Beaux Arts Furniture

Stoneware lamp with geometric decoration by Georges Martin. Artist monogram on the base. Circa 1970-1980. H : 7.1 x 8.7 inches (ceramic only). Sold with a European electrical system.

Tuscan vintage clay hand-painted vase, signed by the famous Zaccagnini, Tuscan artist. Not affected by fashion: there is no other like it. It's also per...

For those who love horses: Interesting painting with an horse race, with the name of horse "Brie Conte Robert". Signed: Ramon de Vargas - Paris 1926. On the back of the picture ther...

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

Twelve splendid crystals for chandeliers: in the photos You can admire their beauty and careful workmanship. ref. O/6611.

A very charming mid twentieth century yellow Murano glass vase with blue glass lace overlay perforated with blue glass pontil decoration, now mounted as a lamp Murano, Mid twentie...

Serie of 42 Venetian glass flowers to compose a chandelier. I would have done it myself, like once, but now I want to close my business. Also, the transport would cost too much. It's...

A large beautiful quality heavy cast glass opaque white bowl in the Beau Arts style with antique bronze hardware. This bowl almost looks as if it's alabaster...

Iron Knight and Horse Armoured Companion Set, Fire Tools The Stand of the Companion set is a shield mounted with armour for both the knight and his horse, the set is made in Cast iron which has registration marks on the back On the back hangs the tongs and hearth brush, the poker which doubles up as the knight’s sword...

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...

This large-format photograph (50 x 70 cm) shows Brazilian model and photographer Mary Pio on a boat in Rio de Janeiro. The vertical structure of the photograph is composed by the boa...

White and beige glazed ceramic mirror by Mia Jensen. Artist signature under the base. Circa 2023-2024. H : 2.4’ x 15.7’ inches.

White and grey glazed ceramic mirror by Mia Jensen. Artist signature under the base. Circa 2023-2024. H : 1.9’ x 15.5’ inches.

White/beige glazed ceramic mirror by Mia Jensen. Artist signature under the base. Circa 2023-2024. H : 1.9’ x 8.3’ inches.

Yellow glazed ceramic mirror by Mia Jensen. Artist signature under the base. Circa 2023-2024. H : 2.4’ x 7.5’ inches.

Pink glazed ceramic mirror by Mia Jensen. Artist signature under the base. Circa 2023-2024. H : 1.4’ x 9.6’ inches.

Brown grogged ceramic mirror by Mia Jensen. Artist signature under the base. Circa 2023-2024. H : 1.8’ x 9.6’ inches.

Black and brown glazed ceramic mirror by Mia Jensen. Artist signature under the base. Circa 2023-2024. H : 1.8’ x 7.7’ inches.

Brown grogged ceramic mirror by Mia Jensen. Artist signature under the base. Circa 2023-2024. H : 1.8’ x 9.2’ inches.

Dark pink and white glazed ceramic mirror by Mia Jensen. Artist signature under the base. Circa 2023-2024. H : 1.8’ x 7.5’ inches.

Blue glazed stoneware table lamp by Bruno H’rdy. Artist signature on the side. Circa 1970. H : 10.2’ x 7.5’ x 3.9’ inches (ceramic only). H : 12.6’ x 7.5’ x 3.9’ inches (with elect...

Adam and Eve standing, Eve with a snake wrapped around her arm and Adam posed with his fist on his head. Signed on base. Artist is represented in The Metropolitan Museum in New York, Whitney and Newark Museum. He enrolled at the Pennsylvania Academy and met Paul Manship who became a lifelong friend. His mother was the daughter of noted Boston artist William Morris Hunt...

Table lamp in beige grog clay by Denis Castaing. Artist signature under the base. 2019. H : 12.8’ x 10.6’ inches (ceramic only). H : 17.5’ x 10.6’ inches (with electrical system). So...

 Introducing our exquisite Florentine Wall Sconce, a true embodiment of timeless elegance and craftsmanship. This electrified sconce features f...

White/brown glazed ceramic vase by Gisèle Buthod Garçon. Raku fired. Artist monogram under the base. Circa 1980-1990. H : 9.4’ x 5.9’ inches.

Green glazed ceramic handle pot by Gisèle Buthod Garçon. Raku fired. Artist monogram under the base. Circa 1980-1990. H : 6.7’ x 6.3’ x 4.7’ inches.

Richly cast and gilded bronze floral and foliate bronze mounts with rose blooms / buds for candle holder .Now wired as a lamp . Crack to marble dome repaired (see photo 4 ) . very de...

Set of 8 - Bouton Rose Glasses made by world famous Crystal Manufacturer Daum France The base in the shape of rose petals, the leg simulating champagne bubbles. The base is in frost...

Pair of black glazed stoneware bedside tables by Clémentine Dupré. Artist signature under the base. 2021- 2022. Each piece is in two parts. H : 34 x 45 cm / 13’4 x 17'7 inches.

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

Brown grey and black glazed ceramic mirror by Mia Jensen. Unique piece. Signed under the base. circa 2023.

A ceramic mirror with glazes decoration by Mia Jensen. Unique piece. Signed under the base. circa 2023.

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. 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...

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...

O/5504 - Elegant pair of antique European portraits oil paintings, with a strong personality. Original frames - Signed Carl (o...

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

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

Pleasant French still life with fruits and copper plate, frame with little pomegranates relief - Signed low to the left - O/7133 - Dimensions: canvas cm. 87 x70 H. Frame cm. 102 x 8...

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.

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.

Antoine Bofill (Spanish-French, 1875-1925) was a Spanish artist and member of the Animalier movement of the 19th century. Best known for his small, decorative bronze sculptures, Bofi...

Emilie: Recreating Weiner Werkstatte “Vienna Workshop” of the 1930s tribute to Emilie Floge, Gustav Klimt lifelong companion. Blankets as artful heirlooms...

A Gilt Gold Italian Acanthus Leaf Carved Wall or Console Mirror. A wonderfully carved and detailed wall mirror with a beveled mirror framed by a serious group of carvings.

Mounted half block boat, ship builders/owner’s model The half model was made in the 1960s and is mounted on mahogany which Measures approximately 30” by ...

A ceramic table lamp by Jean Austry. Perfect original conditions. Signed at the base, circa 1960-1970. Unique piece. Sold with a new European electrical system. Dimensions are ...

My carpets are not affected by fashion. After a year the new modern carpets are no longer worth the price paid because the trend has changed, it has already gone further, that design...

A ceramic vase with glazes decoration by Michel Lanos (1926-2005). Perfect original decorations. Artist monogram under the base, circa 1990....

O/3321 - Little casket with beautiful landscape miniature, briar-tuia wood - miniature fixe on silk, A very rare objet : for collectors. I keep it leaning on a chest of drrawers ...

Beautiful bronze fire fender or fireplace with putti, enriched with golden bronze: really rare. nr. O/3592.

A Good Large Bust of William Shakespeare A Good Large Bust of William Shakespeare, this is a good quality bust, it is made in plaster and has a good pati...

O/6504 - Little lovely Fleming old painting, with a scene of children playing: for connoisseurs. It is still in its original frame, but it deserve to be placed in a prominent positio...

French brass duck’s head letter ppener, paper knife A great desk piece, the knife sits neatly on your desk ready for use, all in solid brass and go...

CHRISTO Mastaba Project for the Kunstverein in Koln 1986 Screenprint Signed and numbered 164/200 With a red and yellow metal barrel from the installati...

Offered is a large-scale diptych oil painting on wood by the renowned Colombian artist Jorge Duque Lara (b. 1962 - d. 2005), acquired in the 1980s. Consisting of two wood panels ea...

Many customers asked me for ancient tie-backs: so I tought of recovering ancient friezes (in wood or metal) and fitting them suitable as coat hangers. T...

Grand vase français en céramique sculpté, figuratif, en très bon état et signé.

Sandblasted glass table lamp with ceramic/ terracotta fruits by the famous Italian artist Zaccagnini - It's like a sculpture on a table. It is NOT necessary to change the power supp...

Daniel Viene ( 1955-2013) " je pense pour vous" mixed technique on paper, signed and dated 2001 painting alone 66 x 46 cm Presentation Daniel Viéné is a...

Unusual brass filigree mirror with etched glass pattern A very attractive piece with an unusual shape and decorative brass frame The mirror itself ...