Beaux Arts Furniture

White glazed stoneware lamp base by Hervé Rousseau. Artist signature under the base. 2022. H : 12.2 x 9 x 7.5 inches (ceramic only). H : 16.1 inches (ceramic and electrical system). ...

Stupendo dipinto a olio francese,natura morta con fiori,intitolata dall'autrice Therese Guerin "le Vase Bleu".Therese Guerin (1861-1933) nativa di Lione,e' stata allieva di Medard and Perrachon e si è sempre distinta per la qualita' delle sue opere,questo dipinto ne è uno splendido esempio per la magistrale esecuzione delle rose e del vaso blu...

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.

White and red glazed ceramic coffee table by Mia Jensen. Artist signature at the base. 2024. H : 14.7' x 20.4'.

An American Silver-Plate and gilt table mirror 19th century. In the Rococo taste, the floral and foliate scroll decorated frame surmounted by a putto with Bacchus mask blowing trumpets raised on scroll feet, marked Derby Silver Co...

A 19th century French gilded wood and gesso monumental wall / over the mantel mirror. If a statement is needed this is certainly the mirror to make it with. The beveled center framed...

Engobed stoneware mirror « Solstice » by Mart Schrijvers. Artist signature under the base. 2024. H : 2.9 x 9.2 inches.

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.

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.

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.

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 ...

Tiffany & Co. Makers Sterling Silver Asparagus Tray, c. 1902-1907. Pattern introduced 1899, with scroll border and paw feet, removable insert on ball feet. Both the tray and insert a...

O/7418 - Interesting pair of old paintings reproducing the very famous works by Tiziano Vecellio : his daughter in the guise of a noblewoman and of a...

« Ostinato » table in raw stoneware with white glazed top by Denis Castaing. Artist signature under the base. 2024. H : 15.3 x 9.8 inches.

« Ostinato » table in raw stoneware with white glazed top by Denis Castaing. Artist signature under the base. 2024. H : 15.3 x 9.8 inches.

« Gloriette » table in raw stoneware with red glazed top by Denis Castaing. Artist signature under the base. 2024. H : 15.3 x 17.7 inches.

« Gloriette » table in raw stoneware with green glazed top by Denis Castaing. Artist signature under the base. 2024. H : 15.3 x 17.7 inches.

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.

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.

Engobed stoneware sculpture « Solstice » by Mart Schrijvers. Artist signature under the base. 2024. H : 7.9 x 11.8 x 9.1 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...

Italian Oval mirrored sconce with 4 lights. Refreshed in hand painted white finish. Iron flowers leaves. Newly rewired with clear cord i...

Antique English baby silver rattle, with mother of pearl handle. The first gift for a newborn. City stamp not clearly visible, but Birmingham may be. ref. A/16.

Carved Model of a Mongolian Pack Horse This rare and beautiful find from the early part of the 20th Century it has been hand carved going down a rocky hillside This hansom beast is ...

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

White and grey glazed ceramic mirror by Mia Jensen. Artist signature under the base. Circa 2023-2024. H : 1.9’ x 15.5’ inches.

Brown grogged ceramic mirror by Mia Jensen. Artist signature under the base. Circa 2023-2024. H : 1.9’ x 10.2’ inches.

Brown grogged ceramic mirror by Mia Jensen. Artist signature under the base. Circa 2023-2024. H : 1.6’ x 11.8’ inches.

Brown and grey glazed ceramic mirror by Mia Jensen. Artist signature under the base. Circa 2023-2024. H : 2.2’ x 9.6’ inches.

Brown grogged ceramic mirror by Mia Jensen. Artist signature under the base. Circa 2023-2024. H : 1.8’ x 9.6’ inches.

Blue glazed ceramic mirror by Mia Jensen. Artist signature under the base. Circa 2023-2024. H : 1.6’ x 8.5’ inches.

O/5300 - Oval antique portrait of a young famous maiden, but critics questioned are undecided : is she The Duchess of Polignac or Madame de Warens? On the back of the picture someone writed "Madame de Warens in 1729", but this portrait is very similar to that of Yolande Martine Gabrielle de Polastron duchesse of Polignac, great friend and favorite of the queen Maria Antonietta...

Table lamp in beige grog clay by Denis Castaing. Artist signature under the base. 2019. H : 12.8’ x 10.6’ inches (ceramic only). H : 17.5’ x 10.6’ inches (with electrical system). So...

Triptych of abstract paintings by Jean Cuillerat, France circa 1960. Gouache on cardboard. Jean Cuillerat (1927-1998) Mouvement de la nouvelle Ecole de Paris rallié au mouvement de l’abstraction lyrique...

Mounted half block boat, ship builders/owner’s model The half model was made in the 1960s and is mounted on mahogany which Measures approximately 30” by ...

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

A ceramic Africanist lamp table with glaze decoration. Circa 1930-1940. Perfect original conditions. Sold with a new European electrical system. H : 14.6’ x 8.8’ x 8.7’ inches (cera...

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

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...

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.

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.

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.

« Vesprée » table lamp in raw stoneware, partially glazed in white by Denis Castaing. Sold with a new European electrical system. 2023.

Black and blue glazed ceramic mirror by Mia Jensen. Unique piece. Signed under the base. circa 2023.

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...

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.