Bronze Sculptures

Small Italian bronze of Aphrodite or Venus on a patinated wooden base. Size of the statuette: 23 cm.

Large antique Austrian cold-painted bronze and alabaster sculpture Austrian, c. 1910 Height 19cm, width 52cm, depth 33cm Crafted using the complex technique of cold-painting bronze, the early 20th century Viennese sculpture...

John Farnham was the ‘boy next door’ and his illustrious career began in the 1960’s with him being introduced to sculpture by his neighbour Henry Moore. At a young age John became Moore’s assistant and through this developed and mastered his own style, observing as well the practices of Moore assistants Anthony Caro, Phillip King and Isaac Witkin...

This intense artwork was created by the Italian artist Mirella Forlivesi. Title "Stupore" traslated in "Astonishment". The piece is a multiple of 1...

A stunning bronze figurative sculpture by Italian American artist Angelo Basso. Angelo Basso was born in 1943 in Rimini, Italy and is an internationally ...

Marilyn Newmark Bronze Horse Sculpture, Herculean Limited Edition of 5, 1994 The sculpture depicts a realistically modeled trotting Stallion, with textured skin and even patina, sitting atop a wooden base. Applied award plaques...

Sébastien Tamari (French, 1900-1991) 1900 Birth in Baku of Sébastien Tamari (Russian Empire). 1920 He left his hometown due to political events. He travelled through the Caucas...

Finest quality carved and very good condition Swiss black forest stag / deer sculpture. For the collectors of the rarest and best quality Black Forest sculptures we also have this very detailed, hand-carved stag. Looking at the intricate details and the impressively realistic features of this possibly dying stag, this simply can only be the work of a Swiss master carver. Being capable of creating this much detail on a relatively small sculpture takes a god given talent and a lifetime of experience. With the anatomy, the posture AND the balance being perfectly correct, this work of art inkstand is simply devine. An experienced antique seller...

A small and sweet cast bronze fragmentary head of the Buddha, Lan Xang Kingdom, 17th century, Laos. The small Buddha head finely cast with well defined features. The face with a ...

This is a beautiful antique Grand Tour pair of French patinated-bronze sculptures of Marly Horses, Circa 1880 in date. The Marly Horses were commissioned by Louis XV of France scul...

Superb bronze animal group with brown patina representing two dogs, a greyhound and a King - Charles , by Pierre - Jules Mêne . Signature of the sculptor "P.J.MÊNE" on the naturalist...

A small and charming fragmentary cast bronze Buddha head with traces of gilding and lacquer, Lan Na Kingdom, Chiang Saen style, 16th century, Thailand. ...

THE LION OF THE JULY COLUMN: LION OF THE ZODIAC AFTER A MODEL BY ANTOINE-LOUIS BARYE Patinated bronze on walnut plaque Signed "BARYE", cold-tooled verso "43" Item # 107GWK14D This Fine bas-relief sculpture of Lion de la Colonne de Juillet (Lion du Zodiaque) portrays the astrological sign Leo as a prowling and ferocious lion with a mane that engulfs his head and neck, walking a Fine line along a narrow ledge while opening his mouth like one about to emit a growl. He is set against the equatorial band of the sun's path as it makes its way through the various illuminations of the zodiac. Barye was employed by the architect Jean-Louis Duc to model this bronze lion for the western side of the July Column. Erected in the Place de la Bastille in Paris, the monumental structure commemorated the overthrow of the Bourbon monarchy and the 504 lives lost in the insurrection. Influence for the model is perhaps somewhat owed to Visconti's "Walking Lion" held at the Musée Pie-Clémentin, a more romantic anthropomorphic modeling of this powerful beast. Glenn Benge observed that the lion was likely based on the engraving by Pietro Santo...

A Fine Pair of French 19th/20th Century Gilt-Bronze Sculptures of "The Marly Horses" (Now turned into lamps) After the original by Guillaume Coustou (French, 1677-1746). The large pair of equestrian bronze sculptures, finished in a gold patina, each depicting rearing horses with their groom, both raised on oval a black slate and Bardiglio marble bases and fitted with modern electrical twin-light brass fittings and cream colored shades. The base on an ebonized wooden platform. Circa: Paris, 1900-1920. Sculpture & Base Height: 31 1/4 inches (79.8 cm) Base Width: 21 3/4 inches (55.3 cm) Base Depth: 12 3/4 inches (32.4 cm) Height to top of (Adjustable) shade fitting: 48 1/4 inches (122.6 cm) Shade Height: 15 inches (38.1 cm) Shade Width: 26 inches (66.1 cm) Shade Depth: 20 inches (50.8 cm) The original Marly Horses are two 1743–1745 Carrara marble sculpted groups by Guillaume Coustou. They were commissioned by Louis XV of France for the trough at the entrance to the grounds of his château de Marly. Coustou's last works, they were intended to replace two other sculpted groups, Mercury on Pegasus and Pegasus, Renown of Horses, both by Antoine Coysevox, which had been removed to the Tuileries Gardens in 1719. Louis XV chose the modellos in 1743 and the full-size sculptures were completed in only two years, being installed at Marly in 1745. They proved highly successful in reproduction, particularly on a smaller scale, and prefigured Théodore Géricault and other Romantic artists' obsession with equestrian subjects. The Marly horses were later also used as the central motif of the monochrome 819-line RTF/ORTF test card which was used on TF1 from 1953 until 1983. The originals were moved to the place de la Concorde in Paris in 1794 and Louis-Denis Caillouette (1790–1868) restored them in 1840. In 1984 it was concluded that the annual military parades on 14 July were damaging the sculptures and they were replaced by marble copies produced by Michel Bourbon in the studio of a subsidiary of Bouygues. The latter also gained the right to an extra copy, which was placed in Bouygues's social building. The original sculptures were moved to a former courtyard in the Richelieu wing of the Louvre Museum, which was renamed the 'cour Marly' in their honour, whilst Bourbon's two main copies were moved to the originals' first site near the trough at Marly, with work overseen by the architect Serge Macel. Guillaume Coustou the Elder (29 November 1677, Lyon – 22 February 1746, Paris) was a French sculptor of the Baroque and Louis XIV style. He was a royal sculptor for Louis XIV and Louis XV and became Director of the Royal Academy of Painting and Sculpture in 1735. He is best known for his monumental statues of horses made for the Chateau of Marly, whose replicas now stand in the Place de la Concorde in Paris. Coustou was a member of a family of famous sculptors; his uncle, Antoine Coysevox, was a royal sculptor; his elder brother, Nicolas Coustou was a sculptor, and his son Guillaume Coustou the Younger also become a noted royal sculptor. Like his older brother, he won the (Prix de Rome) of the Royal Academy which entitled him to study for four years at the French Academy in Rome. However, he refused to accept the discipline of the academy, gave up his studies, set out to make his own career as an artist. He worked for a time in the atelier of the painter Pierre Legros, and eventually returned to Paris. Upon his return to Paris, he assisted his uncle Coysevox in making two monumental equestrian sculptures, Fame and Mercury, for the Château de Marly, the new residence of Louis XIV near the Palace of Versailles, where he went to escape the crowds and ceremony of the Palace. He later (1740–1745), made his own horses, The Horses of Marly, his most famous works, to replace them. The horses reinvent the theme of the colossal Roman marbles of the Horse Tamers in the Piazza Quirinale, Rome. They were commissioned by Louis XV in 1739 and installed in 1745 at the Abreuvoir ("Horse Trough") at Marly. The horses were considered masterpieces of the grace and expressiveness of the French Late Baroque or Rococo style. After the Revolution they were moved from Marly to the beginning of the Champs-Élysées on the Place de la Concorde. The originals were brought indoors for protection at the Louvre Museum in 1984. In 1704 Coustou was received into the Académie royale de peinture et de sculpture. The work he made to mark his entrance was Hercules on the Pyre, now in the Louvre. It displays the special hallmark of the Baroque, a twisting and rising transverse pose, as well as highly skillful carving. He rose to become Director of the academy in 1733. Another of his major works from his later career, the statue of Maria Leszczynska, (1731)is on display at the Louvre. Coustou also created two colossal monuments, The Ocean and the Mediterranean among other sculptures for the park at Marly; the bronze Rhone, which formed part of the statue of Louis XIV at Lyons, and the sculptures at the entrance of the Hôtel des Invalides. Of these latter, the bas-relief representing Louis XIV mounted and accompanied by Justice and Prudence was destroyed during the Revolution, but was restored in 1815 by Pierre Cartellier from Coustou's model; the bronze figures of Mars and Minerva (1733–34), on either side of the doorway, were not interfered with. In 1714 for Marly he collaborated in two marble sculptures representing Apollo Chasing Daphne (both at the Louvre), in which Nicolas Coustou sculpted the Apollo and Guillaume the Daphne. About the same time he was commissioned to produce another running figure in marble, a Hippomenes designed to complement an Atalanta copied from the Antique by Pierre Lepautre...

Very fine and large bronze of a reclining lion. Many details, such as the treatment of the lion’s mane demonstrate the sculptor’s mastery skill, as well as an understanding of the an...

The Art Deco bronze statue portrays a striking sensuous female figure bending with poise and confidence while at the same time, her arms are bent behind her head. Her body exudes the...

This engaging bronze sculpture on black wooden base, well represents a human bust, but for its expressive force, the bust turns into an abstract shape of it. The artist who created this sculpture is Roberto Nanut...

This engaging bronze sculpture on black wooden base, well represents a human bust, but for its expressive force, the bust turns into an abstract shape of it. The artist who created this sculpture is Roberto Nanut...

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...

"Voyeur" is a sculpture that sets out to provide one of the links in the love symbolism of the ‘key-lock’ sequence – the artifact of visualizing a love affair. There are famous images by Degas of women taking a bath and drying themselves afterward and here is how he (Degas) explained the secret of such compositions: “Naked figures are usually depicted posing for the viewer. I, however, paint the ordinary modest women, who are busy taking the usual care of their bodies… It is like watching them through a key-hole.” In this sculpture the watcher, having previously been in the dark, turns into a certain link in the love chain and becomes an artifact. In the present triad of key, lock and keyhole, every symbol acquires its own meaning in time and shape. - per Vladimir Kush "Vladimir Kush was born in Russia, in a one-story wooden house near the Moscow forest-park Sokolniki. At the age of seven, Vladimir began to attend art school until late evening where he became acquainted with the works of great artists of the Renaissance, famous Impressionists, and Modern Artists. He entered the Moscow Higher Art and Craft School at age 17, but a year later he was conscripted. After six months of military training...

A small bronze muscle man statue on a black wooden base. Measures: 9 1/2" high x 4" diameter base.

We kindly suggest you read the whole description, because with it we try to give you detailed technical and historical information to guarantee the authenticity of our objects. Pretty and elegant statuette in cast bronze with marble base, depicts a young dancer who performs with harmony and plasticity a difficult dance number holding lightly a bouquet of flowers, is a young dancer with clothing, hairstyle and fashion face Art Noveau, very well represented the slender body full of an elegant grace and composed, the excellent fusion of bronze statuary...

We kindly suggest you read the whole description, because with it we try to give you detailed technical and historical information to guarantee the authenticity of our objects. Iconic and particular statuette in cast bronze...

Unique Genesis el Pensamiento bronze sculpture by Jean-Baptiste Van den Heede Unique piece signed and numbered Dimensions: L 34 x D 8 cm Materials: bronze Other sizes and materi...