Bronze Sculptures

A lovely and well cast 19th century or early 20th century example of the Pompeian Dancing Faun. This grand tour Neo Classical bronze stands approx 12.75 inches tall about half size...

An antique refined bronze sculpture of boy playing with a hoop and a stick go with a Whippet/Greyhound dog. It has the original patina, signed on the base: Jules Moigniez. Made in Fr...

This exclusive bronze business card holder, sculptural in nature, pays tribute to the genius of Antoni Gaudí, inspired by the characteristic modernist motifs of Barcelona’s Passeig d...

19th Century Fernando De Luca, After Furietti, Bronze Centaur Sculpture is a fine example of the Grand Tour tradition. Furietti, an Italian sculptor, was known for his skill in creat...

A Bronze Koi Fish. The beautiful fish can be used as a decorative piece, a vase, and if you're really ambitious, could make a lovely fountain. A compliment to any space - living ro...

Italian classical bronze sculpture of the Dancing Faun of Pompeii. Fauns were an example of spirits of untamed woodland, often connected to Pan...

Enchanting early 20th Century Art Deco cold painted silver bronze figure of a standing woman holding her arms high above her in a stretched pose, exhibiting excellent colour and fin...

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

Large, exceptional quality bronze sculpture depicting The Education of Achilles by the Centaur Chiron, after the model by Francois Rude. Ear...

FRANZ VON STUCK (German, 1863-1928) There is a tension between the Apollonian and Dionysian in Stuck’s work. Nietzsche’s contemporary and a kindred spirit, Stuck valiantly searched f...

ETIENNE-HENRI DUMAIGE French, 1830-1888 "Camille Desmoulins at the Palais Royal" (1882) Sand-cast patinated bronze signed in base "H. DUMAIGE" conceived in 1882, executed circa 1890 stock ref. C104802 38 1/8" H x 11 7/16" D x 11 5/16" W Essay Exhibited in plaster at the Salon of 1882 (no. 4331), Dumaige's statue of Camille Desmoulins has become well-regarded as one of his most powerful compositions. The original was given by Dumaige to the Musée de Rouen. It captures Desmoulins delivering his powerful and poignant call to arms before the Bastille storming, the drama of the scene almost operatic as he knocks the chair over behind him, grasping the loose pages of his speech in his closed fist while he loses himself in the rhetoric. Camille Desmoulins was a French journalist, lawyer, and revolutionary, recognized for his pivotal role in the French Revolution. Born in Guise, France, he studied law at the Collège Louis-le-Grand in Paris, where he befriended future revolutionary leaders, including Maximilien Robespierre. Desmoulins gained prominence on July 12, 1789, when his impassioned speech at the Palais-Royal incited the storming of the Bastille two days later, marking a critical moment in the Revolution. As a journalist, Desmoulins founded and edited Les Révolutions de France et de Brabant, a radical publication that criticized the monarchy and aristocracy. His writing was instrumental in shaping revolutionary sentiment, blending incisive political critique with populist rhetoric. Despite his early radicalism, Desmoulins later advocated for moderation during the Reign of Terror, aligning himself with the Dantonist faction. This shift ultimately led to his downfall. Arrested alongside Georges Danton...

Bronze sculpture that realistically reproduces a crocodile skull in aged bone-tone bronze. It features textured details that evoke the erosion of time, with a faithful representation...

Very impressive large figure of a Mastiff Bronze Dog , It is finely detailed. The clasp holding the chain on the dog's collar is also cast bronze. Finished in a dark brown patina, ...

A very cool set of three 9.5" tall bronze Japanese geisha figurines, circa 1960s. The pieces are very heavy and solid and have a gorgeous dark patina; they would make a great mid-cen...

Striking rustic industrial post-modernist wind bell sculpture made of bronze, by Italian artist, architect and philosopher, Paulo Soleri. Signed, embossed design, hallmarked. circa ...

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...

A couple of nice Tapio Wirkkala bronze bird sculptures (paper weights). Both items are in beautiful original condition with nice vintage patinas. Alt...

Early 20th Century bronze male nude sculpture on wood pedestal base.

A superb early 20th Century cold painted Austrian bronze inkwell modelled with an armed Arab mounted upon his camel standing next to a palm tree on a rocky landscape with excellent n...

Unique table crucifix and a wonderful work of religious art. For us the most powerful statement will always be 'the truth will set you free'. It is what we have learned most from th...

19th century Austrian cold painted bronze hound fashioned as a paper clip, mounted on a walnut base. These were whimsical pieces that were made int the late Victorian era and early ...

The now iconic bronze duck neck vase from the Rick Owens bronze relic collection. This is shown in the black patina but other patinas are available by order. Each bronze is signed. ...

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...

This handsome bronze portrait bust of Jean Jacques Rousseau (1712–1778) stands 22cm high, and is mounted on a plinth made from slabs of yellow Siena marble, quarried from Monte Arrenti near Sovicille in central Italy. The bronze, dating from the Restauration period, has mellowed with age and acquired a fine brown patina, which adds to its wonderful character. Rousseau, the famous French-Swiss social philosopher and moralist is depicted in the sculpture wearing the fur turban...

Bronze male sculpture signed. Fonderia Giorgio Sommer Calabritto Napoli Thomas, sculptor, lived and worked in the Naples area, and especially on Capri, from 1889 to 1906. Given this ...

A 1980s bronze sculpture of a helmeted figure on a solid walnut base by Louisiana artist William Ludwig (1935-2011).. Although New England born in Hartford, CT., he was known as a so...

Vintage Mid Century Modern Bronze Sculpture Brutalist Welded Abstract Bird Very unique Brutalist abstract bird sculpture circa 1960s Modernist piece in welded bronze cantilevered o...

A 19th century patinated bronze depicting the hero Ajax or Menelaus, king of Sparta, mounted on a column-shaped base of grey veined marble, a classic souvenir of the Grand Tour

A rare antique Austrian Vienna Bronze attached pair of Arab horse figurines. Circa the late 19th to early 20th century. The sculpture is of two horses, brown and smoky, in dynamic po...

Vintage bronze sculpture features a galloping horse stepping on a flying bird, with prominent green verdigris patina on highly detailed cast. The sculpture is a replica of the Flyin...

Precious bronze medal designed by the master sculptor Godefroid Devreese and made by Fonson & Cie in Belgium in 1939, equal to the one acquired by the British Museum in 2003, in whic...

The beautiful bronze sculpture is of The Tibetan Amitayus, the Bodhissatva/Buddha of infinite life. Adorned with necklaces, crown and sashes decorated with rosettes, pearls and medal...

Impressive Art Deco Bronze Sculpture of a Panther by Emile Louis Bracquemond, bronze with black patina, on a Belgian black marble base. Signed and with founders signature Etling Par...

A monumental nude sculpture of a femme torso in bronze by Hattakitkosol Somchai, signed, circa 1970. A striking rarity of Somchai’s oeuvre, this piece stands at nearly twenty-six inc...

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...

1930s Art Déco chryselephantine bone and bronze mounted knight sculpture with marble base by Alexandre Kéléty, France By: Alexandre Kéléty Material: bronze, bone, marble, stone, met...

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

A beautifully crafted pair of cast bronze statuettes from the 1970s, each depicting a stylized naiad in the style of creations by Monique Gerber or Miguel Ortiz Berrocal. These ele...

A fine, small-scale antique Art Nouveau cabinet bronze. In the form of a half-naked young woman in three-quarter profile. Likely an allegory to Summer or The Harvest (or possibly a...

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.

This exquisite 19th-century French bronze sculpture captures the essence of rural life through the figure of a young peasant boy. The boy is depicted with a charming, rustic appeal,...

This German nude strongman archer is one of the finest examples of a nude male figure that I have seen in my 50 years of selling antique bronzes. His musculature is perfect and rema...

Set of three Austrian bronze hand painted miniature fox sculptures, circa 2000s. These pieces have amazing detail and weight and are in excellent condition. Each piece is individuall...

Unique bronze limited edition "Gerenuk and Tree" sculpture by Loet Vanderveen, circa 2000s. The piece is in very good vintage condition with a wonderful patina and measures a substan...

Odyssee de la Mer. A large 19th century French cast bronze fragment with a mounding growth of over 5000-carat natural citrine and black tourmaline that surround a giant black sea fan...

SIGNED BAYRE From our Sculpture collection, we are delighted to offer this Jaguar Qui Marche No. 2 (Walking Jaguar) Bronze by Antoine-Louis Barye. The Jaguar Qui Marche translates ...

Antique statuette, sculpture of a pheasant, gold-plated bronze, the colored parts are hand-painted, circa 1880, France, not marked. Very high-quality and detailed manufacture, very...

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 is a rare fireplace bellows in carved and lacquered wood with polychrome decorations of flowers on a light green background. It has original leather details and the bronze spout...

French artist Monique Gerber vintage sculptural bronze abstract rock form vide poche or ashtray. Art du bronze. Patina is beautiful and shows its age. These bronze objects were often...

Green patinated bronze sculpture of an archer by Michel Decoux (1837-1924). This petite Art Deco sculpture beautifully captures the elegant formal language of the period. Crafted in ...

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...

A lovely bronze animal sculpture. This charming bronze sculpture depicts a characterful terrier, most likely a Scottish Terrier, captured in an alert and proud stance. Crafted in the...

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.

Large bronze dancer with a brown patina, on a green marble base: she bears the name of Pompeian Dancer on a cartouche. She plays delicately with her veil, balanced on one foot, on a ...

Verdigris Bronze Sculptural Frog Vase by San Pacific International, 20th Century

Auguste-Joseph Carrier (French, 1800-1875) "Musicians" Pair of Patinated Bronze Figures, late 19th century, depicted as male and female traveling musicians, signed to base of male fi...

A group of three fruit sculptures by Monique Gerber, French sculptor, ca' 1970's. Done is solid patinated bronze. Each one signed with engraving.