Metal Sculptures

Wonderful Triple Spiral Steel Kinetic Stabile / Mobile Sculpture by Sam Ogden constructed of three pieces of hammered , sculpted steel, Amazing visual.. Reta...

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...

Bronze sculpture Harry Bertoia 1960.

Bronze Statue of Cleopatra Reclining on Red Marble Base - Classical Sculpture of Great Charm This elegant bronze statue depicting Cleopatra in a reclining position is an extraordinar...

French bronze dancers sculpture from the 1930s

Mesmerizing Kinetics: Iron Sculpture - Painted Motion and Color Manufactured in France by unknown artist, circa 1990. In original condition with minor wear consistent of age and us...

Petite Art Deco bronze bust of a woman's head by Pal Bel, marked on bottom 'MADE IN ISRAEL' with foundry mark and other Hebrew text.

Bronze sculpture of a cat by Louis Riché, early 20th century. An early 20th century Napoleon III style bronze sculpture of a cat by Louis Riché. H: 26cm, W: 45cm, D: 13cm Please co...

Fine metal painted head horse on horseshoe, circa 1890.  

Carcharodontosaurus (Dinosaur) tooth in a glass display box From Tegana Formation, North Africa. Cretaceous Age 65 million years Carcharodontosaurus is one of the longest and heavi...

Paul Soldner (April 24, 1921 – January 3, 2011) is known primarily as a ceramicist and for his pioneering work in the traditional Japanese firing technique of raku, In this rare, bea...

This is a wonderful antique French Empire Revival ormolu mounted and patinated Verde Antico marble inkstand, Circa 1870 in date. Of rectangular form with a pair of raised inkwells h...

Pair of Small Silver-Plated Peacock Figurines Hollywood Regency Style, Vintage Luxury Décor & Gift An exquisite pair of small silver-plated peacock sculptures, designed in the class...

French bronze sculpture of Cupid after Auguste Moreau (1834-1917)

Horse. Patinated metal. 19th century. Figure of a walking horse with a bronze base and a patinated iron animal. It shows a strong influence from the animal figures common in the 19...

Vintage decoration or a toy. Original condition. With original biox fully functional

Mid Century Brutalist Lion Sculpture. Classic design made out of thick metal wire in colors of black and gold. Supported by a black metal base,

19th century French bronze head of a boy mounted on an iron base. It is a great accent for a side table or bookshelf.

Large Pink Tessellated Stone Abstract Bird sculpture by Maitland Smith 1970's.

A rather charming, novel mid century bronze hippopotamus on a marble base with gilt border.

Bronco Buster, a cast bronze sculpture after American artist Frederic Remington on marble base. Filled with a tremendous dramatic tension, this bronze sculpture depicts a scene from ...

Patinated bronze sculpture of Emperor Napoleon on horseback after the original model by Henri Louis Levasseur (1853-1934), mounted to the rotating top of a marble pedestal with neocl...

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...

An August Moreau bronze table sculpture. This lovely art nouveau table sculpture features a full cast bronze construction, sitting atop a beautiful tapered marble base. This vase dep...

Graceful even when motionless the Bronze Huntress with Dog on Marble Base is a delightful addition to any setting. Using traditional lost wax casting methods the Bronze Huntress with...

A large and exceptional late 19th century Italian Grand Tour sculpture of the ‘Seated Hermes’ attributed to the Chiurazzi Foundry, Naples, Italy. The sol...

A Large Pair of Egyptian Revival Vintage Patinated Brass Sphinxes. The impressive pair of brown patinated resting sphinxes, with an unverified...

A wonderful Horn resting on three hand wrought pewter legs with a tip, collar and lid with hand crafted etching and details. The horn is a compliment to any shelf, console table - a...

Top quality, beautiful polished cross-section of Ocean Jasper freeform from Madagascar. Polished to smooth mirror finish and is a perfect addition to any crystal collection. Ocean J...

A large and heavy solid Bronze Ashtray in the shape of a Crab. This piece is a compliment as a decorative piece and also has a hinged top to be used as an ashtray for your perfect sm...

Willow Mobile Hanging Sculpture in Stained Wood & Wire by Dace Sūna Dimensions: D 43 x W 120 x H 95 cm. Materials: Stained wood and wire. Bare, weeping silver birch branches swayed...

French School Patinated Bronze Dachshund Sculpture This finely cast French School patinated bronze dachshund sculpture beautifully captures the breed’s signature charm and elegance. Expertly cast in bronze with a rich dark patina, this work highlights remarkable detail, from the dachshund’s expressive eyes and floppy ears to the sleek contours of its elongated body and poised stance. The smooth yet subtly textured surface enhances its lifelike quality, making it a captivating decorative sculpture. Standing 9.75 inches high, 17 inches wide, and 5 inches deep, this substantial bronze piece has a commanding presence while maintaining a refined and understated elegance. The artist’s attention to anatomical accuracy and naturalistic posture makes it an excellent representation of the beloved breed. Ideal for dog enthusiasts, collectors of fine bronzes, or admirers of French animalier sculpture...

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

Beautiful vintage Murano hand blown black and silver flecks Italian art glass Snoopy puppy dog sculpture / figure. Documented to the Gambaro & Poggi workshop, with original clear and...

Special collection of Love's inspirated hearts.

Snipe bird sculpture Italy 1970s brass wood.

From Mibladen, Atlas Mountains, Khénifra Province, Morocco. Here is an exceptional world class specimen of a cluster of hexagonal crystals of bright red Vanadinites with glassy lust...

Beautiful and interesting Italian metal sculpture of contemporary art. The work is presented under an elegant shrine with a wooden base. Excell...

This intricate and exacting 25-piece mind boggling precise puzzle sculpture by Miguel Berrocal's three-dimensional. It is nickeled brass and has its own original box and book. This S...

An innovative porcelain and metal creation inspired by one of the fascinating creatures in nature. Part of the Awesome Insects collection. This origi...

This wonderful vintage mini Miguel Berrocal puzzle element sculpture of the bust of a woman called Portrait de Michelle is comprised of 17 individual c...

The bronze sculpture Unique Forms of Continuity in Space is a monumental icon of Futurism and modern art. Measuring 115 cm high and weighing 70 kg, this large bronze statue captures ...

Ceramic foot with geometric relief produced by the Jean Roger workshop in Paris. Available in different colors for the foot, and different fabrics for the oval lampshade...

This Paradoxides trilobite specimen presented as-unearthed in matrix dates back over 499 million years to the Middle Cambrian Epoch. Paradoxides is one of the earliest known genus of...

Baroque Polychrome Wooden Virgin with Period Silver Crown, 18th Century This Spanish Virgin, dating from the late 18th or early 19th century, is carved in polychrome wood (face and...

Stunning figural bronze sculpture by Franz Hagenauer. Signed.

A pair of cast metal Sculptures, male and female. The finish is newly painted in black. The pair are heavy and substantial, but we do not believe them to be Bronze. They do make ...

Amazing Spanish Baroque Pietà in Polychrome Wood with Silver Crown, 18th Century Impressive large-format Spanish Pietà, carved in wood and polychromed, datable to the late 18th cent...

Extra large and extremely rare, antique sculpture of Mephistopheles from the Faust Opera. This striking and famous historical work of art depicting Mephistopheles is another one of ...

Set of 12 Kamyki Mirrors by Zieta Mounted sculpture Finish: Stainless Steel Dimensions [cm]: Ø 7- 20 cm 6 different forms Dimensions of the set : H. 86 cm W. 102 cm D. 6 cm Zieta...

Sculpture Gorilla Kong all in solid bronze. Limited edition of 8 pieces, numerated 8/8. By Richard Orlinski. Exceptional piece.

Bronze with brown patina of Joan of Arc, signed by Marie d'Orléans and the stamp of the foundryman Susse frères. In very good condition. The original marble proof, intended for the H...

The iconic bronze Evase vase from the Rick Owens bronze relic collection. This is shown in the nitrate patina. Each bronze is handcrafted in France...

A decorative piece of a leather horse model with saddle from the 1900th century

Bronze with brown patina of a nude woman, standing, putting up her hair. Wear and tear on the patina. circa 1900 Height 56.5cm. 20 x 15cm.

Antoine Louis Barye Theseus Slaying the Centaur Bienor Black Patinated Bronze Group. A French bronze group entitled 'Thesee combattant le centaure Bienor, esquisse' (Theseus slaying...

Modernist chrome on black marble stacked pears sculpture, circa 1980s. The piece is very well crafted and in excellent vintage condition with no chips or cracks; it measures 6"W x 6...

Pair of brass heron or crane birds, from the 1970's. Measurements : height 17 cm and 30,5 cm / width 9 cm and 21,5 cm / base diameter 8 cm.

From Mibladen, Atlas Mountains, Khénifra Province, Morocco. Here is an exceptional world class specimen of a cluster of hexagonal crystals of bright red Vanadinites with glassy lus...

A large and very decorative Vintage Brass Stag Pair in reclining position.Perhaps mythological creatures, each recumbent with patterned saddles with...