Bronze Sculptures

French Art Deco bronze figure of dancing lady "Antinea, Queen of Hoggar" standing on 3 black marble steps in front of a wrought iron Gothic style gate (at...

ALFRED BARYE French, 1839-1882 "Walter Scott: Cheval de'Selle de L'Empreur" Patinated bronze Titled to base in the towel, signed "Barye Fils" 15 1/2" W x 13 1/8" H x 5 3/8" D Ori...

A well cast pair of Japanese mixed metal okimono figures of Buddhist guardians, known as Nio or Dharmapala, protectors of Buddhist faith, Meiji Period, Japan. The smiling bronze g...

Figurative sculpture of a man Made of bronze Made in the mid 20th century signed "JCB" Beautiful craftsmanship

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...

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

A fine example from this series of work. The surface of the brass-coated bronze plates show a stunning Patinated irregular surface in rouge reds, gold and Verdi gris green Possibl...

A Monumental Museum Quality Pair of French 19th Century Figural Gilt and Patinated Bronze Rosso Granite Marble Flambeaux Urns, each depicting a pair of standing allegorical and whimsical playful children (Putti) holding a flaming urn, by René Rozet...

Graceful even when standing still the Running Horse on Marble Base is a striking addition to any setting. Using traditional lost wax casting methods th...

Step into the enchanting world of the 1920s with Franz Hagenauer's Violinist Sculpture—a symphony of artistic brilliance. Crafted from silvered bronze and wood, this masterpiece embo...

Large French Art Deco Dragon Wall Light, France, 1920s. A striking French Art Deco wall light featuring a bronze dragon design with elegant alabaster detailing, crafted in France. Th...

La Maja sculpture by Miguel Berrocal, Spain, 1978. Bronze puzzle sculpture with 11 pieces and cast iron base, include the original book. Limited edition of 1000 units, signed and num...

Stunning Pair 18th C Louis XVI French Bronze Recumbent Sphinx Chenets France, circa 1790  A stunning pair of 18th-century Louis XVI French bronze chenets featuring recumbent sphinxes...

This pair of very nice and decorative tall candelabras are made of patinated bronze featuring caryatids holding 5 candlesticks on a black marble base decorated with bronze decoration...

Fletcher Benton Bronze Sculpture, "Folded Circle Zig Zag 1994", Signed. Medium scale Hard-Edge abstract bronze sculpture, mounted on a swivel granite base, by Californian sculptor, F...

Sculptor Bill Keating (b.1932) Illinois - Alabama. Unique 1/1 abstract bronze two-piece sculpture titled "Images", from 1992. A fluid and well balance bronze looping ribbons sculptur...

This is a vintage recumbent lion. A French, animalier figure in bronze and marble, after Antonio Canova, dating to the mid 20th century, circa 1950. A striking mid-century interpret...

A monumental and emotionally resonant bronze sculpture by renowned Mexican artist Victor Salmones (1935–1989), titled “El Primogénito” ("The Firstborn"). Sculpted and cast in the ear...

A captivating bronze sculpture by renowned Spanish-Canadian artist Antonio Grediaga Kieff (b. 1936), celebrated for his dynamic, fluid forms that balance strength with grace. This li...

The iconic bronze Evase vase from the Rick Owens bronze relic collection. This is shown in the black patina. Each bronze is hand crafted in France and is signed. Can be used as vas...

Limited edition bronze hippopotamus sculpture by Loet Vanderveen, circa 1990s. The piece is in very good vintage condition with a wonderful patina and measures 10.5"W x 4.5"D x 5"H ...

Sculptural Chinese bronze depicting a ram and gazelle intertwined, their elongated, ribbed horns forming a continuous, sinuous vertical composition. The two animals are rendered in d...

Godefroid Devreese (19 August 1861 – 31 August 1941) was a Belgian sculptor. He first studied with his father, then continued his studies at the academies in Kortrijk and Bruxelles f...

This exquisite small bronze sculpture features a beautifully stylized female bust, capturing the fluid lines and elegance reminiscent of the Art Deco and Art Nouveau periods. The hea...

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...

A rare Edo period bronze vase with Mimikuchi flying handles, with quartered pear shaped body with spiral to the front and back, supported on a flared...

Large Bertoia Studios B-2702 6 Rod "Sounds Fine From 6 In Line" sculpture with certificate of authenticity signed by Val, the artist and son of the original designer, Harry Bertoia. ...

A nice neoclassical grand tour souvenir of a Nymph giving Pan a drink of water. Nicely cast and mounted on a marble base. Beautiful patina. The piece is well done and in good overall...

José Luis Sanchez (Spain, 1926-2018). Sculpture in bronze. Signed J L Sanchez and numbered 1000/455. On a base of plexiglass. Length 14 cm. Base 14.5 x 14.5 cm. Fantastic abstract ...

Elegant Art Deco sculpture of an athletic scouting / watching male figure by Jean de Roncourt from France around 1930. Very good original condition, greenish patinated Spelter / Zinc...

An Italian 19th century grand tour - Greco Roman bronze sculpture of Narcissus, after the original sculpture excavated in 1862 at Pompeii. The green...

Bronze wall decoration representing an eagle with wide open wings made of bronze. There is signature JP at the back of both wings. France, circa 1900.

A magnificent 19th century bronze of Ulysses stringing his bow on square base. After Jacques Bousseau (1681-1740). Circa 1830 French Dimensions: H: 35 in / 89 cm W: 11 i...

Sign: Lorenz Josef (Austria, 1892-1950). Sculptor, known for its dancers. Worked along with Goldscheider in Vienna. Materials: Bronxe and onyx with the original patina We have specialized in the sale of Art Deco and Art Nouveau and Vintage styles since 1982. If you have any questions we are at your disposal. Pushing the button that reads 'View All From Seller'. And you can see more objects to the style for sale. Josef Lorenzl (1 September 1892 – 15 August 1950) was an Austrian sculptor and ceramicist of the Art Deco period, the same era as Ferdinand Preiss (1882–1943) and Demetre Chiparus (1886–1947). Lorenzl was born on 1 September 1882 in Vienna, Austria and died there on 15 August 1950. Little is known about his early years, but more is known about his later life. Lorenzl started his career working at a foundry at the Vienna Arsenal where he learned the techniques of bronze casting. The Vienna Arsenal was a military storage...

Bronze abstract figural sculpture by Sahl Swarz, American, circa 1950s. Signed and numbered Swarz 3/3 on the edge of the base.

Doris Rucker (German, 1909-1986) "Magische Figur" [Magic Figure] Patinated Bronze Sculpture, 1961, monogrammed and dated to reverse, mounted on grey stone base. 12" H x 3.5" W x 2.75...

An intriguing Mid Century Modern abstract figurative bronze sculpture attributed to Richard Kozlow circa 1960s Beautifully executed piece with excellent patina Unsigned 5.5 inches ...

Neoclassic French large and very heavy solid bronze lion on a marble base. No markings. Very detailed and lovely made. O-636-335

Art Deco Carl Kauba Automaton Bronze Nude with Mechanical Cape 1920’s Austria A captivating and rare Art Deco automaton bronze sculpture by Carl Kauba (Austrian, 1865–1922), depicti...

A unique and extremely decorative pair of Continental 19th century Porcelain and patinated Bronze flower pots, attributed to Meissen. Each Porcelain planter is decorated by wonderful...

Silvered bronze bookends sculptures of a Mermaid and Merman, France, 1900. This enchanting bronze sculpture is the object of many sailors dreams. Silvered bronze sculptures of a merm...

A wonderful patinated bronze bird bath featuring an elephant holding the uniquely shaped water basin. A beautiful complement to any yard or garden, t...

Style: Art Deco Material: marble and bronze Country: Italy We have specialized in the sale of Art Deco and Art Nouveau and Vintage styles since 1982. If you have any questions we are at your disposal. Pushing the button that reads 'View All From Seller'. And you can see more objects to the style for sale. Joseph D...

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...

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...

Loet Vanderveen (Dutch, 1921-2015). Artistic black and gold penguin bronze wildlife animal sculpture. Original Loet Vanderveen bronze penguin sculpture....

Elegant late 19th century gilt bronze bust of César, attributed to French maker F. Aulde. Executed in a neoclassical style, the bust represents a Roman figure—likely Julius Caesar—dr...

Pair of large branches of Mediterranean red coral (Corallium Rubrum), mounted on large octagonal alabaster bases with guilt bronze profile. Connection with a spherical bronze element...

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...

the first was modelled as a female nude with a robe draped over her shoulder, 44cm high, signed R Cameron Like Asian Yin and Yang, this large erotic sculpture merges masculine Renais...

Rare Art Deco silvered bronze statuette of a seated young boy Faun. Car mascot hood ornament. Figure mounted over a base. Perfect desk piece. Signed 'Silvestre' with foundry marks f...

Elegant pair of large heron sculptures cast in patinated bronze with a rich green finish, dating from the 20th century. Each bird is rendered with graceful posture and a high level o...

An erotically charged early 20th century Art Deco cold painted bronze figure of a seductively dressed young lady holding a riding crop behind her back standing in a domineering pose and wearing a revealing basque with gartered stockings, raised on an oval shaped Brazilian green onyx plinth, signed Zach. Bruno Zach (German, 1891–1935) - Bruno Zach was a prolific creator of tall, athletic, independent women in bronze...

A decorative sculpture depicting a seated female figure in a relaxed and sensual pose, crafted from composite material with a polychrome finish. The striking contrast between the dar...

This is a truly magnificent antique Victorian patinated bronze sculpture of the famous Greek God Apollo, modelled upon a shaped circular socle, inscribed monogram 'NF' and numbered 2...

A fairly large 19th century French bronze statue of the Milo of Croton on a stepped marble base after the original marble statue by sculptor Edme Dumont (1...

This 19th-century bronze sculpture is a reduced version of the famous Venus de Milo, standing 42 cm tall. It follows the classical model closely, depicting the goddess Aphrodite in a...

A powerful and iconic vintage sculpture, this piece is a masterful reproduction after the celebrated 1872 masterpiece "David" by French sculptor Antonin Mercié. Cast in metal with a ...

A finely detailed cold-painted bronze of a saddled horse exemplifies the refined craftsmanship associated with the Vienna workshop of Franz Bergman. The horse stands alert and poised...

Striking French Art Deco bronze sculpture depicting a leaping panther, dating to the 1940s. The composition fully embodies the Art Deco aesthetic, with elongated lines, stylized musc...