20th Century Specialists Folk Art

Benoist Favre Realised circa 1970 Original brown ceramic pitcher with decoration Handmade production Original perfect condition Signed at ...

An elegant porcelain sculpture represented a woman body with mat black glaze decoration by Tim and Jacqueline Orr. Signed at the base "Tim Orr". circa 1970-1980.

Eduardo Chillida (1924-2002), Composition 1990, Black felt pen on paper, Dedicated: "Pour Jean-Claude Duret, Cordialement", Signed in the bottom right corner, Spain. Measures: 37 x...

La Borne Original stoneware ceramic table lamp realised in La Borne circa 1970 Signed under the base Original perfect condition Sold without lampshade Ceramic measures...

Albert Chubac (1925-2008), Acrylic painting on cardboard, Stamped, France, circa 1960. Measures: Height 100 cm, width 140 cm. Albert Chubac was born in Geneva in 1920. After studying decorative art, then at the Beaux-Arts in Geneva, he obtained grants to travel to Italy, Algeria, Spain, Egypt and Greece, stages which will mark his work. He settled in 1964 on the Côte d ‘Azur in Aspremont in a very Spartan house, attracted by the light, the sun and the colors of nature. The year 1967 is the year of the establishment of the School of Nice. He will work and exhibit alongside Aman, César, Tinguely, Gilli, Ben, Rayse, etc ... In 1990, it was the consecration with the opening of MAMAC in Nice. Albert Chubac then becomes accessible to the general public. He will use solid primary colors, will develop modifiable structures and then develop the collages in three dimensions. Gradually, he broke away from his classical training and figuration to move towards abstraction through the encounters and influences of contemporary artists. Always in search of simplicity, He will radically limit the plastic means with a reduced palette, geometric shapes and simple gestures to concentrate on minimum conditions of possibility. His work, which lies between constructivism and geometric abstraction, is playful and imbued with the artist's joie de vivre. In 2004, following the major retrospective at the Museum of Modern and Contemporary Art in Nice, he donated around one hundred works to the City of Nice. Albert Chubac died in 2008 in Tourrette-Levens, near Aspremont. Bibliography: - Albert Chubac, MAMAC Nice, Cultures Nice Editions, 2004. - Albert Chubac: exhibition, Nice, Museum of Modern and Contemporary Art, January 29 - May 16, 2004. - Albert Chubac, Galerie Harter, 2013. - Albert Chubac, a lifetime of artist, Patrick Boussu and Cynthia Lemesle, South Art éditions, 2021. During the workshop auctions in Nice and Marseille, the Harter Gallery acquired the largest part of his work. Personal exhibitions: - 1950: Personal exhibition in Athens at the Zappéion museum. - 1954: Exhibition at the Arman Gallery in Geneva. - 1956: Exhibition at the Galerie Connaître in Geneva. - 1957: Exhibition at the Galerie La Palette in Zurich. - 1958: Exhibition at the Galerie L’Entracte in Lausanne. - 1960: Exhibition at the World House Gallery in New York. - 1967: Exhibition at the Galerie Loo in Geneva, at the Salon Comparaison in Paris, Aspects in Chexbres in Switzerland. - 1968: “Paintings” exhibitions from March 30 to May 11 at the Galerie Alexandre de la Salle. - 1970: Exhibition at the Maison des Jeunes et de la Culture de Magnan in Nice, at the Maison de la Culture Le Corbusier in Firminy entitled "Chubac recent works" and at the Galerie Royal Luxembourg in Nice. - 1971: Exhibition at the Galerie Germain in Paris and at the Fernand Léger School in Malakoff. - 1972: Exhibition on the village square of Aspremont, at the Galerie Royal Luxembourg in Nice. - 1973: Exhibition at the Galerie Ferrero in Nice. - 1974: Exhibition at Art-club in Antibes. - 1975: Exhibition at the Galerie Jacques Boudin rue de Dijon in Nice. - 1978: Exhibition at the Galerie Anne Roger in Nice. - 1980: Exhibition at the Galerie de la Salle in Saint-Paul de Vence from August 8 to September 9. - 1981: Exhibition at Lieu 5 in Nice from February 13 to March 20. - 1983: Exhibition at the Galerie d'Art Contemporain in Nice, at Anne Roger. - 1984: Exhibition "Lille Nice" at the Galerie GodArt in Lille from April 14 to May 17 and at the Galerie Luisella d´Alessandro in Turin. - 1985: Exhibition in Thonon les Bains at the Galerie Galise. - 1988: Exhibitions at Galerie Argéco in Nice and Galerie Triade in Barbizon - 1989: Exhibitions at the Galerie de la Salle, at Lola Gassin's in Nice, in galleries in Nice - 1990: he made four mobiles for the MAMAC in Nice, Exhibitions at the Galerie François Moulin in Lyon and Golden Gallery, ArtJunction in Nice. - 1991: Exhibition at the Galerie de la Salle in Saint-Paul. - 1992: Exhibitions at the Espace du consulat suisse in Nice, Besançon and opening of the Espace Chubac in Tourrette-Levens. - 1993: Exhibition at the Maison Comoni in Revest-les-Eaux, at the Galerie François Moulin in Lyon. - 1994: Exhibition at the Espace Caravadossi in Aspremont. - 1996: Exhibition at the Espace Dellile in Nice. - 1997: Exhibition at the Galerie de la Salle in Saint-Paul. - 1998: Last personal exhibition at the Galerie de la Salle in Saint-Paul. - 2000: Exhibition at Lympia college in Nice. - 2001: Exhibition at the Espace Chubac in Tourette-Levens. - 2002: Exhibition at the Galerie Scholtès in Nice and in Carcès in the Var entitled "Albert Chubac-Couleurs mobiles". - 2004: Great Albert Chubac retrospective at MAMAC in Nice. - 2011: Permanent exhibition at the Galerie Harter in Nice. - 2012: Exhibition at the Olympia Show in London at the Christopher Jones Gallery and at the Serge Castella Interiors Gallery in Bascara, Spain. - 2013: Exhibition at the Municipal Contemporary Art Gallery of Pochettes in Nice. - 2019/2021: Exhibition of works belonging to the permanent collection of MAMAC in Nice and exhibition "Geometry according to Albert Chubac" at the Galerie Harter in Nice. - 2021/2021: Permanent exhibition at Galerie Atelier 55...

Wall ceramic mask, circa 1950 French midcentury ceramic mask with elegant black ceramic glaze color. Original perfect conditions Measures: Height 24 cm, large 22 cm, depth 7...

Joseph Talbot Signed under the base Original XXth century design large stoneware ceramic vase Perfect condition Blue and brown stoneware ceramic glazes colors Circa 19...

A finely crafted and vibrantly hued striped hand loomed wool serape from Saltillo, Mexico.

French handmade ceramic Original stoneware ceramic vase with white and brown colors Original perfect condition Circa 1970 Measures:...

Elegant and rare gilt bronze by Tim Orr. Really precious abstract bronze represanting 2 abstract bodies, circa 1970 Signed under the base Dimensions : 12x24x10cm

An elegant porcelain sculpture represented a woman body with glossy black glaze decoration. Signed at the base "Tim Orr", circa 1970-1980.

An amazing zoomorphic ceramic by Accolay, circa 1960-1970. Perfect original conditions. Stamp signature under the base.                  

Large 1970s sign with embossed letters, Adult Peep Show - Books & Magazines. Sold without its original aluminum frame, can be back lit with LED. Small star crack to top of Red "S", minor loss of paint and scuffs. Subject matter is in the style of photographer Terry Richardson...

An elegant porcelain sculpture by Tim Orr with black and white glaze decoration. Signed under the base "Tim Orr", circa 1970.

A ceramic bowl with celadon glaze decoration by Jean-François Fouhilloux. Perfect original conditions. Signed under the base, Circa 1990-2000. Unique piece.

Elegant white ceramic pitcher. Freeform bird pottery pitcher realized, circa 1950 Original perfect condition Measures: Height 20cm, large 20cm.

A stoneware vase with white glaze decoration by the workshop Pierlot, Ratilly, France. Signature at the base. Perfect original conditions, circa 1980-1990.

Important ceramic table lamp. Made in France, circa 1970. Shiny black ceramic glaze. No signature. Excellent original condition. Dim...

19th Century, German, Hand Painted Porcelain Plaque

American Flag No. 1 by J. Wohnseidler. Arcylic on canvas with hand-applied starfish. Unframed. Signed/titled/dated by artist on back. Measures: 48 inches L x 36 inches H x 1.5 inches D.

Tim Orr Incredible gilt bronze sculpture representing a couple. Excellent original conditions. Signed under the base. Dimensions: 22 x 9 x 9 cm.

Abastract ceramic vase by french artist. Perfect original conditions. Signed under the base. Circa 1970-1980. Unique piece.  

Pierre Digan, circa 1960 Elegant black and brown stoneware ceramic tureen or decorative box Original perfect condition Signed at the base Measures: Height 22cm, large ...

Mary Ellen Toya Story Teller Jemez Mexico 7.25" tall with 11 babies. Singing Mother Motif, Singing Traditional Cochiti Songs. Am listing many American Ind...

Detailed and eye catching outsider art "found" wood sculpture. Constructed from floor moldings and cut paper geometric appliques. Unsigned.

Equisite pair of cast brass Carnivale masks mounted on black marble plinth bases. Very nicely patinated.

Incredible collection of pre-columbian clay sculptures / figures / statues / pottery, mounted and framed. The pieces date from the pre-classic (Formative) period of Meso-American cul...

Pierre Digan Extra large ceramic pitcher signed at the base Height : 40 cm Large : 30 cm Original perfect condition Light grey ceramic glaze decoration Original 20th m...

This Travel Size Backgammon Board by Geoffrey Parker is perfect for game lovers on-the-go. Its compact size makes it easy to transport, and its ...

Vintage small nautical searchlight by General Electric, USA, circa 1950. For decorative display purposes only, not operational.

Nearly six feet tall, this one-of-a-kind sculpture is created from carved wood and vibrant multicolored lacquer. Bright reds, blues, greens, yellow, orange and black. Signed "J.A. Bi...

French handmade ceramic vase with ceramic glaze colors, circa 1980. Perfect condition. Signed under the base. Dimensions: 23 x 19 x 19cm.

Large 44.75" H porcelain letter B, from the former Stix, Baer & Fuller sign. This letter was once on the Mid-Century Modern Stix, Baer & Fuller department store in the Westroads Shop...

Elegant, carved wood sculpture representing the human figure from Togo, Africa. A large, dramatic piece for a tribal art collection and creating a rare, unique and special presence.

Still life painting (Violin, Flowers), Oil on canvas, by Agnes Weinrich, Signed and dated "22", Unframed: 20" x 16", Framed 27.5 x 23". Agnes Weinrich (1873-1946) was an early female, American modernist artist at a time when there was little interest in Modern Art in the USA and when few women were artists. She was a ground breaker in modern art. The painting shown is an important example of her mature phase of her work. A biography from Wiki-pedia follows: Agnes Weinrich (1873–1946) was one of the first American artists to make works of art that were modernist, abstract, and influenced by the Cubist style. She was also an energetic and effective proponent of modernist art in America, joining with like-minded others to promote experimentation as an alternative to the generally conservative art of their time. Early years[edit] Agnes Weinrich was born in 1873 on a prosperous farm in south east Iowa. Both her father and mother were German immigrants and German was the language spoken at home. Following her mother's death in 1879 she was raised by her father, Christian Weinrich. In 1894, at the age of 59, he retired from farming and moved his household, including his three youngest children—Christian Jr. (24), Agnes (21), and Lena (17), to nearby Burlington, Iowa, where Agnes attended the Burlington Collegiate Institute from which she graduated in 1897.[1][2][3] Christian took Agnes and Lena with him on a trip to Germany in 1899 to reestablish links with their German relatives. When he returned home later that year, he left the two women in Berlin with some of these relatives, and when, soon after his return, he died, they inherited sufficient wealth to live independently for the rest of their lives. Either before or during their trip to Germany Lena had decided to become a musician and while in Berlin studied piano at the Stern Conservatory. On her part, Agnes had determined to be an artist and began studies toward that end at the same time.[1][4] In 1904 the two returned from Berlin and settled for two years in Springfield, Illinois, where Lena taught piano in public schools and Agnes painted in a rented studio. At this time Lena changed her name to Helen. In 1905 they moved to Chicago where Agnes studied at the School of the Art Institute of Chicago under John Vanderpoel, Nellie Walker, and others.[1] In 1909 Agnes and Helen returned to Berlin and traveled from there to Munich, where Agnes studied briefly under Julius Exter, and on to Rome, Florence, and Venice before returning to Chicago.[5] They traveled to Europe for the third, and last, time in 1913, spending a year in Paris. There, they made friends with American artists and musicians who had gathered there around the local art scene. Throughout this period, the work Agnes produced was skillful but unoriginal—drawings, etching, and paintings in the dominant academic and impressionist styles.[1] On her return from Europe in 1914, she continued to study art, during the warm months of the year in Provincetown, Massachusetts,[1] where she was a member of the Provincetown Printers art colony in Massachusetts,[6] and during the colder ones in New York City. In Provincetown she attended classes at Charles Hawthorne's Cape Cod School of Art and in New York, the Art Students League.[1] Drawing of an old woman by Agnes Weinrich, graphite on paper, 11.5 x 7.5 inches. Hawthorne and other artists established the Provincetown Art Association in 1914 and held the first of many juried exhibitions the following year. Weinrich contributed nine pictures to this show, all of them representational and somewhat conservative in style.[1] A pencil sketch made about 1915 shows a figure, probably one of the Portuguese women of Provincetown. Weinrich was a metculous draftsperson and this drawing is typical of the work she did in the academic style between 1914 and 1920. She also produced works more akin to the Impressionist favored by Hawthorne and many of his students. When in 1917 Weinrich showed paintings in a New York women's club, the MacDowell Club, the art critic for the Brooklyn Daily Eagle said they showed a "strong note of impressionism."[7] Broken Fence by Agnes Weinrich, a white-line woodblock made on or before 1917; at left: the woodblock itself; at right: a print pulled from the woodblook. In 1916 Weinrich joined a group of printmakers which had begun using the white-line technique pioneered by Provincetown artist B.J.O. Nordfelt. She and the others in the group, including Blanche Lazzell, Ethel Mars and Edna Boies Hopkins, worked together, exchanging ideas and solving problems.[1][8] A year later Weinrich showed one of her first white-line prints at an exhibition held by the Pennsylvania Academy of Fine Arts in Philadelphia.[9] Broken Fence, in its two states—the print and the woodblock from which she made it—show Weinrich to be moving away from realistic presentation, towards a style, which, while neither abstract, nor Cubist, brings the viewer's attention to the flat surface plane of the work with its juxtaposed shapes and blocks of contrasting colors. Cows Grazing in the Dunes near Provincetown by Agnes Weinrich, white-line woodcut, 10 x 10 1/2 inches When in 1920 the informal white-line printmakers' group organized its own exhibition, Weinrich showed a dozen works, including one called Cows Grazing in the Dunes near Provincetown. This print shows greater tendency to abstraction than eitherBroken Fence or the prints made by other Provincetown artists of the time. The cows and dunes are recognizable but not presented realistically. The white lines serve to emphasize the blocks of muted colors which are the print's main pictorial elements. Weinrich uses the texture of the wood surface to call attention to the two-dimensional plane—the paper on which she made the print—in contrast with the implicit depth of foreground and background of cows, dunes, and sky. While the work is not Cubist, it has a proto-Cubist feel in a way that is similar to some of the more abstract paintings of Paul Cézanne.[10] By 1919 or 1920, while still spending winters in Manhattan and summers on Cape Cod, the sisters came to consider Provincetown their formal place of residence.[1][11][12][13] By that time they had also met the painter, Karl Knaths. Like themselves a Midwesterner of German origin who had grown up in a household where German was spoken, he settled in Provincetown in 1919. Agnes and Knaths shared artistic leanings and mutually influenced each other's increasing use of abstraction in their work.[1][14] The sisters and Knaths became close companions. In 1922 Knaths married Helen and moved into the house which the sisters had rented. He was then 31, Helen 46, and Agnes 49 years old. When, two years later, the three decided to become year-round residents of Provincetown, Agnes and Helen used a part of their inheritance to buy land and materials for constructing a house and outbuildings for the three of them to share. Knaths himself acquired disused structures nearby as sources of lumber and, having once been employed as a set building for a theater company, he was able to build their new home.[15] Weinrich was somewhat in advance of Knaths in adopting a modernist style. She had seen avant-garde art while in Paris and met American artists who had begun to appreciate it. On her return to the United States she continued to discuss new theories and techniques with artists in New York and Provincetown, some of whom she had met in Paris. This loosely-knit group influenced one another as their individual styles evolved. In addition to Blance Lazzell, already mentioned, the group included Maude Squires, William Zorach, Oliver Chaffee, and Ambrose Webster. Some of them, including Lazzell and Flora Schofield had studied with influential modernists in Paris and most had read and discussed the influential Cubist and Futurist writings of Albert Gleizes and Gino Severini.[16][17] Mature style[edit] Woman with Flowers by Agnes Weinrich, circa 1920, oil on canvas, 34 x 30 1/4 inches, exhibited at the Provincetown Art Association exhibition of 1920, made available courtesy of the Association. Two of Weinrich's paintings, both produced about 1920, mark the emergence of her mature style. The first, Woman With Flowers, is similar to one by the French artist, Jean Metzinger called Le goûter (Tea Time) (1911).[18] Red Houses by Agnes Weinrich, circa 1921, oil on canvas on board, 24.25 x 25.5 inches; exhibited "Red Houses" at Fifth Annual Exhibition of the Society of Independent Artists. Like much of Metzinger's work, Le goûter was discussed in books and journals of the time—including one called Cubism co-authored by Metzinger himself.[19] Because the group with which Weinrich associated read about and discussed avant-garde art in general and Cubism in particular, it is reasonably likely that Weinrich was familiar with Metzinger's work before she began her own. The second painting, Red Houses, bears general similarity to landscapes by Cézanne and Braque. Both paintings are Cubist in style. However, with them Weinrich did not announce an abrupt conversion to Cubism, but rather marked a turning toward greater experimentation. In her later work she would not adopt a single style or stylistic tendency, but would produce both representative pictures and ones that were entirely abstract, always showing a strong sense of the two-dimensional plane of the picture's surface. After she made these two paintings neither her subject matter nor the media she used would dramatically change. She continued to employ subjects available to her in her Provincetown studio and the surrounding area to produce still lifes, village and pastoral scenes, portraits, and abstractions in oil on canvas and board; watercolor, pastel, crayon and graphite on paper; and woodblock prints.[20] Possessing an outgoing and engaging personality and an active, vigorous approach to life, Weinrich promoted her own work while also helping Karl Knaths to develop relationships with potential patrons, gallery owners, and people responsible for organizing exhibitions. With him, she put herself in the forefront of an informal movement toward experimentation in American art. Since, because of her independent means, she was not constrained to make her living by selling art, she was free to use exhibitions and her many contacts with artists and collectors to advance appreciation and understanding of works which did not conform to the still-conservative norm of the 1920s and 1930s.[1][21][22] Early in the 1920s, critics began to take notice of her work, recognizing her departure from the realism then prevailing in galleries and exhibitions. Paintings that she showed in 1922 drew the somewhat dry characterization of "individualistic.",[23] and in 1923 her work drew praise from a critic as "abstract, but at the same time not without emotion."[24] In 1925 Weinrich became a founding member of the New York Society of Women Artists. Other Provincetown members included Blanche Lazzell, Ellen Ravenscroft, Lucy L'Engle, and Marguerite Zorach. The membership was limited to 30 painters and sculptors all of whom could participate in the group's exhibitions, each getting the same space.[23][25][26] The group provided a platform for their members to distinguish themselves from the genteel and traditionalist art that women artists were at that time expected to show[27] and, by the account of a few critics, it appears their exhibitions achieved this goal.[1][28][29][30] In 1926 Weinrich joined with Knaths and other local artists in a rebellion against the "traditional" group that had dominated the Provincetown Art Association. For the next decade, 1927 through 1937, the association would mount two separate annual exhibitions, the one conservative in orientation and the other experimental, or, as it was said, radical.[31][32] Both Weinrich and Knaths participated on the jury that selected works for the first modernist exhibition.[11] Still Life by Agnes Weinrich, circa 1926, oil on canvas, 17 x 22 inches. Permission to use granted by Christine M. McCarthy, Executive Director, Provincetown Art Association and Museum. The painting was the gift of Warren Cresswell. Weinrich's painting, Still Life, made about 1926, may have been shown in the 1927 show. Representative of some aspects of her mature style, it is modernist but does not show Cubist influence. The objects pictured are entirely recognizable, but treated abstractly. Although fore- and background are distinguishable, the objects, as colored forms, make an interesting and visually satisfying surface design. In 1930 Weinrich put together a group show for modernists at the GRD Gallery in New York. The occasion was the first time a group of Provincetown artists exhibited together in New York. For it she selected works by Knaths, Charles Demuth, Oliver Chaffee, Margarite and William Zorach, Jack Tworkov, Janice Biala, Niles Spencer, E. Ambrose Webster, and others.[1][23] Later years[edit] Weinrich turned 60 on July 16, 1933. Although she had led a full and productive life devoted to development of her own art and to the advancement of modernism in art, she did not cease to work toward both objectives. She continued to work in oil on canvas and board, pastel and crayon on paper, and woodblock printing. Her output continued to vary in subject matter and treatment. For example, Still Life with Leaves, circa 1930 (oil on canvas, 18 x 24 inches) contains panels of contrasting colors with outlining similar to Knaths's style. Movement in C Minor, circa 1932 (oil on board, 9 x 12 inches) is entirely abstract. It too relates to Knaths's work, both in treatment (again, outlined panels of contrasting colors) and in its apparent relationship to music, something in which Knaths was also interested. Fish Shacks...

A West African Senufo bed hand carved from a single tree having four tapered legs with a raised headrest and decorative scallop detail.

Albert Chubac, Composition Gouache, Signed lower right, circa 1980, France. Measures: Height 15 cm, width 15 cm, depth 3 cm (without frame). Albert Chubac was born in Geneva in 19...

Watercolor / painting signed Hugo Scheiber: Budapest (1873-1950). Hugo Scheiber was born in Budapest in 1873. At the age of eight, he moved with his family from Budapest to Vienna. ...

Albert Chubac (1925-2008), Composition, Airbrush on canvas, France, circa 1960. Measures: Height 100 cm, width 50 cm. Albert Chubac was born in Geneva in 1920. After studying dec...

A low slung African stargazer chair carved from one piece of wood, having three (3) legs.

Benoist Favre Realised circa 1970 in la Borne Original brown ceramic pitcher Handmade production Original perfect condition Signed at the ...

Albert CHUBAC (1925-2008), signed, circa 1960, France, mixed media on paper. Height: 100 cm, width: 145 cm, depth: 5 cm. Last painter of the school of Nice. This is an importan...

Albert Chubac, Composition, Mixed-media on paper, Stamped, circa 1960, France. Measures: Height 47 cm, width 62 cm, depth 3 cm. Albert Chubac was born in Geneva in 1920. After stu...

Albert Chubac (1920-2008), TOTEM sculpture, Unique piece, Iron and plexiglass, circa 1980, France Measures: Height 110 cm, width 21 cm, depth 32 cm. Albert Chubac was born in Gene...

Albert Chubac, Composition, Mixed-media on paper, Stamped, circa 1960, France. Measures: Height 67 cm, width 50 cm, depth 3 cm. Albert Chubac was born in Geneva in 1920. After stu...

Albert Chubac, Abstract composition, Painting, Stamped, circa 1960, France. Measures: Width 79 cm, height 107.5 cm Albert Chubac was born in Geneva in 1920. After studying decora...

Duster with ostrich feathers and leather, handcrafted.

Albert Chubac (1920-2008), Composition, Oil on canvas, signed, circa 1960, France, Measures : Height: 97 cm, width: 131 cm, depth: 2,5 cm. Albert Chubac was born in Geneva in 192...

Steen Kepp Elegant decorative ceramic vase. Stoneware ceramic firing effects. In the style of Japanese pottery. circa 1970, realised in La Borne. Dimensions: 22 x 11 x...

Albert Chubac (1925-2008), painting, paint on canvas and collage, France, circa 1960. Measures: Height 131 cm, width 194 cm, depth 3 cm. Albert Chubac was born in Geneva in 1920...

Troels Marstrand said Jacques Mars, "Anne", oil on canvas, Danish, circa 1970. Measures: Height: 44 cm, length: 69 cm, thickness: 4 cm. Born June 20, 1919 in Copenhagen, died ...

Atelier A Rare abstract aluminium sculpture by Atelier A french designer group in the 70's Piece is published in the book of Atelier A Original good...

Stoneware ceramic table lamp Realised in La Borne, famous French ceramic place. Excellent original conditions Electricity is new Dimensions: 21 x 16 x 18cm With electri...

Jean Linard circa 1975, signed under the base LINARD Original blue and brown ceramic pitcher by French artist Excellent original condition Measures: Height 18cm, large 15...

Hildegund Shlichenmaier Original and decorative stoneware ceramic pitcher Signed at the base by French artist in the 70's Original perfect condition Colored ceramic glazes Mea...

La Borne, circa 1970. Elegant grey ceramic bottle vase. freeform from the 1970s. Excellent condition. Dimension: 26 x 10 x 10cm.

An exquisite Benin bronze sculpture in shape of a bell depicting an Oba. Oba translates to "ruler" in the Yoruba and Bini languages of contempor...

A large scale, hand carved and silver painted Ashanti tribal stool. Likely painted silver in the 1920s to compliment metallic trend of the Art Dec...