New York City - Abstract Sculptures

Flashe on muslin with mixed textiles

CUBE, PYRAMID & SPHERE is a major work created over a five-year period. It is a variable installation, composed of 4 geometric sculptures of high-fired clay pigmented with oxides, a block of wood found in the ocean, river gravel, limestone, and slate shattered to fragments. Note the surface textures, the ground of natural stone, the colors black, umber, copper and tan throughout, the pattern of slate fragments. CUBE, PYRAMID & SPHERE is characteristic of Wortman's practice – warm, contemporary, uniquely crafted, yet speaks to ancient, primitive traditions of art-making that cross cultures and histories. Highly attuned to the art of Africa, the Middle East, India and Asia, his forms are organic abstracts with masculine and feminine attributes that resonate together as a pleasing enigma. They make sense immediately, yet never give up all their secrets. CUBE, PYRAMID & SPHERE was exhibited at BASE: Immersive Art Experiences, Industry City, Brooklyn, NY, 2017. It was also reproduced in Tussle Magazine, alongside "An Interview with Harold Wortsman...

Paint on muslin with mixed media

Flashe on muslin with silk & tulle

Claude-Lévy, 1895 – 1942 Alice Nikitina in the role of Flora, from the Dukelsky/Braque production of the ballet Zephyr & Flore at the Ballets Russes, 1925 Cast Stone Signed and dated: Claude-Levy 1925 on rear face of self-base. The present sculpture is as rare as it is delightful. Mademoiselle Claude-Levy, as the catalogues of the period list her, was one of the truly original talents of the Art Deco period. Painter, architect, decorator, and sculptor, she was a friend of the Parisian, Modernist sculptors, Chana Orloff, Henri Laurens and the Martel brothers, to whom her work was often compared. The ingenuity of her models brought her great critical acclaim, but she seems to have stopped producing in the early 1930s. Her output, although fine, is rare. Claude-Levy’s gentle Cubism might be better described as Purism in sculpture. It is characterized by simplified surfaces, rounded (as opposed to angular) forms, and smooth, lustrous surfaces. The Purist movement included the painters Léger, Ozenfant and Le Corbusier in its ranks. Claude-Lévy, along with other artists of the avant- garde living in the Gallic capital (Czaky, Zadkine, Archipenko, Lipchitz, Lambert Rucki Miklos, Nadelman, Vörös, Orloff) helped to develop a collective twentieth century figurative sculptural idiom that exploited the daring and rich possibilities of geometric abstraction. The present work is Claude-Lévy’s Commedia dell’Arte figures inspired by the Stravinsky/Picasso Ballet...

"Off Minor" by Richard Heinrich, 1999 Steel Contemporary Abstract Sculpture, Industrial, Modern, Indoor, Outdoor

'ComplexCon: Mr. Dob' (Gold), created by Takashi Murakami in 2016, is a sculpture that merges high art, pop culture, and commercialism. Featuring Mr. Dob, a recurring character with ...

A graceful metal sculpture created from altered/ transformed materials, Urban Transformation, industrial steel against a craggy, textured, bark-like bronze elements. ...

Christopher Adams creates sculptures that play on biological concepts, specifically adaptive radiation, whereby a pioneering organism enters an untapped environment and then differentiates rapidly without departing too much from its original form. His sculptures suggest varieties of creatures, but not necessarily a specific organism. Many works are suggestive of plant life with leafy tendrils and frayed edges. Adams graduated magna cum laude from Harvard College...

William Tucker The Promise, ca. 1980 Bronze Signed and numbered 5/6 - incised on the metal 2 5/8 × 8 5/8 × 1 inch This abstract sculpture is by the renowned modern British born sculp...

A work on archival paper depicting the iconic Campbell's Tomato Soup by Andy Warhol. Signed bottom right corner. Rudi Sgarbi was born in 1975 in Rio de Janeiro, Brazil. He is a versa...

"I create geometric collages, assemblages and sculptures with vintage book parts. My work is a never-ending story where I play with deconstruction and reconstruction, and changing di...

As a native of Idaho Falls, Drew was inspired since early childhood by the beauty of the surrounding Intermountain Region. The Tetons, Snake River, and a few local wetlands became magical destinations with sounds of wind in the reeds or migrating waterfowl that continue to echo through Drew’s professional work. This cast iron bench has custom stained glass melted into the negative spaces, forming pseudo cushions to rest on. The back of the structure is molded to resemble a playful family of robots, holding each other and posed in a line as if taking a family photo. Art Glass Black...

"Ristra" by Alex Barrett Large-scale, organic abstract metal sculpture in powder-coated aluminum Alex Barrett's monumental abstract sculptures are built with aluminum, and are powde...

"I create geometric collages, assemblages and sculptures with vintage book parts. My work is a never-ending story where I play with deconstruction and reconstruction, and changing di...

"I create geometric collages, assemblages and sculptures with vintage book parts. My work is a never-ending story where I play with deconstruction and reconstruction, and changing di...

"I create geometric collages, assemblages and sculptures with vintage book parts. My work is a never-ending story where I play with deconstruction and reconstruction, and changing di...

A beautiful modernist 20th Century Bronze piece by Joachim Berthold. Here we find this stylish figure sitting in a hoping position looking up that eludes thought and complexity. A me...

Line is the operative formal element in the work shown here, but there are many other lines in play. Pieces walk a line between drawings that might be tapestries or sculptures or pa...

Title: Library Series 2024 - 6 Materials: Magazines, Books, Iron Mesh, Transparent sealing materials Size: 47.2 × 57 × 1 inches Rarity: Unique Medium: Mixed Media Signature: Can be H...

Leonardo Nierman, Mexican (1932 - 2023) - Flight, Year: 1973, Medium: Bronze Sculpture, signed and numbered, Edition: I/VI, Size: 10.6 x 23.6 x 9.6 in. (26.92 x 59.94 x 24.38 cm)

Alexander Liberman STOI V, 1986 Wood with paper and paint 97 1/2 × 28 × 37 inches This work is hand signed twice by Alexander Liberman: Signed on the side as well as the underside an...

"I create geometric collages, assemblages and sculptures with vintage book parts. My work is a never-ending story where I play with deconstruction and reconstruction, and changing di...

Marie Laforey is a self-taught artist based in New York, US who maintains a sustainable art practice using primarily organic material. Laforey enjoys the tactility of working with or...

Liz Jaff creates intricate constructions which use repetition, patterns and forms from nature and architecture to explore ideas of love, commitment, sacrifice and memory of time and ...

"Cell Constellation" by Rogan Brown Laser and hand cut paper, framed in plexiglass shadowbox Available by commission. Please allow 8-12 weeks production time. Rogan Brown creates a...

Ben Eine SCARY (Hand painted Skateboard Skate Deck), 2017 Hand painted with blue skate deck on 100% Canadian maplewood Boldly signed and dated on the front in black marker; numbered ...

Marble and wood

Painted aluminum on metal base. Mariana Copello is a Houston-based artist who was born and raised in Venezuela. The artist has developed sculptures and installations in different m...

"Dream Garden I" by Kevin Barrett Fabricated Bronze Barrett is noted for creating unique, rhythmic, abstract indoor and outdoor sculpture and wall relief...

"Golden Oracle" by Hans Van de Bovenkamp Large-scale, abstract outdoor sculpture in bronze Renowned for his monumental sculpture created primarily for open-air public locales, Hans ...

Anne-Charlotte Saliba's artistic universe is largely inspired by nature, its abyssal dimension as well as its vegetal or mineral forms. Her sculpted artworks are a confrontation of smooth and grainy texture on the same linear paper. A cloud of small perforations, incisions, and punches which play on the elasticity of the paper, to create a topographic relief. A controlled wandering of dotted lines, scales and bumps are drawn following the movement of her hand on the paper. The flow is both free and thoughtfully planned, allowing unexpected movements and completely abandoning set patterns at times. Saliba sees herself more like an artisan than an artist in the sense that she is working with texture and touch to create unique intricate sculpted artworks. Playing with light and shadow, each in her own way ennobles a seemingly banal material with a genuine concern for ethics. Like modern-day memento mori, Saliba’s works transport us into dreamlike worlds in which the evanescence of paper echoes the transience of life, subtly reminding us to enjoy the present moment. Anne-Charlotte Saliba works and lives near Lyon, France. Her work has reviewed in numerous publications and has won the prestigious price for Jeune Creation de Métiers d’Art in 2020. She is now represented by the Muriel Guépin Gallery...

Overhang, 2024 wall object of vintage book parts 24 x 19 x 8 in. (schm078) "I create geometric collages, assemblages and sculptures with vintage book parts. My work is a never-endin...

Daniel Fiorda in this new series of sculptures, continues in many ways the themes that have infused his previous work. For the last several years, Fiorda has dealt with technology, obsolescence, with the trail of discarded tech that humanity leaves behind and what it says about us. The new work takes this thematic one step further. These new wall pieces feature barely concealed found objects, almost fully engulfed by concrete, and yet still eerily discernible: industrial gears, computer keyboards, objects that evoke industrial post-digital eras. This piece is a set of 3 artworks...

Brown Vase Ira Sapir, American (1955) Hand-Blown Glass Size: 5.5 x 3.5 x 3.5 in. (13.97 x 8.89 x 8.89 cm) Opening is 1 inch in diameter

Barbara Kruger War Platter, 2018 Glazed Earthenware Artists name fired on the underside which is considered her authorized signature as she officially does not sign her works Hand nu...

Georges Charpentier, French (1937 - 2024) - Portrait of A Woman, Year: circa 1980, Medium: Bronze sculpture with gold patina on wooden base, signature and numbering inscribed, Edit...

This frosted fused glass is an expressionist sculpture that's organic in shape. The analogous colors create a serene design. Signature inscribed 'Nivet'.

"Fer Doug" by Carole Eisner Abstract, Outdoor Sculpture in welded steel Carole Eisner has worked with scrap and recycled metal for 40 years creating elegant, abstract forms welded i...

A sculpturesque piece made from pieces of glass of iconic Campbell's Tomato Soup. Signed bottom right corner. Rudi Sgarbi was born in 1975 in Rio de Janeiro, Brazil. He is a versatil...

FOR THE OLD ONES, a ceramic sculpture of high-fired clay pigmented with oxides, sitting on a slab of limestone. It is a recent work by artist Harold Wortsman. Note the blending of volumetric and organic form in this work, the mark-making and perforations on the surface, the striking colors of black and copper in variable stripes – it is characteristic of his practice – warm, contemporary, uniquely crafted, yet speaks to ancient, primitive traditions of art-making that cross cultures and histories. Highly attuned to the art of Africa, the Middle East, India and Asia, his forms are organic abstracts with masculine and feminine attributes that resonate together as a pleasing enigma. They make sense immediately, yet never give up all their secrets. From Harold Wortsman – "With sculpture, my material of choice is high-fired clay. Pieces are first low-fired in an electric kiln. I do not use glazes. Instead, I use oxides applied to the bisqued (low-fired) clay. As with a tattoo, oxides permit the surface underneath to breathe—like naked skin. The work is then high-fired in a gas kiln with double reduction to cone 10. The final temperature is 2,300 degrees F. At a certain point, oxygen intake is reduced to the kiln. Because the fire has reached a critical mass, it needs oxygen and chemically takes it from the clay and the oxides painted on. Like a jazz improvisation, each kiln load comes out slightly different." From Jonathan Goodman, Poet & Art Critic – "Wortsman re-examines ancient and modern traditions in light of what it means to make art." – Tussle Magazine, July 2019. Harold Wortsman is a sculptor and printmaker based in Brooklyn, NY. He “creates forms that bring to mind archaic cult objects and exude a quiet concentrated strength.” (Argauer Zeitung, Switzerland). His work, an edgy mix of freedom and clarity, can be found in public and private collections in the US, including The Library of Congress, Yale University, The New York Public Library Print Collection, The New York Historical Society, Smith College, Indiana University’s Lilly Library, Brandeis University, The Newark Public Library Special Collections Division, and the Jane Voorhees Zimmerli Art Museum Print Archive. Also in private and public collections in Europe, including the Municipal Collection of the City of Brugg, Switzerland. Harold studied at the New York Studio School of Drawing, Painting and Sculpture, with sculptor George Spaventa...

JAN MARES Jan Mares (Czech, 1953-2005) Signed 3-D Glass American Flag, 2002 Cut, polished, and etched glass 3 × 5 × 2 inches incised signature and date Jan Mares was a celebrated C...

Jonas Noël Niedermann LOOP (Mahogony), 2022 Blown glass 10.50 x 7.25 x 3.50 in.

Paul Jenkins (American, 1923-2012) "Historique / Sacree" [Historical / Sacred], Found Object Art Sculpture, 1996, collaged book mounted on plaster and wood base, signed and dated to ...

Jonas Noël Niedermann Modular Shapes (Noir et Opaline), 2021 Blown, carved, and etched glass 11.25h x 7.50w x 4.50d in 28.57h x 19.05w x 11.43d cm

Artist: Hans van de Bovenkamp, Dutch (1938 - ) Title: Circles and Waves Year: 1986 Medium: Steel Sculpture Overall Size: 87 x 50 in. (220.98 x 127 cm)

Nayla Kai Saroufim is a Lebanese artist based in Los Angeles and Beirut. She earned a degree in Illustration and Art Direction from the Académie Libanaise des Beaux-Arts. She had wor...

Seymour Lipton Maquette for Laureate, ca. 1968-1969 Nickel silver on monel metal Unique 18 × 8 1/2 × 7 inches Marlborough-Gerson Gallery, New York Acquired from the above by the previous owner, 1969 thence by descent Christie's New York: Monday, June 30, 2008 [Lot 00199] Acquired from the above Christie's sale This unique sculpture by important Abstract Expressionist sculptor Seymour Lipton is a maquette of the monumental sculpture "Laureate" - one of Lipton's most iconic and influential works located on the Riverwalk in downtown Milwaukee, Wisconsin. Laureate is a masterpiece that was commissioned by the Allen-Bradley Company in memory of Harry Lynde Bradley and as an enhancement for the newly constructed Performing Arts Center. It is located on the east bank of the Milwaukee River at 929 North Water Street. The Bradley family in Milwaukee were renowned patrons of modernist sculpture, known for their excellent taste who also founded an eponymous sculpture park. For reference only is an image of the monumental "Laureate" one of Milwaukee's most beloved public sculptures. According to the Smithsonian, which owns a different unique variation of this work, "The full-size sculpture Laureate was commissioned by the Marcus Center for the Performing Arts in Milwaukee. In the initial drawings, Seymour Lipton combined details from the architectural plan with a wide variety of images, ranging from musical instruments to a lighthouse on the island of Tobago. He transformed the basic shapes from these sketches into a welded sculpture, which evokes a figure composed of columns, harp strings, and coiled rope. Lipton created this piece to celebrate achievement in the arts. The dramatic silhouette commands your attention, reflecting the title Laureate, which means worthy of honor and distinction. The final version of the piece is over twelve feet high and stands out against the pale, flat buildings of the arts center.,," Provenance Marlborough-Gerson Gallery, New York Acquired from the above by the previous owner, 1969 thence by descent Christie's New York: Monday, June 30, 2008 [Lot 00199] Acquired from the above Christie's sale About Seymour Lipton: Born in New York City in 1903, Seymour Lipton (1903-1986) grew up in a Bronx tenement at a time when much of the borough was still farmland. These rural surroundings enabled Lipton to explore the botanical and animal forms that would later become sources for his work. Lipton’s interest in the dialogue between artistic creation and natural phenomena was nurtured by a supportive family and cultivated through numerous visits to New York’s Museum of Natural History as well as its many botanical gardens and its zoos. In the early 1920s, with the encouragement of his family, Lipton studied electrical engineering at Brooklyn Polytechnic Institute and pursued a liberal arts education at City College. Ultimately, like fellow sculptor Herbert Ferber, Lipton became a dentist, receiving his degree from Columbia University in 1927. In the late 1920s, he began to explore sculpture, creating clay portraits of family members and friends. In addition to providing him with financial security, dentistry gave Lipton a foundation in working with metal, a material he would later use in his artwork. In the early 1930s, though, Lipton’s primary sculptural medium was wood. Lipton led a comfortable life, but he was also aware of the economic and psychological devastation the Depression had caused New York. In response, he generally worked using direct carving techniques—a form of sculpting where the artist “finds” the sculpture within the wood in the process of carving it and without the use of models and maquettes. The immediacy of this practice enabled Lipton to create a rich, emotional and visual language with which to articulate the desperation of the downtrodden and the unwavering strength of the disenfranchised. In 1935, he exhibited one such early sculpture at the John Reed Club Gallery in New York, and three years later, ACA Gallery mounted Lipton’s first solo show, which featured these social-realist-inspired wooden works. In 1940, this largely self-taught artist began teaching sculpture at the New School for Social Research, a position he held until 1965. In the 1940s, Lipton began to devote an increasing amount of time to his art, deviating from wood and working with brass, lead, and bronze. Choosing these metals for their visual simplicity, which he believed exemplified the universal heroism of the “everyman,” Lipton could also now explore various forms of abstraction. Lipton’s turn towards increasing abstraction in the 1940s allowed him to fully develop his metaphorical style, which in turn gave him a stronger lexicon for representing the horrors of World War II and questioning the ambiguities of human experience. He began his metal work with cast bronze sculptures, but, in 1946, he started welding sheet metal and lead. Lipton preferred welding because, as direct carving did with wood, this approach allowed “a more direct contact with the metal.”[ii] From this, Lipton developed the technique he would use for the remainder of his career: “He cut sheet metal, manipulated it to the desired shapes, then joined, soldered, or welded the pieces together. Next, he brazed a metal coating to the outside to produce a uniform texture.”[iii] In 1950, Lipton arrived at his mature style of brazing on Monel metal. He also began to draw extensively, exploring the automatism that abstract expressionist painters were boasting at the time. Like contemporaries such as Jackson Pollock, Lipton was strongly influenced by Carl Jung’s work on the unconscious mind and the regenerative forces of nature. He translated these two-dimensional drawings into three-dimensional maquettes that enabled him to revise his ideas before creating the final sculpture.The forms that Lipton produced during this period were often zoomorphic, exemplifying the tension between the souls of nature and the automatism of the machine. In the years following the 1950s, Lipton’s optimism began to rise, and the size of his work grew in proportion. The oxyacetylene torch—invented during the Second World War—allowed him to rework the surfaces of metal sculptures, thus eliminating some of the risks involved with producing large-scale finished works. In 1958, Lipton was awarded a solo exhibition at the Venice Biennale and was thus internationally recognized as part of a small group of highly regarded avant-garde constructivist sculptors. In 1960, he received a prestigious Guggenheim Award, which was followed by several prominent public commissions, including his heroic Archangel, currently residing in Lincoln Center’s David Geffen Hall. A number of important solo exhibitions of his work followed at The Phillips Collection in Washington, DC (1964); the Milwaukee Art Center and University of Wisconsin, Milwaukee (1969); the Virginia Museum of Fine Arts in Richmond (1972); the Everson Museum in Syracuse, NY (1973); the Herbert E. Johnson Museum of Art of Cornell University in Ithaca, NY (1973); the National Collection of Fine Arts, Smithsonian Institution (now the Smithsonian American Art Museum) in Washington, DC (1978); and a retrospective in 1979 at The Jewish Museum in New York. In 1982 and 1984 alone, two exhibitions of his sculpture, organized respectively by the Mint Museum (Charlotte, NC) and the Hillwood Art Gallery of Long Island University (Greenvale, NY), traveled extensively across museums and university galleries around the nation. In 2000, the traveling exhibition An American Sculptor: Seymour Lipton was first presented by the Palmer Museum of Art of Pennsylvania State University in University Park. Most recently, in 2009, the Ackland Art Museum in Chapel Hill, NC mounted The Guardian and the Avant-Garde: Seymour Lipton’s Sentinel II in Context. Since 2004, Michael Rosenfeld Gallery has been the exclusive representative of the Estate of Seymour Lipton and has presented two solo exhibitions of his work—Seymour Lipton: Abstract Expressionist Sculptor (2005) and Seymour Lipton: Metal (2008). In 2013, Michael Rosenfeld Gallery presented Abstract Expressionism, In Context: Seymour Lipton, which included twelve major sculptures by the artist, along with works by Charles Alston, Norman Bluhm, Beauford Delaney, Willem de Kooning, Jay DeFeo, Michael Goldberg, Adolph Gottlieb, Hans Hofmann, Lee Krasner, Norman Lewis, Conrad Marca-Relli, Boris Margo, Alfonso Ossorio, Richard Pousette-Dart, Milton Resnick, Charles Seliger...

Tony Rosenthal, Attributed to, American (1914 - 2009) - Bicycle, Medium: Acrylic on Metal Assemblage, Size: 31 x 36 x 6 in. (78.74 x 91.44 x 15.24 cm)

"White Box" by Jane Manus Welded and painted aluminum Jane Manus makes large sculptures of painted or brushed welded aluminum that are both geometric and suggestively figurative sim...

Marie Laforey is a self-taught artist based in New York, US who maintains a sustainable art practice using primarily organic material. Laforey enjoys the tactility of working with or...

Michael Todd Welded Brushed Steel Sculpture - geometric abstraction, 1968 Welded Brushed Steel Hand signed and dated 1968 in marker on surface....

MATHEMATICAL THEOREM, a ceramic relief sculpture of high-fired clay pigmented with engobes, is a recent work by artist Harold Wortsman. This black & wh...

"Pages" by Richard Pitts Powder-coated aluminum Richard Pitts works in many media, from steel to wood to bronze to aluminum, not to mention his paintings. His often colorful, abstra...

Marie Laforey is a self-taught artist based in New York, US who maintains a sustainable art practice using primarily organic material. Laforey enjoys the tactility of working with or...

Red and Yellow Vase David Ruth, American Date: 1989 Blown Glass, Signed and dated Size: 7.5 x 4.25 x 3 in. (19.05 x 10.8 x 7.62 cm)

Buky Schwartz House in Motion, 1986 Welded steel 10 1/2 × 6 1/4 × 6 1/2 inches This is a unique work The sculpture is an upside down house with two human figures. It is ingeniously ...

Artist: David Jaworsky, American Title: Attitudes Year: 1991 Medium: Blown Glass and Bronze with a Marble Base Size: 31 x 20 x 24 in. (78.74 x 50.8 x 60.96 cm) Base: 16 x 2 x 16 ...

Armadura Terrestre Amadeo Gabino, Spanish (1922–2004) Date: circa 1974 Oxidized Steel and polished aluminum sculpture Size: 19.75 x 19.75 x 2.25 in. (50.17 x 50.17 x 5.72 cm)

The freestanding sculptures in this portfolio are made from the “sticks”: a pile of found wood that Sweibel has been pulling from to make new works since about 2002. The pile consisted of more than a dozen four- to seven-foot lengths of hardwood, each an uneven inch in depth and width. The sticks were warped, with worn yellow paint on one side and raw wood on the other three. Over the years she has painted the raw sides of the sticks, cut the wood into shorter lengths, and sliced paint off – and kept the residue from these actions. Sweibel has also made sculptures ranging from full-length sticks to tiny stick splinters. She built these sculptures using sliced-off paint. Timeworn materials and objects have an intelligence that the artist looks for and listens to. Shaping and reshaping material to find new form and elicit new insights in the material itself is the territory she is mining. The limitations of the process are its strengths. Her work is concerned with fragility, precariousness, adaptability, and strength. It is a visual response to powerful yet unseen forces - like wind and thoughts - that threaten, propel, ruin, and protect. Liz Sweibel is a multidisciplinary artist working in drawing, sculpture, installation, and digital photography and video. Her spare, personal language of abstraction transforms ordinary materials into statements about connectedness and responsibility: every action has an impact, the effects persist in space and over time, and we are accountable. By drawing attention to simple, ordinary “stuff of life” and referencing both shared and personal history, Sweibel’s work explores and reflects back fundamental experiences in response to our world and relationships. Her intention is to reinvigorate viewers’ awareness of the everyday – in its raw beauty and precariousness – in hopes that they might bring heightened senses of sight and care to their daily lives. Sweibel has participated in solo, two-person, and group exhibits in New York, Massachusetts, Maine, Connecticut, Michigan, and Tennessee since 1998. In 2016, Sweibel’s work was in the group shows Lightly Structured at Sculpture Space NYC, Precarious Constructs at the Venus Knitting Art...