Bronze Sculptures

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...

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...

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...

This is a large French Grand Tour bronze sculpture of Pan the Roman fertility God of the forest issued by the "Musee de Naple" , circa 1870 in date. The sculpture features Pan danc...

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...

An Art Deco patinated bronze sculpture of a baboon by acclaimed Italian early 20th century Florentine sculptor Sirio Tofanari, (1886-1969). The bronze i...

“Art Deco bronze sculpture ‘La Panthère’ by Maurice Prost, executed circa 1930. The stylized panther, in mid-stride, is cast in patinated bronze and set at...

Outstanding Benin Oba and his Queen, Lost Wax 'Bronze' Sculptures from the late 20th century Superbly cast and highly decorative contemporary pieces, not historical The centuries ol...

Presenting a beautiful large vintage Japanese bronzed sculpture of Toba on his Mule. Some might say ‘Monumental’ .. being 34 inches tall ...

Fully enamelled and hand-painted shell Features the F.D. monogram A magnificent objet d’art produced in Italy in the purest Art Deco style. This shell is decorated with incredible s...

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 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...

For Alexander and many English people the frog and toad live in memory as the wonderful characters of Jeremy Fisher from Beatrix Potter, and Toad of Toad Hall from The Wind in the Wi...

Abstract bronze sculpture by José Luis Sánchez, Spain 1970s. Refined abstract work in bronze on a Carrara marble base. The stylized, organic forms flow into each other, creating an e...

Stunning six-light pendant with gilt bronze arrows and swan head sculptures. This top quality made, early 1900s chandelier could be the perfect lig...

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 ...

This statuette is a faithful reproduction of the Ombra della Sera, a hallmark of Etruscan art from the 3rd century BCE, originally cast in Volterra, Italy, and preserved at the Museo...

Early 1950s Austrian Bosse Cat Figurine An elegant early 1950s Bosse cat figurine, crafted in Austria and exemplary of mid-century Austrian bronze design. The piece displays Bosse’s...

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...

EXCEEDINGLY FINE PAIR OF JAPANESE BRONZE FIGURES OF A HEN AND ROOSTER Japan, Meiji period Each with plaque signed to the underside 秀国作 (Shūkoku saku) Patinated bronze with gilt eyes ...

The magnificent 31 lb bronze Buddha statue, crafted in the Ming dynasty style, captivates with its timeless beauty and serene presence. Depicting a young Shakyamuni, the statue exude...

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 19th Century bronze figure of Silenus, God of wine, and tutor of Dionysus, is depicted wrestling a serpent. The serpent represented wisdom and eternal life to the Ancients. It i...

ANTIQUE BRONZE COPY OF GIANBOLOGNA'S NEPTUNE, Early 20th Century Reduced copy of the famous statue of Neptune, modeled and cast by Gianbologna. The work was completed in 1566. Overa...

Vassilakis Takis (1925–2019) – Large Female Torso in Gilt Bronze (“Magnetic Evidence”) Artcurial Edition, Paris – Numbered 103/1000 III – Signed France, 1991 Dimensions: H 23.5 cm ×...

Patinated bronze Macaw Parrot (Papagaio) sculpture on granite base by unknown artist. Brazil circa 1950s.

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...

Offered is an exceptional antique Benin bronze plaque dating to the 1970s– late 1980s, created in the renowned tradition of the historic Kingdom o...

A charming and wonderfully decorative French 19th century Louis XVI st. patinated Bronze and Ormolu statue of a cherub, signed Clodion. This wonderful statue is raised on a circular ...

Carl KAUBA (1865-1922, Austria): "Salomé" Rare bronze proof with richly nuanced brown patina representing Salomé dancing in an oriental treatment decorated with a loincloth and pa...

Initialled: ‘A V’ - this work is likely connected to the famous Roman workshop established by Andrea Valadier (1695 - 1759), with this bronze being cast in the early 19th century. Th...

A beautiful antique bronze sculpture of a goat. The bronze sculpture stands on a marble plinth. The statue is not marked, maker unknown. The statue is of a beautiful quality: refined...

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...

Pair of vintage mid-century modern lifesize sculptures of standing greyhound dogs finely cast in bronze with silver patina. Each approximately 31 by 30 by 9 inches.

ROSA BONHEUR French, 1822-1899 "Boeuf Couché" (Resting Bull) Patinated bronze Signed "Rosa B" conceived 1846, a lifetime cast circa 1880 cold-stamped PEYROL to the reverse Item...

Bull. Bronze. Following the model of BENLLIURE GIL, Mariano (Valencia 1862-Madrid, 1947). Mariano Benlliure was a Spanish sculptor, a precocious cr...

• Creator: Eugène Lelièvre (French Sculptor, active c. 1890–1910). • Manufacturer: Susse Frères Fondeurs, Paris (Foundry mark present). • Style: Art Nouveau. • Materials: Gilt Bronze...

This small bronze male torso is modeled in the classical tradition, presenting a fragmented figure with well-defined musculature and a sculptural presence that evokes archaeological ...

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

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

A stunning gilt bronze statue of Avalokiteshvara, the Great Compassion Green Tara. Seated in lalitasana with the right foot supported on a lotus stem that projects from the front of ...

Mid-Century Brazilian sculptures of two herons circa 1960s. Dimensions: Large - w3.25” d7” h14.75”

A large and heavy casted bronze cow bell manufactured in Switzerland around 1930. The antique bell features high relief motifs of farm animals, human heads and foliages. The bell com...

A very nice figurative "Mother and Child" bronze sculpture on a rotating marble base by Sy (S.F.) Rosenwasser circa 1990s. The sculpture is in very good vintage condition with a grea...

A striking celebration of form and movement, Dancer is a polished bronze sculpture that radiates elegance and vitality. With sweeping, fluid lines and a sensuous, elongated silhouett...

A pair of French late 19th century (circa 1880) Grand Tour cast iron and brass-plated busts of Antinous as Bacchus (or Dionysus) and Ariadne, after the original pairing by Leone Cler...

Nineteenth century bronze of the Borghese Gladiator, Italian or French, mounted on a richly figured Convent Sienna marble base.

Enourmous Silver Plated Bronze Pegasus Winged Horse Statue on Wooden Base This Bronze is Truly a one off and a Real Statement Piace

Émile-Coriolan-Hippolyte Guillemin (French, 1841-1907) A Lifesize Patinated-Bronze Bust Of A Warrior, Entitled ‘Janissaire du Sultan Mahmoud II’ (‘Guardsman to Sultan Mahmud II’). W...

José Luis Sanchez (Spain, 1926-2018). José Luis Sanchez, a signed and numbered 640/1000 sculpture. Fantastic abstract Brutalist shaped sculpture made and designed by Jose Luis Sanche...

Antique French Art Nouveau period patinated bronze sculpture of a distinguished female beauty in long dress and prominent feather hat after the original model by Georges van der Stra...

After the antique, his helmet decorated with centaurs and panthers. In Homer’s Illiad, he is described as a hero of colossal frame who was trained by the...

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...

Art Deco bronze sculpture of a nude in split pose with arm outstretched holding a scarf behind her on a marble base. Beautiful multi-color patina. Signed in the bronze F. Trinque, ci...

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...

Calzetta Da Ravenna (Attivo Tra IL 1496 E IL 1543 circa) Severo. Circle of. Candlestick depicting a kneeling satyr. The model of the present bronze is the ""kneeling satyr"" attributed to Severo Calzetta da Ravenna, one of the main Paduan bronze sculptors of the first half of the 16th century, whose figure was rediscovered by Planiscig in 1935 (L. Planiscig, ""Severo da Ravenna...

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...

19th century Grand Tour bronze oil lamp in the ancient Roman style with dolphin handles. The dolphin shown attacking an octopus on a rock. D...

Small bronze "Mother & Child" sculpture by Nobe Babayan, circa 2000s. The piece has a great look and patinated finish and is signed and marked "AP" (artis...

Bronze sculpture soldier in armor Onix base origin France circa 1900 natural wear Very good condition the measurements are with its base.