France - Sculptures and Carvings

This is a wooden doll which was made in Japan around 1950 in Showa era. This kind of dolls are called Kokeshi in Japanese. This kokeshi's style is Naruko from Miyagi prefecture. This kokeshi was made by a kokeshi artist Takumi KUMAGAYA. You can find his signature on the bottom of this doll. Kokeshi are wheel-carved wooden dolls. Characterized by a big head and a stable silhouette with a chrysanthemum pattern, Naruko kokeshi dolls...

This is a wooden doll which is called Kokeshi in Japanese. This kokeshi was made in Japan around 1970s by kokeshi artist Kyuichi OMORI. He was born in 30th November 1932. His signatu...

Very beautiful Taoist statue in polychrome and gold lacquered wood. It is carved from solid wood, with hand-painted details and embossed ornaments on the...

This is a wooden doll which is called Kokeshi in Japanese. This kokeshi was made in Japan around 1970s by kokeshi artist Masayoshi NAGAO. He was born in 4th Feburary 1931. His signat...

This wooden doll is called Kokeshi in Japanese. This kokeshi was made by a kokeshi artist Sakyo NIIYAMA. He was born in 1934, 18th March. It is made with Yajiro style from Miyagi p...

A colourful carved wood, painted and decorated Holy cow and trinket box - India, circa 1910. Naively carved and painted with a sliding wooden lid to the box. Some shrinkage cracks a...

Small bell in Agathe. This object was made in China at the beginning of the 20th century. It is a small sculpture, which also serves as a bell with a ball e...

17th century Thai Buddha head (Kingdom of Ayutthaya) carved on sandstone with a serene, delicate expression. The finesse of the master sculptor's work is remarkable here: the large ...

Original lithograph 10/180, by the French painter André Favory, circa 1910. Fine quality artist's piece. Very decorative, this lithograph does not lack character. Cubist landscape. ...

Object of erotic curiosity "curiosa" 19th century ceramic with polychromy. The nut hinge is broken and requires restoration. Dimension length 6 cm for 4.5 cm in height and equivalent...

Stoneware Buddha head, Shan State Kingdom, Burma, 16th/18th century Buddha head from a temple facing built entirely of mud bricks during the 16th/18th century. Maravijaya Buddha. Sh...

Wooden netsuke of a standing Dutchman figure with his mouth open, leaning forward. He is wearing a long curly wig, a ruff and a long coat tied at the waist. In his right hand, the ma...

Unique. No other term can better define the incredible power that emanates from thePanama screens. This lacquered screen by Reda Amalou is much more than a simple design piece; it is...

Interesting element probably coming from a lacquered and gilded wood furniture or panel representing a tripod - shaped vase with curved legs with...

Antonine de Saint Pierre, signed and numbered. Sign titled “Jouve” in oxidized metal. Wooden frame. Work of a contemporary French artist. Dimensions: H 194,5 x W 114 x D 7 cm Ref...

Boxwood netsuke representing the mask of Hyottoko in Noh theatre. Hyottoko is a legendary comic character, considered to be a fire god in certain regions of north-east Japan. The sha...

Large standing goddess holding various attributes with her six arms resting on a recumbent buffalo, accompanied by a worshipper. Height 72 cm.

A Very Rare and Large Bouddha , Lao 17th Century. Luang Prabang Style . Abhaya Mudra has its roots in ancient Indian spiritual traditions and is widespread in Buddhism and Hinduism....

Wooden netsuke depicting the Obeshimi mask in Noh theater. Obeshimi is a demon characterized by thick eyebrows, eyes that seem to protrude from the face and a closed mouth. Signed ...

Rare and important Japanese sculpture / statue / okimono in blackened and carved wood, depicting 1 lion, 2 birds (crows or other birds of prey) and 1 snake held in the claws of one o...

Bronze sculpture with dark brown patina of a cicada. The cicada (in Japanese, semi) is considered as a symbol of humanity. Together with a praying mantis and a spider, they represen...

Depending on the version, there could be two, three or seven panels, each one as spectacular as the other. The three pieces, first discovered by Panamanian natives, are enhanced by t...

Sculpture of the virgin in frosted glass from the 19th century, height 26 cm for a diameter of 11 cm. Additional information: Material: Verre & cristal.

Very large sculpted bronze vase with a polyglobular body resting on a base decorated with a Greek frieze. The whole is decorated with chimeras, dragons, birds of prey and phnixes ami...

Superb Asian high pedestal table in solid wood richly carved. The tripod base is composed of 3 heads of dragons / demons. In the center, a dragon walks on clouds. He is surround...

Indonesian goddess in gilded metal holding a lotus flower, 1920-1940. Measures: H 61cm, W 15cm, W 15cm.

Collection of Six Miniature Silver Pigs & Wild Boar A delightful collection of six miniature pigs and wild boar in solid silver with some lovely detail. The set was sourced in so...

Golden wooden statue of Buddha from the 19th century standing in a lotus flower with a height of 73 cm and a width of 24 cm. Remarkable patina. Some gaps. Additional information: ...

Pair of bronze rabbits running, their legs forming a round shape. Made by Hiroharu Hiramatsu (1896 Hyôgo prefecture – 1971, Fukushima,平松宏春). Specialized in metal art, he is a counci...

Big japanese deer sculpture in lacquered wood. Black, red and gold patina. The ears and wood are removable. Probably Edo period

03C pure white onix sculpture by Marie Jeunet. Dimensions: H 40 x L 14.5 cm Materials: Pure white onix marble. A tribute collection to the exceptional stones that nature offers ...

Buddha in canton porcelain to note that there is a stamp and that there are several hairs on the porcelain of dimension 16 cm in height. Additional...

Seated Buddha in Bhumisparsa mùdra position, or gesture of the earth witnessing Buddha's struggle against Mara Shan States, northeastern Burma, partially 18th century Heavily restor...

Bouddha en bronze cloisonné sur son socle en bois. Époque XIXème.

Pair of old baby sculptures from the 19th century representing babies climbing on a horn. Remarkable decorative object. Probably workshops of Besarel or...

Sculpture in regulates Jockey and his horse 1930 of dimension height 41 cm for a length of 41 cm and a depth of 15 cm. Additional information: Material: Metal & wrought iron.

Claude Viseux est un peintre, sculpteur et graveur aquafortiste et lithographe français né le 3 juillet 1927 à Champagne-sur-Oise et mort le 9 novembre 2008 à Anglet. 'est dans les années 1959-1960 que la sculpture de Claude Viseux, qualifiée de « protéiforme, onirique, fantastique » — ami de Max Ernst, Man Ray, Francis Ponge et Henri Michaux, il ne désavoue pas une parenté avec le Surréalisme9 — se substitue à la peinture, ses premières réalisations étant les objets trouvés en bord de mer qu'il pétrifie dans la cire10 d'une part, les empreintes de pierres et d'algues coulées en bronze d'autre part. En 1960, il signe le Manifeste des 121 titré « Déclaration sur le droit à l’insoumission dans la guerre d’Algérie ». En 1961, ses expérimentations s'orientent vers les corps organiques, notamment avec sa série Ostéales constituée d'assemblages d'os fossilisés qu'il patine ou au contraire décape, qu'il visse, scie, assemble et plastifie. Les Concrétudes ou Coulées directes qui suivent en 1961-1962 sont obtenues à partir de coulées de métal en fusion dans le sable, générant des reliefs qu'il soude sur des plaques d'acier. Il va cependant adopter rapidement l'acier inoxydable — qu'il est avec Pol Bury parmi les premiers à employer en sculpture — comme matériau de prédilection. « Il assemble divers rebus industriels — tuyaux, écrous, boulons, cuves… — pour créer des sculptures à mi-chemin du mécanique et du biologique » restitue ainsi Sophie Serra11. Claude Viseux, qui fréquente alors Jean Tinguely, Piotr Kowalski, Michel Guino, Takis et César, confirme : « Ma récupération de l'élément industriel s'élargit vers les aciers spéciaux, avec un essai de vocabulaire formel : des barres, des profilés, des sphères, des rotules, des fonds de cuves, des chambres à combustion de Boeing, des tubulures, des soupapes de navire »9. « L'artiste entre au cœur de la réalité industrielle, prospecte dans les chaînes de montage de Renault et rôde dans les terrains vaques autour des usines », restitue donc l'encyclopédie Les Muses : « il récupère ferrailles, pièces détachées, débris de voitures, vieux châssis, toute une série d'éléments devenus inutiles. Ils les assemblent, tels quels, sans les modifier. Des créatures agressives ou pathétiques vont surgir de ce combat physique et dialectique que l'artiste livre avec la matière et entrer dans le domaine d'une poétique étrange, surnaturelle5 ». Dans les années 1967-1970, Les « structures actives » en acier inoxydable procèdent ainsi de la production industrielle de série. Elles se répartissent en familles de formes combinatoires composées par addition, soustraction, multiplication, division. Il confirme : « le monde industriel est ma nature, mon bouillon de culture, où je cherche des corps, des familles de corps, des genres, des espèces, dans un aller-retour de l'artificiel au naturel pour confondre les règnes, pour en inventer d'autres selon une géométrie organique qui féconde les différents types de structures, qui aménage la forme concernée par la forme à venir »9. En 1968, Claude Viseux s'installe à la villa Baudran à Arcueil, atelier qu'il conservera jusqu'en 1992. Si des corps imaginaires naissent ainsi des pièces mécaniques que Claude Viseux emprunte à l'automobile, à l'avion et au bateau, en 1972, « la symétrie de ces formes pures en inox », constate Lydia Harambourg, « l'amène à s'interroger sur la notion d'équilibre instable »12. Ses Instables sont de la sorte exposés à la Biennale de Venise en 1972 où, rappelle encore Lydia Harambourg, une salle entière est consacrée « aux dessins qui reprennent son vocabulaire mécanique identitaire de sphères, toupies, hélices, anneaux, astrolabes et balanciers »12. Les Instables sont de même, en 1973, présentés à la galerie Le Point cardinal à Paris où Claude Viseux avait déjà exposé en 1968 avec Henri Michaux et Joaquin Ferrer...