French Folk Art

Stoneware lamp with geometric decoration by Georges Martin. Artist monogram on the base. Circa 1970-1980. H : 8.7 x 12.9 inches (ceramic only). Sold with a European electrical system.

Stoneware lamp with geometric decoration by Georges Martin. Artist monogram on the base. Circa 1970-1980. H : 5.5 x 7.7 inches (ceramic only). Sold with a European electrical system.

Stoneware lamp with geometric decoration by Georges Martin. Artist monogram on the base. Circa 1970-1980. H : 7.1 x 8.7 inches (ceramic only). Sold with a European electrical system.

Beautiful early 20th century French decoy duck. Hand carved in wood and hand painted, the decoy has a movable head that can be turned left or right, it is a...

18th century wooden carving of an female form. Presumed to be a French church piece. This figure has a beautiful face.

This exquisite 18th-century French portrait painting depicts a man and comes in its original gold-painted gilt wood frame. The painting showcases the fine artistry of the period, cap...

A terrific 18th century Arte Populaire Brusque from the Ardeche region of France. A vessel used for preparing chestnuts.

A big ceramic vase to La Borne. Perfect original conditions. circa 1970. Signed at the base.

Large Antique Statue of a French Freedom Fighter ca. 1920s A large wooden French freedom fighter statue holding a metal saber. The hand-made scu...

Square stoneware pot with abstract decoration by Georges Martin. Artist monogram under the base. Circa 1970-1980. Unique piece.

Circa 1900 wallpaper printing roll from France made from pine.

Square stoneware pot with abstract decoration by Georges Martin. Artist monogram under the base. Circa 1970-1980. Unique piece.

Square stoneware pot with abstract decoration by Georges Martin. Artist monogram under the base. Circa 1970-1980. Unique piece.

Full of character and rich in history, this antique French Provincial fruitwood grain scoop was once simply utilitarian, used to shovel oats into sacks. This fruitwood scoop has a lo...

Sculptural Pitcher by André Aleth Masson. Beautiful Black Satin Ceramic. Signed by the " Triskèle " and 3 Masson "

A ceramic vase by Robert Heraud. Perfect original conditions. Signed under the base. Circa 1970-1980. Unique piece.

A ceramic vase by Lucien Arnaud with glaze decoration. Signed under the base " Lucien Arnaud ". Circa 1920.  

A pair of gros – point stitched panels representing orientalist scenes: One with a tiger hunt and the other with a battle scene, both in a setting of tropical vegetation on a black g...

Late 19th century gold gilt zinc weathervane A true working example of a late 19th century zinc weathervane in the form a rooster. With its original gold gi...

dark green and brown glazed stoneware vase by Daniel de Montmollin. Artist signature under the base. Circa 1990-2000. H : 13.4’ x 9.4’ inches.

A big wall decoration ceramic plate by Roger Collet. Green and blue, white glazes decoration. Perfect original conditions. Signed under the base "Collet".

An African Ceramic Mask by Marino Le Vaucour. Vallauris, France 1960s Signed. Size the mask : Height : 32cm Large : 14cm Size the pedestal : Height : 51cm Large : 21 X 19cm The p...

A ceramic cup with white and green glaze decoration by Sainte Radegonde. Perfect original conditions. Signed " D" under the base. Circa 1960.

A ceramic vase by Robert Heraud. Perfect original conditions. Signed under the base. Circa 1970-1980. Unique piece.

This rare early 19th-century French Colonial carved coconut "bugbear" flask is a fascinating artifact showcasing the artistry and resourcefulness of sailors, soldiers, or prisoners o...

Circa 1900 pine wallpaper printing roll from France.

A ceramic dish with glaze decoration. Perfect original conditions. 1936. Signed and dated under the base "Guillaume 1936".  

A ceramic vase by Lucien Arnaud with glaze decoration. Signed under the base " Lucien Arnaud ". Circa 1920.    

A big ceramic dish by Gustave Tiffoche. Perfect original conditions. Circa 1970-1980. Signed under the base.

A ceramic vase by Robert Heraud. Perfect original conditions. Signed under the base. Circa 1980. Unique piece.

A ceramic pitcher by Accolay with green, blue, yellow glazes decoration. Perfect original conditions. Signed under the base, circa 1960-1970.

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...

Gaston Chaissac (1910-1964), Ink on Paper, Signed and dated "24.12.56" on the bottom left corner, France. Measures: 20 x 26.5 cm. Gaston Chaissac (1910-1964) was the son of a shoemaker, who discovered painting with Otto Freundlich...

Porcelain sculpture entitled "Solstice" . Unique piece. Signed under the base. 2022.

Painted faux grain tole cutlery caddy from France circa 1880-1910. Note: Original/early finish on antique and vintage metal will include some, or all, o...

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 big decorative ceramic pitcher attributed to La Borne potters. Handwritten signature. Unique piece. Circa 1970-1980. Perfect original conditions.

Schiaccianoci in legno di nocciolo intagliato. I manici sono a forma di fuso a connettersi alla parte superiore. La scultura raffigura il busto di un monaco con tonaca e cappuccio. L...

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

A sensational early 19th century French Chapeau De Gendarme - officer's hat box in leather. Such a nostalgic shape!! A great accent piece for any b...

A ceramic vase with white glaze decoration. Perfect original conditions. Signed "Lion" under the base, circa 1920-1930.

A ceramic vase by Annie Maume to Sancerre. Perfect original conditions. Unique piece. Signed at the base. Circa 1980-1990.

A large earthenware ceramic jardiniere or planter. This piece is decorated with a creamy white and blue design. Each side features an applied free-form handle. This would be great in...

A ceramic vase with white, green, black glazes decoration, attributed to Sainte Radegonde. Perfect original conditions. Circa 1950-1960.

A ceramic vase by Lucien Arnaud with glaze decoration. Signed under the base " Lucien Arnaud ". Circa 1920.   

This Karl bub 7-window passenger coach is an original vintage toy. Vintage toy representing a seven window passenger coach. Number two of a group, made in tin in Germany. Very g...

An enchanting 19th Century French Arab patinated bronzes boy snake charmer, circa 1880. Batch 74

Early 20th century folk art model 'EST-CE UN PIETON OU UNE VOITURE?' (IS IT A PEDESTRIAN OR A CAR?) An Early 20th century French hand carved folk art model, depicting a police...

19th century hand-painted tole shoemaker sign.

Porcelain sculpture entitled "Solstice" . Unique piece. Signed under the base. 2022.

A rare monumental ceramic vase by Daniel Maes. Perfect conditions. Signed and dated at the base, circa 1992.

A stoneware vase by Jeanne & Norbert Pierlot to Ratilly. Perfect original conditions. Artist monogram under the base "Pierlot." circa 1970. Unique piece.

A Decorative Plate by Simone Picault Vallauris France 1970s. Wife of the famous artist Robert Picault. In good condition.

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 vase by Robert Heraud. Wood firing. Perfect original conditions. Signed under the base. Circa 1980. Unique piece.

A pair of ceramic vases by Charles-Henri Guieba with geometrical decoration. Wood firing. Perfect original conditions. Each piece is signed under the base. Unique piece. 2022.

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...