New York - Abstract Sculptures

Ben Vautier Mystery Box (Boîte mystère), 1965 Painted wood with letterpress label 3 13/16 × 2 3/4 × 2 7/16 inches Ben Vautier was a French artist known for his text-based paintings...

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...

"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...

Erin Vincent is a Toronto based-artist whose work draws on a variety of repetitive and labor intensive processes and materials. Things and common objects have always fascinated Vinc...

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 Aim I, 1980 Painted aluminum 83 high x 26 wide x 26 deep inches Edition of 15 Regarded as a groundbreaking Minimalist artist, Alexander Liberman created pieces t...

Decorative Rosenthal ceramic plate produced in collaboration with artists Otto Piene from 1973. A modern design in Piene's abstract modernist style. Porcelain plate with box and sign...

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 ...

acrylic on panel Acrylic on 2 wood panels. 30 x 40 each. Horizontal or Vertical installation possible. Luminous green cross hatched painting on wood panel. This piece has a sculpt...

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 ...

Nature-Inspired Minimalist Abstract Color Field painting on three wood panels in shades of light brown, beige, and gray Acrylic on 3 panels Each panel is 8 x 24 x 2 inches Panels can be oriented or stacked horizontally or vertically, recommended spacing between panels is 1-2 inches Overall measurement for vertical install with 1 inch spacing: 28 x 24 x 2 inches We are amazed by this artist's ability to achieve multiple flawless layers of acrylic paint, wiping it on and off with cotton cloth, to create a subtle yet distinctive woven texture on a smooth surface. The artist's work is inspired by patterns found in nature such as tree rings, rock lines, ethereal horizons, or water ripples. It appears as though a light source is originating behind the panel, glowing softly in a pale, dreamy green palette. This unique surface spreads all the way to the very edge of each panel. The 2 inch deep sides are cleanly painted white for a seamless finish. These panels hang flush to the wall by resting on two nails on either side of the panel, and can be arranged in any number of ways, highlighting the work's sculptural element. Artist's Statement: My paintings merge the detailed textures and colors found in the natural world with the linear and geometric patterns visible in industrial and architectural structures. The interplay of these elements drives the work and provides a platform for constant change and narrative. By simultaneously layering and removing paint with rags instead of brushes, my hand is directly involved with the process. Each piece contains multiple panels that evoke a nuanced and evolving universe. Ginny Fox builds up each non-representational piece with overlapping streaks of paint that frequently span two or three panels. Working with rags instead of brushes, Fox’s hand moves along parallel paths, emergent colors cascading gently towards the edges of the composition's plane. There’s something vaporous to the outer layers of the work, the interwoven strands of color offering glimpses at the painting’s earthy base and hinting at the artist’s gradual process. Having received her education from New York University in the 1970s, Fox has since exhibited throughout the United States, especially in New York City and the northeastern U.S. RESUME Solo Exhibits 2019 Winterscape Soho20 Bushwick, New York 2017 Perpetual Earth Soho20 Bushwick, New York 2015 Intimate Universe Soho20 Chelsea New York...

Beautiful yellow glass centerpiece created by Peter Bramhall, signed and dated 8/2/80. The swirl design platter is uniquely shaped and is full...

84 x 24 x 10 inches Precision board and Venetian Plaster Elegantly slender, contemporary minimalist wall sculpture that is extremely lightweight. Long vertical lines, casting shado...

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...

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...

Title: The cover of Newsweek - 2 Materials: Magazines, Books, Iron Mesh, Transparent sealing materials Size: 31.4 × 33.4 × 1 inches Rarity: Unique Medium: Mixed Media Signature: Can ...

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...

Painter Francie Hester, born and raised in Columbus, Ohio, lives and works outside of Washington, DC. In 1999, Hester abandoned the traditional practice of painting on canvas to explore the properties of painting on aluminum...

Gorgeous Vintage MCM Fratelli Fanciullacci Elbee Italian Pottery Pitcher and Platter, made in Italy in the late 1950s/60s. A beautiful example of MCM Italian ceramic design featuring...

Sagitta (Link) granite and galvanized and powder-coated steel 42.5" (height) x 37" (width) x 12" (depth) Stone and metal, usually granite or slate, and found object steel are centra...

Pointe (Kyklos III) slate and pigmented and sealed steel 46" (height) x 20" (width) x 8" (depth) Stone and metal, usually granite or slate, and found object steel are central in my ...

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...

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...

"Round Mountain Landscape" by John Van Alstine Granite and steel The sculpture of John Van Alstine beautifully, and powerfully, balances the union of stone and metal, while explorin...

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...

Pyxis Bronze and Red Pigment 13" x 14" x 9" Stone and metal, usually granite or slate, and found object steel are central in my sculpture. The interaction of these materials is a ma...

Tiller VI 15"h x23"w x5"d Small bronze and slate Stone and metal, usually granite or slate and found object steel are central in my sculpture. The interaction of these materials is ...

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...

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

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

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...

"All Over #1" by Elizabeth Gregory-Gruen Free hand cut 2-ply museum board unframed Cut Work - Elizabeth Gregory-Gruen's abstract, paper sculpture is tonal, meticulously hand cut by ...

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

Painted welded steel.

Marble and wood

"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 ...

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

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...

Original nickel plated over brass metal abstract sculpture by Oded Halahmy. Untitled. Signed and dated 1976. Condition is excellent. The sculpture is mounted on a thick mahogany bas...

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

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

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...

"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...

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)

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 ...

"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...

My sculpture is inspired by the connection of the human form to nature. I use natural materials, stone, wood and metal to bring to life organic forms moving through space. The delica...

"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...

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...

Margulis’ utmost concern is the creation of geometric shapes conceived mostly by changing the perspective of the viewer accompanied by the philosophical notion that everything in lif...

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...

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...

Ray Geary Bruce #9, 2016 Steel Incised signature, title and date on the underside 10 x 7 inches Bruce # 9 is one of ten unique sculptures that popular young sculptor Ray Geary made exclusively for the Whitney Museum. Below is how the Museum described the series: These fanciful totemic objects, lovingly named Bruce, are made of steel purchased from a scrap metal yard in the Meatpacking District...

Linda Stein, Dream Scepter 159 - Wood, Metal, Stone, Mixed Media Contemporary Sculpture In the 1980s, Linda Stein began a series called Ceremonial Scepters, where she imagined an ex...

Linda Stein, Afterlife 164 - Wood, Metal, Stone, Mixed Media Contemporary Sculpture In the 1980s, Linda Stein began a series called Ceremonial Scepters, where she imagined an exca...

Linda Stein, Rocking Staff 171 - Wood, Metal, Stone, Mixed Media Contemporary Sculpture In the 1980s, Linda Stein began a series called Ceremonial Scepters, where she imagined an ...

Linda Stein, Easel Scepter 167 - Wood, Metal, Stone, Mixed Media Contemporary Sculpture In the 1980s, Linda Stein began a series called Ceremonial Scepters, where she imagined an e...

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)

Armadura Terrestre II 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 Bruce High Quality Foundation Copper Plate Bruce Shadow Box Sculpture, 2017 Customized wooden shadow box featuring a copper printmaking plate with hand-painted Bruce face. Accomp...