Beaux Arts Decorative Objects

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 ceramic vase by Gerard Brossard to La Borne. Perfect original conditions. Signed under the base. Circa 1990.

A large impressive original parcel gilt and silvered 19th century bronze sculpture by Georges Charles Coudray of a female Egyptian harpist, “T...

Blue/green and black glazed ceramic vase by Gisèle Buthod Garçon. Raku fired. Artist monogram under the base. Circa 1980-1990. H : 7.5’ x 6.3’ inches.

A ceramic vase signed Alistair Danhieux. Signed and dated under the base. 2009. Perfect original conditions.

One of the most finely sculpted and executed bronzes we have ever offered, this 22-inch sculpture portrays David as a handsome, lithe young man, with a small stone in his hand, ready...

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

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

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...

Brown glazed stoneware vase with metallic highlights by Gisèle Buthod Garçon. Raku fired. Artist monogram under the base. Circa 1980-1990. H : 7.5’ x 6.7...

A ceramic vase signed Alistair Danhieux. Signed and dated under the base. 2011. Perfect original conditions.

A ceramic vase signed Alistair Danhieux. Signed and dated under the base. 2009. Perfect original conditions.

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

Bronze musical Putti or Cherub garden statues set of four, with original patina, whimsical classical 1930s. Measurement of 13 equals the base, the...

After Etienne-Maurice Falconet (French 1716 - 1791) La Baigneuse (Bathing Woman, The Bather) Patinated Spelter sculpture of Diana at the well. Signed and dated 1765 Measures 6" in w...

O/2677 - This horses statue is a league of bronze and perhaps antimony. May be it's more antique: end '800. For those who love horses these have a moving...

O/5215 - Antique giltwood frame, very elegant : for painting, but also for mirror. It's not easy to find such beautiful and healthy frames, but I collected some many years ago. Now i...

Monumental ceramic sculpture entitled " Family " with yellow mate glaze. This piece can be put inside or outside. Signed at the base " LD"; Laurent Dufour is a French artist who li...

18th cenTURY Carved and Polychromed Wood Religious Statue.Appears to be a saint ? .Amazing patina,, missing hands.. missing bird (bottom) HAND DElivery avail to New York City or any...

Unique, one of a kind, French 19th century patinated bronze sculpture using multiple materials. Main figure of Viking holding a battle axe. Bronze mounted h...

Depicting two male nudes lifting a garland framing Medieval images of the two patron saints of Leipzig University -- St. Laurentius and John the Baptist -- this rare and beautiful br...

A porcelain sculpture by Wayne Fischer. Perfect original conditions. Signed. Unique piece. 2007. 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 porcelain sculpture by Wayne Fischer. Perfect original conditions. Signed. Unique piece. 2022. How can an inert object produce deeply unsuspecting, indecipherable, uncontrol...

Monumental ceramic sculpture entitled " White bear " with white shiny glaze. This piece can be put inside or outside. Signed at the base " LD"; Laurent Dufour is a French artist who...

A fine pair of antique French porcelain vases. In the style of Jacob Petit. Each with extensive gilt decoration and painted floral ...

Abstract sculpture in terracotta by Victor Roman, France circa 1970. Project of a sculpture in bronze.

O/5804 - Small signed terracotta female bust by a famous Italian artist: Celestino Fumagalli , born in Turin 1864, died in Milan 1941. It's a sm...

An amazing zoomorphic ceramic by Accolay. Handwritten signature under the base “Accolay,” circa 1960-1970. Perfect original condition.

Monumental ceramic sculpture entitled " Blue Figue " with blue shiny glaze. This piece can be put inside or outside. Signed at the base " LD"; Laurent Dufour is a French artist who ...

A geometrical ceramic vase by Pierre Devie, France. Perfect original conditions. Signed and dated under the base "Devie 1971". Unique piece, circa 1971.

Let’s get this cleared up right now: No, he’s not holding a cell phone. Instead, this little fellow is doing the job he was created to do, namely providing a place to hang a pocket w...

A pair of small 19th century Italian cast iron garden statues, or figurines representing the seasons of Autumn and Spring. Beautiful weathered blue gray patina with heavy rusting. Ci...

Monumental ceramic sculpture entitled " Girl " with beige mate glaze. This piece can be put inside or outside. Signed at the base " LD"; Laurent Dufour is a French artist who live ...

Grand vase français en céramique sculpté, figuratif, en très bon état et signé.

After Etienne-Maurice Falconet (French 1716 - 1791) La Baigneuse (Bathing Woman) Large 29" tall sculpture of Diana at the well. Measures 8.5" in width, 8.5" in depth and stands 29" ...

Wood fired stoneware «Pot à feu» sculpture by Île/Mer/Froid. Artist signature under the base. 2023. H : 29.9’ x 14.6’ inches.

A ceramic vase with black glaze decoration by the Accolay potters. Perfect original conditions. Signed under the base " Accolay ". Circa 1960-1970. Hauteur : 28.5 X 13.5 cm Height : ...

A charming pair of mid-19th century French candle sconces with carved floral-potted urn backplates, and gilt metal and wood arms. Sconces could be electrified for an additional fee.

This elegant Japanese porcelain planter with a matching saucer is beautifully hand-painted with intricate, colorful scenes depicting traditional Japanese figures and landscapes. The ...

Rare ceramic sculpture by Accolay. Artist signature under the base. Circa Vers 1960-1970. Perfect original conditions. H : 15.1 x 4.5 x 3.9 inches.

This glazed ceramic jug was produced by the Belgian faience manufacturer Boch Frères Keramis in the late 19th century. The abstract painted pattern in blue and red was inspired by the Fine pottery...

A ceramic vase with white glaze decoration attributed to Pol Chambost. No signed. Perfect original conditions. France, 1930.

Pierre Auguste Renoir French, 1841-1919 La Petite Laveuse or L'Eau de la Petite Laveuse Accroupie Inscribed Renoir at the base Patinated plaster Height 13 3/8 inches (34 cm) Conditi...

Glazed earthenware vase, decorated with fantastical animals by Jérôme Galvin. Artist’s signature at the base «J.Galvin». 2020. Unique piece. H: 13.4 × 19.7 × 20.1 inches.

Blue glazed ceramic vase by Accolay. Artist signature under the base. Circa 1960-1970. H : 12.9’ x 8.3’ inches.

Decorative iron cherub with tremendous character and charm. having kept its original patina. Intricate details in the boys hair and hands. Certainly would make a wonderful statement ...

More information coming soon… The personification of Saint-Étienne, France, this wonderful Beaux-Arts sculpture dates to the 1800s. It depicts the city as a strong, dignified woman ...

Academic Style / Study Sculpture The piece strongly resembles an anatomical horse or a study executed in the style of European art schools (Beaux-Arts). The proportions, detailed m...

Blue glazed stoneware vase by Brigitte Pénicaud. Artist signature under the base. Circa 2015. H : 11.4 x 9.8 inches.

A big stoneware pot by Antoine de Vinck. Artist monogram under the base, circa 1980. Perfect original conditions.

A stoneware vase by Leon Pointu (1879-1942) Perfect original conditions. Each vase is signed under the base, circa 1930.    

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.

An important stoneware sculpture by Tim Orr. Handwritten signature at the base " Tim Orr ". Circa 1970- 1980. One pair is available.

Glazed stoneware sculpture of Saint-Jean by André Rozay. Artist signature at the back « La Borne - Rozay». Unique piece. Circa 1970-1980. H : 24.4 x 7.9 x 8.3 inches.

A rare stoneware sculpture attributed to Jöelle de Roubaix, La Borne. Perfect original conditions. Unique piece. circa 1960-1970.

A ceramic dish with glaze decoration by Gisele Buthod-Garçon. Perfect original conditions. Signed under the base. Unique piece. Circa 1990.

Ceramic sculpture entitled « Pleins et déliés » by Pierre Martinon. Signed at the base « P.Martinon ». Unique piece. 1991. H : 21.6 x 11.4 x 4.7 inches.

Glazed stoneware vase by Gustave Tiffoche. Wood fired. Unique Piece. Artist signature under the base. Circa 1970. H : 11.8 x 10.6 inches.

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

Purple glazed stoneware large floor vase by Patrick Crulis. 2025. Unique piece. H : 23.6 x 19.6 x 17.3 inches. Approximate sizes.