French Abstract Sculptures

Black glazed ceramic mural sculpture by Patrick Crulis. 2024. Unique piece. H : 19.3 x 15.7 x 15.7 inches. Approximate sizes.

Jean Campa, by. Patinated and cut iron sculpture. French work made in the 1980s. Dimensions: H 70 x W 77 x D 60 cm Reference: LS62181309P

Heavy gauge wire and wood block. Artist-signed on rear of wood.

Ivan Avoscan, French sculptor (1928-2012) Bronze sculpture, concrete composition. Made of reddish brown patinated bronze. Signed Avoscan. France, late 20th century.

Black glazed stoneware sculpture by Michel Lanos. Artist signature under the base. Circa 1980-1990. H : 19.5’ x 6.5’ x 8’ inches. Unique piece.

French ceramist Eric Astoul (b. 1954, Morocco) infuses his sculptures with the essence of ancient and modern earthenware he has encountered along his travels in France, England, Japa...

A silver plated architecturally inspired table object. Signed Original unpolished state.

Stoneware sculpture entitled " Corps ascendant " . Unique piece. 2023. Artist monogram under the base. This piece can be put indoor or outdoor.

Bronze Sculpture Lalloz Foundry, Signed and Numbered : 1 / 8 Bibliography: Pierre Descargues, Catherine Val la Clandestine, Paris, Area/Descartes & Cie, 2011.

Very original French sculpture, small proportions, made with a technique of assembly of wood and white lacquered metal the whole coated with plaster in a modernist style. Unknown art...

A rare wooden sculptural floor lamp, hand-crafted and signed. Dedicated to the splendors of the sun and shade as is the title "Sol Y Sombra". This French mid-century sculptural flo...

A ceramic sculpture. Perfect original conditions. Circa 1980-1990. 26 x 20 x 4 cm.

Terre by Perrin & Perrin, 2013 Build in glass sculpture One-off Martine and Jacki Perrin sculpt together as one, forming a duo enriched by their individualities. For over a decade t...

This very nice and rare set of brass duck and her ducklings is made of silver plated metal and brass. This is a very interesting French work. Circa 1970.

Henri Georges Adam, 1904-1967. Unique piece, stamped 0/0, signed Adam, foundry signature: Susses Frères Paris, circa 1950-1960.

An exquisite abstract corten steel sculpture suitable for both indoor and outdoor settings. Crafted during the 1970s, the artist behind this piece remains unidentified, showcasing captivating abstract and circular designs, reminiscent of the works of Marino Di Teana...

"Pomme bouche" : Good quality patinated massive bronze sculpture showing an apple with lips on the front of it Bears an illegible signature underneath Note that the stem of the ap...

A very nice contemporary Japanese style ceramic tea pot and tea cup. This zen teapot has three parts that allow for perfect tea brewing. Glazed. Ce...

Important glazed stoneware sculpture by Michel Lanos. Artist signature under the base. Circa 1990-2000. Unique piece. H : 26’ x 17’ x 8.5’ inches.

Pierre Sabatier Sculpture “Charbon” – Posthumous Bronze Edition, Edition of 25 France, 1974 Dimensions : 13 x 14 x 12 cm

Jean-Claude Capmarty defines himself as a "soft sculptor". This creator, who died in 2014, is the author of numerous installations in France and around the world. He uses stretch fil...

Natural amber stone found in Corsica on a wooden stand painted black. Makes a lovely gift. Will enhance any shelf, table or countertop.

This sensual and fabulous 2 part limited edition signed vintage sculpture is molten bronze cascading in a body form perched atop the black metal base. The bronze looks like rose gold...

Unique Polychromed Crackle Glazed Raku fired figurative sculpture. This figurative sculpture was made from a combination of white stoneware and porcelain clay. This enables the piec...

A pot feu (French for “fire pot”) is an architectural element that originated in the 16th century, designed to resemble a flickering flame. Most likely inspired by bible passages tha...

Ceramic sculpture entitled « Rocher posé » by Pierre Martinon. Perfect original conditions. Signed and dated at the base "Pierre Martinon 1985". Unique piece. Far from ...

Fabulous pair of Art Deco Sculptures of mottled and speckled marble like glaze on a pair of baskets with fruit. Signed Marcel Guillard, Lye...

Ceramic sculpture entitled « Entre-deux » by Pierre Martinon. Perfect original conditions. Signed and dated at the base "Pierre Martinon 1991". Unique piece. Far from t...

An unique ceramic sculpture with black glaze decoration by Pierre Martinon. Perfect original conditions. Signed at the base "P. Martinon ". circa 2000.

Brown glazed stoneware sculpture by Laurent Dufour. Artist signature under the base. 2023. Unique piece. H : 28.7’ x 10.2’ x 11.8’ inches.

An unique porcelain sculpture by Wayne Ficher. Perfect original conditions. Signed under the base; Wayne Fischer. 2017.

A porcelain sculpture by Wayne Fischer. Perfect original conditions. Signed. Unique piece. 2018. How can an inert object produce deeply unsuspecting, indecipherable, uncontrol...

Gari, La Maison des Artisans. Large sculpture in stainless steel. "Fleur de Gogane". France, late 20th century. Height: 60 cm. In excellent condition. Signed.

Antonine de Saint Pierre, signed. Metal sculpture entitled “Nageuse”, blue, or ultramarine, resting on its rectangular, black base. Contemporary French work. Dimensions: H 210 x W...

Superb diorama sculpture by Serge Mansau simulating a freeze-frame on a vintage television set. On the outside of the thermoformed glass, at the cent...

These lovely pair of bronze abstract sculptures seem to be of animal seal nature and form that look like abstract body forms. They are engraved Alix Rossignol and are a limited edition of 7/8 with a foundry mark. The sculptor is French. These are great tabletop bronze sculptures...

A fine French bronze sculpture casting or "cire perdue"/lost wax estimated to date back to the 19th century. This interest mold depicts Centaurs and possibly Claudia. Lost-wax cas...

Artist and jewelry designer Jean Mahie signed and numbered bronze head titled" Veneration", circa 1987 from her collection I series of sculptures. Signed and numbered 3/8. An example...

TELLURIC III unique sculpture by Awaré Dimensions: L 40 x H 60 cm Materials: Cypress, silk, oxidation Awaré is the meeting of the sculptor Jérôme Pereira and the artist Sylvia Eustache...

Ricardo Santamaria (1920-2013), sculpture composed of an accumulation of foundry molds. The front part is articulated (hinge). France, 1970.

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

Lacs, by Perrin & Perrin, 2008 Build in glass sculpture One-off Martine and Jacki Perrin sculpt together as one, forming a duo enriched by their individualities. For over a decade ...

A zoomorphic ceramic-sculpture- vase by Guerin. Signed under the base. Circa 1950-1960.  

A striking mid-century contemporary stone sculpture with abstract, organic form and hand-carved texture—blending modernist sensibility with natural material for a timeless artistic p...

The “So 70’” cube is a true manifesto of retro design, blending sculpture and decorative object. Inspired by the futuristic boldness of the 1970s, it plays with geometric lines and o...

A ceramic sculpture "Bloc in motion" by Maarten Stuer. This piece can be put indoor or outdoor. Artist monogram under the base. 2020. Unique piece.

A ceramic sculpture "Bloc in motion" by Maarten Stuer. This piece can be put indoor or outdoor. Artist monogram under the base. 2020. Unique piece.

A ceramic sculpture by Jean-Pierre Viot. Perfect original conditions. Unique piece. Signed at the base " viot ". circa 1970-1975.

A porcelain sculpture with green glaze decoration by Tim Orr. Perfect original conditions. Signed under the base. circa 1970.    

A ceramic sculpture signed A.C, circa 1980. Perfect original conditions. Unique piece.

Unique Plaster Sculptures 1980's France

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

An unique porcelain sculpture by Wayne Ficher. Perfect original conditions. Signed under the base; Wayne Fischer. 2017.  

A ceramic sculpture signed AC and dated under the base 1992. Perfect original conditions, circa 1992.

Daum, France. Large sculpture in clear art glass. Abstract/free form. Circa 1960. Perfect condition. Dimensions: H 46.0 cm. x W 25.0 cm. x D 12.5 cm.

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 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 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. 2006. 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 rare and important pyramid in transparent pink-gray fractal resin by Pierre Giraudon, Atelier Giraudon. Biography Pierre Giraudon, France (1923-2012) Pierre Giraudon was born in ...