French Folk Art

Vintage wooden shoe mold from Paris, earlier part of 20th Century. The cobbler's mold features a modern silhouette for a man's shoe. Makes a chic d...

"Prisoner" painting by Philippe Delhom; named after the English television shows that starred Patrick McGoohan, in the end 1960s in Great Britain. Th...

Sailboats on the Coast by Maurice Mazeilie (French, 1924-2021) watercolor painting on artist paper, unframed signed faintly lower right stamped verso A breezy day on the North French Coast...

A very delightful and primitive stool from the Ardeche region of France. Very sturdy and very organic in feel.

Primitive Oil on Canvas Springer Spaniel in liver and white. wonderfully posed "on point", walking along a cobbled street. Some losses to frame. Signed A Taillieu Dated 1914 France, ...

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...

Late 19th century Napoleonic prisoner of war dominos 31 A good example of a late 19th Century Napoleonic prisoner of war (POW) hand carved set of 31 dominos, in a sliding painted ...

A geometrical ceramic vase by Pierre Devie, France. Perfect original conditions. Signed and dated under the base "Devie 1971". Unique piece, circa 1971.

Important sculpture with wings in black glazed stoneware by Jean-Pierre Bonardot. Handwritten signature of the artist. Unique piece. 2022. H : 2...

This is a very unique French Clay mirror in a striking red glaze. It features one center mirror measuring 7" diameter surrounded by eight 2.75" diameter mirrors around the perimeter....

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 sharpening stone case, a monoxylous work of French folk art from the early 20th century. Hand-carved walnut wood, a superb and rare decorative object

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.

The elaborately carved snuff box with a scene of two mermaids on the cover and deeply carved shell on the reverse.

Important sculpture with wings in black glazed stoneware by Jean-Pierre Bonardot. Handwritten signature of the artist. Unique piece. 2022. H : 23.6’ x 7.08’ x 7.08’ inches.

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...

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

Large porcelain biscuit screen with four adjustable leaves by Anne Barrès. Artist signature on the back. circa 2010. Unique piece. Patinated metal structure. H : 76.6’ x 24.8’ x 3.5...

Town View to the sea, figures on steps. by Maurice Mazeilie (French, 1924-2021). watercolor painting on artist paper, unframed. Unsigned Stamped verso Painting: 9 inches x 12 inches. A delightful original painting by the 20th century French Impressionist artist, Maurice Mazeilie. The painting has excellent provenance having come from the artists estate sale in Paris. Mazeilie lived and worked in Montmartre, with a studio on the famous Place du Tertre. His love of the coast led him to also maintain a studio on the Brittany coastline. Born in Clichy, Hauts-de-Seine, Paris in early 1924, Mazeilie painted coastal scenes in Brittany, Parisian landscapes...

A finely crafted pair of 19th-century bronze sculptures representing Salacia (Amphitrite) and Hephaestus (Vulcan), each mounted on elegantly detailed bases with acanthus-motif paw fe...

Figures by a Coastal Inlet by Maurice Mazeilie (French, 1924-2021) watercolor painting on artist paper, unframed signed front lower right and initialled lower left stamped and si...

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...

Country Scene with Horses and Cart by Maurice Mazeilie (French, 1924-2021) watercolor painting on artist paper, unframed unsigned stamped verso ...

System walking stick: fisherman's seat, very popular for its construction simplicity. The shaft, made of thick bamboo wood, separates into three parts. The fabric part, triangular in...

Glazed stoneware wall sculpture entitled « Burka » by Anne Barrès. Artist signature on the back « Anne Barrès ». circa 2000-2010. Unique piece. Can be displayed both indoors and o...

Ink study of a religious statue by Bernard Labbe (French mid 20th century) original ink and watercolor on paper image size: 9.5 x 4.75 inches mat...

Stoneware and steel screen by Anne Barrès. circa 2000. Unique piece. Can be displayed both indoors and outdoors. H : 31.9’ x 32.3’ x 2.9’ inches (ceramic only). H : 37.40’ x 34.6...

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

Pair of French Hollywood Regency period mirrors with beautifully patinated plaster and lacquer frames and original, nicely foxed mirror plates.

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...

Found in the South of France, this life size wood hand painted chef was once used at a bistro in Provence. Painted on both sides, this unique piece of art could be displayed on a wal...

Steps Into The Town, steep stone steps lead figures down amongst town buildings. by Maurice Mazeilie (French, 1924-2021) watercolor painting on artist paper, unframed unsigned to ...

A wall ceramic sculpture with white and green glazes decoration. In the style of sainte radegonde. Perfect original conditions. Circa 1960.

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...

French Victorian red, white, and gold painted and carved crown wall plaque with fleur de lis design.

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...

Enhance your table with these delicate porcelain flowers by French artist Samuel Mazy, exclusive to Maison Nurita in Canada. Mazy has been working as a ceramist for nearly 20 years i...

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

Watercolour on paper, portrait of an African woman, 20th century. Watercolour on paper, portrait of an African woman, 20th century, unsigned. H: 53cm, W: 73cm, D: 0,3cm

19th Century French Bread Board

19th Century French Bread Board

19th Century French Bread Board

A ceramic cup with beige glaze decoration by François Eve. Signed under the base "Eve". Perfect original conditions, circa 1980-1990.

Bustling Paris street scene, Paris. By Maurice Mazeilie (French, 1924-2021). Watercolor painting on artist paper, unframed. unsigned. Stamped verso. Measures: painting: 9.8 in...

A ceramic vase by Jacques Pouchain and l' Atelier Dieulefit. Perfect original conditions. Signed under the base. Circa 1970-1980. Unique piece.

Figures with Geese on Farmland by Bernard Labbe (French, active mid-late 20th century) original gouache, watercolor and ink on artist's heavy paper size: 9.25 x 6.5 inches (sheet overall is 13.25 x 10.5 inches) condition: very good and ready to be enjoyed, the white margins surrounding the image have some minor marks provenance: the artists atelier/ studio, France (stamped verso) Bernard Labbe (French). The artist was based around the Laval and L'Huisserie, Mayenne, areas in the Pays de Loire. Many items in this collection bear...

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

A big ceramic dish by Gustave Tiffoche. Perfect original conditions. Circa 1970-1980. Signed under the base.

Important glazed stoneware sculpture entitled « Flétrie » by Anne Barrès. circa 2010. Unique piece. Can be displayed both indoors and outdoors. H : 32.7’ x 33.8’ x 28.7’ inches...

Late 19th century fishermans tacklebox and fishing stool with drawer. The smaller white box, painted and engraved with an anchor as the thumb pinch t...

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

Add a touch of authentic French charm to your home with this antique console table in fruitwood, dating from the late 19th century. Sourced from a former wine cellar in the Loire Val...

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

Ceramics in the shape of a goat stamped Dominique Pouchain. For shipping, request us for receive the best price.

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.