Tri-State Area Candelabras

A pair of sterling silver two-branch candelabras from 1952. The taller candleholder stands at 10 inches while the other is 4.5 inches high. They ar...

A pair of four-light Skultuna bronze candlesticks with three upswept branches, issuing from the center candlestick with original patina and lacquer and a unique bronze stem. Can be u...

Impressive, mid-century, sculptural, concrete candelabra in the form of an elegant, weathered piece of driftwood or fallen branches that holds three candles for a dramatic table top ...

A pair of wrought iron eight light candelabra Each having an ascending half moon pierced foliate base mounted with leaf tipped drip pans, rai...

A spectacular and large pair of Chinese Export rooster Louis XVI style gilt bronze-mounted candelabras. Each candelabra is centered by a large ...

Rare, timeless and elegant pair of French Colonial table lamp bases or candelabras from the French colony of French Indochina also known a Indoch...

Bronze four-light candelabra, 19th century. A finely cast bronze candelabra with a bronze plaque in the center flanked by a pair of cobalt blue columns.

Named for Alfred Kopka, the first craft master at the Bauhaus school's metal shop, expertly crafted by hand in Brooklyn, NY, the Kopka Candelabra is a sculptural addition to any spac...

Named for Alfred Kopka, the first craft master at the Bauhaus school's metal shop, expertly crafted by hand in Brooklyn, NY, the Kopka Candelabra is a sculptural addition to any spac...

A Fine Quality Pair of French White Marble with fine casting and Gilt Bronze Figural Six-Light Candelabras on Marble Bases signed 'A. BOUCHER'. Maker: Alfred Boucher (1850-1934) ...

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...

Fine pair of unusual six-light gilt bronze candelabras depicting a boy and a girl. The girl gathering wood; the boy carrying a bundle of wheat. Orig...

A charming pair of silvered and gilt bronze rock crystal three-light candelabra in chinoiserie motif Origin: French Date: 19th Century Dimension: 16 1/2 inches high.

Pair of Italian Neo-Classic Baroque Painted and Tole Candelabra

Pair of continental silver four-light Art Deco style candelabra. Marked 'Mostany Llopart and Ca.'.

Each four-light candelabrum branch supported by a pair of putti on a triangular Rococo base molded with shell motifs. Marked Pirkenhamer.

Casa Bique fossil stone bronze inlaid large double candlestick / candelabra .I have seen that this candlestick was made in under 30 examples.

With two pairs of shell-form coupes and four candle holders with a central circular bowl. Marked Doulton Burslem.

This most unusual pair of original 18th century Japanese patinated bronze candelabras, uniquely designed as branches of mountain flowers entangled by a dragon, are mounted on the con...

PAIR of French Victorian rouge marble and gilt bronze 6 arm candelabra with a gilt bronze urn over a tiered base (PRICED AS PAIR).

Pair of French Victorian white porcelain winged cupids with gilt and green trim holding 3 arm candelabras (PRICED AS Pair)

Pair of French Louis XV style (19th century) gilt bronze Bacchus and Bacchante figures holding nine-arm candelabra.

A fine pair of American parcel-gilt and patinated bronze, twin light candelabras/ table lamps attributed to Edward F. Caldwell & Co, New York, first quarter of the 20th century. Ea...

Hand forged, iron Shabbat candlesticks in the style known as "Brutalism," David Palombo, Jerusalem, Israel, circa 1955. David Palombo (1920-1966) was a sculptor and painter born ...

A Large Pair of antique French Louis XV/XVI Patinated & Doré Bronze Putti Form Candelabra on Marble Bases. This Large Pair of 19th Century French Patinated and Doré Bronze Putti For...

An Aldo Tura Modernist three-arm candelabrum. Patinated brass arms with wooden base covered in lacquered parchment.

Small iron Shabbat candle holder crafted in brutalist style by David Palombo. Made for three candles, the holders come together in their middle, ...

Pair of French gilt bronze candlesticks three-light candleholder. France, 19th century.   

Pair of Ceramic Candelabra Cups, Vallauris, France, 1955. These stunning freeform ceramics display dark concentric circles cast against a beautiful aqua blue base. The pair was ori...

A beautiful late 19th century Empire style gilt bronze bouillotte lamp Fantastic quality bronze lamp entirely chiseled with berries and flowers, two C scrolled arms extend with wi...

Elegant pair of Italian Rococo style candelabra in silver with scrolling arms and floral candle pots. Measures: H 7 in.; W 12 in.  

Our beautiful pair of antique gilt bronze candelabra feature standards comprised of ovoid shaped rock crystal with rose quartz bands set upon round pedestals with ball feet, and thre...

Bespoke Bronze Candelabra Les Fleurs du Mal by Alina Alamorean. Dimensions: W 8.75” x D 6.5” x H 9” are for the larger candlestick of the two. Born into a family of avant-garde architects in 1968 in Transylvania, Alina is a french artist living and working in Paris, France. She graduated in 2005 from the Haute École de Joaillerie in Paris and won several international jewelry design contests ( Tahitian Pearl Trophy, HRD Diamonds Design Awards ). Her Invincible Cape entered the Diamond Museum in Antwerpen, Belgium and her one-of-a-kind bespoke jewelry and objects are part of private collections around the world. The guiding line in her work is freedom. Freedom to live, freedom to escape domination and freedom to misuse all sorts of found objects and turn them into wrapping powerful and soulful bodyjewels. She calls them "Les guerrières". She may use all sorts of materials yet simple techniques and easy to wear despite their weight, but what defines more her work is the energy and magic she instills into them. She gives free rein the metal to flow into efortless wrapped jewelry...

Claude Boeltz’s five branch candelabrum possesses the asymmetry of trickling water frozen in intense cold, a form further suggested by the quartz crystals set throughout. Yet, as wit...