Antiques Associations Members Abstract Sculptures

An important set of four large Porphyry Obelisks. Each obelisk is of square section tapering form with a spiked orb finial and embellished with carved roundels of the twelve Roman Emperors in profile. The main body is raised on ball supports putdown on square sectioned plinth bases. Each obelisk is carved with three Emperors profile...

Pair of cloisonné enamel decorated and silver gilt eggs Russian, 20th Century Height 7cm, diameter 5cm This duo of Russian antique eggs, artfully hand-fashioned from gilded silver and bedecked with painstakingly rendered cloisonné enamel, serve as proud emblems of the nation's rich lineage of gem-studded eggs. Crafted from sterling silver, as attested by the coveted '84' zolotnik stamp, each egg gleams with a seductive sheen, their interiors revealing the full splendour of gilded silver. The enamel floral arabesques, a hallmark of Russian craftsmanship, undulate elegantly across the egg's shell in an intricate ballet. These arabesques are arranged in a patterned circular band around the eggs, with larger circular, floral emblems taking centre stage in the body of the pieces. The bold blues of the enamel - in varying shades, from azure to navy - are offset by vibrant ruby red accents, making for an arresting visual contrast. Deeply rooted in a vibrant cultural tradition, these Russian eggs...

Yongjin Han was born in Seoul, South Korea in 1934. After the Korean War—in which he fought, lying about his age in order to enlist—he was one of six students admitted to the sculptu...

Parian group of a hunting scene depicting a man kneeling on a fallen tree with his dogs looking at a burrow. Dimensions Height 12.5 Inches Width 13 Inches Depth 6.5 Inches

Typical of the sculptural output of dal Fabbro, the lines of this piece shift rhythmically depending on the viewer's position. The artist plays with the relationship between space an...

Yongjin Han was born in Seoul, South Korea in 1934. After the Korean War—in which he fought, lying about his age in order to enlist—he was one of six students admitted to the sculpture program at the Seoul National University. At the time of his enrollment little of his native city remained intact; nonetheless, he had never felt more responsible to his work, firm in the conviction that artistic expression is every bit as essential to life and human nature as eating, drinking, or breathing. One of Han’s teachers was Kim Chong Yung, a pioneer of Korean abstract sculpture, and by the time of his graduation he had adopted the abstraction that had seized both Europe and the United States several years before. . In 1967 he relocated to the USA, where he studied at Dartmouth and Columbia. Over the course of his long career the artist returned to Korea with frequency and made extended stays in Japan and Europe. Trips to Korea signified something more than mere homesickness: Han’s work, though made largely in America, remained grounded in his rich cultural heritage. Korea rests on a bedrock of granite, and freestanding sculpture produced of the stone has for centuries demarcated sites of historical and religious significance. Han’s sculpture bridges this past with modernity. Richard A. Born, former Curator at the Smart Museum at the University of Chicago, has said that Han “brought Korea’s tradition of direct stone carving out of figuration into a refined, non-objective abstraction.” For his part, Han put very little stock in designations; his focus, instead, was on the stone itself. His pieces explore a certain harmonization with nature. Han, when describing his work, said, "As stone has been around since the beginning of time, it has much to teach us if we care to slow down and listen." He believed that each stone has its own history, character, and energy and that his task was to draw out these inherently spiritual qualities. He described his process as a “dialogue” with his material: "The stone tells me it has an itch in a certain spot, so I scratch it—and we both feel better!" Han worked alone and with manual tools, and the process is arduous. Carving stone this way takes time, and, what’s more, required great force—yet Han’s sculptures, even the monumental ones, are, as friend and fellow artist David Parker...

Unique piece. Sculpted in 1976, this is a rare piece for the famed sculptor Yongjin Han, who usually worked in stone. Nonetheless, it is a quintessential example of his serene com...

This piece in polished aluminum, elevated on a rectangular, black pedestal, by Fred Brouard, illustrious and groundbreaking French sculpture and furniture maker of the mid-to-late tw...

Sculpted in 1985, this is a rare piece for the famed sculptor Yongjin Han, who usually worked in stone. Nonetheless, it is a quintessential example of his serene compositions. Uni...

PLEASE NOTE: This piece is currently located in our Amsterdam office, please enquire for delivery times. Stunning architectural art laminated glass sculpture 'Balance II' by world renowned Hungarian glass artist Zoltan Bohus...

Stoneware studio pottery 'split pod' form designed by Alan Wallwork (British, 1931-2019) and dating from around 1980. The heavily made sculptural pod sta...

Signed by the artist. A perfectly balanced abstract sculpture by Italian designer Marcello Fantoni glazed in colors ranging from off white to blueish-gray, which conveys, above al...

This interesting sculptural representation of a dove carries hallmarks for London in 1999, and the makers mark for the Morris Singer Foundry. The dov...

Two large porcelain figurine of Nathan the Wise originally designed by Adolf Ferdinand Walter Jahn. Long bearded man standing on a square base wearing blue robe, and matching long dr...

A pair of French early 19th century bronze urns on marble bases, the bronze engraved urns having wonderful intricate detail including rams head handles at either side of each urn, sitting on square column marble bases decorated with a coat of arms, terminating on a marble plinth base...

Yongjin Han was born in Seoul, South Korea in 1934. After the Korean War—in which he fought, lying about his age in order to enlist—he was one of six students admitted to the sculpture program at the Seoul National University. At the time of his enrollment little of his native city remained intact; nonetheless, he had never felt more responsible to his work, firm in the conviction that artistic expression is every bit as essential to life and human nature as eating, drinking, or breathing. One of Han’s teachers was Kim Chong Yung, a pioneer of Korean abstract sculpture, and by the time of his graduation he had adopted the abstraction that had seized both Europe and the United States several years before. . In 1967 he relocated to the USA, where he studied at Dartmouth and Columbia. Over the course of his long career the artist returned to Korea with frequency and made extended stays in Japan and Europe. Trips to Korea signified something more than mere homesickness: Han’s work, though made largely in America, remained grounded in his rich cultural heritage. Korea rests on a bedrock of granite, and freestanding sculpture produced of the stone has for centuries demarcated sites of historical and religious significance. Han’s sculpture bridges this past with modernity. Richard A. Born, former Curator at the Smart Museum at the University of Chicago, has said that Han “brought Korea’s tradition of direct stone carving out of figuration into a refined, non-objective abstraction.” For his part, Han put very little stock in designations; his focus, instead, was on the stone itself. His pieces explore a certain harmonization with nature. Han, when describing his work, said, "As stone has been around since the beginning of time, it has much to teach us if we care to slow down and listen." He believed that each stone has its own history, character, and energy and that his task was to draw out these inherently spiritual qualities. He described his process as a “dialogue” with his material: "The stone tells me it has an itch in a certain spot, so I scratch it—and we both feel better!" Han worked alone and with manual tools, and the process is arduous. Carving stone this way takes time, and, what’s more, required great force—yet Han’s sculptures, even the monumental ones, are, as friend and fellow artist David Parker...

In this late work by Dal Fabbro, the viewer is reminded of a lone cactus in the desert. But closer inspection reveals expertly carved gaps in the wood, showing us the depths and dive...

Unique piece. Composed of walnut, this piece is an arrangement of walnut parts that move on a set of bronze hinges, the effect of which is that of a bird in flight.

One of the more figural of dal Fabbro's oeuvre, this sculpture conjures images of a bird perched on a branch, ready to take flight. In the artist's classic style, however, the carvin...

This series by Gérard Haas is many things at once, functional and Avant Garde, elegant and expressive, thanks to the artist's surprising use of reclaimed materials. Finding beauty in...

This plaster sculpture by Michel Chauvet, the notable midcentury French artist, captures the grace of the human form in motion. Unique piece. Monogrammed: M. CHT.

Signed: Mario Dal Fabbro Image of Penguin #2 Marked: I. 7 Typical of the sculptural output of dal Fabbro, the lines of this piece shift rhythmically depending on the viewer's pos...

Typical of the sculptural output of Dal Fabbro, the lines of this piece shift rhythmically depending on the viewer's position. The artist plays with the relationship between space an...

This terracotta sculpture by Michel Chauvet, the notable midcentury French artist, captures the grace of the human form in motion. Unique piece. Monogrammed: M. CHT.

Signed: Mario Dal Fabbro, 1983 Marked: I. 8 Typical of the sculptural output of dal Fabbro, the lines of this piece shift rhythmically depending on the viewer's position. The art...

In this sculptural study by dal Fabbro, the viewer's expectations are reversed. What may at first seem figural becomes abstract as one moves around the piece, revealing the artist's ...

Edition number 1 of 8. Marino di Teana originally trained as an architect and sustained an eclectic array of passions throughout his long career as ...

Marino di Teana originally trained as an architect and sustained an eclectic array of passions throughout his long career as an artist. Disciplines lik...