From large-scale to more modest sizes, browse our selection of sculptures by a range of artists including&nbsp;<a href="https://www.sothebys.com/en/buy/fine-art/sculpture?creators=Li%2520Hongbo" rel="noopener noreferrer" target="_blank">Li Hongbo</a>,&nbsp;<a href="https://www.sothebys.com/en/buy/fine-art/sculpture?creators=Ed%2520%2520Ruscha" rel="noopener noreferrer" target="_blank">Ed Ruscha</a> and more. All works below are ready to buy with fast and seamless checkout.

Sculptures

Untitled

Circle Form

Cross Point

Alexander Liberman (Ukrainian, 1912-1999).

Untitled (Layman 053)

Marlene Louchheim (American, 20th century).This work has two parts.

Hawaiian Red Resting

Alfred Boucher (French, 1850–1934).Parcel-gilt patinated bronze atop a marble base.Stamped with personal commemoration reading "ses amis de Francin" on base.

Au But 

Dustin Yellin (American, b. 1975).

White Tree

Daniel Chadwick (British, b. 1965).Sold as a set of 3 mobiles.

Stonehead

Fletcher Benton (American, 1931-2019).

Indian Chief #4

Balanced, Unbalanced D

Martin Isler (American, 1926-2013).Radio black marble quarried from Vermont.Described by the artist as a classical bust depicting an oval formed by the face and mass of hair on top of a long neck. The marble sculptures of Martin Isler are byproducts of an artist's passion for art and archaeology. Martin studied painting in the mid-1960s at the Art Student League, at a time in which the artistic climate favored abstract painting over classical sculpting. He eventually succumbed to his lifelong desire to sculpt in stone and spent the next 50 years creating and learning. He learned the basics of carving from the written records of Italian Renaissance figure Giorgio Vasari, who outlined the technique used by Michelangelo. The art of stone carving required the artist to maneuver exceptionally heavy blocks of stone himself, sparking in him a curiosity on how the Egyptians were able to construct pyramids. Having successfully moved a number of very large blocks using levers, pulleys, rollers and wedges, Martin eventually came to wonder how the ancient people accomplished their great feats of building with stone. Curiosity turned into obsession and Martin spent the next 25 years on travel, research and fieldwork, including a deep dive into the basement depositories of the British Museum. Carved in 2006, before the artist's passing in 2013, the work represents a culmination of artist's craft and perfection. Martin's work has been displayed in numerous exhibitions and is held in a number of prestigious private collections throughout the U.S. His years of research on Ancient Egypt manifests in his 2001 publication,&nbsp;Sticks, Stones and Shadows, Building the Egyptian Pyramids.

Madame X

Martin Isler (American, 1926-2013).Radio black marble quarried from Vermont.Described by the artist as placing a somewhat human head on the long curved neck of a swan. The marble sculptures of Martin Isler are byproducts of an artist's passion for art and archaeology. Martin studied painting in the mid-1960s at the Art Student League, at a time in which the artistic climate favored abstract painting over classical sculpting. He eventually succumbed to his lifelong desire to sculpt in stone and spent the next 50 years creating and learning. He learned the basics of carving from the written records of Italian Renaissance figure Giorgio Vasari who outlined the technique used by Michelangelo. The art of stone carving required the artist to maneuver exceptionally heavy blocks of stone himself, sparking in him a curiosity on how the Egyptians were able to construct pyramids. Having successfully moved a number of very large blocks using levers, pulleys, rollers and wedges, Martin eventually came to wonder how the ancient people accomplished their great feats of building with stone. Curiosity turned into obsession and Martin spent the next 25 years on travel, research and fieldwork, including a deep dive into the basement depositories of the British Museum. In&nbsp;Anthropomorphic Swan, Martin seamlessly merges human and animal features into one elegant form, a concept that was used quite frequently in Ancient Egyptian culture. The textured nature of this stone contracts against the smooth, polished finishes the artist employed. Carved in 2011 before the artist's passing in 2013, the work represents a culmination of artist's craft and perfection. Martin's work has been displayed in numerous exhibitions and is held in a number of prestigious private collections throughout the U.S. His years of research on Ancient Egypt manifests in his 2001 publication, Sticks, Stones and Shadows, Building the Egyptian Pyramids.

Anthropomorphic Swan

Martin Isler (American, 1926-2013).White marble quarried from Vermont.Described by the artist as a character from his favorite ballet, Swan Lake. The marble sculptures of Martin Isler are byproducts of an artist's passion for art and archaeology. Martin studied painting in the mid-1960s at the Art Student League, at a time in which the artistic climate favored abstract painting over classical sculpting. He eventually succumbed to his lifelong desire to sculpt in stone and spent the next 50 years creating and learning. He learned the basics of carving from the written records of Italian Renaissance figure Giorgio Vasari, who outlined the technique used by Michelangelo. The art of stone carving required the artist to maneuver exceptionally heavy blocks of stone himself, sparking in him a curiosity on how the Egyptians were able to construct pyramids. Having successfully moved a number of very large blocks using levers, pulleys, rollers and wedges, Martin eventually came to wonder how the ancient people accomplished their great feats of building with stone. Curiosity turned into obsession and Martin spent the next 25 years on travel, research and fieldwork, including a deep dive into the basement depositories of the British Museum. In&nbsp;Odette, Martin carves the portrait bust of a character from his favorite ballet, Swan Lake. The textured nature of this stone contrasts against the smooth, polished finishes the artist employed. Carved in 2009 before the artist's passing in 2013, the work represents a culmination of the artist's craft and perfection. Martin's work has been displayed in numerous exhibitions and is held in a number of prestigious private collections throughout the U.S. His years of research on Ancient Egypt manifests in his 2001 publication,&nbsp;Sticks, Stones and Shadows, Building the Egyptian Pyramids.

Odette

Bust of Marie Antoinette

Absorption No. 3

Condition No. 5

Nancy Dwyer (American, b. 1954).From the edition of 40 produced by Josh Baer Gallery.

The ME Block

Loren Madsen (American, b. 1943).Approximately 200 laminations.

Untitled, Loop

Eagle

Jan Leeroy New (Filipino, b. 1986). Leeroy New is a Manila-based multidisciplinary artist whose practice overlaps and intersects with different creative industries: fashion, filmmaking, theater, public installations, product design and performance. This inclination to harness different modes of creative production has become the spine of his practice, driven by concepts of world building, myth-making and social change.

Coronang Tigas

Roberto Estopiñán (Cuban-American, 1921-2015).Mounted atop a wooden block bearing a brass plaque which reads Roberto Estopinan Torso.

Torso 

Tim Conlon (American, b. 1967).Commissioned piece based on a model sold at the 2011 Hickok Cole Art Night fundraiser

Painted/Tagged Train Boxcar and Railroad Track (Montana)

Ed Ruscha (American, b. 1937).Three-dimensional sculpture. "I'm interested in glorifying something that we in the world would say doesn't deserve being glorified. Something that's forgotten, focused on as though it were some sort of sacred object."-Ed Ruscha

WEN OUT FOR CIGRETS N NEVER CAME BACK

Ed Ruscha (American, b. 1937).Three-dimensional sculpture. "I'm interested in glorifying something that we in the world would say doesn't deserve being glorified. Something that's forgotten, focused on as though it were some sort of sacred object."—Ed Ruscha&nbsp;GAL CHEWS GUM&nbsp;is a new bronze edition that synthesizes multiple aspects of Ruscha’s iconic vision into a single form: text, signage, and shadows.&nbsp;The sculpture is fabricated through innovation of the lost wax method of bronze casting that dates back to the 3rd&nbsp;millennium BC. The bronze conjures a weathered road sign or billboard flashing the words ‘GAL CHEWS SAME PIECE OF GUM SINCE 1970.’&nbsp;However, rather than conveying its message with eye-catching, brash graphics, the sign text is written in negative space with the letters cut out from the face of the sign in a stretched, horizontal font. Variations of this text have appeared twice previously in Ruscha’s paintings (2008 and 2014), though with different backgrounds and compositions. Further, two works on paper (2016 and 2017) as well as a gravure print with aquatint (2019) also feature variants of the text, indicating the artist’s ongoing fascination with the phrase. In this new edition, the viewer’s three-dimensional experience with the text varies depending on placement of the sculpture, light sources and the space it inhabits.&nbsp;As the light source or vantage point changes, the phrase is boldly legible or slyly obscured as the blankness of the cut-out words are filled and activated by whatever exists behind them.&nbsp;Calling to mind the painted trompe l’oeil shadows of Ruscha’s early “Ribbon Word” drawings, the sculpture casts a shadow with the block letters duplicated and hovering incandescent within the sign’s silhouette.&nbsp;&nbsp;Since the 1960s, Ruscha has incorporated text into his practice, often finding inspiration in overheard phrases or advertising. His background as a commercial artist and sign painter is evident in his longtime exploration of the sign motif, which has been in his oeuvre for nearly six decades. In 1962, Ruscha created&nbsp;Twentysix Gasoline Stations&nbsp;which consisted of black and white photographs of gasoline stations taken by the artist. In 2004, The Lapis Press published a series of etchings by Ruscha that featured the sign motif, but the signs themselves are blank and create the negative space in the composition.&nbsp;In many ways,&nbsp;GAL CHEWS GUM&nbsp;is an extension of some of this earlier work which focused on everyday or found objects, as well as the design and advertising that filled pedestrian life. Signage is often overlooked, but in the context of a bronze, the form carries new gravitas and acts as a readymade.&nbsp;&nbsp;The base of&nbsp;GAL CHEWS GUM&nbsp;is cast from a metal ingot with a slightly textured surface that stands in contrast to the smooth, refined face of the sign. A basic component used in metal work, construction and manufacturing, the ingot’s raw, abstracted form exists in tension with the precise and clean-cut sign. When describing some of his paintings and works on paper, the artist noted:&nbsp;“I like the tension of having a combination of words, or a word, in front of something that is something lively itself…”.&nbsp;&nbsp;As with Lapis’ previous sculptural edition by Ed Ruscha,&nbsp;WEN OUT FOR CIGRETS&nbsp;(2017), shadow play is an integral component of&nbsp;GAL CHEWS GUM. The san serif font lends itself to this activated experience as the letters remain undisturbed, just slightly shifted as they fall behind the sculpture.&nbsp;&nbsp;GAL CHEWS GUM&nbsp;speaks to several eras of Ruscha’s practice in creating something uniquely and simultaneously nostalgic, droll and modern. The phrase ‘GAL CHEWS SAME PIECE OF GUM SINCE 1970’ with its colloquialism harkens internal images of small-town roadside attractions or local news headlines, however, by immortalizing the phrase in bronze, the artist invites the viewer to consider it in a new way. Ruscha once said, “I’m dead serious about being nonsensical.” Although this statement might initially read like an off-handed quip, it is highly representative of his practice and this new edition.&nbsp;&nbsp;His ability to stir the viewer’s imagination with a suggestive or illusive choice of words allows for both a conceptual and visual experience that leaves room for interpretation and delight.

GAL CHEWS GUM

Ausschnitte

A collaboration by Liz Swig of LIZWORKS and the Campana Brothers, born from eating a globby, rich bowl of oatmeal.Gilded cast bronze bowl.Ornamented with Campana Brothers' signature animal motifs, which support its asymmetric shape.Part of the Time for Oatmeal campaign at Design Miami.Each edition of 7 is unique.

Lizbowl

Robert Winslow (American, b. 1950).Modern sculpture of quartzite and optical glass on a black granite base.

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John Wolfe

Jon Seeman

John Okulick

Alexander Liberman

Marlene Louchheim

Alfred Boucher

Dustin Yellin

Daniel Chadwick

Peter Hayes

Fletcher Benton

Fletcher Benton

Martin Isler

Martin Isler

Martin Isler

Li Hongbo

Li Hongbo

Wang Jianwei

Nancy Dwyer

Loren Madsen

Robert Foster

Jan Leeroy New

Roberto Estopiñán

Tim Conlon

Ed Ruscha

Ed Ruscha

Frank Schillo

Fernando Campana and Humberto Campana

Robert Winslow