1950s Abstract Sculptures

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...

An iconic floor lamp designed by Angelo Lelli for Arredoluce, first exhibited at the Triennale Exposition in Milan in 1951. The Triennale is a sculptural lighting design with tighte...

Awesome design. Functioning as designed, and appears it will crack a nut.

Vintage sculptural art piece handsomely rugged dish trinket tray rough bronze 5.75 x 2 x .5 inches Original preowned unrestored vintage condition. Refer to images please.     

Simple, sculptural design. Presented in As-Found condition.

Modern sculptural glass object. Very heavy. The base is a rounded hexagon shape and very solid. Solid short blunt glass rods protrude from the base. A beautiful sculptural piece to a...

A small gilt bronze brooch named "Chateau en Espagne" by French Parisian art jewelry and sculpture Line Vautrin (1913-1997) circa 1950s. It depicts ...

Small Walter Bosse Sagittarius Zodiac Brass Figurine, Austria, 1950s Original condition

A sizeable abstract iron sculpture designed and produced in the US, c. 1950s.

"Venus de Milo" sculpture by Loredano Rosin, made in Italy in the 1950's, representing an abstract female nude on a glass base. The sculpture, made in a beautiful rose champagne Mura...

John Begg sculpture.

A bronze tabletop sculpture on rectangular base. Signed Costikyan on underside.

Mid century iron and gesso brutalist sculpture by Gaurneri. Great condition. Sculpture rotates to suite your aesthetic.

Incredible Murano glass blue sculptural tree vase circa 1950.

A large dark green marble dated 1957 by the Canadian artist Stanley Lewis. It is inscribed on the base Lewis 57. Depicts a face carved into the sides. The piece is quite large and he...

Stunning modernist floor lamp by Tye of California / Angelo Testa, Classic midcentury iron tripod base, wonderful large ceramic pottery ball with Angelo T...

Murano The sommerso technique was originally developed in the 1930's by Carlo Scarpa at Venini & Co. Sommerso (Italian for "submerged") is the Murano glassmaking technique of creati...

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

Sculptural Italian silver plated weed pot or vase, Italy, circa 1950s. In the style of Gio Ponti, unsigned, except for a "Made In Italy" label underneath.

Murano 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 the button that reads 'V...

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

Rare large sculpture bowl designed by Johnny Mattsson. Produced by Johnny Mattsson in Sweden.

Monumental and rare 60" Frederick Weinberg Iron Horse's on hind legs wall sculptures, truly amazing design, iron structure with enamel painted squares and rectangles, Classic midcent...

A large English Mid-Century Modernist sculpture in plaster, with a good patina.

Wonderful South American turned wood candlestick holders.

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...

Pair of sculptural white lamps, in the manner of Diego Giacometti, probably American, circa 1950s. They have been rewired and are ready to use. The pr...

A brooch in gilded bronze by French art jeweler Line Vautrin circa 1950s-1960s. The unusual model depicts the mathematical sign of infinity, on which appears in relief inscription of...

Older retro drying helmet on a stand on wheels, model Imperial from the period 1950s. Measurements in cm: H:168

Sculpture / bowl designed by Johnny Mattsson. Produced by Johnny Mattsson in Sweden.

E 11 R Gold Monogrammed on Teak, from a Royal Vessel This interesting piece probably came from one of the Tenders for a Royal Craft, it is 3 dimensional and it is carved, about 70 ...

Pair of hands on ceramics. work glove molds They can be used as sculptures or also as coat racks. We have specialized in the sale of Art Deco and Art Nouveau ...

A three-part articulated gilt bronze brooch named "Le Travail Dominant le Mond" by French Parisian art jewelry and sculpture Line Vautrin (1913-1997...

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...

Sculpture designed by Johnny Mattsson. Produced by Johnny Mattsson in Sweden.

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...

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...

Sculpture ‘Uppåtsträvande rörelse’ by Oscar Reutersvärd. Produced in Sweden.

Midcentury Sculpture signed Émile Gilioli, numbered 2/5, France, 1950s.

Decorative bowl / sculpture by unknown designer. Produced in Sweden.

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

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 an 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...

An Interlocking bronze sculpture of St. Michel by Belgian artist Olivier Strebelle. It was created as an award for the Brussels Film Festival and presented to classic Hollywood film actress, Ann Miller...

Murano 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 the button that reads 'Vi...

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

Large terracotta sculpture, circa 1950/1960 to identify.

Murano 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 the button that reads 'Vi...

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

Dagmar Norell Sculpture by Dagmar Norell, Sweden, 1950s Signed. Stoneware and cork. H: 9 cm W: 7 cm D: 6.5 cm Base diameter: 5 cm

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

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.

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...