Bronze Decorative Objects

The embracing couple sculpture is modelled as a nude man and woman embracing, 35cm high, each signed R Cameron Like Asian Yin and Yang, this large sculpture merges masculine Renaissa...

GRAND TOUR Italy, late 19th century "Narcissus" Patinated bronze cast circa 1890-1910 Unmarked 24 3/4" H x 10" diameter An exceedingly fine cast after the Greco-Roman statue of ...

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

A Bronzed Metal Canopic Jar, Early 20th Century Provenance: Private Australian Collection Acquired in Rome in 2007. Description: The bronze jar with a lid in the form of a humanoid...

A bronze vintage statuette depicting a Chinese ancestral figure standing on a giant fish. Discover a magnificent fusion of artistry and heritage with...

Italian classical bronze sculpture of the Dancing Faun of Pompeii. Fauns were an example of spirits of untamed woodland, often connected to Pan...

An iconic early 20th Century Art Deco bronze figure of Diana the huntress dressed in a tunic with her hand lifted above her head releasing her bow. Exhibiting excellent rich green pa...

A pair of beautiful Art deco / Swedish Grace bronze vases with amazing patina. Made by Ystad Brons / Metall, Sweden, 1930s. Good condition. Some wear to the patination and some scr...

Pierre-Jules Mène - Pointing dog France Bronze around 1870 Dimensions: H x W x D: 16 x 33 x 12 cm Description: This animal bronze by Pierre-Jules Mène shows a long-haired hunting ...

Pair of large gilt bronze candelabra from the Egyptian Revival period, with seven lights and finely cast figurative designs.

A wonderful patinated bronze bird bath featuring an elephant holding the uniquely shaped water basin. A beautiful complement to any yard or garden, t...

Italian gilt bronze sculpture of an eagle on a rectangular white Carrera piece of marble. The high quality of the gilt work and the early age makes the eagl...

The statue is made of bronze, with a dark and glossy finish. The mouflon is depicted in a standing pose, with all four legs positioned on a base that resembles a rocky surface. The b...

Art Deco French Picture Frame - Marble & Bronzed Metal - Original Glasses - 1940s Elegant vintage picture frame made of marble (rectangular base) and bronzed metal (2 spheres). The...

A nice collection of miniature bronzes from the original Greek, Pompeii and Roman antiquities. There is a Dancing Faun, a Seated Hermes or Mercury Resting, a Satyr with wine sack an...

Each of these splendid bronze leaves is handmade individually with incredible detail. Cast using very traditional techniques, they are polished capturing the raw finish of this noble...

The fine workmanship which is evident makes this pair especially Desirable. The bronze dore mounts are highly gilt and maintains A brilliant gilt hue. The malachite is of very fine ...

Each of these finely crafted Grand Tour–era oval locket frames is composed of patinated bronze and set with a band of inlaid malachite mosaic, framing a central glazed compartment fo...

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

Line Vautrin was inspired by the Armenian alphabet to create this very pretty compact whose lid and reverse are entirely carved with the characters o...

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...

In this listing you will find a striking modernist sculpture in bronze on a marble basez attr. to Yugoslav sculptor Milun Vidić. It is an abstract, architectural composition which ex...

This fabulous vintage abstract signed Italian sculpture is Mid-Century Modern. It says on the label made in Italy and the signature is Esafedritolle. The bronze has 2 surfaces both p...

This bronze sculpture is an original piece created in 2004 by Raffaello Romanelli, whose aim was to represent a moment of internal reflection thanks to the position of the body. For the piece, Raffaello Romanelli used a live model...

This sculptural vase, in size maxi, has been conceived by the Italian designer Giovanna Ferrero Ventimiglia as an imaginary garden, where the biomorphic curves of bronze bamboo enc...

GRAND TOUR Italy, late 19th century "Narcissus" Verdigris patinated bronze cast circa 1910 Unmarked 24 1/4" H x 10 1/8" diameter An exceedingly fine cast after the Greco-Roman s...

A beautiful bronze vase with amazing patina. Made by GAB Guldsmedsaktiebolaget, Sweden, 1930s. Great condition, with only some light scratches. Stamped 'BRONS' and makers mark.

American Victorian (Late 19th Century) bronze life size parrot perched on a stand centering 2 candle holders and mounted on a rectangular green marble base.   

Mounted Sculpture Bust in Bronze on Base Bibelot Decorative Object Center piece. Excellent color and details decorative hand finished On a Desk as garniture on a mantle fireplace, on...

A striking Egyptian Revival clock, circa 1860 features a finely crafted black marble case engraved with Egyptian hieroglyphics. Richly decorated with impressive bronze Egyptian-inspi...

Polished bronze hand cast miniature penguin sculpture by artist Javier de la Rosa. Javier De la Rosa has created a series of bronze cast miniature sculptures that celebrate animals ...

This 19th-century French sculpture features a young drummer, captured in a moment of intense focus and energy. Rendered in rich patinas of bronze, the figure is dressed in historical...

Art Deco bronze panther sculpture by Alexandre Ouline. Bronze with black patina on Belgian black marble base France ca. 1930. Impressive size! The artist worked in France between 1...

One of the very few 19th Century Lemerle-Charpentier Bronze Ormolu and Red Marble Clock Garniture Set. This fine clock set is crafted in patinated ...

Art Nouveau dore bronze tray features a figural motif in semi-relief, depicting a sensuous maiden figure surrounded by iris flowers, with a flying owl and a moon in the background. T...

A beautiful bronze vase with amazing patina. Made by GAB Guldsmedsaktiebolaget, Sweden, 1930s. Good condition, some light scratches, scuffs and wear to the patination. Stamped ...

Sculpture happy bronze all in green solid bronze.

Antique French Heavy Glass Hand Blown Lidded Inkwell Impressive handblown clear glass heavy inkwell with bronze lid. The robust mushroom shaped inkwell is created with heavy handblo...

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...

This impressive Art Nouveau gilt bronze vase “La pêche au filet” by French sculptor Alexandre Vibert exemplifies the refined artistry of late 19th-century French decorative arts. The...

This is a very good antique Chinese foo or lion dog sculpture, sometimes called a temple lions, made of bronze, with excellent detail, dating to the 19th century, Qing period or poss...

Very early, 206 BC to 220 AD, square shaped bronze fang hu bronze vessel would have functioned as a ritual container for the storage and transportation of sump...

1920s Art Déco persian warrior cold-painted bronze sculpture by Franz Bergmann, Austria By: Franz Bergmann, Nam Greb Material: bronze, copper, tin, metal, paint Technique: cast, mol...

With their chiseled physiques and angular faces, this bronze sculpture of two nude male figures passing the baton at the height of a relay race is the epitome of stylized Art Deco ar...

An exceptional and highly decorative 1970s bronze crocodile sculpture, masterfully cast with remarkable realism and character. Featuring an elongated body, intricately textured scale...

This vintage Tiffany & Co. French bronze clock dates from the late 19th century (1896). It is elaborately designed in the style of Louis XV & exhibits a m...

Arts & Crafts Bronze Native American War Chief Bookends C1920 Measures - 6 1/4" x 4 1/4" x 4 1/4"

Always highly sought-after, this bronze dore photograph frame is lucky enough to be decorated with a series of gilded bronze bees mounted onto the cream col...

Jules Moigniez - Bronze Hunting Dog France Bronze Late 19th century Dimensions: H × W × D: 19 × 32 × 14 cm Description: Finely crafted bronze hunting scene by Jules Moigniez (183...

This magnificent 19th-century gilt bronze tabletop frame is a beautifully detailed decorative object that embodies the refinement and artistic exuberance of the late Victorian and Be...

A pair of bronze serpent / snake incense burners censers, 20th century Italy After Antonio Pandiani (1838-1928), Milano. Oval base supporting coiled serpent swallowing adjustable s...

Chinese late Ming dynasty bronze figure of the Bodhisattva Avalokiteshvara, also known as Guanyin (Quan Yin, Kwan Yin, Kuan Yin), 17th century, China  The figure well cast in two ...

A refined Swedish Art Deco bronze vase by GAB Guldsmedsaktiebolaget, circa 1930s. The elegant tapered form rests on a stepped base and is adorned with a cast cherub relief to the fro...

A refined Swedish Art Deco patinated bronze lidded box, attributed to GAB (Guldsmedsaktiebolaget), one of Sweden’s most respected metalwork manufacturers of the early 20th century. ...

1890s Belle Époque bronze sculpture of a young fisherman 'Pêcheur' by the sculptor Adolphe-Jean Lavergne, France By: Adolphe-Jean Lavergne Material: bronze, copper, metal Technique:...

This vintage pin dish features a bronze Marabou Stork figurine perched on the edge of a marbled stone bowl.The base is a shallow, circular bowl carved from a highly figured stone, li...

Sculpture of a woman's head in patinated bronze after Picasso, contemporary art, 21st century. Sculpture of a woman's head in patinated bronze after Picasso, contemporary art, 21st ...

Art Decò Maison Charles Credited Guilt Bronze Doorbell Art Deco period bronze doorbell entirely gilded with pure gold. It features elegant hand-chiselled floral motifs on all four s...

Nice Monique Gerber round vide-poche, circa 1970, France. Polished gilt bronze, flower form. Signed M.G Dimensions: 9 cm diameter, 3 cm height. Good condition. All purchases are cove...

FRANZ VON STUCK (German, 1863-1928) There is a tension between the Apollonian and Dionysian in Stuck’s work. Nietzsche’s contemporary and a kindred spirit, Stuck valiantly searched f...