Candle Stands

A French Charles X mahogany table, candle stand with a marble top.

A very fine parcel gilt and faux porphyry decorated pedestal after a design by William Kent in 1735. The pedestal is very close in design and scale of documented pieces by Kent and a...

A late 18th Century Hepplewhite period oval satinwood Kettlestand having scalloped gallery above tulipwood frieze with oval flower panel sand slide, supported on fluted, square taper...

Beautiful Italian silver candle holder made in 1950s.

A Rare Early Georgian Mahogany Tripod Candle Stand This fine piece of early English furniture dates to the mid-19th century, George II period. I...

Due to their utilitarian nature, surviving pairs of 17th century candle stands/torchères are extremely rare and generally only seen today in great houses. The quality of the marquetry decoration and the attention to detail indicate that these candle stands were probably made for a substantial household. The turned stems displays the skill of the turner, and create fluidity, variety of form, emphasing the quality of the solid walnut grain and the floral inlay as well as holding and balancing the form of the top. The sweeping, scroll feet balance the proportion and fluidity of the candle stands/torchères, giving them presence. They are sturdy and in excellent condition. Virtually identical turnings and form. Both with octagonal tops, one with a central marquetry floral spray, the other plain. The upper sections with solid walnut baluster and ring turnings leading into lower octagonal sections decorated with marquetry floral sprays repeated 3 times. The stems supported by octagonal blocks with a repeat of the floral spray and scroll tripod bases with two floral sprays on the upper facing sections. Excellent original colour and patina. English. Height 96cm, Top diameter 29cm Moveable stands to support a candlestick or lamp were intended to supplement the fixed lighting arrangements of rooms. The evidence of inventories suggests that they did not become common in France until about 1650 when they accompanied fine tables and cabinets. Such stands, being sometimes in the form of gueridons. The fashion for decorative candlestands spread rapidly after the Restoration, when they were often made en-suite to flank a sidetable with a mirror above. Such sets are mentioned in lists of household goods and by contemporary writers. In 1664, for instance, Mary Verney is anxious to obtain “a table and stands of the same coler”. The Academy of Armory, published in 1688, defines a candle-stand as a “little round table...

- This single Wrough Iron floor candelabrum by Arthur Umanoff has four candle stems forming a double “U”, the outer two of which are wrapped in cane. - The base is composed of an ups...

A Fine Candle Stand Table by Johnstone & Jeanes of London. A gem of a piece by J & J showcasing finest craftsmanship and design in a elegant petite size table. Uncertain to ...

Candlestick available in brass and rose gold finishes. Candle not included.

This is a highly desirable Philadelphia candle stand form. This candle stand has a dish top over a bird cage, suppressed ball pedestal and cabriole legs terminating in snake feet.

Created and handpainted by the historical Vetrerie di Empoli Griffe (1938) as a tribute to the Olympic Games which will take place between Milan and Cortina d’Ampezzo in 2026.

Single hole by Christian Zahr Dimensions: W 120 x D 80 x H 40 cm Materials: Aluminum Each piece is handmade. Christian Zahr studied architecture...

Altar III Contemporary golden censer, in cast brass. Produced in São Paulo, Brazil. This golden censer was meticulously handmade by master artisans one delicate piece at a time. It ...

Arrebol Tibor diffuser by STUDIOROCA Dimensions: W 18 x D 18 x H 30.5 cm Materials: Volcanic rock, polished brass plated steel, glass. Includes 1 essential oil 20mL bottle. STUDIOROCA is a Mexico City design studio focused on architecture, interior design and contemporary furniture. Its penchant for collaboration, the promotion of local talent, artisanal skills and natural materials, and its ever-present pull toward sustainable practices have seen the studio create highly emotive environments and unique functional pieces that speak of a forward-thinking, borderless approach to design. Intro Through architecture, interior design and furniture, STUDIOROCA portrays a distinct Mexican aesthetic, where sophisticated, elegant designs become bold statements of strong masculine lines and dark moody shades that contrast dramatically with elongated curves and highly textured surfaces. Based in Mexico City, the studio has, since its inception, offered much more than simple design solutions, its impetus always being to meaningfully improve lives through design. By promoting, supporting and offering a platform for other Mexican designers in its two stores in Polanco and Condesa, STUDIOROCA has been at the forefront of the modern-day Mexican design movement for over 15 years. The studio’s ability to artfully blend its own architecture and interior design with both local and international product is testament to its glocal outlook. While proudly Mexican and inherently influenced by the country’s culture and craftsmanship, its designs talk to a cosmopolitan, international sense of style. STUDIOROCA’s respect for the environment and reverence of traditional skills has led to the pursuit of sustainable practices, while its affinity for collaboration and promotion of artisanal skills has seen the studio produce work in conjunction with countless talented designers and craftspeople. Its confidently utilitarian designs are the result of risk-taking, boundary-pushing processes that emerge from STUDIOROCA’s constant quest to establish innovative solutions, while simultaneously respecting each of its projects’ unique locations, incorporating the surrounding environment into the design language. Working closely with clients, a personal rapport ensures delving into the core of every design requirement, leading to the ultimate achievement of deeply embedded needs. Ultimately, what STUDIOROCA presents is a fresh iteration of Mexican design, a version which is at once moving, intoxicating and comforting. History STUDIOROCA was founded by Carlos Acosta and Rodrigo Alegre. When, in 2002, the two independent Mexico City architects were commissioned to work collaboratively on the architecture and interiors of a new spa, they were frustrated by the lack of affordable furniture available, and embarked on designing their own pieces for the project. And so STUDIOROCA was born. Initially a furniture store in the heart of the then up-and-coming leafy suburb of Condesa, it has developed into a fully fledged architecture and interior-design studio, with another store in the city’s high-end design district of Polanco, which opened in 2011. Its line of furniture, all designed and manufactured in Mexico, had humble production beginnings in a small kitchen-design factory, a foundation that has carried through into the studio’s current philosophy of small-scale, high-quality production. In conjunction with its own range of functional pieces, STUDIOROCA has always invited other local designers to showcase their work in its two stores, and, what started with three additional designers’ pieces in 2002, has led to collaborations with many more, now presenting the limited-edition work of 28 Mexican designers through its UNION- brand, while continuing to retail exclusive international brands such as Tom Dixon, Moooi and GAN. 2 More recently, the studio’s architectural and interior projects have included large housing developments and hotels, fully employing STUDIOROCA’s 360-degree approach to design. Founders and team Architects by training, founders Carlos Acosta and Rodrigo Alegre prefer to follow an unconventional, integrated model of design that incorporates its many varied facets, allowing their two unique approaches to complement one another. Rodrigo, who graduated from Universidad Anáhuac Norte, is able to envision how color and texture will combine as he explores the emotive nuances he wishes to create within a new environment. His abstract thoughts are brought to life by Carlos, the rational half of the design duo. Trained at Universidad Iberoamericana, with a student exchange to the University of Texas, Carlos’ ability to grasp volumes and spaces brings dreams to fruition through the perfect positioning of wall divisions, furniture pieces and light-streaming windows. Their small dedicated team of designers and architects plays an integral role in realizing the studio’s ambitious visions, with over 200 projects having been completed by this intimate team. Beyond designing, these passionate professionals offer practical solutions, bringing their experience in all forms of design to manifest in big-picture thinking that pays attention to detail, celebrates collaboration and goes the extra mile. The approachable, personal style with which the STUDIOROCA team works is a reflection on the responsibility its people place on themselves as architects and designers who venture beyond the drawing board. Sustainability STUDIOROCA’s focus on sustainability has seen the company establish itself as a trailblazer in the realization of buildings and furniture pieces that are produced with a sense of conscience and responsibility, taking into account the full production chain, from material source to distribution of wealth. The studio has done away with environmentally harmful varnishes on its furniture pieces, and now only use FSC-certified hardwood. It also pledges to keep materials to a minimum, a consideration most appreciated in its 77 range of furniture, where only the necessary functional structures have been designed, and where small leftover pieces of wood from bigger cuts are utilized, rather than sourcing new pieces. This approach continues in its architecture and interior designs, with 80% of materials sourced locally. This, coupled with its use of solar panels, the harvesting of rainwater, and the inclusion of indigenous gardens in its projects, has led to STUDIOROCA’s application for Leadership in Energy and Environmental Design (LEED) certification, which is currently under review. For the studio, sustainability has a much further reach than the natural environment, however. Its projects take into account social, cultural and economic sustainability too, by ensuring its production chain – from the craftspeople producing hand-worked elements, to its low-environmental-impact manufacturing line – all sits within Mexico so that the 3 communities benefiting financially are those who have been an integral part of the process. Architecture In STUDIOROCA’s architectural projects, authentic materials that are true to their Mexican origin, such as local mountain rocks, regional marble and indigenous wood, are utilized in new ways to highlight their natural rawness, deep texture and prized imperfections, imbuing buildings with unique character. It’s through such character that every structure portrays its personality, suited to the people who live, work and relax within it. This unpretentious use of materials follows through to metals, which are encouraged to rust and patinate as the building interacts with nature’s elements and becomes part of the environment surrounding it, giving projects an essential sense of place, where the here and now is as important as the then and there. Interior design STUDIOROCA’s interior style leans toward textured materials and dark hues contrasted with paler wood and lighter accent tones. These evocative, luxurious interiors are enlivened by carefully considered lighting that enhances the tonality of moody dark browns, deep blues and a spectrum of blacks, and highlights textures through illuminated reflections. Where environments dictate a paler palette, textures and materials make up the necessary contrast. Local willow wood on wall panels, flooring made from recinto volcanic rock, and countertops decorated with Mexico’s retapado marble become talking points, made even more appealing with plant life and greenery introduced indoors. Furniture Combining its deep respect for handcrafted, artisanal product, and its future-forward approach to technology and innovation, STUDIOROCA’s range of furniture places emphasis on high-quality offerings, producing its ranges in low quantities, often customized to suit the specific requirements of its varied projects. Veering away from industrialized production lines, it employs sophisticated hand-worked machinery, in line with its approach to sustainability and simplicity. The studio’s premiere collection (2002-2008) was shaped by a groundbreaking application of materials and forms, resulting in award-winning designs that set contemporary Mexican design on the map. Pieces from this collection were shown at Fabrica Mexicana and Museo de Arte Moderno in Mexico City and in the MoMA store in New York. The 2008 Eco collection initiated a change in the production of STUDIOROCA’s furniture pieces, adapting a sustainable view regarding design – a philosophy that continues to guide the studio’s practices today. Sourcing FSC-certified wood, eliminating varnishes, and using local materials wherever possible, this collection was the start of a conscious undertaking to work with local artisans and support local industry, an outlook that was celebrated at the launch of the Eco range at the Mexican Gallery...

Rosso Levanto candleholder by Karen Chekerdjian Dimensions: W 8 x D 8 x H 24 Materials: Rosso Levanto marble Karen’s trajectory into designing was unsystematic, comprised of a c...

an unusual papers stand in rattan

Nero candle holder by Mason Editions Dimensions: 31 × 5 × 10 cm Materials: iron Colors: black, matte 24K gold, cotto, sage green and light grey. Consisting of a longitudinal me...

One board top with great figure and a dish top, bird cage, urn pedestal, cabriole legs terminating in snake feet.

Early 19th Century French Regency pair of bronze ormolu candelabras with four branches. With three acanthus arms supporting reeded ormolu bobeches and ornate columns boasting stiff-l...

This elegant antique candle stand, dating from the mid-19th century, is a fine example of the Queen Anne style, characterized by its graceful proportions and soft, organic curves. Th...

Paul Mathieu designed these elegant candlesticks for Stephanie Odegard Co. Ltd. Solid pieces of marble are turned to create these delicate designs namely Ove, Flute, Plat I and Plat ...

Paul Mathieu designed these elegant candlesticks for Stephanie Odegard Co. Ltd. Solid pieces of marble are turned to create these delicate designs namely Ove, Flute, Plat I and Plat ...

Candlestand with circular top, turned pedestal, three turned legs and ball feet. Black paint is not original.

Bird cage support, urn pedestal, and cabriole legs terminating in snake feet. Nice old patina.

This is a very unusual candle stand made from maple and oak. It has a stationary oak dish top, maple turned urn shaped pedestal with three maple tu...

Nero Marquinia candleholder by Karen Chekerdjian Dimensions: W 8 x D 8 x H 24 Materials: Verde Guatemala marble Karen’s trajectory into designing was unsystematic, comprised of ...

Unique Roots Candle Medium by Jeremy Descamps Unique piece Dimensions: 20 x 20 x 80 cm Materials: Candles in solid oak from the country burned in flam, inserts in brass, support o...

Nero candle holder by Mason Editions Dimensions: 31 × 5 × 10 cm Materials: iron Colors: black, matte 24K gold, cotto, sage green and light grey. Consisting of a longitudinal me...

Cotto candle holder by Mason Editions Dimensions: 31 × 5 × 10 cm Materials: iron Colors: black, matte 24K gold, cotto, sage green and light grey. Consisting of a longitudinal m...

Nero candle holder by Mason Editions Dimensions: 31 × 5 × 10 cm Materials: Iron Colors: Black, matte 24K gold, cotto, sage green and light grey. Consisting of a longitudinal me...

Set of 2 Cotto Candle Holders by Mason Editions Dimensions: 31 × 5 × 10 cm Materials: iron Colors: black, matte 24K gold, cotto, sage green and light grey. Consisting of a long...

Set of 2 green candle holders by Mason Editions. Dimensions: 31 × 5 × 10 cm Materials: Iron Colors: Black, matte 24K gold, cotto, sage green and light grey. Consisting of a longitudinal metal bar supporting cylindrical elements on both sides, Petit is an object defined by an austere and minimal design, played out on the proportions and distance between the elements to give this project a dynamic look and an unusual asymmetry, which sets it apart from the compositional consistency of more traditional candelabras. Minimal and sophisticated three-tier candle holder...

Nero candle holder by Mason Editions Dimensions: 31 × 5 × 10 cm Materials: iron Colors: black, matte 24K gold, cotto, sage green and light grey. Consisting of a longitudinal me...

Nero candle holder by Mason Editions Dimensions: 31 × 5 × 10 cm Materials: Iron Colors: black, matte 24K gold, cotto, sage green and light grey. Consisting of a longitudinal me...

Prometeo brass candleholder by Morghen Studio Dimensions: 12 x 12 x H 25 Materials: Brass Dimensions are customizable.  Morghen is a multidisciplinary studio that works on th...

Soy candle Inno(s)cent - dark green by Milan Pekar, Amansoycandles Dimensions: 15 x 15 x 7 cm Materials: Ceramic Handmade in the Czech Republic. Also available in different co...

Soy candle inno(s)cent - blue by Milan Pekar, Amansoycandles Dimensions: 15x15x7 cm Materials: Ceramic Handmade in the Czech Republic. Also available in different colors. T...

Spectacular pair of gilded bronze candelabre. Seven candles can go on each candelabra, the decorations delicat of flowers with stones of colors in glass, gives all the charms of the ...

EXSITU_005 couple candlestand by Niclas Wolf Edition of 20 + 3AP Nr. 3/20 4/20 5/20 6/20 7/20 Materials: Sand casted in bronze, hand polished and patinized surface Dimensions: H ...

Exsitu_006 centerpiece candlestand signed by Niclas Wolf Edition of 5 + 2AP Signed and numbered, Nr. 4/5 Materials: Sand casted in bronze, hand polished with light patinized surface...