Bronze Furniture

Elegant Table Lamp in bronze. Originally an Empire candlestick from France made during the 1820s. The middle part in the form of a column. Richly decorated with leaf and period Empir...

Wonderful Art Deco vase made in Sweden. Made by SVM. It’s in patinated bronze and brass. It’s in good condition with wear and patina and wear, with number inscription 1959. Dimen...

A small, beautiful, fluted Art deco / Swedish Grace lidded bronze box with amazing patina. Designed by Sune Bäckström and produced by Einar Bäckström Metallvarufabrik in Malmoe, Swe...

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...

Solid bronze oval dish with an impressed fish at the middle showcasing incised scales. Marked on the underside - Nordia - Made in Israel Additional information Material: Bronze Ori...

This handsome French elaborately carved solid walnut bed features brass ormolu mounts on both the head and footboard. It measures 60 inches wide and 78 inches long. The inside measur...

This late 19th-century French pedestal is crafted from Alpine green marble and features refined gilded bronze accents. Designed in the Neoclassical style, the column showcases eleg...

Amuneal’s Murphy Bed in Silvered Walnut and Oxidized Bronze is designed to feel like a built-in piece of millwork, concealing a queen-sized mattress behind ...

Louis XV Style, Bureau Plat or Executive Desk, Marquetry, Leather, Bronze, France, late 19th or early 20th Century An elegant French-style bureau plat featuring intricate floral mar...

A very fine quality French 19th century Louis XVI Style Marquetry Inlaid Gilt Bronze-Mounted Bombay shape Commode with Figural mounts. Imported by R.J. Horner of New York, circa 1890.

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

This one-of-a-kind antique Italian Empire Period folding screen is a masterpiece of early 19th-century craftsmanship, dating most likely from 1801 during the Republic of Lucca. Pain...

Elevate your interior with this elegant pair of 1930s era walnut pedestals or plant stands, featuring beautifully grained wood and luxurious marble tops. These antique stands are ide...

A Monumental Equestrian Patinated Bronze Group Sculpture of "Tartar Warrior Checking His Horse" after the original model by Antoine Louis Barye (French, 1795-1875). The large and hea...

Large decorative Art Deco dish/low bowl made of bronze. Brown patinated center with golden rim. It's designed by the Danish artist Just Andersen (1884-1943) in the 1930s. Sign. with...

Pair of Regal Bronze Lion Head Bookends with Verdigris Patinated Highlights A striking pair of sculptural lion head bookends, executed in a richly modeled and heavily textured compo...

Tiffany Studios Pomegranate Leaded Glass and Patinated Bronze Table Lamp. A beautiful Tiffany Studios ensemble with a rare and early patinated bronze base with original Bryant socket...

Patinated bronze sculpture depicting Hermes, 20th century, Napoleon III style. 20th-century patinated bronze sculpture in the Napoleon III style depicting Hermes. H: 71 cm, W: 15 cm...

A hard to find mixed metal flower cart sculpture by C. Jere for Artisan House, circa 1970s. The piece has tremendous detail and craftsmanship incudin...

A fine and large French late 19th century Louis XVI style mahogany, kingwood bandings and fruitwood marquetry armorial commode with Sycamore Marquetry...

French Louis XVI-style two-door cabinet, finished in elegant black paint with a single upper drawer and two paneled cabinet doors. The cabinet is accented with ornate gilt-brass pull...

French White Opaline Shell Form Ormolu Mounted Dresser/Jewelry Box This antique French shell shaped white opaline dresser or jewelry box features a mold...

A very fine and palatial French 19th century Louis XIV style Empire figural ormolu three-piece clock and candelabra garniture suite, comprising of a gilt-bronze clock and a pair of t...

Bronze Art Deco chandelier with nickel finish.

A Wonderful French Ormolu Mounted Cut Crystal & Bronze Jewelry Casket / Box With Decorative Key In The Style And Manner Of Baccarat

This exclusive crystal pendant lamp, designed by Oggetti d'Arte srl, embodies the essence of contemporary elegance blended with noble crystalmaking traditions. Each element is carefu...

We are please to offer for your consideration a beautiful chandelier with five-light by Guglielmo Ulrich. Made in Italy circa the 1950s. Two-tone sculptural brass body. Original pa...

For nearly twenty years, the Giobagnara brand has combined traditional know-how and leading-edge technology to produce elegance of the highest standard. With luxurious creations avai...

Classic mid-century 1950s Vienna bronze figurine by Walter Bosse. Found at an estate sale in Vienna, Austria.

Door Handle in brass and bronze. The solid brass spindles are thick and rounded of softly due to excessive use over the years. Suitable for your office, Conservatory, Atrium etc. It ...

A very fine Anglo-French 19th century rosewood, palisander, amboyna and satinwood marquetry (inlaid) art-case baby grand piano, the works by "Collard & Collard". The intricately ...

Entitled "Dove," this bronze sculpture, by the revered Puerto Vallarta artist Ramiz Barquet, captures the bird's form with a fluid abstract style. It is signed "Barquet" and "Dove." ...

Superb and large brutalist ashtray or empty pocket designed and produced by the artist david marshall in the 70s in spain. Structure in bronze and aluminum. Rare design object that w...

A circa 1920's French gilt bronze neoclassic lantern with 12 lights with original finish. Measurements: Diameter: 24" Drop: 44" (adjustable).   

This handsome pair of Old English style Caldwell sconces are finely detailed, and have a mellow gilt finish. Originally from the library of "Goodwood", the Sewickley PA home of H.J. ...

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...

Superb Maison Charles lamp, bronze eagle, original bronze shade. Three lights, 60 watts per light. US rewired and in working condition.

Exceptional antique jewelry box attributed to Tiffany Studios, crafted in bronze and decorated with elegant glass paste in soft white and ochre tones. Made in New York, USA, around 1...

The circle pocket petrol-lighter designed by Thorens. This is a very fine and exceptionally rare Thorens “Circle” petrol lighter, created in Sainte-Croix, Switzerland, circa 1933, d...

Beautiful and impressive 19th century double bed French Belle Époque bronze, iron, brass and glass in the headboard and nightstands (not included in the listing) For martes 53" x 75...

This artwork was created by the Italian artist Rodica Tanasescu. The title "Insieme" Together Rodica Tanasescu was born in Rumania and now lives in and works in Mestre, (Venezia, It...

Stunning midcentury modern etched bronze veneered coffee cocktail table designed by father and son Philip and Kelvin LaVerne. The large table depicts Michelangelo's creation of man i...

A charming late 19th-century bronze study depicting an Art Nouveau beauty seated upon a tree stump, dressed in loosely fitted attire and drinking from a shell. The sculpture display...

Modern Landscape Bronze of Tree Frogs Circa 1970s Of larger size and scale, a unique well cast, highly detailed bronze of four tree frogs in situ, balanced...

Green marble and bronze pedestal mounts with a leaf pattern supported with lion paw feet and wing. Acanthus leaf bronze stem portion. 13" tops. Excellent condition. 24" wide x 48" high.

This expressive vintage bronze sculpture was created by Mexican artist Jesús Tellosa and is signed and dated 1999. The work depicts a stylized winged figure rendered in Tellosa’s distinctive figurative language—abstracted yet deeply emotive, with softened anatomical features, closed eyes, and compact proportions that evoke introspection, spirituality, and quiet strength. Cast in solid bronze, the sculpture displays a richly developed surface with natural patina, visible tool marks, and subtle tonal variations that emphasize the artist’s hand and process. The wings, integrated seamlessly into the figure’s form, suggest themes of transcendence, protection, and inner transformation—recurring motifs within contemporary Mexican sculpture of the late 20th century. Jesús Tellosa is recognized for his contribution to modern Mexican figurative art, working primarily in bronze and other traditional materials while embracing simplified forms and symbolic narratives. His work reflects the broader Mexican artistic movement that sought to bridge pre-Hispanic symbolism, spiritual introspection, and modernist abstraction, positioning the human figure as a vessel for cultural memory and emotional resonance. A compelling and collectible example of late-20th-century Mexican bronze sculpture...

ART DECO United States, circa 1940s Hercules and the Lernean Hydra Patinated bronze unsigned designed as a fountain Item # 410TUG09E Stark, minimal and thoroughly modernist, th...

This exceptional and extremely rare French Art Deco chandelier by Jean-Boris Lacroix was created in France during the 1920s. A remarkable example of luxury European lighting, it comb...

French Louis XVI Style Bronze Lantern. Offered is a superb large scale antique French Louis XVI style bronze lantern with curved glass panels and three interior lights (candelabra so...

Bronze Tab Appliance Pull 205 Handle by Henry Wilson Dimensions: W 20.5 x D 4.5 x H 3,9 cm Materials: Bronze A versatile handle with discrete projection of only 17mm and comes in 3...

A very nice figurative bronze serving tennis player sculpture by Curtis Jere for Artisan House, circa 1970s. The piece is in very good vintage condition with a wonderful patina and m...

Pair of French Louis XV style nightstands with quartered veneer and trailing vines marquetry inlay. The night stands having a scalloped gallery, single drawer with conforming inlay, ...

A Very Fine German 19th Century Louis XVI Style Burr Walnut Bechstein Concert Grand Piano, Serial No. 5655. The beautifully crafted Grand piano, raised on three tapered barrel shaped legs, with an intricately carved ornate music desk and original keys. Circa: 1872. Length: 80 inches (203.2 cm) Width: 59 inches: (149.9 cm) Height (top closed): 38 5/8 inches (98.1 cm) C. Bechstein Pianofortefabrik C. Bechstein Pianofortefabrik AG (also known as Bechstein) is a German manufacturer of pianos, established in 1853 by Carl Bechstein. Before Bechstein Young Carl Bechstein studied and worked in France and England as a piano craftsman, before he became an independent piano maker. His first pianos were made for other companies. C. Bechstein C. Bechstein piano factory was founded on 1 October 1853 by Carl Bechstein in Berlin, Germany. Carl Bechstein set out to manufacture a piano able to withstand the great demands imposed on the instrument by the virtuosi of the time, such as Franz Liszt. In 1857, Hans von Bülow (Liszt's son-in-law) gave the first public performance on a Bechstein grand piano by performing Liszt's Piano Sonata in B minor in Berlin By 1870, with endorsements from Franz Liszt and Hans von Bülow, Bechstein pianos had become a staple in many concert halls and private mansions. By that time three piano makers, all of which were founded in 1853, became established as the industry leaders across the world: Bechstein, Blüthner and Steinway & Sons. In 1881 Bechstein began supplying pianos to Queen Victoria. A gilded art-case piano was delivered to Buckingham Palace, followed by several more Bechstein pianos to Windsor Castle and other royal residences. By January 1886 they were among the piano manufacturers holding a Royal Warrant as a supplier to the Queen. Several British embassies across the world acquired Bechstein pianos. In 1885, Bechstein opened a branch in London, that eventually grew to become the largest showroom and dealership in Europe. By 1890 showrooms had been opened in Paris, Vienna, and Saint Petersburg. On 31 May 1901, Bechstein Hall, built at a cost of £100,000, was opened next to the company's London showroom at 36-40 Wigmore Street. Between 1901 and 1914, C. Bechstein was the largest piano dealership in London. At that time, Bechstein was patronized by the tsars of Russia, the royal families of Spain, Belgium, the Netherlands, Italy, Sweden, Norway, Austria and Denmark, and other royalty and aristocracy. The list of royal clients of Bechstein may be found on the soundboard of vintage Bechstein pianos made before the Second World War. The list is part of the original Bechstein trademark logo; it can be seen under the strings in the center of a piano's soundboard. The signature of Carl Bechstein The years from the 1870s through 1914 brought Bechstein their most dramatic increase in sales. In 1880 a second Bechstein factory was opened in Berlin, and the third factory was opened in 1897 in Berlin-Kreuzberg. Production reached 3,700 pianos annually in 1900, and 4,600 in 1910, making Bechstein the largest German manufacturer of high-end pianos. At that time, about three quarters of production went to international markets, especially Britain and the Commonwealth, and Russia. Carl Bechstein died in 1900, and the Bechstein company continued to operate under the management of his sons. Between 1900 and 1914 C. Bechstein was one of the leading piano makers in the world, employing 1,200 craftsmen and workers by 1913 and making five thousand pianos per year. First World War C. Bechstein suffered huge property losses in London, Paris, and St. Petersburg during World War I. The largest loss was in London. Although the company's position in the United Kingdom was initially unaffected, with the company still listed as holding a Royal Warrant in January 1915, Warrants to both King George V, and his wife Queen Mary were cancelled on 13 April 1915. Bechstein was not the only musical concern to be affected by growing anti-German sentiment: there were earlier attempts, led by William Boosey, to boycott German music altogether. In 1915, despite being a Baronet and Privy Counsellor, Sir Edgar Speyer, who was then funding the Proms, was forced to leave the country. Following the passing of the Trading with the Enemy Amendment Act 1916 the British arm of the company was wound-up on 5 June 1916, all Bechstein property, including the concert hall and showrooms full of pianos, were seized as "enemy property" and closed. In 1916 the hall was sold as alien property at auction to Debenhams for £56,500. It was renamed Wigmore Hall, and then re-opened under the new name in 1917. All 137 Bechstein pianos at the Bechstein showrooms were confiscated too, and became property of the new owner of the Hall. After a dispute with his brother, Edwin Bechstein left the company and was paid off. Eventually the Bechstein factory resumed full-scale production during the 1920s. At that time, technical innovations and inventions of new materials and tools, as well as improvements in piano design and construction, had allowed Bechstein to become one of the leading piano makers again. The most successful models were the updated "A"-185 and "B"-208 grand pianos. The upright pianos became more popular after the war, and C. Bechstein were successful with its upright pianos Model-8 and Model-9, both of which have been considered the finest upright pianos. As the company was changed into a joint-stock company 1923, Edwin Bechstein and his wife Helene, bought themselves back into the company as shareholders. In 1930 the company collaborated with German electrical goods manufacturer Siemens under Nobel laureate Walther Nernst to produce one of the first electric pianos...

Designed by French sculptor Pierre Le Faguays in 1925, this Art Deco bronze statue features a young Grecian female archer named "Diana" gracefully pulling her bow. The statue highlig...

There’s a reason the classic Sukhothai Buddhas became so influential. When they’re done well, they carry a kind of effortless calm that later styles often struggle to recreate. This...

This artwork was created by the Italian artist Alfredo Cifani. Title "EOS" Alfredo Cifani was born in 1939 in Fermo, the Southern part of Italy, lives and works in Milan. He is a pai...

Fascinating bronze large sculpture with a rough texture and amazing verdigris patina. Unsigned. Concrete plinth included but optional. 23.75 h x 15 w x 6.5 d Looks amazing in a ga...

Tortolina 1 - One of a kind decorative sculptural bowl, hand crafted, moulded and cast in bronze in the lost wax process. Intricately crafted leaving the artist delicately imprints ...

Swedish Grace ceiling light made in Sweden in the 1930s. Designer and manufacturer unknown. A circular glass disc etched with mermaid motifs supports a frosted glass ring that conce...

A wonderful gilt bronze and etched-glass 8-light ceiling fixture decorated with fine ornaments and garlands, France, early 20th century. Measures: Diameter 31.8 in/ 80 cm Height 4...