Susan Norrie '1953' "Pleats" '1997'

An Italian Marble Figure of a Torso, 19th/20th Century Wearing a tunic falling from her right shoulder and leaving the breast bare, both ends of...

An Italian marble figure of a torso, 19th/20th century wearing a tunic falling from her right shoulder and leaving the breast bare, both ends of...

An Italian white marble portrait bust of a Lady, late 19th century, her hair gathered on the top of her head and plated, measure: height 28 in. (71.12 cm).

Bruce La Fountain, Marble Sculpture Dressed for Treaty Talks left side with inscribed signature, dated 1986. Green and red striated marble on a wood base. Height 40 in., Width 17 in...

This sculpture of a Indian is carved by Clyde Drew Mi kmac Native American Newfoundland ,Canada. Moose antler carving by Clye Drew circa 1953. It is mounted on a hand carved wood base.

Constantin Andréou 1917 (Sao Paolo, Brésil) – 2007 (Athènes, Grèce) Momie Darling 1997 Œuvre en laiton doré Pièce unique Signée Hauteur...

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...

Expressive stoneware art pottery sculpture by Susan C. Newman, dated 1962. This piece was exhibited along with works by other noted modernist ceramicists such as Peter Voulkos, Ken F...