Beaux Arts Decorative Objects

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

A ceramic covered pot signed Alistair Danhieux. Signed and dated under the base. 2012. Perfect original conditions.

Brown and green glazed ceramic pitcher by Roger Jacques. Artist signature under the base. Circa 1960-1970. H : 11.02’ x 5.9’ x 5.9’ inches.

A ceramic covered pot signed Alistair Danhieux. Signed and dated under the base. 2012. Perfect original conditions.

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 vase signed Alistair Danhieux. Signed and dated under the base. 2009. Perfect original conditions.

A big ceramic covered jar with glazes decoration by Alain Gauderbert. Perfect original conditions. Signed under the base " Gaudebert ". Circa 1...

A ceramic vase with blue glazes decoration by Lucien Arnaud. Perfect original conditions. Signed under the base "Lucien Arnaud", circa 1920.

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

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

A ceramic vase by Alexandre Foucher to La Borne. Perfect original conditions. Signed under conditions. Circa 1970-1980.

A pair of ceramic vase by Jean Talbot. Perfect original conditions. Signed under the base. circa 1940. Unique piece.

A ceramic sculpture with black 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...

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 vase with glazes decoration by Michel Lanos (1926-2005). Perfect original decorations. Artist monogram under the base, circa 1990. Unique piece.

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 vase by Robert Heraud. Wood firing. Perfect original conditions. Signed under the base. Circa 1980. Unique piece.

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

Sèvre -Cup Pop shade of green porcelain cup Manufacture de Sèvres, dated 1962 Decor in shades of green by Bernard Bannier. Measures: H 5.5 cm / 2,2 in. Ø 18 cm / 7 in.

A ceramic box signed Alistair Danhieux. Signed and dated under the base, 2011. Perfect original conditions.

A ceramic vase signed Alistair Danhieux. Signed and dated under the base. 2010. Perfect original conditions.

A big ceramic vase by Georges Sybesma to La Borne. Perfect original conditions. Signed under the base " G. Sybesma". Unique piece, circa 1980-1990.

A ceramic vase by Lucien Arnaud with glaze decoration. Signed under the base " Lucien Arnaud ". Circa 1920.    

Set of ocher, brown and white glazed stoneware vases by Accolay. Artist signature under the base. Circa 1960-1970. H : 17.7’ x 6.3’ inches / H : 21.6’ x 8.3’ inches / H : 18.9’ x 7....

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

A porcelain vase designed by Claire Debril for Virebent. Signed under the base, circa 1970-1980.  

Large tubular vase « Bambou » in green glazed stoneware by Jean-Pierre Bonardot. Artist monogram under the base. Unique piece. Circa 1990. H : 15.3 x 4.7 x 4.7 inches.

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

A big ceramic vase to La Borne. Perfect original conditions. circa 1970. Signed at the base.

Black and gold glazed ceramic vase in the style of Jean Besnard. Circa 1950-1960. H : 10.6’ x 8.7’ inches.

A ceramic box signed Alistair Danhieux. Signed and dated under the base. 2011. Perfect original conditions.

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.

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.

Brown glazed ceramic vase with metallic highlights by Gisèle Buthod Garçon. Raku fired. Artist monogram under the base. Circa 1980-1990. H : 10.6’ x 7.1’ inches.

Green and yellow glazed ceramic secret box by Gisèle Buthod Garçon. Raku fired. Artist monogram and signature under the base. Circa 1980-1990. H : 7.5’ x 7.9’ x 7.1’ inches.

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

White and grey glazed ceramic bowl with metallic hightlights by Gisèle Buthod Garçon. Raku fired. Artist monogram under the base. Circa 1980-1990. H : 7.9’ x 9.8’ x 7.1’ inches.

A ceramic vase with glazes decoration by Michel Lanos (1926-2005). Perfect original decorations. Artist monogram under the base, circa 1990....

Grey/brown glazed ceramic cup by Gisèle Buthod Garçon. Raku fired. Artist monogram under the base. Circa 1980-1990. H : 3.5’ x 8.5’ inches.

A ceramic box signed Alistair Danhieux. Signed and dated under the base, 2011. Perfect original conditions.

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

A ceramic dish with an abstract glazes decoration by Robert Deblander. Perfect original conditions. Signed under the base. Circa 1965-1970.

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.

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 big dish in the style of Guidette Carbonell with brown glaze decoration. Perfect original conditions, circa 1940-1950. Unique piece.

A ceramic vase with glazes and geometrical decoration by Accolay. Signed under the base "Accolay", circa 1970-1980. Perfect original condition. Unique piece.  

Green/blue and white glazed ceramic vase by Gisèle Buthod Garçon. Raku fired. Artist monogram and signature under the base. Circa 1980-1990. H : 10.2’ x 11.8’ 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.

Glazed ceramic bowl with pearly white interior by Gisèle Buthod Garçon. Raku fired. Artist monogram et signature under the base. Circa 1980-1990. H : 4.3’ x 7.5’ inches.

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...

White and yellow glazed ceramic vase by Gisèle Buthod Garçon. Raku fired. Artist monogram under the base. Circa 1980-1990. H : 9.8’ x 9.1’ inches.

A ceramic vase with glazes decoration by Michel Lanos (1926-2005). Perfect original decorations. Artist monogram under the base, circa 1990. Unique piece.

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...

A rare monumental ceramic vase by Daniel Maes. Perfect conditions. Signed and dated at the base, circa 1992.