France - Folk Art

An abstract stoneware sculpture, circa 1970 by La Borne Potters. Signed. Unique piece.

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 by Robert Heraud. Perfect original conditions. Signed under the base. Circa 1970-1980. Unique piece.

African Baule statue Mother with child, Ivory Coast mid XXem Provenance: Swedish private collection, from the 1980s. Then inherited within the family. B...

Bronze Dan (also called Yakuba) bell, Cote d'Ivoire, circa 1960s. This Dan bell is made from the lost-wax process. It has a looped handle and stylized designs on the bell and around ...

Stoneware lamp with geometric decoration by Georges Martin. Artist monogram on the base. Circa 1970-1980. H : 7.1 x 11 inches (ceramic only). Sold with a European electrical system.

Stoneware lamp with geometric decoration by Georges Martin. Artist monogram on the base. Circa 1970-1980. H : 12.9 x 7.5 inches (ceramic only). Sold with a European electrical system.

Stoneware lamp with geometric decoration by Georges Martin. Artist monogram on the base. Circa 1970-1980. H : 9.8 x 7.1 inches (ceramic only). Sold with a European electrical system.

Stoneware lamp with geometric decoration by Georges Martin. Artist monogram on the base. Circa 1970-1980. H : 10.2 x 7.5 inches (ceramic only). Sold with a European electrical system.

Stoneware lamp with geometric decoration by Georges Martin. Artist monogram on the base. Circa 1970-1980. H : 26.4 x 14.2 x 7.1 inches (ceramic only). Sold with a European electrical...

Stoneware lamp with geometric decoration by Georges Martin. Artist monogram on the base. Circa 1970-1980. H : 5.5 x 7.7 inches (ceramic only). Sold with a European electrical system.

A stoneware vase by Jeanne & Norbert Pierlot to Ratilly. Perfect original conditions. Artist monogram under the base "Pierlot." circa 1970. Unique piece.

A spherical white ceramic cachepot with cracked enamel, an anonymous work from the 20th century, distinguished by exquisite cutouts that elegan...

Engobed stoneware sculpture « Solstice » by Mart Schrijvers. Artist signature under the base. 2024. H : 8.3 x 10.6 inches.

A rare pair of decorative wall-mounted ceramic by Alfred Renoleau. Perfect conditions. Each piece is signed, circa 1900.

Hand Carved Grain Shovel 19th century, brown color from England

This rare engraved sign is made of glass on metal. This is a a very unusual piece from a London cigarette's seller. English. Circa 1900.

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

A ceramic vase in the style of Robert Deblander. Perfect original conditions. Circa 1980. NOT SIGNED.

An antique jaw harp made of iron and cast iron, probably dating from the early 20th century and of French origin. This unique, historical object stands out with its superb patina, gi...

Miroir psyché design art déco en placage de palissandre et cuivre travail français vers 1930

Bottles in Savoyard Folk Art Set of 40 Vintage Design Set of forty glass bottles, Savoyard popular art with wooden decoration inside. Additional information: Materials: Glass, Wood...

Alain Plocq, Surrealist Painting, France, 1980s, Oil on Canvas Contemporary artists from Auvergne region around 1980 Additional information: Materials: Paint, Canvas Color: Azure P...

Set of 82 French Kitchen Table Towels in Linen Canvas with Embroidery, 1920s Vintage Design Large lot of 82 old table towels in mixed linen canvas with 20th century embroidery - ...

Vintage French Cubist Rug, 1970s Vintage Design This rug from the 1970s, design and vintage, could be described as a colorful and daring masterpiece, characterized by geometric and ...

Light Blue 250 Twiggy Rug by Mohebban Dimensions: W 250 x L 200 cm Materials: Wool. Also available in different dimesions. Please contact us. The carpet is not a simple furnishing...

Glazed stoneware sculpture of Saint Solange or Saint Soulange by André Rozay. Artist signature on the back. Circa 1960-1970. Unique piece. H : 22.4’ x 7.9’ inches.

Wooden head of an Ooni of Ile-Ife, Yoruba People, Nigeria, circa 1930s. The Ooni is the traditional ruler of Ile-Ife. The Nigerian town is seen as the cradle of the Yoruba people. The number is the inventory number from Lehigh University. Exhibited: The Lehigh University - Art Galleries permanent collection. Provenance: The collection of Dr and Mrs John E. Swanson. Dr John Swanson and his wife Marian lived from 1966 - 1981 in Lagos, Nigeria where Dr Swanson was the Advisor to the National Universities Commission and later on the Chief Planning Officer of the University of Ibadan, Nigeria. During their time in Africa the Swansons started to collect African art. In 1973 a part of their collection, circa 120 pieces went on loan to The Pennsylvania State University Museum of Art, where the remained until 1978. In 1981 Dr Swanson passed away and his wife Marian never returned to Africa. In 1982 Mrs Swanson lent 130 pieces to the Lehigh University Art Gallery where they remained until 1987. A few pieces were also lent to Lafayette College...

Albert Chubac, Double-sided painting, mixed-media on paper, Signed, circa 1965, France. Measures: Height 99 cm, width 43 cm, depth 3 cm. Bibliography: - Albert Chubac, MAMAC Nic...

Artisan Greige Cord Pure 300 Round Rug in Hand-loomed Bamboo Silk by Mohebban Dimensions: D 300 cm Materials: Bamboo silk The Pure collection is made of fine hand-spun and hand-wove...

Grand Miroir en chêne massif et verre biseauté par André Le Picard 1950

dark green and brown glazed stoneware vase by Daniel de Montmollin. Artist signature under the base. Circa 1990-2000. H : 13.4’ x 9.4’ inches.

MICHEL AROUTCHEFF Father of the mythical rocket, from Tintin, with a red and white checkerboard. "NESTOR BURMA Breakneck to the nation Peugeot 20...

A ceramic vase by Jacques Pouchain and l' Atelier Dieulefit. Perfect original conditions. Signed under the base. Circa 1970-1980. Unique piece.

A ceramic dish with glaze decoration. Perfect original conditions. 1936. Signed and dated under the base "Guillaume 1936".  

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

Sand Atlas – Beige and Taupe Hand-Knotted Wool Rug, Rectangular 310 by Mohebban Dimensions: W 310 x L 240 cm Materials: Wool. The Atlas rug collection is the story of an eternal an...

This large dish is made of a glazed ceramic. This is a French work. Circa 1970.

A ceramic cup with white and green glaze decoration by Sainte Radegonde. Perfect original conditions. Signed " D" under the base. Circa 1960.

Watercolour on paper, portrait of an African woman, 20th century. Watercolour on paper, portrait of an African woman, 20th century, unsigned. H: 53cm, W: 73cm, D: 0,3cm

Very large Scandinavian rug from the 60's by the Swedish artist Berit Woelfer. Flat weaving technique (rillakan), wool on linen. Traditional geometrical ...

Important sculpture in glazed stoneware by Philippe Lambercy. Artist monogram on the base. Circa 1980-1990. H : 16.5’ x 30.7’ x 7’ inches.

Sculpture in glazed stoneware and engobed by Jean-Pierre Bonardot. Artist signature under the base « JP Bonardot ». Unique piece. Circa 2000-2010. H : 18.9’ x 16.9’ x 9.05’ inches.

Matt and shiny black glazed stoneware vase by Roger Jacques. Artist signature under the base « R. Jacques ». Circa 1960-1970. H : 11.8’ x 6.5’ inches.

Important vase in glazed stoneware and engobed by Jean-Pierre Bonardot. Artist signature under the base « JP Bonardot 99 ». Unique piece. 1999. H : 19.7’ x 27.5’ x 5.9’ inches.

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...

A zoomorphic ceramic sculpture by Pierre Roulot. Perfect original conditions. Signed under the base "Roulot". circa 1950-1960.

A ceramic vase by Lucien Arnaud with glaze decoration. Signed under the base " Lucien Arnaud ". Circa 1920.   

ARTI01R Gil Jourdan Dauphine Rouge After Maurice TIlleux 611/666 Cardboard dimensions : 53x24x24cm Dimensions : 36x14x12cm Ref : DVPM/39 Price : 790

This wooden lantern mold, originating from a former paper lantern manufacturing facility, is a superb decorative piece, boasting a highly graphic design. It consists of seven detacha...

A ceramic vase by Lucien Arnaud with glaze decoration. Signed under the base " Lucien Arnaud ". Circa 1920.   

Porcelain sculpture entitled "Solstice" . Unique piece. Signed under the base. 2022.

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...

Wooden head of a wife of an Ooni of Ile-Ife, Yoruba People, Nigeria, circa 1930s. The Ooni is the traditional ruler of Ile-Ife. The Nigerian town is seen as the cradle of the Yoruba people. The number is the inventory number from Lehigh University. Exhibited: The Lehigh University - Art Galleries permanent collection. Provenance: The collection of Dr and Mrs John E. Swanson. Dr John Swanson and his wife Marian lived from 1966-1981 in Lagos, Nigeria where Dr Swanson was the Advisor to the National Universities Commission and later on the Chief Planning Officer of the University of Ibadan, Nigeria. During their time in Africa the Swansons started to collect African art. In 1973 a part of their collection, circa 120 pieces went on loan to The Pennsylvania State University Museum of Art, where the remained until 1978. In 1981 Dr Swanson passed away and his wife Marian never returned to Africa. In 1982 Mrs Swanson lent 130 pieces to the Lehigh University Art Gallery where they remained until 1987. A few pieces were also lent to Lafayette College...

Sculpture in black glazed stoneware by Jean-Pierre Bonardot. Artist signature under the base « JP Bonnardot ». Unique piece. Circa 1990-2000. H : 13.8’ x 18.5’ x 10.6’ inches.

African mask from Yaure tribe in Ivory Coast Circa 1950. Beautiful dark patina. Swedish private collection, from the 1980s then inherited within the family. Yaure tribe art is renow...

Sculpture in glazed stoneware and engobed by Jean-Pierre Bonardot. Artist signature under the base « JP Bonardot 99 ». Unique piece. 1999. H : 7.08’ x 21.6’ x 13.8’ inches.

A ceramic vase with white glaze decoration attributed to Pol Chambost. No signed. Perfect original conditions. France, 1930.

Very large lock mechanism in forged iron and handcut, formerly painted black. All the elements are riveted, some rivets are extensions of the cups This lock most likely comes from a church or castle door...

A huge carved oxen yoke, dating back to the 19th century, is a beautiful example of Alpine folk craftsmanship. Its intricate carvings and rustic charm make it a truly captivating dec...