Revival Candelabras

This is a Neoclassical Style Pair of Gilt Bronze Candelabras. It depicts a pair of heavy bronze candelabras with four arms and fours sconces engraved with swags. The sconces have rou...

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...

This ornate three-arm antique candelabra is a stunning example of Rococo Revival design — a celebration of opulence, movement, and flourish. Each of the three candle cups is shaped l...

PAIR of Italian Renaissance-style (19th Century) bronze 5 arm candelabras with double lion and filigree design. (PRICED AS PAIR)

Pair of French 19th century candelabra of the finest quality in the Greek Revival style, exceptionally cast and gilt, with bleu turquin marble.

This pair of antique candlesticks are unsigned, but presumed to have originated from Austria and date to approximately 1900 and done in a Neoclassical Revival style. These sculptural candlesticks are composed of spelter with a patinated finish and are quite detailed. The figures stand on a very sturdy cast pedestal base...

Hallmarked in London in 1965 by Carrington & Co., this stunning, Elizabeth II period, cast Pair of Sterling Silver Candelabra, are in the George II Rococo style, featuring original g...

A fine pair of French 19th century Gothic-Revival neoclassical style five-light gilt-bronze candelabra. The finely chased gilt-bronze tripod-leaf base, surmounted with floral rosette...

Pair of Renaissance Revival Six-Branch Gilt Bronze Candelabra, 19th century. 27.75" H x 12.5" W x 11.75" D. Provenance: From a Fifth Avenue Collection.

Pair of Early 20th century bronze, ormolu and wooden candelabra. Patinated Bronze Pharaoh Figures. Ormolu Candle arms. Wooden bases painted to resemb...

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...

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...

Late 19th century pair of French bronze and marble candelabras, neoclassic form with white marble columns and aged gilt bronze moun...

Five Point Silver Candelabras that are 29 oz each with 800 marking and Made in Italy stamp.

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 (Clodion) 1...

Pair of candelabras. Rouge Griotte marble, gilt bronze. France, possibly Napoleon III, 19th century. Pair of candelabras with seven lights each made of marble and mercury-gilded bro...

Rare pair of 19th century, antiquarian, dutch sconces in the baroque-style each holding a small 4-arm chandelier -Versatile can be used as a wall sco...

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

A stunning & superbly cast 19th century parcel gilt candelabrum in the Rococo taste, showing a sculptural central column of entwined bronze & parcel gilt bronze, rising from a pierce...

Pair of exquisite antique patinated brass candelabras with ornate fawn hoof feet and elegant bird tops. Measures 7.25 inches at its widest points by 15 inches in height. There is a h...