Beaux Arts Folk Art

An elegant porcelain sculpture represented a woman body with mat black glaze decoration by Tim and Jacqueline Orr. Signed at the base "Tim Orr". circa 1970-1980.

Green glazed stoneware large floor vase by Patrick Crulis. 2024. Unique piece. H : 28.3 x 15.7 x 15.7 inches. Approximate sizes.

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

A big ceramic sculpture by Joelle Deroubaix to La Borne. Perfect original conditions. Not signed. Circa 1960-1970.

Ceramic vase by Huguette Bessone. Unique piece. Circa 1960-1970. H : 10 x 2.4 inches.

Glazed stoneware table with geometric decoration by Georges Martin. Artist signature on the base. Circa 1970-1980. Unique piece. H : 14.6 x 17.7 x 31.7 inches.

« Kambi » table in raw stoneware with white glazed top by Denis Castaing. Perfect original conditions. Signed. 2023.

Stoneware ovoid vase with abstract decoration by Georges Martin. Artist signature on the base. Circa 1970-1980. Unique piece. H : 19.9’ x 7.7’ x 10’ inches.

Glazed stoneware vase by Adélaïde Renault. Artist signature under the base. 2025. Unique piece. H : 13.4 x 15.7 x 15.7 inches.

2 Early 20th Century Marquetry Pictures Laycock 1946, and Broadhembury Beautiful pieces in very nice condition 14” high 17” wide Aw93

A stoneware vase with white glaze decoration by the workshop Pierlot, Ratilly, France. Signature at the base. Perfect original conditions, circa 1980-1990.

A ceramic bowl with celadon glaze decoration by Jean-François Fouhilloux. Perfect original conditions. Signed under the base, Circa 1990-2000. Unique piece.

Stoneware and oxides sculpture entitled « Matador » by Pierre Martinon. Signed at the base « Martinon ». Unique piece. 2023. H : 18.1 x 7.9 x 6.7 inches.

A ceramic vase with wood firing by Bruno H' rdy. Signed at the base. Perfect original conditions. Circa 1970-1980. Unique piece.

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...

Stoneware covered pot by Georges Martin with geometrical decoration. Artist monogram on the base. Circa 1970-1980. Unique piece. H : 21.2 x 10.6 x 10.6 inches.

Stoneware lamp with geometric decoration by Georges Martin. Artist monogram on the base. Circa 1970-1980. H : 7.3 x 4.1 inches (ceramic only). Sold with a European electrical system.

An amazing zoomorphic ceramic by Accolay. Handwritten signature under the base “Accolay,” circa 1960-1970. Perfect original condition.

Stoneware and oxides sculpture entitled « Fleurs de nuit » by Pierre Martinon. Signed at the base « Martinon ». Unique piece. 2020. H : 18.1 x 9 x 5.9 inches.

Abastract ceramic vase by french artist. Perfect original conditions. Signed under the base. Circa 1970-1980. Unique piece.  

Brown glazed stoneware sculpture by Simone Couderc. Artist signature under the base. Circa 1990-2000. H : 9.2’ x 12.9’ x 4.3’ inches.

An amazing zoomorphic ceramic by Accolay, circa 1960-1970. Perfect original conditions. Stamp signature under the base.                  

Green glazed stoneware large floor vase by Patrick Crulis. 2024. Unique piece. H : 28.3 x 15.7 x 15.7 inches. Approximate sizes.

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...

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

Important stoneware sculpture entitled " Cadence" by Maarten Stuer. Unique piece. Artist monogram under the base. This piece can be put indoor or outdoor. 2023.

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

A big ceramic vase by Jean Linard to La Borne. Signed and dated under the base "Linard 64". Unique piece. Perfect original conditions. 1964.

A big ceramic vase with green glaze decoration in the style of Roger Capron. 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, uncontrol...

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

A big ceramic vase by Eugene Lion with glaze decoration. Signed under the base " E. Lion". Circa 1920.   

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.

Male nude posing as Atlas, a large framed study in charcoal This is an excellent, and due to its size, an imposing piece, an interesting life study...

Charming, French carved gilt console wall shelf. A beautifully carved little gilt shelf, it has a serpentine shaped top and a double wall fixing leg Thi...

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...

Portrait of a Gentleman in pastel and Charcoal by Thomas Price Downes A Beautifully executed piece of an unnamed Gentleman sitting in a chair at his desk The Drawing is in fair cond...

Beautiful bronze sculpture by the Portuguese artist Gloria Morena from 1977. Very good conservation and general condition for this bronze representing ...

Sculpture in black glazed stoneware by Jean-Pierre Bonardot. Artist signature under the base « JP Bonnardot ». Unique piece. Circa 1990-2000. H : 15.3 x 27.5 x 25.6 inches.

A rare stoneware sculpture attributed to Jöelle de Roubaix, La Borne. Perfect original conditions. Unique piece. circa 1960-1970.

Glazed stoneware vase by Adélaïde Renault. Artist signature under the base. 2025. Unique piece. H : 15.7 x 11.8 inches.

Ceramic sculpture entitled « Pleins et déliés » by Pierre Martinon. Signed at the base « P.Martinon ». Unique piece. 1991. H : 21.6 x 11.4 x 4.7 inches.

Yellow glazed stoneware vase by Brigitte Pénicaud. Artist signature under the base. Circa 2015. H : 11.8 x 8.7 inches.

Important stoneware sculpture entitled " Corps ascendant #6 ". Artist monogram under the base. This piece can be put indoor or outdoor. Unique piece. 2023.

Glazed ceramic plate by Pierre Martinon. Artist signature at the base. 1995. H : 1.2 x 9.6 x 9.8 inches.

Stoneware lamp with geometric decoration by Georges Martin. Artist monogram on the base. Circa 1970-1980. H : 5.5 x 4.1 inches (ceramic only). Sold with a European electrical system.

Blue glazed stoneware vase by Brigitte Pénicaud. Artist signature under the base. Circa 2015. H : 11.8 x 11.8 inches.

Ceramic cup by Joelle Deroubaix. Artist signature under the base. Circa 1975. H : 5.3 x 17.1 x 11.8 inches.

Engobed stoneware sculpture « Solstice » by Mart Schrijvers. Artist signature under the base. 2024. H : 9.1 x 12.2 x 9.8 inches.

Blue glazed stoneware vase by Brigitte Pénicaud. Artist signature under the base. Circa 2015. H : 11.4 x 9.8 inches.

Earthenware sculptural plate with geometric decoration by Georges Martin. Artist signature on the base. Circa 1970-1980. Unique piece. H : 16.5 x 1.2 inches.

A ceramic vase by french artist Perfect original conditions. Signed under the base, Circa 1980. Unique piece.  

A ceramic vase with blue glaze decoration by Accolay. Perfect original conditions. Signed "Accolay" under the base, Circa 1960-1970.

White glazed ceramic mural sculpture by Patrick Crulis. 2025. Unique piece. H : 21.6 x 15.7 x 5.9 inches. Approximate sizes.

Stoneware vase- sculpture by Georges Martin. Artist signature on the base. Circa 1970-1980. Unique piece.

Earthenware sculpture vase by Georges Martin. Artist monogram on the base. Unique piece. Circa 1980- 1990. H : 18.9 x 8.7 x 15.7 inches.

Stoneware pitcher by Georges Martin with geometrical decorations. Artist monogram on the base. Unique piece. Circa 1970-1980. H : 17.3 x 12.6 x 16.5 inches.

An amazing ceramic vase by Accolay with abstract decoration. Perfect original conditions. Signed under the base, circa 1960-1970.

A ceramic vase with glaze decoration by Gisele Buthod- Garçon. Perfect original conditions. Signed under the base. Circa 1980-1990. Unique piece.

White glazed ceramic mural sculpture by Patrick Crulis. 2025. Unique piece. H : 23.6 x 15.3 x 5.1 inches. Approximate sizes.