1820s Candelabras

Elegant Pair of Silver-Plated Candelabra, England c. 1820, Regency An exquisite pair of English silver-plated candelabra from the Regency period, circa 1820. The design is classical...

A pair of beautiful silver-plated Candelabras. Swedish Empire (Karl Johan) from the 1820s. Unusual model, can be used both as candelabra and ordinary candlesticks. Wear consistent ...

A fabulous pair of ormolu mounted cut glass candelabra of Sunburst form attributed to Apsley Pellatt. The round stepped bases with diamond cut column...

An exceptional large pair of Regency pillar and diamond cut glass and ormolu candelabra by John Blades with scolloped cut base mounted with a finely cut ce...

The diamond and step cut base supporting an ormolu twin branch of dragon form this surmounted by richly cut drop hung drip pans and candle nozzles the candelabra centred by drop hung...

A pair of ormolu and bronze Regency candelabra on tripod base issuing two J arms of serpentine form supporting diamond cut drip pans and candle nozz...

A magnificent, fine and impressive antique George IV English sterling silver three-light candelabrum centrepiece; an addition to our ornamental silverware collection. This magnificent antique English sterling silver three light candelabrum has a cylindrical tapering, shaped form. This antique silver centrepiece...

A fine pair of Ormolu and bronze bases issuing serpentine scroll arms supporting diamond cut drips and candle nozzles hung with star buttons and triangular icicles.

Pair of French Empire bronze doré three-light candelabra with nautical motifs, dolphins and shells.  

Two-light candelabra lustres by John Blades, circa 1820.

A striking and finely cast pair of French Empire period multi-arm candelabra, dating to the early 1800's, executed in a sophisticated combination of ormolu and patinated bronze and n...

A grand pair of Regency era Old Sheffield Plate (OSP) candelabra each base marked with a cross over globe for Blagden, Hodgson & Co. of Nursery Street, Sheffield and dates to 1821. ...

A pair of exceptionally elegant and important late Empire five-light figural candelabra ‘A la Victoire’ in gilt-bronze, attributed to Pierre-Philippe Thomire, after a design by Charles Percier. Imposing size at 81cm in height. French Paris c.1820 Superbly cast, in the Neo-Classical style, the five scrolling foliate candle branches enclosing central sconces issuing from a circular wreath supported by the winged figure of Victory (Nike), wearing diaphanous robes gathered by a sash above a long underskirt splaying out from above her ankles, with beautifully feathered wings flowing behind her as she looks straight ahead. Each figure standing on one foot, the other bent, resting on a plain sphere over a reeded palmette-cast baluster pedestal raised on square plinth. Wonderful colour and patina, pierced for electricity, old inventory label to the underside. We are delighted to have been able to acquire these important candelabra as rarely does one get the opportunity to purchase items by P P Thomire...

Pair of Spectacular Antique Early 19thc Neoclassic Baltic States Blue Glass with Ormolu Candelabra/ Girandoles. These pieces are gorgeous! Russian estate acquisition.

A fine pair of English regency period candelabra on unusual blue Wedgwood bases which are marked Adams the base decorated with fan arches and classic Greek figures bordered with in interlaced garlands the bases surmounted by an classic perched eagle this in turn supporting two eagle head candle...

An attractive true pair of chinoiserie French Charles X period ormolu candelabra. Set upon six sides bases with florally decorated six sided stems. On one stem stands the figure of a...

An elaborate three light candelabra with a pillar and file cut base mounted with a central silver band decorated with finely feather cut rosettes and hung with rounded rule drops sur...

The elaborately cut bases of bulbous form mounted with ormolu serpentine scroll arms supporting diamond cut drip pans and candle nozzles the centre issuing acorn cut glass finials th...

Each with removable nozzle in brass above an acanthus shoulders over a brass column with lotus-leaf capital terminating in an acanthus-form knob, supported on a tripartite base with ...

Pair of French gilt bronze and painted candelabras with five scrolled floral acanthus arms, adorned with flanking angelic figures standing on circular spheres over squared plinths wi...

Pair of Large 19th Century Empire Ormolu and Patinated Bronze Victory Sculptures Candelabras in the manner of Philippe Thomire (1751-1843) A large a...

The patinated plinths with a central applied winged putti in military garb flanked on either side by gilt applied masks within lozenges.

Pair of 19th century Empire ormolu and patinated bronze candelabra attr. Thomire Each with a tapering leaf tip cast partially gilt and patinated bronze stem supporting three folia...

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...

Large pair of 19th century, patinated bronze, Charles X period candelabras.