Bronze Figurative Sculptures

A pair of heavy patinated bronze sculpture candelabra, France, mid-19th century. Two female sculptures holding a candleholder raised on a b...

A Monumental Museum Quality Pair of French 19th Century Figural Gilt and Patinated Bronze Rosso Granite Marble Flambeaux Urns, each depicting a pair of standing allegorical and whimsical playful children (Putti) holding a flaming urn, by René Rozet...

Victor Gutierrez (Mexican, born 1950). A limited edition cold painted bronze statue. A figural work produced in a modern style depicting a seated fema...

Brilliantly sculpted and cast with very fine detail with a rich, lustrous patina, this celebrated bronze of a fully nude male archer was sculpted by Ernst ...

After Giambologna (Jean de Boulogne, Italian, 1529-1608) "Mercury" Patinated Bronze Sculpture, the god lacking his caduceus, on a later simulated marble base. 27" H x 8" W x 14" D.

Original silvered bronze sculpture by Demètre H. Chiparus (Romanian, 1886–1947), a renowned Art Deco sculptor based in Paris. Mounted on an elegant marble base, this exquisite piece ...

19th Century (Mid) Italian Grand Tour Bronze Sculpture Mercury Hermes Italian Grand Tour Bronze Sculpture Mercury Hermes Beautiful piece purchased in France. Age appropriate wear, s...

Mathurin Moreau (French, 1822-1912) Patinated Bronze Sculpture of a Seated Woman, late 19th century, the semi-clad figure seated on a rocky outcropping, clutching a bouquet of flower...

A beautiful patinated Art Nouveau bronze study of a young Art Nouveau beauty sat upon a wall wearing chains with excellent variegated rich brown patina and excellent hand chased surf...

Sculpture in patinated bronze by Mathurin Moreau, 19th century, Napoleon III period. Sculpture in patinated bronze, base in griotte marble, 19th century, Napoleon III period by Math...

Art Deco Sculpture The Archer Hercules by Max Le Verrier This sculpture shows the classic pose of The Archer / Hercules, son of Zeus, drawing his bow....

A very fine Grand Tour bronze study of the famous Venus de Milo with excellent rich brown patina and good hand finished surface detail. The casting is unusual in that it does not pretend to hide the many imperfections on the original. It is signed on the base with "Reduction Mechanique Ronald Collas, and for the foundry F.Barbidienne Fondeur. Foundry stamp on the base Considered by any to be the most beautiful Hellenistic statue to survive fro antiquity, the Venus of Milos...

A beautiful gilt bronze statue of Tibetan Green Tara. The Goddess is seated in lalitasana on an elaborately incised double-lotus base with the pendant foot ...

A rare bronze of a bare chested sinewy Native American Indian warrior/ archer in a crouching position with one leg out for support and the other in a kneeling position as he is in throes of shooting an arrow skywards presumably hunting for a bird. The Indian is dressed in full traditional garb with patterned cotton woven loin cloth, a head band with a single feather. Buckskin leather frilly pants and moccasins. Slung on his back is a leather sheath holding a quiver of arrows. A belt holds a feathered tomahawk on one side and a sheated hunting knife...

"Untitled" (Bush) Sculpture by Harry Bertoia, circa 1970's made of welded bronze. Harry Bertoia, was an Italian-born American artist, sound art sculptor, and...

Japanese bronze of Ebisu, the god of luck, fishermen, and propriety, circa 1912-26. Antique, likely Taisho era. He holds a red sea bream (which symbolizes good fortune and abundance)...

This exquisite French bronze sculpture depicts the iconic Venus de Medici, a celebrated classical figure symbolizing beauty and grace. Crafted in the late 19th century, this finely d...

A patinated resin sculpture titled ‘Warming Up' by the acclaimed British sculptor, John W. Mills, stood on an integral square base. Part of the divers in motion series, this patinat...

Rare Art Deco silvered bronze statuette of a seated young boy Faun. Car mascot hood ornament. Figure mounted over a base. Perfect desk piece. Signed 'Silvestre' with foundry marks f...

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...

Anker Hoffmann (1904-1985) Bronze sculpture "Reclining Nude Woman", dark-patinated bronze. A beautifully crafted sculpture depicting a woman lying on a beach. Signed AH 45, No. 5. Or...

1890s Belle Époque bronze sculpture of a young fisherman 'Pêcheur' by the sculptor Adolphe-Jean Lavergne, France By: Adolphe-Jean Lavergne Material: bronze, copper, metal Technique:...

Sculpture happy bronze all in green solid bronze.

FREE WORLDWIDE SHIPPING A FINELY DETAILED BELLE ÉPOQUE BRONZE DEPICTING A RENAISSANCE ARMOURER AT WORK From our bronze sculpture collection, we are delighted to offer this French 1...

This beautiful antique bronze figure, was created in France, circa 1880. The realistic sculpture, titled on the front: "Escholier, 14eme Siecle", (meaning middle French, 14th century...

Large, rare and dramatic, this Art Deco bronze by Robert Delandre, circa 1930, depicts three nude male athletes all straining to reach the finish line of the race, their arms straining forward to win, and upward in ecstatic joy. The concentration and focus evident in their faces, and the beauty of their physiques, is beautifully captured by the artist, and the bronze is gorgeously finished in a green-brown patina that brings out the details of each figure. Delandre is largely known for his tabletop bronzes for the home or office, but he also entered competitions for public monuments and memorials. His most famous work is the "Monument to the Latham 47 Heroes" in Caudebec en Caux, France. The sculpture honors the men who disappeared in the prototype of the Latham 47 twin engine airplane in 1928, with Roald...

A figurative Art Nouveau "Sea Nymph Galatea" bronze table sculpture by Italian artist Eduardo Rossi (1867-1926). Etched signature on base. An elegant composition with curved lines an...

This exquisite bronze sculpture of the Venus de Milo dates to the late 19th century and is a beautifully detailed representation of the iconic ancient Greek statue. With a rich brown...

"The Dream" - Hippolyte François Moreau (1832-1927) Figurative bronze sculpture "The Dream", Figurative bronze sculpture with brown patina On a rotating base bearing a cartouche en...

Signed Immi Storrs Modernist Female Nude Bronze Sculpture on Walnut Base This work is number 5 from the edition of 5. The bronze is signed on bottom of foot "Storrs 5/5" The walnut ...

Pair of large bronze pilasters, 180 cm high. ADDITIONAL PHOTOS, INFORMATION OF THE LOT AND SHIPPING INFORMATION CAN BE REQUEST BY SENDING AN EMAIL Coppia di grandi lesene in bronzo...

Bronze sculpture of a beautiful female nude, created by Vincenzo Aurisicchio in the second part of the 19th century. The bronze sculpture is in really good conditions. Ø cm 23 Ø cm...

United States, 20th Century Depicts a bucking horse with a flowing mane and tail-mounted on a round green marble base.  

We are art nouveau lovers as one might be able to see looking at our inventory. Lamps are always at the top of our "want list". We found a beauty here. She is gracefully standing in a leafy plant base as she holds ups a stem with leaves. The quality casting and rich warm patina all are present. The artist Jean Baptiste Germain...

Handcrafted. Practical size sculpture of imperator Napoleon Bonaparte. If you are a collector of good quality antiques having to do with (French) historical figures then this rare a...

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

Maurice Bouval (French 1863 - 1916), Patinated Bronze Figure Of An Art Nouveau Woman Bronze on Marble Plinth.

Hippolyte Moreau (French, 1832-1927), "Song of the Lark". Original 19th century bronze depicting a young girl figure seated on a tree stump with baby birds in...

A finely patinated French antique bronze by Ferdinand Barbedienne portraying a a young boy caressing a large goose. The figure is mounted on an a...

Grand Tour bronze, Hermes, Mercury, Italian bronze sculpture, Neoclassical art, 19th century, early 20th century, Grand Tour souvenir, patinated bronze, classical figure, Hellenisti...

Antique Tiffany & Co number 2114 bronze sculpture portraying a scene from Quentin Durward. Written by Walter Scott and published in 1823, Quentin Durward is the story of a young Scot...

Erotic / nude women bronze sculpture table bell push - Austria 1900´s Talk about hard to find items! This impossible to believe bell push is the only erotic bell push we have ever se...

A Bronze sculpture by the celebrated multi-disciplinary Mid Century Swedish artist. Exhibiting three figures, one female and two male, seate...

The subject is a young voluptuous partially draped nude Amazon woman who stands on a rocky outcrop, her left foot on top of an open Helmet, a quiver with arrows beside her; her torso...

A late 19th century bronze sculpture depicting Jeanne d'Arc. A stunning early salon version of the famous Joan of Arc in the Place des Pyramides in Paris. Wonderful rich brown patina...

A captivating Art Deco bronze sculpture titled Scarf Dancer, created by the French artist R. Varnier circa 1925. This elegant figure captures the grace and movement of a dancer mid-p...

Bronze Sculpture of Samurai with Spear in Attacking Position

A fine pair of antique French gilt bronze vases. Decorated with an assembly of musical instruments, a gourd, and even a hat. Extremely solid and finely cast, these urns or vas...

Old bronze statue from the beginning of the 19th century of Napoleon Bonaparte of fine quality. Original aged patina Total height 22 cm, base 8.8 x 8.8 cm, heigth figure 9 cm

Victor SEGOFFIN (1868-1925, France) :"'Winged Victory"(Memorial to the Polytechnicians who died in 1914-1918) Bronze with a dark brown patina Signed with the artist's monogram 'V...

EUGENE MARIOTON French, 1857-1933 "Vainqueur" Dark-brown patinated bronze signed "E. Marioton", foundry cachet for Siot-Decauville, cold-stamped D718 cast circa 1910 stock ref. ...

Enchanting early 20th Century Art Deco cold painted silver bronze figure of a standing woman holding her arms high above her in a stretched pose, exhibiting excellent colour and fin...

This fabulous bronze peacock was made at Franz Bergman's Vienna foundry and bears the name of sculptor Bruno Zach. The highly detailed sculpture is beautifully cast and features cold painted polychrome decoration. The peacock's crested head is turned slightly to the left and its magnificent fanned tail feathers - also known as a train - are realistically rendered and arch forward as they rise. The train has splayed feathers at both ends that rest flat on the display surface, preventing instability. The feathers have been finished with white shafts and greenish-gold vanes while the ornamental black eyespots are accented with metallic rose and copper colored paint. It should be noted that the back of the bird's train is also highly detailed lending visual interest if viewed from the front or the rear. The peacock's head and body are painted in a silvery color while the painted decoration on the head includes large white masks and black eyes that are ringed in orange. The bird's angled beak is finished in yellow and has well defined upper and lower sections. The peacock's wings are positioned parallel to its body and extend back beyond the train. The outside of each wing is accented in mottled copper and black paint while the rear portions bear a series of painted copper and black stripes. The bird's thin legs are finished in gray and have black spurs at the back. Its long toes terminate in sharp black talons. The peacock is in very good condition with no replacements or repairs. As an antique, the piece shows signs of age including minor areas of paint loss that are noted for accuracy. It stands 8" at the tallest point of the train and is 11.5" as measured across the widest points of the train. The piece is 3.25" at its deepest point. The back of the train bears a partially legible Bergman amphora-shaped foundry mark with a B at the center. It is also signed 'Zach' in cast at the underside of one section of tail feathers for sculptor Bruno Zach who had a history of collaborating with Bergman to edit and cast some of his works. The peacock weighs 3lbs 2oz. This lovely antique Vienna Bronze peacock sculpture...

Art Deco bronze sculpture male bust by Ugo Cipriani. Patinated bronze. Belgian black marble base. France 1930. Literatuur: “Art Deco sculpture” Alastair Duncan.

A large-scale late 19th century Italian Grand Tour bronze of the ‘Seated Hermes’ after the antique, ex. private UK collection. Also known as ‘Resting Hermes’ or ‘Seated Mercury’, thi...

Leon Pilet (French, 1840-1916) "Cleopatra" Patinated and Gilt Bronze Sculpture, late 19th century, the seated queen holding a fan, signed to urn, on a Portoro marble plinth. 12.5" H...

Beautiful Art Nouveau bronze sculpture by French artist Auguste Moreno. The sculpture is made of bronze with enamel painted accents. Signed on the back. Attached to a marble base. In...

Bibendum Michelin Man Bronze Car Mascot, Hood Ornament, Automobilia, France 1909. This is a highly collectible Bibendum Michelin Man bronze car mascot, Hood Ornament, Mascotte Voitur...

"Veil Dancer" by Pierre Le Fuagays (1892-1962). Gilded bronze sculpture and marble base. Bryan Catley (1978) "Art Deco and Other Figures" p. 199. France, CIRCA 1920.

Adrien-Étienne GAUDEZ (1845-1902). A classical 19th century statue in patinated bronze of a seated young woman, dressed in flowing robes, her attention caught by a fluttering bird pe...