Animal Skin Candle Holders

Carl Auböck brass '#3469' candleholder. Designed in the 1950s, this versatile and Minimalist Viennese candleholder is executed in polished and patinated brass by Werkstätte Carl Aubö...

Carl Auböck candlestick, Austria 1960s.

Spring tension holding up a pillar of wax wrapped around a fiber of cotton ready to be lit on fire. Sizes: Small diameter 1.5" x height 6-9/16" - $205.00 Medium diameter 1.5" x hei...

Monkos is a tealight holder designed by Jaime Hayon, a tableware piece made to be remembered. The details show the sophisticated crafting technique of metal, feature that makes Monko...

Large newly polished brass candleholder with beehive pattern stem and base, and simple wax catcher detail, circa 1850-1900.

The Link Candle Holder is a modular system that can be expanded to any size, available in cast brass. Sold as a set of five. (not available in cast ...

Constantin 1 is a simple but charming candleholder with a geometric shape with circles. The body is in Marquina black marble. The cylinder in natural brass on the top is the place wh...

A pair of brass adjustable candlesticks having tall shafts with slide adjuster knob and mid-shaft ring turnings, surmounted by drip guard and standing on turned base. English, circa ...

Art Deco Wooden Base and Brass Candlestick whit Glass Details, 1930s Completely cleaned and polished the woo...

A tall gilt brass European Gothic Revival pricket candlestick Anonymous Europe; first-half 20th century Gilt Brass Approximate size: 29 (h) x 6 (w) x 6 (d) in. A tall gilt brass E...

This one-of-a-kind, sculptural beeswax and clay triple candle holder is designed by the Tbilisi, Georgia-based designers Rooms Studio, who skillfully handcrafted this piece in collaboration with Shotiko Aptsiauri. The standing candelabra of sculpturally twisted organic beeswax and clay, entitled "Sacral Geometry Candle Holder", is part of a larger series of hand-formed beeswax works from the artists' collaboration. About the Designers: Works of Rooms Studio refers to the sculptural forms and abundant materials in juxtaposition with the feminine instincts. Born and raised in Tbilisi, Georgia, the duo behind the Rooms, Nata Janberidze and Keti Toloraia, lean towards preserving the inherited craftsmanship techniques unique to the region. Massive wood and stone objects are hand-crafted using traditional techniques to create raw and symbolic forms often rooted in the designers' childhood memories. Growing up in a culturally diverse environment, where the two worlds - Western and Eastern collide, remarkably influenced their design language. Over the years, Rooms has created eight independent collections and collaborations equally memorable and representative of the duo's perpetual mission to bring life to omitted elements of a former life. Through their series of works, Janberidze and Toloraia try to examine the boundaries between the public and private. Experiencing adolescent years in the 90s - a significant decade of cultural and societal shifts - their work is a narrative of personal experiences of womanhood. By contrasting the new feminine monumental shapes with architectural brutality, Rooms challenges the status quo and also bridges the conventional and contemporary design with a confluence of female energy. The studio’s largest U.S. exhibition to date, Distant Symphony, expands upon this impulse to focus inward. The title is again a chief concern—some of the objects included here were designed during the pandemic, under a regime of forced isolation that made the studio’s typically collective work process untenable. The pieces shown here are the results of Rooms’ search for a way forward. The first room, an antechamber of sorts, evokes the intimate quality of a private home. Shown here are trinkets and personal effects chosen by Janberidze and Toloraia for their emotive qualities; a low background noise emphasizes the climate of urban domesticity. The ensuing gallery space features highlights of Rooms’ recent design output. Here, the subtle scent of organic materials provides a sensory indication of the atelier’s interest in dichotomies: natural and man-made, personal and collective, local and cosmopolitan.   In light of the global circumstances at the time, Janberidze and Toloraia felt it was especially important to pursue collaborative work. Rooms invited three artists—Shotiko Aptsiauri, Salome Chigalashvili and Mariana Chkonia—to conduct a dialogue and shared design process. As such, this exhibition is a kind of polyphonic meditation on a need for solitude and desire for companionship. The practice of polyphonic singing, essential to Georgian folk culture, is reinterpreted here as a design endeavor. Chigilashvili, working with unprocessed yarn, interpreted folk motifs by adapting embroidery to the scale of furniture with expansive stitches applied to painted boards...

The Vestalia green marble Verde Imperiale and brass details candleholder is a unique and eye-catching sculptural piece. When it is closed, the cand...