1970s Sculptures and Carvings

A well cast vintage Khmer, Angkor Wat style, bronze head of Shiva, circa 1970's, Thailand. Shiva, the Hindu god of creation, change and destruction, is identified by the third eye in the center of his forehead. His highly stylized face features alluring almond shaped eyes, a flattened nose, and broad mouth. Shiva is adorned with ornate earrings and an elaborate crown. The heavy earrings...

A lovely vintage 20th c., carved and giltwood standing Burmese Mandalay Buddha, with green and clear mirrored inlaid details, on wooden stand. The Buddha is depicted standing with a...

A vintage Penasar mask from Indonesia, circa 1975-1980. Hand-carved teak, polychromed in white and black. Mounted on a black metal stand. This type of mask is used at Indonesian ...

Timor Island sculpted wooden traditional mask (circa 1970s) on contemporary metal stand. This is a traditional mask of a figure with male facial features and two holes as eyes and another for the mouth with a handle below the face. The island of Timor gave rise to a distinctive practice of creating traditional masks whose precise origins and significance remain uncertain. Portraying both male and female ancestors, they were held by men during dances and other ceremonies, including celebrations of victory in war. Carved sculptures and masks are specific to rural villages. Here the practice of animism, or nature-worship, is incorporated with the carving of ancestral statues and masks, which have a ritualistic function. Some occasions that call for these ceremonies may include asking for successful crop planting, for prosperity, for good weather...

Vintage Chinese Jade Precious Stone Bonsai Tree Sculpture, Cloisonné Planter Offered for sale is a vintage Chinese Jade and other semi-precious stones Bo...

A stunning large, Mid Century modern abstract, mixed metal, brutalist wall sculpture by Don Freedman, circa 1970's. Stunning organic abstract mixed metal form. Features a stylized fl...

A vintage theater mask from Bali, Indonesia, circa 1975-1980. Polychromed hand-carved teak, mounted on a black metal stand. This type of mask is used at Indonesian Topeng or Mas...

Nicely carved Jade pendant. Weight: 29.13 grams. Jewelry / Necklace.

A vintage theater mask from Bali, Indonesia, circa 1975-1980. Polychromed hand-carved teak, mounted on a black metal stand. This type of mask is used at Indonesian Topeng or Mas...

Heavy sculpture in bronze of an owl on a branch by Hattakitkosol Somchai (Bangkok, 1934-2000). The owl is solid bronze and the base is wood. Signed at the base and stamped on the en...

A vintage theater mask from Bali, Indonesia, circa 1975-1980. Polychromed hand-carved teak, mounted on a black metal stand. This type of mask is used at Indonesian Topeng or Mas...

Kokeshi à trèfles, années 1970-80, fabriquée par Toa Sekiguchi, primé à de nombreuses reprises, fils du célèbre Sansaku Sekiguchi, l'un des artisans kokeshi les plus renommés et qui ...

Kokeshi à feuilles d'érables, des années 1970, fabriquée par Inosuke Kobayashi, prix du Premier Ministre en 1979. Réputé pour son talent à reproduire avec précision l'art des tissus...

A powerful abstract expressionist caved elm wood sculpture by Japanese artist Takao Kimura, circa 1970s. Carved in two parts, the swooping, concave body plays dramatically with the o...

Vintage Kokeshi doll from Japan. Yajiro Style (弥次郎). Completely handmade from Japanese Mizuki wood and painted, which is why there is only 1 of them. This technique is a craftsmanshi...

Elegant and minimal, this blown-glass sculpture is a creation of Gianmaria Potenza-a Venetian artist, sculptor and designer and founder of La Murrina-made in the 1970s for the same h...

A thick jade pendant carved from Burmese Jade. It features a beautiful range of colors including icy-yellow, apple-green and pale-green jade. Weight: 34.20 ...

Vintage Kokeshi dolls from Japan. Sakunami Style. (作並系). Traditional. A married couple, man and wife. Completely handmade from Japanese Mizuki wood and painted, which is why there is...

Midcentury 1970s Italian ceramic chinoiserie statue. This white ceramic chinoiserie statue is of a woman shyly fanning herself while looking down from her pedestal. The white luster ...

This is a Japanese Kokeshi doll made with wood. It was made around 1970s in showa era. These wooden dolls from Tohoku region (northern Japan) ar...

This is a kokeshi doll made with a white birch. It was made around 1980s in Showa era. This kokeshi is with new style. Dimension: H21 x 6.5 x 6.5 cm Betula platyphylla, the Asian ...

A beautiful collection of four miniature sculptures depicting Asian gods and Buddha. Vintage condition. Dimensions: Height from 5 to 9 cm.

Exceptional set of 3 rectangular objects made out of Glass, from the Thailand region in South-East-Asia, these objects made out of Green Glass were used in the handmade production of...

This striking set of vintage roof ornaments originates from a traditional Rumah Gadang house of the Minangkabau people in West Sumatra, Indonesia. Crafted from solid, timeworn hardwo...

This is a wooden doll which is called Kokeshi in Japanese. This kokeshi was made in Japan around 1970s by kokeshi artist Masayoshi NAGAO. He was born in 4th Feburary 1931. His signat...

Japanese dolls called Kokeshi, northern Japan, 1960s-1970s. Handmade by Japanese artisans from wood. Have a simple trunk as a body and an enlarged head. Naruko kokeshi is the squeaki...

Very nice pair of wrought iron sculptures in the shape of Mushrooms, Italian origin, 1970 Metal sculpture and wooden base Very beautiful decorative objects.  

This is a wooden doll which is called Kokeshi in Japanese. This kokeshi was made in Japan around 1970s by kokeshi artist Kyuichi OMORI. He was born in 30th November 1932. His signatu...

Colonna con scultura in legno grezzo recuperata in laboratorio di famous scultore della brianza anni 70s

Pair of water buffalo horn and carved wood lime powder holders for betel nut from Timor Island (circa 1970s). One is topped by a carved water buffalo and the other, a dog. The first ...

Very well executed life-size bust of John Fitzgerald Kennedy. Perfect for any decor. Perfect for a library. 20"W x 18"T.

A large and serene vintage sculpture of the historical Buddha, Shakyamuni, carved of teak wood, gilt, and embellished with glass "gems", circa 1970's, Burma. The sculpture depicts t...

A pair of large round hardstone or marble Chinese sculptures with custom aged steel bases. the stone circles are 24 dimeter and 1.05 inches deep, total measurement is 34.5 high, 24 w...

Beautiful Hindu wood carving - Private Collection Domenico Rugiano

Coppia sculture leone in legno foglia oro e foglia argento

Very decorative wooden plate from Asia, Indonesia from the 1970 ies, elegant decoration and design, to be used for different purposes, kitchen, bathroom,living room, library..........

An large and impressive vintage Thai cast bronze Buddha head, U-Thong style, 1970's, Thailand. The larger than life-sized head beautifully c...

Aldo Guarnieri Sculptural Totem in Varnished Wood, Italy, 1970s This sculptural totem by Aldo Guarnieri, designed in the 1970s, explores the expressive potential of wood through a ...

Set of 3 Mid-Century Modern cast stone penguin sculptures by noted Japanese abstract artist Masatoya "Kuki" Kishi (1924-2017). Signed and numered 4/100. ...

Important Esa Fedrigolli Italy by Esart Italy for Spirale arte design bronze vase with acid work year ’70 signed

Multifaceted Clear Sculpture

2x Skulptur Holzschnitzerei von Buddha Mandalay Mit reichhaltiger Bemalung / Steinebesatz. Höhe 168cm, im Bestzustand, keine Beschädigungen. Wohl aus den ca. 1970er Jahren

Claude Viseux est un peintre, sculpteur et graveur aquafortiste et lithographe français né le 3 juillet 1927 à Champagne-sur-Oise et mort le 9 novembre 2008 à Anglet. 'est dans les années 1959-1960 que la sculpture de Claude Viseux, qualifiée de « protéiforme, onirique, fantastique » — ami de Max Ernst, Man Ray, Francis Ponge et Henri Michaux, il ne désavoue pas une parenté avec le Surréalisme9 — se substitue à la peinture, ses premières réalisations étant les objets trouvés en bord de mer qu'il pétrifie dans la cire10 d'une part, les empreintes de pierres et d'algues coulées en bronze d'autre part. En 1960, il signe le Manifeste des 121 titré « Déclaration sur le droit à l’insoumission dans la guerre d’Algérie ». En 1961, ses expérimentations s'orientent vers les corps organiques, notamment avec sa série Ostéales constituée d'assemblages d'os fossilisés qu'il patine ou au contraire décape, qu'il visse, scie, assemble et plastifie. Les Concrétudes ou Coulées directes qui suivent en 1961-1962 sont obtenues à partir de coulées de métal en fusion dans le sable, générant des reliefs qu'il soude sur des plaques d'acier. Il va cependant adopter rapidement l'acier inoxydable — qu'il est avec Pol Bury parmi les premiers à employer en sculpture — comme matériau de prédilection. « Il assemble divers rebus industriels — tuyaux, écrous, boulons, cuves… — pour créer des sculptures à mi-chemin du mécanique et du biologique » restitue ainsi Sophie Serra11. Claude Viseux, qui fréquente alors Jean Tinguely, Piotr Kowalski, Michel Guino, Takis et César, confirme : « Ma récupération de l'élément industriel s'élargit vers les aciers spéciaux, avec un essai de vocabulaire formel : des barres, des profilés, des sphères, des rotules, des fonds de cuves, des chambres à combustion de Boeing, des tubulures, des soupapes de navire »9. « L'artiste entre au cœur de la réalité industrielle, prospecte dans les chaînes de montage de Renault et rôde dans les terrains vaques autour des usines », restitue donc l'encyclopédie Les Muses : « il récupère ferrailles, pièces détachées, débris de voitures, vieux châssis, toute une série d'éléments devenus inutiles. Ils les assemblent, tels quels, sans les modifier. Des créatures agressives ou pathétiques vont surgir de ce combat physique et dialectique que l'artiste livre avec la matière et entrer dans le domaine d'une poétique étrange, surnaturelle5 ». Dans les années 1967-1970, Les « structures actives » en acier inoxydable procèdent ainsi de la production industrielle de série. Elles se répartissent en familles de formes combinatoires composées par addition, soustraction, multiplication, division. Il confirme : « le monde industriel est ma nature, mon bouillon de culture, où je cherche des corps, des familles de corps, des genres, des espèces, dans un aller-retour de l'artificiel au naturel pour confondre les règnes, pour en inventer d'autres selon une géométrie organique qui féconde les différents types de structures, qui aménage la forme concernée par la forme à venir »9. En 1968, Claude Viseux s'installe à la villa Baudran à Arcueil, atelier qu'il conservera jusqu'en 1992. Si des corps imaginaires naissent ainsi des pièces mécaniques que Claude Viseux emprunte à l'automobile, à l'avion et au bateau, en 1972, « la symétrie de ces formes pures en inox », constate Lydia Harambourg, « l'amène à s'interroger sur la notion d'équilibre instable »12. Ses Instables sont de la sorte exposés à la Biennale de Venise en 1972 où, rappelle encore Lydia Harambourg, une salle entière est consacrée « aux dessins qui reprennent son vocabulaire mécanique identitaire de sphères, toupies, hélices, anneaux, astrolabes et balanciers »12. Les Instables sont de même, en 1973, présentés à la galerie Le Point cardinal à Paris où Claude Viseux avait déjà exposé en 1968 avec Henri Michaux et Joaquin Ferrer...