French Abstract Sculptures

A porcelain sculpture by Wayne Fischer. Perfect original conditions. Signed. Unique piece. 2006. 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...

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. 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 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...

Superb pair of resin sculptures on pedestals, with rather organic shapes. . Abstract, illusionism, modernism and minimalism. . Late 70s. . Origine : France. . In the style of Jean Arp. . Dimensions : 1st scumpture : 145 cm tall 52 cm wide 2nd sculpture : 120 cm tall 70 cm wide The bases, in stone, measure 30 cm x 19 cm . In perfect condition, no lack or crack. . No apparent signature. . Perfect indoors and outdoors. . They look like The Dada movement (also called Dadaism) is an intellectual, literary, artistic and specific movement of the beginning of the 20th century, which is characterized by a questioning of all ideological, aesthetic and political conventions and constraints. . Indspired by Hans Peter Wilhelm Arp...

A striking and tall, geometrical sculpture by renowned French artist Guy Lartigue, who is notably praised for his monumental outdoor fountains and sculptural works that masterfully c...

Installation composed of 14 steel blades and painted metal, on cut cement bases This installation was created for the Venice Biennale in 1988, for the Cure exhibition, by Alfredo Pir...

A very impressive pair of 19th Century French patinated bronze putti, each gathering up grapes and raised on variegated green marble plinths, circa 1880. Batch 80 N/H

Ivan et Chantal Wolkoff. sculpture in lucite brass, metal and gemstone, quartz and pyrite. signed by the artist on the lucite and the metal.

Beautiful shaped abstract modern scultpture made in France, 1960s. This sculpture is made from solid oak wood showing its beautiful grain and texture. Shaped like a figure, it has im...

Tour was created in 2022 by French designer Eric de Dormael. Handcrafted in brass, this is a unique piece. Éric de Dormael is an unconventional artist, his trajectory far from the be...

Pierre Sabatier Sculpture “Charbon” – Posthumous Bronze Edition, Edition of 25 France, 1974 Dimensions : 13 x 14 x 12 cm

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 "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 "Bloc in motion" by Maarten Stuer. This piece can be put indoor or outdoor. Artist monogram under the base. 2020. Unique piece.

Chair's base from a midcentury stainless steel chair, Hand sculpted Salix matsudana plant. Made by our creative director's studio: Jonathan Haddad SCENERS

Large illuminating sculpture by Richard Faure, composed of a block of gypsum arrows from the Sahara set in a hand-crafted patinated brass frame. France circa 1980. Unique piece. Bio...

Large Portoro marble sculpture with white estremoz base by the talented French artist J F Bourdier

19th century bottle dryer from Arras, France with stylized iron foot in the shape of an animal's paw. This piece is sculpture.

Midcentury French modern enameled brass geometric lamp pair, Maison Barbier, 1970s. Rare sculptural mod-century pair. Lamp bodies comprised of two...

A ceramic sculpture white glazes decoration by Alistair Danhieux. Perfect original conditions. Signed under the base, circa 2010.  

Bronze with white and green patina Lalloz Foundry Unique piece

Bronze with blue patina, Jean Capelli Foundry, 1/8, signed. Bibliography : Pierre Descargues, Catherine Val la Clandestine, Paris, Area/Descartes & Cie, 2011, page 54.   

Bronze sculpture, Got Foundry, signed. Bibliography: Sur l’invitation et l’affiche de l’exposition à la Galerie de Gustave Got, 2006.

Bronze with yellow and green patination, Lalloz Foundry, 1/8, signed. Bibliography : - 17th International Impact Art Festival, 1996, Kyoto (Japon), p.15 - Pierre Descargues, Cathe...

Unique piece, Lalloz Foundry. Bibliography: Invitation aux Journées du Patrimoine, Jardin Toulaho (Le Caron, architecte), Clamart, 2000.  

Bronze with green patina, 2/8, Christophe Lalloz's Foundry. Bibliography: - 18th International Impact Art Festival, 1997, Kyoto (Japon), page 13 - Pierre Descargues, Le Jardin ...

Crumpled lead, sculpture by Paul Ackerman, Paris, France, circa 1970. Biography Paul Ackerman, Romania-France (1908-1981) Paul Ackerman is a Romanian painter, lithographer, sculpt...

A marbled sculpture, combining white and 'Rui Vina' marble, hailing from Estremoz, a city and region in Portugal. Signed by the artist. L : 120 cm W : 20 cm H : 60 cm

A ceramic vase, sculpture by Michel Lanos (1926-2005). Perfect original decorations. Artist monogram under the base. Circa 1990-2000. Unique piece. H : 12.2 x 10.6 x 12.2 inches. - ...

Model for a monumental steel sculpture (7.50 meters long, 2 meters high), created in 1974 for the technical college in Beaune (Côte d’Or), where it is still on display. The model, a ...

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

Bronze Carafe lips by Rick Owens 2019 Dimensions: L 14.5 x W 14.5 x H 27.5 cm Materials: Bronze Weight: 4.5 kg Rick Owens is a California-born fa...

Zero Sculpture by Jérôme Pereira Dimensions: D 80 x W 200 x H 120 cm. Materials: Ash, oak tree Jérôme Pereira creates lighting sculptures with a rough and gracious presence. Coming...

Extra large Primitive wood mold with fantastic patina Different shapes available - priced separately but wonderful as a collection France circa 1940s.

Superbe sculpture circulaire brutaliste en bronze coulé et métal. Superbe état signée à identifier. diamètre 37 cm

Relief Chestnut Vase 03 by Alice Lahana Studio Limited Edition of 8 Dimensions: D 5 x W 16 x H 35 cm Materials: Solid chestnut wood. Hand-sculpted, the Relief 03 vase is inspired by...

Tom Jablin is a sculptor who expresses organic shapes though marble as my main medium. Hisy work is driven by contemplation of nature, the oceanic universe, as well as human and animal bodies. From his work shop in the South West of France he shapes his marble pieces by hand with due regards to material and environment. This piece is from Büp collection which is deeply inspired by the submarine world, the coral and its inhabitants. Those pieces show life, calm, inclusion and movement through a different temporality, creating a link between ocean floor...

Superb French manufacture matrix for the Worthington company, from the 1960s. Very interesting work that doubles as a sculptural piece. Good condition. Signed. Dimensions in cm ( H x L x l ) : 43 x...

Modern abstract lacquered metal set of 2 sculptures France ca. 1930s H 45 cm 13.5 x 16.5 cm Conditions: very good, small lack of paint.

Unusual piece of art showing a puzzle head Hand made carved wood Circa 1970's

Bronze sculpture by Perrin & Perrin, French glass artists represented by Galerie Negropontes, 2021 Measures: H 23 x L 19.5 x P 8 cm / H 9 x W 7.5 x D 3.14 inch Martine and Jacki Perr...

Large French Brutalist sculpture in chamotte clay. Unidentified artist. Very fine vintage condition, please note damage to one end of the sculpture (photos).

Large white marble floor sculpture with black marble base. One of a kind sculpture signe by the artist. Jean Frederic Bourdier. Sculpture turns 360.

Abstract welded steel by Jacques Brouail, resting on stone base Signed on brass plaque "Brouail".

" Famille I " Bronze sculpture by Bertrand Creach, 2021. Limited edition 1/8, hand-carved and black patina finition. ______ Dimension: H 35 x 15.5 x ...

Sculpture in polished bronze by Perrin & Perrin 2016, French Glass Artists represented by Galerie Negropontes. H 24 X l 20 X P 20 cm Martine and Jacki Perrin sculpt together as one,...

Wisdom Tabletop Sculpture by Lionel Hamon Dimensions: D 15 x W 28 x H 70 cm. Materials: Brass. Finish: Light patina. Available in three finishes: black patina, light patina, and go...

Sculpture in polished bronze by Perrin & Perrin, French Glass artists represented by Galerie Negropontes Measures: H 18 x L 26.5 x l 21.5 cm Limited edition of 8 pieces.  

Primitive wood mold with fantastic patina Different shapes available - priced separately but wonderful as a collection France circa 1940s.

Handcrafted 011 coupe by Lovebuch Dimensions: Ø 23 x H 18 cm Materials: Sandstone, handcrafted piece. Katia works with wood and clay, these raw, powerfully expressive materials are shaped to create a poetry of objects that inhabit our daily lives. Sculptural ceramics...

Albert Chubac, Sculpture, "Tower", Painted iron, circa 1980, France. Measures: Height 98 cm, depth 23 cm, width 23 cm. Albert Chubac was born in Geneva in 1920. After studying de...

A hand carved antique draped stone sculpture with a beautiful patina. Unmarked. Sourced in France, early 1900s.

French ceramist Eric Astoul (b. 1954, Morocco) infuses his sculptures with the essence of ancient and modern earthenware he has encountered along his travels in France, England, Japa...

One of a kind mosaic ottoman pouf sculpture created using an original vintage small customized covered in fragments of ceramic, porcelain dishes, mirrors, glass, etc. All these diffe...

Light sculpture in enameled stoneware by Agnes Debizet, France 2020. Agnes Debizet is a French contemporary ceramic sculptor. Unique piece, signed and dated by the artist.

Delightful resin sphere containing several resin eggs with multicolored inclusions. Biography: Pierre Giraudon, France (1923-2012) Pierre Giraudon was born in 1923 in Paris. After ...

Set of 3 wooden spherical sculptures France 1960s Diam. 22.5 cm - 21 cm - 19.5 cm Conditions: excellent consistent with age and use.

Abstract wooden sculpture "Torse ou Bollard" by Sergio Storel, 1969. Unique work made out of solid wood, characterized by bold shapes and expressive chisel cuts. The texture of the s...