France - Folk Art

This antique North African clay pot, signed Sabiha, is an authentic and unique piece from the 20th century. Crafted from clay, it reflects traditiona...

A Ceramic Panel by Simone Picault Vallauris France 1970s Wife of famous artist Robert Picault. Report : minor chip on the edge and behind.

19th-century bronze currency bracelet / Manilla in horseshoe form with fixed opening. Intricate graphical swirled rope work design and tips are shaped with large flat ends with geome...

This stylish vintage hoodie from DEHA’s 2007 collection combines Italian craftsmanship with timeless design. Made from 100% cotton, it offers comfort and durability, making it perfec...

This sleek men’s t-shirt from United Colors of Benetton’s 2015 collection combines comfort and style. Designed with a fabric blend of 65% polyester and 35% Pamuk (cotton), it offers ...

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

An interesting composed pair of original mid 17th/early 18th century cage or basket Stirrups. Superbly hand forged and of the period in wrought iron with openwork branches and foot plate, one with a rotating attachment eye, good general condition and a little oxidation. The main suspension arch resembles that of a horse shoe, the front branches look like those of a sword guard...

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 beautiful bronze vessel, lidded pot on three legs, made by the Asante People, Ghana. Nicely cast lid with 4 reptiles and a bird. Several faces are depicted on the side of the vesse...

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

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

Decorative Folk Art hand-carved hardwood crocodile, with lots of details in the carving. Nigeria, circa 1970s.

A big ceramic sculpture by Pierre Baey. Unique piece. Perfect original conditions. Circa 1990.  

A ceramic covered jar by Jean and Jacqueline Lerat to La Borne. Perfect original conditions. Signed under the base " JJ LERAT LA BORNE ". Circa...

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

This vintage 20th-century glass ice bucket with a symmetrical design is a charming addition to any table setting or kitchen collection. Measuring 5.3 inches (13.5 cm) in height and 4...

Bwa mask from Burkina Fasso Burkina Faso, Black Volta River region Culture: Bwa peoples Provenance: Private Swedish collection Bwa plank masks are conceive...

These vintage 20th-century bronze furniture fittings in the Empire style are a beautiful and decorative addition to any collection. Measuring 5.1 inches (13 cm) in height and 2.8 inc...

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

This charming watercolor still life by Jette Boving, created in 2005, is an exquisite example of fine art that will add a touch of elegance to any space. Measuring 16.1 inches (41 cm...

This is an original 20th-century watercolor and pastel drawing signed by M. Ysnel, titled Cadole de Campagne. It beautifully captures a rustic countryside scene, likely inspired by t...

Rare decorative earthenware dish by renowned Californian artist Phillip Herschel Paradise. Hand-painted decor, circa 1955. Signed. Phil Paradise wa...

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

This striking black ceramic ashtray by French artist Roger Capron features a stylized Africanist figure with elongated forms and geometric lines. Combining functionality with sculptu...

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 ceramic vase with blue glaze decoration by Accolay. Perfect original conditions. Signed "Accolay" 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, 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...

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...

Wall Decorative African Ceramic Masks Contemporary Made by Lukia France, 2002 Original perfect condition Signed and dated 2007

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

A ceramic dish with an abstract glazes decoration by Robert Deblander. Perfect original conditions. Signed under the base. Circa 1965-1970.

A wall ceramic sculpture with white and green glazes decoration. In the style of sainte radegonde. Perfect original conditions. Circa 1960.

A big ceramic covered jar with glazes decoration by Alain Gauderbert. Perfect original conditions. Signed under the base " Gaudebert ". Circa 1...

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...

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

From the bedroom of a Breton manor, this solid oak fire screen stands out for its finely carved decoration and its structure with four uprights topped by small turned finials in the ...

A big ceramic vase by Eugene Lion with glaze decoration. Signed under the base " E. Lion". Circa 1920.   

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 pitcher with glaze decoration by Accolay. Perfect original conditions. Signed under the base, Circa 1960-1970.

Pair of Bronze stirrups (Estribos), 19th century. Measures: H: 14 cm, W: 29 cm, D: 11 cm.

Early 20th-century brass or copper alloy with higher nickel content. Bracelet in horseshoe form with fixed opening. Turned design with rectangular shapes and carved swirling patterns...

Superb and rare Arma Christi calvary, popular work, France end of the 19th century. Beautifully executed work. Fair condition. Several small misses and ancient restaurations. See...

This delightful watercolor by M. Duriez captures the timeless beauty of "The Church of Morienval" in the Oise region. With soft colors and skilled brushwork, this piece portrays the ...

This exquisite watercolor by M. Duriez, titled "In the High Vosges: Le Col Schlucht," captures the majestic beauty of the Vosges mountains in northeastern France. A striking depictio...

This lovely 20th-century watercolor by M. Duriez captures the iconic beauty of Paris, showcasing "La Seine, la Coupole, and Pont des Arts." The artist's detailed brushwork brings to ...

This charming antique children's chair, crafted from wood and wicker, dates back to the early 20th century. A beautifully aged piece, it exhibits the rustic wear of its time, making ...

This elegant blue and white faience soliflore vase is a beautiful example of 20th-century design. Signed and numbered, it showcases a timeless floral style that adds a touch of sophi...

A trio of two Ducks and a Curlew - ancient decoys used for shooting. Naively carved and painted. The curlew with evidence of gun shot. Hand carved and painted. Paint now faded but a...

Superb and rare earthenware Dourne Quercy water jug with comb decorations. Painted in the antique style with Kaolin clay. France late 1800s. Dimensions in cm ( H x D ) : 29 x 42.5 Secure shipping. The dourne is part of the family of head jugs intended to hold domestic water. Its shape is very large and not very open. It has a tubular spout and one or more flat handles. The Quercy dourne has four handles. Its thin walls made it light and favored perspiration to refresh the water. The user would pierce a hole in the side. With a wooden peg, this opening allowed water to flow on demand over the sink...

Kholuka Yaka Mask, DR Congo. Wood, basketry, textile, raffia. Typical African mask of the Yaka in the south of the Democratic Republic of Congo. The Kholuk...