Category Archives: Pottery

Ceramic bust ‘n’ heads

 

The original sculptural heads and busts were produced from clay for religious icons in the form and various Gods, Goddesses and Deities.  Carved busts in stone were also widespread, and reached an advanced level of artistic expression in the ancient Egyptian, Greek and Roman civilisations.The word bust is derived from the Italian word busto, and more then likely from the latin word bustum, both meaning sepulchral monument. This indicates they were created for a burial vault or a receptacle for sacred relics. They were used on tombs to remember the departed in the form of a ceramic portrait in the form of a bust. Through the ages historical figures were well represented with ceramic portrait busts and also utilised by the ruling class and nobility as a symbol of status. Tomb monuments of prosperous middle-class Romans, very often featured portrait busts and the entrance hall (atrium) of a Roman elite house displayed ancestral portrait busts.

Bronze, marble, and terra-cotta were popular mediums for busts and the importation of Chinese porcelain figurines into Europe stimulated local production of decorative porcelain busts in the 17th century.

A sculpture bust or head was more compact and  more practical for display then a full size statue and obviously more economical. Hence it was adopted more as homes got smaller. It remained a popular item of status and decoration up to the Twentieth Century. After the 30’s it  drifted more into obscurity, but still maintains its place as a decorative item.

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Jardin des Tuileries

Paris 2004

( Photo by Bailey Zimmermen )

Barrias Louis Ernest sculpture bust

Barrias Louis Ernest sculpture bust

 

Garden Buddha bust

Garden Buddha bust

Black bust of Mercury

Black bust of Mercury

( Huntley & Co)

 

 

 

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Oscar Niemeyer – Casa das Canoas – Rio de Janeiro – 1952

 

 

 

large ceramic bust ShinYeon Jeo

Large ceramic bust – ShinYeon Jeo

Charles Gounod by Jean-Baptiste Carpeaux

Charles Gounod by Jean-Baptiste Carpeaux – 1873

 

 

 

Matt Buckley

Matt Buckley

Janice James :

Janice James’s ceramic ‘tribal heads’ sculptures are a culmination of work combining form and surface pattern, exploring the art of body decoration still practised by global cultures.  Each piece is hand built from Scarva Earthstone clay, biscuit fired to 1000°C and raku fired.

 

Bume -Janice James head sculpture

Bume – Janice James, Wales

John Noott Gallerie

 

 

Aerona- Janice James Wales

Aerona- Janice James

 

 

 

 

Amahle -Janice James female head

Amahle -Janice James female head

John Noott Gallerie

 

 

Surma -Janice James --John Noott Gallerie

Surma -Janice James

John Noott Gallerie

 

 

 

 

Ayira  Janice James -female-Head-469x623

Ayira  – ceramic head by Janice James

John Noott Gallerie

 

Kikuyu-I--Janice James

Kikuyu I -Raku head – Janice James

John Noott Gallerie

 

 

art-421x315

 

Majolica Ceramic Heads, Taormina. Sicily, Italy

( Getty images )

 

 

 

Painted Wooden Buddah

Painted Wooden Buddah with turquoise inlays.

 

 

 

 

Ayelet Lalor - Chryseus  garden sculpture

Ayelet Lalor – Chryseus  garden sculpture

 

 

 

 

Ayelet Lalor - serenity

Ayelet Lalor – Serenity

 

 

 

 

 

2 Heads by Gudrun Baudisch

Ceramic heads by Gudrun Baudisch (1907-1982), 1920s, at the Wiener Werkstätte

( hesitationwaltz.com )

 

 

 

 

Frederick  Goldscheider

 

Ciseau -Frederick  Goldscheider – Young Lady With Headscarf and Fur Collar, Vienna 1903

 

 

 

 

Contemporary Sculpture

  Noi Volkov

 

 

 

Diane-Chasseresse

Small bronze statuette on a yellow Siena marble bust representing Diana Huntress, by Alexandre Falguire, Thiebaut Frères Paris.

( Marc Menzoyan )

 

 

 

 

Dual Faces Sculpture

Dual Faces Sculpture

 

 

 

 

Elisabeth Dupin - Sjöstedt

Elisabeth Dupin – Sjöstedt

 

 

 Gene Pearson :

 

gene pearson sculptural head

Gene Pearson sculptural head

Natty Dread Thelma Harris Art Gallery

 

 

Gene Pearson

Gene Pearson

 

 

 

Gene Pearson - Sculpture

Gene Pearson – Raku crackle glaze Sculpture

 

 

 

Buddha - Gene Pearson

Buddha – Gene Pearson

 

Gene Pearson

Gene Pearson

gene pearson-495x466

Gene Pearson, Terra Firma Gallery

 

Greek, Attic, red figure terracotta

 

Greek, Attic, red-figure terracotta kantharos (drinking cup with high handles )

ca. 490-480 B.C.

 

 

 

Gudrun Baudisch heads

Gudrun Baudisch ceramic heads

 

 

 

 

Harlequin-496x661

 

Harlequin head – Tod Donobedian Antiques – 1stdibs

 

 

 

 

Hemba Head - Congo

Hemba Head –  Congo, Africa

 

 

 

CARVED-WOODEN-AKSHOBH-421x563

 

Carved wooden Akshobhya head.

 

 

 

 

Isabelle Dubost - Dessertine

Isabelle Dubost-Dessertine

France

 

 

 

 

Kathy Waggoner

Kathy Waggoner

 

 

 

 

Liz Ciesluk Paverpol

Liz Ciesluk Paverpol

 

 

 

Malvina Hoffman

Malvina Hoffman

 

 

 

Nanouris Art Gallery

 Phillipos (Greek King of Macedonia) – Nanouris Art Gallery

 

 

 

 

Oscar Jespers

Oscar Jespers – cubist head sculpture

 

 

 

Sarah Saunders

Sarah Saunders

 

 

Suzie Zamit

Suzie Zamit

 

 

 

Syrian Artist - Assem Al Bacha

Syrian Artist – Assem Al Bacha

Porcelain-Bust-of-Victorian-415x774

Porcelain Bust of Victorian lady by Cordey

( Galerie Sommerlath, CA, USA )

 

 

 

 

Entity - Marika Maumler

Entity – Marika Maumler

 

 

 

Turn Teplitz Art Nouveau bust

Turn Teplitz Art Nouveau bust

Amanda Shelsher

Amanda Shelsher

Javier Marin - bronze

Javier Marin – bronze outdoor sculpture

Mid Century Royal Haeger

Mid Century Royal Haeger bust

Kathy Dalwood

Tower Bridge Dragon bust by Kathy Dalwood, UK

Moses, 1934, by Mary Tuthil

Moses, 1934, by Mary Tuthill Lindheim

Photo – Will Taylor

W.-&-MGoldscheider Bust

W. & M. Goldscheider – ViennaMaschera wall depicting female face with veil.

Bust statue elegant French-394x593

An elegant French bust statue

Lindy Lawler

Lindy Lawler

Veronique Didierlaurent

Bust Sculpture – “Hair-plane” by Véronique Didierlaurent, Terracotta, Chamotée & Patina

Bench-in-the-Stone-Ha-421x421

Houghton Hall, Britian

Inner Smile - Marika Baumler

Inner Smile – Marika Baumler

Lillian Gish - Isamu Noguch

Lillian Gish – Isamu Noguch

Veronique Didierlaurent

Veronique Didierlaurent

Ostia antica and milano

Sculpture bust in the Castello Sforzesco, Milano

19th-c-475x710

Bedouin  – 19th c. GOLDSCHEIDER Blackamoor Terracotta Male Bust

busts-and-a-statue-of-Athen-495x393

Athena Capitoline Museum

Veronique Didierlaurent

Veronique Didierlaurent

Constantine's Bronze Statue

Constantine’s Bronze Bust

Ernst Wahliss - Amphora bust

Ernst Wahliss – Amphora bust

Frederick Hart -  Muses Suite

Frederick Hart –  Muse Of Music

Jikke van de Waal - Bijma

Jikke van de Waal – Bijma

One of These Days - Philippe Faraut

One of These Days – Philippe Faraut

virginie groleau sculpture

Virginie Groleau sculpture

 

 

Modern Ceramic Planters

 

 

Atelier Vierkant Belgium

Atelier Vierkant planters – Belgium

 

Indoor planters are a pragmatic and creative vehicle for infusing a space with a new spirit and reviving the existing context. A convenient means to clear stagnant Chi and uplift the dynamic. They also introduce a semblance of permanence to the transient lifestyles many of us pursue and have a grounding influence, especially for those living in high rise dwellings. For work environments filled with lots of electronic equipment they are also excellent for  balance. Introducing a natural, breathing landscape into spaces of modern architecture create an excellent polarity. They also have countless applications for patios, balconies and in the garden.

 Atelier Vierkant modern planters :

Atelier Vierkant is a versatile producer of handmade clay planters and pots, based in Bruge in Belgium. Liaising worldwide with architects and designers on numerous custom projects, they have developed a very innovative collection of  planters. The family company is currently run by the two brothers , Dries and Ward Janssen. They encourage an adherence to original, contemporary, organic and minimalistic designs.

 website link

 

zermatt-switzerland.jpg-475px-579px

 

Ceramic hot tub at Zermatt, Switzerland

Atelier Vierkant RR Pot – Hydroplant

( Photo – Claudia Luperto )

 

 

 

 

Atelier Vierkant planters

Atelier Vierkant planters

 

 

 

 

Atelier Vierkant garden pots

 

AHE garden planters – Atelier Vierkant

Archie Expo booth

 

 

 

Atelier Vierkant indoor planters

Atelier Vierkant indoor MF planters

 

 

 

 

 

 

 

 

Atelier Vierkant showroom

AHS Planters – Atelier Vierkan

Up to 86 inches in height and weighing 661 lbs

 

 

 

 

Eco Friendly and Unique planters

Eco Friendly and Unique planters by Atelier Vierkant

 

 

 

 

Gold Medal winning Chelsea display

Gold Medal winning and Best in Show at RHS Chelsea Flower Show 2010, Atelier Vierkant planters.

 

 

 

 

Gruppo Unipol - Bologna

Four tall planters – Atelier Vierkant

Gruppo Unipol – Bologna

 

 

 

 

Huge Bonsais-chic Zen.jpg-475px-291px

Large ” Chic Zen ” bonsai’s and ceramic sitting stones – Atelier Vierkant

 Rives d’Arcins shopping centre  – Bordeaux, France

( Photo – Bart  Van Leuven )

 

 

 

 

 

 

Loft design in the Parioli, Rome

Large AHP Pots –  Atelier Vierkant

Loft design in the Parioli, Rome

 

 

 

 

MUA I MHA by Atelier Vierkan

MUA I MHA by Atelier Vierkan

 

 

 

 

New Zebra Housing Project.

New Zebra Housing Project.

( Photo – Bart  Van Leuven )

 

 

 

 

www.ateliervierkant.com

Folded Pots – Atelier Vierkan

Maison & Objet 2012

Atelier Vierkan at Maison & Objet  2012

 

 

 

atelier vierkant ceramic pots

Atelier Vierkan textured LP planters – 65cm and 80 cm diameter

 

 

 

 

 

 

www.ateliervierkant.jpg-475px-606px

 

AUB180 Planter – Height 70.8 inches

 

 

 

 

AUS modern planter

Modern planter AUS – Atelier Vierkan

 

 

 

 

 

 

indoor planters.jpg-475px-685px

 

Indoor planters – Atelier Vierkan

 

 

 

 

 

www.ateliervierkant

 

Monumental Pots by Atelier Vierkan

Rives d’Arcins shopping centre  – Bordeaux, France

( Photo – Bart  Van Leuven )

contemporary ceramic pot plant

Contemporary ceramic pot – Atelier Vierkant

 

 

 

 

 

 

atelier vierkant.

RR planter

AHS planters

Atelier Vierkant planters

 

 

 

 

 

Balcony planter garden

Balcony garden with Atelier Vierkant planters

 

 

 

 

 

Atelier Vierkant workshop

Removing moulds and finishing at the Atelier Vierkant workshop

 

 

 

 A collection of other planter creators.

 

 

Urban Nature planters

Urban Nature planters – Los Angeles

 

 

 

Urban nature planters

Urban Nature planters

 

 

 

 

Domani woodstock planters

Vanhie Domani  ” Woodstock “ planters

 

 

 

 

 

Vanhie Domani planter

Vanhie Domani planter

 

 

 

 

bkbceramics large modern planter

bkbceramics large modern planter

 

 

 

 

Modern planter

 Modern planter- large footed bowl with vertical stripes.

bkbceramics

 

 

 

 

Tall rustic planter

Tall rustic modern planter with zig zag design on buff clay body- bkbceramics

 

 

 

 

 

modern planter

Rustic modern medium planter- horizontal white glazed striped over dark clay body.

bkbceramics

 

 

 

 

 

Eliot by De Castelli

Eliot by De Castelli

 

 

 

 

Exeter-Planter

Exeter concrete moulded Planter

 

 

 

 

Hand thrown stoneware planter

  Blue Okura Planter by Jonathan Adler

A hand thrown stoneware planter in Mid – Century retro style.

 

 

 

 

Koloman Moser planter

Koloman Moser large Art Nouveau planter

Secession Building in Vienna.

( thebluelantern.blogspot )

 

 

 

 

Kornegay Design planters

Nutshell Planter- Kornegay Design

 

 

 

 

Ming Tree Planter

Ming Tree Planter

 

 

 

 

modern bedroom with plant

Modern bedroom with plant

( I-Paradox – deviantart )

 

 

 

 

Rex Goode Pig Planter

Rex Goode designed Pig Planter – 1949

( lamodern.wordpress.com )

 

 

 

 

Rock Textured Planter

Rock Textured Planter – West Elm

( muse-decor )

 

 

 

 

Rosenthal Netter planter

Rosenthal Netter planter

 

 

 

 

Terracotta - Francesco Del Re

Terracotta Planters – Francesco Del Re

 

 

 

 

 

Balcony planters - Lushome

Module balcony planters – Lushome

 

 

 

 

Mineo Mizuno - Japan

 Water-drop-pebble like large ceramic form, covered in small holes in which mosses are planted.

Mineo Mizuno,  Los angeles, CA.

16/4/2014

Garden Planter UE--Atelier-Verkant

Garden Planter UE – Atelier Verkant

Obbligato Mosaic planters

Obbligato Mosaic planters

Garden Planter UF - Atelier Verkant

Outdoor Garden Planter UF – Atelier Verkant

Obbligato Heart vases and planters

Obbligato Heart vases and planters, ZA

Yacht mosaic planter

Yaght mosaic planter

ems-brainstorm.blogspot.com

Pair of Brutalist Bullet Planters

Pair of Brutalist Bullet Planters

Planter OV - Atelier Verkant

Planter OV – Atelier Verkant

Modern pottery planter

Modern stoneware planter

Letsgetmuddy Etsy )

Vintage Mid Century McCoy Planter

Vintage Mid Century Burnt Orange McCoy Planter

Castro design studio

Large outdoor planter

( Castro design studio )466x350

Garden Planter – Letsgetmuddy, California

Letsgetmuddy Etsy )

 

 

 

 

 

 

 

 

Minoan Art Pottery

 

Minoan Pottery Flamboyance

 

From around 2700 to 1450 BC, the Minoan civilization flourished as a seafaring and mercantile culture. This vibrant culture was centred around the island of Crete and eventually dominated the Agean region. The Egyptians called the Minoans “the Sea Peoples” and had a fond appreciation for Minoan pottery and ceramics, prized for their innovative shapes and sea-inspired designs. Their vases and jugs were made in fine clay with thin walls and was an outstanding achievement at this time. Historians have learned everything there is to know about the Minoan people through their artwork. Artwork such as paintings, potttery, sculptures, and architectural designs were important to the people of the Minoan civilization in Crete.

Their decorative wares were covered in bold, flowing, rhythmic movements with patterns using linked curvilinear and undulating lines. Minoans painted their pottery decorations on wet plaster, which allowed the pigments of metal to bind to the plaster. However, this required the painter to exercise specific skills that allowed him or her to work within the time constraints imposed by the color on the plaster drying. This type of art encouraged improvisation and personal expression because there was very little time for the painter to create highly detailed art pieces. Flowing broad strokes were favored, which covered the surface more rapidly and gave their art a stylized, abstract appearance.

Minoan pottery was initially decorated with designs in dark, often shiny paint(vitreous slip), in shades of red, brown, and black, on a light surface. Between 1900-1700BC the Kamáres style developed into the most colourful and vibrant style of pottery form and decoration yet seen anywhere. Images were painted on a black-brown background in reds, whites and blues. Sea and shore fauna and flora were the most important source of design. The animals displayed a playful nature and emphasised a flambuoyant liveliness characteristic of Cretean Art. Nowhere else in the art of the ancient world was such a lightness of spirit displayed, compared to the creativity of the Minoans at the height of their power in the early 15th century BC.

From 1700BC their technique of making and handling quartz frit paste had reached a higher standard than any other culture. Many small colourful plaques, figurines and jewelry in blue and polychome were made and exported, along with their pottery, to Egypt and the Levant islands of the Aegean Sea, and also in Asia Minor, Syria, Egypt and even further into the depths of Africa.

 

 

 

 

Kamares crater vessel with decorative lillies

Kamares crater banquet vessel with decorative lillies

Phaistos.
Old-Palace period (1800-1700 BC)

 

 

 

Minoan maiden with prayer beads Fresco

Minoan maiden with prayer beads Fresco

 

 

 

 

Tray with handles and whirling motifs from Phaistos

Tray with handles and whirling motifs from Phaistos

 

 

 

 

Minoan pottery -- frying pan with characteristic decorative spirals.

 

Minoan pottery — frying pan with characteristic decorative spirals.

Iraklio museum -Minoan pottery

Iraklio Museum – Minoan pottery

 

 

 

Bronzen female figure Late Minoan

Bronze female figure Late Minoan.

 

 

Mycenean octopus pottery

 

The Minoans were conquered by the Mycenaeans and this Mycenean octopus pottery from Thissus reflects the influence of the Minoans.

 

 

 

 

 

Minoa, Kamaras libation vessel

 

Kamaras libation vessel

 

 

 

 

 

Elegant ewer with reed type decoration

Elegant ewer with reed type decoration that creates a pattern of dark and light colours on the surface of the pot.
Example of the decorative mannerism of the Late Neopalatial period, a work by the artist conventionally referred to, as ‘Reed – Painter’ (1450 BC).
Heraklion Museum

 

 

 

 

Minoan Jug with waves, from Faisto

Three handled pitcher

 

 

 

 

 

Large lidded pot from Mochlos

Large lidded pot from Mochlos

 

 

 

 

 

Minoan dolphin pot

Reproduction of a Minoan dolphin pot

 

 

 

 

Minoan jar with spiral motif

Late Minoan Jar with Three Handles

 

 

 

 

Minoan pitcher Templar1307-flickr

Minoan Marine Style Pitcher

Heraklion Archaeological Museum, Crete

( Templar 1307 – flickr )

 

 

 

 

Handpainted Mycenaean Krater

 

Mycenaean Krater ca.1400-1300 B.C.

 

 

 

 

 

Minoan Snake Goddess statue

 Minoan Snake Goddess

 

 

Minoan wall art

 Minoan wall art

Circumstantial evidence indicates that women played a dominant role in Minoan religion and perhaps also in Minoan society. Some believe that the Minoans lived in a matrilineal, or even a matriarchal, society.

Heraklion Archaeological Museum, Crete

 

 

 

 

 

415px-632px-The-Minoan-was-a-Bronze-Age

Minoan eight handled amphora

 

 

 

 

Pottery Jar with Octopus Design  from Knossos

 

  Pottery Jar with Octopus Design  from Knossos,  Crete.  Late Minoan period II  c.1450 1400 BC   Fine Arts Reproduction

 

 

 

 

 

Wendy Shirran with  a three handled Amphora

 

Wendy Shirran with  a three handled Amphora she made – Palace style, white earthenware with stained slips and terra sigelata, Late Minoan II, 1450-1400 BCE

 

 

 

 

Libation vase (rhyton) of serpentine, in the shape of a bull's head

 

Libation vase (rhyton) of serpentine, in the shape of a bull’s head with inlays of shell, rock crystal and jasper in the muzzle and eyes. Knossos. New-Palace period (1600-1500 BC)

 

 

Minoan drinking vessel

 

Minoan drinking vessel

 

 

Minoan Terracotta Pitcher

 

 Minoan Pitcher

Archeological Museum in Heraklion.

 

 

 

 

Minoan wall painting, Heraklion Archaeological Museum, Crete473px-385px

Minoan wall painting, Heraklion Archaeological Museum, Crete

Minoan Pottery - Iraklio museum

1. The Boxer Rhyton. Steatite libation vase with relief scenes of boxing, wrestling and bull-leaping. Ayia Triada. New-Palace period (1500-1450 BC)

3.  Steatite libation vase (rhyton), originally covered with gold leaf, with a relief representation of a shrine in a mountain landscape. Zakros. New-Palace period (1500-1450 BC)

(  http://arctangent.smugmug.com )

Heraklion-Archaeological-Museum

Carved amphora vessel

 Heraklion Archaeological Museum, Crete

 

 

 

 

Frieze of dolphins in the Cretan palace of Knossos

Frieze of dolphins in the Cretan palace of Knossos

 

 

 

 

 

 

Spouted jar, Kamares Ware, Middle Minoan period

 

Spouted jar, Kamares Ware, Middle Minoan, 2000-1700 BC

 

 

 

 

Marine Style Ceramics of the Cretan-Minoan Neopalatial Period

 

Marine Style Ceramics of the Cretan-Minoan Neopalatial Period (c. 1650 BC to 1450 BC).

 

 

 

 

 

Iraklio-museum - Minoan libation vase

 

The Harvester Vase. Steatite ( soapstone ) libation vase (rhyton) with a relief scene of a procession of men led by a man holding a staff – an official or priest. They hold harvesting tools and sing to the accompaniment of the sistrum. New-Palace period (1500-1450 BC)

 

 

 

 

Minoan  Kamares style vase

 Kamares style vases with complex polychrome decoration, from Phaistos and Knossos.

Old-Palace Period (1800-1700 BC)

Amethyst Minoan Seal Ashmolean Museum OXford

 Minoan Amethyst Seal

Ashmolean Museum, Oxford University

 

 

Kamares style bridge-spouted Jug

 

Kamares style bridge-spouted Jug-1800-1700 BC

( Nicholas Kaye – Flickr )

 

 

 

Minoan pottery

 

Minoan vessel. Marine Style decoration. 1500 BC.

 

 

 

 

Cretean-tripod,-terracotta

Cretean terracotta tripod from the Minoan Palace of Malia

 

 

 

 

 

Heraklion Knossos ceramic jug

 

Tonkrug Katsambas

 

 

 

 

 

Minoa phaistos Small Kamares ware jar

Small Kamares ware jar, with bands and interconnected spirals,
Palaeopalatial Period (1900 – 1700 BC)
Heraklion Museum

 

 

 

Minoan Marble Bowl

Minoan Marble Bowl

 

 

 

 

475px-403px-

 

Minoan Snake Goddess

 Mycenaean  fish and octopus pitcher

 Mycenaean  fish and octopus pitcher

 

 

 

 

 

Minoan_Gold_Ring

 

Minoan Gold Ring

 

 

 

 

 

Minoan Phaistos ewer

Painted Kamares ware ewer or pitcher with three handles and relief spiky decoration,
Palaeopalatial Period (1900 – 1700 BC)
Heraklion Museum

Acrobats Ashmolean Museum, Oxford Uni

Acrobats – Minoan Chalcedony carving

Ashmolean Museum, Oxford Uni

 

 

 

 

Minoan Jug from Mochios

Minoan Jug from Mochios

Labrys pithos

Labrys pithos – 1500BC

Knossos Palace

French Art Pottery

 

Delphin Massier Art Nouveau

Faïence   – Delphin Massier  1908

ψ

Rambervillers :  In 1903 Alphonse Cytere set up an art studio in Rambervillers which produced ceramics often designed by prestigious artists of the Ecole de Nancy such as Bussiere, Gruber, Jeandelle, Majorelle. Rambervillers specialized in unusual and iridescent glazes on organic forms.

 Rambervillers Art Nouveau vase

Rene Jeandelle for Rambervillers Art Nouveau iridescent ceramic vase with a relief nude under full blown poppies.

1905-1906 ( Terra Mare Antiques )

ψ

Montieres : Jean Barol :  (1873-1966) formerly a glaze artist in Clement Massier’s Golf Juan workshop founded the company B.A.C.S. in Vallauris in 1912. In 1917 Barol left B.A.C.S. and with Francois Sicard founded Montieres in the city of Montieres-les-Amiens, in the north of France. Montieres produced iridescent and enameled ceramics similar to Massier and B.A.C.S. Barol was artistic director of Montieres  until 1920.

Montieres French Pottery

Montieres small metallic glazed match holder with etched flower and leaf designs.

1917 – 1920

ψ

Theodore Deck :  (1823–1891) was a 19th century French ceramist. Deck moved to Paris and in 1856 he established his own faience workshop and began to experiment with the Islamic and Oriental styles that mirrored his interest in historicism and exotic influences that were popular at the time.

Theodore Deck flambé glazed vase

French Art Nouveau Theodore Deck brilliant flambé glazed vase. Signed on base.

Circa 1890

French Montieres Pottery

French Montieres Pottery Vase

French art deco vase Serves

 This French art deco vase of remarkable presence is by Sevres and dates from the mid 1920’s.

" Dancers "  Vase - Mougin

” Dancers “

Mougin- Nancy, France

French Art Nouveau Vase

French Art Nouveau Vase

Clement Massier Ceramic Cup

Clement Massier

Clement Massier  Cup  and Saucer

Clement Massier  Cup  and Saucer

Alphonse Cytere French Glazed Pottery

Alphonse Cytere

French metallic glazed pottery with pewter chestnut leaf overlay.

 Pierrefonds pottery

Alphonse Cytere – 1936

Pierrefonds  :

 The Societe Faienciere Heraldique de Pierrefonds pottery studio was founded in the village of Pierrefonds in 1903 by Count Hallez d’Arros and is renowned for it’s crystalline and flambe glazes

Pierrefonds red flambé glazed pitcher

French art pottery Pierrefonds red flambé glazed pitcher with exaggerated spout.

1920’s – 1930’s

Pierrefonds French  Double Handled Vase

Pierrefonds French Art Pottery Double Handled Vase, beautiful blue and green crystalline glaze

Pierrefonds  3-Handled Crystalline Vase

Pierrefonds  Three Handled Crystalline Vase


ψ

Denbac : 

Denbac Pottery Vierzon, France was started by Rene Denert, an artist and ceramist who started making pottery in 1908. In 1921 he partnered with R.L. Balichon under the name Denbac. Denbac used the local grey clay and a flame pattern of glazes known as “gres flamme” and distinctive crystalline glazes. The company closed in 1952.

Denbac French vase

 

 Small Denbac handled vase with scarab beetles circling the rim.

Pierre-Adrien Dalpayrat FRENCH VASE

Pierre-Adrien Dalpayrat – 1896

V & A Museum

French art pottery vase by Jacques Blin

French art pottery vase by Jacques Blin (1920-1995); c. 1950.

Tall earthenware vessel decorated with birds in sgraffito.

A-French-Art-Nouveau-ceramic-pot.

A French Art Nouveau ceramic bowl by Clement Massier, featuring an abstract foliate decoration with a brown glaze.

( Macklowe Gallery )

French Pottery Vase

Menelika  Suisse

Belgian Art Deco Vase

Belgian Art Deco Vase ” Biches Bleues “

by Catteau for Boch Feres – 1925

Adrienne Picard:

She left the school of Fine Arts in Lyon in 1913 to enter the workshop of the glass master NICOD. In 1920, she settled in Paris where she drew sketches for stained glass windows in the workshop of Maurice DENIS, then in 1921 she completed her training as a ceramist at the National Manufacture in Sèvres. In 1922 she went back to Lyon to take over the management of her father’s ceramics workshop, Henri PICARD. Until 1951 she made big stoneware vases mainly meant for  urbanism, large fountains, medallions, decorative plates and panels, and pieces intended for garden art.

French  Faience -  Adrienne Picard

Adrienne Picard

French Pottery Vase -Léon Pointu

Léon Pointu


Gilbert Portanier  :

Between 1945 and 1948 Gilbert PORTANIER studies architecture and painting at the Ecole des Beaux-Arts in Paris. In 1948, he settles down in Vallauris and immediately followed the way initiated by Picasso by founding Le Triptyque with Albert DIATO and Francine DELPIERRE. A year and a half later, he went from one workshop to the other, multiplying his baking experiments, favouring  unique pieces, before moving into an old traditional workshop in 1954 where he still is to-day

French Art Pottery - Gilbert Portanier

Gilbert Portanier

Gustave Reynaud Vase

Gustave Reynaud

Georges Serre French Ceramique

Georges Serre

Boch Freres Belgian art deco vase

This  French art deco vase in the form of a pilgrim flask was created in 1925 at the Belgian firm Boch Freres under the artistic direction of Charles Catteau (1880-1966).

The ceramic, which is glazed in an Egyptian Faience blue with a craqueleure finish is mounted with a silver metal rim .

Longwy vase France

Longwy vase with floral motif

vanderleelie.hubpages

Sevres French Pottery vase

Sevres Vase

Paul Jean Milet vase

Paul Jean Milet

Images courtesy of Jason Jacques Inc.

french potter Emile Decoeur

Emile Decoeur (French, 1876-1953)

Images courtesy of Jason Jacques Inc.

Auguste Delaherche

Volute Vase by Auguste Delaherche

Images courtesy of Jason Jacques Inc.

Hans Stoltenberg-tall vase

Hans Stoltenberg
Decapod, circa 1899

Images courtesy of Jason Jacques Inc.

Edmond Lachenal

Friedrich Goldscheider

In 1885, Friedrich Goldscheider came from the small Bohemian city of Pilsen to Vienna and founded the Goldscheider Manufactory and Majolica Factory. It became one of the most influential ceramic manufactories of terracotta, faience and bronze objects in Austria with subsidiaries in Paris,Leipzig and Florence.

Friedrich Goldscheider Art Nouveau vase

Friedrich Goldscheider

Art Nouveau Vase

Friedrich Goldscheider – Sculptor, Pecheur

( ceramique1900 )

Lucien Brisdoux (1878-1963) :

He succeeded his father Achille in 1905, then in 1927  created his own studio his production was then exclusively dedicated to decorative cast stoneware. He particularly liked metal glazing (gold or platinum) with special casting effects through creosote-blasting, after applying ceramic gold.

Lucian Brisdoux ceramique vessel

Lucian Brisdoux

Lucian Brisdoux

Rare Art Nouveau Jug  – Pierre Adrian Dalpayrat

( the bohemian.com )

410px-757px-Longwy-(Faience)-flattenedOvoid

 (Faience) flattened Ovoid Vase On Heel

French ceramicist Methey André-(1871---1921)

André  Methey – (1871-1921)

( millon-associes.com )

Mougin Bros Art Deco

Mougin Bros Art Deco

vase-with-paunchy-body

Tall vase  red ox blood colour – Pierre-Adrien Dalpayrat  (1844-1910)

( aguttes.com  )

Armin Cichos Clement Massier / L. Levy

Art Nouveau Vase –  Clement Massier / L. Levy

 ( Armin-Cichos.de )

PIERRE ADRIEN DALPAYRAT ceramic vase

Pierre Adrien Dalpayrat

( aguttes.com  )

Jean Besnard

Jean Besnard

FRENCH POTTER DERVAL-Jean-(1925-2010)

Mid-Century bottle by Jean Derval – (1925-2010)

Jacques & Dani RUELLAND

Jacques & Dani Ruelland

Emile Decoeur

Iridescent drip glaze vase – Émile decoeur  (1876-1953)

Alexandre-Bigot-475x714

Alexandre Bigot

Fernand Lacaf & Françoise Delacourt Lacaf

Fernand Lacaf & Françoise Delacourt Lacaf – Large bowl

EUGENE LION-(1867-1945)

Eugene Lion -(1867-1945)

Fernand lacaf - (1920-1991)

Unique vivid orange pitcher – Fernand Lacaf – (1920-1991)

Gensoli Maurice

 The Jungle – Maurice Gensoli   (1892-1972)

Henri Vallombrosa

Henri Vallombrosa

French Potter Léon-Pointu.-Vase

 Slipcast stoneware vase, decorated with glossy and matt patches of rust, cream, brown, purple and black glazes by Léon Pointu, France

Ψ

Susan Musi Claywork

Spirited Vessels Susan Musi

Susan Musi’s most recent work is “Spirited Vessals” (see above).      

” Vessals/boats represent a journey in life. In some cultures the vessal/boat is to travel between the earthly and the spiritual world, between life and death. This image may also represent exploration, of the self, of the natural world…. physical, spiritual…  I am also exploring the shape itself.”

Susan Musialowski is both a ceramic artist and a painter, and works from the Odyssey Center for the Ceramic Arts in the River Arts District in Asheville, NC and from a   summer studio in Big Bay, MI, located in the upper peninsula of Michigan. The impressionistic,textural quality of her ceramics are clearly influenced by her observations of the natural world.

Her statement : All of my claywork is handbuilt and one of a kind, using a variety of surface finishes, including ceramic stains and washes/glazes, smoke fired,  or painted, or a combination.  The clay at times includes paper, or other texturing material. Paintings are acrylic on cradled hardboard or birch wood panels.

The following piece is from Susan’s  ” Totem and Landscapes ” series

Sanding Still Susan Musi

Standing Still

A soul of their own “….. series

Pure of Heart Susuan Musi

Pure Of Heart

A Song To Sing Susan Musi

A Song To Sing

Seeking Peace Susan Musi

Seeking Peace

Earth Forms :

Fire and Ice Susuan Musi

Fire and Ice

Awanata

Awanata Suan Musi

Awanata

Figures :

Three Nudes Susan Musi

Three Nudes

 

Golden "girl"

Golden “Girl”

Les Fleurs ( to Georgia )

Fluer ( pink )

Fluer ( pink )

Fluer ( rosy Pink )

fluer (Rosy Pink )

Other Works :

Mountain Spring Mountain Spring series

Circle of Life series

Circle of Life series

Circle of Life ( wall piece )

Circle of Life ( wall piece )

Wisteria ( mountain spring ) Susan Musi

Wisteria ( mountain spring )

Susam Musi

Susan Musi

Rhythym of Life

…..It was a cloudy day

Rhythm of Life paintings series

Fragile

CLAY ART Susan Musi

Totem No.4

Low fire white clay, painted surface, stacked “stones”.

CLAY ART   Susan Musi   Totems and Landscapes

The Sun Sweeps Across The Earth

CLAY ART Susan Musi

In Time

( ” In and out of time ” series )

Spring Thaw

 More on Susan Musi here

 

 

 

Women with pots.

Zulu Women Carrying Pots Zulu woman in traditional outfits.

There is something eternally graceful about seeing a women carrying a pot on her head. A vision of feminity, balance and sustanence with their gait being slow and gentle and their posture, dictated by maintanence of their load, remaining perfect. The daily pilgrimage to the village well was essential for suppl;y of water for drinking, cooking and washing.
I have spent time in rural India villages and it was a regular occurance to witness the village women carrying their pots.They never seemed to struggle with this task, even when transporting large vessels and strolled along with ease. I have always been transfixed by the timelessnes of this imagery whenever I have seen this in my travels , so I want to do a feature of visuals along this theme.

   Woman carrying pot, village of  Songha, Mali by Hgfklein, Flickr

Bali Batik

Dancing with pots on head

Dancing performance in India ( Elica.org)

Celebration of  Vat  Savatri. On this day a married women invokes the blessing of Devi (Goddess) Savatri for the general well being of her husband and for the prolonging of her marital life. ( Photo by Rajen Nair )

Batwa women with pots  Batwa women with traditional pots. Taken in Burundi, in the village of Kiganda in the province of Muramvya.

African woman with a large pot

Photo by echwaluphotography

African Cocoa Farming

An old water  pot.

Rajastani women with pots

Women from a nomadic community from Rajasthan state carry drinking water.

Fulani woman

Easter Island Water Bearer

Easter Island Water Bearer

Egyptian traditional bread baking

Egyptian traditional bread baking

African pottery making

African pottery making. Photo by Mjengwa

http://saharanvibe.blogspot.com.au

Pot cleanig

Balinese pto transport

Balinese pot transport

Young Swazi Woman

Woman carrying traditional water pots for sale in Niger

Woman carrying traditional water pots for sale in Niger

Seeds Festival

Indian women with pots

Xhosa women off to paarty ?

Photo by Lister Hunter

Bonalu means Bojanaalu (meal) in Telugu, is an offering to the Goddess of power. Women prepare Bonam with cooked rice, milk, sugar, onions in a pot, decorated  with small neem breanches and turmeric, kunkum and a lamp on the top it. Women put the pots on their heads and take it to Goddess temple, led by drummers and dancing men. ( Tellanga region, Andhra  Pradash India )http://chandu-telangana.blogspot.com.au

Togo, West Africa

Two hundred women from indigenous (or adivashi) communities in Rajshahi, north-western Bangladesh, carried empty clay water pots to symbolically highlight the problem of water shortages.

( caroschoice blogspot )

Rajastani villager carrying a pot

Zulu woman carrying beer pot

Photo – Ariadne van Zandbergen

Pottery selling at an Argentina train station.

Mexican girl carrying  pot

( Mexican Postcard )

Cooking in clay pot

This woman stirs traditional atole (a thick, usually sweetened corn drink), prepared in an olla de barro (clay pot) over a wood fire.

Morelia, Mexico

Songhay pottery market,  Gorom Gorom

Girl with offering in Bali

Egypt – Sharm el Sheikh

 Sri Lanka Sunset

Parade of Fulani women with pots

Pueblo Indian Pottery

 

Karen Cordova -

Karen Cordova Traditional Peublo Pottery


Karen Cordova, Myrtle Cata of San Felipe and San Juan Pueblos. Micaceous Clay Pottery


Karen’s pots are hand coiled, traditionally pit fired, and built from clay gathered from historic clay pits where native peoples have gathered clays for hundreds of years. This style of pottery is indigenous to Taos and Picuris Pueblos. The clay is gathered in the summertime and the naturally present mica in the clay gives the pottery its beautiful glimmer.The

 It can take two weeks to three months for each piece to be completed. The clay, in its natural environment, is dry like and dirt, but the experienced clay gatherer knows it on sight. The clay is soaked and strained before it can be worked. It is then coiled into shape. While it is drying designs may be etched into the clay. The pottery is then left in a dark room to slowly dry before firing.

Pots are fired in an open pit where they are placed on a grate. Then dry bark is built into a teepee formation around the pots and it is ignited from beneath. After two hours of being in the fire the pots are left to sit for another hour before the process is completed and the pottery is finished. ( http://www.pueblopotteryme.com )

Background to Pueblo Pottery :

Zuni Pueblo Pot   Hispanic, Native and Anglo Americans in New Mexico have made use of the market for ethnic art to express their artistic, religious and economic values. Spaniards arrived in the region by 1540 and encountered both hostile and helpful Pueblo Indians. One remarkable thing about the interactions between these cultures is that each has been able to preserve much of its unique character. After 1800, Anglo American culture added a third element to daily life in New Mexico. Hispanics and American Indians living along New Mexico’s Rio Grande Valley between Santa Fe and Taos have retained much of their culture, as reflected in such crafts as pottery, weaving, jewelry, and images.

The Hispanics who settled in the mountainside village of Chimayó displaced the Indians after 1700, and are famous for their zig-zag and diamond woven designs.

After 1848, when much of Mexico became American territory, Anglo investors and promoters discovered and exploited the cultural practices and products of New Mexico’s Hispanics and Pueblo Indians. In turn, both groups sought ways to convert the tourism trade to their own benefits. While relying on the tourism market for income, many contemporary New Mexican artists use their work as a way of reaffirming old cultural values. Black, polished and carved pottery by Indians at Santa Clara Pueblo is still done by families, but also as individuals as a means of individual self expression.

By the 1920s, Pueblo potters experimented with forms and glazes, including the famous black-on-black finish developed by Maria Martinez of San Ildefonso Pueblo, who became the best known of all Indian potters among collectors.

Blue Corn (Crucita Gonzales Calabaza)

Blue Corn (Crucita Gonzales Calabaza) Black on black pottery

Blue Corn (Crucita Gonzales Calabaza) (1921-1999) – San Ildefonso Black on Black  Geometric Bowl. Medicine Man Gallery.

Santo Domingo Pueblo :

Mark Wayne Garcia

Mark Garcia

Marg Garcia Peublo pot

     

Mark has been an active Santo Domingo Pueblo potter since the 1990s working with black-on-red jars, dough bowls and canteens and most recently in micaceous pottery with black.

http://www.pueblopotteryme.com

Robert Tenorio

Robert Tenorio

Canteen with stylized bird and corn design ( Medicine Man Gallery )

Santa Clara Peublo:

 Santanita Suazo -

Black on Black Jar by Santanita Suazo

 http://www.medicinemangallery.com

Susan Folwell —    Her innovative work was initially inspired by her mother, Jody Folwell, who broke many of the traditional conventions in the 1970’s. The jar below  is slipped with a blue underglaze and then painted with birds and branches.  The classic shape speaks well with the use of the birds and tree branches as they encircle the jar.  The birds here are honeyguides or “honey birds which eat both the wax around the honey and the bee larvae. ( King Galleries )

Susan Folwell Jar

Acoma Pueblo

Sandra  M Victorino : Sandra  is one of today’s most highly collected potters along with her aunt and teacher, the famous Dorothy Torivio. She has won awards at the Santa Fe Indian Market.

Sandra Victorino Acoma Peublo potterySandra Victorino

.

Monroe Victorino : Monroe  has been an active potter since 1976 working with fineline polychrome bowls and jars. Monroe is well-known for his superb fineline work, wonderful star bursts a exemplified in the wedding vase below.

MOnroe Victoriano

Queaustea — Josephine Foard, an arts and crafts do-gooder at the beginning of the twentieth century, thought that a larger market would develop for Pueblo pottery if the objects were glazed to be water tight.
She bought fine works like this Acoma jar by Queaustea, glazed it and sold it.  However, the idea was never an economic success, and Pueblo pottery remains unglazed today.

Queaustea Waterproof JarAcoma Jar, 1900-1905 ( New Mexico Museum of Art )

Zuni Peublo :

Priscilla Peynesta

Priscilla Peynesta BowlA lizard rises over a repeating deer design. (www..pueblopottery.net )

Carlos Latte — Carlos learned pottery making from his step-grandmother, Daisy Hooee, by observing and listening to his grandmother and what she had to say about pottery making. It was the same way with his aunt Jennie Laate. Carlos has been making pottery since 1989, and his technique continues to improve. His design elements cover all the traditional motifs: deer house, rosettes, rain birds, lines, curves, and geometrics.

Carlos Laate Zuni Peublo Pot

Santa Clara Peublo :

Tina Garcia  ( 1957-2005 )

  The color of this traditional redware fluted pot is difficult to elaborate.  It is not so much the pigment as the color saturation and the pristine gloss . Vessels like this classic shape with uninterrupted surfaces are harder to polish.  Etched, carved, and shaped design elements provide natural break in finish—unadorned surfaces require uniform finish.

Marta Oritz Peublo :

Juan Quezada -

Mata Ortiz pottery is also known as Casa Grandes pottery as the pueblo is located along a tributary of the Rio Casas Grandes, a fertile valley which has long been inhabited by indigenous people. Pottery from this pueblo has seen a revival lead by the effort of Juan Quezada, a self taught potter of the modern Mata Ortiz style whose skills have attracted clay workers from the region, extended family and neighbors to create the distinctive pottery shapes and designs which define the pottery from this region. Many of the designs incorporate mimbres symbolism from Native American culture. Mata Ortiz pottery has become high collectible .Marta Oritz PeubloJemez Peublo :

Emma Yepa    — Emma  is of the Jemez Pueblo Coyote Clan began potting at he age of 13 in 1965 working with stone polished redware, tanware, some incised work and melon swirl pots. She was taught by her mother Ida Yepa. It is only in the past two years however, that Emma has begun to do swirled melon pots.

Emma Yepa Swirled Melon Pot Verda Toledo

Verda Toledo Bowl

Hopi Peublo : 

Nathan Begaye  ( 1958 – 2010 )  Nathan Begaye was an unique innovator among Pueblo and Navajo potters. His work used traditional designs, forms and techniques, yet somehow appeared very modern.  His ethnic connection to both Hopi and Navajo let his work flow between the two distinctive styles and yet find their own unique space.  Here are two classic pieces of his pottery. ( http://www.kinggalleries.com )

Nathan Begaye Melon Bowls

Rainy Naha-Hopi Tewa – Rainy Naha creates beautifully coiled pottery which is thin walled and traditionally fired. The white color is a white clay slip which is polished onto the surface of the clay.  Her designs are all painted using natural clay slips for the various colors, or bee-weed (a plant) for the black.  On the seedpot below is  her classic solstice pattern.  In the sections near the opening are the various phases of the moon.  In the smaller panels below the moons are cloud, rain and traditional Hopi designs from both pottery and katsinas.

Rainy Naha Solstice Seedpot

The jar below has her “tumbling parrot” design.  There are five parrots, which are interconnected and “tumbling” around the jar.  Why parrots?  They are one of the clans at Hopi and are typically seen in katsina form and their feathers are often used in the ceremonies.    Rainy learned to make pottery from her mother, Helen (Featherwoman) Naha.  Rainy continues to innovate and also create her own voice among Hopi-Tewa potters. ( King Galleries )

Rainy Naha Tumbling Parrots Jar.jpg

Earth Song is a carved and painted gourd done in the style of ancient Pueblo pottery.

Kaia Thomas

Bowl with Birds – Jody Folwel

Shauna Rustin  Acoma via Andrea Fisher Pottery

Shauna Rustin  Acoma

Mark Sublette

Mark Sublette – Medicine Man Gallery

Sharon-Lewis-Swirling-Squares

Sharon Lewis – Swirling Squares Jar

Virgil Ortiz Velocity Jar

Virgil Ortiz Velocity Jar

Sandra Victorino - Tall Butte

Sandra Victorino – Tall Butte

Pottery by Tammy Garcia

Pottery by Tammy Garcia

Pottery by Tammy Garcia

Carved pottery bottle by Tammy Garcia

.jpg-325px-351px

JENNIFER-MOQUINO

Jennifer Moquino, Santa Clara

Alan Lasiloo

Alan Lasiloo

Alan Lasiloo excavates the white clay of the Zuni Pueblo from the same location his grandmother collected clay for her pottery. In 1999, upon returning to the Pueblo after studying fashion design at the American College for the Applied Arts in Los Angeles, Lasiloo began altering traditional pottery forms. “I realized clay could be used like fabric. I used what I learned from fashion design about lines, curves, and pleats. It brought life to my pieces “

Torivio eydazzler

 Dorothy Torivio “eye dazzler” seed jar.

Storage jar (olla), ca. 1890–1910

Storage jar (olla), ca. 1890–1910

Jacob-Koopee,-American

Jacob Koopee, American Hopi   ( 1970 – 2011 )

TTenorio

T. Tenorio

Pottery markets

 Local women selling pottery in a  a colorful rural, open pottery market in Lalibela area, Northern Ethiopia. ( Tam’s Blog )

Despite the proliferation of many options for potters to market their wares online such as etsy,ebay,blogs and affiliate sites, a  lot of potters still choose to use street markets and the like for selling their products.I would venture to say that one of the original domestic products that was ever sold at markets would be pottery due to their necessity for the transport of water. Throughout the ages potters have served their communities by transforming clay into beautiful and functional wares. Potters, working in their home studios, would bring their pots to town on market day. These days the green movement has also encouraged some people to seek out homewares of a more durable, organic quality.From the travelling kitchen wallas of India, the Baazzars of Morrocco, the weekend farmers markets and antique street stalls the world over, you will still find pottery being well represented. Below is a collection of some of those markets.

Water Buffalo Pottery CartMobile pottery market, Cambodia-Phnom Penh-Battambang

Leanne Pizio PotteryLeanne Blake Pizio is a local potter who sells her wares at the  Pottery Festival at the Greensboro Farmers’ Curb Market at 501 Yanceyville Street.

From -Greensboro Daily Photo

Freewheeling! Studio Potters’ Market ( Studio Karva )
 Man selling pottery at  Niamey on the Niger river

Bill Lee PotteryKnoxville artist Bill Lee and some of his pottery. At the Market Square Farm Market ( Image-the Blue Streak )

Raja Ampat PapuaThat’s what you call a pottery sales pitch !

Raja Ampat Papua Indonesia ( Image AFP )

 1908: pottery for sale at Chamberlain Bridge, Bridgetown, barbados. 1908: pottery for sale at Chamberlain Bridge, Bridgetown, Barbados

Manolo Rodriguez CeraimcsPotter Manolo Rodriguez is famous for his effigies and Escher-like painting style.  He says “I never have an idea when I start painting a piece.  It just comes as I paint or may have come to me in a dream.”

( Ron’s Log )

Indian Art festival

Kala Ghoda Arts Festival, Mumbai India . Image from ceramic(some)times 

Bob and Nancy Bumgardner selling pottery on the roadside.

McCoy Pottery Collectors Society

Annual Fall Pottery Show, London

 Panjshir Valley Afghanistan

 Buddha Statue Market ( Cepolina Photo )

Ceramic stall, Texcoco Mexico

Djerba Pottery

Pottery vendors at the limani of Chania, Crete ( Karahaz Flikr )

Cario pottery market

Cario Pottery market  

Dongtai Lu Antique Market Shanghai

Dongtai Lu Antique Market, Shanghai ( with lifesize Mao porcelain statue )

Image-The Macomb Daily. Teapots destined for the Annual Potters Market , Madison Heights

Charlie Teffts Pottery

Charlie Tefft,Yanceyville Farmers’ Market

Greensboro Daily Photo

Algerian Pottery Market

Shrosha Georgia

Nizwa Artisanat, Oman

Peter Karner Pottery

Peter Karner works full time from his home/studio at Hesperus in  the La Plata Mountains in Southwest Colorado.  Peter aspires to create pottery that is both timeless and modern through the evolution of his intrigue with  form and decoration.

His work :

“I work with stoneware.  My pots are thrown, thrown and altered, or hand-built.  To achieve visual depth in my patterns, I employ five elements.  Four of these–wax resist, latex, dipping, and brushwork–are applied to bisqued pots.  The pots are then high-fired in a heavy reduction atmosphere with the intent of trapping carbon in the base glaze.  It is trapped carbon that is the fifth and random element.  Each pot is designed to serve a functional purpose and is compatible with modern appliance. I produce six bodies of work a year.  Each body of work offers me the opportunity to explore new ideas and refine existing ones. ”  

The landscape around his home, calligraphy, textiles and the pottery of the past have influenced his glaze decorations. 

Peter Karner Pottery Vessels 

 

His artistic statement :

As a studio potter, I am concerned with form, its ability to function, decoration,and firing. In order for a piece to be truly successful, all of these components must come together. High fire reduction pottery has a great number of variables not fully under the control of the artist. Over the last several years, I have been working with the same five glazes and firing style. During that time, I have opened the kiln to find both treasures and trash. While this has been frustrating at times, the challenge to execute strong functional forms with distinctive, sophisticated glazes drives me to learn from my successes and failures. The size of a foot, whether a form works best squat or tall, how the glaze and decoration best suit various forms—I feel these qualities can only be resolved through repetition. Ironically, through repetition, pieces are more apt to embody a certain unstudied organic essence. I love this process in spite of the myriad of unsuccessful pots that result. By working in series over an extended period of time, I have grown immeasurably—both as an individual and an artist.

I take my inspiration from several places. First and foremost are the many pots, both contemporary and historical, that have caught my attention. In particular, while apprenticing for Solveig Cox in 1989, I had the opportunity to have a tour of the ceramic collection at the Freer Gallery in Washington, DC. I left the museum that day having held pots from many different centuries and styles with the clear notion that regardless of the type of clay or the era of a pot’s creation, there is a certain essence that is present in each successful piece—a sense of the maker’s hand and the sprite that he or she instilled. To me, this essence is paralleled in the natural world. Flowers, mountain peaks, ridge-lines, trees, and cloud formations around my southwest Colorado home embody these qualities to the fullest. In addition to the great tradition of functional pottery and my environs, I am greatly influenced by the designs found in textiles, wall paper, rugs, and the fluid movement of Islamic, Chinese and Japanese calligraphy. Contemporary architecture and Islamic iron work also have a noticeable impact on my designs.Ultimately, I hope to instill in every piece a fluidity and grace found in the many things I draw inspiration from.

◊◊◊ 

     Peter Karner Stoneware Platter  Stoneware Vase Peter KarnerPeter KarnerPeter Karner Teapot  Peter Karner Vase Stoneware plate Peter KarnerPeter Karner CupAbove  Photos:  George Post & Adam Field.

Link to Peter Karner’s website: Peterkarnerpottery.net 

◊◊◊

Vase Arts

Lavender and purple vase

Newcomb College Bulbous Vase Roger Guerin vase, Belgian, gourd shape with indented sides.

   Roger Guerin vase, Belgian, gourd shape with indented sides.

 

 

A vase is a home away from home for flowers and has the unenviable task of hosting  objects that are very consistent and diverse in  their beauty. Despite the level of  competition they have faced for splendor, I think vases have managed to hold there own in this battle. Ceramic artisans throughout the ages have given them a dignity with their original designs.. For vases,  a single colour will suffice for most of the time. Its all too easy for them to clash with the rich array of colour that flowers tend to project. But for the more monochrome flower displays,  the vase gets the chance to strut its stuff.  Of all the ceramic ware, vases carry the most decorative responsibilities and have always been a favorite with collectors. They also have the most scope for displaying more shape then the other ceramic forms.They have been style beacons for many different era’s such as Art Deco and Art Nouveau, but unfortunately of late they have been a little deprived of a definitive style. As long as there is  flowers, there will be a place for vases and they will always be welcome on my mantlepiece.

 

 Bernard Bloch vase, Art Nouveau design.
Bernard Bloch vase, elaborate Art Nouveau design.

Amphora Vase Ivory PorcelainAmphora Vase Ivory Porcelain.

  Pierrefonds vase, covered in a green and blue crystalline glaze Pierrefonds vase, double handled shape, covered in a green and blue crystalline glaze.

Art Deco Vase, LimogesArt DecoVase made with coloured enamels on silver-plated copper, designed and made by Camille Fauré for Limoges. Image : Marie -Flickr

Weller Sicard vaseWeller Sicard vase, cylindrical shape, covered in a colorful metallic glaze with etched organic designs.

Royal Bonn Vase

 Royal Bonn vase, double gourd shape under a matte glaze in multiple shades of gray and lavender.

( treadway toomey gallery )

Amphora vase, monumental shape with, boldly painted stylized leaves and berries, overall iridescence.  Amphora vase, monumental shape with a bulbous bottom, spiraling neck and four openings at waist, boldly painted stylized leaves and berries, overall iridescence.

Picture from House of Amphora, by Richard Scott.

Gouda vase, unusual form with carved serpent in black against a green and ivory backgroundGouda vase, unusual form with carved serpent in black against a green and ivory background.

 

 Amphora vase, unusual design probably by Paul Dachsel. Amphora vase, unusual design probably by Paul Dachsel, black and white landscape with gold trees.

Mettlach Vase

 Mettlach vase, monumental shape with detailed raised and painted scene with birds and bamboo.

Paul Dahshel VaseAmphora vase, designed by Paul Dachsel.

Picture in House of Amphora, by Richard Scott.

Amphora vase, designed by Eduard Stellmacher, large form with a sculpted dragon .Amphora vase, designed by Eduard Stellmacher, large form with a sculpted dragon surrounding the entire body.

Moorcroft Vase " Hidden Dreams " Drakesbrook AntiqueMoorcroft Vase ” Hidden Dreams ”
Drakesbrook Antique

Amphora vase, Gres- Bijou series, "Lightening Bolt" decor,Amphora vase, Gres- Bijou series, “Lightening Bolt” decor, large form with cut-out designs and applied colored stones.

Van Briggle VaseVan Briggle vase, c. post 1920, large tapered shape with stylized floral designs, covered in a blue and green matte.

Amphora vase, designed by Nikolaus KannhAmphora vase, designed by Nikolaus Kannh user, titled Allegory of Germany Amphora vase, designed by Nikolaus Kannh, titled Allegory of Germany

Fulper vase, large double handled form, cucumber crystalline glaze.Fulper vase, large double handled form, cucumber crystalline glaze.

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Image Credits: Treadwaygallery.com

Raku Zebra Vase – Marc Hacker Pottery

Christopher Mathie

Zsolnay Antique Vase ..  see  more here

A flambe-glazed vase, fanghu. ( Photo Sotheby’s )

 Est. 8,000—10,000 GBP. Lot Sold 25,000 GBP  ( slight underestimation )

A carved lime-green-glazed brush pot. Daoguang Period

 ( Photo Sotheby’s )

George Ohr Sculptural vessel

George Ohr Sculptural Vessel ( marbelised clay )

A superb example  of an art nouveau vase by the French pottery, Sarreguemines.

Magnificent art deco Poole Pottery vase, 14” high with a pattern designed by Truda Carter.

( Flickr – Psychoceramicus )

Newcomb College Vase

Black Amphora vase

Unusual Amphora vase, designed by Eduard Stellmacher, c. 1900

Pewabic-vase

Rockwood Vase 1900

Rockwood – 1900

Jean Gerbino Mosaic Style Vase

Jean Gerbino Mosaic Vase


Zsolnay Pottery

 

Zsolnay Vase and EwerFor 158 years, the iconic Hungerian company of Zsolnay has been producing innovative  and high quality ceramic wares. What started as a small family ceramics workshop in Pécs in 1853  had grown into a modern factory by the 1880’s, thanks to Vilmos Zsolnay’s long decades of painstaking and dedicated experimentation. Founding father  Miklós Zsolnay originally established the first manufacturing shop of ceramics for his son Ignác. In 1863 the younger son Vilmos took control and expanded into a factory production.

The Zsolnay Porcelain Manufactory

The factory’s first major success was reached at the 1873 World Exhibition in Vienna. On the basis of its product displays, the factory received a great number of orders from England, France, Russia, and even from America. By the 1870’s the  the Zsolnay family rapidly became well-known and highly appreciated in Europe, and the business employed 20 workers.

The family were perceptive and their experimental nature in historical and Art Nouveau styles made the Zsolnay ceramics successful at many fairs and exhibitions (Vienna, Paris, London, Milan, Torino, California US). The success achieved during the 1878 World Exhibition in Paris was tremendous. The jury praised the Zsolnay collection as being unique and gave it the gold medal, the so-called Grand Prix. Numerous buildings belonging to the Austro-Hungarian Monarchy were also decorated with Zsolnay tiles. Prior to the 1890s, the company produced ornate pieces inspired by Islamic pierced wares and traditional Hungarian wares. It was not until 1893, when Vilmós appointed the chemist Vincse Wartha as artistic director, that Zsolnay began to specialize in Art Nouveau-inspired ceramics with crystalline metallic glazes.

Zsolnay fountain in Pecs

Zsolnay fountain in Pecs

The most famous invention of the factory was the creation of ‘eosin”, a metallic shiny glaze on ceramics. . Their technique of firing glazes at high temperatures remains unique even today.

The Zsolnay production suffered many hardships during the 2 World Wars from problems sourcing materials to having to abandon artistic production for the creation of electrical insulators and the like. Along with  being bombed in the WW2. The incoming Communist Regime , although recognizing it as a National  Treasure , were very restrictive to overseas markets.

After Vilmos Zsolnay’s death, in 1900, his son Miklós took over the management and at the end of 1991 the  factory was upgraded . In 1995 the business was privatised  and the main owner was the Hungarian Investment and Development Bank (MBFB) . The new owner  set a goal of  preserving  the historically significant, long tradition of  Zsolnay and making a profitable plant without changing the product structure.

Zsonlay potteryZsolnay Showroom

Zsolnay Vase

Vase Zsolnay Museum

Art Nouveau Figural Compote ZsolnayClassic Zsolnay Art Nouveau Figural Compote. ( John & Rico’s Zsolnay Store )

Zsolnay Orchid Tea Set

 The Viennese Rothschilds  commissioned the company to make a tea  service and  sent an illustrated book on orchids  for the design, which featured a different orchid for every piece in the 24 set.

Zsolnay Vase

Zsolnay PotteryZsolnay ( Dr. Gyugyi Collection )

Zsolnay Ceramic TableZsolnay Ceramic Round Table

60’s inspired Vase

Art Nouveau vase with pewter

Zsolnay Pitcher 1918 ( John And Rico’s )

Art Nouveau Ceramic FireplaceZsolnay Art Nouveau Fireplace

Zsolnay Antique Art Nouveau Vase

Zsolnay Museum

Zsolnay Muzeum

Zsolnay Tulip

The Zsolnay factory today still pursues innovative design and permits designers to conceive beautiful pieces that explore modern expression and utilize their earlier technical and stylistic achievements with organic shapes and metallic glazes. It  has also revitalized  the company’s tradition of creating  architectural ceramics with the production of vividly colored weather-resistant tiles and ornamentation, from statues to decorative clocks , examples of which can still been seen on buildings throughout Hungary.

Zsolnay Vase

1900 Zsolnay Art Nouveau cachepot. ( John & Rico’s Zsolnay Store )

Thinking  – Zsolnay contemporary sculpture

Zsolnay Pitcher

Zsolnay ceramics vases hunting scenes

Zsolnay ceramics vase with  hunting scenes of Diana

Zsolnay Manufactory gardens

Martha Daniels – Ceramic Sculpture

Hand-built, fired, glazed- ceramic- sculpture.Hand-built, fired, gl;zed ceramic sculpture.

” Beautiful, courageous, boundary-breaking art” is an accolade thats been directed at Martha’s work and I think it is appropriate. The work of Martha Daniels has been included in more than 200 art exhibitions since 1967. Her work is included in private, museum and corporate collections. She has executed public art projects and private commissions. Her work is considered by critics, collectors, and others to be significant in American ceramics today. She has also worked in bronze, concrete, and painted large murals in various media.

martha-DanielsSandra Phillips observations of  ” Red Nike II” ….. Daniels has a forty-year career under her belt, and since the 1980s, she’s been almost exclusively interested in ceramic sculpture. Like her spiritual mentor, Betty Woodman, Daniels combines various aesthetic traditions, notably Mediterranean and Asian. In terms of subject matter, she has long referred to Ancient Greek mythology in her pieces. As indicated by the title, “Red Nike III” is the third version of the goddess Nike that Daniels has done.( see below ) The powerful, monumental sculpture is composed of an abstract female nude perched on one leg atop a hemispherical base. The sculpture is headless and has wings, like the famous “Winged Victory” in the Louvre, to which this piece subtly responds. Daniels has finished the figure in a deep red, on which she has placed linear abstract designs in a bright orange-y red.

Red-Nike-II-Goddess

“Red Nike III” is life-sized, which makes it a remarkable technical accomplishment, especially when you consider that it’s a single piece rather than an assembly of demountable components, as would be more common. This speaks to Daniels’s expert ceramic engineering, as does the fact that the complicated and precipitous piece is astoundingly well balanced.

The “Nike” sculpture ( 6  1/2 feet tall ) is flanked by a pair of Daniels’s signature towers, which resemble obelisks. The whole group evokes a contemplative, spiritual mood, like a passage in the interior of an ancient temple.

Martha describes the journey that led to her bold ceramic statements…,,,,,

” I lived in the Mediterranean area during the 1960s. There, I made large sculptures that had to be abandoned because they were too large and heavy to move. I was determined to find a way to make large-scale and portable ceramic sculpture.

After many years of experimentation, I succeeded in doing this, by developing  innovative structural techniques through hand building. An original viewpoint and aesthetic also resulted from this search.

This work is described as “unique” by critics, collectors, and gallerists. It includes large architectural constructions, figurative sculptures, and other pieces that simultaneously seem to exist in both ancient and contemporary worlds.

I use a proprietary clay formula. Hand-building techniques are based on altered, assembled, clay slabs. I seek equally innovative approaches to the surface that include using maiolica glaze, varnish, paint, gilding, luster, and even nail polish.

The purpose of this work is to advance the boundaries of ceramic sculpture. I pursue a personal vision in a universal language of symbol, metaphor, and theme, and present it through the unique material properties of clay. ”

Cloud Bowl

Martha has worked unassisted in the studio for years, creating all art work herself, including forming, firing, and surface treatments. Her studio is currently based in Southern California.  She will be featured in the Denver Art Museum show , ” Earth and Fire” which opends in May and also she will be be participating in the Ceramics Annual of America in October of 2011, at the Ft. Mason Center in San Francisco.

Anthropomorphic_urn

Martha Daniels ceramic bowl

Martha Daniels Robotic Dinnerware

Unfolding_Teabowl

Martha Daniels website:    http://martha-daniels-ceramics.com

Sebastian Moh, Malaysian inspired pottery.

 

yunomi porcelain

Sebastian Moh, of Malaysian background, produces pottery that reflects an Asian aesthetic and exudes a subliminity that I find really appealing. Created for everyday use, his beautiful pottery straddles the line between meditative object and  functional item.

"Sebastian Moh"

Sebastian Moh’s artistic statement:

Years ago in Malaysia I witnessed a demonstration on a pottery wheel and it planted the seed. I was drawn to the idea of indefinite variation, of tapping an eternity of creativity. From that point I paid close attention to the ceramic arts. Upon arrival in the United States, I received my degree in product design in 1993 at the  Southern Illinois University at Carbondale where he explored  the opportunity to take ceramic classes as an elective. After working in hospitality for a few years, I decided to pursue the vision that had formed so strongly as a youth. I set up a small studio and began exploring the possibilities.
The essence of my work is to create a visual interest that will trigger an aesthetic response. The vessels articulate a rhythm that appeals to an abstract of universal human emotion. My goal is to simply to make good work.

Sebastian is currently Vice President of the Louisville Clay Association.

His deep glazes are electric fired. ” The kiln is obviously an integral part of my process, I make the work and my kiln finishes it.  My glazes articulate the forms.  It is imperative that the kiln in which they are fired is reliable, making it an indispensable tool for me. My time is valuable and, for this reason, the kiln needs to be low maintenance and consistent.”

See Sebastian Moh :

Group Exhibition
Weber Gallery
1151 S. 4th Street,
Louisville, KY 40203
October 10 – December 31, 2012porcelain teabowl

Porcelain teabowl, electric kiln, multifired

" porcelain ewer"

vase porcelain

Porcelain Vasecup porcelain, electric firedgreen porcelain vase

 bowl porcelain

Porcelain Bowl – Sebastian Moh

Sebastian Moh Mug

Yunomi Teabowl

porcelain covered jar

yunomi
porcelain, electric fired

covered jar

Nebula Tenmoku Bowl

Nebula Tenmoku
tea bowl, porcelain

yunomi chawan tea bowl

Yunomi chawan porcelain, electric fired.

Porcelain Bowl

Porcelain tumbler with slip and glaze

Tea Bowl

Pottery Pieces from Antiquity

 

Kanto, Japan   3500 BC-2500 BC  ( Met Museum )

Ceramics from archaeological digs have traditionally played a vital role in the development of chronological sequences, with relative dating techniques such as typology, stratigraphy and seriation all used extensively. Direct radiocarbon dating of pottery is relatively uncommon due to the presence of carbon sources with differing ages, for example geological carbon remaining in the clay after firing, added organic temper, carbon from the fuel of the kiln and exogenous contaminants absorbed from the burial environment

A more promising source is provided by lipid residues absorbed into the pot wall, since these should relate directly to periods of use (Heron & Evershed 1993).An increasingly wide range of organic commodities has been identified from lipidic components of archaeological pottery, including those derived from beeswax, birch bark tar, degraded animal fats, plant oils and marine oils. Lipids absorbed within pottery are excellent candidates for routine C dating as they are widespread at most archaeological sites and often occur in high abundance. Lipids have fast metabolic turnover rates which ensure ages close to the date of death of the organism.

Some of the  renown antiquated pottery items form various Museums are displayed below. This is not presented in chronological order.

 Louvre Cyprus Jug 1230BC

Cyrprus Jug 1230BC Lourve

Ceramica,_vaso_ansato

Ceramica,_vase_ansato Fiesole Archaeological Museum Italy

Artémis_Orthia_protomés

Artémis_Orthia_protomés National Archeological Museum Athens

Vase_Telloh_Louvr

3500BC Ancient city of Girsu Iran Vase_Telloh_Louvre

Bushel_ibex_Louvre

Bushel_ibex_Louvre_4200 BC Susa Iran

Vasija_guerrero_mochica

Mayan Pottery Figure

Chinese Pottery

Chinese Vase Shanghai Museum

 HALLSTATT CULTURE VESSEL 10TH-6TH BCE

Hallstatt Culture Vessel 10TH-6TH BCE

China Majiaoyao painted pottery

China_Majiaoyao_painted_pottery_2100BC_Neolithic

Ancient Ceramic Mask

Female Mask 5th-2nd Million BC

( Iraq Museum )

Jug_Louvre Cyprus

Jug_Louvre_1230bc Cyprus

Ancient Andes Pottery

Andean Ceramic Vessel Peru

( Minneapolis Institute of Arts )

Tang Dynasty Vase

Tang Dynasty Vase 618-907 AD

Terracotta_Skyphos_(Deep_Drinking_Cup)

Terracotta_Skyphos_(Deep_Drinking_Cup) 4th century Greece

Keel shaped terracotta vase

Keel-shaped vase with wading birds and birds with open wings.

Terracotta, Susa I (4200–3800 BC), found in the necropolis of the Tell of the Acropolis.

Lourve  Museum

Andean Double Spout Vessel 900-200 B.C

( Minneapolis Institute of Arts )

Vase with four lobed body, Persia, 1100-1300

Menkaure and wife, egypt, 2500 BCE

Ancient Chinese Jug  ( Shanghai Museum )

From Iraq
9th century AD

This dish has been stamped with a rhyming couplet in four lines of Kufic script. The lines are from the Umayyad poet Muhammad Bashir ibn al-Khariji:

‘Do not abandon hope, long though the quest may endure
You will find ease of heart, if only you are patient.’

( British Museum )

Chinese Ceramic Figurines, Shanghai Museum

Shanghai Museum

Shanghai was once known as the “Paris of the East “ due to it being the first  cosmopolitan city in China. The city  is now home to a Museum recognized as one of the best in China. It has over 120,000 items on display and I’m impressed with its collection of ceramic figurines so  I’d like to feature some of them here.
Tang-PolychromeGlazedFigurineThe Qin (221-206B.C.) and Han (206B.C.-220A.D.) dynasties are noted for the high quality and large numbers of pottery figurines they produced. In 1974 the famous terracotta warriors and horses of Qin Shi Huang (the First Emperor of the Qin) were discovered just east of his mausoleum. The excavation is still going on, and Vault No.1 alone is expected to yield 6,000 of them. The life sized figures of men and horses are in neat battle formation, with the men holding real bronze weapons of the time and reflecting the formidable might of the legions of the First Emperor.
It was a common practice to place figurines in tombs, especially with the Emperors. This actually replaced the practice of burying living people ( servants , court attendants ect. }with the Emeoror. Vast numbers of figurines, dating from the Warring States Period(475-221 B.C.) down to the Ming(1368-1644), have been discovered..
They are of various designs but most are made of pottery and porcelain, next came wood and lacquer, and occasionally jade. They represented  people of different status and walk—court officials, generals, cavaliers, attendants, musicians, dancers and acrobats. As a rule, they were nicely modeled in different postures, constituting a valuable part of China’s ancient art.
With the flourishing of ceramics during the Tang, Song and Ming dynasties (10th-17th century), the tomb figurines of this long period, among which the “tricoloured glazed pottery of the Tang” are world-famous. Out of the ancient tombs of Xi’an and Luoyang has  unearthed many colour-glazed females, horses and camels. Noteworthy especially are the pottery camel drivers with their deep-set eyes, protruding noses and hairy faces, evidently Central Asians who plied the Silk Road with their caravans. The “tricoloured Tangs” represent in effect a special handcrafted art catering solely to the funerary needs of the aristocracy at the heyday of China’s feudalism.
GlazedFigurineOfWomanWithParrot painted_figure_of_an_infantryman

Underglaze_blue_statue_of_man

Heavenly_Guardian_figurine

Statue of Heavenly Guardian

Kuan Yin Statue

Kuan YinFigurine man on horse Shanghai Museum

GreenGlazedPotteryDuck-Shanghai-Museum

Eastern Han-Green Glazed Pottery Duck

Silk -road-trader

Silk Rd Trader on a camel

Tang Woman


Man with cucumber

Man with cucumber

Tang Dynasty

Tang Dynasty Horse

Green Glazed Pottery Dog