Pair of French Ormolu Candelabra on Marble, Gilt Cherubs, Rococo Revival

On offer is a teacup and saucer made by Rockingham in about 1832. The set is decorated with a gilt seaweed pattern and beautiful little flower posies. We have an entire tea servic...

This is a beautiful teapot set made by H&R Daniel in about 1831. The set consists of a teapot with cover, a sucrier with cover and a milk jug. The...

On offer is a stunning pair of potpourri vases with covers made by H&R Daniel in about 1840. The vases are in the Rococo Revival style, and have a deep maroon ground and reserves wit...

A teapot with cover in the “rustic bean” shape, cobalt blue ground with gilt acanthus motif and finely painted flower posies on the belly of the teapot Pattern 5782 Year: ca 1837 Si...

A small porcelain basket in Rococo Revival style with scroll and shell moulded borders, pierced handles on both ends, a pale yellow twig handle, a French blue ground with pale yellow foliage and a fine landscape painting in the centre. This would make a perfect gift as a trinket dish - these baskets were often used to collect visting cards from guests. Pattern unknown Year: ca 1830 Size: 17.5cm (6.8”) long, 9cm (3.5”) tall Condition: excellent The Samuel Alcock factory was operative in Staffordshire between 1822 and 1856, after which it was bought by Sir James Duke and Nephews. The factory started as a partnership between the young Samuel Alcock and the older Ralph Stevenson, who provided the factory and capital. Alcock quickly took the factory to great heights, building one of the biggest factories of its time. Alcock jumped on the new Rococo Revival fashion and served a huge new middle class market. The reason we now don't hear much about Samuel Alcock porcelain...

This is a stunning and very rare pair of vases made by Coalport in around 1845. The vases have rich gilding in the Persian Revival style, combined with very English floral reserves o...

A Pair of Louis XV Style Rococo Revival Ormolu Three-Light Candelabra. Finely cast in the Rococo Revival style this fine pair of English candelabra...

Pair of French gilt bronze ormolu three arm cherub candelabras with reeded and floral hand chase work.

A fine pair of French 19th century Rococo Revival style gilt bronze and Rouge Griotte marble six-light candelabra attributed to Ferdinand Barbedienne (French, 1810-1892) After a mode...

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...

An Exceptionally Stylish Pair of French Bronze Dore and Champleve Cloisonne twin arm Cherub or Putti Candelabra of outstanding quality and generous proportions. Third quarter of the ...

A beautiful pair of French gilt doré bronze and marble cherub ormolu-mounted candelabra / three branch lamps.