Bronze Decorative Objects

A wonderful pair of Cherub doré bronze / putti figure pierced candelabra with ormolu mounts raised on marble bases.

Superb movement for this bronze sculpture by J Duval Brasseur. The elegant curved lines and the shape of the base give a strong feeling of this flying eagle. Very unique piece by th...

Large 19th century Orientalist patinated bronze sculpture of an Arabian guard after the original model by Georges-Charles Coudray (1862-1932), circa 1880s. 35 3/4 inches tall and 12...

Bronze figure of the Borghese Gladiator after the antique original. Stamped on the base “F. Barbedienne” and marked “Reduction Mécanique A. Collas.” The reduction was made using Achi...

Antique Chinese Han Dynasty-style copy of a patinaed bronze urn with ram head ornamentation below the fluted mouth, raised geometric patterns wrapping the body and a tapered circular...

Antique bronze sculpture with beautiful patina, mounted on a black marble base, portraying the seated figure of a young woman in pastoral garb with flowers in her lap, designed by A....

Thomier A Paris, A Monumental & Quite Rare Pair of French Empire Egyptian Style Doré Bronze and Patinated bronze Seven Light Candelabras After Designs by Charles Percier, Signed ...

Vintage mid century brutalist candelabra by Menachem Berman, designed and produced in Israel, circa 1960s. Three hand worked bronze candle arms rise organically from a solid walnut t...

Modern Landscape Bronze of Tree Frogs Circa 1970s Of larger size and scale, a unique well cast, highly detailed bronze of four tree frogs in situ, balanced...

Bronze bust depicting a satyr, characterized by a marked theatrical and grotesque expressiveness. The face features a mocking smile with a slightly protruding tongue, while the obliq...

A beautiful French early 19th century Empire pair of ormolu and patinated bronze candlesticks with female figure decoration in the manner of Claude Galle: Each candlestick with a...

Expressionist bronze figurative sculpture by Robert Stoetzer USA circa 1960's Contemplative seated figure cantilevered from a carved wood base and gazing through a grid form window ...

Louis XVI Gilt Bronze and Marble Mantel Clock, late 18th century, of architectural form, the pediment surmounted by an Apollo portrait bust, supporting by tapering columns, centered ...

A late 19thC French Empire style candelabra converted into a lamp and featuring a finely chased patinated bronze statue of Nike or Winged Victory holding aloft five gilt bronze ca...

An Art Deco / Swedish Grace bronze bowl with amazing patina. Designed by Sune Bäckström in Malmoe, Sweden, 1920s. Great condition, only with some light scratches. Stamped 'BRONS',...

Antique Art Nouveau Gilt Gold Bronze Ormolu Jewellery Accessories Keys Tray Dish Continental Bronze c. 1900 Dimensions: H x W x D: 3.5cm x 38cm x 23cm This superbly decorat...

Brilliantly sculpted and cast with very fine detail with a rich, lustrous patina, this celebrated bronze of a fully nude male archer was sculpted by Ernst ...

A patinated bronze vase manufactured by GAB, Sweden circa 1930s. Model number 260. Marked by manufacturer. Engraving.

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...

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...

A gorgeous antique gilt bronze Neoclassical or Adam style desk calendar frame or picture frame By Tiffany Studios (signed to the back) New York, USA, Early 20th Century Measures: ...

Cloisonné enameled bud vase delicately trimmed with contrasting blonde enamel scallop pattern on the top & bottom. The aqua in ombre with gradual subtle tones. A very rare piece....

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 ...

Outlaw, a cast bronze sculpture after American artist Frederic Remington's 1906 original, on marble base. Filled with a tremendous dramatic tension, this bronze sculpture depicts a s...

Circa !900 Japanese Large well shaped bronze champleve enameled vase.. Six paneled sides with Asian themed engravings on each panel.With two ringed handles. Original warm amber brow...

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

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...

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...

Decorate an office or study with this beautiful horse sculpture. Created in France circa 1950 and attributed to Pierre Lenordez, the composition depict...

19th Century Bronze Figure of the Greek Poetess Sappho after James Pradier (1790-1852)/Cast by Susse Frères A 19th century bronze figure of the Greek poetess Sappho, seated on a lo...

Dimensions- H: 75in W: 37in D: 20in This Italian signed Eduardo Rossi (1867-1926) Art Nouveau life size bronze sculpture of a woman is an exceptional sc...

An antique French pair of Egyptian women figure candle holders made of hand crafted marble and patinated bronze, in good condition. The candle sticks are resting on an urn-shaped base. The particularized Parisian décor...

A very fine pair of French 19th century neoclassical Greco-Roman style patinanted bronze and ormolu mounted figural candelabra by Henri Picard (French, Active from 1831-1864). The large and impressive pair of ten-light candelabra, each with a patinated figure of a standing bearded semi-nude male holding an ornate ormolu ten-light candelabrum, their bare feet resting on allegorical wreaths, helmet and sword stash, all above square black-slate plinth surmounted with ormolu trims and scrolled legs, the front surmounted with patinated bronze plaques depicting Greco-Roman scenes of Senators and maidens. Stamped "H. Picard" on the inner ring, the back of the male figures each stamped with the numerals "3776". Circa: Paris, 1850-1860. The well regarded fondeur and doreur Henri Picard was recorded at 6 rue Jarente in 1831, and moved to 10 rue de la Perle in 1839. The firm, which was active from 1831-1864, is known for having supplied very fine decorative objects to Emperor Napoleon III's apartments at the Louvre, which are still part of the collection, and was reputed for its fine quality decorative production of gilt and patinated bronzes, pièce de table and garnitures de cheminée...

patinated bronze candlestick designed by American architect Steven Holl for Swid Powell c.1980's , very rare tall candlestick hard to find very collectible in a verdigris finish stamped at the bottom, with some scuff marks due to age solid piece great for postmodern , Memphis mid century home decor.

Group of three small abstract sculptures, titled Module Trio, of blackened steel, fused and dyed bronze, and glass enamel. Made in 2019 by Am...

This exquisite pair of Italian Brevettato candelabras blends Baroque and Rococo influences with masterful Italian craftsmanship. Known fo...

This is a striking and substantial nude bronze figure of the child god Harpokrates, standing on an integral plinth. He is depicted with his left leg advanced, wearing the characteris...

Exceptional antique French bronze architectural element used as decorative object of art. Beautiful oxidized green-turquoise patina, lion heads and vines Greek key motifs, one of a k...

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 ...

An Italian ceramic toucan sculpture on a gilt bronze and tole metal wire tree branch by famed Italian artist Giulia Mangani. The colorful bird is accented by hand painted ceramic leaves. Mounted on a rectangular resin plinth...

Indian Bronze Cobra Candlestick, Naga Lamp, Hand-Hammered, Circa 1930. This sculptural candlestick is a rare early 20th-century Indian bronze Naga lamp, depicting a rearing cobra em...

Wonderful and Rare version of the Cabeza de Mujer series in Bronze. Signed and Number; Espinosa 246/300. Bronze Bust Only (not including base) W: 3 1/8 x D: 2 1/2 x H: 3 3/4 in.

An authentic mid-century Italian studio bronze sculpture of a snail by sculptor Mario Ferrari (1925–1990). Hand-cast in 1951, the piece features exceptional lifelike rendering, with realistic texturing across the spiral shell and extended body. Finished in a rich dark brown bronze patina with subtle warm undertones. Inscribed on the underside with the artist's characteristic hand-incised signature and date: "> M. FERRARI – 1951 <". Dimensions: Dimensions: (12.25" w x 2.62" h x 3.38"d) Details: Creator: Mario Ferrari (1925–1990, Italian) Date of Manufacture: 1951 Place of Origin: Italy Materials: Cast bronze Style: Mid-Century Modern / Italian Realist Animalier Sculpture Condition: Excellent vintage condition with original dark patina and minor age-appropriate surface wear. Keywords: Mario Ferrari bronze, Italian artist bronze, 1951 bronze, Italian animalier sculpture, bronze snail, realistic animal sculpture, mid-century Italian art, signed Italian bronze, paperweight sculpture, studio bronze art, 1950s Italian metalwork. Detailed biographical details on mid-century Italian sculptor Mario Ferrari (1925–1990) are quite sparse in published reference literature. He operated primarily as a studio sculptor and artisan in mid-20th-century Italy, working in cast iron (ferro fuso) and bronze. His body of work focused heavily on hand-incised animalier sculptures—such as snakes, snails, and other wildlife—often produced in small studio batches or custom commissions. Because he worked largely outside the institutional academy system, most documentation of his work exists through Italian auction records and private mid-century art collections rather than published monographs. Aligi Sassu Lucio Fontana Giuseppe Napoli Arnaldo Pomodoro Gio Ponti (frequently incorporated small bronze animal objects into interiors) Egidio Casagrande Kurt Delbanco...

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 ...

Early 1950s - 1960s Austrian Walter Bosse Figurine An elegant early 1950s - 1960s figurine, crafted in Austria and exemplary of mid-century Austrian bronze design. The piece display...

Important & Rare Pair of French Empire Period (circa 1805) Ormolu Ewers with Winged Maidens, Cupid Busts, Masks,and Vert de Mer Marble Bases, Attributed to Claude Galle The pair...

Mid-Century Brutalist Bronze Candleholder, 1960s, in Very Good conditions. Designed 1960 to 1969. Additional information: Materials: Bronze Style: Brutalist, Mid-Century Modern Colo...

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

Classic early 1960s Austrian letter opener. It has a nice patina. I did not clean it, so the next owner can decide what he wants to do with it. This highly collectible vintage piec...

This pair of very nice and decorative tall candelabras are made of patinated bronze featuring caryatids holding 5 candlesticks on a black marble base decorated with bronze decoration...

Early 20th Century Pair of bronze Cherub candlesticks on marble bases with great warm aged patination. Great detail and signed by artist on ...

A gilt bronze poudrier box with cast poem on surface by Parisian art jeweler Line Vautrin (1913-1997) circa 1940s. The poem "Les 4 ages de la Femme" was an old French lyrical poem th...

Mid-Century Bronze Tripod Candleholder - Brutalist Candelabra - Germany 1960s Modernist two-arm candleholder in green-patinated bronze with brass details. Tripod base, beautiful pa...

This is an extraordinary black bronze sculpture of a male Muay Thai fighter t by artist Dean Kugler. Attention to detail and complete understanding of the hu...

Classic Bronze Bowl designed by Just Andersen in the 1930s. * Round Bronze bowl * Designer: Just Andersen * Model: B161 * Year: 1926-1929 * Condition: Good vintage condition. Make...

A bronze cast of Diana, Goddess of the Hunt, after Pierre Roche (French 1955 - 1922). The sculpture stands on a square green marble base. Dimensions: Base: 8" x 8" Overall: 10.5" ...

A beautiful Art Deco / Swedish Grace bronze letter rack with amazing patina. Made by GAB Guldsmedsaktiebolaget, Sweden, 1930s. Good condition, with some scratches and wear to the...

Elegant Light-Bronze Bowl on Foot designed by Just Andersen in 1935. * Bowl on foot in light-bronze alloy and chasing in the rim * Designer: Just Andersen * Model: LB1889 * Year: ...

Unique and precious lost-wax bronze sculpture. Entitled "Marching Soldiers," it depicts two marching soldiers, their legs apart, wearing the distinctive helmet of a World War II infa...

A beautiful Art Deco bronze candelabra with amazing patina. Made in Denmark in the 1930s by an unknown designer and manufacturer. Great original condition, with some wear to the p...