French Bowls and Baskets

Beautiful art deco vase by French artist Claudius Linossier from the 30s/40s, using the artist's specific dinanderie technique. Structure in hammered copper in shades of red, decorat...

Bohemian crystal Overlay bowl, 19th century, Napoleon III period. A Napoleon III period crystal bowl, 19th century, in red and white Bohemian Overlay crystal. H: 24.5cm. D: 23.5cm

Ceramic plate / serving dish by Les 2 Potiers, France, 1960s Les 2 Potiers, Jacques and Michelle Serre, active in France between 1956 and 1970.

18th century Holm oak bowl from France. The bowl is beautifully hand turned and has a rich color and patina and shows honest signs of use. This type of bowl may have been used in ...

Leaf brass vide-poche. French work. Circa 1970.

French Champagne grape bins with original paint. Of Strong and sturdy construction, ideal for logs. Two available.

These very nice 4 mortars are made of white marble. This is a French work, 18th century.

Emile Louis Picault, French (1833-1915) "Olympias XCI Graeci Syracusis Captivi" bronze tazza Dated 1863. Standing on decorated base with Roman head motifs. Signed 'E. Picault, Exp...

Stunning French Art Deco ceramic basket or bowl with handles, circa 1930. This beautiful decorative object is signed H D and numbered, it was handcrafted by Henri Delcourt a well kn...

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.

French ceramic dish. Triple and shell-shaped form. Turquoise and cream-colored glaze. Ca. 1940s. Marked. Perfect condition. Dimensions: D 30.0 cm. x H 3.5 cm.

This vide-poche is made of bi-color glass. This is a French work. Circa 1970.

Green/blue glazed ceramic cup by Gisèle Buthod Garçon. Raku fired. Artist monogram under the base. Circa 1980-1990. H : 2.4’ x 8.3’ inches.

Article: waste bin paper bin umbrella stand Origin: France Age: 1960s This original vintage Bauhaus style waste bin paper bin umbrella stand was produced in the 1960s in Fra...

A ceramic cup by André Rozay ( 1913-1991) to La Borne. Perfect original conditions. Signed under the base " Rozay". Circa 1946. Unique piece.

Pierre Gire (1901-1984), also known as Pierre d'Avesn, French glass artist. Smoky Art Deco glass bowl. Designed with a flower motif. Approximately 1940. Marked. In perfect condition...

This beautiful late 19th century brass set features a hand-hammered tray with two candle holders The tray is stamped on the bottom and marked Villedieu, short for Villedieu-les-Poel...

A magnificent French marble mortar from the 19th century, an authentic and rare piece that embodies the elegance and refinement of French craftsmanship. This marble mortar, manufact...

19th century split oak handwoven basket from France. Lovely shape and size.

This exquisite Art Nouveau pewter dish is a stunning example of early 20th-century craftsmanship, featuring a design inspired by nature’s organic forms. The dish resembles a serene p...

Burgundy glazed ceramic cup by Gisèle Buthod Garçon. Raku fired.Artist monogram under the base. Circa 1980-1990. H : 3.9’ x 10’ inches.

This large dish is made of a glazed ceramic. This is a French work. Circa 1970.

A beautiful stoneware bowl with amazing glaze. Made by Tyra Lundgren. Executed during the artist's time spent at Sèvres, between 1934-1939. Excellent condition. Impressed with artist's name and maker's marks. Tyra Lundgren (1897-1979) was one of the most multifaceted artists and modernists of the twentieth century. She was a painter, drawer, sculptor, ceramist, glass- and textile designer, as well as an author and an art critic. She was the first woman who designed glass for Paolo Venini at Murano in Venice and she also served as the artistic leader at Arabia in Helsinki at a time when men tended to hold those kinds of positions. Tyra Lundgren grew up in Djursholm, near Stockholm. Her parents were John Petter Lundgren, professor at Veterinärinstitutet (institute of veterinary sciences) in Stockholm, and Edith Lundgren née Åberg, who was a housewife and raised their six children. The bourgeois home also comprised a nanny and a female cook. The family were very socially active, travelled often, and enjoyed the outdoor lifestyle. Tyra Lundgren’s schooling began at Djursholm coeducational school, where her teachers included Natanael and Elsa Beskow and Alice Tegnér. Her school friends included Greta Knutson-Tzara, Stellan Mörner, and Ingrid Rydbeck-Zuhr. Tyra Lundgren knew from the time she was five years old that she wanted to be an artist. She first became aware of the profession through Axel Fahlcrantz, who rented a studio on the plot of land where she lived with her family. In 1913 she began to attend Högre konstindustriella skolan (HKS, now known as Konstfack, college of arts, crafts and design) where she studied decorative art as well as handicrafts in various forms until 1917. One of her fellow students and friends there was Estrid Ericson, who later founded Svenskt Tenn AB in 1924. Whilst attending HKS Tyra Lundgren also took painting lessons at the Althin school of painting. In 1917 she was accepted as a candidate at the Royal Swedish Academy of Fine Arts where, apart from breaks during which she undertook studies abroad, she remained until 1922. She spent a couple of months taking lessons from Anton Hanak in Vienna and from 1920–1923 she was a student of André Lhote in Paris. Tyra Lundgren was primarily active in four countries: Sweden, Finland, France, and Italy. She spent much of her professional life travelling and considered herself to be a European. Greece and Mexico also formed important centres in her artistic life, as did the USA. She had an extensive social network which included focal individuals within twentieth century-European and American artistic and cultural circles. Tyra Lundgren’s main artistic motifs were birds, fish, and people which she depicted through different techniques and materials. Her artistic expression involved a variety of different directions and styles. She was a pioneer of the 1920s Swedish Grace style, the name of which had been coined by the art critic Morton Shand at the Stockholm Exhibition of 1930. This was a Swedish Art Deco style, characterised by elegance and traditional art which contrasted with the current artistic ideals of functionalism. Tyra Lundgren made her debut at a group exhibition held at Kungliga Akademien för de fria konsterna in 1921. She went on to show her work at various exhibitions throughout the 1920s. After that period she only very rarely exhibited her paintings. Tyra Lundgren’s painted output can be divided into different periods or stylistic directions. The first of these, and the most extensive, was her post-Cubist period which began in 1920 on her arrival in Paris. Her paintings from this time and right up to the mid-1930s typically comprise portraits, self-portraits, live-model painting, still-lifes, interiors, and landscapes in the Cubist style. Many of the great number of self-portraits she painted were produced in the New Objective style, displaying broad variation in terms of clothes, poses and techniques. Two of these – Huvud med vit duk and Självporträtt both from 1921 – can be seen at Moderna Museet in Stockholm, although the majority of these works are at Gotlands Museum. Tyra Lundgren’s second artistic period comprises the years of 1927 to 1929 and is characterised by the New Objective style inspired by medieval techniques and materials (Giotto, Piero della Francesca). Her motifs were still-lifes and landscapes. At this point she was living in Rome and was close to the circle involved in the Valori plastici: rivista d’arte art journal. This period saw a breakthrough in her development as a painter. From the 1950s through the 1970s her work can almost be described as belonging to the Concrete style. Using light pastel colours her paintings sought light in a sometimes non-figurative expression, but often depicting abstract bird-shapes or other nature-inspired imagery. Her paintings from this period are outsized and display powerful colours, in yellows, reds, and blues. Tyra Lundgren maintained a constant production of drawings, both in terms of individual artworks and sketches for patterns and designs. She also produced the illustrations for her book Fagert i Fide. Årstiderna på en gammal gotlandsgård, published in 1961. During her early years she also produced advertising illustrations. She spent the final years of her life primarily working with lithographs which were printed at Galleri Prisma and depicted images of doves, swallows, magpies and crows. Tyra Lundgren is meanwhile best known for her work as a ceramist and in this sphere she was one of Sweden’s leading exponents. She worked in the porcelain industry as a designer and as an artisan and ceramic sculptor. Her first job was at St Eriks Lervarufabrik in Uppsala from 1922–1924, she then worked at Arabia from 1924–1937, and at Rörstrand and Lidköping Porslinsfabrik. She was the artistic leader at Arabia ahead of the 1930 Stockholm Exhibition and she exhibited her work at the World’s Fairs. During the 1934–1938 period she was connected to the Manufacture nationale de Sèvres porcelain factory in Paris. Tyra Lundgren was a pioneer when it came to giving ceramic art a public space in Sweden. She produced around 20 outsized reliefs in stoneware, so-called monumental reliefs. One of these is Märkeskvinnor, from 1947, for the former girls’ school at Bohusgatan in Stockholm. From the 1940s onwards Tyra Lundgren produced sculptural objects in Chamotte clay and stoneware, with various glazings. Her small birds are well-known and popular with many. When her ceramic efforts became too much for her during the 1970s she then produced models for sculptures in bronze. There are six of these in various places around the globe, including Solfågel in Almedalen, Visby. Tyra Lundgren began to work as a glassware designer at Moser in Karlsbad in 1922 where she designed new table services and modernised older ones. She also worked freelance for Riihimäki factory in Finland during the 1924–1929 period. From 1934 to 1938 she was employed by Kosta glass factory where she mainly designed thick-walled bowls and vases, engraved with classical motifs. She was introduced to the glassmaker Paolo Venini at Murano during the Triennale di Milano of 1936 and they began a collaboration that lasted into the 1950s. As part of this collaboration Tyra Lundgren became the first woman to design glassware and, in conjunction with the glassblower Arturo Biasutto, she developed new techniques of glass production. Her motifs at this point were birds, fish, snail-shaped designs and leaf-patterned bowls using traditional techniques as well as in new designs. It was during this time that she created the so-called tissue-shaped bowls and it remains unclear as to who specifically came up with the design but Tyra Lundgren claimed it was of her making. Tyra Lundgren was active as textile designer for Licium (now HV Licium), the sacred textiles...

Suzanne Ramié (1905-1974) created Atelier Madoura with her husband Georges in Vallauris, South of France . In 1947 they welcomed Picasso in the workshop and she provided him with he...

Wonderful large oval French neoclassical ormolu doré bronze and diamond cut crystal oval centerpiece / Jardinière with lions feet and double ...

Refined glazed ceramic bowl by celebrated French ceramicists Jacques (1926–2008) and Dani (1933–2010) Ruelland, created in France circa 1960. Measuring 15.5 cm in height and 23.5 cm ...

Brown glazed ceramic cup by Gisèle Buthod Garçon. Raku fired. Artist monogram under the base. Vers 1980-1990. H : 5.1’ x 7.9’ inches.

Metal basket made by welded wire completed by a solid ring. With wood handles. Unknown manufacturer, France, Circa 1970 Materials: Metal Wood In original condition, with mi...

Metal paper bin made by welded wire completed by a solid ring. Unknown manufacturer, France, circa 1970 Materials: Metal In original condition, with minor wear consistent o...

Rare French mid century decorative wooden tray / dish with handles in solid carved elm by Alexandre Noll. In good original condition. Signed. Dimensions: H: 2.5 cm / 1" W: 47 cm / 1...

Sabino, France. A business card holder with a French bulldog in art glass. Art Deco opaline glass with a bluish tint. Approximately from the 1930s. In perfect condition. Stamped: Fr...

Ceramic dish by renowned French potter Jean Besnard. Partially glazed etched decor. Made in France in the 1930s. Monogrammed JB.  

1950s French Olive Wood Mortar and Pestle – Exquisite Brutalist Design Bowl size: 19cm x 18 cm Height 14 cm.

This early 20th-century mortar and pestle is made of brass with an honest patina. Both the mortar and pestle are traditional in style. The mortar has a bell-shaped body with a rounded base this style is known for, and the pestle has one round end. Brass mortar and pestles...

A handsome midcentury French decorative plate or large vide poche. The apparent very talented ceramist used textures that resemble that of a painting of flowers. The wonderful form and colors on the beige background reflect the artist's painterly attention to detail. A beautiful addition to a collection of Mid-Century Modern French pottery...

Golden glazed ceramic cup with metallic highlights by Gisèle Buthod Garçon. Raku fired. Artist monogram under the base. Circa 1980-1990. H : 2.7’ x 7.9’ inches.

1950 / African tree trunk bowl / Mid-century / vintage / design Eye-catching large African oak bowl in diabolo form, crafted around 1950. Hand made ...

Glazed ceramic bowl with pearly white interior by Gisèle Buthod Garçon. Raku fired. Artist monogram and signature under the base. Circa 1980-1990. H : 8.3’ x 9.8’ inches.

A ceramic dish with glaze decoration. Perfect original conditions. 1936. Signed and dated under the base "Guillaume 1936".  

19th century French Jaspe bowl hand-painted with floral motive From the Savoie region of France.

Signed by Cojoie AD, the decor-painter and on the reverse, LM et Cie, the making mark of the manufacture A circular hand painted pottery charger, decorated with an orientalist sc...

French Art Deco, Modernist acid etched art glass centerpiece, circa 1930, signed Daum Nancy. Rings of rippled patterns grace this very slightly tinted emerald, spring green art glas...

French midcentury black matte ceramic key holder or vide poche, hand-crafted in Vallauris, France. Good quality craftsmanship. Marked. Measures...

Alexandre Kostanda (1921-2007) for Vallauris, France. Unique ceramic bowl with earth-toned glaze. From the 1960s/70s. Stamped. In perfect condition. Dimensions: L 30.0 cm x D 10 cm ...

Incredible 1980s waste bin with a unique design involving slender panels of mirror conjoined together around the entire body of the bin. Metal body with "P & K Products Company, Elgi...

Jacqueline SUZOR de PANAFIEU (1903 – 1981) Numbered vase signed J. Suzor, circa 1970 geometric pattern, in Art Deco's style, cracked ceramic, creation Desert Occidental, collection "Rouge-Gorge" "Hand made in France, Faiencerie des Recollets". White craqueling glazed, very beautiful pattern and bright colors. Superb vintage condition, no repairs. Born in 1903 in Paris, Jacqueline studied drawing as a teenager. From the 1920s to 1935, she began a promising career as a painter. From Kiki to J.S. de PANA-FIEU, through Suzor, JSP or Pana (more than 6 signatures for one artist!), Jacqueline Suzor de Panafieu assumed several personalities during her life as a Parisian artist. Her signatures bear witness to a woman's life and career made up of ruptures and twists. Curious about everything and everyone, Jacqueline Suzor surrounded herself with artists, writers, filmmakers, actors and photographers who met at her table. She also met Dali and Giacometti. Jacqueline freed herself from the cubist influence, she defined herself in the 1930s, an aesthetic that came from her passion for the Far East, developed through contact with the objects brought back by her ambassador father during his distant travels. Two artists inspired her during the period from 1957 to 1962: Bernard Buffet and Georges Matthieu. From one she borrowed the black lines; from the other she owed her passage to abstraction. Her numerous exhibitions in the 1970s brought her recognition in France and abroad. It was also a time of commitment within the Union of Women Painters and Sculptors (UFPS), of which she became vice-president. MAIN EXHIBITIONS : 1933 - Salon de la Société Nationale des Beaux Arts, Grand Palais, Paris. 1959 - Gallery Mourgue, Paris. Personal exhibition (EP). 1961 - Salon Comparaisons. 1962 - Gallery Hoche, Paris. 1970 - Town hall of Montrouge. M.J.C., Montreuil. Athanor Gallery, Pana Interior Museum, le Véşinet...

Green glazed ceramic handle pot by Gisèle Buthod Garçon. Raku fired. Artist monogram under the base. Circa 1980-1990. H : 6.7’ x 6.3’ x 4.7’ inches.

Stunning clear crystal mustard dish or appetizer bowl is stamped Bayet. This well known crystal art house was located in Vannes-Le-Chatel, France. Begi...

White/grey and pearly beige glazed ceramic bowl by Gisèle Buthod Garçon. Raku fired. Artist monogram under the base. Circa 1980-1990. H : 4.3’ x 6.7’ inches.

Hand-crafted, hand-painted French midcentury ceramic bowl. Beautifully decorated with floral designs and glazed. Signed on the bottom, Miclay.  

Brown glazed ceramic bowl with metallic highlights by Gisèle Buthod Garçon. Raku fired. Artist monogram under the base. Circa 1980-1990. H : 7.9’ x 8.3’ inches.

Daum Nancy, France. Large round Art Deco dish in mouth-blown art glass, 1930s-1940s. Measures: 39 cm. Stamped. In very good condition.  

Beautiful vide-poche in gilt ceramic and brown details in relief. Signed, Francis Cova, France.  

Green and red glazed ceramic cup by Gisèle Buthod Garçon. Raku fired. Artist monogram under the base. Circa 1980-1990. H : 2.9’ x 8.3’ inches.

French Yellow Chalice in majolica cracked ceramic. Signed with a name and Vallauris, France.

Sculpted with a captivating organic form, this mid-century modern ceramic bowl by Marcel Giraud embodies the artistic spirit of Georges Jouve. The hand-crafted piece features a str...

Vallauris, France. Large ceramic bowl in multicoloured glaze. Approx. 1970s. In perfect condition. Marked. Dimensions: D 35,0 x H 8.0 cm.

Gerard Hofmann (1917-1965), French ceramicist, own workshop. Bowl with ox blood glaze. Handmade. Circa 1960. In perfect condition. Signed. Dimensions: L 21.0 cm x H 5.0 cm.

Found in the South of France this beautiful blown glass mortar and pestle dates from the late 19th century. Once used in kitchens and pharmacie...

Rare, perhaps unique, this beautifully sculpted and cast bronze cup features a frieze of racing cars and motorcycles in the heat of the race, above a series of garlands with oaks lea...