Sculptures

Paganini Collection" sculpture by the Italian artist Paolo Orlando. Design sculpture in resin and wood. Measures: H: 78 cm, W: 40 cm, D: 24 cm ref 3314

Alabaster table lamp sculpture attributed to Bastiani. Italy, late 19th century Attributed to Ildebrando Bastiani.

Extremely rare Meissen Art Nouveau porcelain group: Two barefoot girls in summer clothes, the older one in a striped skirt and white and blue long-slee...

Highly organic, the Majorelle collection evokes flowers of an imaginary garden. Informed by textures found in nature, the collection features a dappled surface made from resin s...

Very elaborate and lovingly designed group of animal figures: European roller leaning forward, also known as almond crow in German-speaking countries, sitting on a tree trunk with o...

Beautiful and colorful vintage Murano hand blown blue, orange, white and bubbles Italian art glass egg shaped paperweight. Created in the manner...

A wonderfully whimsical collection of vintage Italian Capodimonte hand-painted porcelain fruits including oranges, pears, and apples, perfe...

Impressive Goldscheider Vienna Ceramic Figurine of the 1920s: The young lady with artfully pinned up hair and headdress wears only an exotic-looking short skirt in the manner of a ro...

A striking and very high quality Italian 19th century alabaster statue of the Greek goddess Ariadne seated on her panther signed P. Bazzanti Florence. The statue is raised by a rectangular base with a fine wrap around mottled border and wonderfully executed ground like design. Above is the beautiful Ariadne seated on her panther with her hair tied in a richly sculpted updo while holding an exceptional flowing garment. In Greek mythology, Ariadne was daughter to Minos, the son of Zeus. Associated with mazes and labyrinths because of her involvement in the myths of the Minotaur and Theseus. Shown here riding on one of her husband's, Dionysius God of wine and festivities, panthers. Wonderful attention to detail throughout. Pietro Bazzanti (1842-1881), Son of the renowned sculptor Nicolò Bazzanti, was a central figure in the production of Florentine sculpture...

Porcelain creation depicting Jaime Hayon’s latest creation. A work that speaks about looking after oneself and harmony. Jaime Hayon’s latest creation in porcelain for Lladró is a new character sure to be another resounding success. Ten years after...

Decorative hand-woven mask from Panama, Nemboro by Ethic&Tropic Extraordinary art and decorative items, these masks come from the shamanic beliefs and rituals of indigenous Embera t...

This beautiful example of the Greek boxer was hand carved of Statuario Marble in Florence during the Grand Tour period after the antique original. The subject has a victorious pose f...

Cute vintage Murano hand blown red and clear Italian art glass puppy dog sculpture / paperweight. Documented to the Fratelli Toso company. It still retains its original "Murano Glass...

Eye catching hand bown glass orb with amber/honey colred internal glass threads. Signed on bottom.

Carrara marble sculpture "Schiava" attributed to Giacomo Ginotti (1845-1897). Italy, late 19th Century.

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...

This incredible abstract sculpture was created by the internationally well known designer André Fu, founder of the André Fu Studio, based in Hong Kong. Title "Eternal flame". This intense scultpture can be filled of water in the base and the little brass bowl can be put on, floating. A lit candle completes the scene. This is a one-of-the kind piece, hand made by the Italian factory specilized in brass work who collaborated with the designer to realised it. Wallpaper magazine assigned the Award to this iconic brass sculpture and it was an event focus during the Salone del Mobile in Milan. About Studio Fu: With an extensive portfolio of projects throughout Asia and Europe, Fu has revolutionized the concept of modern luxury with a series of projects that reflect Fu's signature artistic perspective and timeless sensibility. This artwork is the sum of his philosophy. In 2016 was named designer of the year for M&O Asia...

Rosenthal Art Deco porcelain figurine. Ballerina. 1930s. Measures: 23.5 x 11.5 cm. In excellent condition. Stamped.

A porcelain sculpture by Wayne Fischer. Perfect original conditions. Signed. Unique piece. 2022. How can an inert object produce deeply unsuspecting, indecipherable, uncontrol...

Circa 1925, an absolutely charming cold painted Spelter figure of a standing greyhound. This elegant lady captured standing head alert, looking fo...

A porcelain sculpture by Wayne Fischer. Perfect original conditions. Signed. Unique piece. 2022. 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...

Gourmande, is a hand-blown art glass vase in apricot with a removable lid adorned with a hot sculpted black glass crow holding a worm by the British artist Julie Johnson. The crow figurine...

A porcelain sculpture by Wayne Fischer. Perfect original conditions. Signed. Unique piece. 2022. 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...

A porcelain sculpture by Wayne Fischer. Perfect original conditions. Signed. Unique piece. 2022. 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...

A beautiful and very high quality Italian late 19th century Trets and white Carrara marble statue by Pasquale Rizzoli. The statue, in the manner of Etienne Maurice Falconet (1716-1791), is raised by a most decorative circular Trets marble base with a superb double mottled and elegantly curved design. The wonderfully executed white Carrara marble statue above depicts a charming winged young man...

A small ceramic statue of a bird in yellow, green, blue, and brown. Dimensions: 6.5" Tall 4" Wide 3" Deep.  

A petite ceramic table sculpture was created in Brazil. Made of ceramic, and glazed in crisp white, yellow, and brown, this MCM sculpture of a Cockatiel ...

A superb 19th-Century English Staffordshire prancing zebra figurine. This charming zebra is hand painted with fine details and would be perfect for disp...

Rose blossom sculpted entirely by hand starting from a solid block of rare rose quartz. Dimensions: approximately D 12 x H 12 cm. Available in different...

Carl Aubo¨ck Model #4867 'Egg' brass paperweight. Designed in the 1950s, this incredibly clean and refined Viennese paperweight is hand fabricated in polished brass by Werkstätte Car...

A set of two (2) Organic Modern Lucite flower bud cubes decorative objects in the style of French designer Pierre Giraudion, circa 20th century...

Article: Ceramic pottery vase Origin: Germany Designer: Gerda Heukeroth Producer: Carstens Tönnieshof, Germany Decade: 1970s This original vin...

A stunning and extremely high quality French 19th century Neo-Classical st. white Carrara marble statue titled Not Wanting To Hear Love. The statue is raised by a oblong base with a ...

The folio made of strong card stock opens to reveal 12 samples with each specimen described in French. Measures: Each Specimen 2 1/2” x 1 1/2”. Case closed. 5”x9” 1/2”.

The marble bust facing frontal with her eyes looking to her right. The hair fastened in a skillfull knot behind, the drapery covers her shoulders and breasts, with another section un...

Tang Dynasty Horse and Rider. China (618-907 AD) During the Tang Dynasty, horses were revered creature, considered relatives of the mythical...

Chinese Qing dynasty style Blanc de chine porcelain Quan Yin or Guanyin depicted standing in a flowing robe. Constructed of Dehua porcelain fr...

This stylish two piece set of stylized egrets date to the 1960s-1970s, and they will definetly make a subtle statement with their form and finish. Note: Dimensions of the taller e...

Fine marble bust on pedestal after the antique. The bust sculpted as the goddess Psyche Of Capua presented as a nude female with a draped partial robe ...

Rare Goldscheider Vienna Art Déco Art Ceramic Group of the late 1930s: Little blond girl with curly hair in a white and blue checked summer dress with red edges holding a fox terrie...

Antique French pressed botanical from 1897. For those of you that may be interested, we will be listings many more antique French botanical's in the c...

'Bracket Mushrooms in Grey and White' is a unique glass artwork by the British artist, Verity Pulford. Verity Pulford is a curator and artist, specialising in glass, who lives and...

Very rare Goldscheider Vienna Ceramic Figurine of the 1930s: Representation of a young lady in a brown, Japanese silk coat over light, baggy trousers, hai...

A Beautiful 19th century Meissen Porcelain allegorical grouping of three putti with musical Motifs. One putti is seen with a trumpet in his hand, the other putti is seen playing a ly...

Beautiful bird of prey by Brazilian artist Abraham Palatnik. Rare colored XXL eagle. The brown-red plumage has been applied consciously on the resin. The white neck and tail feather...

Anthropomorphic terracotta of a standing dog by Laurence Lenglare. Measures 16" x 12" x H 52". Weighs: 50 lbs.

Rare brass cross designed by Arnaldo Pomodoro and his brother Giò Pomodoro in the 1950s, of fine Italian manufacture. It is part of the V/58/16 model. The...

Piet Mondrian was and still is a pioneer in abstract art. This 3D wall sculpture is an homage to his contributions. Though his body of work spans several styles, his compositions usi...

Drill vases Part chaos and part control, drill vases are an exercise in improvisation.   The origin of the project lies in Carrara, and the small fragments of marble found discarded by quarries in the region. I began to collect these stones. Working in the workshop with only hand and hammer...

This is a rare and beautiful figure of Venus with two doves, made by the bow porcelain factory between 1756 and 1764. We see Venus standing holding her robe with one hand, a flower p...

A finely detailed and realistically modeled and hand painted piece from the Royal Porcelain Manufacturer of Germany, KPM, circa 1900 and in really nice antique condition and ready fo...

Decorative hand-woven bag from Panama, Sac-Bolso by Ethic&Tropic Extraordinary art and decorative items, these masks come from the shamanic beliefs and rituals of indigenous Embera ...

Carl Auböck #5039 'Jingle Bell' Paperweight. Originally designed by Carl Auböck III in the early 1960s, this handmade piece was inspired by charming sl...

A Spanish cast-stone bust art piece. This vintage decoration from Spain, created from cast stone, features a male bust, in military attire with Roman-style helmet. There is a nicely ...

Carved stone figure of a woman, 20th century, modeled as a woman captured in a moment of contemplation, inscribed to base "J. Todak". 22.75” H x 10.25” W x 6.75” D. Dealer: S138XX.

Awesome vintage Modern frosted Lucite kudu sculpture by David Fisher for Austin Sculptures. Beautiful condition, keeping in mind that this is vintage an...

Yua Shell Currency, Bride’s Price Sepik River Region, Papua New Guinea Hand carved from a clam shell 8 x 9.25 in / 20.5 x 23.5 cm Height on custom d...

Meissen Porcelain Germany JJ Kaendler Origin Germany Circa 1850 Design by J.J. Kaendler Porcelain material. hand made and painted rococo style Very good conditions. Natural wear due to the passage of time. Meissen porcelain (in German Meißner Porzellan...