Candelabrum Triangles - Gilt brass - Christogram






Has 20 years of experience trading curios, including 15 years with a leading French dealer.
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Description from the seller
They are two liturgical candlesticks made of brass plated with ormolu gold, pieces that combine the geometric solidity of the design with the symbolic weight of the Christian repertoire.
The triangular base structure, clean and stable, supports a short shaft that rises toward a wide dish, designed for thick altar candles. That compact proportion — wider than tall — is typical of devotional objects produced for chapels, sacristies and small prayer rooms during the first half of the 20th century.
The Chi-Rho in relief, sharp and well modeled, is the element that fixes their identity: an ancient symbol reinterpreted with a modern language, without excess, almost graphic.
That synthesis between tradition and formal purification fits fully with the European religious aesthetic between the 1920s and 1950s, when French, Spanish and Italian workshops worked in gilded brass with ormolu finishes to obtain a warm, resistant and ceremonial shine.
The gilding, uniform and slightly satin, suggests careful but not aristocratic production: pieces meant for everyday use in worship, not for palace ostentation.
The soft patina on the edges of the symbol and at the junction between base and cup indicates natural aging in line with about 70–100 years of life.
Certified shipping and careful packaging.
Seller's Story
They are two liturgical candlesticks made of brass plated with ormolu gold, pieces that combine the geometric solidity of the design with the symbolic weight of the Christian repertoire.
The triangular base structure, clean and stable, supports a short shaft that rises toward a wide dish, designed for thick altar candles. That compact proportion — wider than tall — is typical of devotional objects produced for chapels, sacristies and small prayer rooms during the first half of the 20th century.
The Chi-Rho in relief, sharp and well modeled, is the element that fixes their identity: an ancient symbol reinterpreted with a modern language, without excess, almost graphic.
That synthesis between tradition and formal purification fits fully with the European religious aesthetic between the 1920s and 1950s, when French, Spanish and Italian workshops worked in gilded brass with ormolu finishes to obtain a warm, resistant and ceremonial shine.
The gilding, uniform and slightly satin, suggests careful but not aristocratic production: pieces meant for everyday use in worship, not for palace ostentation.
The soft patina on the edges of the symbol and at the junction between base and cup indicates natural aging in line with about 70–100 years of life.
Certified shipping and careful packaging.
