Bronze Sculptures

Stunning bronze sculpture envisioned and executed in Puerto Vallarta, Mexico by the listed sculptor, Victor Salmones. This limited edition Bronze Sculpture is titled "La Cuerda Floj...

Elegant and rare gilt bronze by Tim Orr. Really precious abstract bronze represanting 2 abstract bodies, circa 1970 Signed under the base Dimensions : 12x24x10cm

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

Extraordinarily powerful, and very rare, this large bronze sculpture of a nude male figure by Arthur Dupagne shows him stretching and straining upwards,...

The Surrealist Angel is a bronze sculpture inspired by Salvador Dalí, depicting an angel with elongated forms and stylized wings, representing the balance between the earthly and the...

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...

Rare Italian bronze pendant with a marbled glass, globe shade. This rare pendant with a double sided bronze Trinacria symbol could be the perfe...

Vienna Cold Painted Bronze Ten Piece Devil Orchestra, Attributed Franz Bergman Austria, circa 1925, attributed to Franz Bergman, unmarked Embark on a whimsical journey with this rare and delightful Vienna Cold Painted Bronze Ten Piece Devil Orchestra, made circa 1925 and attributed to the renowned Franz Bergman, though unmarked. This charming ensemble features ten individually cast and hand-painted bronze figures, each devil bearing its own instrument and unique action. From the authoritative Conductor Devil to the playful Flute Devil, every character in this orchestra exudes personality and mischief. The ensemble includes the Piano Devil, Cello Devil, Drum Devil, Heraldic Trumpet...

The Strength An Art Deco patinated bronze group by Maurice Guiraud-Rivière (1881-1947) Representing three men in full effort pulling a rope, resting on an oblong naturalistic base S...

Late 19th century Vienna Secession cold-painted bronze small sculpture of two men playing chess by Franz Bergmann/Nam Greb, Austria By: Franz Bergmann, Nam Greb Material: bronze, co...

Superb movement for this bronze sculpture by J Duval Brasseur. The elegant curved lines and the shape of the base give a strong feeling of this flying eagle. Very unique piece by th...

Spectacular bronze relief that represents the Greek motif of Leda and the swan, according to which Zeus descended from Olympus in the form of a swan towards Leda, while this queen wa...

Pair 19th C bronze Horse bookends Measure 2 deep x 4.5 high x 5wide.

A unique intricately detailed hand-hammered bronze of a fish. Bursting with character, this marine life mythical decorative object would enhance any shelf or tabletop. This object form is one of the best-known examples of Benin art, created from the thirteenth century onwards, by the Edo people, which also included other sculptures in brass, including some famous portrait heads and smaller pieces of art. Tribal African Art...

A beautiful small antique bronze statue of a bulldog. The bronze is patinated in a beautiful green color. The statue is beautiful in shape and design, beautiful anatomy and posture. ...

A Pair of adorable 'dachshunds' sculptures in patinated bronze with foundry stamps by Pierre Chenet known for his animal sculptures.

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...

Vintage Walter Bosse Donkey collectible solid bronze bell from the 1950s. Nice tone. Made in Austria.

Offered is a striking Benin bronze head from the 1990s, crafted in the traditional style of the historic Kingdom of Benin (modern-day Nigeria), inter...

Diego Giacometti style bronze statue "le chat maitre d'hotel" made in France around 1970 The Butler Cat, 1961-1964 is one of Diego Giacometti's most iconic works. He created it in ...

Early 20th century Art Déco bronze monkey sculpture by Édouard-Marcel Sandoz for the Robecchi Foundry, France By: Édouard-Marcel Sandoz, Robecchi Foundry Material: bronze, copper, m...

A lovely modern female nude bronze decorative figurative sculpture. Stylized in an Art Deco or Art Nouveau style. Artist unknown. A romantic and timeless composition. From a private ...

ISIDORE JULES BONHEUR French, 1827-1901 Taureau Aberdeen-Angus" (Standing Aberdeen-Angus Bull) Patinated sand-cast bronze Signed to base "I. BONHEUR" Item # 211HDB17Z An exquisite and very rare casting of an Aberdeen-Angus bull, an unusual and distinctive breed of cattle from Scotland, this sculpture by Isidore Jules Bonheur is almost without a doubt cast by the foundry of his brother-in-law Hippolyte Peyrol and a rather early model as well in light of the distinctive construction method. In her text on the selection of 46 animal bronzes in the collection of the Georgia Museum of Art, Eleanor Luciano notes regarding this model that "Bonheur is never recorded to have been to Scotland, where he would have seen this unusual breed. Rosa Bonheur painted in Scotland, and its seems likely that Isidore would have drawn the idea for this bull either from one of her sketches or from an agricultural show in France. The animal's rich mane and strong modeling make this one of the most successful." Notable is the very fine surface patination which exhibits a glassy finish with a complex range of colors presenting in the body of the bull, overall being medium brown but augmented with an underlying reddish hue against auburn highlights. The base is signed "I. BONHEUR" in the typical manner. Museum Collections: * National Gallery of Art, Washington DC, acc. no. 2006.128.3 * Georgia Museum of Art, University of Georgia...

This is a bronze sculpture of a Leopard. The leopard shows its spots as it walks around territorial.

An Exquisite and Rare French Louis XVI Style Ormolu-Mounted Bloodstone Inkwell, circa 1875. A truly exceptional and jewel like quality inkwell encrier, made with the finest ormolu, mounted on bloodstone. A true collectors and one of a kind piece. Revival of the ancient régime in the late 19th century was paramount to the French furniture and bronze casting firms of the Belle Epoque. Imitation in the highest regard and replication of those tastes and styles was prevalent throughout the Paris Faubourg, where the most talented bronziers and ébénistes established their workshops. The present inkwell encrier recalls the late 18th century's obsession with hardstones - a taste expounded above all by the duc d'Aumont and, subsequently Marie-Antoinette. Such hardstone-mounted pieces, reminiscent of Renaissance schatzkammer objects, enjoyed a revived popularity at the end of the 18th century through the impetus of both the marchands-mercier and, more importantly, the hôtel des Menus-Plaisirs, where the duc d'Aumont himself established a workshop in 1770 specializing in the cutting and polishing of precious hardstones. This exceptional inkwell encrier, sumptuously-mounted with finely chased gilt-bronzes, incorporates a highly-prized material such as bloodstone. Sometimes called the Sunstone, the meaning of Bloodstone comes entangled in fascinating history. The Ancient Greeks held the Bloodstone as a gem with glorious powers. They referred to it as Heliotrope, which directly translates to Sunstone. It was believed to have heavenly healing powers gifted by the gods and most certainly when it came to healing all things related to the blood. Even as we move forward into the Middle Ages, the Bloodstone takes another mystical story under its wing. It was believed to be formed from Christ's blood. It was said that during the Crucifixion, a few red spots of his blood dripped...

A wonderful piece. This beautifully sculpted and adorned bronze and gilt, Buddha is from the Thai Rattanakosin Kingdom period (1782-1932) and has a nice patina and coloring acquired ...

A Greco Roman style bronze buste depicting a Spartan soldier on black wooden base. This Greco Roman style bronze bust, masterfully depicting a Spartan soldier, is a striking piece th...

This intense abstract bronze sculpture was created by the Italian artist Eli Riva in the Late 20th Century. The artwork is a multiple numbered and signed of 5...

This is a bronze eagle on rocks sculpture, after Jules Moigniez, circa late 20th century. The bronze sculpture depicts a majestic bald eagle with its wings fully spread open, landing on a rocky outcropping. With an intense stare and intricate feather detail, this sculpture is dramatic, full of movement, and artfully crafted. The sculpture is presented on a green marble base. The bald eagle is both the national bird and the national animal of the United States. The eagle motif has been widely used throughout our nation's history, most notably as part of our Great Seal. The founders of the United States were fond of comparing their new republic with the Roman Republic, in which eagle imagery, usually the golden eagle, was prominent. On June 20, 1782, the Continental Congress adopted the design for the Great Seal of the United States depicting a bald eagle grasping 13 arrows and an olive branch with its talons. This sculpture is inspired by the symbolic history of the bald eagle, combining the powerful natural beauty of the bird with the patriotic symbol of freedom and strength. Jules Moigniez (1835-1894) was a French sculptor widely known for his highly detailed bronze works depicting dynamic wildlife. After studying under Paul Cromolera, Moigniez made a name for himself at his first exhibition in 1855 at the Exposition Universelle. Since then, he continued to show his works on a yearly basis. While many artists at the time focused solely on the subject, Moigniez incorporated highly detailed bases to accommodate his various animals. In America and England, his bird sculptures gained massive popularity and he soon became better known for his birds. After Jules Moigniez’s tragic death in 1894, his father continued to cast his son’s bronzes from the foundry he purchased. Just before Moigniez’s father also passed away, he sold the foundry and his casts to Auguste Gouge, who once cast bronzes for Paul Cromolera. Gouge continued to produce Moigniez’s bronze...

Jules Alfred Alexandre Dercheu (1864-1912), Daphné followed by Apollo. Bronze statuette with yellow, brown and gold patina, signed to the base, mounted on a round plinth of sea-gree...

20thc patinaed bronze mermaid statue. Amazing conditioning with wear to the base. the resting mermaid has an amazing greenish patina that has great age to it. In very good shape.

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...

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 ...

This is a captivating bronze sculpture of a horse, a collaborative work by the renowned Spanish sculptor Miguel Berrocal (1933-2006) and the esteemed Italian painter and sculptor Bru...

French bronze dancers sculpture from the 1930s

This is a monumental Italian bronze clam shell sculpture. When examining the exterior, it almost appears to be a patinated bronze. The interior is a ...

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...

love the work of french artist Jean Patrice Oulmont ... artwork created in 2014, signed and dated by the artist

A Beautiful Cast Bronze Cupid Bird Bath in the Manner of Franz Von Stuck The Cupid Holding the Decorated Shell shaped bowl Ideal for outdoors or in

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...

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

Beautiful Art Nouveau bronze sculpture by French artist Auguste Moreno. The sculpture is made of bronze with enamel painted accents. Signed on the back. Attached to a marble base. In...

This sexy young nude maiden displays two mediums used to create a sculpture, cast bronze and hand carved alabaster. The white alabaster brings the statue to life, and is a nice addition to any statue of a female. The beautiful nude has flowing hair and the body reveals just enough to create a sexy pose. Mounted on a sienna marble base is always a plus, and not often used for sculpture. Artist signed "Vale", and also bearing the foundry signature and seal of Henry Schumacher...

Good quality horse racing desk top bronze circa 1990. Fine example of a mid sized bronze which we used as shop decoration for many years.  Depicts a pair of horses racing at full ga...

Magnificent Art Deco bronze sculpture of a Ball Dancer STELLA by Maurice Guiraud Rivière, signed Guiraud Rivière, Etling Paris. Created circa 1920, this exquisite French Art Deco bro...

Exquisite modernist bronze Greek "Achilles" bronze sculpture dating from the 1950's. Made in Italy and has wonderful patina. Great design and form. No signatures or maker marks. Attributed to Francesco...

This Medusa head was marked J. Müllner, dated 1918 and stamped ‘Österr. Gesellsch. Z. Förderung D. Medaillenkunst und Kleinplastik’, with the stamp GMK 16 and Eisengiesserei A. G. Wi...

"Bust of a Woman", is a bronze sculpture by the Mexican artist, Victor Salmones. This sophisticated piece has an aura of repose and quiet enhanced by the smooth beautiful patina surf...

Birds Luigi Secchi Italy, 1890-1910 Bronze Sculpture Bowl "L Secchi" engraved

A well-modelled bronze bust depicting a young woman wearing a traditional regional bonnet and layered dress, rendered with finely detailed textures throughout the fabric and headwear...

Large cast Benin bronze rooster. Finely cast detailed plumage and definition. Good overall condition with overall verdi gris patina. Structurally sound and sturdy. Some minor holes t...

Early 1950s - 1960s Austrian Walter Bosse Figurine An elegant early 1950s - 1960s figurine, crafted in Austria and exemplary of mid-century Austrian bronze design. The piece display...

Sculpture happy bronze all in green solid bronze.

Sublime oiseau de Daum et Francois-Xavier Lalanne en verre et bronze. Editée en 1978, cette pièce est signée deux fois et numérotée 56/300. C'est une véritable pièce de collection...

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

Lost wax cast bronze figure of Ganesha Chaturthi standing on one leg with extended arms. Indian, 19th century. Dimensions: 3-3/4" W x 2-1/4" D x 6-1/8" H

THE CAVALLO MAZZOCCHI (AFTER THE HERCULANEUM QUADRIGA HORSE) Italy, circa second half of the 19th century Verdigris patinated bronze, one foot raised on polished brass plinth, situat...

This alabaster, bronze and marble figural group was created by highly regarded Italian sculptor Emilio P. Fiaschi (1858 – 1941). The sculpture depicts the Holy Family's Flight into Egypt and has been finished with the skill and sensitivity characteristic of Fiaschi's oeuvre. Joseph walks alongside the Blessed Virgin Mary who is sitting astride a bronze donkey...

Bronze Sculpture Mastiff by Charles Valton Dog Bronze Statue Animalier Antiques . Signed and stamped. Valton was known for his big cats but probably his mos...

Here we have an impressive early–mid 20th-century bronze Bronco Buster after Frederic Remington, mounted on a substantial marble base. This iconic model depicts a cowboy riding a rea...