Bronze Decorative Objects

Pair of heavy bronze candle holders or chambersticks feature sitting griffons, holding the sconces with their beaks. The griffons are sitting on highly detailed elongated bases with...

Rare Mystery Brass Lady Cherub Upside Down Chain Ball Swinging Clock An excellent tall lady double cherub statue upside down ball swinging clock. It has a mechanical movement inside...

A fine quality Louis XVI style bronze ormolu mantel clock. The case is made of gilt brass and bronze ormolu casted ornaments, Roman numerals in white enameled cartouches. On top of t...

This exquisite small bronze sculpture features a beautifully stylized female bust, capturing the fluid lines and elegance reminiscent of the Art Deco and Art Nouveau periods. The hea...

A Bronze Koi Fish. The beautiful fish can be used as a decorative piece, a vase, and if you're really ambitious, could make a lovely fountain. A compliment to any space - living ro...

Rare pair of Art Deco / Swedish Grace bronze vases and candlesticks with amazing patina. Made by GAB Guldsmedsaktiebolaget, Sweden, 1930s. Great condition, some wear to the patin...

1930s Curt Schlevogt, Ingrid collection Bohemian Malachite glass dresser set Czechoslovakian moulded in deep relief Bohemian malachite glass dresser set by Curt Schlevogt from the...

This large mid nineteenth century marquetry box from the Napoleon III period features a burl thuya wood field surrounded by a concentric border of intricately inlaid ebonized pearwoo...

A very fine Louis XVI style figural mantel clock with matching flanking candelabra. The clock is bronze casted and has an ormolu f...

Hand-forged bronze / brass design tree of life sculpture candle holder, 1960s A beautifully perfectly shaped tree of life made of bronze. Artful craftsmanship. We have a matching ...

This silvered bronze metal propeller mounted on that rich wooden base feels like a perfect fusion of industrial elegance and nautical nostalgia. The way the reflective blades catch ...

After Jules Graux-Marly (French, XIX) "The Mandolin Player", Patinated Bronze Sculpture, early 20th century, the standing figure in Renaissance costume, playing his instrument. 17" H...

Brutalist Bronze Candelabra, Tree and Leaves Design, France 1970s Elegant candelabra fully made of bronze Depicting a tree, branches and leaves with finely engraved details Great ...

A stunning antique bronze stamp box featuring Zodiac designs By Tiffany Studios (signed to the underside) New York, USA, Early 20th Century Measures: 3...

Paolo Soleri Special Order Large 55 inch Brutalist Windbell 1975 Cast aluminum, patinated bronze, and copper 55 h × 13 w × 7½ d in Cast artist's cipher to body. Condition: Natural pa...

A wonderful bronze sculpture by Bengt Malmquist titled Trädet. Great patina and form with very organic nature. Would make a great addition for any collector.

Practical size, antique fine bronze candleholders with original and removable bobeches. If you are looking for excellent condition antiques to create the perfect atmosphere then thi...

AFTER PAUL EVANS MID CENTURY MODERN MONUMENTAL BRUTALIST FINE ART DIRECT METAL SCULPTURE! MAGNIFICENT TOWER STRUCTURE! IRON, BRASS, BRONZE & WOOD BASE CIRCA 1956 Similar to Diego Giacometi Approximate Dimensions: Large 34" Tower/ 13" Wide & Deep This is the Holy Grail for Mid Century abstract...

Large mid-century bronze sculpture "Neptune," 1950s Marble base. Replica of the central statue of the Fountain of Neptune (God of the Sea) in Bologna. This fountain was created betwe...

Large bronze sculpture with a brown patina, representing a naked woman, sitting in an armchair, a pencil in one hand, a vase in the other, surrounded by antiques. Signature of the...

The rabbit is a symbol of wit, prudence and skill, of abundance and good fortune. It is cast in a rich dark bronze patina to make a charming gift for the season, a beautiful object f...

Rosario Russell Fiore (American, 1908-1994) Art Deco figural nude bronze, 1930s 5 inches wide by 3 ½ inches deep by 10 ½ inches tall Rosario R. Fiore was a prominent American scul...

Early 20th Century bronze male nude sculpture on wood pedestal base.

Pierre-Jules Mène - Bronze hunting dog France Bronze around 1870 Dimensions: H × W × D: 21 × 30 × 13 cm Description: Antique bronze sculpture of a short-haired hunting dog carryin...

A beautiful art deco bronze bowl with amazing patina. Made by Böhlmarks, Sweden, 1930s. Great condition. Marked 'ÄKTA BRONS' and an Alladins lamp on the back.

This is a large French bronze sculpture of Vercingetorix with his son by Emile Laporte (1858 - 1901), circa 1890 in date. The standing figure of Vercingetorix wearing a winged hel...

This sculpture features a bold, ritualistic silhouette—a flared, altar-like base supporting a vertical shaft capped by a voluptuous, continuous loop handle. The surface is enriched w...

PRESENTING AN ABSOLUTELY STUNNING Large ‘Huntsman/Valet with his Hounds’ Bronze Sculpture by PJ Mene – 1869. This is a LARGE sculpture, weighing over 175 lbs....

A rare and outstanding antique Arts & Crafts period large picture frame By Tiffany Studios (signed to the back) New York, USA, Early 20th Century Patinated bronze in iconic pine n...

IMPORTANT PAIR OF BUSTS OF PYTHAGORAS AND EPICURUS Circa late 18th century Attributed to the workshop of Giacomo and Giancarlo Zoffoli Unsigned, black and green patina with gilt bron...

Antique sculpture signed by Auguste Cain 1821-1894. Auguste-Nicolas Caïn (born November 10, 1821 in Paris; † August 6, 1894) was a French animal sculptor and medalist. Title of bronze work: "le Chant Du Coq." This model is illustrated in the literature: Pierre Kjellberg...

Austrian Diminutive Bronze Statuette of Napoleon Bonaparte Signed KAUBA. 19th century Austrian bronze statuette of the French Emperor Napoleon Bonaparte. It was created in the works...

Beautiful hand cast bronze patinated gecko paperweight. The polished details in the gecko's feet highlight the characteristic rose gold colour of bronze. Each of these geckos are ha...

Bronze male sculpture signed. Fonderia Giorgio Sommer Calabritto Napoli Thomas, sculptor, lived and worked in the Naples area, and especially on Capri, from 1889 to 1906. Given this ...

Otto Geyer (1843 Berlin - 1914 Berlin) BALANCEAKT (Boy balancing on a turtle) Bronze on marble base Height with base: 18.5 cm

An Exceptional American "Renaissance Style" Arts and Crafts Bronze, Enamel and Multi Gemstone Cigar Humidor by Edward F. Caldwell Co. This remarkable cigar humidor, crafted by...

Large Grand Tour circa 1860s patinated bronze of the Wrestlers. Rich fine dark brown patina. Marked "F. Barbedienne Fondeur." The Wrestlers also known as The Two Wrestlers, The Uffizi Wrestlers or The Pancrastinae...

REDUCED FROM $950....Here you have a delicate and finely chased Jugenstil bust of a young lady with turn of the century upturned hair resting on a pedestal of what appears to be a vine of holly leaves and berries. Lovely period Art Nouveau form. The shouldered bust is a beautiful patinated greenish brown bronze and the stepped base gilt bronze...a wonderful contrast. Hans Müller...

This vintage brass reticulated shade features intricate openwork, casting elegant patterns when lit. With a warm patina and sturdy metal frame, it’s perfect as a lampshade, candle co...

Charming and elegant bronze Indian decorative bowl, vide-poche. The piece is entirely handcrafted with great skills and talent. Cast using very traditional techniques, the bowl is p...

French Baccarat Cut Crystal Ormolu-Mounted Casket/Jewelry Box with Starburst Lid and Original Key This rectangular Baccarat cut crystal casket features a hinged form with sharply de...

Antique figural Italian cast bronze cat (circa 1920s). This Italian marvel, born in the heart of the 1920s, is not just a statue; it's a portal to a by...

French bronze dancers sculpture from the 1930s

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...

Red coral branch embellished with natural emeralds mounted on a 19th-Century French white bronze fragment. This is a lovely objet d'art to add to your collection or cabinet. During ...

Robert Helsmoortel Bronze Sculpture, Abstract, Biomorphic, Signed. Small scale table sculpture with an appealing patina and organic form. Initialed "RH" and numbered 1/9 at the base....

A life size Art Deco patinated bronze figural dog sculpture, most likely Italian, early/mid-20th century. Fine quality, exceptionally execute...

An elegant set of Japanese bronze vases finished in the murashido technique. The process involves splashing oils onto hot bronze to produce colored patina which often resemble a marb...

A beautiful bronze vase with amazing patina. Made by GAB Guldsmedsaktiebolaget, Sweden, 1930s. Great condition. Stamped 'BRONS' and makers mark. GAB was founded in Stockholm in ...

Austrian Art Nouveau Three Rooster Diminutive Vase with Talon Legs Austria, Circa 1890s, Franz Bergmann School, Unmarked This rare and striking Art Nouveau vase exemplifies the o...

We are happy to offer you this brass-hammered menorah. With Hanukkah just a few weeks away, now is the time to treat yourself to a gorgeous new brass menorah. It has a hammered finish that is contemporary and yet classic. So light up your home and the festival with this beauty! Approximate Height 30 - 35cm. We sell several of these candle holders through a year and because these items are unique individual handcrafted they would have a slight diffrences on each one. Vintage Style Brass 9-Branch Menorah, Israel Hanukkah Candelabrum, Jewish Candle...

Elegant French bronze letter rack, late 19th century. The openwork design features intricate Gothic Revival motifs with stylized foliage, quatrefoils, and decorative details, complem...

A gorgeous Arts & Crafts period "Chinese" pattern gilt bronze inkwell By Tiffany Studios (signed to the underside) New York, USA, Early 20th Century Measures: 5"W x 5"D x 3.13"H. ...

Rudolf Marcuse - The Swordsman Germany (Berlin) bronze, marble circa 1910 Dimensions: H x W x D: 24 x 19 x 6 cm Description: Bronze figure standing on a two-tiered base made of bl...

Cornucopia of nautilus shell and lizard mounted on bronze tree in the style of Tony Duqette attributed to Maitland Smith. Lizard has a beautiful tessellated panshell detail on the ba...

Antoine-Louis Barye (French. 1796 - 1875) Cheval surpris par un lion, seconde version (Horse surprised by a lion, second version) Modelled circa 1833, cast probably before 1875 Signed on base "Barye", Bronze: 15.25 Inches Tall x 14.5 Inches Wide x 6 Inches Deep (38.75 cm x 36.85 cm x 15.25 cm) Provenance: The Estate of William H. Truettner to be sold for the benefit of The William H. Truettner Fellowship at Smithsonian American Art Museum. William Truettner, Curator of 18th and 19th Century Painting...

A really cool boy flying a kite bronze on black wood block sculpture by Curtis Jere, circa 1969. The piece is in very good vintage condition and m...

The Walking Panther statue is a bronze sculpture in the style of Rembrandt Bugatti. This panther statue captures the fluid motion and latent power of the big cat, with a striking tur...

"poppy candlestick", Gustav Gurschner, K.K. Kunst-Erzgießerei Wien, ca. 1898 An early example of Viennese Art Nouveau bronze, this poetic candlestick features a reclining figure gen...

French gilt bronze fob watch holder with an eagle and her wings spread apart about to take off from a corinthium column on a square marble base with bronze feet, indistinctly signed ...