Bronze Figurative Sculptures

REDUCED FROM $950....Here you have a delicate and finely chased Jugenstil bust of a young lady with turn of the century upturned hair resting on a pedestal of what appears to be a vine of holly leaves and berries. Lovely period Art Nouveau form. The shouldered bust is a beautiful patinated greenish brown bronze and the stepped base gilt bronze...a wonderful contrast. Hans Müller...

Bronco Buster, a cast bronze sculpture after American artist Frederic Remington on marble base. Filled with a tremendous dramatic tension, this bronze sculpture depicts a scene from ...

PRESENTING AN ABSOLUTELY STUNNING Large ‘Huntsman/Valet with his Hounds’ Bronze Sculpture by PJ Mene – 1869. This is a LARGE sculpture, weighing over 175 lbs....

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 Rattlesnake, a cast bronze sculpture after American artist Frederic Remington on marble base. Filled with a tremendous dramatic tension, this bronze sculpture depicts a scene fro...

Large bronze sculpture with a brown patina, representing a naked woman, sitting in an armchair, a pencil in one hand, a vase in the other, surrounded by antiques. Signature of the...

This striking bronze sculpture portrays a young boy in a moment of poised concentration, just before releasing his sling. The piece captures silent tension and inner focus with remar...

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...

Old bronze statue from the beginning of the 19th century of Napoleon Bonaparte of fine quality. Original aged patina Total height 22 cm, base 8.8 x 8.8 cm, heigth figure 9 cm

Bronze male sculpture signed. Fonderia Giorgio Sommer Calabritto Napoli Thomas, sculptor, lived and worked in the Naples area, and especially on Capri, from 1889 to 1906. Given this ...

A reclining bronze of Venus. There is great detail in the casting.

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...

Diego Giacometti style bronze statue "le chat maitre d'hotel" made in France around 1970 The Butler Cat, 1961-1964 is one of Diego Giacometti's most iconic works. He created it in ...

This is a fine antique pair of French Grand Tour patinated-bronze sculptures of the Marly Horses, Circa 1850 in date and signed to one base. The original Marly Horses were commissi...

A really cool boy flying a kite bronze on black wood block sculpture by Curtis Jere, circa 1969. The piece is in very good vintage condition and m...

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...

Grand Tour Bronze statues of three nude males from mythology, all in various poses. These small statues range in height from 5.5" to 5.75" and in width 2 to 2.5". These would have be...

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...

Created by Mexican artist Jorge Marín, this bronze statue illustrates his signature themes of balance, flight, and mythic masculinity. A muscular, winged male figure perches with ele...

Stunning Mid-Century Modern abstract bronze sculpture on a granite base by Yone Di Alerigi. This bronze sculpture has a plaque with the title, ballerina or ballet dancer and is artis...

An attractive early 20th Century Art Deco cold painted silver bronze figure of a young energetic beauty in a stretched pose, raised on a decorative black and green onyx base and sign...

This authentic Art Deco bronze sculpture depicts a graceful nude dancer holding a Thyrsus, created by the renowned French artist Pierre Le Faguays around 1930. Cast in gilt and patin...

Maurice Bouval (French 1863 - 1916), Patinated Bronze Figure Of An Art Nouveau Woman Bronze on Marble Plinth.

At the base of a staircase, or in front of a fireplace, the silhouettes of this pair has a lifelike quality. Pharaohs light the way from atop their geometric base. The bronze Egyptian-style statues will dominate the entryway and the conversation. The silhouettes are stunning, on or turned off. The Art Deco style parcel verdigris bronze figural floor lamps...

Mercury and Fame Seated on Pegasus After Antoine Coysevox (1640-1720) Cast by Eugène Cornu (1827-1899) Mounted on Rouge de Languedoc marble bases, the patinated bronze sculptures r...

This listing features a bronze lost wax cast sculpture of a mountain man on a rocky mountain with his horse, likely part of the fur trade, which reached its peak in the 1830s and 184...

19th Century French Bronze Woman sitting with her lyre instrument by her side. She is in a sitting position with one hand under her chin as if musing over something. She is elegantly...

French Soldier Patinated Bronze Sculpture, late 19th century, the figure depicted in tropical uniform, carrying a rifle at port arms, signed to base "A. auberg (?)", on a circular pl...

This artwork was created by the Italian artist Ottorino Tonelli. Title "Adamo" translated "Adam" Ottorino Tonelli was born in 1948 in Carrara, where h...

American bronze cowboy sculpture resting on oval molded marble base depicting cowboys on horses coming in to town from cattle drive. Bronze sc...

A wonderful example of a hollow-cast bronze octopus. This piece features wonderful detail and resemblance to a real specimen. An exotic piece certain to...

A very good antique French bronze & marble Grand Tour model of the Column de Vendome, Paris, circa 1860. A fine cast bronze model of the fa...

Early 20th Century bronze male nude sculpture on wood pedestal base.

JEAN-DIDIER DEBUT 
French, 1824-1893 

French Orientalist Model of a Janissaire Warrior 

Polychromed and patinated bronze signed "E. Debut", sealed with editeur cachet "Bronze Ga...

Bronze Statue of Cleopatra Reclining on Red Marble Base - Classical Sculpture of Great Charm This elegant bronze statue depicting Cleopatra in a reclining position is an extraordinar...

Designed by French sculptor Pierre Le Faguays in 1925, this Art Deco bronze statue features a young Grecian female archer named "Diana" gracefully pulling her bow. The statue highlig...

Ancient Roman Bronze Herm Statue dating from the 1st to 4th Century A.D. A herm was a statue consisting of a a head atop a square pillar, originally an artifact to honor the god Herm...

The nude from Ancient Roman art is a conceptually perfected ideal person, each one a vision of health, youth, geometric clarity, and organic equilibr...

'Hoop Girl' Art Deco Bronze Sculpture Signed Ferdinand Preiss (1882-1943) Germany, Circa 1920's We are pleased to offer the 'Hoop Girl' Art Deco Bronze Sculpture, a signed work by...

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

19th century French bronze bust sculpture of Emperor Lucius Varus . This handsome Grand Tour bronze bust of is in the manner of F. Bard...

Horse. Patinated metal. 19th century. Figure of a walking horse with a bronze base and a patinated iron animal. It shows a strong influence from the animal figures common in the 19...

Large and stunningly figural Egyptian design, style marble clock garniture, circa 1920. If you are looking for a statement piece for your mantel and you have an interest in worldly ...

A unique Anne Van Kleeck bronze, table top sculpture of abstracted figures, dancers perhaps. From the artist's estate. A note about the artist: Anne Van Kleeck was primarily known for her works in cast bronze and ceramics. She attended Ohio Wesleyan University (B.A.) and Ohio State University (M.A.) and spent several years as a professor of art in Ohio and Florida. In 1957, Anne traveled to Venice, Italy to study bronze and lost wax casting, beaten iron and mosaic techniques. During that stay she employed an Italian foundry expert and together they established a small foundry on the island of Murano where they cast bronzes for her one woman show in Venice. Van Kleecks work has won multiple awards and is owned worldwide by private collectors and museums, including the Metropolitan Museum and MOMA in New York. She was contemporaries of and exhibited with Ruth Asawa, Gary Knox Bennett...

A remarkably fine example of Archaic sculpture.  A figure of a discophoros, or discus bearer, standing with his right leg forward, gripping a discus in his right hand, the left arm raised with an open palm. Described with admiration in Münzen und Medaillen's 1961 auction, "The figure is a masterpiece and illustrates with rare vividness the essence of good Etruscan sculpture...

Antique French Art Deco Bronze Vide Poche or Catch All signed Loys, Max Le Verrier Style Bronze Vide Poche Bronze vide poche in the manner of Max Le Verrier pieces. This charmin...

Polished bronze Venetian face by CM Volare, 1994.

Antoine Louis Barye Theseus Slaying the Centaur Bienor Black Patinated Bronze Group. A French bronze group entitled 'Thesee combattant le centaure Bienor, esquisse' (Theseus slaying...

French bronze sculpture of Cupid after Auguste Moreau (1834-1917)

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 nicely cast bronze Neoclassical Grand Tour souvenir of the Herculaneum Athlete or Runner. It’s nicely done with fine detail and has a Panama Pacific Exposition label on the base, w...

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...

A Maasai girl, upon reaching adolescence, undergoes a traditional rite of passage known as "Enkipaata" a ceremony marking her transition into womanhood and preparing her for the resp...

Art Deco bronze sculpture male torso. Bronze, dark green patina on a Portor marble base. France 1930.

An August Moreau bronze table sculpture. This lovely art nouveau table sculpture features a full cast bronze construction, sitting atop a beautiful tapered marble base. This vase dep...

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...

Stunning figural bronze sculpture by Franz Hagenauer. Signed.

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...

“Liggend (Reclining)” by Kyle Smith, Bronze Nude with Ponytail, Edition 2 of 9, 1999 Signed, Dated, and Numbered Dimensions: 7” W × 3.5” D × 3.5” H Patina: Dark Engraved Verdigris ...

A unique, bronze sculpture of a man with outstretched hand, with timeless, Prehistoric feel by Anne Van Kleeck. From the artist's estate. A note about the artist: Anne Van Kleeck was primarily known for her works in cast bronze and ceramics. She attended Ohio Wesleyan University (B.A.) and Ohio State University (M.A.) and spent several years as a professor of art in Ohio and Florida. In 1957, Anne traveled to Venice, Italy to study bronze and lost wax casting, beaten iron and mosaic techniques. During that stay she employed an Italian foundry expert and together they established a small foundry on the island of Murano where they cast bronzes for her one woman show in Venice. Van Kleecks work has won multiple awards and is owned worldwide by private collectors and museums, including the Metropolitan Museum and MOMA in New York. She was contemporaries of and exhibited with Ruth Asawa, Gary Knox Bennett...