American Abstract Sculptures

A sonambient rods sculpture by Harry Bertoia (1915-1978). A desirable size for display in the home and a typically wonderful sound quality.

A modernist female totem, carved wood, by an unknown sculptor from the Montserrat College of Art, circa 1970s.

Unique abstract collage "Synergy" in patinated bronze, pewter and copper with abstract pattern engraved on part of it by Philip & Kelvin LaVerne, American 1960's (signed “P+K LAVERNE”). The LaVernes were constantly experimenting with different mediums and different types of sculptures and artworks. They made a small number of metal collages...

Two faceted arms mounted to Bio morphic square base. Base shows Van Teal signature.

Monumental stone wall sculpture varying shades of white by Cranbrook artist Glen Michaels. Michaels was influenced by the landscape of the Pacific Northwest, His work usually feature...

Extremely rare aluminum string bass, circa 1930s, bass was originaly wood grain painted, has been stripped and polished.. restrung and set up, new bridge and custom (alcoa) tail piece, original ebony fret board, Sounds amazing. If purchasing to play, wonderful decorative sculpture, Pfretzschner aluminum bass In 1928, The Aluminum Company of America manufactured 50 aluminum double basses...

This neon sculpture standing torchiere lamp is by Rudi Stern who founded the New York Studio and gallery 'Let There Be Neon' in 1972 and was instru...

Patinated Welded Steel Snake Sculpture, circa 1970. Signed with illegible signature to the base.

American artist Mark Yurkiw made this Viagra Pill for the Pfizer Corporation as a promotional material. This viagra pill is one of a kind and it a fun conv...

Mid-Century Modern Ritts Co. Astrolite Bowl.

« Frosted Radio Light » circa 1986: handblown glass sculpture by Paul Seide (b. 1949). Satin frosted glass with neon and argon gas in tones of tangerine, magenta, and pale seafoam, and activated by transmitted radio signals. Seide’s work is displayed in museums across the country including the Corning Glass...

A large and impressive abstract wall sculpture by Curtis Jere circa 1977. It consists of many chrome elements in a tree or umbrella form. Uncommonly seen...

Mid-20th century wooden face sculpture 1950s. Signed L.N. 1951 Painted wood sculpture, signed and dated on left side. Supported on an acrylic base.

Stunning vintage plywood divider by Charles and Ray Eames, for Herman Miller. Model “FSW-6” (folding screen wood) was designed and released to market in 1946. Consists of six adjusta...

Classic pair of early production plywood chairs, second generation, Designed by Charles and Ray Eames manufactured by Herman Miller, Amazing original condition, wonderful color, patina.

1970s Sensual Stone Sculpture by abstract artist sculptor Japanese Masatoyo Kishi Kuki San Francisco, California Signed Kuki and numbered. Carved a...

Classic American modernist walnut and inlay stone boomerang coffee/ cocktail table, solid walnut frame, wonderful variety of mixed stone, handsome design, unusual foot detail, retain...

Classic Mid-Century Modern floor lamp "Grasshopper" inspired by the classic, graceful design of Greta Grossman, nice old patina and finish, great hunter green painted iron base, reta...

Curtis C. Jere Brutalist metal wall sculpture signed. 51" wide from side to side.

Large modern white enameled forged steel Kinetic sculpture, visually Kinetic, non moveable sculpture, standing seven feet-eigh...

Mid-Century Modern brass and metal tree wall art sculpture. Hooks on the back for hanging.

Charles and Ray Eames designed their fiberglass and wire chairs to be fitted with a wide variety of bases to offer a range of heights, uses, and aesthetics. One of the most desirable...

For your consideration is a captivating, slumped art glass table sculpture, with a spiral design, signed by Richard La Londe, dated 1988. In excellent...

Vintage side table by Peter Shire, Untitled, circa 1980. Birch solid core plywood and laminate. Measures: 17" x 15" x 21"H    Peter Shire: Peter Shire is an LA-based artist w...

Vintage side table by Peter Shire, 1984. Birch solid core plywood and laminate. Exact dimensions avail. Upon request. *other models available Peter Shire: Peter Shire is an LA...

Vintage side table by Peter Shire, 1984. Birch solid core plywood and Laminate. Exact dimensions available upon request. Other models available Peter Shire: Peter Shire is an ...

Curtis Jere 5 Ft Tall Brutalist sculptural Raindrops tree. Amazing designer item. Three large round starbursts pom pom style balls adorn this three branched tree with large Brutalis...

United States: Larry Mohr abstract aluminum sculpture; titled "COMBO II-A" From the estate of Larry Mohr.

A carved wood container with carved wood oblong object within, by Jon Brooks (b.1944).

Brutalist monumental sized metal flower sculpture consisting of three flower heads on a base with leaves. One of the leaves has an illegibly sig...

An unusual piece of Bertoia's jewelry with a figurative quality. This brooch was included in an exhibit, "In Nature's Embrace: The World of Harry Bertoia" at the Reading Public Museu...

This early wire wrapped pendant was likely made by Harry Bertoia while he was at Cranbrook.

Brutalist cut steel "stalactite" sculpture by Sue Taves, circa 1992, Classic modernist design, manner of Paul Evans.

Ceramic earthenware charger by Ojai, California ceramicist Beatrice Wood (1893-1998), in her signature iridescent glaze. Signed "BEATO".

Classic Lightolier Sputnik pendant light fixture, atomic design, smoke glass globes. Retains original early Lightolier paper label.

The giraluna is a spectral plant entity from Leo Lionni's Classic alternate universe  textbook Parallel Botany.  About the Sculpture: The Giraluna This elusive and capricious plant is the Dream Queen of parallel botany. Hydendorp, quite rightly, does not hesitate to define it as the "most parallel of plants, most plantlike of the parallels," and in so doing he stresses not so much its physiognomic oddnesses as the disconcerting normality of its shape. "If we were in the jungle," he writes, "and we found one blocking our way, we would not for an instant hesitate to hack it down with our machetes."1 But it will not be our good fortune to encounter it. If in reconstructions the Giraluna displays considerable plantness of form and an exact and convincing solidity, in its natural environment it can be perceived only as a nebulous interplay of glimmerings and empty spaces which alternate in the darkness and vaguely suggest where its outlines might be. (pl. XXIV) Its nocturnal presence, in fact, is manifested almost entirely in terms of the equivocal O'-factor of the moonbeams, which was discovered and measured a few years ago by Dennis Dobkin of the Point Paradise Observatory. This factor changes the light-shade ratio which normally defines volumes into a subtle interplay of lucencies and opacities, so that our perceptions, our basic sensorial habits conditioned by thousands of years of daytime life in the "solar key," would need complete readjustment and indeed reversal in order to come to terms with it. Daylight isolates objects, bestowing a noisy Meaning on all the odds and ends in the world. But night takes everything away except the very soul of things: a black light, a transparent darkness, a secret we cannot grasp. During the long night of the Erocene era man caught a glimpse of the Giraluna rising mysteriously in its barren landscape. Presolar man imagined himself the child of the Moon. In her lap he had known the comfort of the life, silent torpor of the night, and by her light he had seen silver pearls lie weightlessly upon the coronas of the first great flowers. But he left us only a few enigmatic signs of all this: the Feisenburg cave, the petrified bones in the Ahmenstadt tumulus, the Boergen Cup. Paradoxically enough, all that we do in fact know of his presence in that landscape comes to us from our study of his nocturnal vegetation, Around the middle of the Erocene era, when the flowers of night were fading away in the light of a new dawn, man saw that outlines and colors were slowly hardening. Thus he discovered the stone-hard world of day, and learned to be the child of both Sun and Moon, of Amnes and Ra, of Disarm and Karak, of Nemsa and Taor. The "crawling stones" of Yorkshire, the stele of Tapur, the graffiti of Klagenstadt, these have preserved for us the nearly obliterated images of the two divinities who from the center of their temples drew the design of the universe. But the Sun was not long in attaining absolute power over everything in the world. "O Ra, o Amno Ra our benefactor, glowing and flaming! Gods and men bow down before you, for you are their creator and their only Lord." Such was the prayer of Amresh, High Priest of Egypt. And a new vegetation, outspoken and exuberant, appeared on the earth, and made the bright leaves dance in the morning breeze. Night soon became no more than a dark corridor joining one day to another, a place of visions and memories, a storehouse of words and images. It became a secret refuge where the vanished flowers could once more flaunt their coronas to the Moon. And thousands of years later the black flowers of that distant night-Giraluna, Lunaspora, Solea argentea-were born from seeds hidden deep in a soil rich with legends and stories. If our knowledge of the Giraluna is today reasonably complete and detailed this is due to the industry and scholarship of Professor Johannes Hydendorp of the University of Honingen, who has collected and collated all known facts and kept his records abreast of the latest developments. Our historical and geographical information comes from the most varied sources: legends and folk tales handed down from generation to generation, accounts given by explorers, anthropologists, and paleontologists, and of course the more recent testimony of botanists such as Heinz Hornemann and Pierre Maessens. Source: Sivatherium. narod .edu About Sculpture: Leo Lionni is best known today for his children's books: Little Blue and Little Yellow; Frederick—the one about the mouse who gathers poems while his family is harvesting seeds for the winter—Swimmy the Fish. Of course the children don't remember his name, but to parents and grandparents, the ones who actually do the reading, he is something of a celebrity. Most people don't realize that Lionni is also one of the 20th-century's most influential graphic designers. Within that field, he is a legend. In fact, he didn't start doing children's books until he had left the world of advertising, teaching, and design to allow more time for contemplation and for art. Little Blue and Little Yellow (1959) began as an improvised entertainment for bored grandchildren. What can you do with a few scraps of colored paper and a lot of imagination ? Make the first best-selling children's book illustrated with abstract art. Before that his work as design director for Olivetti Corporation of America and the art director of Fortune magazine, the co-founder of the Aspen...

An abstract sculpture by Lindsey Decker, the Brutalist inspired piece comprised of bronze. Markings include the artist's signature and date [Lindsey Dec...

Larry Mohr, American, abstract aluminum sculpture, initialed and dated 1977. Work is titled "R. Stretch I." From the estate of Larry Mohr.

Chicago art critic, Harry Bouras was the host of "Arts and Artists" for 25 years. Harry's pieces are in permanent collections in Chicago, New York, and Tokyo. Resin coated iron sculpture. Pictured with three other matching sculptures...

Important sculpture by Paul Evans, in welded and color enameled steel, New Hope, USA, 1965. Letter of Authenticity from Dorsey Reading and Provenance available on request.

Signed triple ribbon sculpture by Dan Murphy, circa 1987. Gleaming interlocking swirls of anodized silver and gold tone aluminum are woven together atop a solid Lucite base. Some cra...