Beaux Arts Sculptures

Important sculpture in glazed stoneware by Philippe Lambercy. Artist monogram on the base. Circa 1980-1990. H : 12.9’ x 28.7’ x 8.3’ inches.

Important sculpture in glazed stoneware by Philippe Lambercy. Artist monogram on the base. Circa 1980-1990. H : 16.5’ x 30.7’ x 7’ inches.

A ceramic sculpture by Jean-Pierre Viot. Perfect original conditions. Unique piece. Signed at the base " viot ". circa 1970-1975.

Stoneware panel by Georges Martin with wood base. Artist monogram on the base. Unique piece. Circa 1970-1980. H : 1.8 x 15.7 x 26.2 inches.

A big ceramic sculpture by Joelle Deroubaix to La Borne. Perfect original conditions. Not signed. Circa 1960-1970.

A unique Cire Perdue gilt bronze sculpture of roses by Louis Ernest Barrias. The singular lost wax cast of a still life of roses is mounted on a rosewoo...

A Louis Auguste Joseph Bertrand, French terracotta sculpture of a baby holding a question mark symbol, Titled "Le Point d'interrogation" signed "Louis Bertrand" and dated "3. 1931" T...

A ceramic ram with white glaze decoration of Art Deco period. Attributed to Primavera. No signed. Perfect original conditions, circa 1930.   

Stoneware and oxides sculpture entitled « Escaliers dérobés » by Pierre Martinon. Signed at the base « P.Martinon ». Unique piece. 2022. H : 17.7' x 12.6' x 12.6' inches.

White/green glazed ceramic sculpture by Gisèle Buthod Garçon. Raku fired. Artist monogram under the base. Circa 1980-1990. H : 3.5’ x 12.6’ x 11.4’ inches.

Stoneware duck sculpture by Georges Martin. Unique piece. Artist monogram on the base. Circa 1970-1980. H : 12.9 x 11.8 x 24.8 inches.

Wood fired stoneware «Pot à feu» sculpture by Île/Mer/Froid. Artist signature under the base. 2023. H : 30.7’ x 15.7’ inches.

Stoneware duck sculpture by Georges Martin. Artist monogram on the base. Unique piece. Circa 1970-1980. H : 12.6 x 9.8 x 19.7 inches.

Important stoneware sculpture entitled " Corps ascendant #6 ". Artist monogram under the base. This piece can be put indoor or outdoor. Unique piece. 2023.

A ceramic sculpture signed AC and dated under the base 1992. Perfect original conditions, circa 1992.

Stoneware sculpture entitled " Corps ascendant " . Unique piece. 2023. Artist monogram under the base. This piece can be put indoor or outdoor.

A ceramic and metal sculpture with black and red glazes decoration. Perfect original conditions. Signed under the base, circa 1960-1970.

French late 19th century spelter sculpture by Hippolyte Moreau fitted with original 1 7/8" thick rouge griotte marble base. Hippolyte was one of the famous Moreau brothers, all of whom were sculptors. He was born in Dijon France in 1832 and died in 1927. This statue, in a warm chocolate brown patina depicts a diaphanously dressed woman with flowing scarf overhead and winged cherob at her side resting on the crest of a wave and shell. Hippolyte Moreau exhibited in the Salon des Artistes Français at the turn of the century and won a medal at the Universal Exposition in 1878 and another at the 1900 World Expo. Most of his works are preserved in the Museum of Fine Arts in Dijon. The light beige pedestal...

A ceramic sculpture. Perfect original conditions. Circa 1980-1990. 26 x 20 x 4 cm.

A zoomorphic ceramic sculpture by Pierre Roulot. Perfect original conditions. Signed under the base "Roulot". circa 1950-1960.

This is an exceptionally rare bronze of the noted early film star Emil Jannings. Emil Jannings was a German actor, popular in 1920s Hollywood. He was the first Oscar recipient, hono...

A porcelain sculpture by Wayne Fischer. Perfect original conditions. Signed. Unique piece. 2022. How can an inert object produce deeply unsuspecting, indecipherable, uncontrollable emotions? Wayne Fischer is an artist who can create works that force one to ask such moving questions as this. If he doesn’t know why, if he can’t explain the deepest reasons of his artistic research, he definitely knows the workings and limitations of the artistic process he invented. He has never deviated from the course he set for himself since university; translate life. The works presented here show the evolution of his creations over the past thirty years. If Wayne Fischer has received several international prizes and quickly obtained the recognition of his peers in ceramics, nevertheless he retains a singular position at once unavoidable and disturbing. His sculptures are paradoxical, powerful and sensual, and cause a certain unease. They are beautiful, carnal, touchable, all the while being outside the standard idea of beauty. The ambiguity of attraction and rejection is at the heart of this evolution. The pieces from the 1980s and 90s are imposing by their size, stature and symmetry, which give them balance. They generate surprise, curiosity and play between contrasts that are both soft and aggressive. They reference the body, muscles, and torso, without presenting an exact reality. They are double-faced, seductive, and enigmatic. Wayne’s shapes are inspired by shells, bivalves, sometimes presented as though they are floating in space. But the reference of the marine world to the mysterious female body has only one interpretation and only history and emotion condition the reaction of the spectator: he accepts or refuses to see, to be seduced. He is touched or he flees. The more recent sculptures are appreciated in the fullness of their round volume and the search for a pure universal beauty. “Metamorphosis,” the work recently awarded by the Bettencourt Foundation, is from this series of pieces wheel- thrown and deformed which pushes the porcelain from the inside so the bulges evoke the movement of waves or the musculature of several bodies. The exactness, the clean breaks, the assurance of lines and valleys are testimony to the interior power that governs the creation. The life energy expressed is also felt by the artist as the origin of ceramics. All the pieces are curved and tense. They show no marking, no sign of the hand, no imprints, and yet give an impression of spontaneity, as if a dropped piece of clay found its form by chance. Depending on the angles, the content becomes “the origins of the world...

For those who are wanting sculpture of any Shakespeare characters, we have that here for you. We know it is the head of King Richard III being held by an...

A ceramic sculpture with black glaze decoration by Tim Orr. Perfect original conditions. Signed under the base. circa 1970.

Torsade 2, 2023 by Laurent Dufour Glazed stoneware. Unique piece. Signed at the base. This piece can be put indoor and outdoor.

Brown glazed stoneware sculpture by Laurent Dufour. Artist signature under the base. 2023. Unique piece. H : 28.7’ x 10.2’ x 11.8’ inches.

A porcelain sculpture by Wayne Fischer. Perfect original conditions. Signed. Unique piece. 2022. How can an inert object produce deeply unsuspecting, indecipherable, uncontrollable emotions? Wayne Fischer is an artist who can create works that force one to ask such moving questions as this. If he doesn’t know why, if he can’t explain the deepest reasons of his artistic research, he definitely knows the workings and limitations of the artistic process he invented. He has never deviated from the course he set for himself since university; translate life. The works presented here show the evolution of his creations over the past thirty years. If Wayne Fischer has received several international prizes and quickly obtained the recognition of his peers in ceramics, nevertheless he retains a singular position at once unavoidable and disturbing. His sculptures are paradoxical, powerful and sensual, and cause a certain unease. They are beautiful, carnal, touchable, all the while being outside the standard idea of beauty. The ambiguity of attraction and rejection is at the heart of this evolution. The pieces from the 1980s and 90s are imposing by their size, stature and symmetry, which give them balance. They generate surprise, curiosity and play between contrasts that are both soft and aggressive. They reference the body, muscles, and torso, without presenting an exact reality. They are double-faced, seductive, and enigmatic. Wayne’s shapes are inspired by shells, bivalves, sometimes presented as though they are floating in space. But the reference of the marine world to the mysterious female body has only one interpretation and only history and emotion condition the reaction of the spectator: he accepts or refuses to see, to be seduced. He is touched or he flees. The more recent sculptures are appreciated in the fullness of their round volume and the search for a pure universal beauty. “Metamorphosis,” the work recently awarded by the Bettencourt Foundation, is from this series of pieces wheel- thrown and deformed which pushes the porcelain from the inside so the bulges evoke the movement of waves or the musculature of several bodies. The exactness, the clean breaks, the assurance of lines and valleys are testimony to the interior power that governs the creation. The life energy expressed is also felt by the artist as the origin of ceramics. All the pieces are curved and tense. They show no marking, no sign of the hand, no imprints, and yet give an impression of spontaneity, as if a dropped piece of clay found its form by chance. Depending on the angles, the content becomes “the origins of the world...

This unusual and mysterious bronze was done by the Hungarian artist Karoly Herpka (1861-1938). Signed underneath in 2 places. The subject seems to be unhappy about some event. Not...

"Detresse" [Distress] Patinated Metal Sculpture, 20th century, depicting a shipwrecked sailor hailing for aid. 26.5" H x 10" H x 8.5" D.

A porcelain sculpture by Wayne Fischer. Perfect original conditions. Signed. Unique piece. 2022. How can an inert object produce deeply unsuspecting, indecipherable, uncontrollable emotions? Wayne Fischer is an artist who can create works that force one to ask such moving questions as this. If he doesn’t know why, if he can’t explain the deepest reasons of his artistic research, he definitely knows the workings and limitations of the artistic process he invented. He has never deviated from the course he set for himself since university; translate life. The works presented here show the evolution of his creations over the past thirty years. If Wayne Fischer has received several international prizes and quickly obtained the recognition of his peers in ceramics, nevertheless he retains a singular position at once unavoidable and disturbing. His sculptures are paradoxical, powerful and sensual, and cause a certain unease. They are beautiful, carnal, touchable, all the while being outside the standard idea of beauty. The ambiguity of attraction and rejection is at the heart of this evolution. The pieces from the 1980s and 90s are imposing by their size, stature and symmetry, which give them balance. They generate surprise, curiosity and play between contrasts that are both soft and aggressive. They reference the body, muscles, and torso, without presenting an exact reality. They are double-faced, seductive, and enigmatic. Wayne’s shapes are inspired by shells, bivalves, sometimes presented as though they are floating in space. But the reference of the marine world to the mysterious female body has only one interpretation and only history and emotion condition the reaction of the spectator: he accepts or refuses to see, to be seduced. He is touched or he flees. The more recent sculptures are appreciated in the fullness of their round volume and the search for a pure universal beauty. “Metamorphosis,” the work recently awarded by the Bettencourt Foundation, is from this series of pieces wheel- thrown and deformed which pushes the porcelain from the inside so the bulges evoke the movement of waves or the musculature of several bodies. The exactness, the clean breaks, the assurance of lines and valleys are testimony to the interior power that governs the creation. The life energy expressed is also felt by the artist as the origin of ceramics. All the pieces are curved and tense. They show no marking, no sign of the hand, no imprints, and yet give an impression of spontaneity, as if a dropped piece of clay found its form by chance. Depending on the angles, the content becomes “the origins of the world”. Femininity and sensuality are exalted. Inspired by the body, before and after birth, or simply the sea, the parts of the sculpture conjugate around a mysterious interior cavity, secret and troubling. The interior wall doesn’t correspond to the exterior, and has its own volumes, deformities, and intimacy. The pieces present two kinds of interior: one open, and partially uncovered, the other totally hidden inside. The differences of their respective deformation reinforce the impression of life : the subjective representation of muscles and bones, of bulges pushed by an interior force, like a visceral movement of respiration. The surface of the ceramic is crackled but soft and fine, even reflecting light like the skin. The nuances of color reinforce the expression of sensuality. The alignment of technique and what it causes one to see and feel has rarely been so intimately successful. Wayne Fischer perfected his technique in the 1970s and has remained faithful to it. He adds fibers to porcelain clay that has been chosen for its whiteness to create and accentuate volume around empty space, by assembling slabs or thrown pieces. Then, he makes another piece that takes its place inside; both parts are formed with no hand...

A ceramic sculpture signed Alistair Danhieux. Signed and dated under the base. 2013. Perfect original conditions.

A ceramic sculpture signed A.C. Perfect original conditions, circa 1986.

A big ceramic sculpture by Pierre Baey. Unique piece. Perfect original conditions. Circa 1990.  

A porcelain sculpture by Wayne Fischer. Perfect original conditions. Signed. Unique piece. 2022. How can an inert object produce deeply unsuspecting, indecipherable, uncontrol...

A ceramic pitchet by Alexandre Foucher. Original conditions. Signed under the base, circa 1960. Unique piece.

A ceramic sculpture with black glaze decoration by Tim Orr. Perfect original conditions. Signed under the base, circa 1970.

A ceramic sculpture signed A.C, circa 1980. Perfect original conditions. Unique piece.

A porcelain sculpture with green glaze decoration by Tim Orr. Perfect original conditions. Signed under the base. circa 1970.    

Ceramic sculpture entitled « Rocher posé » by Pierre Martinon. Perfect original conditions. Signed and dated at the base "Pierre Martinon 1985". Unique piece. Far from ...

Ceramic sculpture entitled « Entre-deux » by Pierre Martinon. Perfect original conditions. Signed and dated at the base "Pierre Martinon 1991". Unique piece. Far from t...

A porcelain sculpture by Wayne Fischer. Perfect original conditions. Signed. Unique piece. 2022. How can an inert object produce deeply unsuspecting, indecipherable, uncontrol...

A ceramic sculpture "Bloc in motion" by Maarten Stuer. This piece can be put indoor or outdoor. Artist monogram under the base. 2020. Unique piece.

A ceramic sculpture "Bloc in motion" by Maarten Stuer. This piece can be put indoor or outdoor. Artist monogram under the base. 2020. Unique piece.

A porcelain sculpture by Wayne Fischer. Perfect original conditions. Signed. Unique piece. 2022. How can an inert object produce deeply unsuspecting, indecipherable, uncontrol...

A porcelain sculpture by Wayne Fischer. Perfect original conditions. Signed. Unique piece. 2018. How can an inert object produce deeply unsuspecting, indecipherable, uncontrol...

A porcelain sculpture by Wayne Fischer. Perfect original conditions. Signed. Unique piece. 2022. How can an inert object produce deeply unsuspecting, indecipherable, uncontrollable emotions? Wayne Fischer is an artist who can create works that force one to ask such moving questions as this. If he doesn’t know why, if he can’t explain the deepest reasons of his artistic research, he definitely knows the workings and limitations of the artistic process he invented. He has never deviated from the course he set for himself since university; translate life. The works presented here show the evolution of his creations over the past thirty years. If Wayne Fischer has received several international prizes and quickly obtained the recognition of his peers in ceramics, nevertheless he retains a singular position at once unavoidable and disturbing. His sculptures are paradoxical, powerful and sensual, and cause a certain unease. They are beautiful, carnal, touchable, all the while being outside the standard idea of beauty. The ambiguity of attraction and rejection is at the heart of this evolution. The pieces from the 1980s and 90s are imposing by their size, stature and symmetry, which give them balance. They generate surprise, curiosity and play between contrasts that are both soft and aggressive. They reference the body, muscles, and torso, without presenting an exact reality. They are double-faced, seductive, and enigmatic. Wayne’s shapes are inspired by shells, bivalves, sometimes presented as though they are floating in space. But the reference of the marine world to the mysterious female body has only one interpretation and only history and emotion condition the reaction of the spectator: he accepts or refuses to see, to be seduced. He is touched or he flees. The more recent sculptures are appreciated in the fullness of their round volume and the search for a pure universal beauty. “Metamorphosis,” the work recently awarded by the Bettencourt Foundation, is from this series of pieces wheel- thrown and deformed which pushes the porcelain from the inside so the bulges evoke the movement of waves or the musculature of several bodies. The exactness, the clean breaks, the assurance of lines and valleys are testimony to the interior power that governs the creation. The life energy expressed is also felt by the artist as the origin of ceramics. All the pieces are curved and tense. They show no marking, no sign of the hand, no imprints, and yet give an impression of spontaneity, as if a dropped piece of clay found its form by chance. Depending on the angles, the content becomes “the origins of the world...

A porcelain sculpture by Wayne Fischer. Perfect original conditions. Signed. Unique piece. 2022. How can an inert object produce deeply unsuspecting, indecipherable, uncontrollable emotions? Wayne Fischer is an artist who can create works that force one to ask such moving questions as this. If he doesn’t know why, if he can’t explain the deepest reasons of his artistic research, he definitely knows the workings and limitations of the artistic process he invented. He has never deviated from the course he set for himself since university; translate life. The works presented here show the evolution of his creations over the past thirty years. If Wayne Fischer has received several international prizes and quickly obtained the recognition of his peers in ceramics, nevertheless he retains a singular position at once unavoidable and disturbing. His sculptures are paradoxical, powerful and sensual, and cause a certain unease. They are beautiful, carnal, touchable, all the while being outside the standard idea of beauty. The ambiguity of attraction and rejection is at the heart of this evolution. The pieces from the 1980s and 90s are imposing by their size, stature and symmetry, which give them balance. They generate surprise, curiosity and play between contrasts that are both soft and aggressive. They reference the body, muscles, and torso, without presenting an exact reality. They are double-faced, seductive, and enigmatic. Wayne’s shapes are inspired by shells, bivalves, sometimes presented as though they are floating in space. But the reference of the marine world to the mysterious female body has only one interpretation and only history and emotion condition the reaction of the spectator: he accepts or refuses to see, to be seduced. He is touched or he flees. The more recent sculptures are appreciated in the fullness of their round volume and the search for a pure universal beauty. “Metamorphosis,” the work recently awarded by the Bettencourt Foundation, is from this series of pieces wheel- thrown and deformed which pushes the porcelain from the inside so the bulges evoke the movement of waves or the musculature of several bodies. The exactness, the clean breaks, the assurance of lines and valleys are testimony to the interior power that governs the creation. The life energy expressed is also felt by the artist as the origin of ceramics. All the pieces are curved and tense. They show no marking, no sign of the hand, no imprints, and yet give an impression of spontaneity, as if a dropped piece of clay found its form by chance. Depending on the angles, the content becomes “the origins of the world”. Femininity and sensuality are exalted. Inspired by the body, before and after birth, or simply the sea, the parts of the sculpture conjugate around a mysterious interior cavity, secret and troubling. The interior wall doesn’t correspond to the exterior, and has its own volumes, deformities, and intimacy. The pieces present two kinds of interior: one open, and partially uncovered, the other totally hidden inside. The differences of their respective deformation reinforce the impression of life : the subjective representation of muscles and bones, of bulges pushed by an interior force, like a visceral movement of respiration. The surface of the ceramic is crackled but soft and fine, even reflecting light like the skin. The nuances of color reinforce the expression of sensuality. The alignment of technique and what it causes one to see and feel has rarely been so intimately successful. Wayne Fischer perfected his technique in the 1970s and has remained faithful to it. He adds fibers to porcelain clay that has been chosen for its whiteness to create and accentuate volume around empty space, by assembling slabs or thrown pieces. Then, he makes another piece that takes its place inside; both parts are formed with no hand...

A zoomorphic ceramic-sculpture- vase by Guerin. Signed under the base. Circa 1950-1960.  

A porcelain sculpture with brown glaze decoration by Tim Orr. Perfect original conditions. Signed under the base, circa 1970.

An abstract stoneware sculpture, circa 1970 by La Borne Potters. Signed. Unique piece.

An unique ceramic sculpture with black glaze decoration by Pierre Martinon. Perfect original conditions. Signed at the base "P. Martinon ". circa 2000.

An unique porcelain sculpture by Wayne Ficher. Perfect original conditions. Signed under the base; Wayne Fischer. 2017.

A ceramic sculpture "Bloc in motion" by Maarten Stuer. This piece can be put indoor or outdoor. Artist monogram under the base. 2020. Unique piece.

A ceramic sculpture " Bloc in motion" by Maarten Stuer. This piece can be put indoor or outdoor. Artist monogram under the base. 2020. Unique piece.

An unique porcelain sculpture by Wayne Ficher. Perfect original conditions. Signed under the base; Wayne Fischer. 2017.  

A ceramic sculpture with black glaze decoration by Tim Orr. Perfect original conditions. Signed under the base, circa 1970.

A ceramic sculpture by Gérard Brossard to La Borne. Perfect original conditions. Signed " Gérard Brossard ". Unique piece. circa 2000.

Superbly sculpted and highly detailed, this very fine bronze relief dated 1892 -- designed by Lodovico Pogliaghi and sculpted by Angelo Cappuccio for Stefano Johnson in Milan -- depi...

This very fine carved relief panel was sculpted by Ferdinand Levillain, France's master of bas relief at the turn of the last century. Levillain was famous for his low reliefs in med...

Charles Anfrie (French, 1833-1905) "Un Accident", Patinated Bronze Sculpture, late 19th century, depicting a young boy with torn trousers, on a circular plinth, signed and titled to ...