Kim Ik-Yeong pottery vases

Kim Ik-Yeong

 

 

 

Yang Seung-ho 

Yang Seung-ho contemporary Korean ceramic vessel

Yang Seung-ho

Yang Seung-ho

 

 

 

Kwon Sun Hyeong

Kwon Sun Hyeong contemporary ceramic vase

Kwon Sun Hyeong

Kwon Sun Hyeong

Cheon Han Bong

Cheon Han Bong - footed pottery bowl

Cheon Han Bong – footed bowl

Cheon Han Bong- lidded essel

Cheon Han Bong

 

 

 

The End of History’s dazzling displays

50's Murano glass

50’s Murano glass

Italian Bitossi Ceramic

Italian company Bitossi.

¨

 The End of History  is a uique store in Manhattan that is mainly dedicated to decorative glass and ceramic wares displaying over 10,000 pieces. It boasts the largest single showroom of ceramic and glass pieces in the world. Their specialty is vintage Mid-Century art pieces from the 50’s and 60’s sourced from  America and most of Europe including Swedish Gustavsberg, Italy’s Murano Glass, Denmark’s Soholm and Saxbo and German Rosenthal. There are also original glass and ceramics from the 20’s t0 40’s and it’s easy to see why it has become favourite for prop stylist’s and professional decorators.. A dazzling array of style and colour pervades the displays. Owner Stephen Saunders has been runnng the store for 15 years and has amassed an impressive collection that is worthy of a museum.

He sends pickers to antique markets across the country and overseas because they have become so popular; and he believes his shop has really contributed to that. He claims ” I am allowing people to rediscover things. I buy things that I love and re-present them as the luxury goods they once were. Everything goes through a period in which it’s unfashionable, but now that it has come back for the second time, it’s here to stay.’ As the store name suggests and being 2012 and all that, if we’re going under…lets go down in style.

 

 

¨

Carstens West German pottery

” Ankara ” – Seide for Carstens West German pottery factory, from 1964.

 

A turquoise porcelain hand carved vase.

Designed by Karl Leutner in 1954 for Heirich as part of their Gemmo line.

Yves Klein. Germany

 The trademark indigo  blue of  Yves Klein. Germany

Designed by Kaarina Aho  for a company called Arabia, Finland, 1960’s

  Modernist Italian Ceramic wall plaques –  1950s

Murano

Murano

Handcarved Swedish Vase

Handcarved Swedish Vase – Per Liliengren

Danish Saxbo

Danish Saxbo -an avacado celedon

A giant clam – the pearl is the size of a baseball !

Royal Haeger Tall Vases

Royal Haeger – 22 inches in height

Ronbo vase - Denmark

Ronbo vase – Denmark

Karlsruhe Majolica, Germany

Karlsruhe Majolica, Germany

Gunnar Nylund for Rörstrand, Sweden, 1950’s

Swedish artisan Claes Theil Ceramic

“Carbon Crystalline” glazing with pitted gunmetal.

Swedish artisan Claes Theil in the early 80s.

Upsala-Ekeby , Sweden 50's

“Kokos”  ( coconut ) Designed by Hjördis Oldfors for Upsala-Ekeby , Sweden  50’s

1960’s Danish ceramic vase.

Barbini, Murano

Fluted Vase – Barbini, Murano – 1950s.

Murano Egg Sculpture,12" tall

A Mid-Century Modern Murano Egg Sculpture,12″ tall

Töpferhof Gramann Römhild Studio

 Lava glaze vessels by Siegfried Gramann for Töpferhof Gramann Römhild Studio, Germany

Schmid Porcelain

Produced in Japan for Schmid Porcelain and designed by lauded American modernist LaGardo Tackett in 1958.

Wallakra, Sweden

Arthur Andersson for Wallakra, Sweden

Scheurich Keramik

Speckled Taupe and Teal Vase  – Scheurich Keramik, West Germany, 1950s

 Gustavsberg,Sweden

 Stig Lindberg bowl for Gustavsberg, Sweden

Doyle Lane

 Spherical crackle white vase Doyle Lane

 

Arne Bang Denmark

 Arne Bang Denmark 30’s – 40’s

Barbini bowl -circa 1950s, Murano, Italy.

Meko - Denmark

Modernist salt cellars, Meko – Denmark ( enamel on silver base )

Heinrich - Germany

50’s porcelain with Art Deco styling , Heinrich – Germany

Transmutation glaze – Michael Andersen & Sons around 1940

All above photos by Daniel Petix

The End of History Blogspot here : http://theendofhistoryshop.blogspot.com.au

( many more images of glass and ceramics with a very informative commentary )

 
 
 
 
 

 

Peruvian Pottery

Ancient Peru was the seat of several prominent Andean civilizations, most notably that of the Incas whose empire was captured by the Spanish conquistadors in 1533.

During the reign of the Inca’s, the production of pottery in the Andes was an art that had already developed in the region for thousands of years. One characteristic of Inca pottery is that it did not portray the human form, unlike other cultures that thrived before them. They focused more on geometric patterns and shapes and heads of animals. The pottery of the Incas  lacked the drama and artistry of the ceramics of earlier civilizations of Peru like the Moche and Nazca.

terracotta head drinking vessel Mochias culture

A Mochicas Terracotta Head

 

The best example of pottery produced before the days of the Inca Empire is found in the ceramics produced by the Moche or Mochica culture that thrived from 100 to 700 AD in the northern Peruvian coast. The Moche produced large amounts of pottery aided by the use of molds to create large quantities of specific shapes. Their color pallet was mostly limited to red, black and white. They used anthropomorphic figures and animal faces and bodies to shape their ceramic. They were the only pre-Inca culture to incorporate realistic facial expressions and emotions in their pottery work, a characteristic that the Inca pottery  did not employ.

Moche bottle depicting a hunting scene

Moche figural vessel

 

The production and the use of pottery during the Inca Civilization had two purposes, utilitarian and ceremonial. Ceremonial pottery also known as huaco was of the best quality material and the most elaborate, it was made specifically for ceremonial purposes or rituals only, such as in burial grounds containing drinks and food that the dead would need for its journey. The finest pottery and ceramic was produced for religious ceremonies, they would contain the food offered to the Inca gods such as Inti or Sun.

Utilitarian pottery was produced for everyday use and was usually thicker and less elaborate. The most common Inca vessel was the stirrup spout which is a bottle shaped vase intended for holding liquids with a long neck that forms the spout which usually serves as a handle. Inca effigy jars were also a popular utilitarian ceramic that was made in large quantities since they were casted from a mold, whereas the stirrup spouts were handmade and welded into the vessel.

 

 

globular-vessel

Sperical Pot

Cocle-Bowl-1200AD ith bird motifs

Bird motif Cocle Bowl-1200AD

 

 

Ceremonial Inca vessel

Ceremonial Inca Vase with Jaguar handles

INCA (1438-1533) ceramics were painted using the polychrome technique portraying numerous motifs including animals, birds, waves, felines ( popular in the Chavin culture) and geometric patterns found in the Nazca  ceramics.

 

 

Moche sculptural stirrup spout bottle ;Peru with man on a fishes back

Moche sculptural stirrup spout bottle

Larco Museum –  Lima, Peru

 

 

Moche seated figure bottle from Peru

Seated figure bottle, 2nd–5th century
Peru; Moche Ceramic

( Met NY )

 

 

Arabalo-Incan-pot with twin lugs

The Arbalo is one of the most characteristic forms of Inca pottery. With its long-necked jar and conical base it was used to serve the beer on major holidays.

Inca Culture, AD 1430-1532

 

 

 

Peruvian storage vessels

Peruvian storage vessels

 

 

Green Jade mask - Mayan

Mayan jade mask

 

 

Peru Stirrup spout bottle with snake

Stirrup-spout bottle with snake, 2nd–3rd century
Peru; Moche Ceramic

 

 

drinking-vessel-ceramic

Huaco retrato

 

 

Moche Jar 4th Century - Peru - Shaman high relief

Moche Jar 4th Century

( Artsconnected )

 

 

Globular vase with high relief.Wari Culture. AD 500 to 1000

Globular vase with high relief.

Wari Culture. AD 500 to 1000

 

 

Moche Ceramic Portrait Head Bottle

Portrait Head Bottle, 5th–6th century
Peru; Moche Ceramic

( Met NY )

Peruvian-Colonial-Chalice with high relief jaguar

Peruvian Colonial Chalice

 

 

Blackware-drinking-vessel

Inca Colonial blackware vessel dating to the early Colonial period.

1550 AD – 1600 AD      ( Ancient Artifax )

 

 

 

Storage pot

Storage pot

 

 

 

Chimu-Canteen-with-image-of-Shaman

Chimu Canteen -with Shaman motif

 

carved-Cupisnique-essel

Cuspisnique Vessel

 

 

Inca-aribalo-vessel

Inca Aribalo

Peruvian ceramic vessel with carved decoartion

Peruvian ceramic vessel with carved decoration

 

 

Large oval jar, Nazcar, Peru

Large ceramic oval jar, Nazcar

300BC – 600AD

 

 

Twin spout ceramic bottle - Peru

Dual spout drinking vessel

 

 

Inca vase with jaguar handles Mexico

Inca Jaguar handled Vase

 

 

Twin handled Inca Aribalo

Twin handled Inca Aribalo The predominant decoration consisted of geometric, zoomorphic and sculptural designs.

 

 

Nazca drinking vessel from Peru

Nazca drinking vessel with warrior figures.

 

 

polychrome-twin-spout-pot-307x399

This vessel portrays a pelican fishing and catching three mythical killer whales, showing the importance of coastal activities in Nazca culture.

Andean 900 BCE-1532 CE

Artsconnected,  Minneapolis Institute of Arts

 

 

 

Kero-face motif drinking cup

Inca Kero (  drinking vessel )

 

Double spout vessel-477x435

This vessel features a dual-image of a jaguar and an eagle, two of the most important animals in ancient Andean beliefs.

 

Large ovoid jar

Large ovoid jar representing a crouching human figure

Nazca culture,Peru.

 

Update

 

Chimu-culture,-Northern-Peru,-ca.-1100–1470-AD.-–-Vessel-in-the-shape-of-a-man-seated-on-a-pumpkin

Chimu culture, Northern Peru – Vessel in the shape of a man seated on a pumpkin.

ca. 1100–1470 AD.

 

 

 

Culture-Moche---Crouching Warrior-Peru

Ceramic Warrior – Culture Moche–Peru

 

 

 

Ica-effigy-vessel-AD-1400s-Nasca-Region,-Peru

Ica effigy vessel, Nasca Region, Peru

AD 1400’s

 

 

Vessel-in-shape-of-a-musician

Moche ceramic pot vessel in the form of a recumbent anthropomorphic peasant playing the quena (an Andean flute). (Photo by Nathan Benn)

Wagner.edu

 

 

Mocha---shaman-in-prayer Mochica style, this modelled ceramic shows a priest or shaman engaged in a curing ritual or praying over a deceased person. The shaman wears a feline headdress and large disc earrings.

Mochica style, this modelled ceramic shows a priest or shaman engaged in a curing ritual or praying over a deceased person. The shaman wears a feline headdress and large disc earrings.

 

 

 

Moche-culture,-Peru stirrup vessel with warrior decorations

Mochica stirrup spout bottle, Peru

Stirrup-spout bottles were the privileged ceramic medium used by Moche artists in the expression of complex ideological messages. This vessel has  human warriors wearing feathered adornments and bird-face masks. They carry shields, lances, and triangular war clubs.

 

 

Owl-Stirrup-Spout-Bottle,-2nd–3rd-century-Peru,-Moche

Owl Stirrup Spout Bottle, 2nd–3rd century Peru, Moche

In the Nazca religion, which highly valued plants, animals, and fertility, birds participate in the regeneration of life.

Met, NY

 

 

Stirrup-spouted-Mochica-portrait-jar-depicting-a-face-of-a-nobleman--600AD

Stirrup spouted Mochica portrait jar depicting a face of a nobleman

600AD

 

 

This-ceramic-vessel-of-a-supernatural-owl-warrior-illustrates-how-the-Moche-people-of-northern-Peru-associated-warriors-and-predators

This ceramic vessel of a supernatural owl warrior illustrates how the Moche people of northern Peru associated warriors and predators

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 Machu Picchu, Peru

Machu Picchu towers over Peru’s Urubamba Valley at 7930 feet above sea level. Its exact purpose remains unknown although modern researchers believe it was a royal estate for Pachacuti, the ninth Sapa Inca, or king, of the Kingdom of Cusco.

Machu Picchu was built around 1450, at the height of the Inca Empire and was abandoned  just over 100 years later in 1573.  Fortunately the Spanish conquistadors weren’t aware of the location and didn’t have the chance to plunder or deface any of the sacred rocks there, like they did at other Inca Temples. While the Inca pottery was fairly basic, their feats as architects, engineers and stonemasons were unrivalled when they were rulers in the early Fifteenth Century. Their construction of the palatial granite complex, Machu Picchuu, in the Sacred Valley, is an absolute marvel. It was built to withstand earthquakes, by being constructed without any mortar so the stones could absorb vibrations,  and it had a sophisticated filtration system to prevent landslides. The remote and unique location was chosen as it sat in the middle of the 4 main sacred mountains of Peru.

The location of Machu Picchu was determined by “sacred geography” because the site was built on and around mountains that held high religious importance in the Inca culture and in the previous cultures that occupied the region. Although known locally, it was unknown to the outside world before being brought to international attention in 1911 by the American historian Hiram Bingham.

Explorer Hiram Bingham poses in front of a rock sculpture carved to resemble a Sacred mountain in Peru.

 

 

Hiram Bingham wrote:

 ” In addition to agriculture and the breeding of useful plants and animals, the Incas carried to a remarkable extreme the manufacture of graceful,symmetrical pottery. They learned to recognize different kinds and qualities of potter’s clay. They selected localities marked by the finest type of clay for the worship of favorable divinities and the manufacture of the most delicate dishes. “

.“In the variety of its charms and the power of its spell, I know of no place in the world which can compare with it. Not only has it great snow peaks looming above the clouds more than two miles overhead, gigantic precipices of many-colored granite rising sheer for thousands of feet above the foaming, glistening, roaring rapids; it has also, in striking contrast, orchids and tree ferns, the delectable beauty of luxurious vegetation, and the mysterious witchery of the jungle.” ~ Hiram Bingham, 1922

 

 

Machu Picchu accurate stone walls

Machu Picchu precision stone architecture

 

 

Temple bathhouse at Machu Picchu - photo Andre GuntherTemple bathhouse

Photo – Andre Gunther

 

Photo – Andre Gunther

www.aguntherphotography.com

 

 

Machu-Picchu stone buliding

Fine stonework – Machu Picchu

 

 

 

Machu-Picchu-stone-walls

Mach Picchu precision stone walls

 

 

 

Machu Picchu panorama - photo by Andre Gunther

Photo – Andre Gunther

 

 

This rock platform at Machu Picchu is situated plum in the middle of four sacred mountains. It was the base for a gold sun disk that was later hidden after the Spanish invasion. The sacred ‘Intihuatana’ or ‘hitching post of the Sun’, was used in Inca religious festivals. It is unique as the Spanish destroyed all other such stone sculptures as evidence of idolatry.

 

 

 

Rediscovering-Machu-Picchu---Pictures--More-From-National-Geographic-Magazine Intihuatana-Hill-and-the-terraces-west-of-the-Sacred-Plaza

Intihuatana Hill and the terraces west of the Sacred Plaza

Photo – Hiram Bingham

 

 

machu-picchu-fotos-84

‘Intihuatana’

machupicchu369.org

 
 
 
 
 

 

Pottery Whimsical 1

Martin Brothers Vase

MARTIN BROTHERS Stoneware vase embossed and incised with fish and sealife, 1891

Safavid-Iran-18th-century

Portugese Palissy twin bowl oyster / mussel server

Takiguchi-Kazuo Chawan

Takiguchi-Kazuo-1998

Eva Zeisel Vessel

Vintage-Eva-Zeisel-Majolica

Talk about the flair of a French artist ! Edmond Lachenal in his studio.

Does a bold stance create a bold statement…the results speak for themselves ( see below )

Edmond Lachenal Vase

 Lavendar-blue glaze Art Nouveau vase Edmond Lachenal

 Edmond Lachenal – Lavendar-blue glaze Art Nouveau vase.

( Image courtesy of Jason Jacques Inc. )

Vallauris Jug and tumblers

70’s Vallauris

 art deco statuette Goldscheider

Goldscheider Art Deco

Richard Nickel Dish

Richard Nickel ” the struggle “

potter Gustavo Perez

Healing hands – Gustavo Perez

Auguste Delaherche by Eugèn

Auguste Delaherche by Eugèn  1891

Adam Posnak – the garden -Craft Alliance

Chinese Sculpture

Ephraim pottery Art Nouveau Vase

” A day for otters ” Ephraim pottery

Minoan Miniature Frieze Admirals Flotilla Fresco Art

Garden Persimmon Tree

Auspicious Persimmon tree  ( Olympus E3 )

Pottery Class ..somewhere

Pottery Studio New

Pottery Studio in Milthorpe, Orange, NSW

Rendered straw bale walls  http://www.strawtec.com.au

Chinese Lidded Vase

Jingdezhen Lidded Vase – 1830-1850

Porcelain painted in overglaze enamels and gilt

Bronze Age

◊♦◊

A quote….   ” all I ask is the chance to prove money can’t make me happy “    .. .. Spike Milligan

◊♦◊

Matthew Parkin Teapot

Matthew Parkin

Tall Vase Royal Doultan

Royal Doulton  Tall vase decorated by Elise Simmance

Love at first sight

Marcella Smith

Marie Prett

Westerner on camel –  Shanghai Museum

 From the Bronze Age  ( original rock God ? )

more clay whimsy here

 
 
 
 
 

 

The magnificence of Rene Lalique

 

 

Rene Lalique’s superb Art Deco and Art Nouveau designs

 

 

Rene Lalique pale blue spherical vase

 Frosted pale blue spherical incised glass vase – Rene Lalique

 

 

French Rene Lalique- Art nouveau brooch

 Opal and gold pendant – Rene Lalique

 

If you are an aficionado of Art Nouveau and Art Deco, it’s hard to ignore Rene Lalique’s remarkable designs. Lalique, in his time was recognized as an artist, designer, jeweller, innovator, glass-maker,  industrialist and a visionary ! His creations in jewellery were seen as  revolutionary and he was one of the most outstanding exponents of Art Nouveau. His masterful work in glass, and exquisite jewellery design  came to epitomize the Art Nouveau style and adorned the most exotic women of Paris.

 

Art Nouveau jewellry by Rene Lalique

 

“Give a woman the best product you can compound. Present it in a perfect container (beautifully simple, but of impeccable taste), charge a reasonable price for it and a great business will arise such as the world has never seen. “  These words from Lalique proved to be prophetic because he succeeded in being a  creative artisan who combined the sensual charm of his objet d’ art with the possibility of mass distribution using mechanization and industrialization. He fulfilled the ideal of producing high quality designs at modest prices and using mass production so every consumer could own a piece of Lalique. His products cleverly supplemented the mechanical processes with finishing techniques to make the pieces appear less manufactured.

 

Martigues charger by Rene Lalique

Born in Paris in 1860, he was apprenticed to a Parisian jeweller, at the age of 16, while simultaneously doing night school at the Ecole Des Beaux Arts. The young Frenchman went on to attend the School of Art in Sydenham, England where he was inspired by the Arts and Crafts movement of the time, particularly in graphic design. His love of flora and fauna motivated  him to use  naturalistic features in his designs.. In 1885 Lalique purchased a small workshop in Paris and produced his own interpretation of the emerging Art Nouveau style jewelry.

He also produced art glass especially in the form of vases which he became widely known and noticed for. In the 1920’s he also produced wares in the Art Deco style along with car mascots (automobile hood ornaments) and clocks. His highly imaginative creations were populated by a magnificent world of fantastical beings – dragons, serpents, lilies, peacocks, butterflies, orchids, and Symbolist women, who metamorphosed into dragonflies, lotus blossoms, or terrifying Medusas. Lalique favoured the use of Nymphs and ” Femme Fatales ” with voluptuous figures in his creations, reviving a style which had been neglected since the renaissance.

Rene Lalique purple brooch

His output of glass spanned the time of Art Nouveau through to the Art Deco Period, and extended up to  World War II.  At the height of Rene Laliques production at his Wingen-sur-Moder ( France ) factory, Lalique employed over 600 workers. After his death in 1945 Lalique’s son Marc reopened the factory. Lalique is run today by his granddaughter Marie Claude.

 

 

Blue sauterelles-grasshopper vase by Lalique

‘Sauterelles’ vase of clear and frosted glass with blue and green patina, c. 1912

Rene Lalique

 

 

Rene Lalique Art Nouveau pendant

Rene Lalique pendant

 

Raised relief Ronces vase in a dark amber by Rene Lalique

Rene lalique ‘Ronces’ vase of dark amber glass, c. 1921

 

 

Rene Lalique Le Mans vase of cased opalescent turquoise

‘Le Mans’ vase of cased opalescent turquoise glass, c. 1931

Rene Lalique

 

 

Rene Lalique Grenade vase of black glass

‘Grenade’ vase of black glass with white patina, c. 1930

rlalique.com

 

 

Rene Lalique perfum bottle Leze i Pachne

Leze I Pachne Perfume bottle – Rene Lalique

 

 

 

 

Lalique Chrysis car mascot frosted glass lady mascot

 Lalique ‘Chrysis’ car mascot in clear and frosted glass, c. 1931

 

 

Courges vase of electric blue glass - Rene Lalique

RENE LALIQUE ‘Courges’ vase of electric blue glass

 

 

Plum coloured vase - Rene Lalique

RENE LALIQUE ‘Monnaie du Pape’ vase of plum glass, c. 1914

 

 

Lalique bacchantes vase - blue dancing unde females

‘Bacchantes’ vase – Rene Lalique

christies.com

 

Rene Lalique Inseperables glass desk clock

‘Inseparables’ clock – Rene Lalique

 

 

La Jade perfume bottle - Lalique

‘Le Jade’ perfume bottle – Rene Lalique

Hickmet Fine Arts

 

 

Silenes vase - Rene Lalique Rene Lalique - clear and frosted glass with gray patina, c. 1938

Rene Lalique ‘Silenes’ vase of clear and frosted glass with gray patina, c. 1938

 

 

Rene Lalique French glass art design blue platter

Frosted and clear glass swirl platter – Rene Lalique

 

 

Rene Lalique budgerigar vase of opalescent glass with blue patina, c. 1924

‘Ceylan’ budgerigar vase of opalescent glass with blue patina, c. 1924 – Rene Lalique

 

 

 

 

Square perfume bottle - Rene Lalique - Success for Orsay blown-molded white glass.1914

 

Elegant perfume bottle ‘Success’ for ‘Orsay’ blown-molded white glass Rene Lalique

1914

 

Lalique 'Montargis' vase of black glass with grayish patina, c. 1929.with art deco geometric pattern

‘Montargis’ vase of black glass with grayish patina, c. 1929.

 

 

Soudan vase of opalescent glass with blue patina with running gazelles

‘Soudan’ vase of opalescent glass with blue patina, c. 1928

The recipe of Lalique’s famous glass opalescence is still “the secret of the company”.

 

 

Lalique Suzanne-statue on stand

‘Suzanne’ – statue of opalescent glass on original bronze illuminating base, c. 1925

Rene Lalique

 

 

art-nouveau-gold-enamel-and-pearl-two-naiads-choker-by-rene-lalique

Gold and pearl two naiads choker by Rene Lalique

 

Lalique Malesherbes' vase of amber glass,with geometric leaf pattern

‘Malesherbes’ vase of amber glass, c. 1927

 

 

Rene Lalique pendant

Rene Lalique brooch

 

 

archers-rene-lalique-patinated-vase

‘Archers’ –  Rene Lalique patinated vase

 

 

French Gui vase of deep teal green glass by lalique

Gui vase of deep teal green glass, c. 1920 – Rene Lalique

 

 

 

Rene Lalique Bacchantes dancing nudes amber vase

Rene Lalique French ‘Bacchantes’  dancing nudes vase

 

 

Rene Lalique Art Deco perfume bottle

Art Deco perfume bottle – Rene Lalique

 

 

 

Lalique Calypso Salver plate

Lalique Calypso Salver

 

 

 

rene-lalique-nymph-pendant-1899-1901-gold-ivory-enamel-chalcedony

René Lalique ‘Nymph’ Pendant, 1899-1901: gold, ivory, enamel, chalcedony.

Calouste Gulbenkian collection

 

 

ivory, diamond and sapphire pendant by Rene Lalique

Rene lalique Art Nouveau pendant

 

 

 

Rene Lalique blue Bulbes Plate

‘Bulbes’ plate – Rene Lalique

 

 

Rene Lalique glass owl paperweight

Lalique Crystal Owl Paperweight – R.,Lalique

 

 

Lalique-1897-98,-enamel-gold-diamonds-Private-Collection,-NY

Rene Lalique Enamel, gold and diamond Art Nouveau brooch

1897-98 – Private collection, NY

 

 

Lalique bracelet in yellow gold, glass and enamel with seven tapered panels, ca. 1900

René Lalique bracelet in yellow gold, green glass and enamel with seven tapered panels, ca. 1900

 

 

 

Lalique-crystal-paperweight - female face with pine cones

Rene Lalique frosted crystal paperweight

 

 

SOUCIS---A-FINE-COBALT-BLUE-VASE-BY-RENE-LALIQUE

Soucis – blue cobalt vase by Rene Lalique

 

 

 

c.-1920's-Art-Nouveau-Figural-Pearl-Broach-By-Rene-Lalique

 

Art Nouveau Figural Pearl Broach By Rene Lalique

c. 1920’s

 

 

Terpsichore vase art deco Rene lalique

Art Deco ‘Terpsichore’ vase – Rene Lalique – 1937

rlalique.com

 

Rene-Lalique-La-Source-Necklace-and-Pendant-(1902) - white nude lady with wisteria

La Source Necklace and Pendant  –  R.Lalique

1902

 

 

Dragonfly Brooch---Rene Lalique Art Nouveau blue sapphires and gold

Dragonfly brooch – Lalique

 

 

 

reve-a-deux-rene-lalique-perfume-bottle--

Reve-a-Deux – – Rene lalique art deco perfume bottle

 

 

 

brooch-depicting-dancing-nymphs-in-a-frame-of-butterflies-gold-enamel-sapphires-and-horn

Classic Lalique brooch depicting dancing nymphs in a frame of butterflies, gold, enamel, sapphires and horn.

 

 

 

Lalique-1902-signed-'Hawthorne'-Dog-Collar-Plaque--an-openwork-plaque-set-four-carved-French-ivory-hawthorn-flowers

‘Hawthorne’ Dog Collar Plaque – Rene Lalique

1902

 

 

 

rene-lalique---sa-femme-augustine-alice-ledru-en-1903

Rene Lalique and Augustine Alice Ledru, 1903

 

 

 

Rene Lalique pendant jewellry art nouveau

Rene Lalique pendant

 

 

Art Nouveau swan-pendant-gold-and-enamel Rene Lalique

Swan pendant – Rene Lalique

 

 

See also Lalique – French Sublime Design

 

 
 
 
 
 

 

Japanese Contemporary Pottery

The Japanese tea ceremony is an artform in itself and the choice of  ceramic utensils used in serving the tea is given careful consideration including the  aesthetic. This has contributed over the centuries to a wide appreciation of the ceramic arts in Japan .Competitions and exhibitions are regularly organised and they attract media  coverage and wide interest from ceramic connoisseurs and collectors. A Japanese potter can have his  career trajectory  quickly elevated by gaining awards in these contests and this has led to continual improvisation, experimentation and refinement in the ceramic crafts. The older traditions of their pottery methods are still revered and practised. Contemporary Japanese ceramicists are able to seamlessly merge modern elements of design, techniques and materials with ancient traditions and maintain the unique Japanese aesthetic.

Matsui Kôsei (1927-2003) :

Matsui Kôse Vase - Ovoid vase striped with blue, gray and white marbleized colored clay

Ovoid vase striped with blue, gray and white marbleized colored clay, ca.1977

Matsui Kôsei

 

Matsui Kôsei Small neriage conical vase - marbleized gray, beige and white colored clays

Small neriage conical vase with marbleized gray, beige and white colored clays, ca. 1977

Matsui Kôsei

 

 

Matsui Kôsei - Stoneware with marbleized colored clay inlays

 Stoneware with marbleized colored clay inlays-  1979

Matsui Kôsei

 

 

Matsui Kôsei (1927-2003) Japanese pottery

Small early neriage vase, ca. 1965

Matsui Kôsei

Tokuda Yasokichi III :

Tokuda Yasokichi III Vase - turquoise green glaze

Tokuda Yasokichi III Vase

Kato Yasukage :

Kato Yasukage Teabowl

Tea bowl with red and creamy white shino glazes, 2011

Kato Yasukage

Nishihata Tadashi :

These pieces were displayed at the ” Fired By Tradition ” exhibition (2011) at the  Joan B Mirviss Gallery

Spherical Tanba Vessel by Nishihata Tadashi

Spherical Tanba vessel with faceted diagonal banding and dripping natural ash glaze and markings.- Nishihata Tadashi

 

 

Nishihata Tadashi Tea Bowl

Tanba ware glazed tea bowl with faceted carved exterior – Nishihata Tadashi

 

 

Tilting Tanba Vase with moon-shaped opening

Tilting Tanba vase with moon-shaped opening and natural dripping ash glaze; 2011 – Nishihata Tadashi


Faceted Tanba tokkuri (sake flask) - Nishihata-Tadashi

Faceted Tanba tokkuri (sake flask) with light-colored natural ash glaze, 2011 – Nishihata Tadashi

Suzuki-Osamu  ( 1926-2001 ) :

Suzuki Osamu Japanese ceramic Sculpture

Suzuki Osamu Sculpture – Kitamura Junko

Osamu-Suzuki Sculpture

Osamu Suzuki

Kitamura Junko :

Kitamura-Junko-Japanese contemporary ceramic sculpture

Oval Vessel 1995 – Kitamura Junko

 

 

Kitamura Junko Tall Vessel

 Tall Open Vessel 1998 – Kitamura Junko

 

 

Kitamura-Junko spherical vessel

Kitamura Junko

Kato Yasukage :

Kato Yasukage Vase - green glaze with modernist shape

Kato Yasukage

Suzuki Goro :

Narumioribe water jar, 1999 - Suzuki Goro

Narumioribe water jar, 1999 – Suzuki Goro

Hiroshi Miraji :

Hiroshi Miraji lidded ceramic vessel with small twin handles

Hiroshi Miraji

Musee Tomo

 

Akiyama Yo :

"Tension-and-Transition " ceramic sculpture - Akiyama Yo

” Tension-and-Transition “ – Akiyama Yo

 

Miyashita Zenji

Miyashita Zenji contemporary ceramic sculpture

Miyashita Zenji-1994-MFAH

Trapezoidal flower vase with diagonal bands, by Miyashita Zenji

Trapezoidal flower vase with diagonal bands, 1997

Miyashita Zenji

Miyashita-Zenji tea ceremony pottery

Four-piece set for the Japanese tea ceremony, 2005.

Miyashita Zenji

Kawai Kanjirô  (1890-1960) :

Kawai-Kanjiro Vessel Pale green crackleur and iron-oxide glazed lobed vase, ca. 1938 - Kawai-Kanjirô

Pale green crackleur and iron-oxide glazed lobed vase, ca. 1938 – Kawai-Kanjirô 

Kawamoto-Goro   (1919—1986) :

Kawamoto-Gorô teapot

Kawamoto-Goro

YAGI Kazuo ( 1918-1979 ) :

YAGI Kazuo - Japanese Cup

YAGI Kazuo – Cup 1950

Mihara Ken :

Mihara Ken folded ceramic vase

Mihara Ken

Mihara Ken Art Sculpture

” Kodô (Pulse) “,  2011 – Mihara Ken
Multi-fired unglazed stoneware

Shogo-Ikeda :

Shogo-Ikeda abstract ceramic dish

Shogo-Ikeda

Shimaoka Tatsuzô ( 1919 – 2007 )

Japanese round platter with slip-filled, cord-impressed pattern and floral design on iron glaze ground, 1972 by Shimaoka Tatsuzô

Round platter with slip-filled, cord-impressed pattern and floral design on iron glaze ground, 1972 – Shimaoka Tatsuzô

Ryoji-Koie :

Ryoji Koie ceramic cup

Ryoji Koie

Yamada-Hikaru  (1923-2001) :

Yamada-Hikaru Sculpture - Diamond-shaped glazed perforated stoneware sculpture.1972

Diamond-shaped glazed perforated stoneware sculpture.1972

Ogata Kamio  ( b.1949)

Ogata Kamio Spherical Vase - neriage Marbleized stoneware with twisted fluting colored clays

Spherical neriage vase Marbleized stoneware with twisted fluting colored clays, 2011

Fukami Sueharu :

Fukami Sueharu contemporary porcelain sculpture

Fukami has dedicated almost 50 years to sculptural ceramics and he is

internationally known for his celebrated pale-blue glazed porcelains,

a glaze that is inspired by Chinese porcelains of the tenth to thirteenth centuries.

Akira-Yamada :

Akira-Yamada - red contemporary ceramic vessel

Akira-Yamada

Sakiyama Takayuki :

Sakiyama Takayuki ceramic sculpture with weave style pattern

Sakiyama Takayuki

Imaizumi Imaemon :

Imaizumi Imaemon-botanical decoration

Imaizumi Imaemon

Imaizumi Imaemon ceramic lidded vessel

Imaizumi Imaemon

Shogo-Ikeda :

Shogo-Ikeda Bowls

Shogo Ikeda

Takenaka Ko :

Stoneware bottle vase with white slip and decorated with cast oxides by Takenaka Ko

Takenaka Ko

Stoneware bottle vase with white slip and decorated with cast oxides

Ogawa-Machiko ceramic ash blue bowl

Ogawa Machiko – ash blue bowl

Kai Satoshi Museum

twelve-generations-Miwa-Kyuyuki--Ryusaku--Roume-bowl-both-boxes--Miwa-Kyuyuki

Twelfth generation potter Miwa Kyuyuki