French Abstract Sculptures

Superb sculpture by Henri Delanne (1940-2003), artist proof (E.A.) of the "Silhouettes" patinated bronze sculpture representing a deconstructed forme-libre modernist women's bust. Si...

A good Primavera HM Art Deco period plat circulaire. The round bronze plate has turquoise and black enamel champlevé decoration and a mottled verdigris patina. The reverse has ...

This plaster sculpture depicting a Virgin and Child, from the 1950s hails from a workshop located in the southern region of France. Despite bearing a few minor imperfections, it sta...

David Erevantzi (1940-): "Maternity" Original bronze sculpture with a bronze patina representing a mother and her child on a stone base from Yerevan (Armenia) Signed: "David Erevan...

A ceramic sculpture entitled " Petite musique de nuit " by Pierre Martinon. Perfect original conditions. Signed and dated at the base " Pierre Martinon 1991". Unique piece. ...

A ceramic sculpture with brown glaze decoration by Tim Orr. Perfect original conditions. Signed under the base, circa 1970.

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.

Wonderful Baccarat Crystal modernist Asian Elephant sculpture figurine/paperweight. Dates from the 1970's. Signed on the side and bottom. Made in France. In excellent condition for i...

An exceptional and rare piece by Tim Orr. Provenance : His own garden ( we conserve the exterior patina ) Made in 1970's In three parts. Not signed

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...

A primitive ceramic mask by Christine Fabre France early 2000. Very impressive patina. Named " Les Veilleurs " Signed with the stamp of the artist. In good condition.

Marie Claude de Fouquières Resin Egg France 1970 Diameter : 16 cm Height : 20 cm

A porcelain sculpture by Wayne Fischer. Perfect original conditions. Signed. Unique piece. 1997. 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...

Imposing stoneware sculpture, Kiln-fired in a wood oven. Unique piece, signed, in perfect condition. Artist : Jean-Paul Brunet (1942-1996) Atelier Palègre France

Nice set of seven decorative polyhedrons. Polished gold bronze, circa 1970, France. Dimensions: from 5 to 12 cm. A very decorative set in good original condition. All purchases are c...

Antonine de Saint Pierre, signed. Sculpture entitled “Soleil”, in green lacquered metal. Work of a contemporary French artist. Dimensions: H 180 x W 90 x D 70 cm Reference: LS622...

Objet Trouvé sculpture. Sculpture of a machine part on a wood plaque. Property from esteemed interior designer Juan Montoya. Juan Montoya is one of th...

OTTO sconces, gilded Brass, Item, France. Handcrafted in Paris with high-quality brass polished and varnished. The inner face is white lacquered for an optimal light diffusion. Each...

Glazed ceramic sculpture by Gisèle Buthod Garçon. Raku fired. Artist monogram and signature under the base. Circa 1980-1990. H : 3.9’ x 5.5’ x 5.5’ inch...

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...

Glazed stoneware sculpture by Michel Lanos. Artist signature under the base. Circa 1980-1990. Unique piece. H : 27’ x 17’ x 12’5 inches.

Eva is a recent bronze lamp (pair available) sculpted by Jacques Jarrige. Its sensual form is captivating from all angles, a trademark of Jarrige's work who by capturing movement in...

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

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

Exact origin unknown. Handsome desk accessory.

Jean Campa, by. Abstract, or geometric, sculpture in patinated iron. French work realized in the 1980s. Dimensions: H 80 x W 70 x D 40 cm Reference: LS62191309U

Fragments Wall Sculpture by Dora Stanczel One of a Kind. Dimensions: D 15 x W 50 x H 70 cm. Materials: Porcelain, gold and jasmonit. I create ...

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...

This pair of interesting vases is made of wood elements and glass vases. This is a French work, circa 1980.

The now iconic bronze coupe vase from the Rick Owens bronze relic collection. This is shown in the black patina. Designed in 2012. Each bronze is signed. Can be used as vase or sc...

Shelomo SELINGER (1928-) : Anthropomorphic sculpture Straight carved pink granit sculpture, uniq piece standing on a massive light brown coloured wood base representing a strange an...

Superb ceramic and clay sculpture. . France, around 1960. . 60s. . It is free form and recalls certain works of Cesar, In particular its compressions. . Dimensions : Height : 17 cm ...

A vibrantly painted antique Caen stone architectural model. Dating from the mid 19th century, this limestone model came from a French church destroyed during WWII. With its arched design and ornately carved columns, it is reminiscent of open arcades found in historic ecclesiastical and gothic architecture. Detailed to the top with castellations, this antique architectural model...

Transparent blown glass and metal sculpture engraved as: Carrere/Ovites 99/E20, 1999. The object is by a sculptor, glassmaker and plastic artist Xavier Carrere, born in 1966, famous ...

This beautiful interesting sculpture is made of plaster. This is a French work, circa 1950.

Black patina steel sculpture 70 x 43 x 30 cm Title engraved at base of work To achieve a flawless curve, 72.5° Arcs is based on the fundamental principles of Euclidean geometry. Fol...

A big ceramic sculpture by Pierre Baey. Unique piece. Perfect original conditions. Circa 1990.  

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

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

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...

A ceramic sculpture signed Alistair Danhieux. Signed and dated under the base. 2013. Perfect original conditions.

This extraordinary sculpture is surely made in the 1970s. You recognize the influences of the Art Nouveau in this era: Organic structures and fluid forms, often in combination with h...

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

Abstract Relief Assemblage by André Bogaert (1920-1986), Belgium 1965. Bogaert was an abstract expressionist who always put the experiment at first place...

A ceramic vase, sculpture by Michel Lanos (1926-2005). Perfect original decorations. Artist monogram under the base, circa 1990. Unique piece.

'Boite Jaune' by Andrée & Michel Hirlet Material: Glazed stoneware Dimensions: H 42 x 46 x 35 cm Year: 2020 Type: one-of-a-kind The exploration of forms and volumes consistently de...

French Modern Stoneware Abstract Erotic Decor Sculpture by Barocco 1984 Barocco, is the name of a duo of French artists, Richard Tarone makes and turns...

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...

Unique Coupelle_Otoma_07 bowl by Emmanuelle Roule Unique piece Dimensions: D 38 x H 6 cm Materials: stoneware, glass Unique piece modelled in white stoneware, with glazes. Made...

Glazed stoneware sculpture by Michel Lanos. Artist signature under the base. Circa 1980-1990. Unique piece. H : 29’5 x 10’5 x 9’ inches.

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, uncontrol...

Black glazed stoneware sculpture-vase by Michel Lanos. Artist signature under the base. Circa 1980-1990. Unique piece. H : 18’ x 13’ x 5’5 inches.

This French arresting vintage 2 part brass abstract geometric signed sculpture is from the 60;s and by Chevalier. It is tall at 18.5" H. The ...

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 Gérard Brossard to La Borne. Perfect original conditions. Signed " Gérard Brossard ". Unique piece. circa 2000.

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

A porcelain sculpture by Wayne Fischer. Perfect original conditions. Signed. Unique piece. 1989. 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...