The Most Expensive Bronze Treasures Ever Seen on Antiques Roadshow!

In that $400,000 to $500,000 range. Wow. Go ahead and keep talking, Robert, because I think I lost my ability of speech right now. I had no idea. In the $60,000 range. Oh, that's very nice. How nice. $75,000. Yeah. Hello. OK. From intricate craftsmanship to extraordinary historical significance, these remarkable pieces left experts stunned. And some were valued far beyond anyone's expectations. Get ready to discover the most beautiful, rare, and astonishing bronze treasures ever featured on the show. I brought a vase that I found at my dad's house that he was going to scrap. He bought it at an auction for the scrap metal. What drew you to it? The colors. It's just stunning and beautiful. Brilliant enamel colors and richly treated metal make this 1874 French vase a remarkable example of 19th century Japanism. Produced by Christoffler and Company and designed by Emil Ryber, the piece combines French industrial innovation with decorative ideas drawn from East Asian art. Its form is based on the ancient Chinese Hu vessel, traditionally associated with holding liquids such as water or wine. Ryber reinterpreted that historical shape with elaborate handles terminating in stylized dolphin heads, from which elegant S-shaped scrolls extend along the sides. The decoration is where the vase becomes particularly extraordinary. Its surface combines patinated bronze, areas of gilding, and cloisonne enamel, producing the vivid colors and intricate patterns that first made the object so visually striking. This mixture of materials reflects the sophisticated techniques being developed in Europe during the Industrial Revolution. Christoffler had begun as a jewelry company in 1830, but expanded into silverware, decorative objects, and furniture. The firm became especially important in France for its expertise in applying precious metal finishes to other materials through electrochemical processes. By the time this vase was produced, Christoffler had become a major force in luxury decorative arts. Ryber joined the company in 1865 as head of its design studio, bringing a strong fascination with Japanese and Chinese art. That interest coincided with a growing European obsession with Asian aesthetics after Japan opened its markets to Western trade in the 19th century. The result is a fascinating cultural fusion, a French-made bronze inspired by ancient China, decorated with techniques and motifs, reflecting the West's enthusiasm for Japanese art. You know what he paid for? He paid $6 for it. A conservative auction estimate would be $7,000 to $10,000. That's amazing. He did good. He did very good. And you did good by saving it from the scrapyard. Yes, I did good too. It was my father's great aunt's sculpture. And when she died, it came to my grandmother. And when my grandmother died, it came to my father. And he has since given it to me. Few sculptors transformed bronze as radically as Auguste Rodin. And this version of Eternal Spring, dating to around 1900, offers a remarkable glimpse into that revolution. The sculpture captures two intertwined figures in a flowing, almost weightless embrace, emphasizing movement and human emotion rather than the rigid poses common in earlier academic sculpture. Rodin, born in 1840, became one of the defining sculptors of the late 19th and early 20th centuries. Instead of relying primarily on historical or mythological subjects, he explored the physical and emotional realities of the human form. That approach made his work groundbreaking and controversial during his lifetime. This bronze carries several important clues to its origins. Alongside Rodin's signature is the mark of Ferdinand Barbadien, one of France's most prestigious foundries. Additional letters and numbers appear to be foundry records used to track individual castings. These details are especially significant because the value of Rodin bronzes depends heavily on when and under whose authorization they were produced. The unusually crisp surface and preserved details suggest that this could be an early casting, potentially produced during Rodin's lifetime or shortly afterward. So at auction, an estimate on this would be in that $400,000 to $500,000 range. Wow. I got to get the heck out of Dodge here. How am I going to? Wow. We have protection for you. Oh, thank you. It was originally purchased by my grandfather somewhere between 1920 and 1970. He was an avid collector, and he had a large home where he just, it was like a museum. He died in 1972. My father at the time wanted a bunch of things, so he bought a variety of antiques from the estate. He passed away in 2017, and I inherited from him. I told him if he ever decided to sell it, I want first dibs at it just like he did. A dramatic struggle between a mother, her child, and a charging bear gives this large Russian bronze an unusually powerful presence. Cast around 1882 at the Vorful Foundry in St. Petersburg, the sculpture is attributed to the mysterious artist Evgeny Naps, whose identity remains one of the intriguing mysteries surrounding 19th century Russian bronzes. The subject is equally compelling. Often identified as the bear attack or defending her child, the composition captures the instant a woman confronts a wild animal threatening her young. The tension is heightened by the finely modeled figures, expressive gestures, and carefully rendered details throughout the scene. Its subject also reflects a broader 19th century fascination with distinctly Russian imagery. Artists frequently depicted Cossacks, winter landscapes, horse-drawn sleds, and wildlife as part of a growing visual identity associated with Russian culture. If I were to estimate this for auction, I would say between $20,000 and $30,000. Unfortunately, I'll never see it. This is never leaving the house. It's been handed down through my husband's side of the family since the 1800s when a relative went over to China for three months to do shopping for antiques with the purpose to come back and open an antique shop. And this piece, I don't know if it just never made it to the antique shop or they liked it so much they just always kept it on the fireplace mantle. Dating to the late Ming Dynasty and created around 1635, it represents a seated Taoist celestial figure, possibly the Jade Emperor, the supreme ruler of the heavenly realm in Taoist tradition. The figure's commanding presence comes from its substantial bronze construction and carefully balanced proportions. Fine incised patterns cover the flowing robe while stylized celestial clouds and a finely worked beaded border add layers of ornament. Much of the original gilding has naturally worn away over the centuries, leaving traces across the surface alongside remnants of colored decoration. Rather than diminishing the sculpture, this aged appearance helps reveal its long history. The interior casting and accumulated patina provide additional evidence supporting its considerable age. There are also signs of an old structural repair, a small firing crack developed during the original manufacturing process, and a fitted bronze plug was inserted to stabilize the damaged area. Such repairs were practical solutions to weaknesses created during casting and firing, and this one has remained secure for centuries. In a retail setting, it would demand a value of $20,000. I brought it in a roller cooler today with snacks on top of it. Oh, my goodness. Go ahead and keep talking, Robert, because I think I lost my ability of speech right now. I had no idea. None. That's amazing. Wah! That's how I cannot believe it. Years ago, I worked at Knoll Associates before it became Knoll International, and one of the exhibitors in the showroom was Harry Bertoia and his furniture. He had some of his sculptures in the showroom, and apparently I had sold one to a customer because I was in communication with him, and I asked him if he ever had a sculpture, and specifically this one, that I would be interested in buying it. And he wrote back and said, well, he didn't have one at the moment. And a few months later, I had a letter from him saying this sculpture was in the mail, that it would be $250. I was thrilled that I could have it. A cluster of gleaming spheres branches outward like an abstract tree in Harry Bertoia's Golden Tree, a bronze sculpture created around 1969. Rather than presenting a traditional figurative subject, Bertoia transforms metal into an organic structure, allowing industrial materials to suggest the shapes and rhythms of nature. Born in Italy in 1915, Bertoia moved to the United States as a teenager and eventually studied at the Cranbrook Academy of Art. There, he crossed paths with influential designers, including Florence Knoll and Charles Eames. His expertise in metalworking became central to a career spanning furniture, jewelry, sculpture, and experimental sound. This piece belongs to Busch series, a body of work distinguished by its unusual construction. Instead of being cast as a single bronze form, the individual elements were welded together, producing a delicate network of branches and spherical forms. The original golden appearance of the spheres has softened over time, and restoring them would require painstaking polishing of each individual element. Although conservation could cost several thousand dollars, the sculpture's aged surface does not necessarily diminish its appeal. The auction market for this, the value is between $30,000 and $50,000. Oh, nice. I think so. It's a long way from $250,000, huh? Yes. My grandfather had been traveling around the globe around 1909. We think this is one of the pieces that he brought back, possibly from Japan. And he was at the base of the home that my father grew up in at the staircase. When my grandfather passed away, he came into our home in New Jersey. I inherited him in 2012. An enormous Japanese bronze lantern takes an unsettling turn when its intimidating face is identified, not as a deity, but as an oni, a supernatural creature Dating to around 1909, the lantern was created near the end of Japan's Meiji period, a transformative era that ended in 1912. The sheer weight of the bronze immediately reflects its substantial construction. Yet the surface reveals an even more sophisticated process. The metal would have emerged from the foundry without its finished appearance, requiring extensive detailing and the application of carefully developed patinas to create a consistent visual character. On the shoulder, traces of an earlier reddish-brown layer remained beneath the later surface. Its function is equally fascinating. Unlike a conventional lantern designed primarily to illuminate a space, this example was intended to produce a much more atmospheric effect. Very little candlelight would escape through the structure, allowing the eerie figure to emerge dramatically from the darkness. The oni's eyes are particularly effective. Their pale appearance comes from an enamel-like treatment that would have remained visible in extremely low light, making the face seem to stare outward from the shadows. For insurance purposes, a reasonable figure would be in the $60,000 range. Oh, that's very nice. How nice. One of seven I have to have a discussion with them. It's a statue that was given to my husband. He's a contractor, and it was given to him from someone that he works with. Have you done any research to try to figure out anything about it? I know that it was like early 1900, and that's all. A striking combination of bronze and painted marble gives Jean-Léon Gérôme's Created around 1890, this sculpture demonstrates the French artist's fascination with exotic subjects while revealing his willingness to experiment beyond the traditional boundaries of sculpture. Gérôme was born in France in 1824 and first established his reputation as a painter and engraver. Sculpture became a major part of his career much later, with his first exhibited sculptural works appearing at the 1878 Paris International Exposition. Like his paintings, his sculptures frequently drew upon Orientalist imagery, incorporating elaborate costumes, ornament, and details inspired by cultures he encountered through his artistic interests. The figure's elaborate clothing is central to its visual impact. Decorative patterns cover the fabric. Jeweled belts accent the waist, and the skirt features carefully developed coloration. But the real innovation lies in the materials. Most of the figure is bronze, while the feet and face are carved from marble and then painted, a highly unusual combination that creates striking contrasts between surfaces. The sculpture was produced in three sizes, and this example is the largest version, making it particularly desirable. There is one obvious flaw. The left hand is missing. Yet, for a work of this importance, the damage is considered relatively manageable. An example sold recently at auction with an entirely replaced arm, and that sold for just under $75,000. Yeah. Hello. Okay. Oh, well. So, with the hand obviously missing, an auction estimate would be between $60,000 and $80,000 in that range, and, you know, it's really, in the scheme of things, a minor, a minor conditional issue, believe it or not. Wow. Wow. I inherited these lamps from my parents. They were teachers living in New York City. In the summer of 1951, they drove from New York to Mexico, and they brought back some interesting objects, including these. Now, they weren't lamps when they acquired them. They were just these statues. I think it was in 1967, we moved to a new apartment, and my mother hired a decorator, and it was the decorator's idea to have them become lamps. What once appeared to be a pair of Mexican religious figures turns out to be something far more unexpected, two Chinese bronzes from the 17th century Ming dynasty, originally created for very different spiritual traditions. The Ming dynasty lasted from 1368 to 1644, and during this period, bronze sculpture reached remarkable levels of refinement. One figure represents Lu Dongbin, one of the eight immortals in Chinese tradition. His elaborate pedestal is filled with symbolic imagery, including mountains, crashing waves, and a descending dragon, the imperial creature associated with authority and power. Much of the original gilding would have been especially useful in dim interiors, where reflective surfaces helped these sculptures stand out without modern lighting. The other figure belongs to the Heihei Erxian, a pair of youthful figures associated with happiness, harmony, and family prosperity. Such imagery was particularly appropriate for celebrations and matrimonial settings, where the figures could symbolize hopes for good fortune and descendants. Although the two bronzes eventually became a matched pair as decorative lamps, they were never intended to be displayed together in their original religious contexts. One belongs to Buddhist tradition, while the other is Taoist, making their eventual pairing a curious chapter in their later history. That this one would achieve a price of between $5,000 and $8,000. Great. And that the Heihei Erxian would be likely to sell for around $4,000 to $6,000. Wonderful. Fantastic. I'm amazed by all this information. I had no idea. I thought they were Mexican gods or something like that. This was a gift from my father-in-law, who had it in his warehouse, and when I inquired about it, he offered for me to take it home, and that's about it. I don't really know much of the history about it. Towering over many of Eugene Lanceret's smaller bronzes, this imposing sculpture presents the Russian warrior Sviatoslav on horseback, combining historical storytelling with exceptional 19th-century craftsmanship. Lanceret was renowned for his equestrian subjects, and this work demonstrates why his bronzes remain highly prized among collectors of Russian art. Born in the 1840s, Lanceret spent significant time studying and working in Paris, yet repeatedly returned to subjects drawn from Russian history and culture. Here, he portrays Sviatoslav, a medieval ruler and military figure, with the horse and rider rendered in remarkable detail. The elaborate clothing, equipment, facial expression, and carefully modeled horse give the composition a strong sense of movement and individuality. An inscription in Russian appears beneath the sculpture, referring to Sviatoslav's famous declaration that it was better to die fighting than bring dishonor to the Russian land. The foundry mark is another important feature, providing evidence about its production. I would think it probably has a value in the range of $120,000 to $130,000. Wow. Once it's restored, I don't think the value will be affected. My head is spinning thinking about that. Wow, I'm really... The hair is standing up on my arms. I can't believe this. Me too. That's unbelievable. I inherited it from my uncle. My uncle probably got it in the mid-1960s in New York City. He lived to 2015, and then he passed away at 89, and was an antique dealer-collector for about 55 years. Two graceful figures pause over a tiny frog in Harriet Whitney Frischmuth's Curiosity, a 1921 bronze that transforms a simple garden-like scene into an exceptionally rare work of American sculpture. Frischmuth became one of the most accomplished American sculptors of her generation. Born in 1880, she developed her artistic training on both sides of the Atlantic, studying in Paris with Auguste Rodin, and later working under Gutzon Borglum in New York. Her sculptures often celebrated movement, vitality, and the human form, with dancers frequently serving as inspiration. This particular bronze has an especially interesting distinction. Only three examples were ever cast. It bears Frischmuth's signature and 1921 date, together with the mark of the Ideal Company in Providence, Rhode Island. That foundry connection is significant because Ideal produced Frischmuth's work only during a brief period in 1921 and 1922, Hidden within the composition is a practical function. The sculpture doubles as a flower holder, with openings designed to support stems. Another intriguing detail appears underneath, where a small coated label records the original purchase price used by its former dealer. I'd say in today's market, at auction, conservatively would estimate it between $20,000 and $25,000. Very nice, very nice. And insurance value? I would think for insurance, you're probably looking at around $50,000. Oh, jeez. Very nice. My uncle had a keen eye for antiques. The sculptress is Anna Hyatt Huntington, and she's a Connecticut sculptress. She was a friend of a relative of mine, and gave my Aunt Ruth this wonderful dog. Standing at an impressive scale, this bronze dog is a fine example of Anna Hyatt Huntington's extraordinary ability to turn animal sculpture into something full of character. Dated to 1935, the work depicts Huntington's own dog, Echo, giving the sculpture a personal dimension, while showcasing her remarkable command of animal anatomy. Huntington was among the most accomplished American sculptors of the early 20th century, particularly celebrated for her depictions of animals. She trained under Gutzon Borglum, the sculptor behind Mount Rushmore, and eventually developed a career that brought her work into major public and zoological settings, including projects associated with the Bronx Zoo. What immediately distinguishes this bronze is the quality of its modeling. The contours of the body, carefully observed features, and subtle details create a convincing sense of a living animal, rather than a generic, decorative figure. Even the expression contributes to the impression that Echo has an individual temperament. The casting itself is equally impressive. Its exceptionally clear detail and beautifully developed patina indicate a bronze of considerable quality, while the unusually large format makes it especially striking among Huntington's animal sculptures. I would put a retail value in the $20,000 to $30,000 range. Wonderful to know. This piece came into my house in 2016. It was in my parents' house for a long time, and they brought the piece from my mother's parents' house, which was in Hazleton, Pennsylvania. A horse launches forward with all four hooves suspended above the ground, while hunting dogs race alongside in this dynamic Russian bronze by Nikolai Lieberich, created around the 1860s. The composition captures an entire moment of motion, transforming a traditional hunting scene into an unusually vivid study of everyday life. Born in St. Petersburg in 1828, Lieberich received academic training, but became part of an important shift in 19th century Russian sculpture. Instead of concentrating solely on rulers, historical heroes, and literary subjects, artists like Lieberich increasingly turned their attention toward ordinary people and scenes from contemporary life. The technical execution here is remarkable. The writer's clothing is filled with minute details, from the texture of his hat to his facial expression, while individual leaves and elements of the surrounding landscape complete the setting. Its construction is equally revealing. The bronze was assembled from separately cast sections, secured with numerous hand-cut nuts beneath the sculpture. A Vorfil foundry mark in Cyrillic identifies the St. Petersburg workshop responsible for its production, while the artist's signature further establishes its attribution. The sculpture was designed to be appreciated from every direction. Viewed from different angles, the sweeping movement of the horse, rider, and dogs becomes even more apparent. In terms of value, it's worth about $20,000 on a retail setting. This is a piece that made it to me through my family. It was a gift to my grandma from a wealthy donor who worked where she worked. There were originally flowers in the canoe or a basket type thing. I think that was the gift, but they said, make sure you keep the vase, too. And so she was always curious about it, and then when it came down to me, I was very curious about it as well. We saw the name on it and thought that it might have a neat history. Two young girls carrying a fisherman's basket form the heart of this elegant French bronze by François-Raoul Larche. Larche was born in 1860 and spent his career in Paris, where he became known for combining sculpture with the sinuous, nature-inspired forms that defined turn-of-the-century design. Although he created monumental works for public spaces, he was equally successful with intimate sculptures, intended for homes and interiors. The composition here is particularly charming. Rather than presenting an imposing historical subject, Larche focuses on an everyday pastoral scene, giving the two figures a sense of movement and youthful character. Their basket provides a practical element, while also contributing to the sculpture's flowing silhouette. The bronze carries Larche's signature, as well as the mark of the Sciote Foundry, a Parisian firm responsible for casting the work. Additional markings underneath likely relate to the model or production process. These details are important because Larche's sculptures have been reproduced, making evidence of original manufacture particularly valuable. I'd say in today's auction market, between $2,500 and $3,500. How remarkable. That's wonderful to know. An eagle perched above an intricately modeled vessel makes this Meiji period Japanese bronze an intriguing blend of Eastern tradition and Western influence. Rather than following a single established form, the piece combines several decorative ideas into one elaborate object, reflecting a fascinating moment in Japan's artistic history. The Meiji era began in 1868, a period when Japan was rapidly opening to international trade and developing new ways to appeal to overseas collectors. Japanese artisans began adapting traditional techniques and imagery for foreign markets, particularly in America and Europe, where finely crafted bronzes became highly desirable. The lower section is especially unusual. Its design draws inspiration from 17th century Chinese decorative traditions, including a figure whose mouth supports a projecting trunk-like element. Similar motifs in Chinese art were commonly associated with powerful mythical or animal figures, while Japanese craftsmen freely adapted such imagery into new compositions. Above this elaborate base is a vase-form body, creating a hybrid object that could be connected to the structure of an incense burner. Then comes one of the most revealing details, the eagle. Its presence points toward the growing Western market that Japanese artists were actively courting during this period. American interest in Japanese decorative arts surged after Japan opened more fully to international commerce, and the 1876 U.S. Centennial further encouraged the exchange of artistic objects. I would expect this to sell for $3,000 to $5,000. Okay. Very nice.