Aurelien Gendras Decorative Objects

A ceramic sculpture. Perfect original conditions. Circa 1980-1990. 26 x 20 x 4 cm.

Blue glazed ceramic vase by Accolay. Artist signature under the base. Circa 1970. H : 10.2’ x 7.1’ inches.

Large floor vase in green glazed ceramic by Patrick Crulis. 2022. Unique piece. H : 29.9’ x 15.7’ x 14.2’ inches. Approximate sizes.

Glazed ceramic vase by Georges Martin. Artist signature on one side. Circa 1970-1980. H : 11.8’ x 7.5’ x 6.3’ inches.

Glazed stoneware sculpture of Saint Solange or Saint Soulange by André Rozay. Artist signature on the back. Circa 1960-1970. Unique piece. H : 22.4’ x 7.9’ inches.

Glazed stoneware sculpture by Laurent Dufour. Artist signature under the base. Unique piece. 2021. H : 24’ x 13’ x 13’ inches.

Glazed stoneware sculpture by Laurent Dufour. Artist signature under the base. Unique piece. 2018. H : 23.6’ x 9.8’ x 7’ inches.

Green glazed stoneware sculpture by Laurent Dufour. Artist signature under the base. 2023. Unique piece. H : 25.5 x 9.8 x 9 inches.

Green glazed stoneware sculpture by Laurent Dufour. Artist signature under the base. 2023. Unique piece. H : 26.3’ x 11.8’ x 11.8’ inches.

White glazed stoneware sculpture by Laurent Dufour. Artist signature under the base. 2023. Unique piece. H : 33’ x 12.5’ x 13.7’ inches.

Brown glazed stoneware sculpture by Laurent Dufour. Artist signature under the base. 2023. Unique piece. H : 28.7’ x 10.2’ x 11.8’ inches.

Yellow glazed stoneware sculpture by Laurent Dufour. Artist signature under the base. 2023. Unique piece. H : 73.2’ x 19.6’ x 21.2’ inches.

SAINT FLORIAN   ORIGIN: SOUTH GERMANY, SWABIA PERIOD: END OF THE 15th CENTURY   Height : 100,5 cm Width : 34 cm Depth : 17 cm 
Polychromed lime wood Good state of conservation   
Sin...

POLYCHROME CARVED WOOD VIRGIN AND CHILD FROM THE 15TH CENTURY   ORIGIN: SOUTH GERMANY, SWABIA, NUREMBERG REGION PERIOD: 15th CENTURY   Height: 94,6cm Width : 28 cm Depth : 18 cm   Lime wood Original Polychromy Good state of conservation     From 1430 onwards, sculpture underwent a profound stylistic renewal which continued until 1530, the so-called late Gothic period. In the Germanic countries, original sculptures flourished in an expressive and sensitive vein.
This renewal was inspired by the art of Nicholas of Leiden, who was active in Strasbourg in the 1460's. His style broke with the refined and delicate art of the international Gothic style in force throughout Europe around 1400. The figures became more authentic and realistic. The bodies became denser. Clothes are animated by deep, broken folds, the fabrics are heavy and have a great decorative value. In addition, the polychromy is intended to be illusionistic. The painting makes it possible to restore the texture of the materials, the richness of the textiles and the natural skin tone of the characters.   The dissemination of images through engraving and the great mobility of the artists led to the success of this style, which conquered the Upper Rhine, Swabian, Tyrolean and Franconian regions, contributing to the formation of a common stylistic identity in these regions. The economic boom in the flourishing German cities was conducive to the development of original production. Attracted by this prosperity, numerous workshops were set up in order to meet the orders of religious communities, the Church and the laity, including a clientele of middle-class rockers.      This precious Virgin and Child is depicted standing on a crescent moon, her head encircled by a crown of tall flowers. Her long wavy hair spreads over her shoulders, framing her beautiful oval face. Under fine eyebrows drawn with a brushstroke, her almond-shaped, slightly drooping eyes look at the Child with infinite softness. She is dressed in a long red dress with a rounded neckline, belted under the chest. The heavy fabric of her dress spreads out in broken folds at her feet. On her shoulders she wears a golden cloak. The drapery has deep folds. She holds out her right hand while she holds the Christ Child with her left.   Christ, with his well-defined hair, is naked. His cheeks are highlighted with red, he holds an apple in his left hand and with the other hand makes a sign of blessing towards the faithful.   Virgins with Child on a crescent moon were very popular in the second half of the 15th century, especially as the central subject of altarpieces in southern Germany and Austria. The crescent moon on which Mary is standing is reminiscent of the Woman of the Apocalypse. Often equated with the Virgin Mary.    This episode is taken from the Book of Revelation (12:1-6)   1 Then a great sign appeared in heaven: a woman clothed with the sun, with the moon under her feet and a crown of twelve stars on her head. ; 2 She was pregnant, and she cried out because she was in labor, in pain from giving birth. ; 3 Then another sign appeared in heaven: it was a great fiery red dragon, with seven heads and ten horns, and seven royal crowns on his heads. ; 4 His tail swept down a third of heaven's stars and threw them to the earth. The dragon stood in front of the woman who was about to give birth so that when she gave birth, he might devour her child. ; 5 She gave birth to a son, a male child who is to rule all the nations with an iron rod. Her child was snatched up to God and his throne. ; 6 Then the woman fled into the desert, where God has prepared a place for her. There she will be taken care of for one thousand two hundred sixty days.   Some theologians see in this woman a reference to the Virgin Mary and in the child, Jesus.    
This remarkable work is a very fine example of sculpture from Swabian workshops in the last decades of the 15th century. It presents all the characteristic stylistic elements: a highly girdled silhouette, an abundant drapery with angular folds, but also a great physical presence accentuated by the polychromy that restores the anatomical details. This group is made of a wooden log. The deep folds of the drapery highlight the movement of the Virgin holding the child.       Bibliography :   Sophie Guillot de Suduiraut, Dévotion et Séduction, Sculptures souabes des musées de France, vers 1460-1530, Paris musée du Louvre-Éditions somogy, 2015   “Revelation 12 -   Common English Bible...

SAINT WOMAN IN POLYCHROME CARVED WOOD   ORIGIN : ITALY PERIOD : late 13th century   Height : 103 cm Length : 28  cm Width : 16 cm  Remains of polychromy   ...

VIRGIN AND CHILD IN MAJESTY, ALSO KNOWN AS "SEDES SAPIENTIAE"   ORIGIN : SPAIN, CATALOGNE PERIOD: EARLY 13th CENTURY   Height :  95 cm Width : 32 cm Depth : 28 cm   Softwood No polychromy     In the middle of the 12th century, the Virgin took her place in churches, seated in Majesty, serving as a throne for her son Jesus. She is then called Sedes Sapientiae, meaning the Throne of Wisdom. At that time, she is not represented for herself and only exists because she has been designated as Theotokos, the mother of God, at the Council of Ephesus in 431, where the divine nature of Christ was proclaimed from his birth.   The upright and perfectly hieratic bust of this Virgin and Child in Majesty is seated on a throne-bench. She is dressed in a tunic with a rounded neckline and covered with a fine mantle placed on her narrow shoulders. The supple and natural drapery follows the lines of the body.   Large curls frame her face with delicate and regular features, a long straight nose, almond-shaped eyes, and small lips.   She supports the Infant Jesus with her left hand. Like his mother, he is dressed in a long tunic, and his little feet are visible in the folds. He holds a small sphere in his left hand, while with his right hand, he gestures in blessing. The face of Christ bears a strong resemblance to his mother’s one, and he gives a slight smile.   The position of the Child is no longer as hieratic, nor frontal or central as in the early 12th century, but his face still turns towards the faithful.   The 13th century indeed emerges as a period of transition in the artistic domain. The statuary, while retaining certain characteristics still belonging to the habits of the previous century, also develops new formal solutions.   As a result, Mary maintains a hieratic and frontal position, while her son shifts to place himself well to the left on her knee. Similarly, while the Virgin seems perfectly still, Jesus, on the other hand, appears much more animated, especially in the positioning of his hands. His left hand holds the orb, and judging by the raised right arm directed towards the faithful, one can easily imagine that he was making a gesture of blessing.   The influence of the Sedes Sapientiae from previous centuries still seems particularly prevalent in this work.   These few characteristics allow dating this Spanish Virgin...

Brown glazed stoneware sculpture by Simone Couderc. Artist signature under the base. Circa 1990-2000. H : 9.2’ x 12.9’ x 4.3’ inches.

Orange and brown glazed ceramic vase by Joseph Talbot. Artist’s monogram under the base. Circa 1940-1950. H : 18.9’ x 9.1’ inches.

dark green and brown glazed stoneware vase by Daniel de Montmollin. Artist signature under the base. Circa 1990-2000. H : 13.4’ x 9.4’ inches.

Green and brown glazed stoneware vase by Pol Chambost. Artist signature under the base. Circa 1930. H : 13.4’ x 9.4’ inches.

Brown and white glazed stoneware vase by Jean Besnard. Artist signature under the base. Circa 1930. H : 8.7’ x 6.3’ inches.

Stoneware vase with glaze decoration by Pat & Joe Rowland. Artist monogram under the base. Circa 1970. H : 9’ x 9.8’ x 1.6’ inches.

Glazed stoneware vase by Barbara Delfosse. Circa 1970-1980. H : 9.4’ x 5.9’ x 2.9’ inches.

Blue glazed stoneware vase by Jean Pointu. Artist signature under the base. Circa 1950. H : 5.5’ x 6.7’ inches.

Glazed stoneware pitcher by Pierre Digan. Artist monogram under the base. Circa 1970-1980. H : 11.8’ x 7.5’ x 6.3’ inches.

Set of ocher, brown and white glazed stoneware vases by Accolay. Artist signature under the base. Circa 1960-1970. H : 17.7’ x 6.3’ inches / H : 21.6’ x 8.3’ inches / H : 18.9’ x 7....

Brown glazed stoneware vase by Accolay. Artist signature under the base. Circa 1960-1970. H : 21.6’ x 8.3’ inches.

White glazed stoneware vase by Accolay. Artist signature under the base. Circa 1960-1970. H : 18.9’ x 7.1’ inches.

Ocher glazed stoneware vase by Accolay. Artist signature under the base. Circa 1960-1970. H : 17.7’ x 6.3’ inches.

Glazed cemic pitcher by Jacky Coville. Signature de l’artiste sous la base. Circa 1960-1970. H : 8.3’ x 8.3’ x 7.1’ inches.

Pair of glazed stoneware vase attributed to Louis Dage. Circa 1930. H : 9’ x 5.5’ inches.

Glazed stoneware pitcher by Michel Gardelle. Artist signature under the base. Circa 1980. H : 7.1’ x 9’ x 7.9’ inches.

Blue and gold glazed ceramic vase by Jean Pointu. Artist signature under the base. Circa 1930. H : 7.1’ x 7.1’ x 4.7’ inches.

Blue glazed ceramic pitcher by Roger Jacques. Artist signature under the base. Circa 1960-1970. H : 17.3’ x 9.8’ x 7.4’ inches.

Brown and green glazed ceramic pitcher by Roger Jacques. Artist signature under the base. Circa 1960-1970. H : 11.02’ x 5.9’ x 5.9’ inches.

Black and gold glazed ceramic vase in the style of Jean Besnard. Circa 1950-1960. H : 10.6’ x 8.7’ inches.

Green and white glazed ceramic vase by Sainte Radegonde. Artist monogram under the base. Circa 1960-1970. H : 11.02’ x 6.7’ inches.

Green glazed ceramic vase by Pol Chambost. Artist monogram under the base. Circa 1930-1940. H : 10.6’ x 6.7’ inches.

Blue glazed ceramic vase by Accolay. Artist signature under the base. Circa 1960-1970. H : 12.9’ x 8.3’ inches.

Blue glazed ceramic vase by Accolay. Artist signature under the base. Circa 1960-1970. H : 8.7’ x 7.7’ inches.

Blue glazed ceramic vase by CAB (Céramiques d’art de Bordeaux) for la Maitrise. Artist signature under the base. Circa 1930. H : 11.02’ x ...

Important sculpture in glazed stoneware by Philippe Lambercy. Artist monogram on the base. Circa 1980-1990. H : 12.9’ x 28.7’ x 8.3’ inches.

Important sculpture in glazed stoneware by Philippe Lambercy. Artist monogram on the base. Circa 1980-1990. H : 16.5’ x 30.7’ x 7’ inches.

Three-handled glazed stoneware coloquint vase by Roger Guérin. Artist signature under the base. Circa 1930-1940. H : 14.2’ x 9.8’ inches.

Matt and shiny black glazed stoneware vase by Roger Jacques. Artist signature under the base « R. Jacques ». Circa 1960-1970. H : 11.8’ x 6.5’ inches.

Glazed stoneware vase with dripping decoration by Jean Pointu. Artist signature under the base « Pointu fils ». Circa 1950. H : 16.1’ x 5.9’ inches.

Blue glazed ceramic vase by Raoul Lachenal. Artist signature under the base « Lachenal ». Circa 1930. H : 15.3’ x 7.9’ x 7.5’ inches.

Blue glazed ceramic vase attributed to Raoul Lachenal. Unsigned. Circa 1930. H : 15.7’ x 7.9’ x 7.9’ inches.

Oblong glazed stoneware vase with « oxblood red » by Roger Jacques. Artist signature under the base « R.Jacques ». Circa 1960-1970. H : 15.7’ x 5.11’ inches.

Black glazed stoneware sculpture-vase by Michel Lanos. Artist signature under the base. Circa 1980-1990. Unique piece. H : 18’ x 13’ x 5’5 inches.

Glazed stoneware sculpture by Michel Lanos. Artist signature under the base. Circa 1980-1990. Unique piece. H : 27’ x 17’ x 12’5 inches.

Glazed stoneware sculpture by Michel Lanos. Artist signature under the base. Circa 1980-1990. Unique piece. H : 29’5 x 10’5 x 9’ inches.

Blue- grey glazed ceramic vase by Michel Lanos. Artist signature under the base. Circa 1994. Unique piece. H : 13.4’ x 9.5’ x 4.1’ inches.

Important glazed stoneware sculpture by Michel Lanos. Artist signature under the base. Circa 1990-2000. Unique piece. H : 26’ x 17’ x 8.5’ inches.

Black glazed stoneware sculpture by Michel Lanos. Artist signature under the base. Circa 1980-1990. H : 19.5’ x 6.5’ x 8’ inches. Unique piece.

Yellow/brown and white glazed ceramic vase by Gisèle Buthod Garçon. Raku fired. Artist monogram under the base. Circa 1980-1990. H : 8.3’ x 7.1’ inches.

White/brown glazed ceramic vase by Gisèle Buthod Garçon. Raku fired. Artist monogram under the base. Circa 1980-1990. H : 9.4’ x 5.9’ inches.

Blue and white glazed ceramic vase by Gisèle Buthod Garçon. Raku fired. Artist monogram under the base. Circa 1980-1990. H : 8.7’ x 7.4’ inches.

Green and white glazed ceramic cup by Gisèle Buthod Garçon. Raku fired. Artist monogram under the base. Circa 1980-1990. H : 4.7’ x 12.6’ inches.

Glazed ceramic footed bowl with pearly white interior by Gisèle Buthod Garçon. Raku fired. Artist monogram under the base. Circa 1980-1990. H : 11’ x 7.4’ inches.