Beaux Arts Decorative Objects

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

Richly cast and gilded bronze floral and foliate bronze mounts with rose blooms / buds for candle holder .Now wired as a lamp . Crack to marble dome repaired (see photo 4 ) . very de...

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

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

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

Large tubular vase « Bambou » in black glazed stoneware by Jean-Pierre Bonardot. Artist monogram under the base. Unique piece, circa 1990. H : 25.2’ x 3.9’ x 5.1’ inches.

A ceramic sculpture signed AC and dated under the base 1992. Perfect original conditions, circa 1992.

Ceramic sculpture entitled « Entre-deux » by Pierre Martinon. Perfect original conditions. Signed and dated at the base "Pierre Martinon 1991". Unique piece. Far from t...

A ceramic vase by Robert Heraud. Perfect original conditions. Signed under the base. Circa 1970-1980. Unique piece.

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

This is a pair of gilt bronze candle holders. Each one of them depicts a cherub figure who is playing an instrument in front of a ba...

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”. 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, uncontrol...

A porcelain sculpture by Wayne Fischer. Perfect original conditions. Signed. Unique piece. 1989. How can an inert object produce deeply unsuspecting, indecipherable, uncontrollable ...

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...

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

A porcelain sculpture by Wayne Fischer. Perfect original conditions. Signed. Unique piece. 2007. 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 big ceramic sculpture by Michel Lanos. Perfect original conditions. Signed under the base. circa 1980-1990.

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 François Eve with green and white glazes decoration. Perfect original conditions. Signed under the base, circa 1980-1990.  

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. Perfect original conditions. Signed under the base. Circa 1970-1980. Unique piece.

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

A big ceramic vase by Alain Magne, to La Borne, France. Unique piece. Wood firing. Perfect original conditions. Signed under the base " Magne ", circa 1970-1980.

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

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

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

Depicting two male nudes lifting a garland framing Medieval images of the two patron saints of Leipzig University -- St. Laurentius and John the Baptist -- this rare and beautiful br...

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

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

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

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

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

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

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

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

A ceramic sculpture by Michel Lanos. Perfect original conditions. circa 1980-1990.

A beautiful and sublime personification of contentment and bliss, this bronze was sculpted by John Gregory -- who later executed 9 large bas relief pa...

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.

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.

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...

One of the most finely sculpted and executed bronzes we have ever offered, this 22-inch sculpture portrays David as a handsome, lithe young man, with a small stone in his hand, ready...

Large Carved Wooden Horse Head This Superb character is carved from a single piece of wood and is set on a wooden stand, it has a good dark patina ...

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...

Antoine Bofill (Spanish-French, 1875-1925) was a Spanish artist and member of the Animalier movement of the 19th century. Best known for his small, decorative bronze sculptures, Bofi...

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 stoneware sculpture by Michel Lanos. Artist signature under the base. Circa 1980-1990. H : 19.5’ x 6.5’ x 8’ inches. Unique piece.

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.

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