Beaux Arts Sculptures

Glazed and engobed ceramic sculpture. Artist’s monogram at the base to identify. Circa 1970- 80. Unique piece. H : 9.8 x 29.5 x 16.9 inches.

This unusual and mysterious bronze was done by the Hungarian artist Karoly Herpka (1861-1938). Signed underneath in 2 places. The subject seems to be unhappy about some event. Not...

Important stoneware sculpture entitled " Corps ascendant #6 ". Artist monogram under the base. This piece can be put indoor or outdoor. Unique piece. 2023.

Earthenware vase- sculpture by Georges Martin. Artist monogram on the base. Circa 1980. H : 23.6 x 5.9 x 7.5 inches.

Wood fired stoneware «Pot à feu» sculpture by Île/Mer/Froid. Artist signature under the base. 2023. H : 29.9’ x 14.6’ inches.

Earthenware vase- sculpture by Georges Martin. Artist monogram on the base. Unique piece. Circa 1980. H : 26.8 x 7.1 x 15.7 inches.

"Detresse" [Distress] Patinated Metal Sculpture, 20th century, depicting a shipwrecked sailor hailing for aid. 26.5" H x 10" H x 8.5" D.

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

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

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.

Wood fired stoneware «Pot à feu» sculpture by Île/Mer/Froid. Artist signature under the base. 2023. H : 30.7’ x 15.7’ inches.

A ceramic sculpture signed Alistair Danhieux. Signed and dated under the base. 2013. Perfect original conditions.

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 : 29’5 x 10’5 x 9’ inches.

Stoneware duck sculpture by Georges Martin. Unique piece. Artist monogram on the base. Circa 1970-1980. H : 12.9 x 11.8 x 24.8 inches.

Although there is seemingly no apparent foundry mark, this finely cast & patinated animalier bronze known as ‘Bull’ or ‘Taureau Beuglant’ is exemplary in demonstrating exceptional at...

Black glazed ceramic mural sculpture by Patrick Crulis. 2024. Unique piece. H : 20.1 x 18.5 x 15.3 inches. Approximate sizes.

Earthenware sculpture vase by Georges Martin. Artist monogram on the base. Unique piece. Circa 1980- 1990. H : 18.9 x 8.7 x 15.7 inches.

Stoneware duck sculpture by Georges Martin. Artist monogram on the base. Unique piece. Circa 1970-1980. H : 12.6 x 9.8 x 19.7 inches.

An abstract stoneware sculpture, circa 1970 by La Borne Potters. Signed. Unique piece.

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.

Important stoneware sculpture entitled " Cadence" by Maarten Stuer. Unique piece. Artist monogram under the base. This piece can be put indoor or outdoor. 2023.

An unique ceramic sculpture with black glaze decoration by Pierre Martinon. Perfect original conditions. Signed at the base "P. Martinon ". circa 2000.

A Louis Auguste Joseph Bertrand, French terracotta sculpture of a baby holding a question mark symbol, Titled "Le Point d'interrogation" signed "Louis Bertrand" and dated "3. 1931" T...

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.

A porcelain sculpture with green glaze decoration by Tim Orr. Perfect original conditions. Signed under the base, circa 1970.

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...

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.

Ceramic sculpture entitled « La Citadelle » by Pierre Martinon. Perfect original conditions. Signed and dated at the base "Pierre Martinon 2000". Unique piece. Far from...

A ceramic sculpture with brown glaze decoration by Tim Orr. Perfect original conditions. Signed under the base, circa 1970.

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

A 20th Century Cast bronze figural statue of a mother holding her baby. Measures 26.5" in widthX 10" in depth X 24" in height.

A ceramic sculpture by Gérard Brossard to La Borne. Perfect original conditions. Signed "Gérard Brossard". Unique piece, circa 2000.

A ceramic sculpture "Bloc in motion" by Maarten Stuer. This piece can be put indoor or outdoor. Artist monogram under the base. 2020. Unique piece.

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.

An unique porcelain sculpture by Wayne Ficher. Perfect original conditions. Signed under the base; Wayne Fischer. 2017.  

A porcelain sculpture by Wayne Fischer. Perfect original conditions. Signed. Unique piece. 2015. 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...

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...

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

A ceramic and metal sculpture with black and red glazes decoration. Perfect original conditions. Signed under the base, circa 1960-1970.

A ceramic sculpture "Bloc in motion" by Maarten Stuer. This piece can be put indoor or outdoor. Artist monogram under the base. 2020. Unique piece.

A ceramic sculpture with black glaze decoration by Tim Orr. Perfect original conditions. Signed under the base, circa 1970.

Obelisco decorativo Circa 1.950, realizado en madera de Caoba teñida. Proviene de la casa de decoración española de Carlos Bas, creada en 1.899.

A ceramic sculpture white glazes decoration by Alistair Danhieux. Perfect original conditions. Signed under the base, circa 2010.  

A ceramic sculpture "Bloc in motion" by Maarten Stuer. This piece can be put indoor or outdoor. Artist monogram under the base. 2020. Unique piece.

This very fine carved relief panel was sculpted by Ferdinand Levillain, France's master of bas relief at the turn of the last century. Levillain was famous for his low reliefs in med...

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...

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

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

A ceramic sculpture "Bloc in motion" by Maarten Stuer. This piece can be put indoor or outdoor. Artist monogram under the base. 2020. Unique piece.

A ceramic sculpture entitled " Petite musique de nuit " by Pierre Martinon. Perfect original conditions. Signed and dated at the base " Pierre Martinon 1991". Unique piece. ...

A ceramic sculpture with black glaze decoration by Tim Orr. Perfect original conditions. Signed under the base. circa 1970.

Superbly sculpted and highly detailed, this very fine bronze relief dated 1892 -- designed by Lodovico Pogliaghi and sculpted by Angelo Cappuccio for Stefano Johnson in Milan -- depi...

A ceramic sculpture by Gérard Brossard to La Borne. Perfect original conditions. Signed " Gérard Brossard ". Unique piece. circa 2000.

An unique porcelain sculpture by Wayne Ficher. Perfect original conditions. Signed under the base, Wayne Fischer. 2017.  

A ceramic sculpture "Bloc in motion" by Maarten Stuer. This piece can be put indoor or outdoor. Artist monogram under the base. 2020. Unique piece.

A zoomorphic ceramic sculpture by Pierre Roulot. Perfect original conditions. Signed under the base "Roulot". circa 1950-1960.

A ceramic sculpture with black glaze decoration by Tim Orr. Perfect original conditions. Signed under the base, circa 1970.