United Wilson Co. Decorative Objects

Pair of candelabra with winged putti, each supporting a floral bouquet, on top of marble base. Each putti is patinated bronze and the bouquets are gilt bronze. The floral bouquet has...

An exceptionally fine pair of 19th century patinated & parcel gilt bronze figural candelabra, executed in the Rococo manner closely associated with works by Claude Michel (Clodio...

A pair of patinated massive bronze candelabra, by Sune Bäckström. Sweden, 1920s-1930s.

A Wonderful Pair of French Dore Bronze Cherub / Putti Figural Form, With 6 Candelabras On Top In The Louis XVI Manner

A wonderful pair of Cherub doré bronze / putti figure pierced candelabra with ormolu mounts raised on marble bases.

A wonderful pair of doré bronze two-arm winged putti cherub neoclassical candelabras Measures: 18" H x 6.5" W x 4" D.

An impressive pair of 19th century French gilt bronze figural candelabra in the manner of Clodion, each featuring a finely modelled dark patinated cherub supporting arrangement of fl...

A pair of late 19th century French bronze three-light candelabra. Each candelabrum features three curved candle arms, floral detailing, and a decorative base. With their elegant silh...

Pair of Mid-Century Heavy Bronze and Chrome 7 Armed Candelabra.

A good quality pair of bronze and ormolu candlesticks with ormolu socles on decorated brionze bases supporting tapered ringed columns with bronze winged putti and ormolu sconces with...

Pair Of Silvered And Gilded Bronze Eight-Armed Table Candlesticks from the second half of the 1800s made with exuberant rocaille decoration rich in sinuous curves and plant motifs he...

This fine antique pair of French Louis XV style gilt and patinated bronze candelabra date from the 19th century. Detailed sculpted patinated putti figures are prominently positioned ...

A lovely pair of bronze statues depicting joyous cherubic figures. Can be used as a sculpture or as single candle candleholders The cherub figure was used a lot in Renaissance art and represented as a naked, chubby male baby or child. During the time of the Greeks it was Dionysus and later adopted by the Romans as Bacchus, the god of the grape, harvest, wine and fertility. The figures sculpted on this pair of decorative candle sticks...

Important pair of French Empire-style five-light bronze candelabra. Each richly patinated winged victory figure rests on a serpentine base with gilt bronze mounts and holds an elabor...

Bronze, dark-brown patina, unmarked. Measures: Height: 23” Width: 14” The notion of an “American Rococo” seems a contradiction in terms. The very word rococo is as French as Camembert. It connotes a style that reigned along with Louis XV in the aristocratic decadence of the 18th Century. It was garlanded, nonchalant, associated with erotic marshmallow nudes by Francois Boucher and foppish courtiers costumed as shepherds pretending they understood Jean-Jacques Rousseau when all they really wanted was romantic dalliance in the formal gardens of Versailles. In the history of painting it produced but one great artist, Antoine Watteau. By contrast, Americans of the period are remembered as the flinty inheritors of New England Puritans, full of rectitude and having not a moment for furbelow or frippery. Such few painters as were around included hard-nosed realists like John Singleton Copley and Charles Willson Peale. Well, as it turns out, life once again acts according to the principle of paradox. There was an American rococo. It came to us indirectly via England disguised under the name Chippendale. Now for the first time the style receives comprehensive survey in the exhibition “American Rococo, 1750-1775: Elegance in Ornament.” Jointly organized by New York’s Metropolitan Museum and the Los Angeles County Museum of Art, it opens here Sundaywith a spread of some 170 works of decorative art and a conscientious catalogue with essays by Met and LACMA curators Morrison H. Heckscher and Leslie Greene Bowman. There are at least two ways of looking at the decorative arts. Connoisseurs appreciate their design and craftsmanship. Those of sociological bent examine objects of material culture for their revelations of history and the temper of the times. Actually neither view is complete without the other. Stylistically the rococo reveals a longing for intimacy in its small scale and an urge to organic nature in its love of stylized vines, tendrils, tiny flowers and seashells. If it were a new manner being promoted by Madison Avenue today it would probably be called “Baroque Lite.” There is an ease about the style that makes it airy, but it has an underlying formality that bespeaks lives of gentrified cultivation rather than beer-bellied sloth. It’s fascinating to examine the flintlock firearms on view and find these weapons of death shaped and decorated with the most exquisite care by wood carvers and metal engravers. All of this is completely consistent with the main currents of 18th-Century European thought. In France, Rousseau sang the virtues of nature and the noble savage like a present-day ecologist. In England, John Locke...