Industrial Metal Llama Sculpture by Robert Cumpston, 1930-2018

Late 20th century Robert cumpston sculpture / figurine in the shape of a llama with perky ears and long chain wool. Industrial style, crafted of reclaimed farm implements / tools. Si...

Late 20th century Robert Cumpston sculpture / figurine, outlining the shape of a pig / hog, complete with curly tail and nose ring. Industrial style, crafted of reclaimed farm implem...

Incredible and unique massive metal sculpture by Robert Ortlieb, A unique piece that captures Industrial Art Deco and Postmodern movements, Californian ...

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 'View All...

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 'View All...

Modernist Metal Sculpture Industrial Block Circle 14.25 h x 13.75 w x 7 d Original vintage condition unrestored Refer to images.

Artist: Robert Roesch (American b. 1946). Untitled, enameled metal construction on a 12" sq. stone base. Robert Roesch is a renowned sculptor. He is the chair of the Departmen...

Abstract sculpture by listed artist Robert Roesch, who is in numerous museum and private collections.

A porcelain sculpture by Wayne Fischer. Perfect original conditions. Signed. Unique piece. 2018. 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...