Bronze Decorative Objects

The Strength An Art Deco patinated bronze group by Maurice Guiraud-Rivière (1881-1947) Representing three men in full effort pulling a rope, resting on an oblong naturalistic base S...

An absolutely stunning richly detailed decorative picture frame by Maitland-Smith, featuring shimmering abalone shell mosaic inlay surrounded by an ornate cast bronze frame with scro...

After Auguste Rodin cast bronze , signed on a solid Oak base . signed ."poorly legible". One of the most tragic subjects in Rodin's oeuvre is the Danaïde. The Danaïdes were 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...

A souvenir of the Grand Tour, Rome stage. Trajan's column. The famous monument is representative of Rome, Caput Mundi, and the greatest empire of its time in its maximum splendor. He...

An original antique 19th C French Renaissance revival cathedral architectural theme mantle clock in solid gilt ormolu bronze (or brass) by S. Marti (stamped H & F Paris). Clock ...

Fine French 19th century gilt bronze figural Louis XV style clock. The crest showing a pair of Bacchanale subject putti, one reclining on a naturalistic rocky outcropping with a chal...

Antique Louis XVI style gilt bronze mounted and white-veined red marble pair of candelabra, French, circa 1885. Each candelabrum is composed of a central ovoid marble vase fitted wit...

Antique Animalier Patinated Bronze Sculpture Figures Dogs Whippet Greyhounds Continental Bronze Early 20th Century Dimensions: H x W x D: 21.5cm x 27cm x 13.5cm This antiqu...

Nicely crafted pair of bronze cranes 73”&66” please look at pictures for overall condition and detail feel free to reach out with any questions

Top condition and pure elegance Art Nouveau vase. For the collectors of museum quality and condition Art Nouveau ceramics. This stunning Art Nouveau vase is decorated with the mos...

A Very Fine Quality Single French Louis XV inspired Patinated and Gilt Bronze Figural Twin Branch Candelabra of good size proportions (see last image in-situ) depicting a central put...

Bronze sculpture of a nude woman, signed Cipriani, early 20th century. Sculpture signed Cipriani in patinated bronze in the Art Deco style, marble base, representing a nude woman, 1...

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 late 19th Century bust was executed by French painter and sculptor Louis-Robert Carrier-Belleuse (1848–1913), son and pupil of renowned sculptor Albert-Ernest Carrier-Belleuse. ...

This piece was designed around the form of the artist's newborn daughter's eyes, and aptly named after her. Matthew Holleman is originally from New Zealand but now resides in Sweden ...

Louis XVI style garniture set. Torch and quiver design is centered at Bottom of the clock. A hand painted garden scene is presented at the Lower portion of the clock and a beautifu...

This sculpture depicts a young woman in a dynamic dance pose, with one leg raised and her head turned to the side. The costume is decorated with diamond-shaped patterns evoking the t...

Cycladic Revival Bronze Figure on Marble Base, European, circa 1950s This restrained bronze figure is a mid-20th-century European interpretation of ancient Cycladic sculpture, rende...

Classic 1910s Vienna bronze figurine, expertly crafted and beautifully detailed in the tradition of Austrian cold-painted bronzes. This charming polychromed bronze sculpture showcase...

A Monumental Patinated Bronze Bust of George Washington, after William Rush This commanding bronze bust of George Washington is modeled after the cele...

Sculpture in bronze art Nuragica Sardinia 1960 wood base, represents hero 4 eyes and 4 arm.

Patinated bronze sculpture of a proud Roman warrior, entitled Le Devoir (The Duty), after the original model by Emiile Picault (1833-1915) measuring 23 by 9 by 8 1/2 inches. Nameplate affixed to the front of the base reads LE DEVOIR par E. Picault. At his feet is a shield engraved with Honor Patria...

Important Pair of Deer Signed Hunt (1974/1975) Copies of Paul Getty's Bronzes Hunt is a pseudonym used for the bronzes cast between 1974 and 1975. The foundry at that time worked fo...

Beautiful bronze Cosanti bell by Paolo Soleri. Uncommon shape and design. Fantastic patina and a great sound. Signed. A unique piece from a celebrated art...

Large French Art Nouveau Bronze Bust Sculpture of Diane / Artemis by Paul Gasq (1860–1944), France, circa 1900. An exceptional and large French Art Nouveau bronze bust sculpture dep...

A beautiful antique bronze letter opener dating to the 20th Century, crafted by an unknown sculptor. This beautiful Art Nouveau piece displays graceful, flowing lines and subtle scul...

A fantastic pair of sculptural candlesticks by Pierre Casenove for Fondica, signed by hand. These fire-gilded cast bronze birds in in surreal design with their roughly textured surfa...

An elegant and highly tactile contemporary bronze sculpture of a big cat (leopard/jaguar) by acclaimed Santa Fe artist and sculptor Michael Tatom. This piece showcases Tatom’s signature style: stripping away unnecessary detail to celebrate the animal's fluid grace, muscular arch, and elegant contours. The bronze is finished in a specialized, multi-toned spotted patina that brilliantly captures the organic rosettes of a wild feline body. This is a rare, small-scale masterwork that is rich with documentation. The sculpture is incised with the artist's signature on its tail. The underside of the paws feature complete markings, including the limited edition number 197/250 on one foot, and the initials SF NM on another, certifying its origin and casting in Santa Fe, New Mexico. Measuring a refined 3.19 inches in width, this desktop bronze has a wonderful, heavy hand-feel and serves as a sophisticated addition to any collection of contemporary Western art or wildlife sculpture. The sculpture is in pristine gallery condition, completely free of scratches, surface loss, or alterations to its original hand-applied patina. From the Estate of Joan Conway Crancer, daughter of the famous St. Louis painter Fred Conway, and was a passionate art collector, included in her collection were Calder Sculptures, Max Beckman paintings and Roman antiquities. She was actively involved with the Saint Louis Art Museum, where she served for many years as Museum Trustee and member of the Acquisition Committee, and remained Honorary Trustee for the rest of her life. Together with her husband, they endowed a gallery at the museum, named for Alice and Fred Conway, her parents. Place of Origin: Santa Fe, New Mexico, United States Period: Late 20th / Early 21st Century (Contemporary) Materials: Cast Bronze Subject: Stylized Cat / Leopard / Jaguar Inscriptions / Marks: Signed on tail ("Tatom"); Numbered "197/250" under foot; Inscribed "SF NM" under foot. Fine Art Sculpture Santa Fe School / New Mexico Art Organic Modernism Abstract Wildlife Art François Pompon Style, Minimalist Animalier, Modernist Big Cat, Contemporary Western Fine Art, Sorrel Sky Gallery, Santa Fe Bronze...

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

A fabulous early 20th Century patinated bronze study of a standing French boxer with rich brown patina and very fine hand finished detail, raised on intergral base and signed ADDIT...

Midcentury beautiful little picture frame in faux bamboo silvered bronze, wood and glass in the style of Maison Baguès. Made in Italy in the 1960s.

Art Déco patinated bronze sculpture of a girl and a jumping goat with marble base by Paul Silvestre for Susse Frères By: Paul Silvestre, Susse Frères Material: bronze, marble, coppe...

A beautiful Art Deco bronze sculpture of a young woman in profile, executed in the characteristic Art Deco style and inspired by the work of Karl Hagenauer—an influential Austrian de...

Bronze cast with delicate serene features, very refined detailing throughout. Featuring bow-shaped mouth and downcast eyes, flanked by pendulous pierced ...

Classic 1910s Vienna bronze figurine, expertly crafted and beautifully detailed in the tradition of Austrian cold-painted bronzes. This charming polychromed bronze sculpture showcase...

Exceptional 19th Century bronze and brass Tazza / Bowl with sculptural goats, great quality patina. Every now and then, a piece emerges that truly captures the soul of 19th-century ...

A late 19th Century Italian bronze bust of the poet Dante. Measurements: Length: 19.5" Depth: 10" Height: 15.5"

Exquisite antique Japanese bronze champlevé and cloisonné enamel vase with dragon handles. It features decorative patterns of lotus and chrysanthemum flowers, vines, and dragons. Mad...

This vintage bronze parrot sculpture captures the commanding presence and intelligence of one of nature’s most recognizable birds. Perched atop a naturalistic tree branch, the bird i...

Surrealistic Pomme Bouche brooch by Claude Lalanne, created in 1975. Bronze with a dark brown patina and a verdigris leaf and stem, signed with editions mark and monogrammed Arthus-B...

Large pair patinated life size bronze statues sculpture of Regal Big Cats Lions. Exceptional detailed high quality Large pair of Patinated bronze statues of...

Stunning large bronze bird sculpture with wood base by Hattakitkosol Somchai.

21-st century hand carved clear crystal and golden bronze potiche. This potiche is finely chiseled lost wax castings and hand ground crystal. On request to customer can modificate th...

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...

This large and impressive Louis XVI style clock set, crafted by J. Berthond of Paris during the 19th century, stands at a striking height of 59 cm. The set showcases a harmonious ble...

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...

This is a pair of antique decorative stem vases. A Japanese, bronze Meiji era baluster urn, dating to the late Victorian period, circa 1880. Traditional baluster form with superb re...

With its bold, open circular form and richly worn bronze surface, this African currency bracelet embodies a striking balance of simplicity an...

An Art Deco French bronze statue by Charles Henri Molins A bronze statue with a dancer juggling marble balls in Art Deco Style, raised on a square marble foot by Charles Henri Molin...

An elegant and sculptural pair of late 19th to early 20th century brass or bronze owl-form candlesticks, likely Scandinavian / Swedish in origin and dating from circa 1890–1910. Each...

Victor Gutierrez (Mexican, born 1950). A limited edition cold painted bronze statue. A figural work produced in a modern style depicting a seated fema...

French Victorian bronze and multicolored enamel cloisonne box with floral and scroll design with red velvet interior.      

A wonderful Mid-Century Modernist Abstract sculpture of a female figure in the style of/attributed to renowned South African sculptor/ artist Sydney Kumalo...

Royal House Antiques Royal House Antiques is delighted to offer for sale this absolutely stunning original Albert Ernest Carrier-Belleuse (French, 1824-1887) gilt bronze model of a ...

Art Nouveau golden patinated bronze bust model/seal with acrylic base 'La Poésie' signed by Lecci, exhibited at the Salon des Artistes Français, Paris 1910 By: Lecci Material: coppe...

Pair of Empire candlesticks with bronze karyatids and white marble pedestals, crafted by Werner & Mieth in Berlin during the early 19th century.

A bronze Japanese okimono cast in refined and realistic form of a praying mantis attributed to Myochin lineage circa 19th century of Meiji period. The insect features a segmented bod...

A pair of rare and beautiful Swedish Grace bronze vases with amazing patina. Made by an unknown producer in Sweden, 1940s. Great condition, only a few light scratches.

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 ...