Abstract Sculptures

Studio Forged Metal Sculture, Artist unknown, well executed. Dimensions: 24" wide 4" deep 24" high on a 4" X 4" wood block

Rare sculpture in shape of a glass egg with glass rods designed by Monica Backström. Produced in Sweden. Signed Monica Backström Ateljé.

Dimensions Total height: 12.5 inches Width: 19 inches Depth: 7.5 inches Base height: 1.5 inches DETAILS Unsigned, original wood base. CONDITION Excellent vintage condition, wear consistent with age and use. Stanley R. Stangren (American, 1928–2014) was an outstanding American jeweler, artist, sculptor and ceramist, residing in New York City. He worked in different styles and in different materials, including oils, watercolor, ceramic and stone sculptures; and fine jewelry. Stangren’s painting styles varied tremendously – from complete abstract works to Holocaust themes in the style of Georges Rouault and Hieronymus Bosch to portraits in the style of Moses and Raphael Soyer. He was also a passionate lover of the performing arts, and, as a young man, spent time studying dance at both the School of American Ballet and with Martha Graham. Although he worked with dance pioneers like Ms. Graham, Anna Sokolow and Charles Weidman, an injury prevented him from pursuing dance as a career. But he found other outlets for his artistic pursuits. In his youth, Stangrem attended the Brooklyn Museum School of Art, and graduated from the High School of Music and Art in New York City. He later studied at the Boston Museum of Fine Arts, the Art Students League, Bard Colledge and in Europe. Stangren studied jewelry design in Europe, attending Staatlische Kunst Werkschule in Pforzheim, Germany and Kunstgewerbeschule der Stadt in Zurich, Switzerland. His jewelry and designs were received with great success. His combination of precious and semi-precious stones, high-karat gold and sterling silver, and exotic materials executed with outstanding workmanship in the abstract modernist style gave a unique aspect to his designs, the metalwork usually electroformed, cast, or fused in varying textures. After returning to New York in the later 1950’s, Stangren opened and maintained a ceramic business in Trenton, New Jersey. Very few pieces of his work remain from this period. When he retired from the ceramics business, he spent much of his time enjoying the arts. He frequently attended Juilliard performances, including most of the opera and drama presentations at the School, and was especially fond of the dance concerts. The last 40 years of his life, he taught painting in the New York area and worked with Metropolitan Museum of Arts in developing annuities, for future acquisitions. In addition, Stangren left annuities for MoMa in support of educational programs and left, in his will or through his executors, art supplies for the Harlem School of Art and benefits for the Urban Assembly organization. Mr. Stangren's love for the arts and for the performances he was seeing at Juilliard inspired him to take his participation a step further and to establish charitable gift annuities with the School. "I realized what Juilliard offered me, being a passionate music lover, and I decided to give something back" he said. "What Juilliard achieves is remarkable. When I think of the prominent actors, dancers and musicians that have been educated there, I am always staggered. It is deeply financially satisfying to be able to give back to the School, while benefitting from it at the same time." The Juilliard School is not the only organization that Stanley Stangren...

Material: silver plated bronze We have specialized in the sale of Art Deco and Art Nouveau and Vintage styles since 1982. If you have any questions we are at your disposal. Pushing...

This 18th century Italian mortar is steeped in history and character. Carved from wood, the deeply weathered surface tells the story of years of use. Th...

DIMENSIONS height: 23 inches width; 12 inches depth: 6 inches MARKINGS Signed at the bottom in back. DETAILS Original hand-crafted black-painted wood plinth. REFERENCES Originally, sold to Papillon Gallery of Los Angeles. CONDITION Excellent antique condition, wear consistent with age and use. Enid Bell Palanchian (American, 1904 – 1994) a/k/a Mrs. E. B. Palanchian, Mrs. Enid Bell Palanchian and Mrs. Missak Palanchian was an important American sculptor, author, illustrator and professor who was primarily active in the New York/New Jersey area, but who established a respected body of work recognized throughout Europe and the United States as reflected by awards received in Paris, New Jersey, New York, New Mexico and Florida. Her achievements included numerous public works projects (e.g., the design of the Congressional Gold Medal) on display at public institutions and museums around the country, private commissions and sales throughout the world, group and solo exhibitions, generous donations of art and compilations, and the passing on of her knowledge and skills to 24 years of art students of the Newark School of Industrial and Fine Arts. Enid Bell was born in London, England, and later studied at the Glasgow School of Art and then at the St. John’s Wood Art School; as well as studying with fellow Scot Sir William Reid Dick in London. Then, after moving to the United States, she taught at the Art Student League in New York City at Miss Chapen’s School. Essentially a figurative, direct carving in wood artist, she was based in New Jersey where she became the head of the sculpture program of the Fedral Art Project for that state and was herself the creator of several FAP commissions. In 1932, she married Armenian/American businessman and artist, Missalk Palanchian athough she retained her name “Bell” for professional purposes. Following the end of the Federal Art Project in 1944, she taught as instructor of sculpture and Head of the Sculpture Department of the Newark School of Fine and Industrial Art until 1968, and was active was a member of the National Sculpture Society. Enid Bell died in 1994 in Englewood, New Jersey. WORK • Birds, Leonia Public Library in Leonia New Jersey (installed 1981) • Untitled, Boonton Post Office in Boonton, New Jersey (1938) • Boonton Post Office, Boonton, New Jersey • Colonizing America, Center for Youth Education, Newark, New Jersey, (1934) • Little Indian Dancer, Englewood Public Library, Englewood, New Jersey • Alexander Hamilton Troy Public Library in Troy, New York • bird bath, Music, Science, Union City...

Rare sculpture in shape of an glass egg with glass rods designed by Monica Backström. Produced in Sweden. Signed Monica Backström Ateljé.

Maxime Fillon (1920-2003) ceramic covered pot in the shape of a stylized dove, signed, circa 1950.

Acid-etched sommerso elongated glass stylised seashell in shaded purple, red and clear glass. The sculpture has been acid-etched and has a tactile textured surface.

A wonderfully organic and expressive horizontal sculpture in vividly grained pine having scrolling overlapping and projecting planes perforated by...

Large terracotta sculpture, circa 1950/1960 to identify.

These 18th-century cone sculptures are made from premium Belgium bluestone and are ideal for enhancing any indoor or outdoor design project. Their unique shape provides a striking vi...

Ceramic sculpture by Marcello Fantoni, 1950. Glazed ceramic. Single piece. Original signature. Cooking defect. Biography Marcello Fantoni was born in Florence on October 1, 1915. Gr...

Mid century metal sculpture of a lady on a marble base. Circa 1950s. It is signed but I can't read it.

scultura multiplo 3000 pezzi montreal alluminio - artista ignoto dimensioni altezza 12 larghezza 13

Large Ceramic sculpture by Pier Claudio Pantieri (1927-2022), Italy 1950s. Pantieri graduated from the G. Ballardini Art Institute in Faenza, under the guidance of Angelo Biancini. H...

1950 abstract stone sculpture covered with zinc, plexiglass base, beautiful piece of great emotional force.

Incredible and rare Aureliano Toso Murano glass bicolor with air bubbles Cornucopia 1950.

Vase, anonymous, Sweden, 1950s. Glass. Dimensions: H: 52.5 cm/ 21" D: 8.5 cm/ 3 1/2"

Sculpture / bookend designed by Arvid Källström. Produced in Sweden.

Rare sculpture in shape of an glass egg with glass rods designed by Monica Backström. Produced in Sweden. Signed Monica Backström Ateljé.

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...