Maison Gerard Sculptures

Thomas Lollar earned his BFA and MA at Western Michigan University, and has been teaching ceramics and sculpture since 1975. A master sculptor, his subjects are rendered in both fron...

Using fine ceramics fired in a variety of glazes (all of which he crafts himself) Matthew Solomon creates sculptures of beauty, with an element of the unexpected. Repetition of form ...

Contemporary glazed porcelain sculpture by Matthew Solomon. Unique piece, signed and dated. Using fine porcelain and glazes he crafted himself, Matthew Solomon translated the unruly...

Contemporary glazed porcelain sculpture by Matthew Solomon. Unique piece, signed and dated. Using fine porcelain and glazes he crafted himself, Matthew Solomon translated the unruly...

Contemporary glazed porcelain sculpture by Matthew Solomon. Unique piece, signed and dated. Using fine porcelain and glazes he crafted himself, Matthew Solomon translated the unruly...

Contemporary glazed porcelain sculpture by Matthew Solomon. Unique piece, signed and dated. Using fine porcelain and glazes he crafted himself, Matthew Solomon translated the unruly...

Zigor’s work is shaped by his relationship to the environment of the Basque region-both by the natural landscape as well as the significance of the Basque identity. His sculptures an...

Zigor’s work is shaped by his relationship to the environment of the Basque region-both by the natural landscape as well as the significance of the Basque identity. His sculptures an...

Yongjin Han was born in Seoul, South Korea in 1934. After the Korean War—in which he fought, lying about his age in order to enlist—he was one of six students admitted to the sculpture program at the Seoul National University. At the time of his enrollment little of his native city remained intact; nonetheless, he had never felt more responsible to his work, firm in the conviction that artistic expression is every bit as essential to life and human nature as eating, drinking, or breathing. One of Han’s teachers was Kim Chong Yung, a pioneer of Korean abstract sculpture, and by the time of his graduation he had adopted the abstraction that had seized both Europe and the United States several years before. . In 1967 he relocated to the USA, where he studied at Dartmouth and Columbia. Over the course of his long career the artist returned to Korea with frequency and made extended stays in Japan and Europe. Trips to Korea signified something more than mere homesickness: Han’s work, though made largely in America, remained grounded in his rich cultural heritage. Korea rests on a bedrock of granite, and freestanding sculpture produced of the stone has for centuries demarcated sites of historical and religious significance. Han’s sculpture bridges this past with modernity. Richard A. Born, former Curator at the Smart Museum at the University of Chicago, has said that Han “brought Korea’s tradition of direct stone carving out of figuration into a refined, non-objective abstraction.” For his part, Han put very little stock in designations; his focus, instead, was on the stone itself. His pieces explore a certain harmonization with nature. Han, when describing his work, said, "As stone has been around since the beginning of time, it has much to teach us if we care to slow down and listen." He believed that each stone has its own history, character, and energy and that his task was to draw out these inherently spiritual qualities. He described his process as a “dialogue” with his material: "The stone tells me it has an itch in a certain spot, so I scratch it—and we both feel better!" Han worked alone and with manual tools, and the process is arduous. Carving stone this way takes time, and, what’s more, required great force—yet Han’s sculptures, even the monumental ones, are, as friend and fellow artist David Parker says, “all gentle grace and warmth” … [the sculptor] “engages with the stone as an equal—like wayfarers meeting on a path, Han and a stone spend time together and when they part, both are marked and changed forever.” Yongjin Han's career spanned decades and continents, and included several prestigious large-scale public commissions. In Seoul his work can be found at the National Museum of Contemporary Art, the IE Young Museum of Contemporary Art, the Whanki Museum, the Ewha Woman’s University Museum, Posong High School, and the 88 Olympics...

Yongjin Han was born in Seoul, South Korea in 1934. After the Korean War—in which he fought, lying about his age in order to enlist—he was one of six students admitted to the sculpture program at the Seoul National University. At the time of his enrollment little of his native city remained intact; nonetheless, he had never felt more responsible to his work, firm in the conviction that artistic expression is every bit as essential to life and human nature as eating, drinking, or breathing. One of Han’s teachers was Kim Chong Yung, a pioneer of Korean abstract sculpture, and by the time of his graduation he had adopted the abstraction that had seized both Europe and the United States several years before. . In 1967 he relocated to the USA, where he studied at Dartmouth and Columbia. Over the course of his long career the artist returned to Korea with frequency and made extended stays in Japan and Europe. Trips to Korea signified something more than mere homesickness: Han’s work, though made largely in America, remained grounded in his rich cultural heritage. Korea rests on a bedrock of granite, and freestanding sculpture produced of the stone has for centuries demarcated sites of historical and religious significance. Han’s sculpture bridges this past with modernity. Richard A. Born, former Curator at the Smart Museum at the University of Chicago, has said that Han “brought Korea’s tradition of direct stone carving out of figuration into a refined, non-objective abstraction.” For his part, Han put very little stock in designations; his focus, instead, was on the stone itself. His pieces explore a certain harmonization with nature. Han, when describing his work, said, "As stone has been around since the beginning of time, it has much to teach us if we care to slow down and listen." He believed that each stone has its own history, character, and energy and that his task was to draw out these inherently spiritual qualities. He described his process as a “dialogue” with his material: "The stone tells me it has an itch in a certain spot, so I scratch it—and we both feel better!" Han worked alone and with manual tools, and the process is arduous. Carving stone this way takes time, and, what’s more, required great force—yet Han’s sculptures, even the monumental ones, are, as friend and fellow artist David Parker says, “all gentle grace and warmth” … [the sculptor] “engages with the stone as an equal—like wayfarers meeting on a path, Han and a stone spend time together and when they part, both are marked and changed forever.” Yongjin Han's career spanned decades and continents, and included several prestigious large-scale public commissions. In Seoul his work can be found at the National Museum of Contemporary Art, the IE Young Museum of Contemporary Art, the Whanki Museum, the Ewha Woman’s University Museum, Posong High School, and the 88 Olympics...

Zigor’s work is shaped by his relationship to the environment of the Basque region-both by the natural landscape as well as the significance of the Basque identity. His sculptures an...

Zigor’s work is shaped by his relationship to the environment of the Basque region-both by the natural landscape as well as the significance of the Basque identity. His sculptures an...

Niamh Barry often says that her sculptures are drawings in bronze and light. Inspired by natural beauty, the work transcends utility. She strives, above all else, to achieve striking...

Zigor’s work is shaped by his relationship to the environment of the Basque region-both by the natural landscape as well as the significance of the Basque identity. His sculptures an...

Zigor’s work is shaped by his relationship to the environment of the Basque region-both by the natural landscape as well as the significance of the Basque identity. His sculptures an...

The totems of the French sculptor Franck Evennou possess a playful quality that counterbalances the traditional solemnity of the form. With their rough, splitting surface, they are n...

Zigor’s work is shaped by his relationship to the environment of the Basque region, both by the natural landscape as well as the significance of the Basque identity. His sculptures a...

This piece in polished aluminum, elevated on a rectangular, black pedestal, by Fred Brouard, illustrious and groundbreaking French sculpture and furniture maker of the mid-to-late tw...

One of the more figural of dal Fabbro's oeuvre, this sculpture conjures images of a bird perched on a branch, ready to take flight. In the artist's classic style, however, the carvin...

Yongjin Han was born in Seoul, South Korea in 1934. After the Korean War—in which he fought, lying about his age in order to enlist—he was one of six students admitted to the sculpture program at the Seoul National University. At the time of his enrollment little of his native city remained intact; nonetheless, he had never felt more responsible to his work, firm in the conviction that artistic expression is every bit as essential to life and human nature as eating, drinking, or breathing. One of Han’s teachers was Kim Chong Yung, a pioneer of Korean abstract sculpture, and by the time of his graduation he had adopted the abstraction that had seized both Europe and the United States several years before. . In 1967 he relocated to the USA, where he studied at Dartmouth and Columbia. Over the course of his long career the artist returned to Korea with frequency and made extended stays in Japan and Europe. Trips to Korea signified something more than mere homesickness: Han’s work, though made largely in America, remained grounded in his rich cultural heritage. Korea rests on a bedrock of granite, and freestanding sculpture produced of the stone has for centuries demarcated sites of historical and religious significance. Han’s sculpture bridges this past with modernity. Richard A. Born, former Curator at the Smart Museum at the University of Chicago, has said that Han “brought Korea’s tradition of direct stone carving out of figuration into a refined, non-objective abstraction.” For his part, Han put very little stock in designations; his focus, instead, was on the stone itself. His pieces explore a certain harmonization with nature. Han, when describing his work, said, "As stone has been around since the beginning of time, it has much to teach us if we care to slow down and listen." He believed that each stone has its own history, character, and energy and that his task was to draw out these inherently spiritual qualities. He described his process as a “dialogue” with his material: "The stone tells me it has an itch in a certain spot, so I scratch it—and we both feel better!" Han worked alone and with manual tools, and the process is arduous. Carving stone this way takes time, and, what’s more, required great force—yet Han’s sculptures, even the monumental ones, are, as friend and fellow artist David Parker...

In this late work by Dal Fabbro, the viewer is reminded of a lone cactus in the desert. But closer inspection reveals expertly carved gaps in the wood, showing us the depths and dive...

Zigor’s work is shaped by his relationship to the environment of the Basque region—both by the natural landscape as well as the significance of the Basque identity. His sculptures an...

This plaster sculpture by Michel Chauvet, the notable midcentury French artist, captures the grace of the human form in motion. Unique piece. Monogrammed: M. CHT.

In this sculptural study by dal Fabbro, the viewer's expectations are reversed. What may at first seem figural becomes abstract as one moves around the piece, revealing the artist's ...

Ivan Bailey, a native of Georgia, trained as a blacksmith. He went on to perform countless commissions, both public and private, in the fine arts, not limited to the Olympic Torch mo...

Unique piece Signed: Astoul. Master ceramicist Eric Astoul created this piece as part of a series inspired by both modern and ancient stoneware, which, with its rough firing, fli...

This terracotta sculpture by Michel Chauvet, the notable mid-century French artist, captures the grace of the human form in motion. Unique piece. Monogrammed: M. CHT

This arresting piece by French artist Franck Evennou is carved from a single piece of mahogany. Incised: FE Unique piece. Franck Evennou expresses himself in bronze as others expre...

Signed by the artist. A perfectly balanced abstract sculpture by Italian designer Marcello Fantoni glazed in colors ranging from off white to blueish-gray, which conveys, above al...

This series by Gérard Haas is many things at once, functional and Avant Garde, elegant and expressive, thanks to the artist's surprising use of reclaimed materials. Finding beauty in...

Signed: Mario Dal Fabbro Image of Penguin #2 Marked: I. 7 Typical of the sculptural output of dal Fabbro, the lines of this piece shift rhythmically depending on the viewer's pos...

Signed: Mario Dal Fabbro, 1983 Marked: I. 8 Typical of the sculptural output of dal Fabbro, the lines of this piece shift rhythmically depending on the viewer's position. The art...

Zigor’s work is shaped by his relationship to the environment of the Basque region-both by the natural landscape as well as the significance of the Basque identity. His sculptures an...

With this extraordinary piece, Cesare Arduini has imposed geometric coherence on the natural but chaotic beauty of onyx, in this case using brass, the very ...

Zigor’s work is shaped by his relationship to the environment of the Basque region-both by the natural landscape as well as the significance of the Basque identity. His sculptures an...

Zigor’s work is shaped by his relationship to the environment of the Basque region-both by the natural landscape as well as the significance of the Basque identity. His sculptures an...

Two pieces of granite, a sculpture by Korean-American artist Yongjin Han.

Zigor’s work is shaped by his relationship to the environment of the Basque region—both by the natural landscape as well as the significance of the Basque identity. His sculptures an...

A study of the human form, this extraordinary patinated bronze sculpture evinces physical muscular strength, strain, and balance--giving it a remarkable presence all its own. Size ...

Inscribed: CLF Unique piece. A Nero Marquina marble sculpture depicting a succession of three identical faces in profile.

Yongjin Han was born in Seoul, South Korea in 1934. After the Korean War—in which he fought, lying about his age in order to enlist—he was one of six students admitted to the sculpture program at the Seoul National University. At the time of his enrollment little of his native city remained intact; nonetheless, he had never felt more responsible to his work, firm in the conviction that artistic expression is every bit as essential to life and human nature as eating, drinking, or breathing. One of Han’s teachers was Kim Chong Yung, a pioneer of Korean abstract sculpture, and by the time of his graduation he had adopted the abstraction that had seized both Europe and the United States several years before. . In 1967 he relocated to the USA, where he studied at Dartmouth and Columbia. Over the course of his long career the artist returned to Korea with frequency and made extended stays in Japan and Europe. Trips to Korea signified something more than mere homesickness: Han’s work, though made largely in America, remained grounded in his rich cultural heritage. Korea rests on a bedrock of granite, and freestanding sculpture produced of the stone has for centuries demarcated sites of historical and religious significance. Han’s sculpture bridges this past with modernity. Richard A. Born, former Curator at the Smart Museum at the University of Chicago, has said that Han “brought Korea’s tradition of direct stone carving out of figuration into a refined, non-objective abstraction.” For his part, Han put very little stock in designations; his focus, instead, was on the stone itself. His pieces explore a certain harmonization with nature. Han, when describing his work, said, "As stone has been around since the beginning of time, it has much to teach us if we care to slow down and listen." He believed that each stone has its own history, character, and energy and that his task was to draw out these inherently spiritual qualities. He described his process as a “dialogue” with his material: "The stone tells me it has an itch in a certain spot, so I scratch it—and we both feel better!" Han worked alone and with manual tools, and the process is arduous. Carving stone this way takes time, and, what’s more, required great force—yet Han’s sculptures, even the monumental ones, are, as friend and fellow artist David Parker...

Unique piece Signed: Astoul. Master ceramicist Eric Astoul created this piece as part of a series inspired by both modern and ancient stoneware, which, with its rough firing, fli...

Zigor’s work is shaped by his relationship to the environment of the Basque region-both by the natural landscape as well as the significance of the Basque identity. His sculptures an...

With this captivating white marble sculpture, Cesare Arduini has continued his masterful exploration of space, his play of the balance between positive and negative space. Unique ...

Unique piece Signed: Astoul. Master ceramicist Eric Astoul created this piece as part of a series inspired by both modern and ancient stoneware, which, with its rough firing, fli...

This playful ceramic sculpture of two cubs riding atop their mother's back emanates warmth with its subject, form, and color.  

A piece of stone, a sculpture by Korean-American artist Yongjin Han.

Zigor’s work is shaped by his relationship to the environment of the Basque region—both by the natural landscape as well as the significance of the Basque identity. His sculptures an...

Zigor’s work is shaped by his relationship to the environment of the Basque region-both by the natural landscape as well as the significance of the Basque identity. His sculptures an...

Attributed to designer Colette Guéden (1905-2000), who worked for Primavera from 1927-1972, designing ceramics, tableware, fabrics, and furniture. Guéden was appointed artistic direc...

Unique piece. Sculpted in 1976, this is a rare piece for the famed sculptor Yongjin Han, who usually worked in stone. Nonetheless, it is a quintessential example of his serene com...

Unique stoneware (grès) sculpture by Eric Astoul Bears artist's mark La Borne, France.

Soma Series includes lights sculptures, crafted by applying a self-webbing membrane over a unique structure made of thin glass rods in the traditional lampwork technique. As inspirat...

Zigor’s work is shaped by his relationship to the environment of the Basque region—both by the natural landscape as well as the significance of the Basque identity. His sculptures an...

Zigor’s work is shaped by his relationship to the environment of the Basque region, both by the natural landscape as well as the significance of the Basque identity. His sculptures a...

Zigor’s work is shaped by his relationship to the environment of the Basque region-both by the natural landscape as well as the significance of the Basque identity. His sculptures an...

Soma Series includes lights sculptures, crafted by applying a self-webbing membrane over a unique structure made of thin glass rods in the traditional lampwork technique. As inspirat...

Inscribed: CLF Unique piece. Forced by health reasons to walk away from his forty years of working in a marble facility, Cesare Arduini turned to design to recontextualize his l...

The totems of the French sculptor Franck Evennou possess a playful quality that counterbalances the traditional solemnity of the form. With their rough, splitting surface, they are n...

Unique piece. Jaime Rodriguez Crespo, of Puerto Rico, converts natural elements, like those of coral found on the seabed floor, into evocative artwork sculptures...