Bronze Sculptures

Set of 5 bronze birds sculpture with signature

This bronze sculpture by celebrated Mexican artist Jorge Marín exemplifies his signature themes of balance, flight, and mythic masculinity. A muscular, winged male figure perches wit...

Expertly crafted in the tradition of Austrian cold-painted bronzes, this whimsical Vienna bronze tabby cat couple are seated on Thonet style chairs. The matching table holds a chess...

French bronze dancers sculpture from the 1930s

A finely cast early 20th Century Austrian bronze study of a standing Pigeon. The bronze with excellent hand chased surface detail and fine rich golden cold painted colour, signed wit...

20thc patinaed bronze mermaid statue. Amazing conditioning with wear to the base. the resting mermaid has an amazing greenish patina that has great age to it. In very good shape.

A beautiful late 18th Century, possibly earlier, French Bronze Processional Cross. The figure of Christ joined by rivets to a fleur-de-lis form cross raised on a domed foot. The goth...

Superb and rare brutalist empty pocket designed and produced by arte3 in Spain in the 1980s. Handcrafted structure in bronze and aluminum. Beautiful design object that will decorate ...

A beautifully crafted tabletop sculpture combining silvered bronze and faux tortoiseshell made from penshell, dating from the mid to late 1970s. This piece exemplifies the era’s fasc...

Sculpture white parrot all handcrafted in porcelain. Hand-painted and with details in solid bronze.  

Graceful even when standing still the Bronze Sparrow on Marble Base is a striking addition to any setting. Using traditional lost wax casting methods th...

Dimensions - H: 20 1/2in W: 15in D: 6in This French Art Deco Style Bronze of Dancer After Chiparus is truly a work of art! If you look at the photos provided you will see the atten...

Unique post-war abstract sculpture in solid bronze Anonymous artist circa 1970's Slab like torso cast in deep relief texture and nuanced patinas Three elongated legs and subtly offs...

Classic early 1910s Vienna bronze figurine set of two, expertly crafted and beautifully detailed in the tradition of Austrian cold-painted bronzes. This charming polychromed bronze s...

Japanese bronze (19th Century) figure of a mythological turtle having a crane perched on the back

A nice small bronze dolphins sculpture on a green marble base, circa 1990s. The piece has a wonderful patina and measures 4"W x 3"D x 5.75"H;...

This is a mid-century vintage sculpture of a hunting dog. This bronze sculpture has an age-appropriate green patina. This is an American made peace circa 1970.

A commanding and highly sculptural work by Claude Victor Boeltz, this limited-edition “Pegasus” is executed in 24-karat gold electroplated bronze, rising in dramatic ascent above a s...

This intense bronze sculpture was made by the well known Italian artist, Aron Demetz, in 2004, Italy. This is a lost wax bronze hand painted. The title is "Ricordo" translated in "Me...

Large and impressive pair of bronze sculptures: 2 prancing stags with high antlers, standing on naturalistic bases. Brow green patina. Italy or Spain 1970's We can attribute these ...

American bronze cowboy sculpture resting on oval molded marble base depicting cowboys on horses coming in to town from cattle drive. Bronze sc...

Bronze Sculpture "Borne 2" By Yasuo Mizui, Bronze III/5, 1968

Sculpture Panther Bronze all in solid bronze in brown finish, lost-wax technical.

Brazilian modernist sculpture with three solid bronze curved pillars attached to a bronze base circa 1980s. Unsigned.

Fletcher Benton, "Folded Circle Zig Zag 1994", Unique Work, Signed, Bronze. Unique work — confirmed unique by Michael Roby, Director of the Fletcher Benton Studio, San Francisco (cor...

A Very Fine Pair of French 19th Century Louis XV Style Figural Gilt-Bronze and Silver-Plated Bronze Chenets, each surmounted by a Triton blowing a seashell horn, resting on a pierced...

Bronze sitting life size sculpture of a greyhound dog. The dog well cast with soft facial features and ribbed and muscular body, the patina in warm Copper tones. Dimensions: 24" Wi...

A charming vintage monkey figurine valet tray featuring a sculptural standing monkey supporting a shallow rectangular brass-tone dish. This whimsical decorative object combines animalier sculpture with the practical elegance of a small tabletop catchall, making it a distinctive accessory for a curated interior. The expressive monkey figure is beautifully modeled with textured fur, a detailed face, and elongated limbs, standing upright on a circular pedestal base. Its dark bronze-tone patinated finish contrasts with the warm golden surface of the rectangular tray, creating an appealing interplay of color, texture, and sculptural form. The shallow rectangular dish features softly raised edges and engraved or incised decoration, including a textured central panel framed by stylized foliage. The intricate ornamentation adds visual interest to this unusual miniature monkey sculpture. Both decorative and functional, this vintage animal-form valet tray can be displayed on a desk, entryway console, bedside table, or dressing table as a small jewelry dish, ring holder, trinket tray, or decorative catchall for keys and other small accessories. The playful monkey motif recalls the tradition of European animalier decorative sculpture and the whimsical accessories associated with Hollywood Regency and eclectic interiors. Its compact scale and antique-inspired brass finish make it particularly suitable for a sophisticated study, collector's cabinet, library, or layered maximalist interior. A distinctive example of vintage decorative metalwork, this sculptural monkey tray...

For Restoration. A rough cast of a Remington bronze with The Plains native American riding a rearing horse as he wields his spear. On a faux marble b...

A striking early 20th Century Art Deco bronze study of a stylised prowling panther with excellent rich green patination and very fine tactile surface detail, raised on a layered twin...

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. ...

A wonderful, bronze bust/head sculpture of the Benin warrior Oba King, the first ruling King Father of the 16th century Kingdom of Benin (in present-day Nigeria) which was one of Afr...

Bronze eagle (after Edward Chope) on a marble base, circa late 20th century. The bronze sculpture depicts a majestic bald eagle with its wings fully spread open, soaring down to catc...

18th century Italian bronze-gold crucifix with coordinating gold leaf shells and crystal points mounted on a crystal geode. The gold leaf shells adorn the crucifix and the base of th...

A vintage Greco-Roman style bronze nude statue from the 20th century with verde patina and wooden pedestal base. Created with the traditional technique o...

Explore the extraordinary allure of this mesmerizing quartz sphere, featuring stunning golden rutile inclusions from Brazil. The perfectly polished surface accentuates the intricate ...

Top quality made and highly decorative, bronze eagle claw desk piece. With the holiday season on our doorstep we will be offering a number of season relat...

Part of a limited edition of six numbered pieces signed by Raffaello Romanelli, this stupendous artwork is a bronze sculpture of a young and flawless female bust. Sinuous and dynamic...

This bronze sculpture reimagines the owl, a timeless symbol of wisdom, through the lens of abstract Futurism. The creature’s form is deconstructed into sharp planes and rhythmic volu...

Fantastic Art Deco / Cubist Bust of a Sailor. Made of Aluminium / Copper and Bronze. Designed by Francois Roques. Marked F. Roques depose and # 1. François Roques, Geometric Metal ...

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...

JAPANESE BRONZE FIGURAL OKIMONO Japan, Meiji period, late 19th century 18" H x 7 5/8" D x 11 5/8" W ref. 512KST06P A very finely cast bronze okimono depicting a standing samurai a...

This 1950s Italian bronze sculpture depicts three parrots perched on a branch with detailed feathers and a warm patinated finish. The scale and composition make it suitable for indoo...

Graceful even when standing still the Bronze Cardinal on Marble Base is a striking addition to any setting. Using traditional lost wax casting methods the Bronze Cardinal statue...

Bronze bust "Bohemian Girl", Emmanuel Villanis, France, end of 19th - beg. of 20th century Additional Information: Materials: Bronze, patina Vintage from the 19th century Artis...

Spinario or the Thorn Puller, bronze after the Antique, 19th century

Henry Moretti Bronze Abstract Sculpture, American, signed and dated 1989. It measures 12.25" x 5.25".

Bring magic and nature into your home with this bronze wall relief depicting the Forest Spirit. Every detail of this unique piece reflects the strength and wisdom of this protective ...

This fabulous vintage abstract signed Italian sculpture is Mid-Century Modern. It says on the label made in Italy and the signature is Esa Fredrigolli. It is a woman sculptor who was...

ENRICO CARUSO Italian, 1873-1921 "Laughing Buddha, a Self Portrait" (1909) Sand-cast patinated bronze executed early 20th century by Roman Bronze Works (cold-stamped verso) Signed ...

Large bronze crocodile Highly precise casting work reminiscent of the style of 19th-century bronze sculptors (such as Antoine-Louis Barye’s famous bronze crocodiles). Remarkabl...

This piece was designed around the form of the artist's newborn daughter's eyes, and aptly named after her. Matthew Holleman is originally from New Zealand but now resides in Sweden ...

Graceful even when standing still the Bronze Dancing Woman on Marble Base is a striking addition to any setting. Using traditional lost wax casting methods the Bronze Dancing Woman s...

This bronze skull sculpture represents a stylized human skull with flowing tribal motifs carved across the surface. The tribal skull statue is made of bro...

Modern brown patinated bronze sculpture. This brown patinated bronze sculpture is a decorative art piece from the 20th century. The bronze torso depicts a female figure without arms,...

This large and impressive bronze nude is high style art deco. This is not your typical fare. Her pose suggests great vibrancy and sexuality. While unsigned we know it was done by Mar...

Classic early 1910s Vienna bronze figurine, expertly crafted and beautifully detailed in the tradition of Austrian cold-painted bronzes. This charming polychromed bronze sculpture sh...

A truly spectacular and incredibly rare pair of sculptures by legendary designer Gabriella Crespi, modeled as mythical dolphins, 'Coppia di Delfini', each one hand crafted from Sarda...

Created by Mexican artist Jorge Marín, this bronze statue illustrates his signature themes of balance, flight, and mythic masculinity. A muscular, winged male figure perches with ele...

A very nice figurative bronze serving tennis player sculpture by Curtis Jere for Artisan House, circa 1970s. The piece is in very good vintage condition with a wonderful patina and m...