Slip-decorated red earthenware platter, 25 inches in diagonal width, clear amber glazed, by Everette Busbee.
Porcelain gourd vase and medallion platters (circa 1900-1904) by Taxile Doat, an artist-potter famous for his work at Sèvres.
Terra-cotta warrior, 8 inches in height; even after 1100 years, the maker’s fingerprints are visible on the earflares and headdress. Recent analyses of Maya ceramics have disclosed not the peaceful star-gazing culture once perceived by wishful historians, but instead a society preoccupied with blood, the supernatural and ritual sacrifice.
Texas potter Gary Hatcher realized his dream of firing “for the cost of labor” with a large, efficient, wood-burning kiln.
Robert Arneson in his California studio.
“Untitled Antelope Jar,” thrown and handbuilt porcelain and stoneware, with gold and lusters, on a raku base, 22 inches in height by Adrian Saxe, recipient of a $15,000 National Endowment for the Arts Visual Artists Fellowship.
Thrown porcelaneous stoneware bowl, approximately 13 inches wide, with saturated-iron and ash glazes, by California potter Neil Moss.
“Self-Portrait #7 (Drip Face),” 15 inches in height, assembled from raku-fired slabs, acrylic-painted clay “sticks,” low-fired slabs with silk-screened underglazes and found objects (a Czech terra-cotta shard “cheek” and a seashell “eye”), by Bill Abright.
Since moving six years ago from his Aylesford studio to a small workspace in London, British potter Colin Pearson has, after 25 years of reduction firing, been making pots adapted for a small electric kiln.
Porcelain bottle, approximately 14 inches in height, with glaze, overglaze and luster decoration, by Japan’s “living national treasure,” Nodo Fujimoto. Not the stereotypical Japanese master, this artist explodes the myth that artists cannot be good at other, seemingly diverse careers while also maintaining a quality studio life.