Early 19th Century Candelabras

This Napoleon III candelabra combining gilt bronze with dark patinated bronze for a strong, elegant contrast. It stands on a tripartite base with finely cast gilt bronze lion-paw fee...

Coppia di raffinati portacandele con soggetti evocativi in porcellana montati su sedili da giardino in bronzo brunito e dorato. I due fratelli "Erxian" di origine cinese ma replicati...

A Large Pair of Empire Patinated Bronze and Marble Candelabra Each candelabra features a classical winged Victory figure holding stylised oil lamp candleholder with gadrooned nozzles. The winged figure wears a flowing dress with finely detailed, crisp lines and stands atop a gilt bronze orb...

Antique French Porcelain Flower Vase w/ Brass Candelabra Combine your candelabra and flower vase into one elegant piece. The central vase...

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 very fine pair of early 19th century Empire Period patinated & parcel gilt bronze three branch candelabra. Both showing a trio of finely cast scrolled & foliate shaped branches fit...

This remarkable Sheffield silver plate candelabrum by celebrated English silversmith Matthew Boulton displays all of the timeless elegance and style of the period. Masterfully crafte...

Pair magnificent antique French "Charles X" bronze and sienna marble candelabra, Circa 1810-1820.

An attractive true pair of chinoiserie French Charles X period ormolu candelabra. Set upon six sides bases with florally decorated six sided stems. On one stem stands the figure of a...

Large pair of French Restoration period candlabras circa 1820 with four lights in bronze with a double patina, gilded and burnished. Overhung by a central candlestick, three arms of...

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

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...

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...

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

This bronze candelabrum is a striking example of the Empire style, popular in the early 19th century. It features a tall, elegant column decorated with detailed leaf patterns and cro...

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...

A good true pair of English Regency figural candelabra of white carrera marble, patinated bronze and ormolu. Each superbly cast & finished child holds up ormolu candle holders in eac...

French Empire period Egyptian style porcelain candelabra French, c. 1815 Height 81cm, width 27cm, depth 27cm These extremely fine candelabra date from the early 19th Century, during the period of Napoleonic dominance in Europe. It was during this period that interest in the ancient civilisation of Egypt started to become fashionable, in large part due to Napoleon's conquest of the region at the turn of the 19th Century. Each candelabrum is modelled as a standing cross...

These pair of candlesticks are made from patinated bronze and finely embellished with ormolu. The base of the candlesticks are from interlocking two-layer of patinated bronze and gilded bronze circles that gives it a sturdy but refined look. The knop and stem of the candelabras are gilded and adorned in neoclassical features. Right below the candle cup is a bust statue of a woman in patinated bronze inspired by 19th century hair style and a bit Directoire. The motif adorning the top of the nozzle in the gilt bronze is the acanthus leaf, commonly used in Greek decorative art. Just below the acanthus gilt bronze pattern is a rose band...

A fine pair of Ormolu and bronze bases issuing serpentine scroll arms supporting diamond cut drips and candle nozzles hung with star buttons and triangular icicles.

Pair of Empire bronze and marble candelabra with three branches each. The lights are supported by bronze caryatids with dark brown patina, who are dressed in long tunics à l’antique ...

A very impressive and fine quality pair of early 19th century gilded ormolu 13 branch candelabra, each with wonderful scrolling foliate decoration, supported by three classical maide...

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...

Pair of Empire-period Victory candelabra in marble and gilt bronze, c. 1800 This elegant pair of Empire-period candelabra, dating from around 1800, combines the noble materials of m...

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

An exceptional pair of Empire period candelabra, dating from the early 19th century, circa 1810. This highly refined pair is emblematic of the height of the Empire style, embodying t...

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-...