Bronze Figurative Sculptures

Pair of Art Deco style male female bronze steel bust vases. Man: 13.63"W x 6"D x 20.25"H
Woman: 14"W x 6"D x 20.25"H

Bronze Agave plant sculpture from the 1970s with a nice green patina. Agave is used to make mezcal. Mounted on a wood base. Unsigned. 1970s

“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 ...

An Italian circa 1900 cast metal statue of Poseidon. Measurements: Height: 27.5" Diameter: 15"

A trio of vintage African bronze sculptures. One depicts a naked man/tribes man with stretched arm, one a female carrying a bowl on her head and another female loin cloth carrying a ...

Powerful and very rare, this sculpture of a kneeling, fully nude Mercury, with his golden blade in hand, dates from 1921 and was probably sculpted by a German or Austrian artist. Me...

Antique Italian bronze figure picking a thorn from his foot, circa late 19th century. This figure, known as Spinario (the Spaniard) is based on an ancient Greek statue in the Capitol...

1930s French Art Deco bronze figural sculpture on a black marble base, signed by Alexandre Ouline.

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...

This captivating Art Deco sculpture, crafted in France circa 1925, embodies the bold elegance and modern sensibilities of the Jazz Age. Depicting a reclining flapper, the piece is be...

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 ...

Woman Sculpture Annie Fokker Cottrau Italy, 1930-1940 Silver Bronze "Annie Cottrau" and "Fond Laganà Napoli" signed Rare Sculpture Annie Cottrau (Blitar, 1887 – Capri 1949)

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....

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...

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,...

A patinated bronze sculpture reproduction of the Laocoon group by the Napolitan world famous Fonderia Chiurazzi, Italy 1880-1900. Rediscovered in 1506 in Rome The Laocoon Group is believed to be created sometime between 42-20 BCE by three sculptors from Rhodos – Hagesander, Athenodoros and Polydorus, after the work of more ancien Hellenistic sculptors. Recreated and issued (with several sizes and creative variations) by Fonderia Chiurrazzi, this piece is more than just an incredibly precise and expressive reproduction of the iconic antic sculpture...

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...

Late 19th Century Neapolitan School Bronze Figure of Narcissus, After the Antique. A large Grand Tour Bronze of the Roman God of Wine, the original discovered in Pompeii in 1862, now...

Bronze sculpture of two figures seated upon a cast stone pedestal, ca. 1980s, by the internationally renowned mid century sculptor Ramiz Barquet (1920-2010) of Mexico City.

Lovely Lifesize Bronze of a Female Nude This Sculpture was Bought from a Residence in Scotland and was in their Garden for Many Years Lovely Patina

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...

A Beautiful Cast Bronze Cupid Bird Bath in the Manner of Franz Von Stuck The Cupid Holding the Decorated Shell shaped bowl Ideal for outdoors or in

A lovely green bronze sculpture in shape of a jumping frog. The frog is 26 cm (10.4") tall and in excellent condition. Marked A.P.G below.

Falconer on horseback after the original model by the French master, Pierre Jules Mene (1810-1879), measuring 28 in tall, 29 inches wide and 9 in deep.

This is a stunning figurine table lamp of a nude lady bronze Figurine sculpture made in France, circa 1930. The figurine is heavy and made of bronze metal with good detail. It has been cold painted with a green colour which has worn away in places, showing a patinated bronze colour beneath. The lady is stood on a round ball above a shaped shell like base. The figure is holding the lamp above her head with the electric cable running into the base and vertically up her back to the lamp fitting above. A coloured spherical glass shade firmly sits in the dished support. The light is currently fitted with a small bayonet fitting, the whole electrical fitting having been PAT tested for safety compliance in the UK. The fitting could easily be modified to suit the electricity supply of the country where it might be used . This piece is typical of the Art Deco aesthetic, with the sleek lines of the nude girl figure holding the globe light above. The lamp is in full working order. This is a substantial heavy piece weighing about 2.5Kg unpacked. Overall a beautiful original Art Deco Lady Figurine...

Vintage bronze sculpture by American artist Rebecca J. Grob. The piece depicts a female gymnast performing a handspring. The piece is stunningly beautiful capturing the e...

Rosario Russell Fiore (American, 1908-1994) Art Deco figural nude bronze, 1930s 5 inches wide by 3 ½ inches deep by 10 ½ inches tall Rosario R. Fiore was a prominent American scul...

A stunning green-patinated bust of Beethoven, sculpted by Pierre Le Faguays for Max Le Verrier. A masterpiece of French Art Deco from the 1920s, it captures the composer lost in the ...

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

Annibale De Lotto large bronze sculpture Boy with Crab 1910 Italy Venice.

The Boy Fishing Bronze Statue is designed after a figure by by Austrian sculptor and potter Friedrich Goldscheider. It depicts a young boy fishing ...

Bronze Sculpture Arch Angel Michael's Battle with the Devil,  Signed A. Saulon, Europe, Mid-20th Century A powerful mid-20th century bronze sculpture depicting the Archangel Michael...

One of the most renowned sculptures ever created by Robert Tait McKenzie, this medal depicting three nude male hurdlers represents, in miniature form, a relief created in 1912 for th...

1920s Art Déco persian warrior cold-painted bronze sculpture by Franz Bergmann, Austria By: Franz Bergmann, Nam Greb Material: bronze, copper, tin, metal, paint Technique: cast, mol...

19th-century Italian Grand Tour Bronze of the Gladiator, After the Roman Antique Attributed to the Naples Foundry, late 19th century This fine 19th-century Italian Grand Tour bronze...

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 extraordinar...

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...

Solid, abstract bronze sculpture of a female figure. Cast in a weighty form with a rough-hewn, faceted surface and deep olive patina with traces of verdigris. The stylized torso emph...

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

"Memory". Bronze sculpture. Signed. Height: 51 cm

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...

'Cavalier Arabe'  (Arab Huntsman on Horseback) After Alfred Barye  Alfred Barye (1839–1882) A magnificent 20th-century posthumous casting of "Cavalier Arabe" (Arab Huntsman on Horseb...

The unusual model bronze dating to the late 19th century cast as a patinated bronze cherub holding two large strawberries with the vine looping over the back of the cherubs neck as i...

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...

Eleanora & M. Magdalena Dei Medici Wax Portraits on Slate Measures: 4.5" DA 18th Century or Earlier Wax Portraits of Eleonora de' Medici and Maria Magdalena de' Medici in Ormolu F...

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...

Mid-Century Modern abstract bronze female torso sculpture. This is a striking bronze statue of a female torso. It is mounted on a black marble p...

Lady and the Bee From our Bronze Sculpture collection, we are delighted to offer this beautiful French Bronze Sculpture by Eutrope Bouret. The Sculpture modelled in bronze with a su...

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...

19th Century Finely Cast Bronze Hand with Ornamental Cuff A beautifully cast 19th-century bronze sculpture of a delicate female right hand, rendered with graceful, elongated fingers ...

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...

Rare Gothic revival church crucifix and a wonderful hand crafted work of religious art. Made and marked by Brom, Utrecht (see image 17). Brom of Utrecht was a family (or dynasty) of...

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...

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 19th-century French sculpture features a young drummer, captured in a moment of intense focus and energy. Rendered in rich patinas of bronze, the figure is dressed in historical...

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...

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...

Khadim Diop, the Senegalese artist renowned for his bronze sculptures that adorn many private collections worldwide, has crafted two captivating and expressive pieces that showcase his mastery of the medium, a rare find in the market outside Africa! The first sculpture portrays a dynamic figure playing the Djembe drum...

This is a solid bronze figurine of a dancing lady called Hoop Girl after D H Chiparus, on an Onyx base, dating to the Art Deco period, Circa 1925 to 1935. ...

A large, 11 lb, gilt bronze Tibetan Buddha statue of superb quality. Standing on lotus plinth with the "no fear" abhaya mudra, the broad-faced fi...