21st Century and Contemporary Folk Art

Forged steel, paint 2013 Measures: 11.5 x 16.5 in. / 29 x 42 cm Hand crafted by William Roan, the blacksmith famous for making the original Bay Bridge Troll. About this piec...

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...

Ever wondered what moonlight dancing on the Capri coast would look like? Imagine the soft, uneven glow, the gentle fade from cerulean to inky blue. Now, translate that vision onto a ...

Murella Torres Rug by HENZEL STUDIO Dimensions: W 139.7 x L 220.98 cm. Materials: Silk, Wool. Calle Henzel stands as a trailblazer in the realm of organic, free-form shaped rugs, wi...

2020 Honduran rosewood on a custom teak and walnut base Measures: 8.75 x 4 in / 22 x 10 cm.

Forged steel 2008 Measures: 9 x 15 x 15 in. / 23 x 38 x 38 cm Hand crafted by William Roan, the blacksmith famous for making the original Bay Bridge Troll. About this piece,...

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

Chicago-based artist Patrick Fitzgerald uses his works as a means of resurrecting the idyllic worlds he once found in the Industrial surroundings of his youth. Raised in Grand Rapids...

Vision 2000 chain Design: Thilo Oerke For Rosita Germany - K7 - amplifier - tuner - bluetooth Perfect condition 1971 H 90 x diam 60 x diam base 55 cms Ref PM/9 12500 euros

Carved eagle with pediment base. Heavily carved wings. Expertly executed. Flat bottom. Can be displayed on a mantle, over a door, or hung. Silver painted finish. Overall Dimension...

Custom sculpture constructed of painted wood. Paul Jacobsen used everyday objects, such as chairs, cars, airplanes, trains, motorcycles and puzzles, all built from scratch and turns...

Outsider art painting using paper cutouts on masonite board titled Spielunkers, 3/10/09 RRD. Assemblage measures 25" wide, 2.25" deep and 8.5" high. We had the painting professiona...

Six foot carved wood fish reminiscent of a nineteenth century trade sign. With carved gills, fins, scales, eyes and mouth. Fitted with iron hanging bo...

A lovely diptyque paintings by Australian Aboriginal artist Raelene Kerinauia (1962- ). Born in 1962 (Tiwi People), Wurrumiyanga, Mantiyupwi Country, Bathurst Island, Northern Terri...

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

Benjamin and Miriam, founders of Objekti, discovered the pines on a trip to Mexico and fell instantly in love with these unique and rare pieces. The pine, a symbol long associated wi...

A handmade vintage Turkish Sparta rug that has been over dyed charcoal black and given a distressed appeal with hand knotted raised plush piles to form the quirky offset medallion an...

2016 Walnut on a Koa base Measures: 14.25 x 5 in / 36 x 13 cm.

A modern Persian 'Souf' Kilim flat-weave rug from the 21st century. The artist behind this Persian folk rug used a tribal flat-weave handmade during the mid-20th century and hand-kno...

A modern Persian flat-weave Kilim accent rug from the 21st century with four dark brown sections stitched together due to its nomadic nature. The blue, white, red, pink, and yellow s...

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.

Modernist Abstract painted steel and black marker Graffitied sculpture, by John Metzen/ Michael Merisola, Welded and painted steel, Great color proportion ...

Swan decoy by Daniel L. Bruffee. Came from a New York Collector. Swan is well-carved and smoothly painted with black beak and yellow and black glass eyes. Daniel Bruffee resides in P...

Neutral Light Gray L16 Patchwork 240 Hand-woven Rectangular Rug by Mohebban Dimensions: W 240 x L 170 cm Materials: Wool. Old Anatolian carpets, aged between 20 and 50 years, are bl...

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.

Elf Doby from Harry Potter series hand carved from a walnut tree in real life size.

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...

Wall Painting “Yellow Flower” Stay by Malerba The “Yellow Flower” wall painting from the Stay collection by Malerba is an elegant decorative accessory suitable for the livin...

The source of carpet comes from the book Völker, Angela, Die orientalischen Knüpfteppiche das MAK, Vienna: Böhlau, 2001: 42–5. This rug with the central star was designed in the early 16th-century rug by Mamluk Sultane of Cairo, Egypt. It is exhibited at MAK – Museum of Applied Arts, Vienna Austria. The interpreted design is composed of a flower lattice pattern taken from a part of the MAK Museum’s rug...

The source of carpet comes from the book Orient Stars Collection, Anatolian Tribal Rugs 1050-1750, Michael Franses, Hali Publications Ltd, 2021 fig.27. This 13th-century carpet is fr...

The source of the rug comes from the possession of Endre Unger, which was sold at Sotheby’s in 1992. That rug with the central star was designed in the early 16th-century rug by Maml...

Blackfeet style lance with feathers, hereford tail, medicine pouch, red strough and sheared otter. 6'2" Amongst the Blackfeet, specific military society members were known as "Lance...

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...

Neutral Light Gray L16 Patchwork 300 Hand-woven Rectangular Rug by Mohebban Dimensions: W 300 x L 200 cm Materials: Wool. Old Anatolian carpets, aged between 20 and 50 years, are bl...

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...

The source of carpet comes from the Mercer Collection Sotheby’s 2000 (catalog cover). This Mamluk-Cairene carpet is known, curiously featuring some type ...

Hand-Knotted Ivory Wool Rug – Low Pile Berber, Rectangular 425 by Mohebban Dimensions: W 425 x L 305 cm Materials: Wool. The Berber collection is inspired by the tradition of Morocc...

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.

"For the man" Venetian Murano glass 3D Modern Mask, in golden amber glass with 2 opposite sides in amethyst color intersecting at the top to highlight a small red accent on the foreh...

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...

Michael Scheers is a Belgian visual artist. He was born in 1958. He lives and works in Rixensart (BE). Self-taught, Michael Scheers has been involved in the world of advertising sinc...

Large glazed stoneware screen with four leaves by Anne Barrès. Artist signature under the base. Circa 2000-2010. Unique piece. Can be displayed both indoors or outdoors. H : 75.2...

A fabulous piece of hand-painted Folk Art created in India. This painting depicts a traditional Rajasthani man in traditional dress. He wears a decorative yellow and pink dress and s...

This 8' x 10' hand-tufted Jaipur wool rug brings timeless charm with its rich green palette and intricate floral pattern. Crafted by artisans using high-quality wool, the rug boasts ...

Step into the realm of modern chic with this exquisite handmade rug from our Aprezo collection, where contemporary elegance meets comfort in every thread. The standout feature of thi...

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. 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...

An original signed acrylic painting on canvas by Danish-Grenadian artist Boris de Freitas (1969-) titled "long lost", 2007.

Charming trade sign of a carved flounder with painted blue lettering for "Edgartown Seafood" with a subtle pickled white finish. Carved features include fins, gills, scales eyes and ...

Terracotta clay with underglaze W37 cm

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...

Unique wooden boot sculpture. Various woods/patinas give the boot texture, color and depth. Just under 2 feet wide. Additional details include, four eyelets with laces, a thick leath...

Hand carved flounder trade sign with painted lettering for "Beach House Inn, Brant Point". With blue lettering outlined in yellow. Carved details include scales, fins, eyes, snout, t...

Where do timeless traditions meet the spirit of exploration? This exquisite, hand-knotted rug by is a captivating answer. Drawing inspiration from the artistic heritage of diverse cu...

Made to commemorate the Rock and Roll Hall of Fame located in Cleveland, Ohio, this cast aluminum mechanical bank depicts Elvis Presley in full gala attire, typical of Elvis, with wh...