Beaux Arts Ceramics

A big porcelain sculpture entitled " Solctice" . Unique piece. Signed under the base. 2017. Exclusivity for Aurélien Gendras Gallery     

Woodfired ceramic vase by Eric Astoul. Artist monogram under the base. Circa 1990. H : 15.7’ x 7.5’ x 6.7’ 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.

White and brown glazed ceramic bowl lamp by Kaza. Signature under the base. Circa 1930. H : 11.8’ x 10.6’ inches (ceramic only). H : 15.7’ x 10.6’ inches (with electrical system). H ...

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.

Stoneware floor lamp by Georges Martin. Artist signature on the side. Circa 1970-1980. H : 39.4’ x 8.3’ x 7.9’ inches (ceramic only). Sold with a European electrical system.

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.

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.

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.

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

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.

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.

Sculpture with wings in black glazed stoneware by Jean-Pierre Bonardot. Artist signature under the base « JP Bonardot ». Unique piece. 2022. H : 11.4’ x 11.02’ x 7.9’ inches.

A big ceramic vase by Eugene Lion with glaze decoration. Signed under the base " E. Lion". Circa 1920.   

Porcelain sculpture entitled "Solstice" . Unique piece. Signed under the base. 2022.

« Kambi » table in raw stoneware with white glazed top by Denis Castaing. Perfect original conditions. Signed. 2023.

Porcelain sculpture entitled "Solstice" . Unique piece. Signed under the base. 2022.

A stoneware vase by Eric Astoul to La Borne. Perfect original conditions. Circa 1997. Signed under the base. Unique piece.

Important « Orgue » glazed stoneware sculpture by Jean-Pierre Bonardot. Artist signature under the base « JP Bonardot ». Unique piece, circa 1990. H : 21.6’ x 19.7’ x 7.9’ inches.

Porcelain sculpture entitled "Solstice". Unique piece. Signed under the base. 2022.

Wall sculpture entitled « Tressage tubulaire » in grey, brown and black stoneware by Anne Barrès. Circa 1970-1980. Unique piece. H : 22.04’ x 22.9’ x 1.6’ inches. Approximate dim...

Important sculpture with wings in black glazed stoneware by Jean-Pierre Bonardot. Handwritten signature of the artist. Unique piece. 2022. H : 2...

Wall sculpture entitled « Tressage » brown glazed stoneware and rope by Anne Barrès. circa 1970-1980. Unique piece. H : 31.5’ x 19.7’ x 2.7’ inches. Approximate dimensions.

Sculpture in glazed stoneware and engobed by Jean-Pierre Bonardot. Artist signature under the base « JP Bonardot ». Unique piece. Circa 2000-2010. H : 18.9’ x 16.9’ x 9.05’ inches.

Important sculpture with wings in black glazed stoneware by Jean-Pierre Bonardot. Artist signature at the base. Unique piece. 2022. H : 32.3’ x 8...

Porcelain sculpture entitled "Solstice" . Unique piece. Signed under the base. 2022.

Large tubular vase « Bambou » in black glazed stoneware by Jean-Pierre Bonardot. Artist monogram under the base. Unique piece. Circa 1990. H : 30.3’ X 6.3’ X 5.1’ inches.

Sculpture in glazed stoneware and engobed by Jean-Pierre Bonardot. Artist signature under the base « JP Bonardot ». Unique piece, circa 1990-2000. H : 16.5’ x 23.6’ x 5.9’ inches.

Sculpture in glazed stoneware and engobed by Jean-Pierre Bonardot. Artist signature under the base « JP Bonardot 99 ». Unique piece. 1999. H : 7.08’ x 21.6’ x 13.8’ inches.

Sculpture in black glazed stoneware by Jean-Pierre Bonardot. Artist signature under the base « JP Bonnardot ». Unique piece. Circa 1990-2000. H : 13.8’ x 18.5’ x 10.6’ inches.

Glazed stoneware sculpture entitled « La Cible » by Anne Barrès. Artist signature under the base « Barrès ». 1971. Unique piece. H : 4.7’ x 18.5’ x 18.11 inches.

Important vase in glazed stoneware and engobed by Jean-Pierre Bonardot. Artist signature under the base « JP Bonardot 99 ». Unique piece. 1999. H : 19.7’ x 27.5’ x 5.9’ inches.

Woodfired ceramic vase by Eric Astoul. Artist signature under the base. 1987. H : 12.6’ x 9.8’ inches.

Sculpture in glazed stoneware and engobed by Jean-Pierre Bonardot. Artist signature under the base « JP Bonardot 05 ». Unique piece. 2005. H : 18.1’ x 11.8’ x 7.08’ inches.

Wall sculpture in glazed stoneware entitled « Le Crapeau » by Anne Barrès. Artist signature on the back « Anne Barrès ». 1977. Unique piece. Can be displayed both indoors and outd...

Important sculpture with wings in black glazed stoneware by Jean-Pierre Bonardot. Handwritten signature of the artist. Unique piece. 2022. H : 23.6’ x 7.08’ x 7.08’ inches.

Large wall sculpture entitled « Grande voile » in grey clay and rebar by Anne Barrès. Circa 1970-1980. Unique piece. H : 19.7’ x 59.4’ x 4.1’ inches.

Large glazed stoneware screen composed of 84 modular elements by Anne Barrès. 2010. Unique piece. Can be displayed both indoors and outdoors. H : 95.5’ x 93.7’ inches (claustr...

Wall sculpture entitled « Tressage » in porcelain, stoneware and rope by Anne Barrès. Circa 1970-1980. Unique piece. H : 36.6’ x 20.0’ x 2.7’ inches. Approximate dimensions.

Important glazed stoneware sculpture entitled « Flétrie » by Anne Barrès. circa 2010. Unique piece. Can be displayed both indoors and outdoors. H : 32.7’ x 33.8’ x 28.7’ inches...

Wall sculpture entitled « Tressage » in porcelain, stoneware and rope by Anne Barrès. circa 1980-1990. Unique piece. H : 31.5’ x 31.9’ x 3.9’ inches. Approximate dimensions.

Glazed stoneware wall sculpture entitled « Burka » by Anne Barrès. Artist signature on the back « Anne Barrès ». circa 2000-2010. Unique piece. Can be displayed both indoors and o...

Stoneware and steel screen by Anne Barrès. circa 2000. Unique piece. Can be displayed both indoors and outdoors. H : 31.9’ x 32.3’ x 2.9’ inches (ceramic only). H : 37.40’ x 34.6...

Important glazed stoneware sculpture entitled « Flétrie »by Anne Barrès. Circa 2010. Unique piece. Can be displayed both indoors and outdoors. H : 17.7’ x 19.7’ x 19.7’ inches (c...

Important glazed stoneware sculpture entitled « Flétrie » by Anne Barrès. circa 2010. Unique piece. Can be displayed both indoors and outdoors. H : 33.5’ x 22.8’ x 22.8’ inches...

Large glazed stoneware screen with four leaves by Anne Barrès. Artist signature under the base. Circa 2000-2010. Unique piece. Can be displayed both indoors or outdoors. H : 75.2...

Large porcelain biscuit screen with four adjustable leaves by Anne Barrès. Artist signature on the back. circa 2010. Unique piece. Patinated metal structure. H : 76.6’ x 24.8’ x 3.5...

Glazed stoneware sculpture entitled « L’éffondrée bleue » by Anne Barrès. circa 2010. Unique piece. H : 22.4’ x 25.6’ x 27.5’ inches. Approximates dimensions.

A ceramic vase by Robert Heraud. Perfect original conditions. Signed under the base. Circa 1970-1980. Unique piece.

Monumental ceramic vase with glaze decoration. Unique piece. Signed and dated 2020 at the base. Perfect original conditions.

A porcelain sculpture by Wayne Fischer. Perfect original conditions. Signed. Unique piece. 2007. 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...

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...

A stoneware vase with red glaze decoration by John Bailey to La Borne. Perfect original conditions. Circa 1980-1990. Signed at the base. Unique piece.

A porcelain sculpture by Wayne Fischer. Perfect original conditions. Signed. Unique piece. 2022. How can an inert object produce deeply unsuspecting, indecipherable, uncontrol...