While large collections of fairground art have been built up across Europe, sometimes within reputable institutions such as the Pavillons de Bercy in Paris (France), the MuCEM in Marseille (France), the Alsace Ecomuseum in Ungersheim (France), the Parc National des Expositions et Circus Archive in Sheffield (England) or at the Munich Stadtmuseum (Germany). We note, however, that there remains a certain ignorance to this type of production. We can even speak of a lack of interest on the part of the public and more generally of the art world, often in favor of a more "traditional" artistic production such as painting, sculpture or drawing. in most of the major European cultural institutions.This research work is therefore oriented around the production of fairground art objects, mainly small, medium and large fairground constructions, such as fairground games, amusement rides, carousels and "carousels-salons" as well. as the main musical instruments of the fair: the fairground organs. The objects studied all belong to the collection of the Pavillons de Bercy in Paris.This research traces the context of the effervescence of the Belle-Époque fairgrounds, as well as the history of the French and Belgian fairground sculpture schools and more particularly the history of the artists who were important for this type of production within these two countries. A precise analysis of the piece of art in the Pavillons de Bercy collection has shown the proximity that exists between artistic production and fairground production, while the debate remains for a distinction between art and craft. It is also about looking into the issue of recognition of fairground heritage. Recognition in place for several years. ; Alors que de grandes collections d'objets d'art forain se sont constituées à travers l'Europe, parfois au sein d'institutions réputées telles que les Pavillons de Bercy à Paris (France), le MuCEM à Marseille (France), l'Écomusée d'Alsace à Ungersheim (France), le Parc National des Expositions et Circus Archive à ...