Pair of Rococo Revival Ormolu Three-Light Candelabra

A pair of Empire revival gilt and patinated bronze twin-light lustre candelabra. Each candelabra has a concave tripartite base with winged paw fee...

A fine pair of neoclassical style gilt and patinated bronze nine-light candelabra by Ferdinand Barbedienne, French, Circa 1870.

A Pair of Napoleon III Neo-Etruscan Style Gilt-Bronze three-light candelabra by Henri Picard. Stamped to the underside of one foot 'H. PICARD'. Each candelabrum having a finely cast amphora-shaped body with angular supports,oval portrait masks of a maiden, and a baluster stem issuing three candle arms with circular drip trays and sconces embellished with suspended chains, surmounted by playful amorini and raised on tripod bases terminating in hoof feet. French, Circa 1870. Henri Picard The important fondeur and doreur Henri Picard worked in Paris from 1831 to 1884, most notably for the Emperor Napoléon III. He was based in Paris at 6 rue Jarente from 1831 to 1839, before moving to 10 rue de la Perle...

A fine pair of Regence style gilt-bronze figural four-light candelabra. Stamped to the underside 'JB'. Each candelabra has a tripartite base with putti figures supporting a cen...

A Pair of Magnificent and Palatial Patinated Bronze Figural Putto Seven-Light Gilt-Bronze, Rock-Crystal and Amethyst Glass Candelabra, On Green Marble Pedestals. By Raingo Frères, ...

A Pair of Louis XV Style Gilt-Bornze Six-Light Candelabra by Robert Frères, Cast by Susse Frères. Signed to the base ‘Robert Frères, à Paris’ and with the cachet stamp for ‘Editeur ...

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...

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...

Dip into Rococo reverie and illuminate your surroundings with the dazzling duo of Sterling Candelabras by Anton Michelsen. With their every Rococo-inspired detail, they stand as sile...

Massive and stunning pair of 5-light silver plate Rococo style candelabra from the late 19th century. Each measures 18 inches high and 14 inches wide, from arm to arm and bears hallm...

Raised on ormolu and rouge marble.? Origin: French Date: Circa 1780 Dimension: Height: 27 in. x 8 in.

Pair of finest quality Old English Ellis silver plate Rococo style three-light candelabra with flame snuffer Maker- Ellis Silver Co., Birmingham (predecessors to Ellis-Barker Silv...