Beaux Arts Folk Art

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

Stoneware and oxides sculpture entitled « Escaliers dérobés » by Pierre Martinon. Signed at the base « P.Martinon ». Unique piece. 2022. H : 17.7' x 12.6' x 12.6' inches.

Large modern irregular shaped ceramic black vase with a ribbon-like decoration in gold, silver and red called "sho (hovering)" by Kato Reikichi (1953, Japan) from Seto, Aichi Provinc...

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

Stoneware sculptural lamp by Georges Martin. Artist signature on one side. Circa 1970-1980. Unique piece. H : 9.4’ x 3.9’ x 11.2’ 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.

Stoneware vase with glaze decoration by Pat & Joe Rowland. Artist monogram under the base. Circa 1970. H : 9’ x 9.8’ x 1.6’ inches.

Glazed stoneware cup by Roger Guérin. Artist signature under the base. Circa 1930. H : 11 x 10.4 inches.

Square stoneware pot with abstract decoration by Georges Martin. Artist monogram under the base. Circa 1970-1980. Unique piece.

An abstract stoneware sculpture, circa 1970 by La Borne Potters. Signed. Unique piece.

Glazed ceramic plate by Pierre Martinon. Artist signature at the base. 1995. H : 1.2 x 9.8 x 13.6 inches.

A ceramic pitcher by Accolay with green, blue, yellow glazes decoration. Perfect original conditions. Signed under the base, circa 1960-1970.

An elegant porcelain sculpture by Tim Orr with black and white glaze decoration. Signed under the base "Tim Orr", circa 1970.

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.

Woodfired ceramic vase by Eric Astoul. Artist signature under the base. 1987. H : 12.6’ x 9.8’ inches.

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

Blue glazed ceramic vase attributed to Raoul Lachenal. Unsigned. Circa 1930. H : 15.7’ x 7.9’ x 7.9’ inches.

A big stoneware pot by Antoine de Vinck. Artist monogram under the base, circa 1980. Perfect original conditions.

A ceramic vase by Annie Maume to Sancerre. Perfect original conditions. Unique piece. Signed at the base. Circa 1980-1990.

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

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

Stoneware and oxides sculpture entitled « Porter aux nues » by Pierre Martinon. Signed at the base « P.Martinon ». Unique piece. 2024. H : 30.7 x 7.5 x 6.7 inches.

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

A ceramic vase by Robert Heraud. Perfect original conditions. Signed under the base. Circa 1970-1980. 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 pair of ceramic vase by Jean Talbot. Perfect original conditions. Signed under the base. circa 1940. Unique piece.

A stoneware vase by Jeanne & Norbert Pierlot to Ratilly. Perfect original conditions. Artist monogram under the base "Pierlot." circa 1970. Unique piece.

Stoneware lamp with geometric decoration by Georges Martin. Artist monogram on the base. Circa 1970-1980. H : 6.3 x 5.3 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 : 13.4 x 10.2 inches (ceramic only). Sold with a European electrical system.

A rare pair of decorative wall-mounted ceramic by Alfred Renoleau. Perfect conditions. Each piece is signed, circa 1900.

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...

Large floor vase in black glazed ceramic by Patrick Crulis. 2024. Unique piece. H : 27.9 x 15.7 x 19.7 inches. Approximate sizes.

Stoneware lamp with geometric decoration by Georges Martin. Artist monogram on the base. Circa 1970-1980. H : 5.5 x 3.9 inches (ceramic only). Sold with a European electrical system.

Stoneware ovoid vase with abstract decoration by Georges Martin. Artist signature on the back. Circa 1970-1980. Unique piece. H : 13.2’ x 4.1’ x 7.7’ inches.

Stoneware lamp with geometric decoration by Georges Martin. Artist monogram on the base. Circa 1970-1980. H : 11.8 x 9.4 inches (ceramic only). Sold with a European electrical system.

Stoneware ovoid vase with abstract decoration by Georges Martin. Artist signature on one side. Circa 1970-1980. Unique piece. H : 12.4’ x 4.3’ x 5.3’ inches.

Stoneware lamp with geometric decoration by Georges Martin. Artist monogram on the base. Circa 1970-1980. H : 7.1 x 6.3 inches (ceramic only). Sold with a European electrical system.

Green and yellow glazed ceramic vase by Eugene Lion. Unsigned. Circa 1920. H : 6.7 x 4.3 inches.

A ceramic dish with an abstract glazes decoration by Robert Deblander. Perfect original conditions. Signed under the base. Circa 1965-1970.

Stoneware lamp with geometric decoration by Georges Martin. Artist monogram on the base. Circa 1970-1980. H : 10.6 x 8.7 inches (ceramic only). Sold with a European electrical system.

Square stoneware pot with abstract decoration by Georges Martin. Artist monogram under the base. Circa 1970-1980. H : 8.8’ x 8.5’ x 6.7’ inches.

Big stoneware pitcher by Georges Martin with geometrical decoration. Artist monogram on the base. Unique piece. Circa 1970-1980. H : 24.4 x 7.1 x 8.3 inches.

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

Stoneware lamp with geometric decoration by Georges Martin. Artist monogram on the base. Circa 1970-1980. H : 6.3 x 6.1 inches (ceramic only). Sold with a European electrical system.

Stoneware «hibou» sculptural vase by Georges Martin. Artist signature on one side. Circa 1970-1980. Unique piece. H : 14.2’ x 7.9’ x 21.2’ inches.

Wood fired stoneware «Pot à feu» sculpture by Île/Mer/Froid. Artist signature under the base. 2023. H : 30.7’ x 15.7’ inches.

Square stoneware pot with abstract decoration by Georges Martin. Artist monogram under the base. Circa 1970-1980. H : 8.5 x 8.3’ x 7.3’ inches.

Stoneware ovoid vase with abstract decoration by Georges Martin. Artist signature on one side. Circa 1970-1980. Unique piece. H : 12.6’ x 9.4’ x 23’ inches.

A ceramic vase in the style of Robert Deblander. Perfect original conditions. Circa 1980. NOT SIGNED.

Porcelain covered pot by Georges Martin with geometrical decoration. Artist monogram on the base. Unique piece. Circa 1970-1980. H : 27.2 x 9.8 inches.

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.

Engobed stoneware sculpture « Solstice » by Mart Schrijvers. Artist signature under the base. 2024. H : 14.2 x 13.4 inches.

Big stoneware pitcher by Georges Martin with geometrical decoration. Artist monogram on the base. Unique piece. Circa 1970-1980. H : 29.1 x 7.1 x 7.9 inches.

Stoneware vase by Georges Martin. Artist monogram on the base. Circa 1970-1980. H : 15.7 x 11.8 x 13.9 inches.

Stoneware lamp with geometric decoration by Georges Martin. Artist monogram on the base. Circa 1970-1980. H : 13.4 x 9 x 5.1 inches (ceramic only). Sold with a European electrical sy...

Porcelain vase by Georges Martin. Artist monogram on the base. Circa 1970-1980. H : 18.5 x 11 inches.

Porcelain vase by Georges Martin. Artist monogram on the base. Circa 1970-1980. H : 17.3 x 9.8 inches.

Big stoneware vase with geometrical decoration by Georges Martin. Artist monogram on the base. Unique piece. Circa 1970-1980. H : 27.5 x 5.5 x 7.1 inches.

Stoneware lamp with geometric decoration by Georges Martin. Artist monogram on the base. Circa 1970-1980. H : 10.6 x 12.9 inches (ceramic only). Sold with a European electrical system.