George Rickey "One Horizontal One Diagonal Line" Sculpture "2 /3", USA 1989

A wonderfully hand-carved block sculpture of a couple dancing. The sculpture is reminiscent of folk carving and WPA styles.

Frederick William MacMonnies (American, 1863-1937) Pan of Rohallion, conceived 1890 Bronze with brown patina. Inscribed on reverse: Frederick MacMonni...

"Untitled" (Bush) Sculpture by Harry Bertoia, circa 1970's made of welded bronze. Harry Bertoia, was an Italian-born American artist, sound art sculptor, an...

An atypical form for Beartoia's (1915-1978) sonambients given it's split in the centre of the rods. A desirable size for display in the home and a typically wonderful sound quality.

Optical Glass Disc Sculpture by May Hilde Ruth Bauermeister, USA, circa 1960's. Glass disc on metal stand with a variety of scaled lenses, both convex ...

Harry Bertoia, Monumental Sonambient Sculpture, USA, circa 1970's. Inconel on brass plate, comprised of 49 rods in a 7 x 7 layout with cattails, unmarked. Measures H: 81, W: 16, D: 1...

Pygmalion white porcelain sculpture executed in 50 numbered copies. Prod. Rosenthal, 1989 Signed on the base: S. Chia. Plate under the base: Pygmalion Sandro Chia Rosenthal 49/50. ...

Horizontal terracota sculpture on a gray marble base Signed by the artist Spain circa 1970

Inspired by the marine world, this light sculpture of the Madrepora Collection features a hand carved and chiseled shape faithfully reproducing the poriform cavities and sinuous ribs of these stony corals (madrepore in Italian). The led illumination placed inside enhances the captivating shape that comes alive in the hands of the artist through the soft, malleable Lecce stone, a type of limestone rich in plant and animal fossils...

Curtis Jere Modernist metal table sculpture with granite base made in 1989, in vintage original condition with some wear and patina due to age and use.

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...

A porcelain sculpture by Wayne Fischer. Perfect original conditions. Signed. Unique piece. 1989. How can an inert object produce deeply unsuspecting, indecipherable, uncontrollable ...