Stone Abstract Sculptures

Brazilian Steatite on Absolute Black Granite base

"Inner View Open_ Nexus III" by Caroline Ramersdorfer Three layered, marble slabs on a steel pedestal (each slab is 1.5" thick") Ramersdorfer carves slabs of marble to reveal comple...

Elegant and understated, the beauty of calligraphic scripts has resonated across cultures and time. Elizabeth Turk: Written in Stone marks the change caused by technological communic...

Elegant and understated, the beauty of calligraphic scripts has resonated across cultures and time. Elizabeth Turk: Written in Stone marks the change caused by technological communic...

Elegant and understated, the beauty of calligraphic scripts has resonated across cultures and time. Elizabeth Turk: Written in Stone marks the change caused by technological communic...

Elegant and understated, the beauty of calligraphic scripts has resonated across cultures and time. Elizabeth Turk: Written in Stone marks the change caused by technological communic...

Elegant and understated, the beauty of calligraphic scripts has resonated across cultures and time. Elizabeth Turk: Written in Stone marks the change caused by technological communic...

Elegant and understated, the beauty of calligraphic scripts has resonated across cultures and time. Elizabeth Turk: Written in Stone marks the change caused by technological communic...

Elegant and understated, the beauty of calligraphic scripts has resonated across cultures and time. Elizabeth Turk: Written in Stone marks the change caused by technological communic...

Elegant and understated, the beauty of calligraphic scripts has resonated across cultures and time. Elizabeth Turk: Written in Stone marks the change caused by technological communic...

Elegant and understated, the beauty of calligraphic scripts has resonated across cultures and time. Elizabeth Turk: Written in Stone marks the change caused by technological communic...

Elegant and understated, the beauty of calligraphic scripts has resonated across cultures and time. Elizabeth Turk: Written in Stone marks the change caused by technological communic...

Elegant and understated, the beauty of calligraphic scripts has resonated across cultures and time. Elizabeth Turk: Written in Stone marks the change caused by technological communic...

Elegant and understated, the beauty of calligraphic scripts has resonated across cultures and time. Elizabeth Turk: Written in Stone marks the change caused by technological communic...

Elegant and understated, the beauty of calligraphic scripts has resonated across cultures and time. Elizabeth Turk: Written in Stone marks the change caused by technological communic...

Elegant and understated, the beauty of calligraphic scripts has resonated across cultures and time. Elizabeth Turk: Written in Stone marks the change caused by technological communic...

Elegant and understated, the beauty of calligraphic scripts has resonated across cultures and time. Elizabeth Turk: Written in Stone marks the change caused by technological communic...

Elegant and understated, the beauty of calligraphic scripts has resonated across cultures and time. Elizabeth Turk: Written in Stone marks the change caused by technological communic...

Elegant and understated, the beauty of calligraphic scripts has resonated across cultures and time. Elizabeth Turk: Written in Stone marks the change caused by technological communic...

Elegant and understated, the beauty of calligraphic scripts has resonated across cultures and time. Elizabeth Turk: Written in Stone marks the change caused by technological communic...

Elegant and understated, the beauty of calligraphic scripts has resonated across cultures and time. Elizabeth Turk: Written in Stone marks the change caused by technological communic...

Elegant and understated, the beauty of calligraphic scripts has resonated across cultures and time. Elizabeth Turk: Written in Stone marks the change caused by technological communic...

Elegant and understated, the beauty of calligraphic scripts has resonated across cultures and time. Elizabeth Turk: Written in Stone marks the change caused by technological communic...

VMA-012, 2015 Edition / Talla directa sobre marmol blanco de Carrara 36 x 16 x 10,5 cm 14.1 x 6.2 x 41.3 in. The "Tu y Yo" (You and Me) series is based on complementary opposites and contain revealing elements of male and female symbology. As a tribute to his teacher Jesús Soto he introduces direct references to the work of the kinetics in hatched backgrounds of lines to produce the optical vibrations characteristic of that movement. JORGE SALAS...

Volumen VPC-038, 1970 Unique Piece Direct carving on Cumarebo stone 40 x 32 x 20 cm 15.7 x 12.5 x 7.8 in ABOUT THE ARTIST Narváez was born in Porlamar, Venezuela, in 1905; he was the fifth son of eleven siblings; his parents were Jose Lorenzo Narváez and Vicenta Rivera. Don José Lorenzo, a multifaceted and creative man, sowed the seed of creativity in his son. “My father did not fit in with his fantasies of cabinetmaker, bricklayer, master builder, and self-taught architect.”1 From an early age, Francis was led to the artistic activity, he traced, carved, made replicas of the furniture and the saints restored by his father. In 1920 he obtained his first professional assignment, a San Rafael for the Church of Carupano, and, in 1922, his father authorized him to travel to Caracas to pursue his studies as an artist. He studied at the atelier of Marcos Castillo, at of the Angel Cabre y Magriña and at the Academy of Fine Arts in Caracas, where he was introduced to the painters and intellectuals of the time. In 1928 he presented his first solo exhibition at the Club Venezuela. With the money raised from the sale of the works and the support of Monsignor Sosa, and the Ministers Centeno Grau and Arcaya, he studied in Paris on a scholarship. Once there, he enrolled at the Académie Julian, where Tito Salas, Cristóbal Rojas and Arturo Michelena had also studied. It was in Paris where, unable to work in wood, he turned to stone carving. “In Paris, I didn’t have wood, so I carved a lot in stone (…), when there were demolitions I purchased chunks of stone, I would take them to the workshop and carve them.”2 His first attempts at volumetric sculptures and painting in plain colours, linked to the thematic of American miscegenation and Creole reality, can be traced back to that first trip to Paris. During his stay in the French city, Arturo Uslar Pietri, Alfredo Boulton, and Finita Vallenilla supported the artist both financially and logistically, and in February of 1930, the trio of friends arranged another exhibition for him at the Club Venezuela. Narváez describes his exhibition as follows: “(…) in it I feel that the sculptural work is more my own, done with more assurance, a response to my pursuit of large planes, stylisation and synthesis.”3 By then, as Boulton himself noted in his book about the artist, Narvaez departed from most of the artistic traditions that prevailed by that time in Venezuela. In 1931 he returned to Caracas and established his atelier at the Barrio Obrero in Catia. The atelier became the hub of the intellectual life of the time. “In those years, the atelier of Francisco Narváez was the hub of the greatest Venezuelan hope. Nothing comparable to it can be found either before or since.”4 From that year onwards, exhibitions, projects, trips, and awards we multiplied. He was awarded the President of the Republic of Venezuela Prize, the National Sculpture Prize of the 1st Official Venezuelan Art Salon, and the John Boulton Prize of the 3rd Annual Venezuelan Art Salon; for the Military Academy, he produced a spectacular relief entitled La Patria. In 1945, commissioned by the architect Carlos Raúl Villanueva, he produced two groups of sculptures known as Las Toninas, both located in the O’Leary Square. There, as he himself states, he incorporates some baroque patterns into the figures to the source itself: “It is a work of balance between the decorative requirements and the sculpture of planes and angles.”5 In 1948 he was awarded the National Painting Prize. In the same year, he was called upon by the architect Carlos Raul Villanueva to participate in the project for the arts integration in the Universidad Central de Venezuela. Francisco Narváez’s public output continued with works such as the statue of Fermín Toro, La Educación, La Ciencia, three murals (produced by María Luisa Tovar) for the Instituto de Medicina Experimental, El Cristo; el Atleta, the equestrian statue of General Rafael Urdaneta. In 1953 he was appointed Director of the School of Plastic and Applied Arts, and in July of the same year, he exhibited “Francisco Narváez, Maderas, Piedras y Bronces” (Francisco Narváez, Woods, Stones and Bronzes) at the Museum of Fine Arts. Narváez is, unquestionably, one of the great Venezuelan sculptors, his work goes through various stages and interests; as the art world evolves, the artist does not remain in his initial scopes of work. His creations are not imposed by the prevailing trends or fashion but do evolve by experimenting with new materials and interests. When one peruses the artist’s lengthy list of exhibitions, commissions, and awards, it is worth remembering the Narvaez who embark on his career as a child and who, overcoming obstacles, knew how to make the most of his curiosity. He did not settle for living off his successes. He did not remain stagnant as many creators of his environment did. Narvaez managed to understand the changes in the history of art around him. We must not overlook the fact that Francisco Narvaez is an artist amid all the changes occurring in the art world. He moves from the classics to the great transformations in the art world. It is the Europe of Picasso, Braque, Arp. He observes, he is aware of what is happening in the centres of the world of art, but between his craft and his sensitivity, the result is NARVAEZ, his stamp, and his identity. Francisco Narváez comes from tradition, and his first stage is linked to the classics, to the exploration of his heritage, but always with his very own language. Throughout his prolific career, he knew how to remain true to himself, without disregarding the influences of his surroundings or his artistic interests: his ability as a sculptor, his selection of materials, whether they were wood, stone or bronze; his choice of the subject of his work…His mastery and great craftsmanship are a constant that over time have made him a leading player in the history of contemporary Venezuelan and world art. From his beginnings, no subject was foreign to him. His paintings, drawings, aquarelles, and sketches are testimony to his prolific output. Among his themes are portraits, our traditions, still lifes, and landscapes. Narváez is an artist who represents his time. Later, he evolved towards purer and simpler forms, abandoning figurative art for short periods. In 1956 he declared to the newspaper El Nacional: “Every day I am freeing myself, it is a soul that frees itself from the ephemeral wrappings of the circumstantial always, as well as from the inevitable weight of the anecdote. This second stage of my work is remarkably close to abstractionism, even if there are still certain figures or figurations in the sculptures that I will shortly be showing. However, pure, and absolute abstractionism, it will treat the form itself as the sole reason for its existence on the plane of artistic excellence.”6 The artistic development was his professional life. Each period of his life as an artist, he went one step further, searching, solving, seeing plenty of things and understanding how diverse expressions were transforming themselves. His hands followed his gaze and his mind, always inquisitive. He added movement to the volumes. Arturo Uslar Pietri, “Formas Nuevas”, Cromotip editions, 1956 “Francisco Narváez is a path: the path that Venezuelan sculpture...

Volumen VPC-062, 1972 Unique Piece Direct carving on Cumarebo stone 67 x 38 x 20 cm 26.3 x 14.9 x 7.8 in. ABOUT THE ARTIST Narváez was born in Porlamar, Venezuela, in 1905; he was the fifth son of eleven siblings; his parents were Jose Lorenzo Narváez and Vicenta Rivera. Don José Lorenzo, a multifaceted and creative man, sowed the seed of creativity in his son. “My father did not fit in with his fantasies of cabinetmaker, bricklayer, master builder, and self-taught architect.”1 From an early age, Francis was led to the artistic activity, he traced, carved, made replicas of the furniture and the saints restored by his father. In 1920 he obtained his first professional assignment, a San Rafael for the Church of Carupano, and, in 1922, his father authorized him to travel to Caracas to pursue his studies as an artist. He studied at the atelier of Marcos Castillo, at of the Angel Cabre y Magriña and at the Academy of Fine Arts in Caracas, where he was introduced to the painters and intellectuals of the time. In 1928 he presented his first solo exhibition at the Club Venezuela. With the money raised from the sale of the works and the support of Monsignor Sosa, and the Ministers Centeno Grau and Arcaya, he studied in Paris on a scholarship. Once there, he enrolled at the Académie Julian, where Tito Salas, Cristóbal Rojas and Arturo Michelena had also studied. It was in Paris where, unable to work in wood, he turned to stone carving. “In Paris, I didn’t have wood, so I carved a lot in stone (…), when there were demolitions I purchased chunks of stone, I would take them to the workshop and carve them.”2 His first attempts at volumetric sculptures and painting in plain colours, linked to the thematic of American miscegenation and Creole reality, can be traced back to that first trip to Paris. During his stay in the French city, Arturo Uslar Pietri, Alfredo Boulton, and Finita Vallenilla supported the artist both financially and logistically, and in February of 1930, the trio of friends arranged another exhibition for him at the Club Venezuela. Narváez describes his exhibition as follows: “(…) in it I feel that the sculptural work is more my own, done with more assurance, a response to my pursuit of large planes, stylisation and synthesis.”3 By then, as Boulton himself noted in his book about the artist, Narvaez departed from most of the artistic traditions that prevailed by that time in Venezuela. In 1931 he returned to Caracas and established his atelier at the Barrio Obrero in Catia. The atelier became the hub of the intellectual life of the time. “In those years, the atelier of Francisco Narváez was the hub of the greatest Venezuelan hope. Nothing comparable to it can be found either before or since.”4 From that year onwards, exhibitions, projects, trips, and awards we multiplied. He was awarded the President of the Republic of Venezuela Prize, the National Sculpture Prize of the 1st Official Venezuelan Art Salon, and the John Boulton Prize of the 3rd Annual Venezuelan Art Salon; for the Military Academy, he produced a spectacular relief entitled La Patria. In 1945, commissioned by the architect Carlos Raúl Villanueva, he produced two groups of sculptures known as Las Toninas, both located in the O’Leary Square. There, as he himself states, he incorporates some baroque patterns into the figures to the source itself: “It is a work of balance between the decorative requirements and the sculpture of planes and angles.”5 In 1948 he was awarded the National Painting Prize. In the same year, he was called upon by the architect Carlos Raul Villanueva to participate in the project for the arts integration in the Universidad Central de Venezuela. Francisco Narváez’s public output continued with works such as the statue of Fermín Toro, La Educación, La Ciencia, three murals (produced by María Luisa Tovar) for the Instituto de Medicina Experimental, El Cristo; el Atleta, the equestrian statue of General Rafael Urdaneta. In 1953 he was appointed Director of the School of Plastic and Applied Arts, and in July of the same year, he exhibited “Francisco Narváez, Maderas, Piedras y Bronces” (Francisco Narváez, Woods, Stones and Bronzes) at the Museum of Fine Arts. Narváez is, unquestionably, one of the great Venezuelan sculptors, his work goes through various stages and interests; as the art world evolves, the artist does not remain in his initial scopes of work. His creations are not imposed by the prevailing trends or fashion but do evolve by experimenting with new materials and interests. When one peruses the artist’s lengthy list of exhibitions, commissions, and awards, it is worth remembering the Narvaez who embark on his career as a child and who, overcoming obstacles, knew how to make the most of his curiosity. He did not settle for living off his successes. He did not remain stagnant as many creators of his environment did. Narvaez managed to understand the changes in the history of art around him. We must not overlook the fact that Francisco Narvaez is an artist amid all the changes occurring in the art world. He moves from the classics to the great transformations in the art world. It is the Europe of Picasso, Braque, Arp. He observes, he is aware of what is happening in the centres of the world of art, but between his craft and his sensitivity, the result is NARVAEZ, his stamp, and his identity. Francisco Narváez comes from tradition, and his first stage is linked to the classics, to the exploration of his heritage, but always with his very own language. Throughout his prolific career, he knew how to remain true to himself, without disregarding the influences of his surroundings or his artistic interests: his ability as a sculptor, his selection of materials, whether they were wood, stone or bronze; his choice of the subject of his work…His mastery and great craftsmanship are a constant that over time have made him a leading player in the history of contemporary Venezuelan and world art. From his beginnings, no subject was foreign to him. His paintings, drawings, aquarelles, and sketches are testimony to his prolific output. Among his themes are portraits, our traditions, still lifes, and landscapes. Narváez is an artist who represents his time. Later, he evolved towards purer and simpler forms, abandoning figurative art for short periods. In 1956 he declared to the newspaper El Nacional: “Every day I am freeing myself, it is a soul that frees itself from the ephemeral wrappings of the circumstantial always, as well as from the inevitable weight of the anecdote. This second stage of my work is remarkably close to abstractionism, even if there are still certain figures or figurations in the sculptures that I will shortly be showing. However, pure, and absolute abstractionism, it will treat the form itself as the sole reason for its existence on the plane of artistic excellence.”6 The artistic development was his professional life. Each period of his life as an artist, he went one step further, searching, solving, seeing plenty of things and understanding how diverse expressions were transforming themselves. His hands followed his gaze and his mind, always inquisitive. He added movement to the volumes. Arturo Uslar Pietri, “Formas Nuevas”, Cromotip editions, 1956 “Francisco Narváez is a path: the path that Venezuelan sculpture...

Houben R.T is an Avant-garde painter and draftsman with his own unmistakable voice. Houben was born in Bulgaria and graduated with a degree in painting from the Conservative Art Acad...

Houben R.T is an Avant-garde painter and draftsman with his own unmistakable voice. Houben was born in Bulgaria and graduated with a degree in painting from the Conservative Art Acad...

A sculpture made with glass layers and painted with nail polish and acrylic, set on a cement pedestal. The glass leaves are separated by slits on the pedestal, giving the sculpture ...

Resolutely abstract, but with a definite biomorphic energy. The sculpture was carved out of white Carrara marble with delicate gray veining and polished to a highly tactile smoothnes...

A Soul Consoled, Sculpture, by Khang Pham-New, Marble, White, Mother, Child "My childhood experiences growing up in Vietnam have paradoxically become a driving force in my artistic creations. I am impassioned with biomorphic abstract forms. As an artist, I am aware of and respect the art movements of my time, but to create, I remove myself from the influences of this time and retreat into a private space where I can experiment and explore the possibilities of each phase of my inner life." - Khang Pham-New Khang Pham was born in war-torn South Vietnam...

Richard Erdman's abstract sculpture "Salient I" is carved from gorgeous white Carrara marble from Italy. Made with companion piece "Salient II" (not shown here -- available in separa...

This stunning kinetic sculpture is made of welded, powdercoated, and painted steel in white and gradient shades of metallic pink, spiraling at the top of a tall pole. The colorful top section is counterbalanced by a brake drum and concrete cone that moves inside of a steel cage over an embedded base made of cast iron antique man-hole covers. It catches even the slightest breeze for near-constant movement! Please watch the video to see the incredible wind-powered kinetic in action. Jeff Glode...

Dusty Rose Sage (2022), terracotta concrete abstract face sculpture, metal wire Biomorphic and earthy yet industrial style wall sculpture, she...

Whitewashed Sage (2022), gray and white concrete abstract face sculpture, metal wire, earthy Biomorphic and earthy yet industrial style wall sculpture, shelf sculpture or tabletop s...

Marbled Sage (2022), gray concrete abstract face sculpture, metal wire, earthy Biomorphic and earthy yet industrial style wall sculpture, shel...

Speckled Sage (2022), gray concrete abstract face sculpture, metal wire, earthy Biomorphic and earthy yet industrial style wall sculpture, she...

Biomorphic and earthy yet industrial style wall sculpture, shelf sculpture or tabletop sculpture. Abstracted face sculpture made with concrete, pigment and wire. The piece is smoot...

Biomorphic and earthy yet industrial style wall or tabletop sculpture. Abstract wire form with corrugated concrete form. The piece is smooth and rough, with gold pigmented concrete...

Biomorphic and earthy yet industrial style wall or tabletop sculpture. Abstract wire form with corrugated hydrocal plaster form. The piece is smooth and...

"INNER VIEW VII" by Caroline Ramersdorfer Seven layered, marble slabs on a steel pedestal (each slab measures 12" x 12" x .75") Ramersdorfer carves slabs of marble to reveal complex...

Pedro Barreto Esfera, Undated Marble ø 25.6 in. ø 65 cm (Depth 5.9 in. 15 cm) Base: 7.9 x 7.9 x 9.8 in. 20 x 20 x 25 cm Pedro Barreto (b. Santa Catalina, Venezuela, 1935; d. Lechería, Venezuela, 2008) His first experiences as a sculptor were with wood, influenced by his place of birth in the Orinoco River delta. Between 1954 and 1958, he studies at the Plastic and Applied Arts School of Caracas. In 1957, his first one-man exhibition took place in Tucupita, earning him a scholarship to study in Europe. He attends the School of Fine Arts of Rome until 1960, after which he travels to Paris and works in Agustín Cárdenas’ studio. In 1973, he is awarded Tokyo’s Shinsakasho Prize and Venezuela’s Salón Arturo Michelena.

"Black Tower" by Joel Perlman Unique cast bronze, marble base Joel Perlman has been creating complex sculptures out of steel, bronze, and aluminum since the early 1970's. While minimalism was the predominant style of his genration, Perlman chose to push his forms into ever-more complicated, gravity defying, configurations. Perlman investigates with originality. He expands, rather than appropriates, enriching our experience with industrial materials. Contemporary, Abstract Outdoor Metal...

Matrimony, red granite sculpture, heart, by Khang Pham-New, indoor, outdoor Contact us about delivery options. 1,500 lbs

Tropikos, marble sculpture by Donald Davis, white marble, vertical, stone Shipping times may be longer due to covid-19 restrictions Contact us with questions.

Red Ray, abstract sculpture, red Turkish Marble, black stone, geometric, carving

Night by Khang Pham-New, large abstract granite sculpture, grey, white, polished This sculpture will take extra time for delivery. Co...

A Soul Consoled, Khang Pham-New, monumental, granite sculpture, mother and child Additional time will be added for works on this scale. Contact us or 1st Dibs to arrange for shipping details...

"INNER VIEW_Nexus_cellular" by Caroline Ramersdorfer Marble and stainless steel Shippable in 8-10 weeks. Please contact gallery for further information. Ramersdorfer carves slabs o...

"INNER VIEW_Open_Nexus II" by Caroline Ramersdorfer Marble and stainless steel Shippable in 8-10 weeks. Please contact gallery for further information. Ramersdorfer carves slabs of...

"INNER VIEW_Wings towards Reflection" by Caroline Ramersdorfer Marble and stainless steel Shippable in 8-10 weeks. Please contact gallery for further information. Ramersdorfer carv...

"Three Strikes" by John Ruppert Rock, cast stainless steel from fragments of trees struck by lightning Over the past 35 years, John Ruppert has been working in cast metals; manufact...

Artist: Emile Gilioli, French (1911 - 1977) Title: Column Year: circa 1960 Medium: Carved and Painted Marble on Marble Base, Signature Incised Verso Size: 65.5 in. x 31 in. x 8 in. (...

Silhouette Embraced, Khang Pham-New, monumental abstract red granite sculpture We first saw his sculptures when they were featured in an outdoor sculpture Biennale in Vancouver with many notable and established sculptors (like Magdalena Abakanowicz, Dennis Oppenheim, Albert Paley, Bill Reid, and Yoko Ono). His work stood out to us and we’ve represented Khang internationally ever since, exhibiting and placing his sculptures in public and private collections for the last 11 years. The response has been amazing. His abstract biomorphic shapes are contemplative and beautiful to view. Khang Pham was born in war-torn South Vietnam...

Infinity, monumental contemporary white granite sculpture by Khang Pham-New white granite sculpture for outdoor or indoor installation. Sculpture garden ready with a connected base. Granite is durable and easy to care for and can withstand all climates. Polished surface is light grey/white. We first saw his sculptures when they were featured in an outdoor sculpture Biennale in Vancouver with many notable and established sculptors (like Magdalena Abakanowicz, Dennis Oppenheim, Albert Paley, Bill Reid, and Yoko Ono). His work stood out to us and we’ve represented Khang internationally ever since, exhibiting and placing his sculptures in public and private collections for the last 11 years. The response has been amazing. His abstract biomorphic shapes are contemplative and beautiful to view. Khang says: “It is my passion to create monumental sculpture. I invite the viewer to touch and interact with the work. It is especially nice to see small children in and around the large pieces.” Pham-New is interested in the art and form of sculpture as a basis for contemplation and meditation. Khang Pham was born in war-torn South Vietnam...

Curvilinearity, monumental granite abstract sculpture Khang Pham-New outdoor Khang Pham-New studied at the Ontario College of Art where he majored in sculpture installation. Amongst...

This is a kinetic piece where the top part rotates. Please contact us to receive a video file of it moving. Gary manipulates the metal into breathtakingly balanced arabesques of seem...

Artist: Sergio Camargo, Brazilian (1930 - 1990) Medium: White Marble Sculpture, signature inscribed on base front Size: 7.875 x 12.25 x 10.25 inches ; 2...