Bronze Sculptures

The now iconic bronze coupe vase from the Rick Owens bronze relic collection. This is shown in the nitrate patina. Each piece is handmade and hand patinated so there is always a slig...

A stunning antique early 20th-century Austrian Art Nouveau bronze portrait figurine / sculpture depicting the renowned golfer Harry Vardon, titled "Joueur au Golf". This piece is dat...

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

"Ombra della sera" Etruscan bronze, 3rd century BC, Museo Etrusco Guernacci, Volterra "Shadow of the evening". This copy of the “Evening shadow”, is an authorized cast after the orig...

ISIDORE JULES BONHEUR French, 1827-1901 "Mare and her Foal" Sand-cast nuanced medium-brown patinated bronze Signed in cast "I. BONHEUR" and cold-stamped PEYROL verso Cast circa 187...

Striking and detailed bronze relief sculpture from Benin, now known as Nigeria, in Africa. This piece was modeled after ancient Benin bronzes, but is from the 20th Century. The intri...

Paolo Soleri Special Order Large 55 inch Brutalist Windbell 1975 Cast aluminum, patinated bronze, and copper 55 h × 13 w × 7½ d in Cast artist's cipher to body. Condition: Natural pa...

3-761 oversized bronze sculpture on marble base.

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 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 life size Art Deco patinated bronze figural dog sculpture, most likely Italian, early/mid-20th century. Fine quality, exceptionally execute...

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

A large and exceptional late 19th century Italian Grand Tour sculpture of the ‘Seated Hermes’ attributed to the Chiurazzi Foundry, Naples, Italy. The sol...

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...

Anne Shingleton. A poetic and captivating sculpture that brings the fragility and beauty of nature to life. Praying Mantis – Wedding Sonatafeatures two mantises in a dynamic composit...

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...

'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...

Polished bronze Venetian face by CM Volare, 1994.

Bronze Reduction Bust of Molière by F. Barbedienne, after Caffieri, circa 1870s Measurements: 5.25" high x 3.25" wide x 2.25" deep Base: 2" square white marble Description A finely...

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...

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...

Graceful even when standing still the Bronze Panther on Marble Base is a striking addition to any setting. Using traditional lost wax casting methods the Bronze Panther is created in...

Solid, weighty, and quietly aristocratic, this late 19th-century English cast bronze doorstop is the sort of object that speaks directly to those who know the rhythm of the field. Th...

Loet Vanderveen Bronze Giraffe Sculpture Signed and Numbered This mid-century modern giraff sculpture measures about 6 x 3.25 x 2.5 inches. I...

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...

The now iconic bronze duck neck vase from the Rick Owens bronze relic collection. This is shown in the nitrate patina. Each bronze is handcrafted in Franc...

Loet Vanderveen Bronze Antelope Sculpture Signed and Numbered This mid-century modern Bushbuck antelope sculpture measures about 5 x 3.5 x 3 inches. It is in good vintage condition....

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

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...

This exceptionally large and detailed bronze of a Bison is the work of one of the best artists of his time Carl Kauba (1865-1922). While unsigned it bears the mark "Gesch" which is the first half of the word "Geschuztzt", basically means patented in German. Note the eyes and face of this fabulous animal. We are always on the hunt for antique bison...

This artwork was created by the Italian artist Rodica Tanasescu. The title " Musa" Muse. Rodica Tanasescu was born in Rumania and now lives in and works in Mestre, (Venezia, Italy)....

Graceful even when standing still the Bronze Elk on Marble Base is a striking addition to any setting. Using traditional lost wax casting methods the Bronze Elk statue...

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...

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...

19th Century Japan Tiger Bronze Sculpture Circa 1860s DIMENSIONS Tiger with base is 33" L x 21" H x 21" D The bronze tiger is 28" L x 15" H ABOUT A finely cast bronze sculpture of a...

Austrian Cold Painted Bronze Owl Sculpture. Bergmann 1900´s. Early 20th century, Bergmann Bronze Sculpture. An Austrian cold painted bronze model of an Owl. The body naturalisticall...

Édouard-Paul Delabrierre (French, 1829–1912), Hind (Deer) Beside a Stump — Fire-Gilt Bronze on White Marble, early 20th century A crisply chased, fire-gilt bronze study of a doe step...

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...

Unusual vintage African bronze sculpture. A sitting drummer - drumplayer. It was brought from Africa in the 1970s. Naive - primitive styling and a strong patina. This piece is not si...

After the Antique Venus of Capua Patinated Bronze Sculpture, 20th century, possibly cast by Chiurazzi, the standing draped figure with outstretched arm, with a foot resting on a helm...

Antoine-Louis Barye (French, 1796-1875) "Guerrier du Caucase" cast bronze sculpture depicting a Caucasian warrior in full armor rendered in fine detail riding on his horse. Cast ci...

A contemporary bronze sculpture depicting a bull, with dark patina. Created with the traditional technique of the lost-wax (à la cire perdue) that allows a great precision and finesse in the details, this small bronze sculpture depicts a proud bull firmly standing on its four paws resting on a shaped base. Placed anywhere in a home, on a commode, buffet or console table, this cast bronze bull...

Exquisite Antique Pair of French Art Deco bronze oversized Macaw Parrots or birds perched on stands with nice patina by Camille, circa 1920s. These monumental art sculptures feature ...

A Wonderful Franz Bergman Standing Dachshund Vienna Austria Bronze Dog Sculpture With Wonderful Patina This Has Been Cold Painted With A Red Colla...

Large Edouard Drouot, Siot-Decauville Fondeur Paris patinated bronze sculpture of a youth enjoying an oyster. The young boy stands on a rock formation, leaning forward to avoid the oyster juices on his body, with his left arm raised to his mouth holding the mollusk in its half shell. Clad in just a loin cloth, with his right hand jauntily perched on his hip, the youth is intent on enjoying the sea's bounty emblematic of life's pleasures. Rare, wonderful subject in excellent condition with lovely original patina. Interesting conversational centerpiece for a seafood feast raw bar...

Jan De Swart (1908-1987) mixed metals abstract sculpture consisting of aluminum, bronze and brass on a wooden base. Using a wax casting method De Swart used branches and other elemen...

This expressive Art Deco bronze sculpture by Irénée Rochard captures a tender moment: a mother elephant and her calf, lovingly connected in movement. The calf’s trunk gently touches ...

Well casted, heavy bronze, Buddha riding three headed elephant sculpture, circa 1960s. The piece depicts Indra, Hindu deity (god of rain and thunder), riding a three-headed elephant ...

Stunning figural bronze sculpture by Franz Hagenauer. Signed.

Bronze Roaring Tiger with Terrifying Eyes by TSUNEMITSU, Japan, Meiji Period (1868-1912). This magnificent bronze sculpture of a roaring tiger, created by Japanese artist Tsunemitsu...

Graceful even when standing still the Bronze Diana the Huntress on Marble Base is a striking addition to any setting. Using traditional lost ...

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

After the antique polychromed bronze bust of the Prima Porta Augustus Caesar. Italy,mid-20th century A extraordinary, large scale, very heavy mid 20th...

Charming bronze fish from Africa circa 1960. Andrianna Shamaris. The Leader In Modern Organic Design.

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...

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

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...

Elegant bronze sculpture depicting a roaring tiger, finely cast with detailed musculature, expressive head and naturalistic fur texture. The animal stands in a dynamic pose on a rect...

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

Luciano Minguzzi (1911-2004) was born into a family of artists. He studied sculpture at the Academy of Fine Arts in Bologna where he trained under Giorgio Morandi and Roberto Longhi....