Maison Gerard Decorative Objects

The artist Dozer has struggled from a young age with hearing and verbal communication—a challenge that he credits with making him a highly tactile person. Raised a self-described “la...

Zigor’s work is shaped by his relationship to the environment of the Basque region-both by the natural landscape as well as the significance of the Basque identity. His sculptures an...

Zigor’s work is shaped by his relationship to the environment of the Basque region-both by the natural landscape as well as the significance of the Basque identity. His sculptures an...

The artist Dozer has struggled from a young age with hearing and verbal communication—a challenge that he credits with making him a highly tactile person. Raised a self-described “la...

Yongjin Han was born in Seoul, South Korea in 1934. After the Korean War—in which he fought, lying about his age in order to enlist—he was one of six students admitted to the sculpture program at the Seoul National University. At the time of his enrollment little of his native city remained intact; nonetheless, he had never felt more responsible to his work, firm in the conviction that artistic expression is every bit as essential to life and human nature as eating, drinking, or breathing. One of Han’s teachers was Kim Chong Yung, a pioneer of Korean abstract sculpture, and by the time of his graduation he had adopted the abstraction that had seized both Europe and the United States several years before. . In 1967 he relocated to the USA, where he studied at Dartmouth and Columbia. Over the course of his long career the artist returned to Korea with frequency and made extended stays in Japan and Europe. Trips to Korea signified something more than mere homesickness: Han’s work, though made largely in America, remained grounded in his rich cultural heritage. Korea rests on a bedrock of granite, and freestanding sculpture produced of the stone has for centuries demarcated sites of historical and religious significance. Han’s sculpture bridges this past with modernity. Richard A. Born, former Curator at the Smart Museum at the University of Chicago, has said that Han “brought Korea’s tradition of direct stone carving out of figuration into a refined, non-objective abstraction.” For his part, Han put very little stock in designations; his focus, instead, was on the stone itself. His pieces explore a certain harmonization with nature. Han, when describing his work, said, "As stone has been around since the beginning of time, it has much to teach us if we care to slow down and listen." He believed that each stone has its own history, character, and energy and that his task was to draw out these inherently spiritual qualities. He described his process as a “dialogue” with his material: "The stone tells me it has an itch in a certain spot, so I scratch it—and we both feel better!" Han worked alone and with manual tools, and the process is arduous. Carving stone this way takes time, and, what’s more, required great force—yet Han’s sculptures, even the monumental ones, are, as friend and fellow artist David Parker says, “all gentle grace and warmth” … [the sculptor] “engages with the stone as an equal—like wayfarers meeting on a path, Han and a stone spend time together and when they part, both are marked and changed forever.” Yongjin Han's career spanned decades and continents, and included several prestigious large-scale public commissions. In Seoul his work can be found at the National Museum of Contemporary Art, the IE Young Museum of Contemporary Art, the Whanki Museum, the Ewha Woman’s University Museum, Posong High School, and the 88 Olympics...

Yongjin Han was born in Seoul, South Korea in 1934. After the Korean War—in which he fought, lying about his age in order to enlist—he was one of six students admitted to the sculpture program at the Seoul National University. At the time of his enrollment little of his native city remained intact; nonetheless, he had never felt more responsible to his work, firm in the conviction that artistic expression is every bit as essential to life and human nature as eating, drinking, or breathing. One of Han’s teachers was Kim Chong Yung, a pioneer of Korean abstract sculpture, and by the time of his graduation he had adopted the abstraction that had seized both Europe and the United States several years before. . In 1967 he relocated to the USA, where he studied at Dartmouth and Columbia. Over the course of his long career the artist returned to Korea with frequency and made extended stays in Japan and Europe. Trips to Korea signified something more than mere homesickness: Han’s work, though made largely in America, remained grounded in his rich cultural heritage. Korea rests on a bedrock of granite, and freestanding sculpture produced of the stone has for centuries demarcated sites of historical and religious significance. Han’s sculpture bridges this past with modernity. Richard A. Born, former Curator at the Smart Museum at the University of Chicago, has said that Han “brought Korea’s tradition of direct stone carving out of figuration into a refined, non-objective abstraction.” For his part, Han put very little stock in designations; his focus, instead, was on the stone itself. His pieces explore a certain harmonization with nature. Han, when describing his work, said, "As stone has been around since the beginning of time, it has much to teach us if we care to slow down and listen." He believed that each stone has its own history, character, and energy and that his task was to draw out these inherently spiritual qualities. He described his process as a “dialogue” with his material: "The stone tells me it has an itch in a certain spot, so I scratch it—and we both feel better!" Han worked alone and with manual tools, and the process is arduous. Carving stone this way takes time, and, what’s more, required great force—yet Han’s sculptures, even the monumental ones, are, as friend and fellow artist David Parker says, “all gentle grace and warmth” … [the sculptor] “engages with the stone as an equal—like wayfarers meeting on a path, Han and a stone spend time together and when they part, both are marked and changed forever.” Yongjin Han's career spanned decades and continents, and included several prestigious large-scale public commissions. In Seoul his work can be found at the National Museum of Contemporary Art, the IE Young Museum of Contemporary Art, the Whanki Museum, the Ewha Woman’s University Museum, Posong High School, and the 88 Olympics...

Zigor’s work is shaped by his relationship to the environment of the Basque region-both by the natural landscape as well as the significance of the Basque identity. His sculptures an...

Zigor’s work is shaped by his relationship to the environment of the Basque region-both by the natural landscape as well as the significance of the Basque identity. His sculptures an...

The artist Dozer has struggled from a young age with hearing and verbal communication—a challenge that he credits with making him a highly tactile person. Raised a self-described “la...

The artist Dozer has struggled from a young age with hearing and verbal communication—a challenge that he credits with making him a highly tactile person. Raised a self-described “la...

The artist Dozer has struggled from a young age with hearing and verbal communication—a challenge that he credits with making him a highly tactile person. Raised a self-described “la...

The artist Dozer has struggled from a young age with hearing and verbal communication—a challenge that he credits with making him a highly tactile person. Raised a self-described “la...

The artist Dozer has struggled from a young age with hearing and verbal communication—a challenge that he credits with making him a highly tactile person. Raised a self-described “la...

The artist Dozer has struggled from a young age with hearing and verbal communication—a challenge that he credits with making him a highly tactile person. Raised a self-described “la...

The artist Dozer has struggled from a young age with hearing and verbal communication—a challenge that he credits with making him a highly tactile person. Raised a self-described “la...

Niamh Barry often says that her sculptures are drawings in bronze and light. Inspired by natural beauty, the work transcends utility. She strives, above all else, to achieve striking...

This enameled and silvered glass crystal vase, featuring a playful arrangement of overlapping circles, exemplifies Martin Benito's mastery of a craft hon...

A ruby-red bowl with a bronze band around its foot, the exterior a honeycomb texture. Cut from glass crystal, this extraordinary piece exemplifies Martin Benito...

Before taking over the artistic direction of the Kéramis manufactory in Belgium in 1907, Catteau worked for Sèvres from 1903 and, starting in 1904, for the German manufactory of Nymp...

Unique, signed and dated. The great diversity and originality of Girel’s work is the result of his wholly unique approach. His techniques are not found in any ceramics textbook, b...

Marcel Bing was the fourth child of Sigfried/Samuel Bing (1838-1905), the great collector of Japanese art and founder of the gallery L'Art Nouveau Bing located at 22 rue de Provence in Paris. Marcel trained as a jeweler, creating jewelry and vase mounts for the gallery and took over its management upon his father's death in 1905. Bibliography: - L’art appliqué revue internationale, le style moderne...

Glazed ceramic vase from Walla°kra, founded in 1864. Inscribed.

Glazed ceramic vase from Walla°kra, founded in 1864. Inscribed.

Glazed ceramic vase from Walla°kra, founded in 1864. Inscribed.

Unique, signed and dated. The great diversity and originality of Girel’s work is the result of his wholly unique approach. His techniques are not found in any ceramics textbook, b...

Unique, signed and dated. The great diversity and originality of Girel’s work is the result of his wholly unique approach. His techniques are not found in any ceramics textbook, but...

Unique, signed and dated. The great diversity and originality of Girel’s work is the result of his wholly unique approach. His techniques are not found in any ceramics textbook, b...

Glazed ceramic vase from Walla°kra, founded in 1864. Inscribed.

Glazed ceramic vase from Walla°kra, founded in 1864. Inscribed.

Created by the Swedish ceramist Arthur Andersson in the middle of the 20th century, these voluminous vases are noteworthy for their formal symmetry and their banded designs, which of...

Created by the Swedish ceramist Arthur Andersson in the middle of the 20th century, these voluminous vases are noteworthy for their formal symmetry and their banded designs, which of...

Zigor’s work is shaped by his relationship to the environment of the Basque region-both by the natural landscape as well as the significance of the Basque identity. His sculptures an...

Zigor’s work is shaped by his relationship to the environment of the Basque region-both by the natural landscape as well as the significance of the Basque identity. His sculptures an...

The totems of the French sculptor Franck Evennou possess a playful quality that counterbalances the traditional solemnity of the form. With their rough, splitting surface, they are n...

Zigor’s work is shaped by his relationship to the environment of the Basque region, both by the natural landscape as well as the significance of the Basque identity. His sculptures a...

Early pieces by CAB for Primavera were inspired by ancient ceramic methods as well as early Japanese metalware. Félix Gête developed the green overglaze seen in this vase, obtained f...

This piece in polished aluminum, elevated on a rectangular, black pedestal, by Fred Brouard, illustrious and groundbreaking French sculpture and furniture maker of the mid-to-late tw...

French ceramist Eric Astoul (b. 1954, Morocco) infuses his sculptures with the essence of ancient and modern earthenware he has encountered along his travels in France, England, Japa...

Bach's extraordinary catalogue of domestic objects and grand commissions includes the lobby panel for the Empire State Building and the monumental plaqu...

Footed bowl by Danish designer Nills Thorsson for Royal Copenhagen, circa 1930s.

One of the more figural of dal Fabbro's oeuvre, this sculpture conjures images of a bird perched on a branch, ready to take flight. In the artist's classic style, however, the carvin...

Signed: H. Fugère Stamped: Foundeur Siot-Decauville.

The glazed terracotta pots of Françoise Blondeau and AÏt Lhaj Hassan possess a symmetry and balance that pits their natural, earthy medium against an elegant beauty specific to man-m...

A dappled red crystal bowl featuring a handcut relief of clear branches modeled after those of coral. Like many of Cristal Benito's extraordinarily fr...

Pair of contemporary bronze candlesticks by Marc Bankowsky.

The cylindrical shape and clouded obscurity of this wrought crystal piece summons the image of a hurricane surrounding the candle, filtering the light as storm clouds do the sun.

Signed: Jaimal Odedra Each piece is modeled and cast by hand using a traditional Moroccan sand casting method. "In creating these works, I was interested in exploring and enhan...

A beautifully glazed mid-century vase executed by Marianne Westman for the venerable Swedish based ceramics firm Rorstrand. Signed.

A beautifully glazed mid-century vase executed by Marianne Westman for the venerable Swedish based ceramics firm Rorstrand. Signed.

Equally elegant and exotic, Miguel Cisterna’s works imbue the classical French tradition of fine embroidery with a modern sensibility. His hand sewn, labor intensive designs layer contrasting materials to create one-of-a-kind haute couture embroidered textiles. Raffia is wrought into shafts of wheat gently bending into the wind, insects crafted from wire and shell hover and crawl, floral designs sparkle with crystal embellishments, and the fragile elegance of humanity is made apparent through anatomical drawings in thread. Born in Chile, Miguel Cisterna now lives and works in Paris. Prior to opening his Parisian atelier, Cisterna was the former Creative Director for Ateliers Brocard, the firm that fabricated Napoleon’s coronation...

Yongjin Han was born in Seoul, South Korea in 1934. After the Korean War—in which he fought, lying about his age in order to enlist—he was one of six students admitted to the sculpture program at the Seoul National University. At the time of his enrollment little of his native city remained intact; nonetheless, he had never felt more responsible to his work, firm in the conviction that artistic expression is every bit as essential to life and human nature as eating, drinking, or breathing. One of Han’s teachers was Kim Chong Yung, a pioneer of Korean abstract sculpture, and by the time of his graduation he had adopted the abstraction that had seized both Europe and the United States several years before. . In 1967 he relocated to the USA, where he studied at Dartmouth and Columbia. Over the course of his long career the artist returned to Korea with frequency and made extended stays in Japan and Europe. Trips to Korea signified something more than mere homesickness: Han’s work, though made largely in America, remained grounded in his rich cultural heritage. Korea rests on a bedrock of granite, and freestanding sculpture produced of the stone has for centuries demarcated sites of historical and religious significance. Han’s sculpture bridges this past with modernity. Richard A. Born, former Curator at the Smart Museum at the University of Chicago, has said that Han “brought Korea’s tradition of direct stone carving out of figuration into a refined, non-objective abstraction.” For his part, Han put very little stock in designations; his focus, instead, was on the stone itself. His pieces explore a certain harmonization with nature. Han, when describing his work, said, "As stone has been around since the beginning of time, it has much to teach us if we care to slow down and listen." He believed that each stone has its own history, character, and energy and that his task was to draw out these inherently spiritual qualities. He described his process as a “dialogue” with his material: "The stone tells me it has an itch in a certain spot, so I scratch it—and we both feel better!" Han worked alone and with manual tools, and the process is arduous. Carving stone this way takes time, and, what’s more, required great force—yet Han’s sculptures, even the monumental ones, are, as friend and fellow artist David Parker...

A sizeable mid-century stoneware vase. Impressed: Wallakra.

Equally elegant and exotic, Miguel Cisterna’s works imbue the classical French tradition of fine embroidery with a modern sensibility. His hand sewn, labor intensive designs layer contrasting materials to create one-of-a-kind haute couture embroidered textiles. Raffia is wrought into shafts of wheat gently bending into the wind, insects crafted from wire and shell hover and crawl, floral designs sparkle with crystal embellishments, and the fragile elegance of humanity is made apparent through anatomical drawings in thread. Born in Chile, Miguel Cisterna now lives and works in Paris. Prior to opening his Parisian atelier, Cisterna was the former Creative Director for Ateliers Brocard, the firm that fabricated Napoleon’s coronation...

The artist spends extended periods of intense manual labor, wrapping long lines of wire or gauze to build volumes and textured surfaces. By surrendering herself to this ritualistic p...

The artist spends extended periods of intense manual labor, wrapping long lines of wire or gauze to build volumes and textured surfaces. By surrendering herself to this ritualistic p...

The artist spends extended periods of intense manual labor, wrapping long lines of wire or gauze to build volumes and textured surfaces. By surrendering herself to this ritualistic p...

In this late work by Dal Fabbro, the viewer is reminded of a lone cactus in the desert. But closer inspection reveals expertly carved gaps in the wood, showing us the depths and dive...

A beautifully glazed mid-century vase executed by Marianne Westman for the venerable Swedish based ceramics firm Rorstrand. Signed.

Equally elegant and exotic, Miguel Cisterna’s works imbue the classical French tradition of fine embroidery with a modern sensibility. His hand sewn, labor intensive designs layer contrasting materials to create one-of-a-kind haute couture embroidered textiles. Raffia is wrought into shafts of wheat gently bending into the wind, insects crafted from wire and shell hover and crawl, floral designs sparkle with crystal embellishments, and the fragile elegance of humanity is made apparent through anatomical drawings in thread. Born in Chile, Miguel Cisterna now lives and works in Paris. Prior to opening his Parisian atelier, Cisterna was the former Creative Director for Ateliers Brocard, the firm that fabricated Napoleon’s coronation...

This tall baluster vase is glazed in a deep brown ground with an overall repeat pattern of lighter brown marks and incised lines. Executed by Arthur Andersson Incised: Wallåkra / AWA