Set of Three Sculptures by Signe Solberg, 2015

Unique sculpture in painted wood by Swedish artist Tony Emilson, (1925-2015). Titled ´Undercover". Measures: Height 25, diameter 16cm. Provenance: From Tony Emilson's personal ...

Sculpture in painted wood. Named ´"Det bästa i en taskig situation" or "The best in a shoddy situation". Signed and dated and TE - 12.

Modernist figure of a duck in Oregon pine by Kaija Aarikka. Hard to come by as only a limited edition were made. The figure is in excellent vintage condition.

Modernist figure of an ostrich or crane bird in Oregon pine by Kaija Aarikka. Hard to come by as only a limited edition were made. The figure is in good vintage condition, it’s with ...

Unique sculpture in painted wood by Tony Emilson. Titled "The old cyclope" (Le vieux cyclope "). Monogram signed and dated TE 82 below. Measures: Height 42 cm, 38 x 32 cm.

Set of three ceiling pendants in painted steel with opaline glass shade and acrylic cover. Designed and made in Norway by Arnold Wiigs Fabrikker from circa 1960s second half. The lam...

Nice little grouping of Lucite / Acrylic sculpture,,Almost "bird-like in form..amazing color,

A set of three unique hand formed ceramic sculptures of cubes with crater formed openings on two planes by Mobach Studio in the Netherlands in the 1980's. Mobach ceramics are produce...

Set Of Three Glazed Pottery Cat Sculptures. Whimsical trio of handmade colorful glazed pottery cat sculptures. Each of these beautifully executed animal sculptures is artist signe...

Sculptures in hand-hammered aluminum by Jacques Jarrige. Jacques Jarrige has always explored the relationship between line and space, material and void to its very limit in his sc...

A porcelain sculpture by Wayne Fischer. Perfect original conditions. Signed. Unique piece. 2015. 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...

Complete set of three striking 1970s Lucite obelisks all in original condition with slight patina from age (namely, to the base of the largest obelisk along with slight overall wear)...