Bronze Decorative Objects

Pair of silver plated bronze french candlesticks with beautiful hand crafted decorative detail. Circa 19th Century.

Bronze representing Roman soldier with child black marble base, 19th century. Note that the marble has been restored to a height of 46 cm for a width of 37 cm and a depth of 18 cm. ...

A grand longcase clock produced in Italy in the 1970s in a rococo Louis XV style with dore bronze ormolu mountings and wood inlay decorating a black-lacquered wood case. The Germa...

A Large Antique French Empire style figural patinated bronze, gilt bronze and green marble clock depicting two neoclassical figures.

This sensual and fabulous 2 part limited edition signed vintage sculpture is molten bronze cascading in a body form perched atop the black metal base. The bronze looks like rose gold...

Sculpture human love black bronze all in blackened solid bronze, lost wax bronze technic.

High tang design vase with white bronze rim Black lacquer Hand repousse Bronze base Limited edition Each piece is individually crafted and is unique. Lacquer is a technique that dat...

CANDLE HOLDERS BY STEVEN DAILY STUDIO Description From the artist – “Bronze candle buddies. I think they have to be a set, something happens when they a...

This rare vessel, designed by Otto Heintz. Hand forged in bronze & sterling silver. A Staffordshire terrier sits under a tree. The art is over la...

A Wonderfull quality bronze inkwell depicting a black African man, made by the goldscheider factory in Vienna around 1890, with inset glass eyes.

Elephant bell and clapper that rings with a deep rich tone and cast in bronze. Having acquired a verdigris patina and presented on a rustic wood and hide...

This mid-19th century French Napoleon III period black lacquer cave a liqueur (liqueur caddy) or tantalus features bronze and tortoiseshell inlaid cartouches on the lid and doors. Ad...

Bronze French Empire style candelabrum.

Finely detailed champlevé scarab shape box with gilt wash interior. Traces of antique mirror on inner top. Rich colors of blue, turquoise purple finely enameled all around box.

A bronze patinated French sculpture of a satyr and a virgin, unsigned. Please refer to photos for more details. We have a large selection of French antiques at Olivier Fleury...

A grand tour bronze sculpture of Spinario. Measures: Height: circa 8 1/4 in. Items purchased from David Sterner Antiques must delight you....

There's no more special way to display a treasured memory than this sophisticated picture frame that will make a splendid statement on an office desk, mantelpiece, or console in both...

Very Large 19th Century Japanese Cloisonné Bronze Vase with a parrot in a magnolia tree.

Vintage 1970s Spanish black marble ball on three bronze cats pedestal.  

Five cups, five shelters to welcome our treasures, our fantaisies or anything our pockets want to give us. Soft shapes remind us of the curve of a petal or the palm of a hand. The Pe...

A German bronze model of the medieval Brunswick lion, mounted on a black marble plinth, late-19th century, The German prince, Henry, Duke of Saxony an...

Elica is another of Portoghesi’s limpid creations, defined by his poetics of the perceptive, dynamic fields of the directional lines. His poetics are, in turn, defined by various inf...

Antique 19th Century French Patinated and Gold Bronze Sculpture, Neoclassical Figures, signed with "A. Carrier" Foundry Mark. French artist Albert Ernest Carrier-Belleuse 1824-1887.

Bronze sculpture in the manner of Alberto Giacometti. Female nude with arms crossed mounted on walnut plinth. Signed Billing.

A very fine and Monumental French 19th century patinated bronze group Titled "The Abduction of the Sabine Women" after a model by Pierre Loison (French, 1816-1886), depicting a young scantily maiden being carried away on the arms of a Roman soldier, raised on circular ebonized wood and brass revolving pedestal stand. Signed at the base: P. Loison, circa: Paris, 1870-1880. Overall height (Sculpture and Pedestal): 91 inches (231.2 cm). Sculpture height: 54 3/4 inches (139.1 cm). Sculpture width: 24 inches (61 cm). Pedestal height: 36 inches (91.5 cm). Pedestal width (Widest): 25 1/2 inches (64.8 cm). Pierre Loison was a French sculptor of the 19th century born in the seaside town of Loir-et-Cher on July 5, 1816 and died in Cannes on February 3, 1886. In 1841, he joined the Pierre-Jean David d'Angers workshop where he became one of his favorite pupils. A year later he attended the School of Fine Arts in Paris. He exhibited for the first time at the Salon des artistes Français where in 1845 he was awarded third-class medal. In 1853 he was awarded First Place medal and at the Universal Exhibition of 1955 he received an honorable mention and another medal award in 1859. On 12 July 1859 and by decree, he was made "Chevalier de la Légion d’Honneur". Pierre Loison is buried at The Montparnasse Cemetery in Paris. Works by Pierre Loison "Femme assise": Terre cuite (1843) au musée Gustave-Moreau à Paris "Jeune fille portant un vase": Statue en marbre blanc, (h. 1,25 m) datée de 1857 et présentée au Salon de 1859 ; la statue fut d’abord placée au Palais-Royal (appartements du prince Napoléon) ; elle est actuellement au musée des Beaux-arts de Dole ; une réplique de taille réduite est au Musée des arts décoratifs de Paris. "La Halle aux grains de Mer": Chaque façade de ce bâtiment, classé à l’inventaire supplémentaire des monuments historiques, comporte un fronton triangulaire et celui de la façade ouest représentant « L’Agriculture distribuant des couronnes aux enfants de Beauce et de Sologne » a été sculpté gracieusement par P. Loison, natif de la commune. "La Justice assise": Allégorie de la Justice au fronton du Palais de justice de Blois (1847). "Buste d’Achille Fould": Au musée du Château de Blois 8; "Nausicaa": Statue en plâtre présentée au Salon de 1874, au musée des Beaux-arts de Vendôme. "Statue de J-B. Pigalle sur la façade de l’hôtel de ville de Paris "Sculptures extérieures du Palais du Louvre": Pierre Loison est l’auteur de neuf statues qui décorent les façades du Louvre "Figure" (1878) au deuxième étage du Pavillon Marsan10; "La Navigation" (1868) sur la balustrade du premier étage du Pavillon des États11; "Pandore" (1861) sur l’aile Est12; « Vénus » (1865) Aile Marsan13; "l’Histoire et la Vérité" (1857)14; "La Poésie et la Philosophie" (1857)15 deux oculi du Pavillon Mollien, coté cour Napoléon ; "Concordet" (1857) sur la balustarde du premier étage de la Rotonde de Beauvais, coté cour Napoléon. "Statue de Sappho sur le rocher de Leucade : datée de 1859, (h. 1,85 m) sur la façade nord de la cour carrée du Palais du Louvre à Paris ; le modèle en plâtre, offert par Mme Loison, est au musée des Beaux-arts de Blois. "Vierge à l’enfant": Statue en marbre en l’église Saint-Pierre de Dampierre-en-Yvelines. "Jeune romain enlevant une Sabine": Groupe présenté au Salon de 1863 qui a été reproduit en bronze par la fonderie d’art Raingo frères. "Sépulture de la famille Hautoy : Au cimetière du Père-Lachaise, deux bas-reliefs en marbre représentant l’un "La vie de Famille," l’autre 'Le chantier," datés de 1880. "Demoiselle d’honneur de la Cour de François Ier": Statue en pierre exposée au Salon des artistes vivants en 1870 ; acquise par l’État à ce Salon, elle a été déposée en 1891, devant la mairie d’Aubin. "La Paix distribuant des palmes aux génies des Beaux-arts": Fronton du Château de Compiègne (1866). "Daphnis et Naïs": Groupe en marbre (1869) au musée de Picardie à Amiens. "Jean-Baptiste Pigalle": Statue en pierre (1881) sur la façade principale, au rez-de-chaussée de l’Hôtel de ville de Paris. "Gisant de Ferdinand-Philippe d'Orléans: dans la chapelle royale de Dreux en collaboration avec Ary Scheffer. "La Grace": Statue en marbre (1875) dans le grand foyer de l’opéra Garnier. The Abduction of the Sabine Women The Abduction of the Sabine Women is an episode in the legendary history of Rome, traditionally dated to 750 BC, in which the first generation of Roman men acquired wives for themselves from the neighboring Sabine families. Recounted by Livy and Plutarch (Parallel Lives II, 15 and 19), it provided a subject for Renaissance and post-Renaissance works of art that combined a suitably inspiring example of the hardihood and courage of ancient Romans with the opportunity to depict multiple figures, including heroically semi-nude figures, in intensely passionate struggle. Comparable themes from Classical Antiquity are the Battle of the Lapiths and Centaurs and the theme of Amazonomachy, the battle of Theseus with the Amazons. The Abduction is supposed to have occurred in the early history of Rome, shortly after its founding by Romulus and his mostly male followers. Seeking wives in order to found families, the Romans negotiated unsuccessfully with the Sabines, who populated the area. Fearing the emergence of a rival society, the Sabines refused to allow their women to marry the Romans. Consequently, the Romans planned to abduct Sabine women, during a festival of Neptune Equester and proclaimed the festival among Rome's neighbours. According to Livy, many people from Rome's neighbours including folk from the Caeninenses, Crustumini, and Antemnates, and many of the Sabines attended. At the festival Romulus gave a Signal, at which the Romans grabbed the Sabine women and fought off the Sabine men. The indignant abductees were soon implored by Romulus to accept Roman husbands. Livy says Romulus offered them free choice and promised civic and property rights to women. According to Livy, Romulus spoke to them each in person, declaring "that what was done was owing to the pride of their fathers, who had refused to grant the privilege of marriage to their neighbours; but notwithstanding, they should be joined in lawful wedlock, participate in all their possessions and civil privileges, and, than which nothing can be dearer to the human heart, in their common children." Responsibility of the men for meeting the needs of the children thus conceived was not included. War with the Sabines and other tribes Outraged at the occurrence, the King of the Caeninenses entered upon Roman territory with his army. Romulus and the Romans met the Caeninenses in battle, killed their king, and routed their army. Romulus later attacked Caenina and took it upon the first assault. Returning to Rome, he dedicated a temple to Jupiter Feretrius (according to Livy, the first temple dedicated in Rome) and offered the spoils of the enemy king as spolia opima. According to the Fasti Triumphales, Romulus celebrated a triumph over the Caeninenses on 1 March 752 BC. At the same time, the army of the Antemnates invaded Roman territory. The Romans retaliated, and the Antemnates were defeated in battle and their town captured. According to the Fasti Triumphales, Romulus celebrated a second triumph in 752 BC over the Antemnates. The Crustumini also started a war, but they too were defeated and their town captured. Roman colonists subsequently were sent to Antemnae and Crustumerium by Romulus, and many citizens of those towns also migrated to Rome (particularly the families of the captured women). The Sabines themselves finally declared war, led into battle by their king, Titus Tatius. Tatius almost succeeded in capturing Rome, thanks to the treason of Tarpeia, daughter of Spurius Tarpeius, governor of the citadel on the Capitoline Hill. She opened the city gates for the Sabines in return for "what they bore on their arms", thinking she would receive their golden bracelets. Instead, the Sabines crushed her to death with their shields, and her body was thrown from a rock known ever since by her name, the Tarpeian Rock. The Romans attacked the Sabines, who now held the citadel. The Roman advance was led by Hostus Hostilius, the Sabine defence by Mettus Curtius. Hostus fell in battle, and the Roman line gave way, They retreated to the gate of the Palatium. Romulus rallied his men by promising to build a temple to Jupiter Stator on the site. He then led them back into battle. Mettus Curtius was unhorsed and fled on foot, and the Romans appeared to be winning. At this point, however, the Sabine women intervened: [They], from the outrage on whom the war originated, with hair dishevelled and garments rent, the timidity of their sex being overcome by such dreadful scenes, had the courage to throw themselves amid the flying weapons, and making a rush across, to part the incensed armies, and assuage their fury; imploring their fathers on the one side, their husbands on the other, "that as fathers-in-law and sons-in-law they would not contaminate each other with impious blood, nor stain their offspring with parricide, the one their grandchildren, the other their children. If you are dissatisfied with the affinity between you, if with our marriages, turn your resentment against us; we are the cause of war, we of wounds and of bloodshed to our husbands and parents. It were better that we perish than live widowed or fatherless without one or other of you." The battle came to an end, and the Sabines agreed to unite in one nation with the Romans. Titus Tatius jointly ruled with Romulus until Tatius's death five years later. The new Sabine residents of Rome settled on the Capitoline Hill, which they had captured in the battle. Artistic representations: The Rape of the Sabine Women by Johann Heinrich Schönfeld The subject was popular during the Renaissance as symbolising the importance of marriage for the continuity of families and cultures. It was also an example of a battle subject in which the artist could demonstrate his skill in depicting female as well as male figures in extreme poses, with the added advantage of a sexual theme. It was depicted regularly on 15th-century Italian cassoni and later in larger paintings. A comparable opportunity from the New Testament was afforded by the theme of the Massacre of the Innocents. Giambologna The sculpture by Giambologna (1579–1583) that was reinterpreted as expressing this theme depicts three figures (a man lifting a woman into the air while a second man crouches) and was carved from a single block of marble. This sculpture is considered Giambologna's masterpiece. Originally intended as nothing more than a demonstration of the artist's ability to create a complex sculptural group, its subject matter, the legendary rape of the Sabines, had to be invented after Francesco I de' Medici, Grand Duke of Tuscany, decreed that it be put on public display in the Loggia dei Lanzi in Piazza della Signoria, Florence. True to mannerist densely packed, intertwined figural compositions and ambitious overinclusive efforts, the statue renders a dynamic panoply of emotions, in poses that offer multiple viewpoints. When contrasted with the serene single-viewpoint pose of the nearby Michelangelo's David, finished nearly 80 years before, this statue is infused with the dynamics that lead towards Baroque, but the tight, uncomfortable, verticality— self-imposed by the author's virtuosic restriction to a composition that could be carved from a single block of marble— lacks the diagonal thrusts that Bernini would achieve forty years later with his Rape of Proserpina and Apollo and Daphne, both at the Galleria Borghese, Rome. The proposed site for the sculpture, opposite Benvenuto Cellini's statue of Perseus, prompted suggestions that the group should illustrate a theme related to the former work, such as the rape of Andromeda by Phineus. The respective rapes of Proserpina and Helen were also mooted as possible themes. It was eventually decided that the sculpture was to be identified as one of the Sabine virgins. The work is signed OPVS IOANNIS BOLONII FLANDRI MDLXXXII ("The work of Johannes of Boulogne of Flanders, 1582"). An early preparatory bronze featuring only two figures is in the Museo Nazionale di Capodimonte in Naples. Giambologna then revised the scheme, this time with a third figure, in two wax models now in the Victoria and Albert Museum, London. The artist's full-scale gesso for the finished sculpture, executed in 1582, is on display at the Accademia Gallery in Florence. Bronze reductions of the sculpture, produced in Giambologna's own studio and imitated by others, were a staple of connoisseurs' collections into the 19th century. Nicolas Poussin Nicolas Poussin produced two major versions of this subject, which enabled him to display to the full his unsurpassed antiquarian knowledge, together with his mastery of complicated relations of figures in dramatic encounter. One, now at the Metropolitan Museum of Art, was executed in Rome, 1634–35. It depicts Romulus at the left giving the Signal for the abduction. The second version, of 1636–37, now at the Louvre Museum, shows that, though some of the principal figures are similar, he had not exhausted the subject. The architectural setting is more developed. Peter Paul Rubens Peter Paul Rubens painted a version of the subject about 1635–40. It is at the National Gallery, London. Jacques-Louis David Jacques-Louis David painted the other end of the story, when the women intervene to reconcile the warring parties. The Sabine Women Enforcing Peace by Running Between the Combatants (also known as The Intervention of the Sabine Women ) was completed in 1799. It is in the Louvre Museum. David had worked on it from 1796, when France was at war with other European nations after a period of civil conflict culminating in the Reign of Terror and the Thermidorian Reaction, during which David himself had been imprisoned as a supporter of Robespierre. After David’s estranged wife visited him in jail, he conceived the IDEA of telling the story, to honor his wife, with the theme being love prevailing over conflict. The painting was also seen as a plea for the people to reunite after the bloodshed of the revolution. The painting depicts Romulus's wife Hersilia — the daughter of Titus Tatius, leader of the Sabines — rushing between her husband and her father and placing her babies between them. A vigorous Romulus prepares to strike a half-retreating Tatius with his spear, but hesitates. Other soldiers are already sheathing their swords. The rocky outcrop in the background is the Tarpeian Rock. John Leech The English 19th century satirical painter John Leech included in his Comic History of Rome a depiction of the Rape of the Sabine Women, where the women are portrayed, with a deliberate anachronism, in Victorian costume...

"Reunion", bronze with black patina. Founder J. Simonet Geneva, dated 1881. 19th century.

This hansome cast bronze inkewll with a black grouse is very much in the style of pieces created by the Austrian Frederich Gornik.

An attractive Japanese Art Nouveau silver overlaid bronze vase, late Meiji period, early 20th century, Japan. A tall and elegant bronze vase of q...

Pair antique French Empire patinated bronze & gold bronze candelabra, Circa 1860. These handsome patinated candelabra would be a fine addition to any sideboard or large server...

An extremely fine French 19th century patinated bronze tazza which is raised by an impressive octagonal shaped black Belgian marble base. Above the base is a circular support with a ...

Renovate your spacious mansion with some top-quality Made in Italy décor accessory. Modenese Interiors offers this huge preciously classic wooden vas...

Borghese Gladiator, after the antique large patinated bronze sculpture Italy, 19th Century H 20 in. (50.8 cm) Original marble sculpture was found in the early 1600's in the Anzio so...

Italian patinated bronze sculpture of Hercules and Antaeus after the antique by Pier Jacopo di Antonio Alari-Bonacolsi, 1500-1510.

Pair of Louis XV-style (20th Century) electrified foliate design bronze candelabras (wired for electric) with black metal candles extending from fiv...

Austrian Jugendstil Patinated and Silver-Plated Bronze Vase designed by Gustav Gurschner manufactured by K.K. Kunst-Erzgiesserei circa 1905 Signed Gustav Gurschner is among the m...

Although America's sculptors interested in African American life and Black subjects, including Elizabeth Catlett, Richmond Barthé, Sargent Johnson and ...

Silver crest men’s humidor bronze and sterling large box. Wood interior with mesh screen wonderful condition.

This antique bronze sculpture was done by Ernest Beck of Austria in approximately 1920 in a classical Revival style. The sculpture is a study of 'Nathan' a...

Elegant Art Deco style bronze black panther sculpture (circa 1940s, France). Natural, dark patina. Impressive, high-design objet d'art with int...

A mid century bronze contemporary cast ( Smoker ). In the manner of J C Leyendecker. From a private collector. Bronze with black patina mounted on an a...

Italian bronze and black marble bacchanalian figural tazza, early 19th century.

A fine example of the early 20th century artist's fascination with the idealized male figure and virile athleticism, this lovely bronze by Ludwig Eisenberger...

Set of bronze artillery cannons with Italian royal insignia. Set of three vintage patinated bronze artillery models including a larger cannon on hand ca...

A large and impressive French 19th century life-size bust depicting Othello, the North African Moor of Venice character in the 1603 play written by William Shakespeare (1564-1616), a...

A 19th century grand Tour patinated bronze bust of Lucious Verus.

This contemporary sculpture representing a walking leopard on a rectangular naturalistic base is made of solid burnished black patinated bronze, created by the Argentine-Italian arti...

Stunning bronze sculpture representing "Teddy Bear Per Sempre " production n 8 on 50.

A unique beast form incense burner in an ancient design. The beast's head makes the lid while its 4 legs and paws stabilize the pot. Romantic, exotic scrolls decorate the body. Open ...

An exquisite pair of Japanese mixed metal bronze hibachi with idyllic landscape scenes, Meiji period (1868-1912), late 19th or early 20th century, Japan. The hibachi of generous proportions, with a high, slightly splayed foot, a short, narrow waist, and a large and wide cylindrical body. The body decorated in the mixed metal technique. The bronze carved and set with inlays of copper and silver to create wonderful landscape scenes. A pair of animal mask handles to the sides. Each hibachi with a cast signature reading ?? (Toyomi?) to the underside. One side of each hibachi depicting an evening scene, with scholars walking about a mountain retreat, replete with a waterfall, pavilions, pagodas, and pine trees, all shimmering under a full moon. The other side of the hibachi depicting a daytime scene, with a view of similar pavilions, pagoda, and pine, though with boats also visible in the distance. Copper inlay has been used for the roofs and the trunks of the pine trees. Silver inlay has been used for the pine needles, scholars, building supports, water, boats, moon, as well as the distant mountains. Originally used as a simple and elegant space heater...

Miniature Austrian enamel sterling silver & bronze desk clock Bronze case with figure of a winged putti kneeling on the domical base holding up a bo...

This is a French figural patinated bronze sculpture mantel clock of a winged Cherub hunter by Lemire Charles Gabriel Sauvage. The thirsty Cherub is seated over a large rock with some...

Marie-Louise Simard (French, 1886-1963) A large and important original French Art Deco silver and parcel gilt bronze sculpture of a female figure holding a parasol in a canoe. The figure wears a gilt bodice and a two-tone ruffled skirt, details typical of the Art Deco movement, while she floats effortlessly in a narrow boat...

A very fine French 19th century brown and parcel-gilt patinated bronze sculpture titled "La Sécurité" (The Security - Protection) after a model by Eugène Delaplanche (French, 1836–1891). Depicting a sitting young Maiden in a gilt-decorated armored suit and helmet, a lion skin on her back, holding a resting child on her arm. Raised on Rouge-Royal marble plinth inscribed "La Sécurité - Par E. Delaplanche - Salon des Beaux-Arts de Paris". Signed: E. Delaplanche and stamped with the importer's seal - Alberto Vignes y Ca - Buenos Aires, circa 1890. Measures: Height: 28 3/4 inches (60.3 cm). Width: 16 inches (40.7 cm). Depth: 14 inches (35.6 cm). Eugène Delaplanche (February 28, 1836 – January 10, 1891) was a French sculptor, born at Belleville (Seine). He was a pupil of Duret, gained the Prix de Rome in 1864 (spending 1864-67 at the Villa Medici in Rome) and the medal of honor in 1878. His "Messenger of Love" (1874), "Aurora" (1878), and the "Virgin of the Lillies" (1884), are in the Luxembourg. Other works by him are "Music - La Musique" (1878, Paris Opera House), called his masterpiece; "Eve After the Fall" (1869); "Maternal Instruction" (1875, Square of Sainte-Clothilde, Paris). He is also noted for his decorations in relief on vases of Haviland faience. His best work is naturalistic, but at the same time dignified and simple in line and shows sound mastery of technique. He is represented by 15 works in the Glyptothek, Copenhagen and in many other French museums and in churches. This sculpture of La Sécurité is after his 1884 sculptures...

Artur Kaan (Austrian, 1867-1940) 'Marbruk' Signed and dated A. Kaan '95 and Verwielfältigung vorbehalten (reproduction reserved) Bronze on marble base, H 28.5 cm? Note: ...

An abstract sculpture in textured bronze, circa 1960s, deftly mounted above a black marble base with veining, signed [D. Angelo A/P]. Both sculpture and base...

Louis XIV Style Bouillotte Table Lamp in Fine Silver on Bronze mood light LA CA . A very high end, large Side table lamp in fine silver on bronze. This table lamp has a centre pipe that holds the shade and which allows the shade height to be adjusted up or down. This adjustable feature is taken from the original candle burning lamps of the 18th century. This bouillotte is the perfect table lamp to add ambiance "Ambience" to any room. Antique Dealer West Hollywood Melrose Ave La Cienega Blvd. it looks amazing on top of a console or enfilade, an office desk, in an entryway, living room, bedroom etc. Bouillotte was a French card game that was very popular during the late 1700s. The originals were candle burning lamps that had a bowl shaped base where the game chips were stored. A central tube surrounded by candle holders (candelabra) held a metal shade. The bouillotte shade...

Bronze by Peter Darro (1917 - 1997). Limited edition casting by Cisco's, 3/50. Peter's studio was in Chicago and, unlike many, he was a painter since boyhood, later being recognized as a designated official American Field Hall of Fame artist, and a member of the Eminent Society of Animal Artists. As a portrait painter, his ability to transmit the essential character of a subject won him national fame. He painted Senator Everett and Mrs. Dirksen for the Dirksen Memorial Library, and Rachel Carson (author of "Silent Spring...

Pair of black cast bronze Japanese candleholders censer. Oriental antique late 19th century Meiji period Japanese heavy black bronze candlesticks...