France - Sculptures

Bronze sculpture of an oval and a disc, on an oval black marble base The bronze part is signed C Cappello 1974 and is numbered 42/90 Carmello Cappello (1912-1996) is an Italian artist who began by sculpting decorations for Sicilian carts...

Sculpture by Luiza Miller Carrara marble from 1970.

Bronze with brown patination. Signed the back "Jacques Tenenhaus - 1/8". Landowski Foundry's Mark, 1990.

ALEX BERDAL Nature Morte, les Raisins, 20th century Measures: Height : 37 cm Length : 26 cm Depth : 20 cm Reproduced in the catalog BERDAL, Sculptures, éditions Le Chardon...

Silvino Poza 1926 - 2010 Zambra Bronze sculpture with Green patina Lost Wax technique Signed : S.Poza Numeroted : n° 2/6.  

Sculpture Alma Head Bronze all in solid bronze in brown finish. On base with iron stand and black wooden base. Base dimensions: L15xD15xH3cm.

Edmond Moirignot (1913-2002), The sacred dance, 1965 Valsuani Foundry 2 / 6 Exhibition of the plaster at Montmorency Gallery, Paris, december 1965 Exhibition of the bronze...

Sculpture cherry gold medium all Handcrafted in ceramic, in gold finish. Medium: L 23 x D 22 x H 67cm. Price: 960,00€. Also available in cherry gold large. Large: L 33 x D 31 x H 91...

Art Nouveau terracotta sculpture by Georges Charle Coudrai, circa 1900. H: 63cm, W: 37cm, D: 30cm

Ceramic French polar bear, circa 1950.

Sculpture panther mahogany all in hand carved solid mahogany wood with hand painted bronze finish.

Silvino Poza 1926 - 2010 Gaonera - The Toreador Bronze sculpture with Green patina Lost wax Technique Signed : S.Poza Numeroted : n° 2/6 Biography : Born in 1926, Va...

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...

Sculpture waterfall black bronze all in solid bronze in black finish, Measures: base: L26xD26xH0,5cm.

Bronze proof with golden patina. Edit font Ed. Artcurial. Signed, proof of draw n° 3/10B.

Pair of Annamite mandarins in bronze with brown patina, dressed in the traditional costume of scholars for audiences, decorated with dragons; they carry a tablet in their hands. The...

Carlo Ramous (1926-2003) Abstract Composition Bronze sculpture, with a brown patina. Signed ‘C Ramous’ and numbered 1/4. Height : 42 cm Width : 42 cm Depth : 12 cm Pe...

Bronze sculpture by Georges Van Der Straeten (1856-1928), stamped "Société des bronzes de Paris". Measures: H 34 cm, W 19 cm, D 16 cm.

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. 2006. 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...

Regule sculpture of Siegfried in the Napoleon III style, circa 1900. Double patina regule sculpture of Siegfried in the Napoleon III style, circa 1900. H: 89cm, W: 51cm, D: 23cm

Bronze print with multicolored patina (medal, brown, and green) signed José Cardona (1878-1922), a Spanish sculptor living in Paris during the Belle Époque. He received an honorable ...

Sculpture of a Baby in Fine Plaster, XXIst Century. Sculpture of a Baby in fine plaster, 21st century. H: 55cm, W: 30cm, D: 21.5cm

Pair of bronze candlesticks with their original dark brown patina by Christophe Fratin (1801-1864), an antique cast signed "fratin" in cursive, dating from around 1850. These candles...

Imposing cup in red, Egyptian porphyry featuring three cupids on a circular base. The patinated bronze cupids serve as the supporting stem for the wide-rimmed cup. Two of the cupids ...

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, uncontrol...

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. 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...

Ernestine Sirine-Real (1899-1994) "Bust of a woman". Unsigned plaster. Measures: H. 61cm.

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.

Sculpture Golfer Trophee with solid walnut base and with 50 tees in 3 finishes: Gold, palladium and ruthenium. With customizable personal small plate on...

An exceptional and rare piece by Tim Orr. Provenance : His own garden ( we conserve the exterior patina ) Made in 1970's In three parts. Not signed

This is a plaster statue from the workshop of Charles-Alexandre Filleul (1856–1907), depicting Christ with a raised arm. The piece is signed and dedicated by Filleul. It features a b...

Statue in the taste of the artist Modigliani, XXth Century. Terracotta sculpture of a woman's head in the style of the artist Modigliani, 20th century.     h: 57cm , w: 14cm, d: 16cm

Mandron Femme à la toilette Bronze sculpture with green patina Signed and numeroted 1/8 Blanchet Foundry.

Sumo sculpture in resin in bronzage finish, on metal base.  

Group of two cherubs around a late 19th century porcelain basket on its wooden base measuring 42 cm by 44 cm by 25 cm deep. Very good quality of sculpture. maybe a little re-gluing o...

An exquisite abstract corten steel sculpture suitable for both indoor and outdoor settings. Crafted during the 1970s, the artist behind this piece remains unidentified, showcasing c...

Studio Bust by Charles Filleul – Mustached Man, Early 20th Century This studio bust, in plaster or terracotta, was crafted by Charles Filleul and originates directly from his worksh...

Sculpture Samuraï Puppet Musha Nyngyo B Set of 2 with structure in wood, hand-carved wood, hand-painted wood, hand-lacquered wood, covered with hand-...

Sculpture Springbok Head with all structure in porcelain in black and white and shiny gold finish. On metal base.

Sculpture fishes in white ceramic by french artist Jean-CHristophe Dablemont. On black bronze base. Base: 50 x 10cm.

David Erevantzi (1940-): "Maternity" Original bronze sculpture with a bronze patina representing a mother and her child on a stone base from Yerevan (Armenia) Signed: "David Erevan...

Studio Plaster Medallion by Charles Filleul (1856–1907) – Profile of a Mustached Man, 1901 This studio plaster medallion is signed by Charles Filleul (1856–1907), a French sculptor ...

Beautiful pecking chicken in cracked earthenware from the Art Deco period, signed Jacques "Adnet" on the base. Very high quality. Small crack near the tail. For lovers of beautiful d...

Studio Plaster Bas-Relief Attributed to Charles Filleul – Depicting a Nymph This plaster bas-relief originates from the workshop of Charles Filleul and is likely a preparatory study...

Relief Maple Vase 02 by Alice Lahana Studio Limited Edition of 8 Dimensions: D 11 x W 11 x H 80 cm Materials: Solid maple wood. Hand-sculpted, the Relief 02 vase is inspired by the ...

Noël Van Cauwenberghe (Born in 1935) « Jean-Paul Sartre, L'enfer c'est les autres » Patinated bronze proof, signed, titled, lost wax. Foundry stamp. Height : 65 cm.

Sculpture of Emperor penguin in varnished white lacquered resin. Created by David Rousselot – Paris Two sizes available. Measures: Small model, L...

Magdalena Reinharaz (1925 – 2012) In the arena 1 / 8 Bronze sculpture Signed: M. Reinharez Bronze-caster’s mark : Chapon Biography Born in Central Europe, Magdalena Reinharez arrives in France at a young age. She takes her painting class with masters such as Fernand Léger and André Lothe...

A patinated bronze sculpture of an elegant woman by René Charles Masse, 19th century, Napoleon III period. A 19th century patinated bronze sculpture of a female bust, Napoleon III p...

ALEX BERDAL (Perpignan, 1945) Nature Morte or Ouverture, 1980 Bronze with green patination Signed at the front. Numbered 6/8 on the reverse Foundry mark « Fonderie de la Plaine » Measures: Height : 26 cm Width : 36 cm Depth : 12 cm Bibliography : Berdal, sculptures, Editions Le Chardon...

Beautiful bronze sculpture with a brown patina after Jean-Antoine Houdon (1741-1828) depicting Diana, the goddess of the moon and the hunt, dressed in a tunic and crowned with a cres...

This is a studio sculpture, a hand-modeled terracotta piece created by Charles Filleul in 1905. As for its condition, please note a loss on the left foot and another on the left han...

Alabaster sculpture of a bust of a young woman with her hair held in a kerchief. Signed on the back: A. Cyprien.

Sculpture Bloomen 12 by Zanellazine Ceramics Dimensions: W 11 x H 60 cm Materials: Red clay, Orange and tobacco semi-refractorie clay, White fireclay. About: Giovanna Zighetti, cera...

This terracotta medallion is signed by Charles Filleul. It is a finely crafted piece originating from his workshop. The medallion is in good overall condition, though the frame show...

Large sculpture "Tree Ivy" in hammered and welded metal, based on solid oak, France, 1960. Measures: Height 74 cm.

Porcelain Biscuit by Hippolyte Moreau France, 19th century Signed