French Folk Art

A rare pair of French, turn of the century shop signs. These would have been used to advertise ceramics within the shop. Faiences - Fine, Tin Glazed Pottery Porcelaines - Porcelain ...

Unique granite sculpture with embedded fossils that are more than 280 million years old. This beautiful, black granite tower with its beautiful Orthoceras fossils is a sculpture that captivates every viewer. The fossils come from the Cretaceous period and then fossilized in granite. At some point, this unique sculpture was carefully cut out of a black granite block...

A rare 19th century French earthenware cake or baking from Soufflenheim in the Alsace region, circa 1880s. In the shape of a lobster or crayfish, this Alsatian mold symbolizes fertil...

Stoneware lamp with geometric decoration by Georges Martin. Artist monogram on the base. Circa 1970-1980. H : 5.9 x 10.2 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 : 6.7 x 11 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 : 7.1 x 8.7 inches (ceramic only). Sold with a European electrical system.

Ironer pan with side body in cast iron and sheet iron. Chimney flue making a heating table, France, end of the 19th century. Measures: The base with t...

Ceramic in the shape of a unicorn by Dominique Pouchain.

Albert Chubac, Gouache on paper, France, circa 1970. Measures: 50 x 65 cm.

Pierre Adrien Ekman (1904_1993), paint and gold leaf on canvas mounted on wood panel, imaginary theater set, circa 1960, France. Height 1m29, width 1 m.

Pair of Candelabras Sign: Made in France Jugendstil, Art Nouveau, Liberty We have specialized in the sale of Art Deco and Art Nouveau and Vintage styles since 1982. If you have an...

A rare French circa 19th century horse. Articulated with movable aspects to the legs, neck, ears etc. Leather tail. Felt saddle. A wooden base with metal rollers.

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...

Albert Chubac, Composition, Collage and cutout gouache, Signed lower right, circa 1980, France. Measures: Height 32.5 cm, width 25.5 cm, depth 3 cm (without frame). Albert Chubac ...

Possibly designs for Chenets.

French ball from a folk art game. Great patina and form. Normandy, France ca. 1860

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

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...

8 old fairground art panels circa 1930 probably panels of an old carousel. These panels are slightly curved from origin and the base is in pine. Ther...

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

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...

Quirky rare to find zinc sign/enseigne, made for a French hatmaker ... great patina.

Vintage French large copper wine barrel funnel. The funnel is in beautiful condition with great patina showing it's age. The funnel was used in the wine making process, specifically ...

A painted ceramic donkey from the Normandy Region of France.

Albert Chubac, Composition, Mixed-media on paper, Stamped, circa 1960, France. Measures: Height 1m73, width 70 cm, depth 1 cm. Albert Chubac was born in Geneva in 1920. After studying decorative...

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

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

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.

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...

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...

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...

Vintage French Tromp L'oeil Mid 20th century. Gorgeous piece, see detailed photos attached. Contact us for more information.

Rare woodblock with complete repeat. Of interest to wallpaper collectors or as a conversation piece in the home as a decorative carved wallhanging. A large 19th century French wallpaper...

Signed stoneware sculpture by the French sculptor Isabell Vigo. Raw , unglazed stoneware.

“A Louis XVI style lion mask wall clock” This fire gilt bronze Louis XVI style lion mask wall clock was one of the most outstanding masterpieces, which was originally made by Edme-J...

Ink and watercolor of beautiful dimensions signed Charles LEVIER (1920 - 2003) to frame. On the back, a futuristic pencil sketch. Young woman with bouquet of flowers at the port ...

Late 19th Century European Ball and 7 Pin Game Set Weathered Wooden Complete Set Overall Display 20" x 10" (8 items Total in Set) (1) Ball =4x4x4.5 (7) Pins =10.5"H x 3.25"D

Ceramics in the shape of a owl stamped Dominique Pouchain.

Vase "Voie Lactée I" by Jean François Reboul (1952): Vase made out of enameled ceramic using Raku technique. "Certificate of Authenticity" provided by the gallery. Dimensions: D 10 ...

A painted terra cotta rooster.

Set of 5 Assorted 19th Century Marble Corbels: 1 x Large Green verde Antico Cartouche: Height - 31cm / width 33.5cm / Depth - 6cm at thickest part 2 x Apricot / white marble Corbels...

Antique wire bottle holder from France, early 20th century. The bottle holder can hold up to 12 bottles with a diameter up to 6cm. The individual holders have a height of 6cm and als...

Important glazed stoneware sculpture entitled « Flétrie » by Anne Barrès. circa 2010. Unique piece. Can be displayed both indoors and outdoors. H : 33.5’ x 22.8’ x 22.8’ inches...

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...

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

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...

Black painted cement butterfly garden ornament.

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...

Bronze puttis signed by Clodion, circa 1900 Beautiful patina and quality excellent condition.

Albert Chubac (1925-2008), Composition, Mixed media on paper representing a scale, Signed lower right and numbered 8/8, Framed, circa 1980, France. Measures : Width 85 cm, Height 127 cm. Albert Chubac was born in Geneva in 1920. After studying decorative art, then at the Beaux-Arts in Geneva, he obtained grants to travel to Italy, Algeria, Spain, Egypt and Greece, stages which will mark his work. He settled in 1964 on the Côte d ‘Azur in Aspremont in a very Spartan house, attracted by the light, the sun and the colors of nature. The year 1967 is the year of the establishment of the School of Nice. He will work and exhibit alongside Aman, César, Tinguely, Gilli, Ben, Rayse, etc ... In 1990, it was the consecration with the opening of MAMAC in Nice. Albert Chubac then becomes accessible to the general public. He will use solid primary colors, will develop modifiable structures and then develop the collages in three dimensions. Gradually, he broke away from his classical training and figuration to move towards abstraction through the encounters and influences of contemporary artists. Always in search of simplicity, He will radically limit the plastic means with a reduced palette, geometric shapes and simple gestures to concentrate on minimum conditions of possibility. His work, which lies between constructivism and geometric abstraction, is playful and imbued with the artist's joie de vivre. In 2004, following the major retrospective at the Museum of Modern and Contemporary Art in Nice, he donated around one hundred works to the City of Nice. Albert Chubac died in 2008 in Tourrette-Levens, near Aspremont. Bibliography: - Albert Chubac, MAMAC Nice, Cultures Nice Editions, 2004. - Albert Chubac: exhibition, Nice, Museum of Modern and Contemporary Art, January 29 - May 16, 2004. - Albert Chubac, Galerie Harter, 2013. - Albert Chubac, a lifetime of artist, Patrick Boussu and Cynthia Lemesle, South Art éditions, 2021. During the workshop auctions in Nice and Marseille, the Harter Gallery acquired the largest part of his work. Personal exhibitions: - 1950: Personal exhibition in Athens at the Zappéion museum. - 1954: Exhibition at the Arman Gallery in Geneva. - 1956: Exhibition at the Galerie Connaître in Geneva. - 1957: Exhibition at the Galerie La Palette in Zurich. - 1958: Exhibition at the Galerie L’Entracte in Lausanne. - 1960: Exhibition at the World House Gallery in New York. - 1967: Exhibition at the Galerie Loo in Geneva, at the Salon Comparaison in Paris, Aspects in Chexbres in Switzerland. - 1968: “Paintings” exhibitions from March 30 to May 11 at the Galerie Alexandre de la Salle. - 1970: Exhibition at the Maison des Jeunes et de la Culture de Magnan in Nice, at the Maison de la Culture Le Corbusier in Firminy entitled "Chubac recent works" and at the Galerie Royal Luxembourg in Nice. - 1971: Exhibition at the Galerie Germain in Paris and at the Fernand Léger School in Malakoff. - 1972: Exhibition on the village square of Aspremont, at the Galerie Royal Luxembourg in Nice. - 1973: Exhibition at the Galerie Ferrero in Nice. - 1974: Exhibition at Art-club in Antibes. - 1975: Exhibition at the Galerie Jacques Boudin rue de Dijon in Nice. - 1978: Exhibition at the Galerie Anne Roger in Nice. - 1980: Exhibition at the Galerie de la Salle in Saint-Paul de Vence from August 8 to September 9. - 1981: Exhibition at Lieu 5 in Nice from February 13 to March 20. - 1983: Exhibition at the Galerie d'Art Contemporain in Nice, at Anne Roger. - 1984: Exhibition "Lille Nice" at the Galerie GodArt in Lille from April 14 to May 17 and at the Galerie Luisella d´Alessandro in Turin. - 1985: Exhibition in Thonon les Bains at the Galerie Galise. - 1988: Exhibitions at Galerie Argéco in Nice and Galerie Triade in Barbizon - 1989: Exhibitions at the Galerie de la Salle, at Lola Gassin's in Nice, in galleries in Nice - 1990: he made four mobiles for the MAMAC in Nice, Exhibitions at the Galerie François Moulin in Lyon and Golden Gallery, ArtJunction in Nice. - 1991: Exhibition at the Galerie de la Salle in Saint-Paul. - 1992: Exhibitions at the Espace du consulat suisse in Nice, Besançon and opening of the Espace Chubac in Tourrette-Levens. - 1993: Exhibition at the Maison Comoni in Revest-les-Eaux, at the Galerie François Moulin in Lyon. - 1994: Exhibition at the Espace Caravadossi in Aspremont. - 1996: Exhibition at the Espace Dellile in Nice. - 1997: Exhibition at the Galerie de la Salle in Saint-Paul. - 1998: Last personal exhibition at the Galerie de la Salle in Saint-Paul. - 2000: Exhibition at Lympia college in Nice. - 2001: Exhibition at the Espace Chubac in Tourette-Levens. - 2002: Exhibition at the Galerie Scholtès in Nice and in Carcès in the Var entitled "Albert Chubac-Couleurs mobiles". - 2004: Great Albert Chubac retrospective at MAMAC in Nice. - 2011: Permanent exhibition at the Galerie Harter in Nice. - 2012: Exhibition at the Olympia Show in London at the Christopher Jones Gallery and at the Serge Castella Interiors Gallery in Bascara, Spain. - 2013: Exhibition at the Municipal Contemporary Art Gallery of Pochettes in Nice. - 2019/2021: Exhibition of works belonging to the permanent collection of MAMAC in Nice and exhibition "Geometry according to Albert Chubac" at the Galerie Harter in Nice. - 2021/2021: Permanent exhibition at Galerie Atelier 55...

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

François de Hérain (1877-1962) was a French painter, sculpture and engraver. He realized a number of paintings of scenes in French Algeria and Morocco. He wa...

This collection contains seven marine soldiers in various poses with typical uniforms. All figures are hand painted and are standing on their own base. Circa 1940.

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

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,...

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

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.