Rococo Revival Candelabras

Pair of candlesticks with putti playing music France Ormolu second half of the 19th century. Dimensions: approx. H x W x D: 40 x 22 x 20 cm Description: This extraordinary pair of...

A striking and finely crafted pair of six-light candelabra in silver-plated nickel silver (marked "N.S."), attributed to the esteemed Swedish retailer and silversmith A.G. Dufva. The...

This Louis XV style gilt bronze lamp by Gherardo Degli Albizzi resumes the taste of Rococò period decoration. As this, vegetal motifs are all-over this piece and it features great e...

Pair of large silvered bronze candelabra by Christofle, 19th century French, c. 1890 Height 71cm, diameter 42cm This extraordinary decorative pair were made by the renowned Parisian...

An exuberant 19th-century Italian Rococo-style silver-leaf altar candelabra, richly carved in wood with the lively movement and theatricality collectors prize. The scrolling façade u...

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...

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...

Hallmarked in London in 1870 by Robert Hennell IV (with one branch bearing marks for Robert Hennell III in 1840), this wonderful, Antique, Sterling Silver Pair of Candelabra, are sup...

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 origin...

An impressive pair of French gilt bronze three-light candelabra in a foliate motif, signed “Henry Dasson et Cie 1892” on the base. Henry Dasson. Henry Dasson (c. 1825–1896) was a nin...

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...

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...

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...

Heading : Pair Rococo Revival Silver Plate Candelabra Date : c1880 Period : Victoria Origin : England or possibly France Decoration : Five light , four branches eash decorated with a...

Pair of 19th century Seven Lights Weathered Italian Candelabras in Amazing Condition

Elevate your tablescape or mantel with this beautifully cast gilded brass candelabra, featuring a rich Rococo revival design that exudes old-world charm. With sweeping acanthus leave...

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...