French Folk Art

Stoneware lamp with geometric decoration by Georges Martin. Artist monogram on the base. Circa 1970-1980. H : 5.5 x 7.7 inches (ceramic only). Sold with a European electrical system.

Stoneware lamp with geometric decoration by Georges Martin. Artist monogram on the base. Circa 1970-1980. H : 26.4 x 14.2 x 7.1 inches (ceramic only). Sold with a European electrical...

Stoneware lamp with geometric decoration by Georges Martin. Artist monogram on the base. Circa 1970-1980. H : 7.1 x 6.3 inches (ceramic only). Sold with a European electrical system.

French. Early 20th century. A large decorative hand painted cockerel Sourced from the South of France Measures: W:39 D:11 H:59CM.

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

Engobed stoneware sculpture « Solstice » by Mart Schrijvers. Artist signature under the base. 2024. H : 8.3 x 10.6 inches.

Square stoneware pot with abstract decoration by Georges Martin. Artist monogram under the base. Circa 1970-1980. Unique piece.

This narrative and dynamic lithograph, signed by Scott Leighton, captures a lively moment from rural life in the 19th century. Depicting a vibrant and a...

Pair of wonderful andirons with the shape of an oriental male bust. France, circa 1860. Solid iron in good condition according to its age. Firedogs are used as a holder for firewood...

This is a beautifully crafted bronze bust of French Artist Mafai 1900 victorian period. This piece is a stunning replica of the original in the statue garden in France. Cast in bron...

A ceramic dish with glaze decoration. Perfect original conditions. 1936. Signed and dated under the base "Guillaume 1936".  

Green and brown glazed stoneware vase by Pol Chambost. Artist signature under the base. Circa 1930. H : 13.4’ x 9.4’ inches.

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

A pair of wood and copper bookends with original poi choir paintings of Russian Folk Dancing scenes by the French Illustrator/Painter Edouard Halouze. Each: 5 1/2" x 5 1/2" x (5 1/4"...

A porcelain sculpture by Wayne Fischer. Perfect original conditions. Signed. Unique piece. 2018. How can an inert object produce deeply unsuspecting, indecipherable, uncontrol...

Pair of wonderful andirons in the shape of a Sphinx. France, circa 1860. Solid iron in good condition according to its age. Firedogs are used as a holder for firewood in a fireplace...

Travellers on a path by Maurice Mazeilie (French, 1924-2021) watercolor painting on artist paper, unframed unsigned stamped verso Easy on the eye painting of figures on a path, a sig...

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

A unique and fun waste bin in a vibrant red and black buffalo check plaid. Made in the style of Jacques Adnet. Presents well and adds great personality to a room. Made of a hardy pla...

A ceramic cup with white and green glaze decoration by Sainte Radegonde. Perfect original conditions. Signed " D" under the base. Circa 1960.

Glazed stoneware sculpture of Saint Solange or Saint Soulange by André Rozay. Artist signature on the back. Circa 1960-1970. Unique piece. H : 22.4’ x 7.9’ inches.

Unique and delicate - a terracotta ceramic cat acquired in Paris France. the piece is a compliment to many settings and would work well in a Childs space, or someone who is very fond of felines. The body has a bell inside (this I believe is to remind the owner that the person that gave it them Is always thinking of them... purchased for a special person, for sure. Could be used as an egg cup, for a votive or small office supplies...

This wooden lantern mold, originating from a former paper lantern manufacturing facility, is a superb decorative piece, boasting a highly graphic design. It consists of seven detacha...

White and brown glazed ceramic bowl lamp by Kaza. Signature under the base. Circa 1930. H : 11.8’ x 10.6’ inches (ceramic only). H : 15.7’ x 10.6’ inches (with electrical system). H ...

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

dark green and brown glazed stoneware vase by Daniel de Montmollin. Artist signature under the base. Circa 1990-2000. H : 13.4’ x 9.4’ inches.

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

Ceramic in the shape of a goat designed by Dominique Pouchain. Stamped on the underside. For shipping, request us for receive the best price.

A stunning vintage stoneware salad bowl by CNP, featuring the exquisite "grand feu" decoration technique. This piece showcases the craftsmanship of the Vallée region in central Franc...

This large dish is made of a glazed ceramic. This is a French work. Circa 1970.

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

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...

Sculpture in glazed stoneware and engobed by Jean-Pierre Bonardot. Artist signature under the base « JP Bonardot ». Unique piece. Circa 2000-2010. H : 18.9’ x 16.9’ x 9.05’ inches.

Watercolor, gouache and ink French Hill Landscape by Bernard Labbe (French mid 20th century) original watercolor, gouache and ink on paper Size: 7.8 x 13.75 inches Signed lower right...

Important vase in glazed stoneware and engobed by Jean-Pierre Bonardot. Artist signature under the base « JP Bonardot 99 ». Unique piece. 1999. H : 19.7’ x 27.5’ x 5.9’ inches.

Oil Painting on canvas. Hand signed and stamped with artist studio stamp. Very minor damage (tiny rip) not through canvas (see photo) mouth.. Amazing use of color and space,, Tel A...

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.

A remarkable catchall, emblematic of mid-20th century French folk art, stands out for its ingenious use of half a fruit tree trunk, likely from a cherry tree. This particular trunk s...

A big wall decoration ceramic plate by Roger Collet. Green and blue, white glazes decoration. Perfect original conditions. Signed under the base "Collet".

A huge carved oxen yoke, dating back to the 19th century, is a beautiful example of Alpine folk craftsmanship. Its intricate carvings and rustic charm make it a truly captivating dec...

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.

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...

Ancient Stone Carving Fragment of a Claw. France, circa 15th Century.

This collection contains soldiers and guards and other English and French regiments in various poses, with weapons and different uniforms. All figures are hand painted and are standi...

Porcelain sculpture entitled "Solstice" . Unique piece. Signed under the base. 2022.

Paris bridge on River Seine by Maurice Mazeilie (French, 1924-2021) watercolor painting on artist paper, unframed unsigned stamped verso painting: 7 inches x 10.5 inches A ...

A woman kneels on a pillow and takes off a necklace, by Paul Ponsard (French sculptor). A very attractive, graceful Art Deco bronze. Detailed and masterf...

Very large lock mechanism in forged iron and handcut, formerly painted black. All the elements are riveted, some rivets are extensions of the cups This lock most likely comes from a church or castle door...

This Karl bub 7-window passenger coach is an original vintage toy. Vintage toy representing a seven window passenger coach. Number two of a group, made in tin in Germany. Very g...

Napoleon III Late 19th Century Majolica Rabbit. Unique piece purchased in France. Age appropriate wear, see detailed photos or message us with questions. 

A small 19th century French Elm bowl. Lovely grain and patina.

Sculpture in black glazed stoneware by Jean-Pierre Bonardot. Artist signature under the base « JP Bonnardot ». Unique piece. Circa 1990-2000. H : 13.8’ x 18.5’ x 10.6’ inches.

A 1940s French male bust, hand-crafted from solid stone. This quietly impactful piece is rendered with meticulous detail, from the textured curls of his hair to his defined facial fe...

A ceramic vase by Gerard Brossard to La Borne. Perfect original conditions. Signed under the base. Circa 1990.

Early 20th century folk art model 'EST-CE UN PIETON OU UNE VOITURE?' (IS IT A PEDESTRIAN OR A CAR?) An Early 20th century French hand carved folk art model, depicting a police...

Sculpture in glazed stoneware and engobed by Jean-Pierre Bonardot. Artist signature under the base « JP Bonardot 99 ». Unique piece. 1999. H : 7.08’ x 21.6’ x 13.8’ inches.

French hand painted and gilt flip top one drawer dressing table with decorative floral stenciling, lined interior with original mirror, terminating on bulbous legs with cross stretc...

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...

Explore the engaging narrative of Les Autres Gens 06 07 by Thomas Cadène, published by Editions Dupuis. This book, presented in a standard format, showcases the unique storytelling s...

Delve into the rich tapestry of history with Histoire du Temps Passé: Les Récits de l'Aïeule by E. Charpentier, a captivating 20th-century work. This historical book features 74 engravings that bring the past to life through vivid illustrations and detailed narratives. In fair condition, the book shows signs of aging with pages that have yellowed and some foxing. The binding is worn, and the gilding has faded. Despite these imperfections, the book remains a valuable and visually striking piece for collectors and enthusiasts of historical literature. Key Features: Title: Histoire du Temps Passé: Les Récits de l'Aïeule Author: E. Charpentier Edition: 20th Century Features: 74 engravings Condition: Fair; pages yellowed with foxing, worn binding, faded gilding (see photos) Language: French Pages: 319 Dimensions: Height: 30.5 cm (12 inches) Length: 23 cm (9 inches) Thickness: 4 cm (1.6 inches) Weight: 1.840 kg (4.06 lbs) This book offers a glimpse into historical narratives with its unique illustrations and is a wonderful addition to any vintage book collection.