Manuela Zervudachi Furniture

1950 abstract stone sculpture covered with zinc, plexiglass base, beautiful piece of great emotional force.

Very Large Natural Onyx Stone Sculpture on Carved Wooden Base A large and visually striking polished slice of natural onyx, displayed on a custom carved wooden stand. This is a scul...

Fayral Art Deco Bronze “Nude Girl with Bird” Sculpture on Stone Base, Signed. Additional Information: Subject: Figures & Nudes Material: Bronze Largest Di...

The FLUX sculpture is a smaller version of the FLUX table lamp. A beautiful piece of art for your home. Perfect for a study or console table. Rolled fr...

This reproduction of a classical Hellenistic sculpture of Hercules. A timeless piece for interior and a garden decoration. We can raise with a base on request.

'Olimpia': Art Déco french spelter sculpture with stone base by Pierre Le Faguays (Fayral) for Max Le Verrier By: Pierre Le Faguays (Fayral), ...

Bronze Sculpture of Wrestler Signed "Fisher" With Marble Base

A wonderful pair of figurative abstract bronze sculptures on travertine bases by James Edward Ritchie, 1987. The sculptures are affixed to the base as one unit. Beautiful patina.

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...

Large bronze sculpture entitled "Lovers" by Italian sculptor Luca Madrassi, circa 1940s. The sculpture stands on an 14" D round black marble slab, is in very good condition and maint...

Early 20th century Expressionist patinated bronze woman sculpture with marble base signed by italian sculptor A. Monti By: A. Monti Material: bronze, marble, copper, metal Technique...

Man at the effort Expressionist cast iron dated and signed 1976 with a height of 28 cm for a width of 21 c and a depth of 10 cm. Additional information: Material: cast iron (iron...