Rutger de Regt Sculptures

A bronze alloy Art Nouveau woman entitled "Coup de soleil" table lamp, Signed Ferrand (1846-1932). The sculpture features a thinly dressed nymph with a branching Art Nouveau-style fl...

Gorgeous crystal art glass "Pâte de verre" green turtle sculpture by Daum of France, circa 1970s. The piece is in very good vintage condition with no chips or cracks and measures 5.2...

Hand-carved in oak, circa 1800, these sculptures depict arguably the most important apostles: James, John, Peter, and Paul. All of the figures are distinctly different, although they share some commonalities, such as they are all barefoot and clad in ankle length tunics on a rectangular base with canted corners. The set would make fantastic decorative art for a mantel, shelf, or sofa table. The apostles as they appear in the main photo (from left to right): St. James (20 ¼” H x 7 ½” W x 5 ½” D): sometimes referred to as “James the Great”, he is depicted with long hair and a full beard above a cloak pinned...

“The Apostles” by British artist Mackenzie Thorpe. It is Parian and numbered 52/195. Dated 2012. Very good condition. Minor marks to the black base.

Antonine de Saint Pierre, by. Sculpture entitled “Le baiser” in green lacquered metal. French work by a contemporary artist. Dimensions: H 50 x W 20 x D 20 cm Reference: LS624548...

Stylized Modern / Brutalist Bronze Sculpture "Jesus & Apostles" signed ?? Unfortunately cant make out the signature.. Extremely well executed..

French sculpture "Muse Champêtre", attributed to Louis Moreau. This is a stunning French patinated and bronzed spelter sculpture titled "Muse Champêtre" attributed to Louis Moreau. T...

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. 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...

Jizai Okimono – Koi Carp (2022) Handcrafted Articulated Sculpture Collector’s Piece Immerse yourself in the elegance of Japanese metalwork with this one-of-a-kind Jizai Okimono scul...

This expressive antique polychrome carved wood sculpture depicts Saint Thomas the Apostle, identifiable by the carpenter’s square held in his hand, his traditional attribute, and the...

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