French Folk Art

Cosmos I vase by Jean François Reboul made out of enameled ceramic using Raku technique. A“Certificate of Authenticity” is provided by the gallery. Jean-François Reboul, born in 19...

This lovely oil painting features very soft blue and green colors from a landscape scene in Savigny, France. In the painting, there are 2 people in a canoe.

This is a lovely oil painting of Paris in the 19th century. The colors are vibrant but soothing. The artist of this painting is unknown. This artwork is also included with a beautifu...

Raoul Raba, yellow sculpture, light wall panel, gold lacquered metal, circa 1970, France. Height 144 cm, diameter 124 cm.

Large early 20th century blacksmith's bellows made of leather, wrought iron, and pine. This antique bellows once fed an old forge fire today instead it could be an original mantel t...

Mask by Accolay pottery, active between 1947 and 1983, signed

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...

Vase "Cosmos I" by Jean François Reboul (1952): Vase made out of enameled ceramic using Raku technique. "Certificate of Authenticity" provided by the gallery. Measures: 15 cm D x 48...

Iron Stags Head- Single Only

Clement Massier, art nouveau flower spike, Vallauris circa 1900.

Mid 20th century French bamboo and woven rattan wide framed mirror. Condition In Great Condition - wear consistent with age. Size Width: 62cm...

Jean Da Milano (1928-2017), Abstract composition, Oil on paper, Signed lower right, N°2733-82, n° 1050, 1982, France. Measures : Height 65 cm, Width 50 cm. Jean Da Mila...

Wrought iron ACTION SPORTS sign.

This is a 1900s copper pair of theater sign with big leather A. Bought sign handmade and constructed.

Albert Chubac (1925-2008), Character composition, Mixed-media on paper, Stamped, circa 1965, France. Measures: Height 102 cm, width 76 cm, depth 3 cm. Albert Chubac was born in G...

Painted miniature Normandy church. Two pieces. The doors on the bottom level open.

Cut, engraved and gilt panel in lead representing a armed horserider. His armour is highlighted with gilt lines. The ground is also gilt as weel as one flower which come off the styl...

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. 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 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...

Mask by Accolay Pottery, active between 1945 and 1983, signed

Albert Chubac, Character and horse composition, Mixed-media on paper, Signed lower right, circa 1960, France. Measures: Width 56.5 cm, height 43 cm. Albert Chubac was born in Gen...

Vintage carved and painted pine butcher's trade sign. Molded frame, insized text reading "Porkies Pen" pig in relief. 33" x 40" Period: First quarter of the 20th century or earlier ...

Albert Chubac, Composition, Airbrush on canvas, Stamped, France, circa 1960. Measures: Height 104 cm, width 69 cm. Albert Chubac was born in Geneva in 1920. After studying decora...

Vincent Gonzalez (1928-2019) Crucifixion. Carved oak subject.

Napolean III. Late 19th Century Majolica. Beautiful condition. Age appropriate wear, see detailed photos or message us with questions.

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 sculpture "Bloc in motion" by Maarten Stuer. This piece can be put indoor or outdoor. Artist monogram under the base. 2020. Unique piece.

Very original French sculpture, small proportions, made with a technique of assembly of wood and white lacquered metal the whole coated with plaster in a modernist style. Unknown art...

Candelabra Jugendstil, Art Nouveau, Liberty We have specialized in the sale of Art Deco and Art Nouveau and Vintage styles since 1982. If you have any questions we are at your disp...

Albert Chubac, Composition, Representing two characters, Painting, mixed-media on paper, circa 1965, France. Measures: Height 99 cm, width 81 cm, depth 3 cm. Albert Chubac was b...

For lovers of quirky objects and eccentricities ... an extra large papier mâché hat ... lovely patina ...

Interior territory - Elodie Huré Oil on paper mounted on linen stretcher 200x250cm 2016 Visual artist, videographer and collagist, also trained at ...

Albert Chubac (1925-2008), Airbrush on canvas, France, circa 1960. Measures: 90 x 206 cm. Albert Chubac was born in Geneva in 1920. After studying decorative...

Jean Da Milano (1928-2017), Abstract composition, Oil on paper, Signed lower right, N° 881-74, n° 494, 1974, France. Measures : Height 65,5 cm, Width 50 cm. Jean Da Milano is an abstract painter from Nice who was cradled by the rich breeding ground of the School of Nice and its artists. Active from the 1960s to the 2008s, his works were forgotten and rediscovered by the HARTER Gallery, which today highlights his touch. According to Agnès Roux, Honorary Secretary for Culture, “Jean Da Milano is one of those modest painters who knew how to develop abstract painting alongside his contemporaries. In an infinite world, the kinetic object on an astral background gradually transforms into a pictorial relief, where the painting falsely becomes painting and invisibly paper. The humility of its formats does not give the work the fullness it deserves. But the almighty gaze of the spectator engenders the feelings and sensations of a cosmogonic painting steeped in universality ". We indeed observe in his work an evolution which begins with an almost cosmic painting in the 70s, then what we could qualify as “implosions” in the 80s and finally, a real research on paper and pictorial relief. in the 2000s. According to Georges Braque "Everyone is a creator, the viewer is himself a creator, it is the way of seeing that gives life to the object. " Personal exhibitions: - 1992: Golden Gallery Nice - 1988: Acropolis Nice - 1982: Municipal Gallery Renoir Nice - 1977: Municipal Museum Saint-Paul-de-Vence Collective exhibitions: - 1992: Golden Gallery - 1991: Golden Gallery - 1990: Golden Gallery - Art Jonction - 1989: Nice university center - 1987: Acropolis - 1985: Chapel of Mercy Vallauris - 1984: CIAC Paris and Chapelle des Pénitents in Péone - 1983: Art Expo Dallas Texas and Art Expo New York - 1980: Galerie Waterlot Nice - 1971: Necrolium Nice - 1970: Maison de la Culture Magnan Nice and Musée de la Salle Marine Nice - 1969: Galerie Le Nombre d´Or Nice - 1968: Musée de la Salle Marine Nice and Galerie Salmon Nice - 1966: Paul Langevin Biot school group - 1965: Chapelle St Esprit...

Jean Da Milano (1928-2017), Painting, Creased Kraft paper and collage, mixed media, Signed lower right, circa 2000, France. Measures : Height 100...

Spring Circle 3 - Elodie Huré Oil on wood Diameter: 34cm February 2021 Signed on the back Visual artist, videographer and collagist, also trained at the theater school, ...

Square ashtray from the 50's by the French ceramist Jean Derval from Vallauris. Very nice glazing on the whole ashtray with a stylized drawing of a bird in the centre. Signature of t...

Jean Da Milano (1928-2017), Abstract composition, Mixed media on paper, Signed lower right, N°03449/91, n° 1251, 1991, France. Measures : Height 65 cm, Width 50 cm. Jea...

A Pair Of 17th Century Carved Giltwood Reclining Lion Sculptures, Florentine, With Padded Rests On Backs. 17th Century

Monumental early 19th century clock on a polychrome panel with clock-hands in golden metal, fixed on a tin sheet. The hands are attached to the back of the panel with a clock system,...

Spring Circle 2 - Elodie Huré Oil on wood Diameter: 34cm February 2021 Signed on the back Visual artist, videographer and collagist, also trained at the theater school, ...

The song of the Amazons - Elodie Huré Oil on canvas Measures: 200 x 140cm 2017 Signed on the back. Visual artist, videographer and collagist, also trained at the the...

Medallion in bronze Patrie. The relief portrait has beautiful slightly brown patina. France, circa 1905

Albert Chubac, Mobile, Collage and cutout, gouache, Signed, circa 1980, France. Measures: Height 15 cm, width 15 cm, depth 3 cm (without frame). Albert Chubac was born in Geneva...

Patrick Danion, painting (born 1950 on Paris). Acrylic on wood, signed DANION 87 IX, circa 1987, France. Measures: Height 92 cm, width 75 cm, depth 4 cm.

Ceramic mask, Vallauris, France, 1960s Custom made pedestal.

Vintage French "art popular" cast stone sculpture of a wallaby or small kangaroo for garden. Please see images for details of patina and joey in the pouch.

Jean Da Milano (1928-2017), Abstract composition, Oil on paper, Signed lower left, N°859-74, n° 492, 1974, France. Measures : Height 65,5 cm, Width 50 cm. Jean Da Milano is an abstract painter from Nice who was cradled by the rich breeding ground of the School of Nice and its artists. Active from the 1960s to the 2008s, his works were forgotten and rediscovered by the HARTER Gallery, which today highlights his touch. According to Agnès Roux, Honorary Secretary for Culture, “Jean Da Milano is one of those modest painters who knew how to develop abstract painting alongside his contemporaries. In an infinite world, the kinetic object on an astral background gradually transforms into a pictorial relief, where the painting falsely becomes painting and invisibly paper. The humility of its formats does not give the work the fullness it deserves. But the almighty gaze of the spectator engenders the feelings and sensations of a cosmogonic painting steeped in universality ". We indeed observe in his work an evolution which begins with an almost cosmic painting in the 70s, then what we could qualify as “implosions” in the 80s and finally, a real research on paper and pictorial relief. in the 2000s. According to Georges Braque "Everyone is a creator, the viewer is himself a creator, it is the way of seeing that gives life to the object. " Personal exhibitions: - 1992: Golden Gallery Nice - 1988: Acropolis Nice - 1982: Municipal Gallery Renoir Nice - 1977: Municipal Museum Saint-Paul-de-Vence Collective exhibitions: - 1992: Golden Gallery - 1991: Golden Gallery - 1990: Golden Gallery - Art Jonction - 1989: Nice university center - 1987: Acropolis - 1985: Chapel of Mercy Vallauris - 1984: CIAC Paris and Chapelle des Pénitents in Péone - 1983: Art Expo Dallas Texas and Art Expo New York - 1980: Galerie Waterlot Nice - 1971: Necrolium Nice - 1970: Maison de la Culture Magnan Nice and Musée de la Salle Marine Nice - 1969: Galerie Le Nombre d´Or Nice - 1968: Musée de la Salle Marine Nice and Galerie Salmon Nice - 1966: Paul Langevin Biot school group - 1965: Chapelle St Esprit...

Ceramic Mask, Accolay, France, 1960s Accolay was a pottery center in France, north of Burgundy, founded amongst others, by 4 students of Alexandre Kostanda. Active between 1945 and 1...

Albert Chubac, Composition, Collage and cutout, gouache, Signed, circa 1980, France. Measures: Height 89 cm, width 73.5 cm, depth 3 cm. Albert Chubac was born in Geneva in 1920. A...

Delightful and unusual pinewood cabinet from the Jura region of France, painted with a faux-bois effect. The style has elements reminiscent of the Gothic aesthetic. The top section h...

Albert Chubac, Composition, Collage and cutout, gouache, Signed lower right, circa 1980, France. Measures: Height 62 cm, width 55.5 cm, depth 3 cm. Albert Chubac was born in Genev...

Patrick Danion, painting, Acrylic on wood, signed, 1987, France. Measures: Height 107 cm, width 88 cm.

Albert Chubac, Composition, Collage and cutout, gouache, Signed, circa 1980, France. Measures: Height 89 cm, width 73.5 cm, depth 3 cm. Albert Chubac was born in Geneva in 1920. A...

Albert Chubac, Composition, Collage and cutout, gouache, Signed, circa 1980, France. Measures: Height 89 cm, width 73.5 cm, depth 3 cm. Albert Chubac was born in Geneva in 1920. A...

Patrick Danion, painting, "Je suis un calculateur", Acrylic on wood, signed, 1990, France. Measures: Height 110 cm, length 119 cm.

Albert Chubac, Composition, Collage and cut-out, gouache, Signed, circa 1980, France. Measures: Height 89 cm, width 73.5 cm, depth 3 cm. Albert Chubac was born in Geneva in 1920. ...

French vintage lovely 1920 antique painted rocking horse. Measures: Height 51cm, depth 40cm, width 115cm.

Ceramic Mask attributed to Jean Austruy, France, 1960s Custom made pedestal.