Bronze Decorative Objects

1920s Art Déco patinated bronze bust of a young man with marble base by Italian sculptor Amadeo Gennarelli, France By: Amadeo Gennarelli Material: bronze, copper, tin, metal, marble...

From a naturalistic fabric pattern from the 1920s comes this decorative relief dish with impressions of leaves. It was made in Scandinavia during the 1940s. Measurements: Diameter...

Lovely and rare piece with storage box. A superb blue and white porcelain vase, with a winter landscape. Made by Fuji Shumei Fujii Mr. Aki Fujii's specialty is the technique of dra...

PAIR of French Empire style (19th Cent) gilt bronze urns with finial top and handles with claw feet on square base (matching clock: Inv. #032441) (PRICED AS PAIR)

A beautiful lidded bronze box with amazing patina. The inside clad in teak wood. Made by GAB Guldsmedsaktiebolaget, Sweden, 1930s. Great condition, with only a few light scratche...

France,1834-1917 Depicts a neoclassical woman in a diaphanous dress seated upon a swing decorated with leaves and tendrils.

This vintage mid 19th century French Louis XV style cartel (wall) clock is beautifully designed. The dramatic sculpted bronze large clock is decorated with sweeping scrolled leaves &...

Fine Collection of Bronze Plates designed by Just Andersen in the late 1920s and 1930s. * Set of five (5) bronze plates * Designer: Just Andersen * Manufacturer: Just Andersen * M...

A lovely modern female nude bronze decorative figurative sculpture. Stylized in an Art Deco or Art Nouveau style. Artist unknown. A romantic and timeless composition. From a private ...

Graceful even when standing still the Bronze Cherub on Marble Base is a striking addition to any setting. Using traditional lost wax casting methods the Bronze Cherub statue...

Castilian Imports Bronze Column Candlesticks. 20th Century.

A beautiful antique French bronze letter opener dating to the 1910s or earlier, crafted by an unknown sculptor and marked “Bronze” and “Fai...

Sculpture bull bronze all in patinated solid bronze, lost wax bronze technic.

Classic early 1910s Vienna bronze figurine. This polychromed cold painted bronze is probably something you need if you’re a Vienna bronze collector. Found at an estate sale in Vienna...

Capture your memories in this French antique bronze picture frame with garlands and gold silk moiré. Accepts one 4" x 6" photograph.

An early 'Bibendum Protégé' Car mascot - Hood Ornament, French, circa 1910, Nickel-plated bronze figure of a 'slim' Mr. Bibendum, mounted on wooden black base. Perfect for any Classi...

A gorgeous Art Nouveau or Art Deco period silvered bronze and inlaid abalone letter rack By Tiffany Studios (signed to the underside) New York, USA, Early 20th Century Measures: 6...

An interesting an nicely made Vase . Lovely decoration. Additional information: Material: Bronze & Metal Type: Vase Region of Origin: China Period: 20th century China Dynasty Period...

This highly rare bronze of a nude male athlete preparing to left a heavy kettlebell weight was sculpted by an Austrian artist, Franz Seifert, in 1922. Although Seifert is known for his nude figures straining to accomplish physical tasks -- such as carrying a large bucket or splitting a stone -- this sculpture is the only example known to exist. A decade after this sculpture was cast, Seifert carved a marble portrait of Siegfried Marcus, inventor of the gasoline-powered car, for a monument in Vienna, which includes a nude male figure in bas relief racing forward on the upper edge of an automobile wheel. He also created a large sculpture grouping honoring Empress Elizabeth...

A handmade Vintage wooden Musical jewellery box with a key and lock, with Swiss Musical Movement by Romance with original key and Reuge mechanismt. It is perfectly designed and created in a suitable size for keeping valuables inside. The top of this box has leaf patterns and bronzed motives carved and made by hand. It can also be a decorative object for any bedroom or dressing room in your home decor. Old Decorative Box...

19th Century French Crystal and Bronze Vase Beautiful, elegant and rare small jewellery box in crystal and gilded bronze. It has a top opening with a clip closure. The upper part of ...

C. 19th Century This Amazing, Stunning French Deniere Bronze & Marble Figural Mantel Clock is probably one of my Favorite Pieces..... White Marble...

Elegant French picture frame dating from the late 19th century, circa 1890, made during the Napoleon III period. The frame is crafted in wood and adorned with finely cast gilt bronze...

Brutalist bronze and textured stained glass sculpture by SF Bay Area artist Ralph Halloway.

A rare and very fine bronze corpus of Christ after a model by Michelangelo, cast ca. 1597-1600 by Juan Bautista Franconio and painted in 1600 by Francisco Pacheco in Seville, Spain. The present corpus reproduces a model attributed to Michelangelo. The best known example, lesser in quality, is one on display at the Metropolitan Museum of Art (MET). The association of this corpus with Michelangelo was first brought to light by Manuel Gomez-Moreno (1930-33) who studied the wider circulated casts identified throughout Spain. The attribution to Michelangelo was subsequently followed by John Goldsmith-Phillips (1937) of the MET and again by Michelangelo expert, Charles de Tolnay (1960). While Michelangelo is best known for his monumental works, there are four documented crucifixes he made. The best known example is the large-scale wooden crucifix for the Church of Santa Maria del Santo Spirito in Florence, made in 1492 as a gift for the Prior, Giovanni di Lap Bicchiellini, for allowing him to study the anatomy of corpses at the hospital there. In 1562, Michelangelo wrote two letters to his nephew, Lionardo, indicating his intention to carve a wooden crucifix for him. In 1563 a letter between Lionardo and the Italian sculptor Tiberio Calcagni, mentions this same crucifix (a sketch of a corpus on the verso of a sheet depicting Michelangelo’s designs for St. Peter’s Basillica [Palais des Beaux-Arts in Lille] may reproduce this). That Michelangelo was working on small corpora in the last years of his life is further evidenced by the small (26.5 cm) unfinished wooden crucifix located at the Casa Buonarroti, considered his last known sculptural undertaking. Michelangelo’s contemporary biographer, Giorgio Vasari additionally cites that Michelangelo, in his later years, made a small crucifix for his friend, Menighella, as a gift. Surviving sketches also indicate Michelangelo’s study of this subject throughout his career, most notably during the end of his life but also during the 1530s-40s as he deepened his spiritual roots. The occasional cameo of crucified Christ’s throughout his sketched oeuvre have made it challenging for scholars to link such sketches to any documented commissions of importance. All the while, in consideration that such objects were made as gifts, it is unlikely they should be linked with commissions. Nonetheless, a number of theories concerning Michelangelo’s sketches of Christ crucified have been proposed and some may regard the origin of the present sculpture. It has been suggested that the corpus could have its impetus with Michelangelo’s work on the Medici Chapel, whose exclusive design was given to the master. It is sensible smaller details, like an altar cross, could have fallen under his responsibility (see for example British Museum, Inv. 1859,0625.552). Others have noted the possibility of an unrealized large marble Crucifixion group which never came to fruition but whose marble blocks had been measured according to a sheet at the Casa Buonarroti. A unique suggestion is that Michelangelo could have made the crucifix for Vittoria Colonna, of whom he was exceedingly fond and with whom he exchanged gifts along with mutual spiritual proclivities. In particular, Vittoria had an interest in the life of St. Bridget, whose vision of Christ closely resembles our sculpture, most notably with Christ’s proper-left leg and foot crossed over his right, an iconography that is incredibly scarce for crucifixes. The suggestion could add sense to Benedetto Varchi’s comment that Michelangelo made a sculpted “nude Christ…he gave to the most divine Marchesa of Pescara (Vittoria Colonna).” Of that same period, two sketches can be visually linked to our sculpture. Tolnay relates it to a sketch of a Crucified Christ at the Teylers Museum (Inv. A034) of which Paul Joannides comments on its quality as suggestive of preparations for a sculptural work. Joannides also calls attention to a related drawing attributed to Raffaello da Montelupo copying what is believed to be a lost sketch by Michelangelo. Its relationship with our sculpture is apparent. Montelupo, a pupil of Michelangelo’s, returned to Rome to serve him in 1541, assisting with the continued work on the tomb of Pope Julius II, suggesting again an origin for the corpus ca. 1540. The earliest firm date that can be given to the present corpus is 1574 where it appears as a rather crudely conceived Crucifixion panel, flanked by two mourners in low-relief and integrally cast for use as the bronze tabernacle door to a ciborium now located at the Church of San Lorenzo in Padula. Etched in wax residue on the back of the door is the date, 27 January 1574, indicating the corpus would have at least been available as a model by late 1573. The Padula tabernacle was completed by Michelangelo’s assistant, Jacopo del Duca and likely has its origins with Michelangelo’s uncompleted tabernacle for the Basilica of St. Mary of the Angels in Rome. The impetus for the Padula tabernacle’s Crucifixion panel begins with a series of late Crucifixion sketches by Michelangelo, depicting a scene of Christ crucified and flanked by two mourners (see British Museum Inv. 1895.0915.510; Ashmolean Museum Inv. 1846.89, KP II 343 recto; Windsor Castle RCIN 912761 recto; and Louvre Inv. 700). A faintly traced block possibly intended for sculpting the sketch of the crucified Christ on its recto was discovered by Tolnay on a version of the composition at Windsor Castle. The Windsor sketch and those related to it appear to have served as preparatory designs for what was probably intended to become the Basilica of St. Mary’s tabernacle door. Vasari documents that the project was to be designed by Michelangelo and cast by his assistant, Jacopo del Duca. Michelangelo died before the commission was complete, though on 15 March 1565, Jacopo writes to Michelangelo’s nephew stating, “I have started making the bronze tabernacle, depending on the model of his that was in Rome, already almost half complete.” Various circumstances interrupted the completion of the tabernacle, though its concept is later revitalized by Jacopo during preparations to sell a tabernacle, after Michelangelo’s designs, to Spain for Madrid’s El Escorial almost a decade later. The El Escorial tabernacle likewise encountered problems and was aborted but Jacopo successfully sold it shortly thereafter to the Carthusians of Padula. An etched date, 30 May 1572, along the base of the Padula tabernacle indicates its framework was already cast by then. A 1573 summary of the tabernacle also describes the original format for the door and relief panels, intended to be square in dimension. However, a last minute decision to heighten them was abruptly made during Jacopo’s negotiations to sell the tabernacle to King Phillip II of Spain. Shortly thereafter the commission was aborted. Philippe Malgouyres notes that the Padula tabernacle’s final state is a mixed product of the original design intended for Spain’s El Escorial, recycling various parts that had already been cast and adding new quickly finished elements for its sale to Padula, explaining its unusually discordant quality, particularly as concerns the crudeness of the door and relief panels which were clearly made later (by January 1574). Apart from his own admission in letters to Spain, it is apparent, however, that Jacopo relied upon his deceased master’s designs while hastily realizing the Padula panels. If Michelangelo had already earlier conceived a crucifix model, and Jacopo had access to that model, its logical he could have hastily employed it for incorporation on the door panel to the tabernacle. It is worth noting some modifications he made to the model, extending Christ’s arms further up in order to fit them into the scale of the panel and further lowering his chin to his chest in order to instill physiognomic congruence. A crude panel of the Deposition also follows after Michelangelo’s late sketches and is likewise known by examples thought to be modifications by Jacopo based upon Michelangelo’s initial sculptural conception (see Malgouyres: La Deposition du Christ de Jacopo del Duca, chef-d’oeuvre posthume de Michel-Ange). Jacopo’s appropriation of an original model by Michelangelo for more than one relief on the Padula tabernacle adds further indication that the crucifix was not an object unique to Jacopo’s hand, as few scholars have posited, but rather belongs to Michelangelo’s original...

French Bronze Greyhound Sculpture on Carrara Marble Base, Early 20th Century A refined and elegant bronze sculpture of a greyhound, mounted on a polished Carrara marble base. Exec...

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...

The iconic bronze Evase vase from the Rick Owens bronze relic collection. This is shown in the black patina. Each bronze is hand crafted in France and is signed. Can be used as vas...

Beautiful solid Bronze double patina low relief décor catchall, footed bowl or videpoche. Stamped Bronze on the reverse and Artist Mark, M. Le Verrier. A French Art Deco Collector'...

Fearsome even when standing still the Bronze Bear on Marble Base is a striking addition to any setting. Using traditional lost wax casting methods the Bronze Bear statue...

Art Deco bronze sculpture male torso. Bronze, dark green patina on a Portor marble base. France 1930.

A unique Anne Van Kleeck bronze, table top sculpture of abstracted figures, dancers perhaps. From the artist's estate. A note about the artist: Anne Van Kleeck was primarily known for her works in cast bronze and ceramics. She attended Ohio Wesleyan University (B.A.) and Ohio State University (M.A.) and spent several years as a professor of art in Ohio and Florida. In 1957, Anne traveled to Venice, Italy to study bronze and lost wax casting, beaten iron and mosaic techniques. During that stay she employed an Italian foundry expert and together they established a small foundry on the island of Murano where they cast bronzes for her one woman show in Venice. Van Kleecks work has won multiple awards and is owned worldwide by private collectors and museums, including the Metropolitan Museum and MOMA in New York. She was contemporaries of and exhibited with Ruth Asawa, Gary Knox Bennett...

A stunning original antique French Rococo clock by A. D. Mougin. Boldly modelled balloon shape, profusely decorated with scrolls, acanthus and floral swags. To the top is a large ela...

Leather Box with "H" Hardware by Hermès Paris, France, ca. 1970s A sophisticated leather box made by Hermès Paris, France, circa 1970s. The piece features a restrained and timeless ...

19th century beautifully hand crafter cathedral clock in gilt bronze. This is a magnificent example of 19th century French craftsmanship. There are many beautiful details to this p...

Cornucopia of nautilus shell and lizard mounted on bronze tree in the style of Tony Duqette attributed to Maitland Smith. Lizard has a beautiful tessellated panshell detail on the ba...

Vase birds porcelain with bronze all in hand painted porcelain and with bronze trim details up and down the vase.

Stunning Pair 18th C Louis XVI French Bronze Recumbent Sphinx Chenets France, circa 1790  A stunning pair of 18th-century Louis XVI French bronze chenets featuring recumbent sphinxes...

Standout mid century life size frog sculpture or object of art handcrafted in silver plate on bronze with a tortoise shell terrazzo back. Signed Maitland Smith on the bottom.

This statuette is a faithful reproduction of the Ombra della Sera, a hallmark of Etruscan art from the 3rd century BCE, originally cast in Volterra, Italy, and preserved at the Museo...

After Alfred Barye (French, 1795–1875) and after Émile-Corbin Guillemin, a bronze model of an Arab on horseback, mounted on a black marble plinth base, signed in the bronze and inscr...

A vintage Greco-Roman style bronze nude statue from the 20th century with verde patina and wooden pedestal base. Created with the traditional technique o...

Cool pair of bronze cat sculptures circa 1970s. They are in original condition with a fine patina and a few small dings and some surface scratche...

A beautiful large Japanese Meiji Period patinated bronze study of an elephant with tigers, signed on the belly, Meiji period, 1868-1912, and late...

A large 19th century Italian 'Grand Tour' bronze model of seated Hermes (or Mercury) after the Antique. The original sculpture, which was found at the Villa of the Papyri in Herculan...

Exceptional 19th century, French 'Three Graces' annular dial clock, bronze and marble clock, with Roi-de-bleu enamel globe surmounted by Cupid. The ...

A large and beautiful bronze vase with amazing patina. Made by GAB Guldsmedsaktiebolaget, Sweden, 1930s. Great condition, but with a large inscription (pictured). Stamped 'BRON...

A fine antique Austrian Art Nouveau coldpainted bronze sculpture of a peacock by Franz Bergman, Vienna, circa 1920. The bronze depicts a remarkably lifelike peacock with it's tail fe...

French Empire gilt bronze three-arm wall candleholder finely ornate with foliate, acorn motifs and three female faces, circa 1850-1870. This wall candelabra can easily be converted ...

ISIDORE JULES BONHEUR French, 1827-1901 "Mare and her Foal" Sand-cast nuanced medium-brown patinated bronze Signed in cast "I. BONHEUR" and cold-stamped PEYROL verso Cast circa 187...

Art Deco sculpture bronze panther signed by Charles Conrad. Foundry seal of Deroyaume fondeur. Model designed ca. 1935. Cast in 2008. Bronze with black patina. Literature: Dictio...

Fabulous, tall Tiffany Style stained Glass and bronze adjustable Banker’s desk lamp or Table lamp, France, 1950-1959. Beautiful hand-painted glass lampshade made with the Tiffany tec...

A fine French Louis XVI Style gilt and patinated bronze and white marble figural mantel clock with a figure of a drummer cherub. The brown patina cupid, seated on gilt-bronze clouds ...

A rare and important Louis XVI clock by Cronier, Paris, France circa 1790. Crafted in fire-gilt bronze with a round convex white enamel face with black Roman numerals for the hours A...

An exception French Art Deco Bronze Statue of Pheasant on Marble Base, circa 1920s. Features the flamboyant bird in a more relaxed mood, ...

Patinated bronze abstract sculpture by Brazilian artist Alvaro Franklin circa 1960s.

Antique Japanese Champleve Cloisonne Enamel Bronze Foo Dog Twin Handle 14" Vessel Vase. Circa Early 20th Century. Measurements: 14.25" H x 9" W x 9" D.

ANTOINE-LOUIS BARYE French, 1795-1875 "Tigre Qui Marche" Patinated bronze Signed in base "BARYE", incised "F. BARBEDIENNE FONDEUR, FRANCE" conceived 1841, cast circa 1880-1900 Item # 110UGP10Q Barye's ability to merge our romantic idealization of nature with a colder reality of nature's predator is beautifully represented in this striding cat. Originally conceived in 1841, Tigre Qui Marche (Walking Tiger...

20thc patinaed bronze mermaid statue. Amazing conditioning with wear to the base. the resting mermaid has an amazing greenish patina that has great age to it. In very good shape.

"Ombra Della Serra" (Shadow of the Evening), Grand Tour souvenir after the 3rd Century BC. Etruscan bronze, hand-crafted in Italy, 1950s. The original is in the collection of the Mus...