Bronze Figurative Sculptures

Splendid bronze sculptural group depicting the rape of the Sabine women, made with the ancient lost wax technique. The drama of the scene is rendered with great mastery: in the cente...

A Captive Soldier Gilt Bronze, Lost Wax Italie (Rome), 17th century H 17 x Dia 10 cm H 6 2/3 x Dia 4 inch The 17th century witnessed a flourishing of artistic expression across Eur...

Large Cast and Chiseled Bronze Plaque Saint Sebastian after the model by Guido Reni (Capitoline Museum) Rome, 17th century Large rectangular bronze plaque depicting the martyrdom of...

Very beautiful statuette of a Nuraghic warrior dating from 18 century before J-C. The warrior rests on a hollow base. He carries in his right hand a weapon, surely a knife, and in his left hand a shield decorated with a four-petal flower. He is wearing a headdress decorated with two horns. This statuette was realized in bronze by a technique of casting of "lost wax" (a process of precision), and carries a label in the hollow base: "bronzetto nuragico guerriero" (bronze nuragic "warrior"). The Nuraghic culture makes its appearance in Sardinia, in the age of bronze...

A masterful large classical statue in cast bronze of a beautiful young woman in stride wearing a flowing ionic chiton. The exquisite casting of ...

A savage or folk-art figure in bronze on a (recent) bluestone base. The figure with his long pointed beard is wearing a cape with hood. In front is a cross. In his hands he holds a ...

Fine 18th Century bronze figures of a military drummer and a soldier loading his musket. Both bronzes are placed on a square shallow plinth base with titled ...

Bronze Buddha depicted in meditation pose sheltered by a Naga (a seven-headed snake). I two parts. Naga's body coiled up to serve as a cushion for the Buddha with 7 pronged head prov...

Venus With Dolphin In Bronze 1600, small 17th-century Italian sculpture ending in a ferrule at the bottom. He holds a sphere in his right hand and with his left hand holds the dolphi...

An Italian 18th century antique bronze statue of Athena ex. private collection. Over 240 years old, this striking bronze depiction of Athena is ...

Bronze Bust Of 1600s, cast depicting a young boy with curly hair and a gathered robe over his neck ending in an oval section with beaded border. This antique bronze knob of Italian ...

This magnificent matched pair of bronze figures was created by the well known bronzier Clodion in the late 18th century. The pair is a fantastic reflection of Clodion’s skill and cel...

Incredible J A Houdon bronze 1790 representing "Diane" with bow and arrow by Barbedienne founder.

We present you this elegant and incredibly charming titled 'le baiser', translating to 'the kiss' in French. This statuette is rendered in bisque porcelain and depicts a bust of a te...

Standing with his legs crossed, his right foot resting on a naga hood, a gada supporting his right knee, two Nandi bulls on the square base, the god's two l...

Standing Roman emperor Germany, 17th century Bronze and marble base

In the heart of ancient China, within the resplendent Ming dynasty, a masterpiece was cast in bronze, a testament to a culture steeped in mysticism and spirituality. This Taoist bron...

An exquisite Thai cast bronze Buddha head, Sukhothai kingdom, circa 15th century, Thailand. The Buddha's pleasing face, with its narrow, oval ...

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...

Egyptian Bronze Figure of a Seckhmet Lion-Headed Goddess, 21st/25th Dynasty, 1075-525 BC The lion-headed goddess possibly seated.8x4x5 cm.Bronce...

A rare and unusual Chinese Ming Dynasty bronze figure of the Buddha as an infant. The young Prince Siddhartha, who would grow up to become the Buddha, is portrayed standing, one hand pointing to the sky, the other to the ground. He is naked, save for a baby apron...

A beautifully sculpted Thai/ Siam Southeast Asian bronze Buddha head on a custom wood stand. The Buddha's eyes are closed in serene meditation. The piece has a wonderful feel and heft to it. Very well well crafted with a gorgeous natural organic patina acquired over age. This bust/fragment likely belonged to a larger Buddha statue...

This is a very rare and extremely unusual figurative solid bronze handcrafted sculpture. The figure is most likely Inca-Mayan and worshiping Inti, also called Apu-punchau,-in Inca religion the sun of God. The work is incredibly detailed, starting with the man’s feet...

A beautifully sculpted Thai/ Siam Southeast Asian bronze Buddha head on a custom wood stand. The Buddha's eyes are closed in serene meditation. The piece has a wonderful feel and heft to it. Very well well crafted with a gorgeous natural organic patina acquired over age. This bust/fragment likely belonged to a larger Buddha statue...

A beautifully sculpted Thai/ Siam Southeast Asian bronze Buddha head on a custom wood stand. The Buddha's eyes are closed in serene meditation. This beautiful gem has a wonderful feel and heft to it. Very well well crafted with a gorgeous natural organic patina acquired over age. This bust/fragment likely belonged to a larger Buddha statue...

Extraordinary Pair of Antique French Angels PAIR OF LARGE DIMENSIONS OF 2 ANGELS IN BRONZE PATINA IN GREEN. THE QUALITY IS VERY NICE. THEY REPRESENT 2...

Late 17th century French Gilt Bronze Figure of a Crouching Venus Gilt bronze crouching Venus on a pedestal decorated with Boulle marquetry and...

Jean Boulogne bronze sculpture "Abduction of the Sabine Women" a verdigris patinated bronze figured group on a circular stylized. Base signe "Jean Bologne".

ITALIAN PROCESSIONAL CROSS 17th Century in cut brass and bronze. Mounted on a wooden back base. Usage signs. Dec. Height: (total) 50 cm; (Ch...

The bronze statue depicts a Turkish warrior with shield and sword. the warrior is shown bare without veils, with a base also made of oval-shaped bronze, acting in a war scene. Detai...

Beautifully cast statuette of a satyr, Greek, Hellenistic Period, 3rd-2nd Century BC, solid cast bronze The present work is a wonderful example of the finest Hellenistic style. The ...

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...

An small but exquisitely cast and highly detailed bronze statue of St Joan of Arc in full body battle armour including the horse with one hand holding ...

Pair antique bronze patinated angel putti sconces. Italian late 17th century bronze putti with exceptional modeling seated on scrolled arms each ex...

A decidingly charming Chinese polychromed and gilt cast bronze figure of Nanhai Guanyin, Guanyin of the South Sea, Ming Dynasty, 16th/17th century, China. Guanyin, the bodhisattva of compassion, is portrayed here as a beatific figure seated upon a raised lotus pedestal over waves. Guanyin is dressed in heavy robes, and wears an elaborate headdress. The small figure of Amitabha Buddha in the headdress positively identifies this figure as Guanyin. Guanyin rests one hand in his lap, holding a cup of pure water said to be able to alleviate all suffering. His other hand is raised, holding a willow branch which is used to sprinkle the healing waters. The two lotus blossoms to either side of Guanyin would originally have supported figures of the acolytes...

Khmer Bronze Buddha Cambodia, 17th/18thC Copper and Bronze sculpture representing seated Buddha with traces of gilding. Writings on verso; possibly a prayer. Dimensions: Height 6 1/4 inches (15.8 cm)} AVANTIQUES is dedicated to providing an exclusive curated collection of Fine Arts, Paintings, Bronzes, Asian treasures, Art Glass and Antiques. Our inventory represents time-tested investment quality items with everlasting decorative beauty. We look forward to your business and appreciate any reasonable offers. All of our curated items are vetted and guaranteed authentic and as described. Avantiques only deals in original antiques and never reproductions. We stand behind our treasures with a full money back return policy if the items are not as described. Please also consider Avantique’s antique and ancient Asian Art...

BEAUTIFUL EARLY 1800'S MEDALLION OF TSAR ALEXANDER II. IN GOOD GEMERAL CONDITION. PRESENT SLIGHT FAULTS ON THE EDGES- SEE PHOTOS. MEASURES: 10 CM DIAMET...

BRONZE MODEL OF "SLEEPING PUTTO" IN THE MANNER OF FRANÇOIS DUQUESNOY Situated over sienna marble base, unmarked; circa late 18th/early 19th century ...

Aharon Bezalel Cast Bronze, modernist, brutalist. c 1969, Wonderful form and artistry.

19th century French classical bronze of Euterpe by Pierre Alexander Schoenewerk A very finely sculptured and detailed large French bronze study of the female Greek goddess Euterpe who was one of the nine mousai (muses), the Goddess of music...

Bronze sculpture study of a female dancer mounted on base, after Edgar Degas (1834-1917), signed EK 61, 8" H x 4" L x 3.2" W.

Guillaume Coustou (1677 - 1746) "Le cheval de Marly", sculpture in bronze Measures: H: 57 cm W: 47 cm D: 22 cm.

Highly decorative 18th century set of three cold-painted and Solid Cast Bronze Figurines on black veined Marble stands Representing Atlas typically carrying the globe on his back and flanked here by two winged cherub figures blowing trumpets reminiscent of the last judgement...

Early German baroque bronze mermaid door knocker on frosted lucite stand. This door knocker is a work of art; heavy bronze with original patina, ...

A plaster sculpture depicting a skull is placed above the base of a plinth in the shape of a column, made of fir wood and finished with pastiglia (refined plaster) and gilded gold. ...

Ayutthaya Lacquered and Gilt Copper Bronze Buddha Head Circa 15th Century A beautifully lacquered and gilt bronze Buddha head from the Kingdom of Ayutthaya, Thailand, circa 15th ...

A decidedly charming small cast bronze figure of the Buddha, 18th century, Shan Tai Yai peoples, Burma (Myanmar). The small image of the Buddha is portraye...

Large and heavy possibly made by Caldwell in the Italian Renaissance style. Old rich brown patina. Three light.

Possibly Khmir period but probably just after. Bronze buddha seated in bhumisparsha mudra on stepped base, remnants of earlier gilding throughout, I have been dealing in ancient bronze Buddhas...

Rare pair of monks from the 18th century-Ayutthaya-Thailand Superb pair of large lacquered and gilt bronze monks very beautiful face and expression ...

18th Century. Peace depicting the Crucifixion Dark patina bronze, 21 x 14.5 cm The bronze examined is an ancient peace (in Latin osculum pacis or table pacis), the object of th...

Bronze statuette of St. Jerome, or St Hieronymous, in the manner of the Venetian sculptor Alessandro Vittorio (1525-1608) by the lost wax technique of bronze casting, which leaves a ...

A gilt bronze figure of Chakrasamvara and Vajravahari, 17th-18th century Tibet, 18th century. The two in embrace striding in alidhasana atop a lotus base with a beaded edge. He is holding vajra and ghanta and is adorned with a long garland of severed heads and skulls, the face with a third eye below a skull tiara, the hair pulled into a high chignon. She is holding a flaying knife and skull cup...

Unique table lamp of "Masterpieces of Lights" series by Lorenzo Ciompi,2021 this lamp, the N.1, supports an original dutch sculpture medal by Adam Van Vianen, a famous silversmith, ...

A rare and unusually large Burmese bronze standing Buddha with a warm patina and retaining traces of the original gilding.    

French Victorian bronze figure of a 16th century man holding a quill and book with a guitar on base (signed).      

The bearded hairy figure probably 17th century or older, with one arm behind his back

Japanese Momoyama period solid bronze cast diminutive Buddha sculpture. The piece dates from the 16th-17th century, circa 1450-1500, and is in remarkable condition with age-appropria...