Bronze Sculptures

This bronze is a figure of Cupid with his hands tied behind his back. The face is sweet with a demure smile. It was sculpted by the artist Denise Delayigne in France. It is 19th ce...

A very attractive vintage art deco bronze nude sculpture, circa 1940s. The piece is in good condition and measures 3"W x 4"D x 12"H. The sculp...

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

Art Deco Bronze Sculpture Figure of a Naked Woman by Sibylle May, France 1920´s A wonderful art deco bronze sculpture by Sibylle May. Signed in the bronze ...

Sleek, poised, and wonderfully tactile, this bronze sculpture by Joseph Frismand captures a sense of flight in a single, sweeping gesture. The elongated, wing-like form rises from a ...

Art Deco bronze sculpture fennec fox by Edouard-Marcel Sandoz, France. Edouard Marcel Sandoz 'FENNEC COUCHÉ' A silvered bronze modelled as a fox, signed E M...

Adrien Etienne Gaudez (French 1845-1902) "Mignon", Patinated Bronze Sculpture, late 19th century, the standing female resting against a tree stump and holding a lute, on a circular b...

Art Deco bronze animal lion sculpture Size: W 38 cm, D 14 cm, H 38 cm Original patina. A video of the item Is available upon request...

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...

Pair of large branches of Mediterranean red coral (Corallium Rubrum). Gilt bronze bases with phytomorphic calyx stem. Connection with an oval element in Lapis Lazuli and two spirals ...

Vintage 1984 Erte (Romain De Tirtoff) "Lady Justice" Limited (Number 9 of 500) Bronze Goddess Sculpture. Stamped and signed as pictured. Circa Late 20th Century. Measurements: 19.5" ...

An exquisite early 20th Century Art Deco cold painted and gilt bronze figure of a Ballets Russes dancer wearing a two piece outfit and a stylish head dress, exhibiting excellent col...

Designed in 1970; cast edition of 6. Signed Miro 2/6 on the base. Fundició Parellada, Barcelona. LITERATURE: F. Basile, Joan Miró, Bologna, 1997, p. 232 (another proof illustrated i...

BRONZE OKIMONO OF A SAMURAI Japan, Meiji Period, circa late 19th century Patinated sand-cast and engraved bronze, unmarked 20 1/2" H x 6 1/8" D x 9 3/4" W ref. 512SBP06X A finely...

Small desk og mantle bronze depicting a young wild boar standing on a log. Fine detailing and a rich golden patina. Signed/marked France to its base. Where it was made circa 1920-25....

Beautiful even when standing still the Bronze Bacchus with Woman on Marble Base is a striking addition to any setting. Using traditional lost wax castin...

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...

Émile Louis Picault, (1833-1915). Pegasus and Perseus patinated bronze, French, 19th century. Fabulous original period bronze figural group standin...

This finely cast bronze statuette of a bearded satyr - once exhibited at New York’s Metropolitan Museum - dates to the 2nd-3rd century BC. It is a superb example of the expressive na...

This is a reproduction casting of a Jules Moigniez bronze. The bronze rest on a green marble base. Its a good casting. nicely detailed. The name ...

Amazing and unique semi-nude Gallic warrior sculpture in patinated bronze, from the workshop of Émile Louis Picault (1833-1915), France. The Gallic warrior's body is a single piece,...

Lady Justice, a cast bronze tabletop statuette with scales and sword. This exquisite Lady Justice bronze statuette captures the timeless symbolism of impartiality and moral force wit...

A bronze Japanese okimono cast in refined and realistic form of a praying mantis attributed to by Ryubundo Yasunosuke VI (1840-1921), a sixth generation of the Yasunosuke family acti...

In the style of modernist James Bearden, this 1960s MCM metal with bronze Brutalist cat sculpture, has applied black patina with bronze highlights. In fi...

'Visage' One of a kind bronze sculpture. Created by Rinat Design, cast in bronze in the lost wax process and fixed into a solid wood bas...

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...

A rare finely cast Grand Tour patinated bronze statue of the Roman God Mercury ( Hermes in Greek Mythology) dressed in flowing classical robes standing with his right foot raised ...

French bronze figure of bull with attacking dog on an oval base (Valton) (19/20th Cent.)

An eagle lectern is a lectern in the shape of an eagle on whose outstretched wings the Bible or other texts rest. They are common in Christian churches and may be in stone, wood or m...

This is a stunning antique pair of patinated bronze reclining Classical semi-nude sculptures of young ladies mounted on carved marble bases, circa 1880 in date. These exceptionally ...

This large branch of Mediterranean coral, 'Corallium Rubrum' is mounted on a gilt bronze base. The creation of the vase-shaped base involves various techniques: lost wax casting, mol...

Sculpture in patinated bronze by Ferdinand Barbedienne, 19th century, Napoleon III period. A 19th century patinated bronze sculpture, Napoleon I...

Beautiful bronze sculpture of 2 nude males embracing titled LOVE by Norma Goldberg, dated 1977 The piece can really communicate the love this couple ...

A very cool set of three patinated bronze Japanese geisha figurines, circa 1960s. The pieces are solid and heavy and would make a great mid-century modern accent in any space!

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...

Beautifully crafted bronze, probably Vienna Bronze. Depiction of a man in oriental garb with a pipe in his hand. Finely chiseled and cold painted. The painting is rubbed due to age.

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...

Bronze Moore sculpture, believed to be Italian, in the 19th century style, but probably executed in the mid 20th century.

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...

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...

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

Patinated bronze abstract sculpture by Brazilian artist Alvaro Franklin circa 1960s.

This exceptional Art Deco bronze sculpture represents Penthesilia, Queen of the Amazons, created by renowned French sculptor Marcel André Bouraine (1886–1948). Cast by the prestigiou...

Bronze Figure of Narcissus Italy, late 19th century After the Antique Cast in bronze with a rich light verdigris patina, this finely modeled figure represents Narcissus, the beaut...

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...

Bronze sculpture circa 1925. Crested Tit on an onyx base. Signed on the base: M. Guillemard. In perfect condition. Total height: 44.5 cm Sculpture width: 46.5 cm Base width: 14 cm B...

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

A good Belle Epoche bronze modeled as a young boy beside a large amphora or vase. Stylistically informed by Orientalism and various Revival movements active in Europe at the end of the 19th century. Mounted on a rouge marble base. Base bears a W. Uhlmann signature in the cast for Waldemar Uhlmann and a Gladenbeck...

Figure of a crusade in the military form of the seventh made by the recognised Italian master Giuseppe Vasari (1934 - 2005) presumably in the seventies. Marked on the back. Bronze wi...

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 ×...

These elegant and sexy candlesticks were sculpted in wax then sand cast in solid bronze. They taper like a Manolo stiletto but finished with a rustic patina that brings them down to ...

17th century arrowheads excavated from central highlands, Vietnam. Beautiful greenish patina which is typical of bronze artifacts. This type of artifact is common in ancient tools a...

One of a kind bronze sculpture by Abel Reis " enlacement" one of a kind bronze sculpture numbered 1/1 signed dated 1998.  

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...

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

Gorgeous patinated bronze "Medusa" sculpture by Norma Leon, circa 1960s. The piece has wonderful detail and is in very good vintage condition with a great patina. The creatures on he...

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...

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...

Large bronze sculpture titled “Duo” by celebrated Mexican sculptor Victor Salmones (1937–1989). This striking example of Salmones’ work was acquired directly from the Victor Salmones...

Pair of French mid-century Greek neoclassical patinated bronze female figures designed as torchieres. Currently without sockets, wiring and shades, but all may be added upon reques...