Bronze Figurative Sculptures

A delightful French bronze Grand Tour model of the Arc De Triomphe, circa 1860 in date. The beautifully realistic model is cast in high relief and is mounted on a black marble base....

Elegant and finely cast bronze sculpture of Hermes, France circa 1890. Hermes, the messenger of the gods in classical mythology, is a symbol of communication, travel, intelligence, a...

Art Deco bronze sculpture depicting the Abduction of Europa, showing a nude female figure on a bull, symbolizing the mythological story of Europa and Zeus. This powerful composition ...

Vintage bronze sculpture depicts an infant girl standing on a cushioned stool, holding her left shoe in her hand while pressing one finger of her right hand to her lips. Beautifully...

Marcel André Bouraine (1886-1948, France) ; "Fan dancer" Triple patinated bronze (Mordoré-light bronwn patina, silvered and gilt) on a shaped "Portor" marbre base showing a woman da...

An exceptional and exceedingly rare Art Deco bronze sculpture titled “Lysis”, designed by Pierre Le Faguays under his well-known pseudonym Fayral, and cast by the Max Le Verrier foun...

This striking Art Deco bronze statue, titled "Le Bendeur", was sculpted by Jean de Roncourt in France, circa 1930. A masterful representation of Art Deco style, the statue captures t...

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 mid ...

Jim Davidson (American, b. 1962) Young Lovers Partially weathered green patina bronze sculpture. Live side bronze bench ( 45.75" in widt...

19th Century patinated bronze sculpture of Diana of Gabbi measuring 21.5 inches tall and 28 inches in total as shown mounted on its ebonized wooden pedestal. With the stamped mark o...

Important Gripoix Floral Arrangement, from the former YSL Showroom on West 57th St in New York City. One of an important trio that were used for decoration within the Lalanne designed iron showcases...

This vintage bronze toothpick holder is designed in the form of a whimsical fish, showcasing a verdigris patinated finish with elegant gold-tone highlights. Inspired by the mid-centu...

Bronze sculpture attributed to Vaclav Szczeblwski (Poland, 1875 - 1901).

A German Expressionist bronze sculpture "Polospielers" (Polo Players). Signed and marked 'Fred Voelckerling, 1919' on the base. In very good condition, normal wear and patina. Dimensions: 45x28x36.5 cm The aesthetic composition is depicting two polo players on horseback, in full competition. The horses' movement has a special elegance and sobriety, and the finish is of remarkable sensitivity, the anatomical elements are distinguished, without the stylization becoming of a trivial naturalism. The polo players are caught in a moment of maximum tension, struggling to keep both the horses in check and the clubs in play. The whole ensemble exudes the emotion of movement and competition, being a perfect example for the expressionist sculpture. Alfred (Fred) Hans Voelckerling (1872-1945) was a German artist who worked as both a sculptor and a painter. He has created many works of art that have been exhibited in different countries. His works are very impressive and often show people or animals in different situations. Voelckerling's art is well known and admired by many people around the world. After graduating from the Dresden school for arts and crafts where he worked in the studio of Robert Diez...

French Empire or Napoléon III Patinated and Gilt Bronze Sarcophagus Mount, Egyptian Revival, circa 1800–1860 A finely cast and parcel-gilt French bronze furniture mount in the form ...

A striking bronze sculpture by Mexican artist Victor Salmones (1937–1989), mounted on a polished black marble base and signed along the lower edge. Marked Prueba de Artista (Artist P...

This finely cast bronze statuette of a bearded satyr - once exhibited at New York’s Metropolitan Museum - dates to the 2nd-3rd century BC. It is a superb example of the expressive na...

1940s, Gorgeous oriental decorative statue in bronze. Thai Deity. The item is in excellent condition. Dimensions: 4, 33" W x 1, 96 D x 7, 87 H inches. L...

This grand tour bronze sculpture depicts the version of Venus so important to the history of art and literature in the U.S. that the original was temporarily loaned to the National Gallery of Art from the Capital Museums in Rome in 2011. Mark Twain visited Rome and upon his return home in 1867 he published "The Capitoline Venus" and he described the work as the “most illustrious work of ancient art the world can boast of". (with credit to the National Gallery of Art catalog...

This exquisite piece represents the head of a bearded faun, clearly depicted with his goat horns and elongated ears. The faun was the Roman equivalent of the ancient Greek satyr, a m...

GRAND TOUR Italian, circa mid-to-late 19th century Ludovisi Mars, After the Antique Patinated bronze raised on an original marble plinth 13 1/2" H x 6 3/8" D x 4 3/4" W (total in...

This finely cast French bronze sculpture by Émile Picault (1833–1915) depicts a classical warrior captured in purposeful stride, sword in hand. The figure is modeled with strong anat...

A bronze statue by Charles Louchet, France (1854-1936) A standing female naked, looking up with her arms up. A beautiful graceful movement in bronze...

Large, bold and provocative, this very rare bronze sculpture depicts a powerful, muscled nude male figure endeavoring to lift an enormous rock, his legs splayed and his body tensed t...

Pierre Auguste Renoir French, 1841-1919 Buste de Coco, 1907 Signed Renoir and numbered 2/6 and stamped Cire Perdue C. Valsuani Bronze with a dark brown patina Height 9 7/8 inches (25...

This exquisite Art Deco sculpture, titled “Élégante Aux Biches,” is an iconic work by Demétre Chiparus, one of the most celebrated artists of the period. Cast in detailed bronze and ...

Art Deco sculpture in silvered bronze signed M.Bouraine. Black marble base (Belgian surfin). In very good condition. Total height: 30 cm Width: 23.5 cm Base width: 11 cm Base depth:...

A large fine Art Deco patinated bronze figure of "The Riverman" by Maurice Guiraud-Rivière (French, 1881-1947), circa 1920 in date. This powerful sculpture is modelled and cast a...

Antique bronze sculpture from a design by Eugene Lanceray, showing an equestrian scene with a Russian / Cossack soldier seated on a horse, giving his lover / wife a kiss goodbye. Sig...

A beautiful, 7 lb, gilt bronze Tibetan sculpture of Buddha Vajrasatwa. Seated dhyana asana on double lotus throne, left hand holding a ghanta bell, right hand holding vajra thunderbolt, scepters of combined male and female energy to conquer evil. Dressed in a tight fitting dhoti and a shawl covering the shoulders, wearing layers of necklaces. The head tilted downwards adorned with an elaborate crown anchoring a high chignon. The face with downcast eyes...

A superb antique bronze and marble sculputure group titled "The Betrothal" by Carl Kauba (1865-1922), circa 1890 in date. The bronze features a classical youth placing a ring on the...

Well-loved and richly worn, this petite bronze traveling shrine from North India depicts the Hindu god Ganesha. Attributed to 17th century or later, the palm-sized icon reveals its a...

Large Bronze southern Gentleman sculpture in original paint. This sculpture depicts that of a man smoking a cigar sitting on a high stool or bench with a cane in the other hand. Ther...

Nice old bronze Grand Tour figure of the ancient Greek discus thrower. This version with the head facing forward, probably based on the Roman marble copy in the British Museum. Circa...

A Monumental and Truly Exceptional French Patinated Bronze Bust of Jesus Christ, Circa 1858, Signed J. Clesinger, Rome 1858 & F. Barbedienne Fondeur This monumental and extraord...

Large, exceptional quality bronze sculpture depicting The Education of Achilles by the Centaur Chiron, after the model by Francois Rude. Ear...

This is a dynamic female nude sculpture by Auguste Rodin. This suggestive sculpture is beautifully executed in the impressionist style. This museum restrike stands on a black marble ...

A fine quality and visually striking life-size Nepalese Buddha head with beautifully aged warm patina. Exceptionally executed in brass/bronze with brilliant gold gilt / antique cop...

Refined French Art Deco sculpture dating from circa 1920, depicting an elegant stylized female figure. This piece exemplifies the refined geometry, balance, and sensual elegance that...

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.

This impressive life-size bronze Bacchanal group, conceived after Clodion, captures the exuberant spirit, sensuality, and theatrical movement that define the finest French Neoclassic...

Rare & fabulous Antique Napoleon lll clock garniture with incredible quality bronze sculptures. You will rarely see a clock garniture with bronzes of this quality and detail. The bearded thinker/philosopher on top of the marble clock is simply astonishing. His natural poisture, his hair, face and hands, but also his clothes, it is all of a quality and detail that only a master sculptor can achieve. And the patina also is just perfect. The philosopher is marked on the back and it reads 'BE x'. The two bronze female (classical maiden) sculptures are in fact two stunning candle holders and they too stand on beautifully shaped black marble bases with cartouches. These majestic candle holders are marked on the sides 'L.V.E. ROBERT' (Louis Valentin Elias Robert) and on the back they read 'AD x'. The black marble clock comes with a circular dial face with gilt Roman numerals and this clock has a well working movement. The movement is stamped 'DENIERE / A PARIS' and '2165'. On the bottom it reads A.Blacher and there also is a cachet with 'MEDAILLE D'OR / Paris / 1827'. If you like this one of a kind, clock set as much as we do then you will love our price. Especially, since perfect packing (in a custom made crate) and worldwide delivery from our store to your door in just 4 days are complimentary. Maximum clock height x width x depth: 22 x 17 x 8.5 inches. The large figure candle holders...

Bronze Sculpture of Hercules and Antaeus crafted and signed by Carl Kauba. This sculpture depicts the tale of Hercules' battle against Antaeus. Antaeus, son of Gaia and Poseidon,...

This is a large French bronze sculpture of Vercingetorix with his son by Emile Laporte (1858 - 1901), circa 1890 in date. The standing figure of Vercingetorix wearing a winged hel...

THE DANCING FAUN OF POMPEII After the model of Antiquity Grand Tour, Italy cast ca. 1880 With a fine verdigris patination and "ancient" surface treatment...

Heavy and very nice quality statue of an imperial temple lion, or Singha or foo dog, partly gilded bronze, partly green patinated, Thailand or Cambodia, circa mid 20th century or lat...

Introducing "Tortura", an exquisite bronze sculpture created by the renowned artist Antonio Kieff Grediaga. This limited edition piece is numbered #2 ou...

This dramatic, highly streamlined bronze with a nude male figure angled toward the sky illustrates a genre of Art Deco sculpture that was pioneered by Frederic Focht (this example is...

A truly wonderful and boldly designed Japanese bronze sculpture of a fierce samurai warrior perhaps in a moment of silent reflection. This piece has a great feel and heft. The fine...

Jean Jacques Pradier (1790-1852) Bronze Napoleon Bonaparte James Pradier (born Jean-Jacques Pradier, 1790–1852) was a Genevan-born French sculptor best known for his work in the neoclassical style, one of the primary artists of Napoleon's tomb, Les Invalides.  This exceptional 19th-century French bronze full-length portrait of a standing Napoleon Bonaparte bronze...

This finely cast bronze sculpture, made in France in the late 19th century, is a striking representation of a classical Greek warrior — likely a hoplite — caught in the dynamic motio...

An elegant and highly collectible Art Deco chryselephantine sculpture "Amies Toujours (Friends Forever)" by Demetre Chiparus, depicting a refined female figure flanked symmetrically ...

Antique Continental Bronze Napoleon Style Toothpick Holder Continental Bronze Late 19th Century Dimensions: H x D: 15 x 7cm Toothpick holders ros...

Large mid-century bronze sculpture "Neptune," 1950s Marble base. Replica of the central statue of the Fountain of Neptune (God of the Sea) in Bologna. This fountain was created betwe...

An exceptional casting and finely patinated bronze sculpture of jockey on thoroughbred racehorse by Isidore Jules Bonheur (1827-1901), measuring 24 in tall, 26 in wide and 6 in deep....

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...

For Restoration. A rough cast of a Remington bronze with The Plains native American riding a rearing horse as he wields his spear. On a faux marble b...

Rudolf Marcuse - The Swordsman Germany (Berlin) bronze, marble circa 1910 Dimensions: H x W x D: 24 x 19 x 6 cm Description: Bronze figure standing on a two-tiered base made of bl...

French bronze dancers sculpture from the 1930s

A well cast mid-century traditional bronze "Happy Buddha" wandering monk sculpture, circa 1970s. The piece is in very good vintage condition and measures: 9"W x 6.5" D x 10" H. The ...