Bronze Sculptures

Large Cast and Chiseled Bronze Plaque Saint Sebastian after the model by Guido Reni (Capitoline Museum) Rome, 17th century Large rectangular bronze plaque depicting the martyrdom of...

Antique Gilt Bronze with Green and Red Jewelled Royal Tiara. Jewel encrusted. British history. c1900. Very interesting piece that I had to have.

A bronze cast of Diana, Goddess of the Hunt, after Pierre Roche (French 1955 - 1922). The sculpture stands on a square green marble base. Dimensions: Base: 8" x 8" Overall: 10.5" ...

Beautiful Italian Bronze Sculpture of Gladiators on a Marble Base 19th Century Dimensions 25x20 cm very good condition

Venus With Dolphin In Bronze 1600, small 17th-century Italian sculpture ending in a ferrule at the bottom. He holds a sphere in his right hand and with his left hand holds the dolphi...

"Diane de Gabies" French sculpture, late 19th century. Patinated bronze with "Ferdinand Barbedienne" foundry marks. Height: 51 cm. Very good condition.

Bronze Bust Of 1600s, cast depicting a young boy with curly hair and a gathered robe over his neck ending in an oval section with beaded border. This antique bronze knob of Italian ...

JESUS CHRIST CRUCIFIED European, Germany ? 19th century Christ and font in bronze, wooden cross, covered with enamel. Slight wear. Dim.: (cross) 50 x 30 cm; Height: (christ) 16 cm...

A Baroque style vintage bronze statuette of a putto carrying a wicker fruit basket with silver patina. Inspired by the drama and opulence of the B...

Gilt bronze lion on marble base. Antique chased gilt bronze recumbent lion on rare green speckled marble base. Italy, late 17th century. Dimensions: Ov...

Impressive 19 century pair of bronze babies with rock crystal spheres.. Can be placed everywhere and make a big statement.

Victorian Gilt Bronze figure of a Child playing the Cymbals Sitting Cross leg on a rock, fine detailed casting, on the face, Hands with the cymbal band wrapped around, Stripes on...

two (2) Meissen porcelain birds (bitterns), from 1743 model by German sculptor Johann Joachim Kändler (German, 1706-1774), each on a base of re...

Female Figure Sculpture Léopold OUDRY (1854-1882) Art bronze bust, set on a lacquered wooden base. Signed L.Oudry. Height: (total) 40 cm G...

AUGUST MOREAU (1834-1917) "Le Jeunes Filles". French bronze sculpture 19th Century Signed Moreau. Height: (total) 57 cm good conditions.

Cast bronze wall sculpture with seven children chorus. Europe, early 20th century. Signed M. Raúl Couceiro.

A Italian Gilt Bronze Hermes 19th Century H: 30cm very good condition.

Wonderful pair of Italian Baroque paperweights from the 1800s. The pair is made with a truly binding Onyx base. The onyx stone has been carved to make the paperweights semi-equal. Ab...

A Spanish bronze sculpture end 19th century Christ carrying the cross. Mounted on a red marble base. Measure: H.: 34 cm. (incl. basement...

Italian Bronze sculpture depicting ''DAVID''. Green marble base. Late 19th century. Dimensions Height approx. 108 cm good condition

Sculptor of the 19th century, Sculpture: "Greek warrior with spear and shield", bronze, light brown patina with dark accents. Measure: H. 38.5 cm. Good condition.

XIX Century, Pair of Venetian gilt bronze fireplace Chenets in Baroque Style This imposing pair of Fireplace Chenets in finely chiselled and gi...

Guillaume Coustou is best known for his two pieces of marble sculpture, each called Horse restrained by a Groom (1739-45, Louvre Museum, Paris), known jointly as the Marly Horses. Or...

For customers that require professional insured delivery we are proud to have teamed up with a nationwide professional delivery company that will assist with coordinating your delivery needs! They offer a reasonable flat-rate fee for delivery and set up to the ground floor of your home. They deliver to the vast majority of the lower 48 states. They offer a flat rate for most of our items with exclusions for the largest or most complex items such as breakfronts or crystal chandeliers or other items of greater complexity. For those items please ask for a shipping quote prior to purchase as these rates are different from our stated pricing. For those items please ask for a shipping quote prior to purchase. Most deliveries to the East Coast will be 295.00, to the mid-west and Southern mid-west 395.00. To the areas west of Kansas 495.00 and the farthest points to the West coast will be 595.00. Again, some areas we can't cover, however we can deliver to most of the lower 48 states so please inquire to be sure! Delivery times range from as fast as 1-4 weeks for the east coast to 5-9 weeks to the farthest areas of the west coast, sometimes longer and sometimes even shorter. If it is a time sensitive purchase, we may be able to accommodate you for a higher price. It is our goal to please each and every one of our customers with the highest standard of service possible. You must realize and accept that we are shipping antique, vintage and quality used furnishings to your home. We cannot control traffic, weather, and acts of God. There will be times when additional patience will be necessary. It must be one of the frankest – and most popular – images of carnal love in the history of art: Auguste Rodin’s monumental marble sculpture...

Roman bronze sculpture Depicts Roman Chariot 19th century Measures: cm. 33 × 66 H. 50 Good conditions.

Pair antique bronze patinated angel putti sconces. Italian late 17th century bronze putti with exceptional modeling seated on scrolled arms each ex...

Bronze sculpture of Venus, Louvre museum. Large sculpture of Venus made in the 19th century by the louvre museum. Height: 96 cm. Good condition.

19th century bronze from Moulin Elegant 19th century bronze signed by the author. In Patinated bronze and simulation of porphyry. Measures: 50 x 35 x 16 cm Good condition.

Figure in golden bronze of the xix century THE BRONZE IS FROM THE 19TH CENTURY AND THE ONYX BASE IS LATE. MEASURES: 30 CM HIGH good condition.

A Spanish bronze sculpture end 19th century depicting the Holy Mary with the Christ Child. So-called: Sedes Sapientiae. Measure: H.: 33 cm very ...

BEAUTIFUL EARLY 1800'S MEDALLION OF TSAR ALEXANDER II. IN GOOD GEMERAL CONDITION. PRESENT SLIGHT FAULTS ON THE EDGES- SEE PHOTOS. MEASURES: 10 CM DIAMET...

Gilded bronze and silver figure. Figure in golden bronze on wooden pedestal and decorated with silver shield. Present some Missing see photos. Measures: 35 x 30 x 17 cm. good condi...

Bust of Alexander II. Rare bust of Alexander II in gilded bronze on a malachite base from the 19th century The quality of the bronze is excellent with man...

LARGE Roman bronze from the 19th century. Important bronze from the end of the 19th century roman signed S.V. The black marble base is later. Grand tour of Rome. Excellent condition ...

Intricate lovers in bronze statue. From the late 18th century. This piece stands at 23 in high 7 inches wide. Perfect addition for your study or reading room.

Pair of bronze and marble Marly Horse and Tamer sculpture statues after Coustou, circa late 20th century. Measurements: 14" H x 12" W x 7" D.   

BARBEDIENNE ART NOUVEAU ONYX CLOCK EXCELLENT CLOCK OF THE XIX CENTURY MADE IN ONYX AND BRONZE BY BARBEDIENNE-SIGNED ON THE CLOCK AND ON THE CUP ART N...

Very large bronze sculpture with brown patina, based on the group "The Rape of the Sabine Women" by John of Bologna (Giambologna). This pivoting composition shows three figures in motion: a man on the ground defeated with his shield turned upside down, a second one arched clutching a woman launched towards the sky trying to escape, all on a naturalistic base. The Sabine man, the Roman and the Sabine woman are all depicted naked. This staging plays on serpentine lines known as "figura serpentinata" and diagonals giving a beautiful variety of volumes and a multiplicity of angles of view. The bronze is signed F. De Luca...

A very fine and Monumental French 19th century patinated bronze group Titled "The Abduction of the Sabine Women" after a model by Pierre Loison (French, 1816-1886), depicting a young scantily maiden being carried away on the arms of a Roman soldier, raised on circular ebonized wood and brass revolving pedestal stand. Signed at the base: P. Loison, circa: Paris, 1870-1880. Overall height (Sculpture and Pedestal): 91 inches (231.2 cm). Sculpture height: 54 3/4 inches (139.1 cm). Sculpture width: 24 inches (61 cm). Pedestal height: 36 inches (91.5 cm). Pedestal width (Widest): 25 1/2 inches (64.8 cm). Pierre Loison was a French sculptor of the 19th century born in the seaside town of Loir-et-Cher on July 5, 1816 and died in Cannes on February 3, 1886. In 1841, he joined the Pierre-Jean David d'Angers workshop where he became one of his favorite pupils. A year later he attended the School of Fine Arts in Paris. He exhibited for the first time at the Salon des artistes Français where in 1845 he was awarded third-class medal. In 1853 he was awarded First Place medal and at the Universal Exhibition of 1955 he received an honorable mention and another medal award in 1859. On 12 July 1859 and by decree, he was made "Chevalier de la Légion d’Honneur". Pierre Loison is buried at The Montparnasse Cemetery in Paris. Works by Pierre Loison "Femme assise": Terre cuite (1843) au musée Gustave-Moreau à Paris "Jeune fille portant un vase": Statue en marbre blanc, (h. 1,25 m) datée de 1857 et présentée au Salon de 1859 ; la statue fut d’abord placée au Palais-Royal (appartements du prince Napoléon) ; elle est actuellement au musée des Beaux-arts de Dole ; une réplique de taille réduite est au Musée des arts décoratifs de Paris. "La Halle aux grains de Mer": Chaque façade de ce bâtiment, classé à l’inventaire supplémentaire des monuments historiques, comporte un fronton triangulaire et celui de la façade ouest représentant « L’Agriculture distribuant des couronnes aux enfants de Beauce et de Sologne » a été sculpté gracieusement par P. Loison, natif de la commune. "La Justice assise": Allégorie de la Justice au fronton du Palais de justice de Blois (1847). "Buste d’Achille Fould": Au musée du Château de Blois 8; "Nausicaa": Statue en plâtre présentée au Salon de 1874, au musée des Beaux-arts de Vendôme. "Statue de J-B. Pigalle sur la façade de l’hôtel de ville de Paris "Sculptures extérieures du Palais du Louvre": Pierre Loison est l’auteur de neuf statues qui décorent les façades du Louvre "Figure" (1878) au deuxième étage du Pavillon Marsan10; "La Navigation" (1868) sur la balustrade du premier étage du Pavillon des États11; "Pandore" (1861) sur l’aile Est12; « Vénus » (1865) Aile Marsan13; "l’Histoire et la Vérité" (1857)14; "La Poésie et la Philosophie" (1857)15 deux oculi du Pavillon Mollien, coté cour Napoléon ; "Concordet" (1857) sur la balustarde du premier étage de la Rotonde de Beauvais, coté cour Napoléon. "Statue de Sappho sur le rocher de Leucade : datée de 1859, (h. 1,85 m) sur la façade nord de la cour carrée du Palais du Louvre à Paris ; le modèle en plâtre, offert par Mme Loison, est au musée des Beaux-arts de Blois. "Vierge à l’enfant": Statue en marbre en l’église Saint-Pierre de Dampierre-en-Yvelines. "Jeune romain enlevant une Sabine": Groupe présenté au Salon de 1863 qui a été reproduit en bronze par la fonderie d’art Raingo frères. "Sépulture de la famille Hautoy : Au cimetière du Père-Lachaise, deux bas-reliefs en marbre représentant l’un "La vie de Famille," l’autre 'Le chantier," datés de 1880. "Demoiselle d’honneur de la Cour de François Ier": Statue en pierre exposée au Salon des artistes vivants en 1870 ; acquise par l’État à ce Salon, elle a été déposée en 1891, devant la mairie d’Aubin. "La Paix distribuant des palmes aux génies des Beaux-arts": Fronton du Château de Compiègne (1866). "Daphnis et Naïs": Groupe en marbre (1869) au musée de Picardie à Amiens. "Jean-Baptiste Pigalle": Statue en pierre (1881) sur la façade principale, au rez-de-chaussée de l’Hôtel de ville de Paris. "Gisant de Ferdinand-Philippe d'Orléans: dans la chapelle royale de Dreux en collaboration avec Ary Scheffer. "La Grace": Statue en marbre (1875) dans le grand foyer de l’opéra Garnier. The Abduction of the Sabine Women The Abduction of the Sabine Women is an episode in the legendary history of Rome, traditionally dated to 750 BC, in which the first generation of Roman men acquired wives for themselves from the neighboring Sabine families. Recounted by Livy and Plutarch (Parallel Lives II, 15 and 19), it provided a subject for Renaissance and post-Renaissance works of art that combined a suitably inspiring example of the hardihood and courage of ancient Romans with the opportunity to depict multiple figures, including heroically semi-nude figures, in intensely passionate struggle. Comparable themes from Classical Antiquity are the Battle of the Lapiths and Centaurs and the theme of Amazonomachy, the battle of Theseus with the Amazons. The Abduction is supposed to have occurred in the early history of Rome, shortly after its founding by Romulus and his mostly male followers. Seeking wives in order to found families, the Romans negotiated unsuccessfully with the Sabines, who populated the area. Fearing the emergence of a rival society, the Sabines refused to allow their women to marry the Romans. Consequently, the Romans planned to abduct Sabine women, during a festival of Neptune Equester and proclaimed the festival among Rome's neighbours. According to Livy, many people from Rome's neighbours including folk from the Caeninenses, Crustumini, and Antemnates, and many of the Sabines attended. At the festival Romulus gave a Signal, at which the Romans grabbed the Sabine women and fought off the Sabine men. The indignant abductees were soon implored by Romulus to accept Roman husbands. Livy says Romulus offered them free choice and promised civic and property rights to women. According to Livy, Romulus spoke to them each in person, declaring "that what was done was owing to the pride of their fathers, who had refused to grant the privilege of marriage to their neighbours; but notwithstanding, they should be joined in lawful wedlock, participate in all their possessions and civil privileges, and, than which nothing can be dearer to the human heart, in their common children." Responsibility of the men for meeting the needs of the children thus conceived was not included. War with the Sabines and other tribes Outraged at the occurrence, the King of the Caeninenses entered upon Roman territory with his army. Romulus and the Romans met the Caeninenses in battle, killed their king, and routed their army. Romulus later attacked Caenina and took it upon the first assault. Returning to Rome, he dedicated a temple to Jupiter Feretrius (according to Livy, the first temple dedicated in Rome) and offered the spoils of the enemy king as spolia opima. According to the Fasti Triumphales, Romulus celebrated a triumph over the Caeninenses on 1 March 752 BC. At the same time, the army of the Antemnates invaded Roman territory. The Romans retaliated, and the Antemnates were defeated in battle and their town captured. According to the Fasti Triumphales, Romulus celebrated a second triumph in 752 BC over the Antemnates. The Crustumini also started a war, but they too were defeated and their town captured. Roman colonists subsequently were sent to Antemnae and Crustumerium by Romulus, and many citizens of those towns also migrated to Rome (particularly the families of the captured women). The Sabines themselves finally declared war, led into battle by their king, Titus Tatius. Tatius almost succeeded in capturing Rome, thanks to the treason of Tarpeia, daughter of Spurius Tarpeius, governor of the citadel on the Capitoline Hill. She opened the city gates for the Sabines in return for "what they bore on their arms", thinking she would receive their golden bracelets. Instead, the Sabines crushed her to death with their shields, and her body was thrown from a rock known ever since by her name, the Tarpeian Rock. The Romans attacked the Sabines, who now held the citadel. The Roman advance was led by Hostus Hostilius, the Sabine defence by Mettus Curtius. Hostus fell in battle, and the Roman line gave way, They retreated to the gate of the Palatium. Romulus rallied his men by promising to build a temple to Jupiter Stator on the site. He then led them back into battle. Mettus Curtius was unhorsed and fled on foot, and the Romans appeared to be winning. At this point, however, the Sabine women intervened: [They], from the outrage on whom the war originated, with hair dishevelled and garments rent, the timidity of their sex being overcome by such dreadful scenes, had the courage to throw themselves amid the flying weapons, and making a rush across, to part the incensed armies, and assuage their fury; imploring their fathers on the one side, their husbands on the other, "that as fathers-in-law and sons-in-law they would not contaminate each other with impious blood, nor stain their offspring with parricide, the one their grandchildren, the other their children. If you are dissatisfied with the affinity between you, if with our marriages, turn your resentment against us; we are the cause of war, we of wounds and of bloodshed to our husbands and parents. It were better that we perish than live widowed or fatherless without one or other of you." The battle came to an end, and the Sabines agreed to unite in one nation with the Romans. Titus Tatius jointly ruled with Romulus until Tatius's death five years later. The new Sabine residents of Rome settled on the Capitoline Hill, which they had captured in the battle. Artistic representations: The Rape of the Sabine Women by Johann Heinrich Schönfeld The subject was popular during the Renaissance as symbolising the importance of marriage for the continuity of families and cultures. It was also an example of a battle subject in which the artist could demonstrate his skill in depicting female as well as male figures in extreme poses, with the added advantage of a sexual theme. It was depicted regularly on 15th-century Italian cassoni and later in larger paintings. A comparable opportunity from the New Testament was afforded by the theme of the Massacre of the Innocents. Giambologna The sculpture by Giambologna (1579–1583) that was reinterpreted as expressing this theme depicts three figures (a man lifting a woman into the air while a second man crouches) and was carved from a single block of marble. This sculpture is considered Giambologna's masterpiece. Originally intended as nothing more than a demonstration of the artist's ability to create a complex sculptural group, its subject matter, the legendary rape of the Sabines, had to be invented after Francesco I de' Medici, Grand Duke of Tuscany, decreed that it be put on public display in the Loggia dei Lanzi in Piazza della Signoria, Florence. True to mannerist densely packed, intertwined figural compositions and ambitious overinclusive efforts, the statue renders a dynamic panoply of emotions, in poses that offer multiple viewpoints. When contrasted with the serene single-viewpoint pose of the nearby Michelangelo's David, finished nearly 80 years before, this statue is infused with the dynamics that lead towards Baroque, but the tight, uncomfortable, verticality— self-imposed by the author's virtuosic restriction to a composition that could be carved from a single block of marble— lacks the diagonal thrusts that Bernini would achieve forty years later with his Rape of Proserpina and Apollo and Daphne, both at the Galleria Borghese, Rome. The proposed site for the sculpture, opposite Benvenuto Cellini's statue of Perseus, prompted suggestions that the group should illustrate a theme related to the former work, such as the rape of Andromeda by Phineus. The respective rapes of Proserpina and Helen were also mooted as possible themes. It was eventually decided that the sculpture was to be identified as one of the Sabine virgins. The work is signed OPVS IOANNIS BOLONII FLANDRI MDLXXXII ("The work of Johannes of Boulogne of Flanders, 1582"). An early preparatory bronze featuring only two figures is in the Museo Nazionale di Capodimonte in Naples. Giambologna then revised the scheme, this time with a third figure, in two wax models now in the Victoria and Albert Museum, London. The artist's full-scale gesso for the finished sculpture, executed in 1582, is on display at the Accademia Gallery in Florence. Bronze reductions of the sculpture, produced in Giambologna's own studio and imitated by others, were a staple of connoisseurs' collections into the 19th century. Nicolas Poussin Nicolas Poussin produced two major versions of this subject, which enabled him to display to the full his unsurpassed antiquarian knowledge, together with his mastery of complicated relations of figures in dramatic encounter. One, now at the Metropolitan Museum of Art, was executed in Rome, 1634–35. It depicts Romulus at the left giving the Signal for the abduction. The second version, of 1636–37, now at the Louvre Museum, shows that, though some of the principal figures are similar, he had not exhausted the subject. The architectural setting is more developed. Peter Paul Rubens Peter Paul Rubens painted a version of the subject about 1635–40. It is at the National Gallery, London. Jacques-Louis David Jacques-Louis David painted the other end of the story, when the women intervene to reconcile the warring parties. The Sabine Women Enforcing Peace by Running Between the Combatants (also known as The Intervention of the Sabine Women ) was completed in 1799. It is in the Louvre Museum. David had worked on it from 1796, when France was at war with other European nations after a period of civil conflict culminating in the Reign of Terror and the Thermidorian Reaction, during which David himself had been imprisoned as a supporter of Robespierre. After David’s estranged wife visited him in jail, he conceived the IDEA of telling the story, to honor his wife, with the theme being love prevailing over conflict. The painting was also seen as a plea for the people to reunite after the bloodshed of the revolution. The painting depicts Romulus's wife Hersilia — the daughter of Titus Tatius, leader of the Sabines — rushing between her husband and her father and placing her babies between them. A vigorous Romulus prepares to strike a half-retreating Tatius with his spear, but hesitates. Other soldiers are already sheathing their swords. The rocky outcrop in the background is the Tarpeian Rock. John Leech The English 19th century satirical painter John Leech included in his Comic History of Rome a depiction of the Rape of the Sabine Women, where the women are portrayed, with a deliberate anachronism, in Victorian costume...

Early German baroque bronze mermaid door knocker on frosted lucite stand. This door knocker is a work of art; heavy bronze with original patina, ...

Antique cast bronze Baroque style sculpture of a nude female figure astride goatman. 14.5" tall x 10" x 8" . Unsigned. Verdigris patina. Very nice condition. Dimensions: 8" depth x 1...

Balance Bronze and iron England 19th Century Dim. - 44 cm Good condition.

Pair of 19th century cups. In very good condition. The bronze has a fine chiselure. Beautiful patina. Good condition.

Bronze statuette of St. Jerome, or St Hieronymous, in the manner of the Venetian sculptor Alessandro Vittorio (1525-1608) by the lost wax technique of bronze casting, which leaves a ...

A magnificent 19th century bronze of Ulysses stringing his bow on square base. After Jacques Bousseau (1681-1740). Circa 1830 French Dimensions: H: 35 in / 89 cm W: 11 i...

The bearded hairy figure probably 17th century or older, with one arm behind his back

A very fine French 19th century Patinated bronze Figure of "Milo of Croton and the Lion" after the marble sculpture of Milon de Crotone by renown French...

A solid bronze and brass knight sculpture candelabra later converted to electrified table lamp with large frosted glass torch flame shade. Europe...

A rare and very charming door knocker, Venice, 17th century in bronze with special patina.

Decorate a man's office with this elegant antique statue. Crafted in France, circa 1860, the sculpture named "Le Duel", features a soldier in traditional outfit and holding a sword. ...

This charming depiction of a boy measuring the earth with a compass is an allegorical sculpture of geography. This bronze was cast using the lost wax technique and is fire gilded. He...

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...

Cast bronze figure of a priest holding a cornucopial form crozier. Mounted on a modern turned ebonized wood socle. The bronze figure is 9 1/2" tall. Overall height including th...

Bronze dolphin sculpture. Bronze dolphin in a baroque Venetian sea serpent style mounted on black marble base; a very sculptural bookend. Un...

Pair of bronze statues representing the most famous and romantic lovers of Verona: Romeo and Juliet. Period 19th century by Angelo Cuglierero (...

19th century bronze of the Heroic Putti, with traces of old gilding, modelled holding shield and sword aloft on circular Aswan marble plinth base, possibly German, after the original...

Large patinated bronze statuette with brown patina after the Soldier Bending His Bow, also called Ulysses Bending His Bow or Soldier Martyrisant Saint Sebastian realized in 1715 by J...

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