Beaux Arts Furniture

A ceramic table lamp by Denis Castaing. Perfect original conditions. Sold with a new European electrical system. 2022.

Bronze glazed ceramic mirror by Mia Jensen. Unique piece. Signed under the base. circa 2023.

A ceramic lamp with glaze decoration. Signed at the base Roset. Unique piece, circa 1970. Perfect original conditions. Sold with a new electrical system. Sold without lampshade...

A set of four 19th century French cast iron white painted garden urn planters. Original weathered rusty patina. Weight: 38.5 lbs. each Dimensions: 12" Height x 19" Diameter. Bas...

A ceramic mirror by Hervé Taquet. Perfect original conditions. Signed under the base. 2019. A set is available.

Created by one of the great masters of bas relief sculpture in America, John Flanagan, this profile depiction of the goddess Aphrodite was used as the model for the famous "Aphrodite/Swift Runners" bronze medal issued in 1932 by the Society of Medalists...

A ceramic table lamp with brown glaze decoration by Denis Castaing. Signed under the base. Sold with an European electrical system, 2020.

Glazed and engobed stoneware lamp by Bruno H'rdy to La Borne. Circa 1970. Perfect original conditions. Sold with a new European electrical system. Dimensions are mentioned for the ce...

Glazed ceramic table lamp by Les Potiers d'Accolay. Perfect original conditions. Artist signature under the base « A. Coula Fait Main ». Circa 1960-1970. Sold with a new European e...

A ceramic wall sconce by Denis Castaing. Sold without electrical system. 2022. It' s possible to order a pair or few pieces.

Yellow/beige glazed ceramic cup with metallic highlights by Gisèle Buthod Garçon. Raku fired. Artist monogram under the base. Circa 1980-1990. H : 4.1’ x 14.2’ inches.

Orange and white glazed ceramic mirror by Mia Jensen. Unique piece. Signed under the base. circa 2023.

« Vesprée » table lamp in raw stoneware, partially glazed in white by Denis Castaing. Sold with a new European electrical system. 2023.

A 19th century French cast iron bistro table with white painted finish and original white veined marble top. Nice casting with orange painted rosette medallion detail. Minor paint lo...

Pink and white glazed ceramic mirror by Mia Jensen. Unique piece. Signed under the base. circa 2023.

« Vesprée » table lamp in raw stoneware, partially glazed in dark green by Denis Castaing. Sold with a new European electrical system. 2023.

A 19th Century carved alabaster bust sculpture of a young girl with a frilled bonnet peeling an orange. After a work by Italian sculptor Pietro Giorgi. There is an old repaired crack...

« Nocta_05 » table lamp in beige grog stoneware by Denis Castaing. Sold with a new European electrical system. 2020.

American terra-cotta Beaux Arts architectural block tile. The academic architectural style taught at the Ecole des Beaux Arts incorporates French Neo-classicism with Renaissance and Baroque elements. This architectural piece is made of cast white glazed terra-cotta. Exquisitely detailed scroll and leaf pattern that can function incorporated into a building facade or a garden element. Good overall condition with some chips and overall crazing to the glaze, but structurally sound and sturdy. No structural cracks to compromise the integrity of the block tile. One of two architectural tiles offered here. This piece was found in the garden of a mansion in Poughkeepsie, NY. The tile came off of a building in downtown NYC...

The shell decorative sconce is sculpted and then cast in plaster. The graceful design is a reference to the 1940s years and a reverence to Serge Roche, in the design world. Electrica...

A French cast composite stone dolphin garden fountain with white painted patina, circa 1900-1920. Overall dimensions: 30"W x 13"D x 16"H. Base: 21.5"...

A fine pair of antique French porcelain vases. In the style of Jacob Petit. Each with extensive gilt decoration and painted floral ...

A ceramic table lamp by Denis Castaing. Perfect original conditions. Sold with a European electrical system. Signed at the base.

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. 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...

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...

A ceramic table lamp by Marcel Giraud, with glaze decoration. Signed under the base " Giraud", to Vallauris. Circa 1960-1970. Unique piece. Sold with a new European electrical sy...

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 ceramic vase signed Alistair Danhieux. Signed and dated under the base. 2009. Perfect original conditions.

A ceramic table lamp by Denis Castaing. Perfect original conditions. Sold with a new European electrical system. 2022.

A ceramic table lamp by Denis Castaing. Perfect original conditions. Sold with a new European electrical system. 2022.

A ceramic vase signed Alistair Danhieux. Signed and dated under the base. 2010. Perfect original conditions.

A ceramic covered pot signed Alistair Danhieux. Signed and dated under the base. 2012. Perfect original conditions.

A ceramic table lamp by Denis Castaing. Perfect original conditions. Sold with a new European electrical system. 2022.

Pair of French-style 19th-century petite end tables in the manner of Maison Jansen with brass filigree ribbed edging and acorn finials. Both have tooled cream leather tops and shelve...

A 19th century French Desvres faience jardinière, or planter. Hand painted in typical floral design with beautiful vivid colors of blue, green, yellow and red on white ground. Footed...

A ceramic wall sconce by Barbara Delfosse to La Borne. Perfect original conditions. Unique piece. Circa 1970. NO SIGNED. SOLD WITHOUT ELECTRICA...

Henri Alphonse Barnoin (1882-1940) studied with Emile Charles Dameron at the Ecole des Beaux Arts in Paris. In 1912 he moved to the small community of Concarneau in Northwest France,...

A pair ceramic table lamps by Denis Castaing. Perfect original conditions. Sold with a new European electrical system. 2022.

Presenting a lovely and exceptionally cute vintage Limoges single perfume bottle box. Made in Limoges, France circa 1920-30. Marked on base as...

A ceramic box signed Alistair Danhieux. Signed and dated under the base, 2011. Perfect original conditions.

Clock frame from the original Penn Train Station Waiting Room in New York City, circa 1910. The Penn Station Clock, with its significant 6-foot diameter, was suspended above the frenzied crowds in the waiting room. And became a popular rendezvous location through the years for millions of travelers, warriors, lovers and friends. A movie "The Clock" (1945) showcased these rendezvous and the dramas that ensued. Penn Station, the building that housed the clock, is considered a magnum opus of the 20th century. A magnificent example of the Beaux-Art style. Its demolition to the ground beginning in 1963 created an uproar of anger and disbelief, sending shockwaves through the city and the world. "When the Old Penn Station Was Demolished, New York Lost Its Faith."--The New York Times declared. And lost most of the precious artifacts from the building, trucked to landfills or taken home by those working the site. The Penn Station clock disappeared. Until now. The Penn Station clock frame, forged in iron, its roman numerals hammered out on an anvil, represents an American icon of illustrious provenance and backstory. In famous photos of the old Waiting Room, the clock stands out as a beacon suspended beneath the vaulting, 138-foot high ceiling. More than a 100 years old, 60 of those in obscurity, this is one of a few prominent architectural elements to have survived the demolition of the monumental Pennsylvania Station...

Presenting a lovely and exceptionally cute vintage Limoges purse shaped box. Made in Limoges, France circa 1900-20. Marked on interior as “Limoge...

A ceramic table lamp by Denis Castaing. Perfect original conditions. Sold with a new European electrical system. 2022.

Academic Studie of a nude male made in 1881 by the Swedish Artist Carl Kjellin (1862-1939). Pencil on paper. Signed: Carl Kjellin and dated: 1881. The artist is represented at the N...

Beautiful pair Beaux Arts Style Patinated Metal Two-Light Bouillotte table Lamps. Very good vintage condition. Measure 9 inches in width x 9 inches in depth at the base and stand 2...

A ceramic bowl or cup by Claude Champy. Perfect original conditions. Signed under the base "Champy", Circa 1980-1990. Unique piece.  

A framed lithograph poster promoting an exhibition at the Musée des Beaux-Arts celebrating three centuries of Quimper Faïence, May through September in 1990. The poster depicts a “Pe...

Eugene Galien Laloue (French, 1854-1941) Large oils on canvas landscape painting of the outskirts of Paris on the Seine River with figures and bui...

Pair Italian brass & crystal wall sconces will make a delightful addition to your lighting scheme! Artistically sculpted brass depicts a floral bouquet gathered together at a central...

Pair antique Boch vases is a splendid example of craftsmanship from the famous maker out of Belgium, with a classical shape inspired by ancient Greek arch...

A ceramic bowl by Camille Virot. Perfect original conditions. Signed at the base, Circa 1990-2000. Unique piece.

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

An American Silver-Plate and gilt table mirror 19th century. In the Rococo taste, the floral and foliate scroll decorated frame surmounted by a putto with Bacchus mask blowing trumpets raised on scroll feet, marked Derby Silver Co...

Eugene Boudin (French 1824-1898) Scene de plage. Berck Circa 1870 Fishermen and boats on the shore. Inscribed 'Berck' LL. with the Trustee's stamp “E.B” LR Medium: pen, ink and watercolour Measures: Sight: (15cm x 29cm (6in x 11.5in)) Not examined out of frame. Framed: 13 x 18 inches Eugène Louis Boudin...

A set of four 19th century French Limoges style porcelain lidded apothecary jars with elegant hand painted floral decoration and lettering. Some of the gilt paint has rubbed off the ...

Early Electric, Exceptional Cast Brass Sconces. Greek revival styling. square backplate with fans of acanthus leaf castings pointing up and down. tapered round arms with classical co...