Bronze Furniture

After Francois Rude (French, 1784-1855) "The Education of Achilles by the Centaur Chiron" Patinated Bronze Sculpture, late 19th century, unsigned, elements missing. 17" H x 17.5" W x...

A pair of detailed chinese bronze dragons with a heavily oxidized finish. The pair of cast bronze of mythical dragon form 35 inches long, 17.5 inches tall, 10 inches deep

A very fine and rare French Belle Époque gilt bronze and ebonized-patinated bronze ten-light cherub chandelier, with three winged cherubs, each holding a flame light with beaded glas...

Pendolo IV balances two sets of opposing cone forms to create a dynamic expression of movement in multiple axes. Casting directional light onto 4 dis...

Introducing the Counterbalance 2-Tier chandelier, a smaller but equally stunning version of our best-selling Counterbalance. The fixture draws inspiration from French and Italian mod...

Classic early 1910s Vienna bronze figurine. This polychromed cold painted bronze is probably something you need if you’re a Vienna bronze collector. Found at an estate sale in Vienna...

A wonderful example of a hollow-cast bronze crocodile skull. This piece features wonderful detail and resemblance to a real specimen. An exotic piece certain to invoke conversation. ...

This stunning Handel Cherry Blossom leaded glass lamp is circa 1910. The 12" wide x 6" tall shade is decorated in pink flowers with multiple shades ...

Late 19th century Louis XVI bronze, wood, and marble commode by François Linke after a Model by Jean-François Leleu, France By: Francois Linke, Jean-François Leleu (in the style of)...

The material of manufacture of this unique chandelier is a real 100% gilded BRONZE, which is valued all over the world and is characterized by increased strength, corrosion resistan...

Japanese bronze vase with artist sign, used to decorate single flower arrangement in Japanese traditional tea ceremony. Artist signature is on the last photo. Age: Japan, Showa Pe...

Scatola in porcellana e bronzo traforato con piedini e anse a volute fogliacee. Coperchio con riserve in oro a paesaggio lacustre e scena galante. Interno ornato con mazzetti di fior...

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 finely cast ritual bell (ghanta) from the late Edo period (c. mid-19th century), made of brass with a five-pronged vajra (go-kosho) handle. This sacred implement would have been us...

This compact Japanese bronze vase charms with its classic silhouette and richly mottled patina in warm reddish-brown tones. The subtle variations in the surface evoke the organic bea...

An exceptional antique French Louis XV style clock set, circa 1870. Beautifully made in ormolu (finely gilded Bronze Dore), patinated bronze and Rouge Griotte Marble. The clock is mo...

Charming French Tole Bronze Ceramic Flower Chandelier. Brass & Bronze Tole Chandelier all handcrafted adorned with handmade ceramic flowers of ...

An exceptional set of six mahogany dining chairs, comprising four side chairs and two armchairs. Each with a serpentine outlined back. The arms being out swept, all having upholstere...

Bruce and William Friedle 36" Bronze Sunburst Wall Sculpture  New York, circa 1960s An exceptional 36-inch bronze sunburst wall sculpture, attributed to the renowned New York City w...

Stunning Mid-Century Murano Glass Chandelier with Quatro Punta Prisms — Italian Elegance Meets Timeless Design. If you're looking for a statement piece that effortlessly blends high...

Large mirror in texture bronze Anasthasia Millot’s new collection of delicately and rigorously crafted furniture is a feat. In 2014 she brought us her first groundbreaking collecti...

Classic glass tile mosaic coffee table from the Mexico City Studio of the noted artist Genaro Alvarez dating from the mid-1950s. There are three different compositional designs in the creation of this mosaic top. The first is the abstract pictorial of a universe of white, crème and grey surrounding a "Black Hole" with a galaxy of yellow and black swirling along its serpentine "lariat" of a double ended orbit path marked by gold tiles. The second is the consistent placement of the background tiles in concise repetitive patterns of concentric half circular arcs. The third is the placement of gold mirrored tiles adding points of sparkle over the entire surface as the intersection points of a grid, a very interesting and sophisticated addition. The integration of these three design elements adds an unexpected complexity and cohesion to the overall composition. Genaro Alvarez is recognized as one Mexico's great mid century masters of mosaic design of his era and had an international reputation and clientele with several major architectural installations here in the United States. From Don Shoemaker dot com. "One artist that was recognized for his mosaic furniture creations is Genaro Alvarez. The Genaro Alvarez Studio, (located in Mexico City) was known for its mosaic work in murals and floor designs as well as decorative furnishings such as lamps, trays and furniture using various types of natural rocks...

Miniature Terrestrial Globe Newton Son London, post 1833, ante 1858 Paper, papier-mâché, bronze and wood It measures: sphere diameter 2.95 in (7.6 cm); diameter of the wooden base 6.02 in (15.3 cm); height 8.36 in (21.24 cm). Weight: 2,067 lb. State of conservation: the globe still bears its original paint, but has various small gaps, abrasions and stains on the surface. The globe is hinged with two pins at the meridian circle, which is in turn inserted perpendicular to the horizon circle; this is supported by four semi-arches connected at the bottom by a small goblet-shaped foot, resting on a wooden bell-shaped base. Apart from the wooden base, the entire support structure is made of bronze; on the foot there are the scale reproductions of a compass, a telescope and an open book. The sphere is made of papier-mâché and is covered with twelve printed paper gores. In the North Pacific Ocean the globe bears a cartouche with the inscription (about 30% of the writing is illegible, but the missing parts can be easily integrated based on the rest): NEWTON’S New Improved TERRESTRIAL Globe Published by Newton Son 66 Chancery Lane LONDON On the globe, much of central Africa is empty and the great lakes Tanganyika and Victoria are not marked (Europeans would begin to explore the area after 1858). Canada is called "British Territory" and Alaska "Russian Territory" (it would become part of the United States in 1867). Australia already bears its modern name (until 1829 it had been called New Holland) and its coasts are completely designed; Tasmania is listed as an island (Matthew Flinders circumnavigated it in 1798). The routes of Cook's various voyages are plotted; both the route followed by Biscoe in 1831 and the "Land of Enderby" which he discovered on the coast of Antarctica, south of Africa, are marked. Bibliography P. Van der Krogt, Old Globes...

Truly one of a kind light fixture with a small and stunning alabaster shade. Antique light fixtures in general and alabaster ones in particular are our number one speciality. We hav...

The ARC wall lamp or by Blueprint Lighting is a dramatically overscaled study in clean lines and simple form inspired by the tenets of the Bauhaus, ARC is truly a go-anywhere design ...

Large fire-gilded bronze pendulum clock on lion's paws with a rectangular pedestal featuring lyre and torch motifs. Above it rises the full-figure depiction of the god Apollo with a ...

Sideboard of very fine quality Signed: "Christian Krass" Christian Krass was in close collaboration with the ebenist Jacques-Émile Ruhlmann. The design language of this premium fu...

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 ...

Exceptional Art Deco cerused oak dining room table with two additional extentions forming a table for 10 people. Labeled under the top: R M Carlhian decorateurs-Paris. In the s...

Michel Jaubert style Sculptural Bronze Dish Vide-Poches - 1970s Bronze - decoration - Sculpture Measures : 30cmx26cm H:5cm Material : Bronze Wear consistent with age and use.

The Bicentric wall sconce is a playful 21st century spin on mid-century French modernism, featuring two spun metal mesh shades. Once installed, t...

The solid bronze Fermat Entrance Handles are bold and beautiful statement pieces designed to grace doors and entranceways. They provide tactile and interesting architectural elemen...

A very nice antique bronze bust of Napolean Bonaparte on marble base by Hans Muller, circa 1900. The piece is signed on the back side and measures 10"W x 8.25"D x 14.5"H; it is in go...

Ettore Sottsass for Poltronova, dining table, teak, lacquered steel, bronze, Tuscany, Italy, 1959 Designed by Ettore Sottsass for Poltronova, this table was part of a limited-editio...

Louis XVI-style clock in marble and gilt bronze. Refined details include a delicate dial, decorative birds, and floral ornaments. Perfect for a classic interior or a collection. Acce...

This elegant pair of bedside tables dates from the early 20th century and is crafted in the Louis XV style. Each piece features fine marquetry decoration on the drawer fronts, compos...

Elegant Art Deco sculpture of an athletic scouting / watching male figure by Jean de Roncourt from France around 1930. Very good original condition, greenish patinated Spelter / Zinc...

A graceful echo of the exotic elegance that defined French Art Deco, these bookends by sculptor A. Féron are a refined marriage of sculpture and function. Designed and cast in France...

Pair of side table bronze and metal the top is a round glass

Classic Louis Philippe walnut commode featuring a beautifully variegated black marble top with rounded corners above four drawers, each fitted with gilt-metal rosette pulls, medallio...

Beautiful heavy small jewelry box having ornate cast bronze surface and lined in red velvet.

8 Contemporary / Modern "Braga" bar stools with shaped ebonized wooden seats, supported by a metal frame with polished bronze footrests and accents. (PRICED EACH) (Available with nat...

Hanging wall light in dark bronze with pagoda structure and handle (eyelet) with outside fitted clear glass and water-resistant cable entry. Provided with a two-part wall bracket, with adjustable horizontal upper arm, in black smith...

Designed in 1934 by renowned Danish metal sculptor Just Andersen, this rare round table lamp—Model 1632—is a refined example of early 20th-century Scandinavian decorative arts, where...

Wonderful Art Deco Alabaster and gilt bronze three-light chandelier, France, Paris, 1910-1920. Large alabaster dome supported by a gilt bronze fr...

French figural cherub gilt bronze and marble three piece clock set flanked by gilt bronze marble sphere six light candelabras, central clock fla...

Italian Renaissance-style (19th Century) bronze dore filigree sanctuary fixture with 4 griffin supports.

A wall mirror in patinated brass and bronze tinted glass. Hand crafted in the North to order. Custom sizes and finishes are available. Supplied with two screw fixing points to rear ...

Magnificent donkey back desk, sloping desk from the Louis XV period from the 18th century. It opens with a flap which reveals 4 interior drawers, 1 shelf and 2 lockers as well as a s...

Very large & impressive square/octagonal coffee table featuring four ''flying horse of Gansu'' horses from solid patinated bronze. The table top is octagonal and made from beveled glass. The lower glass plate is square, sitting on – and being, held by the 4 horses...

An interesting an nicely made Vase . Lovely decoration. Additional information: Material: Bronze & Metal Type: Vase Region of Origin: China Period: 20th century China Dynasty Period...

Charming French gilt bronze mirror, late 19th century, in Empire style. The rectangular frame is richly decorated with acanthus leaves and classical motifs, crowned with a laurel wre...

These Renaissance style antique French patinated bronze ewers depict very busy and mischievous Bacchanalian putti at play. A cherub sits atop the handle holding an item in his hands....

Stunning geometrical Art Deco design alabaster light fixture. This pure and perfect size Art Deco pendant from the early 1900s is an absolute joy to come home to. The rare and beaut...

Height : 39,5 cm (15,5 in.) ; Diameter : 32,5 cm (12,8 in.) ; Base : 30 x 30 cm (11,8 x 11,8 in.) Elegant Louis-Philippe period centerpiece, with rich Renaissance-inspired chiseled ...

A magnificent and finely cast palatial and very large French 19th century Japonisme three-piece ormolu garniture clock set attributed to Edouard Lievre. This striking and extremely u...

Japanese vase from the Meiji Period (1868-1912). Beautiful antique decorative vase, created in Japan during the Meiji period (1868-1912), circa 1890s. It was carefully crafted in so...

Pair of French circa 1930's cast bronze neoclassic chandeliers with gilt bronze original patina. Sold individually. Measurements: Minimum Drop: 43" Diameter: 36"

This is a dashing, collectible antique pair of Marly horses. A French, bronze equine statue in the manner of Guillaume Coustou (1677-1746), dating to the late 19th century, circa 1900. Excellent representations of the famous Marly horses, on display in the Louvre Each displaying a desirable aged patina, pleasingly natural finish Appreciably heavy bronze in very good original condition Weighing 7.74kg and 7.70kg respectively (approximately 17lb each) Two horses rear up as their grooms struggle to contain their inherent power The majesty of each horse resplendent with their sense of dynamism Defined, muscular haunches beneath detailed horse tack Further embellished with flowing manes and swishing tails Each groom with a look of surprise and fear at the ensuing situation Representative miniature leather reigns unite them with the animal The originals commissioned by King Louis XV, for the gardens of the Chateau de Marly Standing upon a detailed base and bearing the signature of the original sculptural artist Coustou This is a striking and eternally collectible antique pair of Marly horses. Considered a masterpiece of French sculpture, the large marble originals skilfully represented here in quality, heavy bronze. With the originals displayed in the Musee de Louvre...

Pair of large scale modernist Italian pottery lamps with a stylized tortoise shell, burnt orange glaze. Lamps sit on aged bronze bases and feature double ...