France - Sculptures

Bronze with brown patina. Signed and numbered "Jacques Tenenhaus 1996 1/8" Landowski Foundry's Mark, 1998. Provenance: Artist's Workshop.

Jacques Tenenhaus (Paris, 1947). Bronze with brown patination. Signed and numbered on the lower left «Jacques Tenenhaus 1/8». « Landowski Fondeur, 2001 » foundry. Exhibition : Ga...

Broken Heart, Revealed Treasure This porcelain heart, delicately broken and beautifully restored using the traditional Japanese kintsugi technique, unveils an unexpected secret: a s...

Superb patinated earthenware sculpture representing two elephants fighting, France 1800s, Romantic period. Beautiful details enhancing the vivacity of the...

Thierry Mazille « Tour Eiffel» d’après « Gustave Eiffel », 1998 Signée MT Travail d’art brut par Thierry Mazille Pièce Unique Œuvre cré...

Here is a stunning pair of finely chiseled, bronze candlesticks from the mid-19th century. These bronze candelabras, with a body resembling a tree trunk adorned with oak leaves and a...

Ceramic sculpture entitled « Rocher posé » by Pierre Martinon. Perfect original conditions. Signed and dated at the base "Pierre Martinon 1985". Unique piece. Far from ...

Ceramic sculpture entitled « Entre-deux » by Pierre Martinon. Perfect original conditions. Signed and dated at the base "Pierre Martinon 1991". Unique piece. Far from t...

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

Ochoa Clemente (Born in Spain, 1937) Bust of a young woman with long hair Bronze brown patina, lost wax Signed Marble base.

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

African Vide Poche and sculpture, withan woman head, in wood, 1960 ashtray, sculpture in wood.

This table lamp, is a sculpture, representing a male and Females face, carved in the wood. The wood has this light brown color of this wood, with the old patina. This lamp was made i...

Onxy, brass and gilded gold wall lamp designed and produced by Christian Caudron, Meilleur Ouvrier de France 2015*, in his Parisian workshop. This sconce, part of the Bridge Colle...

Sculpture no end blue bronze all in solid bronze in blue finish.

P. Plumet « Woman with hat » 20th century Bronze green patina Lost Wax.

Superb sculpture of a laying doe from the Chinese Han Dynasty (206BC-220AD). Remainders of polychromic paint, namely red, symbol of good fortune and joy as well as the season of summer, and green, symbol of vigor and vitality and the season of spring. Mounted on base. A similar sculpture in bronze is kept at the Met Museum with the following description " A low bed, small table, and screen were often the only furnishings in a Han-dynasty room. The floors were generally covered with mats kept in place with weights in the shape of single animals, fighting beasts, or entertainers." Condition seen in pictures. Dimensions in cm ( H x L x l ) : - Sculpture : 35 x 40 x 10 - With base : 45.5 x 44 x 15 The Han Dynasty ruled China from 206 B.C. to 220 A.D. and was the second imperial dynasty of China. It is known for its promotion of Confucianism as the state religion and opening the Silk Road trade route to Europe, permanently altering the course of Chinese history. Han Dynasty art and inventions like paper still influence the world today. From the Han Dynasty to the present, deer can be found in many materials and media—rock crystal, nephrite, ink on paper, porcelain, cloisonné enamel, jade, bamboo root, textile, bronze, etc.—alone or in groups, among trees and rocks and in various positions. They appear on everyday objects, from boxes to incense burners, incense holders, lamps, mirror holders and the droppers scholars used when they wrote. A symbol of longevity and grace in Chinese mythology, the word deer is pronounced lu, a homonym for emoluments—favors granted to officials. They therefore represent wealth, nobility and success in imperial examinations (civil service exams for selecting candidates for the state bureaucracy in Imperial China). Deer were the faithful companions of Shu Lao, the god of longevity, and the goddess Magu. They were reputed to live long and to be the only creature able to find the mushroom of immortality, linghzhi. Although its spots are different, deer are sometimes confused or associated with stags, a Manchu hunting trophy whose antlers served to make prestigious furniture. (La Gazette Drouot, Claire Papon) For the colours found on this piece, in Chinese culture, red symbolizes good fortune and joy. Green, symbolizes the spring when everything is brimming over with vigor and vitality. The Han Dynasty (206 B.C. to 220 A.D.) continued the Qin Dynasty’s use of dark colours, but incorporated red. During the earlier years, or Western Han Dynasty, ordinary people wore red while court dress was black. Shoes were red in color. The clothing worn for sacrificial rites was black edged with red. In the later Eastern Han Dynasty, red symbolized the dynasty’s “fire Virtue” and became predominant. Court dress was red. Sacrificial rites called for a red-edged white layer under robes with red socks...

Edmond Moirignot (1913-2002), The sacred dance, 1965 Valsuani Foundry 2 / 6 Exhibition of the plaster at Montmorency Gallery, Paris, december 1965 Exhibition of the bronze...

This statue depicts the Crowned Virgin Mary, faithful to 19th-century religious models popular from Rome to Lourdes and Paris. The renowned Maison Raffl in Paris developed casting te...

Aglae Liberaki (1923 – 1985). Bronze sculpture. Lost wax. Foundry’s mark Valsuani. Monogram et dated 72.

Sculpture shift bronze all in solid bronze in dark blue-green finish.

Contemporary sculpture inspired by the tubular art aesthetic that flourished in Europe under the Bauhaus movement. Its interlaced metal lines create a dynamic play between strength a...

Magdalena Reinharez (1925 – 2012) Bengal Tiger Bronze sculpture with brown-green patina Signed « M. Reinharez 1/8 » Numeroted 1/8 Foundry mark: Chapon, Paris Biography Born in Central Europe, Magdalena Reinharez arrives in France at a young age. She takes her painting class with masters such as Fernand Léger and André Lothe...

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.

Sculpture of a white horse's head in composite material, metal base. Sculpture of a beautiful white horse's head, in resin and metal base, contemporary work. Material: Resin ...

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.

Carved basswood dog, Black Forest style, sitting and looking to the left. European work realized circa 1900. Reference: LS58851209D

Rare sculpture de Jacques Mauplot vers 1970.

Silvino Poza 1926 - 2010 Zambra Bronze sculpture with Green patina Lost Wax technique Signed : S.Poza Numeroted : n° 2/6.  

Glazed ceramic wall lamp with geometric relief made by the Jean Roger workshop in Paris. Available in green, yellow, blue, pink, brown, and matte white colors and in two sizes.

Rare piece: Magnificent brass tree from the 60s by the famous French Maison Jansen representing a three-branched Yucca on a square base in black lacquered wood and circled with brass...

Sculpture the circle bronze with all structure in solid bronze in blue green finish.

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. 2018. 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...

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...

Sculpture Udaipur green elephant in handcrafted porcelain, hand painted porcelain. With 24-karat gold plated details.

Seal Stamp "Statuette Drapée" made in frosted glass with turquoise patina by René Lalique in 1912. Engraved signature. Perfect condition. Sublime patina. Height: 6.5 cm Félix Marc...

Bronze proof sculpture with brown-green patina. Blanchet-Landowski Foundry, EA.

Small-scale model of our beautiful sculpture in the Taste of Antiquity. This bust represents Hermes, son of Zeus and messenger of the gods. It is a fragment of a statue from the Impe...

Sculpture cherry gold Large all handcrafted in ceramic, in gold finish. Large: L 33 x D 31 x H 91 cm. Price 1980,00€. Also available in cherry medium large. Medium: L 23 x D 22 x H 6...

Artist : René Broissand Title : Pair of Door handles « Birds » - Small Size Date : circa 1970 Size: 3 in (h) x 6.3 in (l) x 2.2 in (w) / 7.5 cm (h) x 16 cm (long) x 5.5 cm (larg) Mat...

A zoomorphic ceramic-sculpture- vase by Guerin. Signed under the base. Circa 1950-1960.  

4.8 kg

Francky Criquet. Born in 1968. Glazed stoneware masks. Human and animal faces. Each piece is unique Dimensions: between 25 and 35 cm.

Sculpture glass alchemy green made with Glass paste, with strips glass paste polished and molded, colored with pigments in green powder and casted on a raw stone base. Exceptional...

TOTEM 1 sleep guardian or Kata Sergo from the ethnic Gorague´, South / South West Ethiopia. Different ridges are intended to evacuate the bad vibes from the fireplace to the top h...

Sculpture in burnt wood 'Ofrenda I' by Camilo Andres Rodriguez Marquez (aka CarmWorks) Solid oak or cedar / burnt wood or natural Signed and numbered by the artist. -- Cami...

Bronze with a brown patina shaded with green representing a seated hunting dog signed on the base "F. PAUTROT". Very beautiful piece in good condition. Dimensions Height 45.5cm...

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

Sculpture in patinated wood, representing Buddha, made in China at the beginning of the 20th century. Buddha is depicted with his arms raised. The gold leaf with which it is covered,...

Jean-Baptiste Vendamme (1977-, France) :Silverback "Gorilla III" Original patinated bronze sculpture numbered on 8 Signed of the monogram of the sculptor "J-B Vendamme" Bears the ...

Monica Machado Born in Lisbonne (Portugal) in 1966. Lives in Paris since 1981. Exhibition: 1993-1997. Callu-Mérite Gallery, Paris 1994.Solo Show Galerie Callu-Mérite, Paris 19...

An abstract stoneware sculpture, circa 1970 by La Borne Potters. Signed. Unique piece.

This unique piece by Lebanese artist Nayla Tabet is a tree sculpture combining high-quality metal wires and finely cut yellow-colored paper, resulting in a one-of-a-kind work of art....

Magdalena Reinharez (1925 – 2012) Dromaderies Bronze sculpture Signed « Magdalena Reinharez 3/8 » Numeroted 3/8 Foundry mark : Chapon, Paris Biography Born in Central Europe, Magdalena Reinharez arrives in France at a young age. She takes her painting class with masters such as Fernand Léger and André Lothe...

Fibreglass sculpture of a balloon dog, contemporary art, 21st century. Fibreglass sculpture of a balloon dog, contemporary art, 21st century. h: 48cm, w: 40cm, d: 22cm Weight : 5,9 kg

Green marble sculpture. Base signed "MARIO C : G" and dated 1997.

This carved oak woodwork was probably placed on the facade of the house, close to the roofing framework of a Norman house. The sculptor had depicted the salamender frontview in a sty...

Bronze, got foundry, 2/8, signed. Bibliography: Double sortie de chaos, page 8.