Bronze Furniture

This pair of 2-arm antique bronze sconces has deep castings of fine quality Their classic design is suitable for many rooms in a home. The arms...

This is a chic French Louis XV style black lacquer writing desk by Jacques Bodart. It is marked and has gilt bronze hardware. It dates to the 1960s. The garnet leather has gilt tool...

This superb large surtout de table was made in France circa 1900. Consisting of three separate parts that can be joined together or used individually - have a look at all our picture...

Of cartouche outline, with rock crystal baluster shaft with acanthus scroll branches of light and spires, hung with large rock crystal plaques, facetted drops and rosettes, terminate...

A wonderful French bronze ormolu & jeweled interact mounted picture frame in the Louis XVI style with bouquet crown and pierced swags.

French Art Deco palisander wood dining table with scroll form carved legs resting on bronze sabot feet. (Attributed to JEAN PASCAUD)

Beautiful desk accessory for the fox hunter. Austrian/Vienna cold painted bronze fox hunter on his horse with his three hounds. Onyx base with letter opener or pen well/tray in excel...

Elegant 19th century French centerpiece, finely cast in bronze with gilt patina, featuring a putto holding a beautifully cut crystal dish. The richly decorated base shows intricate s...

Rare and spectacular table base by Maitland Smith for Mastercraft, 1980s. The base is comprised of three bronze male figures in a Greco-Roman style standing atop a chiseled, tessilla...

Rare pair of bronze mounted iron chaise longues or chaise lounges after the iconic design by Diego Giacometti. The mid-century modern chaises feature patinated cast bronze lion head ...

The gilt bronze base of this French Art Nouveau boudoir lamp, by Edouard Colonna, has a charming, voluptuous vegetal motif that mimics the appearance of a careful arrangement of turn...

Antique hanging cast bronze oil lamp in the shape of a beautiful mythical bird peacock figure with hanger chain. The body of the bird acts as a reservoi...

Pair of Lacrima Floor Lamps by André Dubreuil, France, 1991 Signed and numbered Jean-Louis Gaillemin, André Dubreuil, Poète du fer, Paris, 2006, pl. 81

Division wall lamp or flushmount ceiling fixture in blown glass, enameled mesh and bronze by Blueprint Lighting, 2020. A striking study in material and texture, Division is a piece o...

This fine pair of English neoclassical candelabra have diamond cut columns above circular star cut bases. The ormolu twin branch arms support recta...

This is a large bronze formal chandelier that is also clean and simple. It gives off a nice warm glow and has a look that will fit with most styles. This is the type of important loo...

Decorate a shelf or desk with this fine antique bronze sculpture. Created in France circa 1880 and built of bronze, the farm animal stands on a flat brass base and depicts a sow snif...

A stunning French Louis XV bombe marble-top chest of drawers commode from the 19th century, styled in the manner of Charles Cressent (France, 1685–1768), finished in luxurious Rocco ...

Elegant Louis XV-style ormolu sconces with two arms and acanthus leaf decoration. These sconces retain their beautiful period matte and burnished gilding. The chasing is of fine qua...

Antique gilt bronze candelabra with granite bases, pair Offered for sale is a pair of antique bronze and gilt bronze candelabras presented upon granite bases. Each of the candelab...

Alfred Barye was a French artist known for his meticulously detailed bronze sculptures of the Belle Époque featured in this listing. The standing figure with a dog and monkey at his ...

A late 19th century Indian Mughal brass betel nut cutter from the North Western regions. This is a betel-nut cutter made of brass using casting technique with bird motifs and rosette...

This sculptural bronze object is a 19th-century liturgical censer, or thurible, used for guided prayer and ritual ceremony within the Coptic O...

EXCEEDINGLY FINE PAIR OF JAPANESE BRONZE FIGURES OF A HEN AND ROOSTER Japan, Meiji period Each with plaque signed to the underside 秀国作 (Shūkoku saku) Patinated bronze with gilt eyes ...

Stunning six-light pendant with gilt bronze arrows and swan head sculptures. This top quality made, early 1900s chandelier could be the perfect lig...

A tall bronze candlestick in forged bronze, black finish. Contemporary. The 9.5-inch diameter top plate is designed to hold large size candles,...

The EXO series is an exploration of nature's growth patterns on design materials, to understand the structure of exoskeleton. The project was conceived from a culmination from James ...

Exceptional, gilt bronze display cabinet by the premier Paris casemaker, Siegel, c. 1900. Features lockable sliding doors and adjustable shelves with original brackets. One of the...

Enamel color may be specified with no additional lead time in most cases. Our standard enamel colors are shown in the final images-there is no additional lead time or cost for these ...

A refined pair of French Directoire style gilt bronze guéridons with inset black fossil marble tops. Each table is raised on three elegantly tapered legs terminating in well-articula...

Small cloisonné vase in bronze. Signed to the bottom. Blue enamel base color decorated with numerous flowers, reeds, a rabbit etc. in polychrome e...

Bronze sculpture circa 1925. Crested Tit on an onyx base. Signed on the base: M. Guillemard. In perfect condition. Total height: 44.5 cm Sculpture width: 46.5 cm Base width: 14 cm B...

This antique bronze wine barrel spout from France dates to the 1800s. Most likely used in a traditional foudre barrel, the spout played an integral role in...

Timeless, well crafted solid bronze vase by Jacob Ängman (1876-1942) for swedish manufacturer GAB / Guldaktiebolaget. 1920/30s, Swedish Grace / Art Deco. Bottom with markers hallma...

Alice Riordan (Long Island, New York) Cold-painted and gilt bronze. 12 ½ inches wide by 8 ½ inches deep by 21 inches tall Originally a painter, Alice Riordan has been studyi...

19th century French Empire crystal chandelier. 18 light with 18 4" wax candle covers.

This dramatic coffee table has terrific presence in any room. The base is a bronze sculpture of a nude woman who sits, resting on a small pillow, as she reaches out and cradles the c...

This pair of bowls made of lapis lazuli in the 20th century are set up on older gilded bronze stands. They are made not from the solid but veneered in the manner of Russian furniture, urns or columns and other table top accessories...

A finely cast bronze statue of Avalokiteshvara in his four-arm form with gilt and polychrome surface. The Bodhisattva of Infinite Compassion is worshiped in all Buddhism sect as one ...

A superb and finely executed 19th century Sèvres porcelain urn, richly decorated and mounted with exceptional gilt bronze (ormolu) fittings, exemplifying the highest level of French ...

This is a small bronze sculpture of a nude female figure titled "Natura", as inscribed on the front of the base. The figure stands upright on a square plinth, modestly covering her c...

Pair bronze Louis XV style sconces. Pair vintage Louis XV style two-arm wall lights newly electrified. Italy, circa 1920. Dimensions: 12" H x 9.5" W x 4” projection

An outstanding Arts & Crafts or Art Deco period bronze harp floor lamp By Tiffany Studios (lamp base signed "Tiffany Studios New York" to the underside; shade signed "L.C.T.") New ...

Large Bronze Standing Horse Sculpture with Green Patina Magnificent handcrafted bronze sculpture of a standing horse with fine detailing and a beautiful ...

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...

A common theme in the Tiffany Studios New York oeuvre, the peacock motif, as can be seen in this exquisite "Peacock" mirror, was a well-loved and oft-used theme. Featuring a finely s...

British Colonial Style coffee table with inset bronze. Christie's auction label. Offered for sale is a British Colonial-style coffee table with an inset bronze grate...

An Italian 19th century grand tour - Greco Roman bronze sculpture of Narcissus, after the original sculpture excavated in 1862 at Pompeii. The green...

Very large (41 inch tall) antique (late 19th century) porcelain vase with cover in the French Louis XVI style with foliate gilt bronze mounts, distinguished by its lovely full length...

Late 19th Century L. Marti et Cie French Napoleon III style Mantel Clock & Garniture Set. The beautifully designed lcock is made from slate with filigree engraving, reuge marble pan...

This exceptional table is made by Lothar Klute in 1993. It is an original and signed art work in perfect condition. - original Lothar Klute t...

Distinctive 19th century set of six English Regency bronze mounted walnut dining armchairs or library armchairs. The chairs feature an Arts & Crafts era needlepoint decorated seat wi...

A truly exceptional rare and refined cabinet from the late Art Deco period by one of the most renowned French furniture designers of this period, Jules Leleu. The two gently bowed do...

This exceptional Art Deco Machine Age rectangular pendant chandelier, designed in France circa 1935 by Petitot, exemplifies the period's fascination with geometric precision, elegant...

Grand pair of Italian commodes or chest of drawers featuring a Venetian style painted finish. The large pine cases measure over 4 feet wide fronted by three storage drawers with patinated bronze ring pulls. The pine has an off-white ground decorated with ochre designs...

Louis XIV-style black veined white alabaster pendant light with bronze fixtures. An adorable alabaster pendant light fixture from circa the 1920s. This antique and beautifully veined...

ERNEST DUBOIS French, 1863-1931 "Le Pardon" (The Return of the Prodigal Son) Patinated sand-cast bronze Signed Ernest Dubois, foundry cachet for Casa Bellas Artes Avda De Mayo 625 ...

A mid 19th century French Louis XVI style marble top marquetry circular side table with a dovetailed drawer and lower shelf. Made of veneer of mahogany and various exotic wood veneer...

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...

Set of two rectangular horizontal Brutalist bronze door handles with abstract relief and irregular textures, European 1970's. Their relief with original patina is expressive and will...