Rutger de Regt Figurative 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...

A unique, hand-made organic sculpture expressing abstract broad, curling and intertwined leaves. The hand-formed white earthenware body, fired, sanded, and waxed, results in a silky surface that adds a tactile delight to the the visual impact. South African sculptor...

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...

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

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...

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: LS6245487Y

Very nice Mid-Century Modern signed nude sculpture table lamp.

“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.

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...