Lit Paper Sculpture by Antonin Anzil, France, 2018

Magnificent Antique French Bronze Sculpture, "Quand Même," Signed by French Sculptor Antonin Mercié (1845-1916) and Cast by Ferdinand Barbedienne (1810-1892...

This exclusive pair of Italian sculpture custom design lamps, handcrafted for Cosulich Interiors & Antiques, presents a very interesting Brutalist cast bronze base and sail-shaped fr...

French Art Deco table amp, 1930s. Egyptian woman with snakes in her arms. Spelter, glass and marble. Glass shade by Georges Leleu (Paris). Height : 16"(40.5cm), Diameter : 6.4"(16.2c...

Art Deco bronze sculpture of dancers on a marble base made into lamp signed Tereszczuk.

Luminous sculpture by Richard Faure in worked brass. The abdomen is made from a slice of agate concealing the lighting, the eyes are two fossil ammonites. Unique piece. Signed.

A porcelain sculpture by Wayne Fischer. Perfect original conditions. Signed. Unique piece. 2018. How can an inert object produce deeply unsuspecting, indecipherable, uncontrol...

Plaster Unique piece Signed, stamped and numbered EAI.

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...

Ceramic and glass table lamp sculpture. France, circa 1900.

Penguin iluminated sculpture by Marcel André Bouraine (1886 -1948). Silverplated bronze and alabaster base with light. Bryan Catley (1978) "Art Deco ...