Beaux Arts Decorative Objects

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

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 vase with glazes and geometrical decoration by Accolay. Signed under the base "Accolay", circa 1970-1980. Perfect original condition. Unique piece.  

An elegant Royal Vienna porcelain vase with painted portrait of a beautiful woman on one side and beautiful gold gilt flowers on the reverse. Origin: Austrian Date: 19th century Dim...

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

Pair antique Boch vases is a splendid example of craftsmanship from the famous maker out of Belgium, with a classical shape inspired by ancient Greek arch...

A ceramic vase by CH- Guieba. Wood firing. Perfect original conditions. Signed under the base, circa 1980-1990. Unique piece.

A ceramic vase with glazes decoration by Michel Lanos (1926-2005). Perfect original decorations. Artist monogram under the base, circa 1990. Unique piece.

A big ceramic jar with glazes decoration by Michel Lanos (1926-2005). Perfect original decorations. Artist monogram under the base, circa 1990. Unique piece.

A big ceramic sculpture with black and blue glazes decoration by Michel Lanos (1926-2005). Perfect original decorations. Artist signature under the base, circa 1990. Unique piece.

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

This is a marble sculpture of a cherub who is standing up in front of a trunk. His head has an abundant hair with curly ends. He is gently holding a puppy. The sculpture has attached...

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...

Tubular vase « Bambou » in blue and brown glazed stoneware by Jean-Pierre Bonardot. Artist monogram under the base. Unique piece. Circa 1990. H : 21.2 x 6.7 x 6.7 inches.

Large tubular vase « Bambou » in blue glazed stoneware by Jean-Pierre Bonardot. Artist monogram under the base. Unique piece. Circa 1990. H : 15.7 x 4.7 x 4.7 inches.

Large tubular vase « Bambou » in blue glazed stoneware by Jean-Pierre Bonardot. Artist monogram under the base. Unique piece. Circa 1990. H : 15.1 x 4.7 x 4.7 inches.

White and brown glazed ceramic pair of vases by Jean Langlade. Artist signature under the base. Circa 1920. H : 10.2 x 5.7 inches.

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 ...

White and green glazed ceramic bottle by Gisèle Buthod Garçon. Raku fired. Artist monogram under the base. Circa 1980-1990. H : 9.8’ x 6.7’ inches.

Square stoneware pot with abstract decoration by Georges Martin. Artist monogram under the base. Circa 1970-1980. H : 10.4’ x 10.4’ x 8.7’ inches.

Antoine Bofill (Spanish-French, 1875-1925) was a Spanish artist and member of the Animalier movement of the 19th century. Best known for his small, decorative bronze sculptures, Bofi...

Large floor vase in black glazed ceramic by Patrick Crulis. 2024. Unique piece. H : 28.3 x 15.7 x 15.7 inches. Approximate sizes.

Large floor vase in black glazed ceramic by Patrick Crulis. 2024. Unique piece. H : 27.9 x 15.7 x 19.7 inches. Approximate sizes.

19th-20th century antique bronze by Joaquin Angles listed "Premier Triomphe" a fine casting of a winged angel. Signed and titled on base.   

French brass duck’s head letter ppener, paper knife A great desk piece, the knife sits neatly on your desk ready for use, all in solid brass and go...

Blue glazed ceramic vase by Accolay. Artist signature under the base. Circa 1960-1970. H : 8.7’ x 7.7’ inches.

Glazed stoneware sculpture by Michel Lanos. Artist signature under the base. Circa 1980-1990. Unique piece. H : 27’ x 17’ x 12’5 inches.

Golden glazed ceramic cup with metallic highlights by Gisèle Buthod Garçon. Raku fired. Artist monogram under the base. Circa 1980-1990. H : 2.7’ x 7.9’ inches.

Green/blue glazed ceramic cup by Gisèle Buthod Garçon. Raku fired. Artist monogram under the base. Circa 1980-1990. H : 2.4’ x 8.3’ inches.

Large tubular vase « Bambou » in black glazed stoneware by Jean-Pierre Bonardot. Artist monogram under the base. Unique piece, circa 1990. H : 25.2’ x 3.9’ x 5.1’ inches.

A porcelain sculpture by Wayne Fischer. Perfect original conditions. Signed. Unique piece. 2006. 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...

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 porcelain sculpture by Wayne Fischer. Perfect original conditions. Signed. Unique piece. 2015. 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...

Adam and Eve standing, Eve with a snake wrapped around her arm and Adam posed with his fist on his head. Signed on base. Artist is represented in The Metropolitan Museum in New York, Whitney and Newark Museum. He enrolled at the Pennsylvania Academy and met Paul Manship who became a lifelong friend. His mother was the daughter of noted Boston artist William Morris Hunt...

A ceramic vase signed Alistair Danhieux. Signed and dated under the base. 2010. Perfect original conditions.

A ceramic vase signed Alistair Danhieux. Signed and dated under the base. 2010. Perfect original conditions.

Large Watercolor depicts the daily life of French soldiers belonging to the cavalry. This scene can be dated thanks to the clothes worn by the men in this work. Indeed, the bright bl...

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 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 pair of ceramic vases by Armand Bedu to La Borne. Perfect original conditions. Signed under the base, circa 1940-1950. A second pair is available.

A ceramic sculpture white glazes decoration by Alistair Danhieux. Perfect original conditions. Signed under the base, circa 2010.  

Tuscan vintage clay hand-painted vase, signed by the famous Zaccagnini, Tuscan artist. Not affected by fashion: there is no other like it. It's also per...

A ceramic vase, sculpture by Michel Lanos (1926-2005). Perfect original decorations. Artist monogram under the base, circa 1990. Unique piece.

A ceramic vase-sculpture by Michel Lanos (1926-2005). Perfect original decorations. Artist monogram under the base, circa 1990. Unique piece.

A ceramic vase with glazes decoration by Michel Lanos (1926-2005). Perfect original decorations. Artist monogram under the base, circa 1990....

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

Beautiful bronze sculpture by the Portuguese artist Gloria Morena from 1977. Very good conservation and general condition for this bronze representing ...

Marble and gilt bronze Orientalist sculpture by Hautot French, Early 20th Century Figure: Height 60cm, width 20cm, depth 18cm Base: Height 12.5cm, width 30cm, depth 30cm Overall: Hei...

A painted plaster sculpture from 1900s France. This sculpture depicts a lion climbing up to a cliff's edge, with legs stretched back releasing a ferocious roar. The gold paint that coats the plaster cast sculpture has chipped here and there, adding maturity to the image of the jungle king...

Italian Tuscan vintage clay hand-painted vase, signed by the famous artist Zaccagnini. Perfect as a lamp base also. O/5873.

Wonderful white marble statue of a smiling sweet little girl, with flowers in the hair. a very unusual marble statue . nr. O/7552.

Wonderful old crystal vase, finely engraved. Very precious and beautiful also without flowers, Measures: Diameter lower cm.17, Diameter upper 23 cm O/311.

O/3321 - Little casket with beautiful landscape miniature, briar-tuia wood - miniature fixe on silk, A very rare objet : for collectors. I keep it leaning on a chest of drrawers ...

Antoine-Louis Barye (French. 1796 - 1875) Cheval surpris par un lion, seconde version (Horse surprised by a lion, second version) Modelled circa 1833, cast probably before 1875 Signed on base "Barye", Bronze: 15.25 Inches Tall x 14.5 Inches Wide x 6 Inches Deep (38.75 cm x 36.85 cm x 15.25 cm) Provenance: The Estate of William H. Truettner to be sold for the benefit of The William H. Truettner Fellowship at Smithsonian American Art Museum. William Truettner, Curator of 18th and 19th Century Painting...

La Chasseresse Indienne, The Indian Huntress by Paolo Di Ferdinando Triscornia (Italian, 1856-1936) , after Charles Cumberworth white marble, signed Paolo Triscornia / F H 34 in. (8...

Antique elegant pipe-holder: an unique piece for an unique gift! It is made entirely- carved wood.  

Sculpture in Sèvres porcelain, titled « Fallen woman », by Louise Bourgeois for the manufacture nationale de Sèvres, France circa 1996. Edition numbered 21/25. Stamped « Manufacture ...