French Folk Art

This wind up jeep car is an original vintage metal toy. Unknown manufacturer and age. Functioning but lightly damaged mechanisms. Not in p...

Albert Chubac, Composition, Mixed-media on paper, Stamped, circa 1960, France. Measures: Height 1m73, width 70 cm, depth 1 cm. Albert Chubac was born in Geneva in 1920. After studying decorative...

small ceramic round vase by Ruelland, signed

Stoneware sculptural lamp by Georges Martin. Artist signature on one side. Circa 1970-1980. Unique piece. H : 9.4’ x 3.9’ x 11.2’ inches.

Michel Aroutcheff Biplan de Corto Maltese Bois et résine Édition limitée 999 exemplaires Measures: 61 x 47 x 14 cms Parfait état Collector 690 euros.

Valuable early 20th-century mirror with a cymatium, side scrolls, and curlicue decoration. Restored and finished in gold leaf and lacquer. Dimensions: H. 164.5 cm - W. 112 cm - D. 4...

Grand Miroir en chêne massif et verre biseauté par André Le Picard 1950

Exceptional achievement in modeled stoneware with great attention to details giving each piece an intrinsic decorative value. Handwritten signature on the back of the chessboard. M...

Set of kitchen treen with 2 hourglasses, one candlestick holder and pepper mill. All 19th century French.

An exceptional rug made in Aubusson, by Maurice André, France 1950. This Post-modern, Forme-Libre, Geometrical Abstraction, piece is made in thick wool i...

A small 19th century French Elm bowl. Lovely grain and patina.

Raoul Raba, yellow sculpture, light wall panel, gold lacquered metal, circa 1970, France. Height 144 cm, diameter 124 cm.

Pair of andirons in a plain style with a brass globe on top. France, 1880-1900. Solid iron in good condition according to its age. Firedogs are used as a holder for firewood in a fi...

Pair of wonderful andirons with a plain globe decoration. France, 1880-1900. Solid iron in good condition according to its age. Firedogs are used as a holder for firewood in a firep...

Wonderful pair of andirons with throned figure. France, late 19th century. Solid iron in good condition according to its age. Firedogs are used as a holder for firewood in a firepla...

Albert Chubac (1925-2008), Oil on canvas, Framed, Signed and dated 64 on the back, France, 1964. Measures: 158 x 110 cm. Albert Chubac was born in Geneva in 1920. After studying decorative...

Found in the South of France, this life size wood hand painted chef was once used at a bistro in Provence. Painted on both sides, this unique piece of art could be displayed on a wal...

Simple, interesting French hairdressing sign.

Stoneware lamp with geometric decoration by Georges Martin. Artist monogram on the base. Circa 1970-1980. H : 7.9 x 7.9 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 : 14.6 x 7.5 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 : 5.9 x 10.2 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 : 6.7 x 11 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 : 11.8 x 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 : 10.6 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 : 12.9 x 7.5 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 : 9.05 x 7.7 inches (ceramic only). Sold with a European electrical system.

Gabriel Marc Louis Ferro was born in Paris, France in 1903. He was captured by the grey and dismal French industrial marinas and working neighborhoods, always painted in shades of gr...

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.

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.

Painted by a school teacher in rural Hautes Pyrenees, France. Based on the Toto, Lili, Rene and Jojo French educational stories. Most likely the teacher...

Clement Massier, art nouveau flower spike, Vallauris circa 1900.

Alain Douillard (1929-2017), Totem sculpture, unique piece, brazed gold metal with two patinas, circa 1970, France. Height 111 cm, diameter 28 cm.

A painted terra cotta rooster.

I purchased this painting from a dealer in France. 1970's Art Deco style Oil on Canvas Painting "Angel on my Shoulder". I had this custom framed in a high deco style. I do not know w...

Watercolour on paper, portrait of an African woman, 20th century. Watercolour on paper, portrait of an African woman, 20th century, unsigned. H: 61cm, W: 46cm, D: 0,3cm

Grand Miroir Rond Industriel en bois 1920 Ancien grand moule de fonderie en bois début 20ème, patine rouge d'origine

Early antique federal eagles [pair] beautiful glaze. ca 1900, came from an antique collectors personal collection, you can see a repair on one of the eag...

This lovely oil painting features very soft blue and green colors from a landscape scene in Savigny, France. In the painting, there are 2 people in a canoe.

Wood Carving by Jean-Claude Gaugy

Painted miniature Normandy church. Two pieces. The doors on the bottom level open.

Albert Chubac Painting, Mixed-media on paper, circa 1960, France. Measures: Height 88 cm, width 62 cm, depth 1 cm. Albert Chubac was born in Geneva in 1920. After studying decorative...

This is a lovely oil painting of Paris in the 19th century. The colors are vibrant but soothing. The artist of this painting is unknown. This artwork is also included with a beautifu...

Albert Chubac (1925-2008), Oil on canvas, Signed in the bottom right corner, France, circa 1960. Measures: 162 x 130 cm. Albert Chubac was born in Geneva in 1920. After studying decorative...

Watercolour on paper, portrait of an African woman, 20th century. Watercolour on paper, portrait of an African woman, 20th century, unsigned. H: 53cm, W: 73cm, D: 0,3cm

Late 18th Century Rococo Painting by A. Calagna, no paperwork. beautifully painted in custom frame. Some separation on canvass on bottom of frame. See detailed pics and message us ...

Jean Da Milano (1928-2017), Painting, Creased Kraft paper and collage, mixed media, Signed lower right, circa 2000, France. Measures : Height 100...

Oil On Canvas Landscape Of Flowered Countryside With Villages And Animated Fields, Signed Handmade shadow gap frame with gilding Born March 26, 1926 in Luzarclus. Nicole Fourcroy-...

Ceramic mask, Accolay, France, 1960s. Accolay was a pottery center in France, north of Burgundy, founded amongst others, by 4 students of Alexandre Kostanda. Active between 1945 and...

This is a 1900s copper pair of theater sign with big leather A. Bought sign handmade and constructed.

Sculpture in black glazed stoneware by Jean-Pierre Bonardot. Artist signature under the base « JP Bonnardot ». Unique piece. Circa 1990-2000. H : 13.8’ x 18.5’ x 10.6’ inches.

Large tubular vase « Bambou » in black glazed stoneware by Jean-Pierre Bonardot. Artist monogram under the base. Unique piece. Circa 1990. H : 30.3’ X 6.3’ X 5.1’ inches.

Pierre Adrien Ekman (1904_1993), paint and gold leaf on canvas mounted on wood panel, imaginary theater set, circa 1960, France. Height 1m29, widt...

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. 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...

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. 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...

Found in the South of France, this life size wood hand painted chef was once used at a bistro in Provence. Painted on both sides, this unique piece of art could be displayed on a wal...

This pair of Art Nouveau Style hand-carved wood ornaments feature a highly detailed and flowing floral design and tapestry inset panel. Large intricate florals are featured prominent...

Candelabra Jugendstil, Art Nouveau, Liberty We have specialized in the sale of Art Deco and Art Nouveau and Vintage styles since 1982. If you have any questions we are at your disp...