Beaux Arts Decorative Objects

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

A ceramic vase in the style of Robert Deblander. Perfect original conditions. Circa 1980. NOT SIGNED.

An early 20th century French faience candlestick from the faiencerie of Desvres, hand-painted with the traditional Rouen floral decor and colors of blue, yellow, orange and green. Fo...

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

A ceramic vase with black and white glazes decoration. Signed under the base "Polaris". Perfect original conditions, circa 1960-1970.

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

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

A ceramic vase with white, green, black glazes decoration, attributed to Sainte Radegonde. Perfect original conditions. Circa 1950-1960.

A ceramic vase with glazes decoration by Michel Lanos (1926-2005). Perfect original decorations. Artist monogram under the base. Circa 1980-199...

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

A big ceramic vase by Steen Kepp to La Borne. Wood firing. Unique piece. Signed under the base. Perfect original conditions.  

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

Christine Fabre (born in 1951) Untitled Architecturally designed vase in textured raku ceramic, bearing an impressed mark H. 73.5 cm Biographical Information Born in 1951 in Marse...

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 vase by CH- Guieba. Wood firing. Perfect original conditions. Signed under the base, circa 1980-1990. Unique piece.

A ceramic vase, sculpture by Michel Lanos (1926-2005). Perfect original decorations. Artist monogram under the base. Circa 1990-2000. Unique piece. H : 12.2 x 10.6 x 12.2 inches. - ...

A ceramic vase-sculpture by Michel Lanos (1926-2005). Perfect original decorations. Artist monogram under the base. Circa 1990-2000. Unique piece. H : 15.3 x 8.7 x 7.9 inches. - Bo...

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

19th-20th century antique bronze by Joaquin Angles listed "Premier Triomphe" a fine casting of a winged angel. Signed and titled on base. Height: 20 inches Width: 9 inches Depth: 5 i...

After Odoardo Tabacchi (1831-1905) a very fine Italian 19th century patinated bronze figure of "La Tuffolina" (The Diver). The finely cast brown patin...

After Auguste Rodin cast bronze , signed on a solid Oak base . signed ."poorly legible". One of the most tragic subjects in Rodin's oeuvre is the Danaïde. The Danaïdes were the...

This is an exceptionally rare bronze of the noted early film star Emil Jannings. Emil Jannings was a German actor, popular in 1920s Hollywood. He was the first Oscar recipient, hono...

Who can resist? This decorative penguin was made in France in the 1960s from plaster. She or he retains the original paint, which is worn in places, please look at all our photograp...

Clearly influenced by Gustav Dore's masterful painting of a crowd of Titans pushing an enormous boulder at the top of a mountain, with lightning bolts over...

We are always on the lookout for bronzes with a sports theme. Here we are offering a rare example of a field hockey player. Well cast with a beautiful war...

For those who are wanting sculpture of any Shakespeare characters, we have that here for you. We know it is the head of King Richard III being held by an...

A ceramic sculpture by french artist Perfect original conditions. Signed under the base, Circa 1970. Unique piece.  

Charles Anfrie (French, 1833-1905) "Un Accident", Patinated Bronze Sculpture, late 19th century, depicting a young boy with torn trousers, on a circular plinth, signed and titled to ...

An interesting ceramic mask by F. Labelle, with a metal base. Signed "Labelle". Unique piece. Perfect original conditions, circa 1980-1990.

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...

La Chasseresse Indienne, The Indian Huntress by Paolo Di Ferdinando Triscornia (Italian, 1856-1936) , after Charles Cumberworth white marble, signed Paolo Triscornia / F H 34 in. (8...

This is a marble sculpture of a cherub who is standing up in front of a trunk. His head has an abundant hair with curly ends. He is gently holding a puppy. The sculpture has attached...

Pair antique Boch vases is a splendid example of craftsmanship from the famous maker out of Belgium, with a classical shape inspired by ancient Greek arch...

Large tubular vase « Bambou » in blue glazed stoneware by Jean-Pierre Bonardot. Artist monogram under the base. Unique piece. Circa 1990. H : 15.7 x 4.7 x 4.7 inches. - Born in 19...

Large tubular vase « Bambou » in blue glazed stoneware by Jean-Pierre Bonardot. Artist monogram under the base. Unique piece. Circa 1990. H : 15.1 x 4.7 x 4.7 inches. - Born in 19...

Square stoneware pot with abstract decoration by Georges Martin. Artist monogram under the base. Circa 1970-1980. H : 7.3’ x 6.7’ x 3.9’ inches.

Square stoneware pot with abstract decoration by Georges Martin. Artist monogram under the base. Circa 1970-1980. H : 8.8’ x 8.5’ x 6.7’ inches.

Stoneware zoomorphic vase by Georges Martin. Artist signature on one side. Circa 1970-1980. Unique piece. H : 11.4’ x 2.9’ x 9.8’ inches.

Square stoneware pot with abstract decoration by Georges Martin. Artist monogram under the base. Circa 1970-1980. H : 10.8’ x 10.6’ x 6.3’ inches.

Square stoneware pot with abstract decoration by Georges Martin. Artist monogram under the base. Circa 1970-1980. H : 11’ x 9.8’ x 5.1’ inches.

Square stoneware pot with abstract decoration by Georges Martin. Artist monogram under the base. Circa 1970-1980. H : 9.2’ x 9’ x 7.5’ 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.

Large floor vase in black glazed ceramic by Patrick Crulis. 2024. Unique piece. H : 28.3 x 15.7 x 15.7 inches. Approximate sizes. - Born in 1965 in Versailles, he lives and works i...

A painted plaster sculpture from 1900s France. This sculpture depicts a lion climbing up to a cliff's edge, with legs stretched back releasing a ferocious roar. The gold paint that coats the plaster cast sculpture has chipped here and there, adding maturity to the image of the jungle king...

Stoneware sculpture entitled " Corps ascendant " . Unique piece. 2023. Artist monogram under the base. This piece can be put indoor or outdoor. - Born in 1965 in Japan, lives and w...

Important stoneware sculpture entitled " Corps ascendant #6 ". Artist monogram under the base. This piece can be put indoor or outdoor. Unique piece. 2023. - Born in 1965 in Japan,...

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

An elegant Royal Vienna porcelain vase with painted portrait of a beautiful woman on one side and beautiful gold gilt flowers on the reverse. Origin: Austrian Date: 19th century Dim...

Blue glazed ceramic vase by Accolay. Artist signature under the base. Circa 1960-1970. H : 8.7’ x 7.7’ inches.

Green and black glazed ceramic cup by Gisèle Buthod Garçon. Raku fired. Artist monogram under the base. Circa 1980-1990. H : 3.1’ x 11.8’ inches. - Born in 1954 in Salon-de-Prove...

Wonderful white marble statue of a smiling sweet little girl, with flowers in the hair. a very unusual marble statue . nr. O/7552.

Ceramic sculpture entitled « Rocher posé » by Pierre Martinon. Perfect original conditions. Signed and dated at the base "Pierre Martinon 1985". Unique piece. - A great work of...

A pair of ceramic vases by Charles-Henri Guieba with geometrical decoration. Wood firing. Perfect original conditions. Each piece is signed under the base. Unique piece. 2022.

A porcelain sculpture by Wayne Fischer. Perfect original conditions. Signed. Unique piece. 2006. 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...

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”. 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...