Hand-Crafted Candle Holders

- Hand built decorative dog sculpture - made of clay collected from the potter's surroundings. - decorative motifs painted with a goat hair brush made...

Primitive and rather large 19th century wrought iron tripod candle holder with a fixed socket and a sprung Jaw holder for use of the last stump of...

Discovered in an artisan studio on the island of Hydra off the Saronic Islands in Greece in 1993. This handcrafted artisan piece of terracotta pottery, creates a wonderful sheltere...

Unusual early 19th century Swedish Folk Art candle holder in pine and iron. Ca 1820 Sweden.

Vintage candle holder, made by renown Ted De Grazia south western artist from Tucson AZ. Vintage Hand-thrown DeGrazia " Los Ninos" Sandstone Votive Candle Co...

Set of vintage Norwegian wooden candle sticks with black and gold paint in intricate organic patterns. Beautiful vintage condition. Norway, 1970s.

Good early 19th century Swedish / Scandinavian folk art wrought iron candlestick. Ca 1800 Sweden.

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...

This charming heavy iron candle house was made as a table centerpiece for a Private Prep School. It was designed to look like the school icon, the to...

Large folkoristic wooden hand-crafted candelabra with seven arms attached on thin, slightly adjustable metal rods. Handpainted in Nordic folklore style with burgundy, rose, green and...

- Handbuilt freckles terracotta candle holder - made of clay collected from the potter's surroundings. - made in the Moroccan Rif mountains by Houda Approximate measurements: 1....

This set of four carved and painted 'cricket stick' styled candlesticks are unsigned but presumed to have been made in Eastern Europe in circa 1930 in a folk art style. The sticks ar...

Beautiful Vintage hand painted ceramic candelabra , made in the state of Puebla, Mexico. The traditional "arboles de la vida" or "trees of life" in motif authentic Folk Art piece. ...

18th Century Hand Forged Wrought Iron Fireplace Trivet An unusual example in the form of a tall or even elegant design, 18th Century hand crafted wrought iron trivet. The forged...