Early 19th Century Candelabras

A pair of Russian Empire figural candelabra featuring a patinated bronze caryatid holding a gilt bronze urn mounted with a torch atop her head, with two ...

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

Pair of Early 19th Century Tall French Empire Ormolu & Bronze Candelabras. Depicting angels in patinated bronze, these candelabras are stunning. Fra...

Constructed in two color gilt and patinated bronze; the feminine Grecian figures draped with diaphanous robes blowing bi-form trumpets of swept form, terminating in candleholders a...

Candelabras with place for three candles, made in Berlin about 1810. Gilded and patinated bronze. Decorated with a standing griffin with a women's face, gilded decorations and lion f...

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...

An unuusual set of large early 19th century Regency period bronze and ormolu lustre candlesticks, consisting of two singles and one triple, having lotus leaf sconces above acanthus c...

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 stunning pair of early 19th century French Empire candelabra, with four scrolled candle arms supported by classical winged figu...

American brass and porcelain candle holders from the 1800s are a popular collector's item among antique enthusiasts. During this time period, candl...

Pair of Swedish crystal candelabra having canary yellow centers and bronze arms & fittings resting on white marble bases.

A pair of Directoire period gilt and patinated bronze and black and white marble candelabras. They present a decoration of winged sphinxes in patinated bronze carrying on their heads...

A pair of French gilt bronze and patinated bronze four-light candelabra. France, early 19th century. Measures: H 22 in.

Circa 1800 Pair of Gilt Bronze French Candelabras (Female on Marble Base) Beautiful piece purchased in France. Age appropriate wear, see detailed photos or message us with questions.

A pair of superb antique Italian empire neoclassical gilt bronze and patinated bronze figural candelabra lamps with royal markings, 19th century. Measure: Overall height 38.50”.

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

A magnificent and highly important pair of gilt bronze figural empire period candelabra. French, circa 1815. A Magnificent and Highly Important Pair of gilt bronze Figural Empi...

A fine and unusual pair of French Empire or possibly Russian two branch candelabra in the gout d'Egypt or Egyptian style which was extremely popular, circa turn of the 18th century. Set on square patinated bronze bases each female figure stands upon a finely cast ormolu...

Two large candelabra-candlesticksdecorated with lion claw and cherub heads on the on the visible side . They are turned wood and are decorated, engraved and gilded only on one side ...

A pair of 18th century style gilded ormolu and patinated bronze three branch candelabra, each with a classical kneeling putti supporting scrolling foliate candelabra with urn like sc...

A fine Louis XVI style gilt bronze and ebony three-light desk stand. French, circa 1820. This elegant desk stand has an ebonized rectangular base with drawer, supporting a re-...