Regency Cut Glass & Ormolu Candelabra
Before electricity flooded interiors with on-demand lighting, the rhythm of life was dictated by natural light. While, of course, illumination by flame (whether fueled by oil, tallow, or any manner of other substances) has existed for millennia, its use could often be curtailed by means and access. Today the singular dance of a flame, and the play of its glow against nearby objects, is a special presence that is too often absent from modern life. No matter what your taste may be, we have a number of precious items to help you bring back the romance of candlelight.
In the pre-electricity days of lighting design, craftsmen were conscious to maximize light in any way they could. This was achieved through the use of reflective materials such as glass, crystal, or polished metals. Dripping with cut glass, these candelabra would be an ideal way to scatter slivers of light around a room. Maximum light and maximum drama, this 1815 pair attributed to John Blades are the height of Regency elegance.
18th Century Rock Crystal Chandelier
While many fixtures have been converted for electricity, some still maintain their bygone allure. Infinitely more practical than raising and lowering the chandelier every time you need to make a lighting adjustment, this electrified chandelier boasts rock crystal adornments. The natural mineral characteristics inherent to rock crystal help divert light in novel ways, not unlike candlelight.
Lighting is everything. To highlight a favorite painting or to set the tone of an evening, your home should have the very best. I encourage you to look around our gallery and our website for your next candelabra, chandelier, sconce, or lamp.
No other practice evokes British sophistication and elegance quite like the drinking of tea. It is hard to believe that this now-common beverage was once an incredibly expensive commodity that could only be enjoyed by nobility and the social elite. These connoisseurs would soon demand elaborate and luxurious accoutrements to store and prepare this prized drink.
Tea was introduced to England from China sometime in the middle of the 17th century. It is believed that it was Catherine of Braganza, wife of King Charles II, who was responsible for bringing the tea habit to the country around 1660. The practice gained momentum and became an en vogue activity by the 18th century. The country’s respect for this drink is reflected in the ceremonial way in which it was stored, prepared, and drunk, and craftsmen of the period soon discovered a new avenue in which to exercise their skills–the creation of beautiful tea caddies.
The rarest tea caddies were crafted of the most costly materials of the era, boasting stunning veneers of tortoiseshell and ivory, often with sterling silver mounts. This George III tea caddy is enveloped entirely in tortoiseshell, with ivory and silver detailing of exceptional quality. With its unique decagon shape, this caddy contains two interior compartments for holding different types of tea leaves. Tea connoisseurship developed into something of an art form, and accordingly, more than one type of tea was necessary for refined palettes. Double chests such as this could hold two types of leaves, usually one green and one black variety that could be custom-blended to achieve the desired flavor. Incredibly rare indeed, this original pair of George III ivory tea caddies are encased in creamy white ivory, highlighted by tortoiseshell veneers and silver accents.
Beloved for its flavorful, exotic, and even medicinal qualities, few would have guessed that the importation of a simple plant would have give rise to over two centuries of culture and decorative art.
January 8th, 2014 | posted by Sarah Clunis
Most art lovers must visit a major museum in order to behold the wonder of an actual real-life Brueghel. And here is your rare opportunity to own one. And while you are deciding where to hang this 8th wonder of the world the rest of us can simply feel good about the fact that we are actually standing in front of an original composition by Pieter Brueghel the Younger. Yes indeed folks, most Brueghel’s are in Belgium or Vienna, in museums, or hidden away in opulent castles.
But not this one.
A village festival is the scene for some serious debauchery in this outstanding painting done in 1672 by the accomplished son of Pieter Brueghel the Elder. Religious fair meets pagan ritual in Brueghel’s St George’s Kermis with a Dance Around the Maypole. With a sarcasm and irony typical of only a Brueghel, vignettes of drunken excess, belligerent quarreling and public urination abound as the daily bump and grind of village life continues.
It’s difficult to not find humor in this fantastic painting which offers a virtual Where’s Waldo in the form of a Northern Renaissance masterpiece. Completely interactive, Brueghel’s work invites close and prolonged inspection and offers the gift that will keep on giving. There is something new to find in this painting every time that you look at it and this is precisely why the nobles that commissioned Brueghel’s paintings in the 17th century found mad entertainment in the scenes that they portrayed.
With a solid reputation as a thoughtful interpreter of his father’s works, Brueghel the Younger had as much success for his own compositions later in his life and this piece is considered one of the major works of that select group.
So, leave your foray to Bourbon Street for a short minute to feast your eyes on our treasured version of revelry and excess. Although Flemish, Brueghel’s combination of elements- Christian with pagan, work with play and body with nature-have a quintessential New Orleans flavor, and truly communicate the universality of the absurd and the wonderful.
In the world of Old Master Painters absolutely no one renders the urban landscape with more pathos and metaphor than a Brueghel. The village is depicted as a site of both ethereal beauty and precariousness. And the people that inhabit these worlds are portrayed as chaotic and fragile, a commentary on the world they occupy.
Brueghel’s masterful palette and magnificent compositions evoke even today the idea of a retreat from the regulated and the predictable. In a sense this is our riotous moment, our great escape.