Monthly Archives: May 2015

Kogei – Japanese art crafts



Bowl-with-blue-glaze by AZUMA Masayuki Japanese ceramics

Azuma Masayuki blue glaze bowl



Kogei : art and crafts of Japan.


Muneyoshi Yanagi is widely accepted as the founder of the Japanese craft movement known as Mingei which began around 1927. Yanagi recognized utilitarian objects made by the common people to be art objects quite often “beyond beauty and ugliness”. His book “The Unknown Craftsman’ became an influential work which examined the Japanese way of viewing and appreciating art and beauty in everyday crafts that included pottery, lacquer, textiles, and woodwork. His son Sori Yanagi, who became an internationally renowned product designer successfully crossed borders between art and craft through his creations and he espoused the philosophy “Contemplate by hand, Create by heart”
The Japanese believe the deep spirit of their culture is reflected in their art. This is exemplified in their Kogei exhibitions which occur in most of the main cities of Japan. These art-and-craft exhibitions became a regular fixture after the mid 50’s to help foster and pass down the skills of Japanese traditional crafts and encourage their development. Originally there were 7 categories of traditional Japanese arts: ceramics, urushi (lacquerware), dolls, woodwork and bamboo, textiles and metalwork. A broad spectrum of art works from designated Living National Treasures to today’s young artists are represented. The primary aim of theses exhibitions is to keep the traditional arts in focus while showcasing improved techniques and innovative contemporary arts.
Most of participating artists spent years studying their craft, often taught by masters in their fields. While they were trained to adhere to the techniques of their kogei (craft) with unwavering devotion, more artisans have become less immutable and more adventurous with their interpretations of the traditional arts and more contemporary styles are now accepted. Fortunately the exploration of new styles hasn’t diminished the exquisite refinement that was achieved traditionally and intricate decorative detail is still in evidence.


Makiko Hattori-Contemporary-KOGEI-Art-Fair Ceramic sculpture

Makiko Hattori – Contemporary KOGEI Art Fair, Tokyo




,Japan-Traditional,-Art-Crafts,-Tyoushitu-Kinma,-Crafts-Exhibitions - Fujita Seido of lacquerware.

Fujita Seido – urushi lacquerware lidded box



“Applying makeup”. Formed with tōso and covered with paper. GALLERY JAPAN SUGIURA Michiko

“Applying makeup” – Sugiura Michiko

Formed with tōso and covered with paper.




kogei_snail TAKEMURA-Yuri in brown and black earth tones

‘Snail ‘ – Takemura Yuri




Bizen ceramic sculpture – “Weather the storm” – Izeaki Jun  (National Living Treasure)

Gallery Japan



Bowl-with-indigo-three-color-glaze-decoration by Kato Kiyokazu

Bowl with indigo three color glaze decoration. “1307”  – Kato Kiyokazu

Gallery Japan




Cloisonne box. “Prayer of wind”  –   Ogawa Kazuyo

Gallery Japan




A distinguishing-feature-of-MIYASHI Tohaku's -work-are-the-cutout-patterns-formed-by-a-combination-of-painting-on-clay-and-the-cutting-of-washi-(traditional-Japanese-paper)

Miyashi Tohaku




FUJII-Toshio lidded wooden box

Wooden Box – Fujii Toshio

Gallery Japan




funagata-Wavy-Bunhaku-pink glaze -boat-small-bowl - Jinnai Sakata

Jimmai Sakata – internal pink glaze bowls




Plaintext round dance octagonal lacquered box by Ichishima Ogyu

Hiramon: – hiramon is the technique of stretching metals such as gold or silver into thin strips, which are then cut into various shapes to create designs.





Matsumoto Noriko – Kanshitsu vessel

Kanshitsu: A form is made with clay, and then plaster is used to make a mold in that shape. Linen is affixed to the mold with Urushi, layered to the required thickness, and then the mold is removed. Further coats of Urushi are applied after that. The linen fibers are strengthened when the Urushi soaks into them, and the end result is sturdy, although the linen can be shaped with a great degree of freedom.

Gallery Japan




Nakano Saeko – gold leaf and metal vessel

Decorative metal cutting
This technique was originally used to create beautiful decorations for Buddhist statuary and so forth, but today it is used to create artworks such as decorative boxes. Decorative metal cutting begins with heating gold leaf as thin as paper in a charcoal fire and layering it to create thickness. The layered gold leaf is cut with a blade into fine patterns such as lines, squares and triangles. Then a brush is used to apply further gold leaf to the pattern, and the work is complete.



GALLERY-JAPAN---Japanese-traditional-art-crafts-Osumi-Yukie- tankin ( hammered) vessel

Osumi Yukie

A tankin (hammered) vessel made by applying the traditional techniques of chasing, mainly nunome-zogan (textile imprint inlay)





Osumi Yukie – Tankin vessel




Keiko Hatori

“To express the beauty of forms, I paint on clay with different colors and materials, and apply the zogan (inlay) techniques with different line widths. With the goal of enhancing the harmony between the shape and colors, and the dignified balance of lines.”



Kaku Hayashi ceramic art

Kaku Hayashi




Hideaki-Suzuki-Contemporary-KOGEI-Art-Fair-- ceramic cup

Hideaki Suzuki

Contemporary KOGEI Art Fair, Tokyo



Sachiko Fujino contemporary ceramic sculpture

Sachiko Fujino




Japanese Ito-Tozan incised ceramic vase

Flared, incised vase – Ito Tozan  (1846-1920), Meiji period




Jar made by forging and heat welding method. GALLERY JAPAN - HAGINO Noriko

Jar made by metal forging and heat welding method.  – Hagino Noriko

Gallery Japan




Jar with celadon glaze and carved design. GALLERY JAPAN NAKASHIMA Hiroshi LNT

Jar with celadon glaze and carved design – Nahashima Hiroshi  – [Living National Treasure]

Gallery Japan




Uwataki Koichi  –  Jar with nunozome Saiji floral decoration and geometric patterns standing out on a white ceramic surface.

Gallery Japan





Zogan Jar with tree bark design in inlay by Sakai Shinichi

Zogan – When using the zogan (damascening or inlaying) technique, you carve into the surface of the pottery, and then inlay clay of other colors into the carved-out areas to make a design. After inlaying the clay, the glaze is applied then fired.

Gallery Japan




Large “Sadogashima” jar – Ito Sekisui (National Living Treasure)

  Mumyoi-yaki – the fine Japanese pottery made from reddish clay known as mumyoi, which has been used for over 200 years in Japan.

Gallery Japan


Large vase with muku tree ash glaze and marbled line design. GALLERY JAPAN MATSUI Koyo

Large ovoid vase with muku tree ash glaze and marbled line design by Matsui Koyo

Gallery Japan




Marbled jar – Matsui Koyo




Masayo-Iguchi - Contemporary-KOGEI-Art-Fair-

Masayo Iguchi – Contemporary KOGEI Art Fair, Tokyo





Miyao Masahiro

“I use Kotokoname clay. I collect the raw clay from all over the Chita Peninsula and refine it myself, and use an anagama (cave) firewood kiln for firing and reproduce Kotokoname ware – The majority of my works are yakishime” (ceramics fired at high temperatures and without any applied glaze)




Nakano deep bowl with moon white glaze. GALLERY JAPAN Japanese traditional art crafts FUKUSHIMA Zenzo

Seihakuji deep bowl with moon white glaze – Fukushima Zenzo

 Gallery Japan

Blue-tinted seihakuji – Seihakuji (blue-white porcelain), known in English as celadon, is produced using porcelain clay made from white stone. It is pottery that has been biscuit-fired and painted with a glaze containing a small amount of iron, which turns a bluish tint when fired again.




Eiji Murofushi

Murofushi mainly produces ceramics using translucent porcelain clay and applying the nerikomi * technique. *

Neriage:  Neriage is made by kneading together different colors of clay which introduces all sorts of patterns depending on the method used to combine the clay colors, with cross-sections of kneaded clay appearing on the surface of the ceramics.




Ozawa-Koumin-LNT-Metalwork vessel

Metalwork vessel – Ozawa Koumin (Living National Treasure)

Gallery Japan



sakura_ohgi Sakura bunogi type glove compartment by Kyoko Shamida

Sakura bunogi type glove compartment by Kyoko Shamida



shimmering of heated air, japanese bamboo basket by Shono Shounsai (Living National Treasure) 1969

‘Shimmering of heated air’  –  Japanese bamboo basket by Shono Shounsai  (Living National Treasure)


Gallery Japan



Shino dark blue flower vessel. GALLERY JAPAN Sakai Hiroshi

Shino dark blue flower vessel by Sakai Hiroshi




Square jar with iron glaze and design of bird on a Daimyo oak branch. GALLERY JAPAN Hara Kiyoshi NLT

Square jar with iron glaze and design of bird on a Daimyo oak branch by Hara Kiyoshi  (Living National Treasure)

Gallery Japan




Toshio Ohi Contemporary KOGEI Art Fair Lidded pottery jar

Toshio Ohi  – lidded ceramic vessel

Contemporary KOGEI Art Fair, Tokyo




Wide-mouthed jar with design in colored slip painting Kikuchi Hiroshi

Wide-mouthed jar with design in colored slip painting by  Kikuchi Hiroshi




Ceramic abstract bowl-GALLERY-JAPAN---Fukushima Hiroko

Fukushima Hiroko

“I want to express the beauty and power of blue through porcelain. I expand my image of patterns from the form of a vessel, and freely use several types of asbolite, and repeated drawing and erasing; these processes create the unique matière (texture effect) allowing me to explore cobalt blue designs and patterns while making full use of the distinctive quality of clay.”




Japan metal art ---Ichikawa Masami GALLERY-JAPAN

Surface carved metalware – Ichikawa Masami




work---GALLERY-JAPAN---Iwase- Nahomi

Iwase Nahomi ceramic sculpture




--GALLERY-JAPAN---Japanese-traditional-art-crafts Hoshino Tomoyuki celedon green bowl

Hoshino Tomoyuki


“When I work on the wheel I find myself harmonizing with the clay, and it’s then I can feel a sense as if my own genes somehow become synchronized with the clay drawing itself out in spirals; I find it fascinating process. I use porcelain clay as the main material, and freely combine a variety of techniques, such as neritsugi, a combination of the traditional techniques of neriage and dotsugi, or using a pale blue glaze with red decoration, which is a combination of the blue of seihakuji (blue-white porcelain) and the red of Shinsha glaze. I also use a Japanese-style plane to create edges, which are only found in ceramics scraped with this tool.”





Ishida Wataru Parte de verre vessel

Parte de verre – Parte de verre is a technique in which a form is fashioned with clay, which is used as the basis for a plaster mold. Glass powder is mixed with a special kind of paste, and the mixture put into this plaster mold and fired. The heat causes the glass to melt and take on the form of the mold. Then it is slowly cooled and removed from the mold, and it’s finished.



work---GALLERY-JAPAN---Japanese-traditional-art-craftsNakagawa Mamoru

Inlaid Oborogin vase “Ame-go Yamakage” by Nakagawa Mamoru (Living National Treasure)




GALLERY-JAPAN---Japanese-traditional-art-crafts - Yoshirta Minor vase with pressed gold leaf

Yoshirta Minor




GALLERY-JAPAN--Metalwork vessel - Ozawa Koumin (Living National Treasure)

Ozawa Koumin (Living National Treasure)




GALLERY-JAPAN---Tada Yukifumi Iroe boxes with geometric pattern

Tada Yukifumi – Iroe boxes

Iroe:  (literally color painting in Japanese) is a technique in which a transparent glaze is applied and the piece glost-fired, then paint is applied over the glaze and the piece is fired again at a low temperature of approximately 800 degrees Celsius. It is also called uwae, or over-painting. The paint used in traditional iroe is known as wa-enogu (Japanese-style paint), and color choices include red, blue, yellow, green and purple. It is also possible to use yo-enogu (Western-style paint).




Japan -GALLERY-JAPAN---Teranishi Shota--urushi-laquer-work

Teranishi Shota–urushi (lacquer work) lidded box



 Hiroshima Prefectural Art Museum Makie Hachi kaku box

Makie Hachi kaku box

Hiroshima Prefectural Art Museum




GALLERY-JAPAN--Yamamoto Izuru

Yamamoto Izuru  – Tsumiage Kaki (Flower Vase) titled ‘Yugo No Chu’ (Union of the Universe)

The Japan Kogei Association Exhibition.

Izuru uses a novel and unconventional form of pottery, called ‘Tsumiage’, a technique of piling up plated clay. His work is based on the inherited Bizen pottery, though he adopts new ideas onto the tradition.




Yamamoto Izuru plate




Yoshimura-Yoko - Wire-like-lengths-of-silver-are-used-to-delineate-compartments-in-which-colors-will-be-applied.--technique-of-shippo

Yoko Yoshimura Yusen shippo lidded vessel

Yusen Shippo:  The technique where wire like lengths of silver are used to delineate compartments in which colors will be applied.




Plain text octagonal box 'Yao-fu' Ichishima Ogyo

Plain text octagonal  ‘Yao-fu’ box – Ichishima Ogyo





‘Sparkle’ by Eiji’s Murofushi

Grand Prix prize at the Tokai traditional Kogei crafts exhibition





Fuku Fukumoto Moon Shadows Japanese ceramic sculpture

‘Moon Shadows’  – Fuku Fukumoto

“I achieve just the right rhythm to finalize the shape of the piece through a dialogue between my own touch and the specific qualities of the clay.”

Photo – Takashi Hatakeyama



Kogo by Ono Hakuko ceramic dish with lid with pressed gilt

‘Kogo’ by Ono Hakuko




Koichiro Isezaki Tall Cut Vase

Koichiro Isezaki – Tall Cut Vase

Onishi Gallery exhibition  –  October 20 – November 14, 2015

Contemporary Japanese Kōgei


Onishi Gallery is pleased to bring together the work of five master-level artists who have been designated Living National Treasures by the Japanese government. Unparalleled in their craft, these artists have not only gained mastery over their chosen media, but their contributions are so significant that they constitute intangible cultural properties. These artists, many carrying on techniques that have been passed down through their families for generations, have not only preserved important cultural traditions, but have created new ways to interpret them.






This exhibition focuses on important works by HAGINO Noriko, HANNYA Taiju, HATA Shunsai, KIMURA Moriyasu, KONNO Tomoko, MIZUNO Mineo, ŌHI Toshio, OSHIYAMA Motoko, SHOMURA Hisaki, SUZUKI Miki, TOKUDA Yasokichi IV, and YOSHITA Yukio and also formally introduces the work of the jeweler KOJIMA Joji.


Onishi Gallery is located at 521 West 26th Street, between 10th and 11th Avenues. NY
Closest subway stations include the C, E lines at 23rd Street, the 1 at 28th Street or 34th Street Penn Station.

Hours: Tuesday – Saturday, 11am – 6pm

or contact Onishi Gallery:  212.695.8035 / [email protected].




“Samoku Ona Wata”   –  Traditional rendition of Deep Purple’s ‘Smoke On The Water’






Brutalist Maxxed Sculpture


Seymour-Lipton---Ancestor - Abstract metal sculpture on base

Metal sculpture ‘Ancestor’ — Seymour Lipton


When it comes to attitude and commanding presence, brutalist design has it in spades. Its primary gestation began in the 50‘s from the architectural movement known as New Brutalism, which evolved from the use of concrete as a building material to create monumental statements adapted from modernist ideals. Raw concrete in French is “béton-brut”, which was a source of the name. Its use in architecture and sculpture added a confrontational rawness to it, which influenced the evolution and style of brutalist movement in the 60‘s and 70‘s. Brutalist art drew inspiration from the likes of Le Corbusier’s architecture to the sculptures by Alexander Archipenko, Constantin Brancusi and Alberto Giacometti. With sculpture, conflicting asymmetrical geometries merged with mayhem and menace, usually constructed from raw forms of metal and clay, to  essentially define the brutalist aesthetic. It went on a tangent to the Mid Century modernism where you had artists like Paul Evans creating audacious, brash, heavily textured furniture with pure abandon. Brutalist architecture was quite often represented with repetitive angular geometries to a massive scale. It also was reactionary in the sense that the early Brutalism architects found the streamlined modernist designs too symmetrical and neat and wanted to introduce more abstract and unpredictable shapes to their brutalist buildings.

The radical brutalist art had an element of risk to it and pushed the boundaries of abstract expressionism in modernist art. Rather than being easy on the eye it is more antagonistic and even hostile, and a challenge for interior designers to integrate into any location. But for giving life into an inert environment, a brutalist piece is synonymous with edgy dynamics and primal honesty.



Ritmo-Eroico-II---Museo-Novecento Berto-Lardera-1954 abstract metal sculpture

‘Ritmo Eroico II’ — Berto Lardera


Museo Novecento


Abstract sculpture - Gendarme -John Bradley Storrs (1885-1956, American) 1919

‘Gendarme’ -John Bradley Storrs (1885-1956, American) 1919





Large-Metal-Lamp-by-Tom-Greene--in brass

Brutalist lamp – Tom Greene


ART PRIME DESIGN – Paris, France




Archipenko-Alexander- Boxing-1914 modernist sculpture

‘Boxing’  – Alexander Archipenko





‘Woman’  by John Metzen – Monumental 5 Foot Rusted Metal Abstract Brutalist Sculpture,





Brutalist charging bull sculpture, mid 60’s

Talisman UK




Crystal-Cup-#3-cast-and-glazed-earthenware Ken Price

‘Crystal Cup #3 – cast and glazed earthenware by  Ken Price, USA




1970's-Brutalist-Patinated-Iron-Wall-Lamp -Scupture-Wall-LampART-PRIME-DESIGN-Paris

1970’s Brutalist Patinated Iron Lamp Sculpture






Agosta, Julián--Artistas--Arte-online

Julián Agosta, — ‘Artistas’



Argentinian Art Deco architecture by Francisco Salamone Monumental outdoor sculpture of a kinght with a sword

Argentinian Monumental Art Deco outdoor sculpture with a hint of brutalism by Francisco Salamone





Alexander Archipenko-King Solomon - White abstract sculpture of a king

Alexander Archipenko: ‘King Solomon’





Brutalist Cast Bronze Table Figure Sculpture

Cast bronze brutalist sculpture





Chapelle Notre Dame du Haut, Ronchamp, France-  Le Corbusier






Abstract Bronze Figure — Alberto Giacometti





Fred Brouard brutalist cocktail table




Jimmy-Schneider---Kombination,-1962 abstract sculpture

Jimmy Schneider — ‘Kombination’  brutalist sculpture





Kenneth Armitage, UK — ‘Monitor’



le-corbusier sculpture France

Le Corbusier “Ubu – No. 5”





UK Lynn-Chadwick,-Stranger-V abstract sculplture

Lynn Chadwick, – ‘Stranger V’



Mexican Manuel Felguérez--- Barra abstract human figure sculpture

‘Thinker’ Bronze Sculpture by Byron Galvez – cubist, abstract sculpture




Unique Brutalist Sculpture by Michel Anasse, 1964

ART PRIME DESIGN – Paris, France

1st Dibs



John Risley – ‘Lily Pads’

USA, 1965






Mid Century Chrome Car Bumper Sculpture 1972





Ornement Torpille in cut brass by Henri Gaudier-Brzeska, 1914

Ornement ‘Torpille’ in cut brass by Henri Gaudier Brzeska

France, 1914




Pablo Picasso – ‘Woman with outstretched arms’ – concrete sculpture





Pair of Chrome Brutalist Laurel Lamps

Chrome Brutalist Laurel Lamps

Palm Beach Art & Design Centre, Florida





Peter Voulkos ceramic sculpture

Oakland Museum




Yugoslav_World_War_II_monuments photo-by-jan-kempenaers

Yugoslavia World War II monument

Photo  Jan Kempenaers




Rare Brutalist Torch Cut Sculpture Table Lamp by Silas Seandel

 Brutalist Torch Cut Sculpture Table Lamp by Silas Seandel, 70’s

a LA Mod, Palm Springs CA




Sculptural Paul Evans Brutalist sideboard

Brutalist sideboard –  Paul Evans





spiderfishTorchcut Steel Brutalist Wall Sculpture

Torch cut steel Brutalist Wall Sculpture





Large brutalist  nailhead wall sculpture by Joe Baisuck

Mid Century




Torso in Metal from 'The Rock Drill' 1913-14 by Sir Jacob Epstein

‘Torso in Metal’ from ‘The Rock Drill’  by Sir Jacob Epstein




USA 70's copper and brass - Torch Cut Brutalist Table Top Sculpture JANAKOS & COMPANY

 Torch cut copper and brass Brutalist Table Top Sculpture

USA 70’s



Brutalist-Kinetic-Sculpture Chuck-McClellan-1976 with rotating centre piece

Brutalist Kinetic Sculpture – Chuck McClellan




vintage brutalist sculpture by maison21 on Flickr

Vintage brutalist sculpture by maison21 on Flickr




Wall Relief Brutalist--Olivetti Showroom, NYC by Costantino Nivola, 1954

Wall Relief Brutalist–Olivetti Showroom, NYC by Costantino Nivola



1960's-Brutalist-Poseidon-Sculpture-in bronze

Brutalist Neptune displaying peace sign – 60’s





Brutalist Bronze Sculpture by Roland Monteyne


Art Prime Design, Paris





Brutalist Clay Vessel Signed Sullivan

Studio111, 1stDibs





Italian Brutalist metal mirror –   Decorative Collective




James-Bearden-Sculpture,-'Rex' WEINBERG-MODERN

James Bearden Sculpture, ‘Rex’





Italian Mid Century Italian Brutalist Footed Bowl




Abstract Pair of Sculptural Brutalist Side Tables by Adrian Pearsall -ARCHIVE-20TH-CENTURY Laguna-Hills,-CA

Pair of Sculptural Brutalist Side Tables by Adrian Pearsall







Monumental brutalist stainless steel sculpture ‘Etandards’ By Alain Vuillemet

height – 8ft 7 inches




Brutalistic vehicles maxxed :


There are some parallels that can be drawn between the post apocalyptic road warrior vehicles of the movie Fury Road and the edgy art of brutalist sculpture. With both the rampaging war rigs and sculpture of brutalism, oxy acetylene flame cuts and welding ruled the day when it came to shaping the metal, with lots of bold manipulation, to construct form from chaos. The grungy, gonzo battle rigs, reconstructed from countless bits of metal, resembled brutalist creations of mobile dystopian art. The masculine, threatening brutalist forms presented in a raw, chaotic, futuristic context in the latest installment of Mad Max, looked extremely in their element.



The ‘War Rig’ – used to rescue fertile maidens in a barren future shock wasteland. The central character in the visual smashfest onslaught.





‘Plymouth Rock’ – deconstructed ’37 Plymouth – metal Echidna




‘The Gigahorse’





Burning Man, CA

photo Scott London




Lalique – French sublime design


Two-white-swans,-(pendant),-gold,-enamel-and-diamonds by Rene Lalique

Swans pendant – Rene Lalique




Bottle-Narkiss-for-Roger-&-Gallet-in-soufflé moulé-and-white-enamelled-glass-1909

Perfume bottle ‘Narkiss for Roger & Gallet in soufflé moulé (blown and moulded) and white enamelled glass-1909

Designed by Rene Lalique



Rene Lalique: premium glass and jewellry designer


I became re-acquainted with the breadth and depth of Rene Lalique’s artistic genius while doing research for an update to a post I did on him in 2012. Entering the elegant world of Rene Lalique can be spellbinding and it’s easy to be off with the fairies, sirens and nymphs in a forest of serpents, dragonflies, ravens, swans, bats, gazelles, butterflies and other exotic creatures from the Nouveau repertoire. It soon became apparent that a lot of new material had surfaced so instead I decided to create a new post. He certainly had a prolific output as a designer spanning over more than 5 decades.
Rene Lalique initially began creating flamboyant Art Nouveau jewelry, believing the quality of the design was just as influential to the success of a piece as the quality of the precious stones. ‘From now on, do not depend on the value of the jewelry, not only of gold and precious stones, but also from people who have shaped it” he exclaimed. From 1896 there was an ongoing fascination with all forms of botany due to the diversity of new species being discovered at that time. This was also reinforced by the strong presence of floral and vegetal art in the Japanese aesthetics that also were being discovered around 1878. Lalique incorporated naturalistic themes interwoven with curvilinear lines and introduced entire human figure motifs in 1895, which was regarded to be very innovative at the time. His cire perdu (lost wax) casting technique favored the creation of one of a kind jewelry so most of his jewelry designs are individually unique pieces.

In the 1890‘s Lalique transitioned to glass art and was turning his attention away from the curvacious Nouveau to the less complex and more geometric Art Deco lines. This eventually took the form of vases, lamps, clocks, ashtrays, car hood ornaments, sculpture and perfume bottles. Marketing to the masses had become more sophisticated and manufacturing was gearing up to deliver. By 1910 Rene Lalique had entered the realm of high art mass production and with his artistic and technical virtuosity, he successfully adapted to the challenge. He effortlessly made the shift from being a studio artisan to becoming an industrial designer, while shifting the opulent and sinuous designs of Art Nouveau to the more streamlined and angular look of Art Deco.




Rene Lalique Palestre vase - decorated withraised relief athletic male figures

‘Palestre’ vase – Rene Lalique

1928 – 40 cm tall ( 15.7 inches)




Lalique face hairpin in enamel and gold

Art Nouveau hairpin in enamel and gold – Rene Lalique



Lalique Bohemian Art Deco vase with nude female figures - Aquamarine Frosted Crystal Glass

Bohemian Art Deco Vase with female figures in  aquamarine frosted crystal glass  – Rene Lalique




Rene Lalique pendant with kissing couple in gold and frosted crystal

Art Nouveau pendant – Rene Lalique




Opalescent Art Nouveau glass vase with sliver casing

‘Swan’ – Rene Lalique, 1898

Opalescent Art Nouveau glass vase mounted in silver




Rene Lalique brooch with cascading enamel red headed gold nude figure, 1903




Lalique Bottle Cyclamen blown-molded white glass and blue enamel on the lid 1909

Rene Lalique perfume bottle ‘Cyclamen’ blown-molded white glass and blue enamel on the lid





 Art Deco glass Cicada car mascot or hood ornament by Rene Lalique.






‘Bathers’ brooch – Rene Lalique

circa 1900




Rene Lalique glass tumbler frosted bathers in clear glass rippled water

Lalique tumbler – nude figures in water






Flying bats and serpent pocket watch – Lalique





Brooch with-golden face-and pinecones.-Rene-Lalique-(1860--1945)-Circa-1900--1902 Art Nouveau style

Art Nouveau brooch with golden face and pinecones.-R. Lalique-(1860–1945)





Rare-black-'Archers'-vase R.Lalique - archers firing arrows - raised relief vase decoration

‘Archers’ vase – R.Lalique



Rene Lalique-dragonfly-brooch Gold with green enamel and emerald stones

Gold dragonfly brooch -Art Nouveau – Rene Lalique



Circa-1903-Snake-Handbag-by-Lalique.-Chased-silver,-antelope-skin,-silk-&-metallic-thread Purse with Two Serpents, (1901-03)

 Snake Handbag by Lalique. Chased silver, silk & metallic thread.  Serpent handles

Circa 1903




Lalique Art Deco Courlis-vase-of-deep-green-glass-with-whitish-patina

Rene Lalique Art Deco ‘Courlis’ vase, deep green glass with whitish patina

circa 1931



Lalique Fontaine Poissons Panel design date 1935 ~ Square frosted glass panel molded in relief

Lalique Fontaine Poissons Panel design date 1935 ~ Square frosted glass panel molded in relief

The Milwaukee Public Museum





‘Espalion’ pattern blue glass vase, Rene Lalique




lalique-vase swimming fish decoration

Rene Lalique ‘Formoses’ glass vase





Rene Lalique – Art Deco ‘Penthievre’— vase of gray glass




Ruby Dragon Vase,- Lalique Collector’s Edition

Height 12 inch




Rene Lalique-Naiade----Antique-Glass---Hickmet-Fine-Arts

Rene Lalique- ‘Naiade’ —frosted glass mermaid

Hickmet Fine Arts




Rene Lalique blue scarab ring



Lalique---Sylphides perfume bottle

Lalique—Art Deco ‘Sylphides’ perfume bottle



Lalique Oiseau de feu-(Firebird)-CMOG

Rene Lalique ‘Oiseau de feu’ (Firebird)

CMOG ( Cornish Museum Of Glass)



Art Nouveau gold ring-by-Rene-Lalique

Art Nouveau sleeping nympth gold ring by Rene Lalique



Rene Lalique pendant

Museum of Applied Arts – Budapest.




lalique Chevrefeuille crystal perfume bottle

Chevrefeuille crystal perfume bottle by Rene Lalique





Source de la Fontaine-‘Ariane’ – Rene Lalique




Lalique Perruches vase of teal glass with white patina, c. 1919

‘Perruches’ vase by Rene Lalique





René Lalique ‘Écailles’  vase, opalescent glass, heightened with blue staining

1932   –  24.5 cm height





‘Camees’ Art Deco Glass Vase




Lalique flying swallow pendant art nouveau

Flying Swallow pendant – Victor Gérard




Daphne Powder Trinket Casket




Rene-Lalique Art Nouveau -pendant

Art Nouveau pendant – Luis Masriera




French-Opalescent-Glass-Spiral-Vase-by-Rene-Lalique 1930 GLEN-DOOLEY-ANTIQUES-!stDibs

Opalescent Glass Spiral Vase by Rene-Lalique


Glen Dooley Antiques -1stDibs



René Jules Lalique

René Jules Lalique




Green Frog Rene Lalique

Frog – Rene Lalique




Amber Serpent-(Snake) vase 1924 Rene Lalique

‘Serpent’ vase – R.Lalique





‘Grande ovale tête penchée’ – René Lalique





Rene-Lalique-gold-bird pendant

Rene Lalique pendant





Gold and enamel Locust hair ornaments with diamond veins




Lalique perfume bottle




Art Deco ‘Tourbillons’– (Whirlwind) vase R.Lalique

Corning Glass Museum




Rene Lalique-opalescent-glass-vase,-French,-circa-1935,

French opalescent glass vase – Rene Lalique

circa 1935





Lalique-Rouge-Ispahan-Vase red vase with rose motifs

‘Rouge Ispahan Vase’ – Rene Lalique




Art Nouveau Hydra pendant – Rene Lalique






Art Deco “Nanking”  lamp – Rene Lalique





Rene Lalique—‘Davos’, turquoise opalescent art glass vase





René-Lalique.-Brooch - Pine Sprig 1900-1902

René Lalique. Brooch  ‘Pine Sprig’





Art nouveau sculpture-by-Rene-Lalique

Art Nouveau nude female figure sculpture – Rene Lalique




‘Clytie’ – Frosted art deco glass statuette – Rene Lalique

circa 1924





Diamonds and gold hair pin – Rene lalique





‘Two Black Anemones’, Perfume Bottle – Rene Lalique




Rene-lalique-brooch in gold and enamel

Art Nouveau brooch



Pottery resurrection Mata Ortiz

Mata Ortiz pot with sgraffito in red,black and white

 Mata Ortiz pottery with sgraffito


Mata Ortiz rebirth :


The revitalization of Mata ortiz into a pottery centre is good story. In the 60‘s and 70‘s, with only tribal stories to go on and rediscovered pottery artifacts from the Casa Grandes location, Juan Quezada resurrected the style and ancient techniques of his ancestors pottery. In the process he rescued a village on the cusp of obscurity and put it on a creative trajectory that has now become a thriving pottery district known for the production of original, contemporary folk pottery. There was just enough evidence from the ancient pottery shards to intuit the spirit of the long lost art and rekindle the unique native aesthetics again. Due to the limited information the local artesanos weren’t too encumbered with historical,definitive styles and have successfully developed a post modern adaption of the traditional pottery.

The remote village of Mata Ortiz is on the high plains of Chihuahua in northern Mexico, about 150 miles from the Arizona, New Mexico or Texas borders. The Paquime (or Zuma) native American Indians, a prehistoric culture from the nearby Casa Grandes area, had once been an active pottery production centre for trade in the 13th and 14th centuries.



founding father of Mata Ortiz pottery, holds one of the ancient pots of the Casas Grandes region

Juan Quezada holding an ancient pot

Photo by Raechel Running



Mata Ortiz map

Mata Ortiz map


In 1976 American anthropologist Spencer MacCallum saw some of Juan Quezada’s pots in New Mexico and decided to track down Juan to source more information about their origin. He ended up teaming up with Juan to promote his art as he recognized a natural talent. This proved to be a fortuitous venture for Mata Ortiz.
Without using a kiln or a pottery wheel, the self taught Juan Quezada began recreating the ancient pots using experimentation with clays from the region and a local tortilla and coil method of assembly which combined with pinch and scrape methodologies for pot construction. After much refinement and innovation, Juan taught his family members and friends how to execute the techniques and Mata Ortiz pottery has flourished since. There are now thousands of potters in the locality creating their traditionally inspired pottery. Mata Ortiz Pottery has become synonymous with a high quality ware of integrity and beauty.



Mata Ortiz Pottery by c with native Indian decoration

Mata Ortiz Pottery – Lazaro Ozuna Silveira – Sgraffito Olla


Using an essentially organic approach, the Mata Ortiz artists polish their pieces with stones, seeds and bones. Just as they did traditionally, they use coveted clays from the local mountains and pigments mainly of mineral origin, especially the rich oxides, which are collected and ground in their location. They hand paint their pottery using hand made brushes made from  human hair. The decoration of the Mata Ortiz pottery forms have evolved to express fluid dynamic interpretations of their traditional patterns and symbols with beautifully refined detail. Combined with their fascinating abstractions and use of space, they have recaptured the spirit of their location and past. The Mata Ortiz artists now see their works more as a fine art then a craft and use sgraffito, cut-outs, vivid colours, refined figurines and surface carving to achieve bold contemporary expression.



Lorenzo Bugarini cradles an extra large pot.

photo – Alison DaRosa

LA Times



Red,black and white Mata Ortiz olla

Mata Ortiz Olla




Angel-Amaya-Exquisite-Mata-ortiz-Pottery red and white seed pot

Angel Amaya -Mata Ortiz Seed Pot




c with asymmetrical patterns

Sculpted Olla with wall cut out – Baudel Lopez


Mata Ortiz - c in white

Martin Olivas Quintana incised Dragonfly pot




Yin Yang vessel – Diego Valles

Mata Ortiz, Mexico




Jose Quezada wedding vase with elegant lace geometrical patterns Mata Ortiz

Jose Quezada wedding vase

Jose Quezada is the eldest son of master potter Nicolas Quezada, pioneer artist of Mata Ortiz, and a nephew of Juan Quezada.

height 11.25 inches

sold at




Cindy Perez butterfly olla in orange,black and white

Cindy Perez incised butterfly olla




Diana Loya Fine Detail Mata Ortiz Pottery

Diana Loya Mata Ortiz Pottery with fine decorative detail




Diego-Valles lla with fluid hand painted decoration

Diego Valles




Leonel Lopez-Jr-Green Maze spherical pot

‘Green Maze’ – Leonel Lopez Jr




Etched olla by Efren Ledezma Black deer on white

Etched olla by Efren Ledezma

15 inch diameter

Mata Ortiz Gallery



Elí-Navarrete Mata Ortiz pottery

Elí Navarrete




Found-on-mataortiz-mata-ortiz-large-olla-by-the-late-Nicolas-Quezada Sandiafolk

Nicolas Quezada large olla

Mata Ortiz Gallery



Goyin Silveira-Fantastic-Animals-Olla7

Goyin Silveira animal olla


Mata Ortiz - Martin Olivas Quintana-Hummingbirds in red, yellow-green and white

‘Hummingbirds’ – Martin Olivas Quintana



Hector Gallegos Extraordinary Museum Olla

‘Hummingbirds’ – Hector Gallegos




Jesus-Olivas-Quintana sgraffito olla in red, black and white

Sgraffito olla – Jesus Olivas Quintana






‘Parrot Olla’ – Pabla Quezada



Hector-Gallegos urn with a Quetzalcoatl serpent and Native American feather symbol

Hector Gallegos ceramic urn featuring a  Quetzalcoatl serpent and Native American feather symbol

Mata Ortiz Gallery




Lydia Quezada-Category-Mata-Ortiz-Pottery

Lydia Quezada



Elvira-Bugarini-Mata-Ortiz intricate patterned pot

Elvira Bugarini



Mata Ortiz - Olivia Dominguez Snake Olla----fluid-lines

Olivia Dominguez Snake Olla




Manolo-Rodríguez abstract Mata Ortiz pottery

Manolo Rodríguez



Tomas Quintana-fish_small Mat ortiz ceramics

Tomas Quintana




Mata Ortiz Mexican pottery by Roberto Olivas

Roberto Olivas sgraffito pot





Nicolas Quezada terracotta olla




Mata Ortiz Pottery, tall-necked small pot by Blanca Quezada red-white and black

Mata Ortiz Pottery, tall- necked small pot by Blanca Quezada




Mata Ortiz Pottery by Baudel Lopez polished pot in red and black

Baudel Lopez polished red pot




Humberto Ponce Mata Ortiz Wedding Vase Found on mataortiz

Humberto Ponce – Mata Ortiz Wedding Vase

Mata Ortiz Gallery




Mata Ortiz-pottery-by-Martin-Cota

 Martin Cota





Eli Navarrete--Graphite-Beauty---Sandia-Folk attractive piece features Eli's trademark fish,birds and geckos painted over a beautiful graphite burnished pot.

Eli Navarrete

Graphite burnished pot featuring Eli’s trademark fish,birds and geckos





Nancy Heras de Martinez



Roberto Olivas Sgraffito Olla





Miguel Quezada



Perfection in technique and design. Leonel Lopez Saenz Fine Mata Ortiz Pottery.

 Leonel Lopez Saenz





Tall olla in non-traditional colours by Cesar Navarrete Ortiz.




Olivia Dominguez – tobacco snake olla





Jose Quezada Olla


Juan Quezada black clay olla



Mata Ortiz Goyin-Silveira--Tarantula-Olla---Sandia-Folk

Goyin Silveira– ‘Tarantula Olla’

Mata Ortiz

This pot features dozens of hidden animals and insects that create the complex design…snakes, tarantulas, turtles, birds and macaws, owls, lizards, fish.