Sculpture attributed to Lucien Lafaye, female face in molded glass, circa 1950.

This bust is a studio plaster piece made by Charles Filleul. It is a patinated plaster mounted on a wooden cube. It is a 20th-century work. Regarding condition, please note some dam...

This is a studio plaster statue by Charles Filleul. It bears no signature, but is attributed to his hand. A large and highly decorative piece, it features an attractive patina. Plea...

This sculpture comes from the studio of Charles Filleul. It is a hand-modeled piece from the 1920s, finely crafted. The artist’s hand and modeling technique are clearly evident. In ...

Studio Plaster Sculpture by Charles Filleul – Woman in Antique Style, Signed 1906 This sculpture is signed "Charles Filleul 1906" and features a patinated finish. There are some da...

Beautiful volcanic stone sculpture typical of the Vesuvius area, Italy, Naples 1960.

Elio Cerbella (1933-2019) 'Bucchero' female ceramic sculpture, Italy, 1950s. This is a beautifully stylized midcentury ceramic sculpture made by Elio Cerbella from the village of Gubbio in Italy. In Gubbio there was a following of pottery artists...

Master Italian Glass Artisan Ermanno Nason (1928-2013) created this smoked glass young female bust with ponytail sculpture in 1975. The only other example I found in my research was in his own gallery /museum, now temporary closed. Some minor surface scratches, mainly to bottom. Etched signature E. Nason '75 to base. Ermanno Nason was born in Murano in, from one of the oldest families of glassmakers on the island and appeared at his father Italo’s furnace at the age of ten. Ermanno left elementary school spending his time between the furnace and the school for Apprentices Masters “Abate Zanetti” (managed by Professor Vittorio Zecchin) and made his first experiences in more realities, including Pinzan & Cimarrosti where he was proclaimed Master at age of eighteen. In his youth, Ermanno also worked at the Mazzega I.V.R. collaborating on the great project of Egidio Costantini, which contemplated extraordinary artists of various types brought together: painters, sculptors and master glassmakers, to whom, in 1958, Jacques Cocteau gave the name of “Fucina degli Angeli”. This experience gave him the opportunity to start his personal search and the opportunity to meet with renowned painters and sculptors. Ermanno worked with all the greatest contemporary artists, from Marc Chagall to Oscar Kokoschka, from Pablo Picasso to Renato Guttuso, from Jacques Cocteau to Braque, from Jan Arp to Max Ernst, from Autun Motika to Alexander Calder. From 1953 to 1959 he was at I.V.R. Mazzega , assigned to carry out artists' designs for Egidio Costantini 's Fucina Degli Angeli , including ones by Georges Braque , Marc Chagall , Jean Cocteau , Pablo Picasso , and Gio Ponti. Around 1955 begins to collaborate with the Yugoslavian sculptor and painter Antun Motika, also the Kristal-Samobor glasworks in Maribor. Then he carried out designs by the painter Aldo Bergamini, which are exhibited in Warsaw in 1965. From 1958 collaborates with Fulvio Bianconi . During 1959-61 had his workshop in Murano Campo San Bernardo; continues for Bianconi, Costantini and Motika, as well as for Raoul Goldoni, among others. He has been partner in and designer at the Scarpa & Nason factory for utilitarian glass. From 1964 to 1971 he has been first master glassblower at Gino Cenedese . Makes works based on his own designs and in close collaboration with the leading designer Antonio Da Ros . In 1969 he carries out monumental glass sculptures...

François-Emile Decorchemont Pate-de-Verre Glass Mold Of A Female Ladies Face. A rare, large and very heavy sculpture of either a mask or a modeled face. At 3.5 inches thick in glass with a peach, pink or rose color; this statue was exhibited in the Brooklyn Museum, New York in 1971. With much research; I haven’t seen or heard of a similar form by Decorchemont. The original Brooklyn Museum loan sticker is on verso with the Decorchemont stamp on her left cheek. For serious collectors or rare Art Deco, Art Nouveau glass. Circa 1910 Molded Signature DECORCHEMONT Height: 7 Inches (13.3 cm) Width:. 5.2 Inches (16.5cm). AVANTIQUES is dedicated to providing an exclusive curated collection of Fine Arts, Paintings, Bronzes, Asian treasures, Art Glass and Antiques. Our inventory represents time-tested investment quality items with everlasting decorative beauty. We look forward to your business and appreciate any reasonable offers. All of our curated items are vetted and guaranteed authentic and as described. Avantiques only deals in original antiques and never reproductions. We stand behind our treasures with a full money back return if the items are not as described. François-Emile Décorchemont French, 1880-1997 François Décorchemont, originally an accomplished painter and potter of recognized ability, turned to the making of glass in 1904. Pâté de verre was the medium in which he excelled and for which he is best known. After studying decorative art in Paris, François Décorchemont returned to his native Conches in 1910 to develop new techniques in stained glass, particularly in the use of crystal to give multicolored and faceted panes. After 1909, while continuing to produce fine glass paste pieces, Francois Decorchemont began to experiment with a new casting technique. François Decorchemont, Emile's son and also an artist, helped out in his father’s studio, in particular helping him to research the possibilities of creating jeweled adornments in pates d'email (enamel pastes) for Gerome's polychrome sculptural creations. Francois Décorchemont, a potter and painter at the outset of his career, became fascinated with the IDEA of developing and utilizing a thin translucent glass material in his work. It was in essence the revival and an adaptation of a long forgotten Egyptian glass-making process using colored crystal powdered glass, metallic oxides and an adhesive paste. This "new" material, known as pâte de verre was developed around the turn of the century, principally at the Sevres porcelain factory, by a number of artists working there, notably Henri Cros and Albert Dammouse. The end of the 19th century was an illuminated period in the history of art. Impressionist painting appeared and created an interest in glass as material. Traditional sculpting materials such as bronze and marble made way for glass with its possibilities of light and color. Henry Cros and François Décorchemont became the leaders of French pâte de verre and facilitated the proliferation of this colorful glass. His first major work, in 1934, was inn the Eglise Sainte-Odile near Porte Champerret in Paris, some 300 square meters of brilliant colors. After the war, he devoted his work to churches in the Eure, including of course Beuzeville where, thanks to the generosity of the local council, the church is lit at night so that his work can be admired from outside. During the first half of the 20th century a number of French artists became famous for their work in pâte de verre, and Francois Decorchemont among them. March 2014, 20th Century’s Greatest Art Dealer Felix Marcilhac’s Collection Privee at Sotheby’s - Chang Yi Entrusts Antoine Leperlier in the Bidding of a Francois Decorchemon's Original. It has been reported that Felix Marcilhac’s Collection Privee auction at Sotheby’s brought in 33,125 Euros (28,000 RMB), three times the estimated price. Marcilhac is considered the greatest Art Deco dealer...