Bronze Decorative Objects

Antique Chinese 9-sided lead & bronze tea caddy with 18 hand-painted panels (behind glass) with ornate frames. Raised seal mark on base. The tea caddy with a removable domed lid and ...

Hand-forged bronze / brass design tree of life sculpture candle holder, 1960s A beautifully perfectly shaped tree of life made of bronze. Artful craftsmanship. We have a matching ...

A TIFFANY & CO. EGYPTIAN REVIVAL MANTLE CLOCK, AMERICAN, 1880s, a bronze ormolu and marble clock made by L. Marti et Cie for Tiffany & Company, marked on clock face, "Tiffany & Co." ...

Rare Swedish mid century bronze vase by GAB - Guldsmedsaktiobolaget produced in the 1930s. In good original condition with beautiful patina. Stamped and numbered. Dimensions: H: 17...

French School Patinated Bronze Dachshund Sculpture This finely cast French School patinated bronze dachshund sculpture beautifully captures the breed’s signature charm and elegance. Expertly cast in bronze with a rich dark patina, this work highlights remarkable detail, from the dachshund’s expressive eyes and floppy ears to the sleek contours of its elongated body and poised stance. The smooth yet subtly textured surface enhances its lifelike quality, making it a captivating decorative sculpture. Standing 9.75 inches high, 17 inches wide, and 5 inches deep, this substantial bronze piece has a commanding presence while maintaining a refined and understated elegance. The artist’s attention to anatomical accuracy and naturalistic posture makes it an excellent representation of the beloved breed. Ideal for dog enthusiasts, collectors of fine bronzes, or admirers of French animalier sculpture...

French Art Deco period mantel clock and obelisks garniture (set), circa 1920s, crafted from onyx stone with champleve enameled bronze mounts. Clock 14 1/4 inches tall and the obelis...

A gorgeous Patinated bronze low bowl. Great color and form being mostly mid century modern/ minimalist with a slight art deco detail. Very good original condition.

This exquisite brass snail sculpture captures the beauty of nature with remarkable craftsmanship and elegant form. The spiraled shell is adorned with delicate, swirling etchings that...

Vintage sculptural pair of antique brass candle holders features an open barley twist design and round tiered bases. The design is a 20th ...

Lovely 1930s bronze vase, in a plump form with decorative handles and details. Patinated in beautiful green nuances. GAB was founded in Stockholm in 1867 and was an important influe...

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...

“La Chasse Au Lion”, “The Lion Hunt”, A Monumental French Orientalist Bronze Sculpture after Aime Millet (1818–1891), circa late 19th century.   This bronze sculpture of The Lion Hun...

Headboard with large Brutalist bronze sculpture, model "Aurora" by Frigerio, Italy, 1968. The headboard comprises a large Brutalist sand-cast sculpture, overlaid on an arc of textured lacquered metal, which has a deep gold finish. The piece is in very nice vintage condition. We have left the sculpture unpolished and it has a developed an aged patina, ranging from brown to gold. There are minor losses to the finish of the headboard frame, both the arc and the cross-bars. The sculpture is bolted to the bed frame; it appears it could be unbolted and used separately, though we have not tried to do so. Approximate dimensions: Sculpture W 173 cm x H 49 cm Headboard W 185 cm x H 108 cm Please be aware this listing is for the headboard only. The remaining three sections of the bed surround...

Handcrafted of fiber reinforced resin and finished in oxidized bronze patina. This product is meticulously handmade by master artisans one piece at a...

19th Century Pair of French Large Gilt Bronze and Porcelain Candelabras Dimensions: cm H 82 x W 50 x D 34. Base 35 x 34 cm This pair of large candelabras was made in France in the 19th century from chased and gilded bronze, adorned with heron figures and floral decorations in hand-painted polychrome porcelain. Executed in the Louis XV style, they feature a pierced gilded bronze base with rocaille motifs, consisting of scrolls and phytomorphic elements. On the base rest the porcelain heron...

A set of two beautiful jewelry boxes with glass lids made of opal glass. This type of jewelry box was mainly made in France, Italy and earlier in Bohemia. They were made from the early 19th century to the mid 20th century. However, the heyday of opal boxes...

This is a beautiful antique bronze sculpture of a lioness by the renowned French sculptor Louis Riche (1877 - 1947), circa 1910 in date. The sculpture depicts a recumbent lioness r...

An early 20th century Art Deco bronze sculpture by Josef Lorenzl of a nude dancer in an elegant pose. Set over original onyx base and signed to bronze. Dimensions: H 33cm W 9cm D ...

This elegant mantel clock features a rectangular case entirely clad in deep green malachite. Fire-gilded bronze decorations in the form of floral festoons and lyres adorn the case. T...

Elegant handmade cast bronze leaf in a polished bronze finish. They may be used as a bowl or just a beautiful decorative object. Each of these splend...

Beautifully cast bronze copies of the Furietti Centaurs, one elder and one younger. Each is mounted on a bronze base and both are unsigned with no foundry marks. These bronzes are copies of the two Roman (or Hellenistic) monumental marble versions excavated at Hadrian's Villa in December 1736 by Monsignor Giuseppe Alessandro Furietti. The original models now reside at the Capitoline Museum in Rome. These bronzes were a popular subject for collecting in both the 18th and 19th century Grand Tour periods. Engravings of the pair were widely disseminated in Europe in the 18th century which increased their fame. Provenance: The Estate of John Nelson, a noted Los Angeles antiques dealer...

Large and amazing work museum quality of lighting Art. The first owner of this incredible piece of lighting art must have been one of the wealthiest people in town, because this qua...

An Austrian bronze paper clip A Viennese cold painted bronze dog figurine, designed as a paper clip mounted on a polished mahogany base. The...

French Art Deco Gilt Bronze and Jade Hardstone Frame, Paris, Circa 1930 An exceptional French Art Deco gilt bronze and jade hardstone frame from Paris, circa 1930. This frame stands...

Original 1900 Antique German Junghans Diana Lady Statue 8 Day Swinging Clock Beautiful spelter Lady Diana statue with a black stained wood base. Hand painted 2" porcelain dial. Cloc...

Nice Monique Gerber free-form vide-poche, circa 1970, France. Stamped M.G France. Polished gilt bronze. Vintage collector item. Dimensions: 16 cm W, 9 cm D, 4 cm H. All purchases are...

Classic early 1910s Vienna bronze figurines with glass flower vases. Thiscold painted bronze on a wooden stand is probably something you need if you’re a Vienna bronze collector. Fou...

A fine and large Louis XVI style French mantel clock, from the end of the Napoleon III period, 1870-1880. The clock is bronze casted and has a fire-gilded finish, the dial is enamele...

Good size and impressive make, Gothic church altar crucifix. This ornate and all hand-crafted, bronze table crucifix comes with a good quality made a...

Beautiful art deco vase designed by Just Andersen for GAB, Guldsmedsaktiebolaget, in Sweden during the 1930s. Made in bronze with great details. Maker stamp with model number '212' ...

This is an early 20th century male nude figurative bronze sculpture. This figurative sculpture has a deep copper tone to the bronze with an age-ap...

Elegant pair of Candlesticks i bronze with dark patinated column. French Empire during the 1820s. Wear consistent with age and use

A beautiful Thai or Khmer bronze verdigris and golden parcel-gilt Imperial guardian temple Singha lion/dragon/foo dog. This piece has a wonderful patina and heft to it. Likely mi...

This is an elegant monumental Grand Tour bronze sculpture of Michelangelo's David, circa 1880 in date. The full-length portrait statue is of David, the 14ft marble statue depicts the Biblical hero David, represented as a standing male nude, David looks tense and ready for battle after he has made the decision to fight Goliath, but, before the battle has actually taken place. His brow is drawn, his neck tense, and the veins bulge out of his lowered right hand and holding his slingshot over his shoulder. This impressive scuplture is 107cm (3ft 6" ) tall and weighs over 36kgs (79lbs). This high quality hot cast solid bronze was produced using the traditional 'lost wax' process. The attention to detail of this sculpture is absolutely fantastic. Condition: In really excellent condition, please see photos for confirmation. Dimensions in cm: Height 107 x Width 41 x Depth 24.5 Weight 36.3 kg Dimensions in inches: Height 3 foot, 6 inches x Width 1 foot, 4 inches x Depth 10 inches Weight 80.0 lbs Michelangelo's David This astonishing Renaissance sculpture was created between 1501 and 1504. It is a 14ft marble statue depicting the Biblical hero David, represented as a standing male nude. Originally commissioned by the Opera del Duomo for the Cathedral of Florence, it was meant to be one of a series of large statues to be positioned in the niches of the cathedral’s tribunes, way up at about 80mt from the ground. Michelangelo was asked by the consuls of the Board to complete an unfinished project begun in 1464 by Agostino di Duccio and later carried on by Antonio Rossellino in 1475. Both sculptors had in the end rejected an enormous block of marble due to the presence of too many “taroli”, or imperfections, which may have threatened the stability of such a huge statue...

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...

Early green patinated jar or trinket in bronze designed by Just Andersen and manufactured in the early 1930s. Ornate Josef Frank inspired handle to the lid. Fully signed and numbered...

Unique bronze limited edition "Gerenuk and Tree" sculpture by Loet Vanderveen, circa 2000s. The piece is in very good vintage condition with a wonderful patina and measures a substan...

Hand carved clear crystal and patinated golden bronze box. Each object is handcrafted and the care for every detail makes each item unique in its kind. The style of this box is a mod...

P.J. Mene The Hunt Scene Large Bronze Sculpture Pierre Jules Statue Horse Dogs. Item featured is signed to base, "P.J. Mene 1869", artist Pierre Jules Mene, large impressive size, re...

French artist Monique Gerber vintage sculptural bronze abstract rock form vide poche or ashtray. Art du bronze. Patina is beautiful and shows its age. These bronze objects were often...

Large early 1900s handcrafted, natural mineral stone with bronze hardware light fixture. It is difficult to understand how they created such a perfect, circular shape pendant out of...

Maitland-Smith bronze sculpture depicting the Goddess of Peace, Aurora, after Jules Felix Coutan. The winged figure is adorned with a helmet and holding a sword, mounted on a marble ...

This fine clock is made by the French bronzier thomire It depicts a story about Aurora which is the advisary Of Amor. She stops darkness by pulling the star studded cloak From th...

An extraordinary and wonderfully rendered 19th century Italian cast bronze depicting a seated Hermes, the Greek god of messengers, travelers, and merchan...

This large mid nineteenth century marquetry box from the Napoleon III period features a burl thuya wood field surrounded by a concentric border of intricately inlaid ebonized pearwoo...

Large Grand Tour circa 1860s patinated bronze of the Wrestlers. Rich fine dark brown patina. Marked "F. Barbedienne Fondeur." The Wrestlers also known as The Two Wrestlers, The Uffizi Wrestlers or The Pancrastinae...

Candleholder Blue Birds Set of 2 with hand-painted porcelain, with bronze details, for 2 candles, candles not included.

A gorgeous antique bronze paper clip in the Bookmark design By Tiffany Studios (signed to the underside) New York, USA, 1918 Measures: 2.75"W x 3.25"D x 1"H. Good original vintag...

Beautiful Art Deco Vase in patinated bronze designed by Jacob Ängman (1876-1942) for GAB (Guldsmedsaktiebolaget) in Sweden during the 1930s. Wear consistent with age and use

Quality antique Chinese bronze vase having a quality ornate Chinese decorated bronze vase featuring a blossom tree, oriental male figure an...

Brutalist bronze candle stick by Michael Harjes , 1970s Dimensions: 30cm Width , 8,5cm Depth , 21cm Height Period: 1970s Material: Bronze

A beautiful Swedish Grace bronze vases with amazing patina. Made by an unknown producer in Sweden, 1930s. Great condition, only a few light scratches.

A Gilt Bronze Tibetan Representation Of A rare Green Tara Buddha Statue. Sounds like there is an item sealed inside. Gilt Bronze and Copper. Early 1...

Rescued from Industrial scrap yards and brought back to life in our UK workshop, our expert process allows us to create a high quality clock of luxury standards. At A.C GMT Co. we ...

This magnificent pair of gilt and patinated bronze sculptures faithfully reproduces the iconic Marly Horses, originally sculpted in marble by Guillaume Coustou (1677–1746) for the Ch...

A fine signed antique Japanese Meiji period mixed metals vase. By Miyabe Atsuyoshi for Inoue of Kyoto. With a bronze body and d...

Exceptional planter by Maison Marnyhac in chiseled and gilded bronze and Algerian onyx representing a young African woman kneeling, carrying an oval bowl decorated with foliage. She is dressed with a loincloth, wearing an egret and adorned with many jewels. It rests on a square base decorated with gilded bronze. A model of a similar African Venus...

Vienna bronze, penguin, high-quality bronze figurine. Presumably by Franz Bergmann. In excellent condition with a nice patina. Austria, circa 1900/1910s. Dimensions: Height 27 mm x W...

Mid-Century Brazilian modern abstract bronze sculpture on bronze base signed by Roberto Vivas circa 1960s.

Pair 19th C bronze Horse bookends Measure 2 deep x 4.5 high x 5wide.