Bronze Furniture

Beautiful of handcrafted lantern made of happy, solid bronze and brass exceptional quality and design workmanship, large space inside for three candles one door opening, bevelled gla...

Playful glamour meets sculptural restraint in this Organic Modern pouf by Egg Designs, designed as both a luxurious accent piece and a functional companion to the Ostrich Fluff seati...

Franz Bergman Style 19th-Century Austrian Bronze & Coconut Camel Inkwell A rare and whimsical 19th-century Austrian figural inkwell in the Franz Bergman...

This grande French commode with beautiful veneered panels and numerous bronze ormolu mounts dates to the beginning of the 20th century. The commode is in the Louis XV style which fir...

An exceptional American Federal sleigh bed with tester in fine West Indies/ Cuban mahogany with beautifully-articulated floral and acanthus-leaf carvings, along the crest of the headboard and footboard, and on the four posts, attributable to the French-born cabinetmaker Charles-Honoré Lannuier...

Dimensions: 34.75 inches high x 44.25 inches wide x 21 inches deep Elegant, refined, and impeccably crafted, this exceptional antique French Louis XVI style commode represents the t...

A French Ormolu-Mounted Kingwood and Vernis Martin Marble Top Console Table / Buffet, circa 1880, attributed to Henry Dasson. Crafted from rich Kingwood in the 19th century, this c...

Dimensions: Height: 42 3/4 in Width: 29 3/4 in Depth: 16 1/2 in This exceptional Befort Jeune Louis XV style 19th century marble top mahogany sceretaire desk with bronze mounts is ...

Nice gueridon table by Elizabeth Garouste & Mattia Bonetti, designed in 1987 by the iconic duo, and edited by B.G.H. Editions. The three large feet are made in solid patinated bronze...

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...

Jean Lambert-Rucki (French 1888-1967.) Patinated Bronze Statuette on hardwood plinth of St. John the Baptist. Retains original paper label on bottom inside from Foundry; Adalc Paris, Made in France. Wooden base is stamped, Cheret Paris...

These two life-size bronze heads feature a fantastic patina and are mounted on two granite steles measuring 114 cm and 109 cm in height. Both the sculptures and the steles are in und...

For many years I have been buying Aram's beautiful handles for my furniture, even for the antique one. But now I want to close the business, so I'm putting everything up for liquidat...

Pair French Art Deco wall sconces attributed to Sabino with a clear frosted molded glass shell-form diffusor shade and a nickeled bronze frame Backplate is 8" high by 2" wide.

This exquisite French Louis XVI secretary desk exemplifies the refined elegance and craftsmanship of late 18th to early 19th century French furniture. Constructed from rich mahogan...

A decorative, solid bronze candelabra with by Jacob Ängman for GAB / Guldaktiebolaget. With antique patina finish. Sweden, 1920/30s - Art Deco / Swedish Grace. In beautiful conditio...

Modern Bronze Console Table Designed by Greg Sheres.;“Clasp” console table. Sculptural, Elegant, Timeless. The “Clasp” Bronze console tabl...

19th century French head of Medusa in bronze plaque. The head shown is deep relief surrounded by a sunburst corolla of hair with two serpents emerging from the forehead and well as t...

A Wonderful Pair Of Art Deco Bookends Depicting Reading Nudes Delassement By Max Le Verrier Set On Marble Bases

Elegant French Bouillotte Bronze Lamp with Forest Green Tole Shade, France, circa late 19th Century. It has been rewired and is ready to use.

Chinoiserie Lacquer Box. Beautifully hand painted Chinoiserie Box decorated with auspicious Chinese scenes. The box is constructed of wood having polychrome painting lacquered with...

French Art Deco Table Lamp by Charles Schneider for Le Verre Français, France, 1919. Rare and elegant French Art Deco desk / table lamp designed by Charles Schneider (Épinay-sur-Seine, Paris) for the Le Verre Français line, circa 1919. The lamp features a blown and molded glass shade, richly textured and luminous, showcasing the early mastery of Schneider’s innovative glass techniques. The shade rests on its original silver-plated bronze base, offering a refined contrast between sculptural glass and precious metal. Dimensions: Height: 12.4 in. (31.5 cm) Width: 10.9 in. (27.8 cm) Depth: 8.2 in. (20.8 cm) Professionally rewired and delivered ready for use in your country (US, UK, EU, Australia, etc.). LED compatible. A highly collectible early Art Deco lamp, ideal for a desk, console, or side table, and a superb example of Le Verre Français lighting by Charles Schneider, combining artistic glass with functional design. Charles Schneider (1881–1953) is one of the most important figures of French Art Deco glass. Born in France, he began his career as a designer for Daum Frères in Nancy, where he acquired a deep knowledge of glassmaking and Art Nouveau aesthetics. In 1913, Charles Schneider and his brother Ernest Schneider founded their own glassworks in Épinay-sur-Seine, near Paris. After World War I, Schneider emerged as a major innovator, developing bold forms, rich colors, and advanced techniques including blown molded glass, acid-etched decoration, and layered glass. In 1919, Schneider introduced the commercial brand Le Verre Français, created to distribute high-quality artistic glassware to a broader audience while maintaining exceptional craftsmanship. Pieces from this line often feature strong geometric or stylized natural motifs, vibrant contrasting colors, and thick, sculptural glass — hallmarks of early French Art Deco design. Le Verre Français production included vases, bowls, sculptures, and lighting, with lamps being particularly prized for their combination of functional modernism and artistic expression. Many examples are signed “Le Verre Français” or “Ch. Schneider”, though early works may be unsigned. Throughout the 1920s, Schneider exhibited internationally and achieved significant recognition, standing alongside Lalique, Daum, Muller Frères, and Sabino. Today, original Le Verre Français lamps...

A 19th century antique wounded sparrow bird paperweight/hunting trophy in chased gilt bronze, after Comolera (1818-1897). Sourced from a French collector.

Although America's sculptors interested in African American life and Black subjects, including Elizabeth Catlett, Richmond Barthé, Sargent Johnson and ...

ANDRÉ-VINCENT BECQUEREL silvered bronze circa 1930. 7 swallows on a weather vane mounted on a surfine black marble base from Belgium. Note 2 small chips on the marble . Total height...

Andrée Putman Pair of Art Deco style floor lamps, in bronze-colored lacquered metal and frosted glass. French work made in the 1980s. Dimensions: H 205 x W 61.5 x D 61.5 cm Avail...

Gorgeous & timeless! This French Art Deco pendant by Muller Frères Luneville 1930. Marvelous white frosted glass shade with amazing geometric Art Deco motives. Exquisite frame in ...

Elegant Gilt Bronze Table Lamp – Louis XVI Style, Early 20th Century A stately gilt bronze table lamp inspired by the French master Claude Galle and the refined elegance of the Lo...

Fabulous petite Silas Seandel pedestal dining table. We love the use of mixed metal done in the brutalist style that Mr. Seandel uses to construct this table. This table has a 34" ...

With monumental scale and beautiful, hand-carved details, this remarkable red lacquer hibachi is a true work of art. Designed to hold glowing embers, hibachi vessels such as this were used for cooking or as a source of heat in Japanese homes. Placed under a low wood kotatsu table...

1251 White leaded glass encased in bronze. Take one 100 watt Edison based bulb Supplied with 2' chain and canopy.

Table Lamp design by Damon Giffard for Hansen Lighting Co., with Cast Bronze by Robert Anderson. Featuring a bottle form smooth surface, with deep dark Bronze patina, a top a circula...

Circa 1920’s English bronze and leaded glass lantern. Measurements: Diameter: 7.25″ Minimum Drop: 19

18th Century, Genoese Rococo Black Lacquered Wood Trumeau This rare and elegant trumeau was produced in Genoa, Italy, during the height of the Barocchetto period, mid-18th century. T...

Great coin dealer Maria Antonieta, 20th CENTURY Private Collection Domenico Rugiano

Italian Bronze" Equestrian Figure of Bartolomeo Colleoni"with Base, After Andrea del Verrocchio (1435 to 1488), beautiful cast, amazing detail, chasing and patination. The sculpture...

Antique Pair of Bronze Athena Goddess Candelabras by F. Souchal, Paris (c. 1850) Crafted by the esteemed F. Souchal of Paris, this exquisite pair of bronze candelabras is sculpted i...

A playful and highly decorative bronze sculpture depicting a baobab tree inhabited by numerous birds. Cast in bronze and finished with a beautifully developed green patina, the work ...

A fine example of Art Nouveau lighting. The bronze base is richly patinated and beautifully cast with an art nouveau design. The shade is a deep g...

Great looking and timeless design alabaster chandelier. Thanks to its large size, its structurally sound condition and its truly timeless design this handcarved alabaster chandelier...

Made of a continuous bronze wire wound into two spirals, the ends forming a catch and pin, this mesmerising Bronze Age brooch is an aesthetic and timeless piece of ancient history. I...

Low table, Dancer. Bronze, glass. 20th century. Glass defect. Low table with a transparent oval glass top, supported by a bronze female figure of a dancer in a dancing pose. The f...

Signed Loet Vanderveen Bronze Antelope Sculpture, Vintage. ***NOTE: Our 1stDibs store is closing soon and items will not be available thereafter.*** This mid-century modern Bushbuc...

The Benone Indigo Table features a raw cast bronze bases, revealing the natural imperfections left by the burnt earth during the casting process.  The contrast lies in its smooth, re...

Tiffany Studios Favrile Iridescent and Bronze Trumpet vase USA, New York. circa. 1920 Hand-blown Favrile glass, patinated bronze Height: 14.75 Inches X 6.5 Inch Diameter (37 × 17 cm...

French Art Deco table lamp with a silvered bronze base surmounted by a Rene Lalique “Rinceaux” glass shade created 1926 27” High x 16.5“ Diameter

A gorgeous Arts & Crafts or Art Deco period bronze harp desk lamp or table lamp By Tiffany Studios (base signed to the underside) New York, USA, Early 20th Century Patinated bronz...

Anden I Opaline Acrylic Table Lamp by Studio Orbeat Dimensions: W 30 x D 30 x H 12 cm Materials: opaline acrylic, bronze, bulit in dimmer switch and warm LED light. Fittings also av...

These fabulous pop art cast bronze eyeglass sculpture are made by an artist named Manuel Ferreiro from 2005. The title is called "La Mirada" which means the gaze. All hallmarked as s...

A large A circa 1970's square Laverne coffee table with original finish. Measurements: Height: 17" Width: 48" Depth: 47.5"

Antique Bronze Gilt Frame with Pre-Raphaelite Style Painting - This exquisite object presents a richly detailed bronze gilt frame, adorned with an elaborate floral wreath that encirc...

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...

Elegant Jardinière with original glass liner, brass bonbonnière for caviar, chocolates, or floral display. Striking and rare Empire-style jardinière or bonbonnière, featuring an orn...

We present a rare and elegantly sophisticated Louis XV - Louis XVI Transition style chinoiserie black and gold lacquered and gilt bronze mounted breakfront chest of drawers. Born in France in the 19th century, the fine quality mahogany inlaid Parisian work inlaid in stunning exotic wood reserves, decorated panels of hand painted polychrome idealized Chinese scene, featuring ancient richly stylized landscape, home, and pair of figures, flanked by exceptional parquetry-work, geometric matched veneers, ebony string banding, center drawer inlaid with precious woods sycamore ground scroll motif reserve, flanked by neoclassical inspired chiseled and gilded bronze ornamentation. The chest retaining the original substantial sized dramatically veined shaped fior di pesco rouge marble slab top with molded edge, over case fitted with five drawers on three rows, the front and sides fully worked to lightly curved design, having three frieze drawers over two large drawers, all with quality dovetail joinery, atop a gently curving shaped apron, rising on outswept transitional cabriole legs, terminating on gilded bronze sabots. Ideal proportions for use as a commode, dining room sideboard server, credenza media stand, office hutch...

Deco era large heavy bronze dish or tray with rare depiction of neoclassic nude male with sword and shield, by Tinos of Denmark. Signed on back with attached wall hanger. Overall we...

A finely crafted pair of Louis XV style commodes, made in Romania circa 1980, marked C 455, NOE. Each cabinet features a shaped pink marble top with soft veining, resting over a serp...

Empire period chest of drawers from France featuring a striking Cuban mahogany burled veneer. This piece has three drawers, all with original gilt bronze hardware and pulls. There ar...

A Large and Palatial French 19th century Louis XIV style gilt bronze and panelled bevelled glass "Versailles" style single grand hall hanging lantern. The elongated and wide body sur...

Beautiful and meaningful religious art. If only the best quality and condition is good enough for you then this stunning and practical size corpus of Christ could be gracing your wall soon. Both the perfect anatomy and the amazing details in this antique corpus...

Set of six vintage circa 1960's Italian Murano glass sconces with bronze body. Sold per pair. Measurements: Height: 10" Width: 5" Depth: 4.5"