From Candle Holders to Fortune: Incredible Antiques Roadshow Finds!

I fell in love with these when you unpacked them. Tell me, where did they come from? An antique store in New Jersey, within the last eight to ten years. And I like them because they're weird. Black volcanic glass and sterling silver come together in this striking mid-century suite by Toyn, creating a design that looks almost otherworldly. Produced in Mexico during the 1950s, the set consists of a decorative bowl accompanied by matching candlesticks, all united by an unusually bold aesthetic. Toyn, based in Mexico City, became one of the most important names in Mexican silver production. This particular suite demonstrates the company's ability to combine precious metal with unconventional materials, resulting in objects that fit naturally into the emerging mid-century modern design movement. The dark material at the center of the design isn't onyx, as might be assumed from its appearance. It is obsidian, a natural volcanic glass formed when molten lava cools rapidly. Depending on the individual piece, obsidian can display subtle translucency, iridescence, or a distinctive reflective quality that makes every surface slightly different. The bowl is especially impressive, with decoration extending continuously around its exterior rather than being confined to a single focal point. Together with the candlesticks, it forms a cohesive suite that showcases the experimental character of mid-century decorative arts. The markings underneath provide another important clue to its history. They identify Tain, Mexico, and Sterling, while also carrying the name of Lunt, the American retailer that sold the pieces in the United States. The combination of Mexican craftsmanship, Sterling silver, obsidian, and American retail history makes the set particularly unusual. On the whole, you're looking at an auction estimate of between $8,000 and $12,000 for the suite. You're kidding. I wouldn't kid you. I can't believe I'm saying, you're kidding. And these are in the mid-century modern world. Yes, absolutely. They would have been made in the 1950s. I own something mid-century modern. Well, my mother inherited them from a most famous lady in Idaho, Mrs. Alice Pittenger, and they've been in our family for 75 years. Created around 1910, this pair of Japanese silver candlesticks combines delicate botanical imagery with the elegant flowing lines of the Art Nouveau movement. The candlesticks were crafted in Japan by the samurai silversmith, specifically for export to the French market. During this period, Japanese artisans were producing highly sophisticated silverware for Western customers, adapting traditional craftsmanship to suit the decorative tastes that were flourishing in Europe. Their iris design is the centerpiece. Instead of treating the flower as a simple decoration, the silversmith incorporated its graceful stems and blossoms directly into the structure, creating a sculptural effect that makes the pair feel almost alive. The organic forms are perfectly suited to the Art Nouveau aesthetic, which drew heavily from nature and rejected the rigid symmetry of earlier decorative styles. But there is another remarkable detail hidden inside these seemingly conventional candlesticks. Each one contains a narrow passage running from the candle socket all the way through its base. That means they were designed in a way that could allow them to be converted for electric lighting. A fascinating feature considering the rapid transition from candles and gas toward electricity during this era. What do you think they're worth? $4,000. That's a good guess. Oh, yeah, good. But they're actually worth $10,000 to $15,000 if they were to come to auction. Wow. Wow. That's wonderful. They're priceless to us, but that's nice to know. Wow. This was a gift to me from some friends. They bought it, I think, like 10 or 15 years ago at a garage sale, and they've had it in their bathroom ever since. And whenever I visit them, I've always admired it, and they gave it to me as a gift. Created around 1905 by Tiffany Studios of New York, the piece reflects the company's fascination with organic forms. Instead of relying on rigid geometric decoration, the design draws inspiration from nature, with delicate leaves spreading upward from the base and a graceful stem leading toward the candle socket. The craftsmanship is particularly impressive. The leaves are individually formed rather than simply being decorative details cast into one solid base. Fine bronze elements create additional texture throughout the design, giving the candlestick a remarkably delicate appearance despite its substantial material. The surface has also developed an attractive vertigrous patination over time, adding layers of green and blue-green tones to the bronze. Its identity is confirmed by a Tiffany Studios New York mark applied to the base, an important detail when determining authenticity. Tiffany Studios was one of the leading forces behind American Art Nouveau, and objects like this demonstrate that the company's artistry extended well beyond its celebrated lamps and glasswork. But the most important feature may be the pattern itself. Known as the saxifrage pattern, it is considered particularly uncommon, making this candlestick much harder to encounter than many other Tiffany Studios designs. At auction, if I were to estimate one candlestick, not a pair but just a single, I would be looking probably in the $15,000 to $20,000 range. It was a very generous gift. Oh my God, I owe him a big dinner in Paris. A big dinner, yes. Wonderful. Well, those are great friends. My great-great-grandmother lived in Mineral Point, Wisconsin in the late 1800s. They moved to Chicago and they were a pretty well-to-do family. Then they lost everything they had in the Great Depression. Compact but remarkably elaborate, this Tiffany Studios chamberstick combines bronze with Tiffany's celebrated opalescent glass, creating a small-scale example of the company's Art Nouveau craftsmanship. Produced around 1905, the piece carries a Tiffany Studios mark along with the pattern number 5640, an important identifier for the design. Rather than being simply a functional candleholder, it was constructed with several specialized components, including bronze baubles that support the delicate blown glass shades. The glass is particularly important to the object's character. Tiffany's opalescent glass was prized for its shifting appearance and subtle variation, allowing light to interact with the material in a way that ordinary glass could not. Here, the translucent shades provide an elegant contrast against the bronze framework. But this chamberstick also demonstrates just how dramatically condition can affect the value of an important antique. One of the glass shades has a chip, while the bronze itself shows some wear. More seriously, one of the baubles, the structural section supporting the glass, has cracks and missing pieces. Because these components are difficult to repair or replace properly, such damage can become a significant issue for collectors. Yet the Tiffany name, rarity, and surviving original components still give the piece substantial value. In the condition that this is in, in a fine retail establishment, you would find this in a range of $3,000 to $4,000. That's pretty good for all that damage. Yes, it is. If it's possible to find a bauble shade, now your piece would be worth $12,000. They're some family antiques. I'm the third generation to have them. I had a couple of aunts that lived in Beverly Hills that once they passed on, their antiques came from my family. Any idea where they bought them or how they got them? No, I sure don't. With their sweeping curves and distinctive gold-toned surface, these Tiffany Studios candlesticks are a beautiful example of how the company extended its artistry far beyond the famous stained glass lamps. Made around 1910, the pair belongs to the Art Nouveau period, when designers increasingly looked to flowing lines and forms inspired by nature. Their nickname, the Cobra Sticks, comes from the shape of the upper section, whose curved silhouette resembles a cobra rising from the base. It is an unusual design choice that gives these otherwise functional objects a distinctly sculptural character. Tiffany Studios became synonymous with decorative arts in early 20th century America, particularly through its spectacular lamps and glasswork. But metal objects were also an important part of the company's production, including candlesticks, desk accessories, and other household pieces. These candlesticks demonstrate the same attention to form and finish that made Tiffany objects so desirable. A particularly important detail is found underneath. Each candlestick carries the Tiffany Studios name along with a four-digit model number, helping identify it as an authentic product from the company, rather than simply an object influenced by the Tiffany style. The pair also illustrates why condition can have a major effect on the value of early decorative arts. Much of the original gold finish has deteriorated over time, leaving portions of the metal noticeably different from the preserved areas. While gentle cleaning and protective wax may help maintain the surface, the lost finish cannot simply be restored to its original appearance. A pair like this, in this condition, would sell probably for about $4,000. Okay. In better condition, they would probably be about $6,000. Okay. These candlesticks were given to me from my grandmother when she passed, and that was about seven years ago. And they've been in a closet since then. I don't really know anything about them, except she always told me that they were her grandmother's and that they were very special. Dating to around 1838 to 1840, this elegant pair of French silver candlesticks represents a period when fine silver objects were not merely decorative, but also important markers of craftsmanship and status. Their French origin is particularly significant. Compared with English silver, French silver from this period is considerably less common, partly because periods of war and political instability led to valuable silver objects being melted down and reused. Surviving examples, therefore, have an added layer of historical importance. The candlesticks can be dated with remarkable precision thanks to the Minerva mark, France's official guarantee mark for silver fineness. The mark found on these pieces corresponds to the late 1830s and early 1840s, providing a reliable window for their production. They also carry the maker's mark of Jean-François Veyras, a Parisian silversmith active between 1832 and 1840. His involvement places the pair firmly within the French silver-working tradition of the period Another impressive detail is their silver content. These candlesticks are made from 950 fine silver, meaning 950 parts out of every 1,000 are pure silver. That is actually purer than the 925 standard used for sterling silver. However, one of the candlesticks has suffered noticeable damage near its base, leaving it slightly distorted. For collectors of antique silver, condition can have a major effect on desirability and price, particularly when dealing with a matching pair. I would imagine the value of them to be somewhere in the region, noting the damage, of $8,000 to $1,200. Wow! Wow! If they were in perfect condition, I think you would get somewhere in the region of $1,500 to $2,000 for them. I brought these candlesticks from my mother-in-law's estate. And, you know, it's a set of the four. Uh-huh. She loved them. I know that they're special, but I don't know what their value is. Few things reveal the character of 18th century craftsmanship quite like a finely made English silver candlestick. And this remarkable set of four dates back to 1761, during the early reign of King George III. Made in London by silversmith Emmick Romer, these candlesticks represent a period when English silver was produced with exceptional attention to both design and documentation. Their elegant columnar form gives them a distinctly Georgian appearance, while the surviving hallmarks provide something even more valuable to collectors, evidence of their identity and origin. Each piece carries the appropriate marks, including the maker's mark and sterling indication. Most importantly, the markings confirm that the four candlesticks belong to the same original group, rather than being assembled from unrelated pieces. That completeness significantly enhances their desirability, since historic silver sets can easily become separated over generations. There is also some surface wear, but for objects that have survived for more than 260 years, such signs of age are hardly surprising. Instead, they help tell the story of these pieces as genuine examples of 18th century silver craftsmanship. Their historical importance goes beyond simply being decorative objects. They combine an early George III date, London manufacture, a documented silversmith, authentic hallmarks, and the rarity of finding a complete four-piece set together. If these came up for auction, a set of four George III candlesticks would probably bring it in the $8,000 to $10,000 ballpark at auction. Wow, okay. That's great. Yeah? Yeah. You happy? That's more. Yeah, very happy. My mother must have bought these candlesticks at some kind of a sale, I believe in 1981. My father really liked blue. It was his favorite color, and he really loved blue-green together. But they were never displayed in the home, and when I cleaned out our house after their death, I found them in a box in the vegetable pantry in the basement. Really? And I actually almost threw them out, because they were stuffed into an old blender box. Wow. Then I opened it, and I found them. A vivid combination of blue-green pottery and hammered pewter gives these candlesticks a distinctive character that bridges two important British design traditions. Dating to around 1930, they bring together the artistry of Moorcroft Pottery and the metalwork of Liberty & Company. The ceramic portion features Moorcroft's moonlit blue pattern, one of the company's sought-after landscape designs. Its deep blue ground and green decoration create the impression of a moonlit natural scene, with stylized trees rising across the surface. Moorcroft was known for applying its patterns by hand, meaning even matching pieces could develop subtle differences in color and decoration. That individuality is especially noticeable here. The trees on one candlestick are slightly shorter than those on the other, giving the pair a charming variation rather than making them perfectly identical. Such differences are a natural consequence of Moorcroft's decorative process. The ceramic bodies are paired with hammered pewter fittings produced by Liberty & Co., one of Britain's most influential retailers and designers of decorative arts. Their pewter wares were sold under the name Tudrick, and the markings on the bases identify this connection as well as confirming their English origin. The combination is particularly interesting because Moorcroft Pottery and Liberty's pewter were both highly collectible in their own right. Bringing the two together created an object that combines richly colored ceramics with the textured, handcrafted appearance of hammered metal. I would say, in a retail setting, these would be about $3,000 for the pair. Oh my gosh! Well, they're very nice. Right! Oh my gosh. I'm definitely glad I salvaged them from the basement. I'm glad you didn't throw them away. That would have been bad. I brought in ceramic candlesticks that I inherited from my husband's great-aunt. Created in Vienna between roughly 1906 and 1915, they were produced by Wiener Keramik, the influential Viennese ceramics workshop founded by Michael Pawolny and Berthold Loeffler. Their design reflects the Viennese secessionist movement, an artistic style associated with bold forms, stylized figures, and a departure from traditional decoration. The influence of this movement can be seen in the elegant figural composition and distinctive Central European color palette. The pieces are especially interesting because they were designed with more than one possible function. A concealed opening through the base indicates that they could originally have been fitted for electric lighting, transforming them into lamp bases. Without that adaptation, they could instead serve as candlestick forms, making their purpose remarkably versatile. The coloration is another unusual feature. Early 20th century Central European ceramics often featured strong combinations of black, white, and earthy tones. But the particular orange-toned decoration seen here gives these figures an especially distinctive appearance. The markings on the underside provide crucial evidence of their origin, including the Wiener Keramik mark and the word Austria. Together, these details help connect the pieces to one of Vienna's most important early modern ceramic workshops. Although the pieces have some damage, their rarity, artistic importance, and striking design remain highly appealing to collectors. I would say that a fair or a reasonable replacement value for this, even with the damage, would be $8,000 to $10,000. You're kidding me! Wow! These are wonderful. Wow! That's amazing! It takes my breath away! Few candlesticks can claim a history as extraordinary as this 17th century silver example, recovered from the wreck of the Nuestra Senora de Atocha, one of the most famous treasure ships ever discovered. Dating to around 1620, the candlestick was made in the Netherlands and reflects the refined silver work of its period. But its greatest significance isn't simply its age or craftsmanship. It is the remarkable story preserved in the object itself. The Atocha was a Spanish treasure ship carrying an enormous cargo of gold, silver, emeralds, and other valuables when a hurricane struck in September 1622 near the Florida Keys. The wreck remained lost for centuries until treasure hunter Mel Fisher and his team began an extensive search in the late 1960s. The eventual discovery became one of the most celebrated underwater treasure recoveries in history. Among the recovered objects were countless coins and silver ingots, but complete candlesticks were exceptionally uncommon. Many examples recovered from the wreck exist only as fragments, making a fully intact candlestick particularly desirable. Another important feature is its documentation. The piece carries a catalog number corresponding to its original certificate of authenticity, linking the candlestick directly to the official inventory of the recovered Atocha artifacts. That provenance dramatically separates it from an ordinary Dutch silver candlestick. Without its shipwreck history and documentation, an object like this might be worth only a few hundred dollars. But with its authenticated connection to the Atocha, the valuation changes dramatically. If this piece was to come up at an auction, I would put a pre-sale estimate on it at $7,000 to $9,000. It could well bring over $10,000. It's just such a special piece, and you're so lucky to have it. Yeah, well, we feel lucky. It is in the Guinness Book of Records as the biggest find ever, and they evaluated it at about $400 million. I purchased them from a lady that used to be the silver buyer for Macy's in New York. I received these and a bunch of other stuff, all her catalogs, and she used to get samples of everything that they were selling. I told her that I had liked the items and if she ever wanted to sell them, and one day she called up and said she wanted to sell them. At first glance, these elegant candelabras appear to be genuine Georg Jensen creations, complete with the distinctive sculptural quality associated with the legendary Danish silversmith. But their hallmarks reveal a fascinating twist. The design is Jensen's famous pomegranate pattern, featuring stylized fruit and flowing vines that wrap around the central structure. Extensive hand-hammering gives the sterling surface a shimmering texture, while the organic forms create the sophisticated look for which Jensen's work is celebrated. Georg Jensen himself was one of the defining figures in Danish silver. Born in 1866, he established a highly successful silversmithing workshop, and became renowned not only for his own designs, but also for surrounding himself with talented craftsmen who shared his commitment to exceptional workmanship. Yet these particular candelabra are not actually marked by Georg Jensen. Instead, the underside carries a different monogram and sterling designation, pointing toward an unidentified American silversmith who produced the pieces in a Jensen-inspired style. That distinction makes a major difference in the marketplace. Collectors place a substantial premium on authentic Jensen pieces, while later works modeled after his designs occupy a different category. Nevertheless, the craftsmanship here remains impressive, particularly the detailed hammering and beautifully rendered pomegranate and vine motif. I would say, as an auction estimate, I think you're probably looking at maybe $6,000 to $8,000 as an auction estimate. If they were true Jensen pomegranate, I think you'd probably be maybe looking at double that as an auction estimate, somewhere between $12,000 to $15,000, somewhere along those lines. Well, that's still a nice price. I bought them at an auction house in the 80s, maybe early 90s. It's been so long that I'm not quite sure. Rising behind each candle socket is an elaborate flowering bush, creating a miniature garden of porcelain around these ornate candlesticks. Known as bocage candlesticks, this decorative feature is what gives the pair their distinctive three-dimensional appearance. Dating to around 1890, these pieces are associated with the tradition of European porcelain manufacturers recreating the elaborate designs of the 18th century. Their style reflects an era when highly decorative porcelain was prized for its ability to transform ordinary household objects into miniature works of art. The pair is very possibly connected to Samson, a French manufacturer renowned for producing exceptionally detailed reproductions inspired by earlier European porcelain makers. Rather than developing an entirely new visual language, Samson specialized in recreating historical forms, often making pieces that could closely resemble much earlier originals. That makes these candlesticks particularly interesting to collectors. The intricate bocage is not simply ornamental. It creates layers of flowers, foliage, and branches around the candle holders, giving the objects a theatrical quality from almost every angle. The combination of sculptural decoration and practical function is characteristic of the elaborate porcelain designs Samson became known for. Pieces like these can also be challenging to identify because reproductions of famous 18th century styles were deliberately made to capture the appearance of earlier works. If these were put into an auction today, they would make somewhere between $800 and $1,200. These came from one of my very good friends, who's an old retired antique dealer. He now just sort of picks. They came out of Jackson, Mississippi. They were just sitting in his office for weeks and weeks, and I kept coming back and looking at them, and finally he said, take those things with you, so I did. These brass candlesticks offer a fascinating departure from the typical look of the arts and crafts movement. Made around 1905 to 1910, their sleek geometric structure and flowing organic forms give them an unexpectedly modern appearance. Even though they were created more than a century ago, the artist behind them was Jesse M. Preston, an Illinois-born designer who studied at the Art Institute of Chicago. Preston was primarily known for hand-wrought jewelry, often incorporating hammered metal, gemstones, and intricate foliete motifs. These candlesticks reveal another side of her artistic vocabulary, replacing the delicate character of jewelry with bold, simplified forms. Rather than being individually hammered, the candlesticks were produced through foundry casting. They bear Preston's signature along with the mark of the Anderson foundry, providing valuable evidence of both their designer and manufacturing origin. Their construction is equally interesting. Each candlestick consists of two assembled sections. While the finely textured surface on the underside reveals the use of sand casting. This technique leaves a distinctive grain-like texture in the metal and differs from the lost-wax process more commonly encountered in antique bronze and brass objects. Stylistically, the pieces are especially unusual. Instead of relying on the heavily hammered copper or wrought iron often associated with arts and crafts design, Preston created something much more restrained. The simplified lines resemble a plant in motion, giving the candlesticks an elegant sense of growth and movement. Currently, in a retail setting, these would probably bring between $6,000 and $8,000. Oh, goodness. Well, thank you very much. You're welcome. A pair of candlesticks. They belong to my great-grandmother and then my grandmother, and then I have loved them forever, and now they're mine. I use them. I don't know. This pair of brass candlesticks was created by Robert Jarvie, a notable figure of the American arts and crafts movement, and dates to roughly 1905 to 1912. The design is known as the Delta candlestick, a name derived from the distinctive triangular symbol incorporated into Jarvie's maker's mark. That identification is especially valuable because Jarvie produced a variety of forms during his career, and his signed pieces are sought after by collectors of arts and crafts metalwork. One of the most interesting features here is the bobeche, the shallow dish positioned beneath the candle. Its practical purpose was to catch dripping wax before it reached the body of the candlestick. Although seemingly minor, original bobeches can be surprisingly important to collectors because they are frequently lost over time. In fact, these particular accessories may be more significant than their relatively straightforward candlestick design. Jarvie produced considerably more elaborate examples, and original bobeches can sometimes be transferred to those higher-value pieces. That makes the survival of the complete original pair especially noteworthy. The candlesticks also illustrate Jarvie's restrained approach to arts and crafts design. Rather than relying on excessive ornamentation, the form emphasizes clean geometry and functional construction, qualities that give these pieces an appealing modern simplicity more than a century after their creation. Today, if they were sold at auction, I would estimate them between $800 and $1,200. However, three years ago, five years ago, ten years ago, they were probably $3,000 to $5,000. Timing is everything. I bought this at an estate sale in Beaumont, Texas in 1993. It just caught my eye, and it was a period in my life that I was making some major changes. Doing different things. One of them included shopping. And I went to an estate sale, saw the piece. I have another matching one at home, and I bought them. Created in Paris around 1860, they are associated with Ferdinand Barbédienne, whose foundry became one of the most important producers of fine bronze sculpture and decorative objects in 19th century France. Barbédienne built an enormous reputation for technically sophisticated bronze work, employing more than 300 skilled craftsmen at the height of his operation. His pieces were particularly admired for their interpretations of classical Greek and Roman themes, and these candelabra demonstrate that same fascination with antiquity. Their surfaces combine gilt bronze with warm brown patination, creating a striking contrast between polished golden details and darker areas of exposed bronze. The elaborate ornamentation includes graceful festoons, serpent-like mythical forms on the handles, and a luxurious red marble base accented with gilt bronze. The most important detail for identification appears on the socle, where the unmistakable F. Barbédienne signature confirms their connection to the celebrated Parisian foundry. That mark transforms what could simply be attractive 19th century decoration into a documented example of Barbédienne craftsmanship. There is some loss. Several small drip cups at the top are missing. Fortunately, replacements can be made, although the absence of the original components does affect the market value. At auction would be in the range of $3,000 to $5,000, but as you have a pair of them, the value for the pair at auction would be in the range of $8,000 to $12,000. Lord have mercy. That's wonderful. Thank you. My husband's mother passed away about a year and a half ago, and his brother and sisters and him were going through things. He asked me if I liked anything, and I fell in love with these. I thought they were beautiful. Elegant floral decoration meets some of the finest American silver craftsmanship in this remarkable set of Tiffany & Company candlesticks dating to the closing years of the 19th century. These pieces are made from sterling silver with a gilt finish, meaning the silver surface received an additional layer of gold for a richer, more luxurious appearance. This technique, often called vermail, gives the candlesticks their distinctive warmth while preserving the intricate details of the underlying silverwork. The design is known as the chrysanthemum pattern, one of Tiffany & Company's celebrated decorative styles. Chrysanthemum blossoms and leaves wind gracefully around the central stems, creating a flowing botanical effect that showcases the exceptional skill of the craftsman. The hallmarks underneath are particularly important. They identify Tiffany & Company, confirm the sterling standard of 925 parts silver per 1,000, and include a date letter that places their production within the period from 1891 to 1902. These marks provide unusually precise evidence for dating the pair. It is also important to distinguish Tiffany & Company from Tiffany Studios. While both names are famous, Tiffany's silver division produced some of the most highly regarded American silver of the 19th century, giving these candlesticks considerable prestige among collectors. The original group consisted of four candlesticks, making completeness another significant factor in their value. I would imagine that the two that we have here would sell at auction for somewhere between $4,000 and $6,000. Okay. If you had the four together, you'd probably get somewhere in the region of $10,000 to $15,000 at auction. Okay, that's very good to know. Well, yes, it was my grandmother's, and she kept it in a special party room, and ever since I was a certain age, I just loved it. And when I turned 21, she gave it to me as a gift. A seemingly simple bronze candlestick can become remarkably important when it carries the name Tiffany Studios. This example was produced in New York sometime between 1900 and 1918, placing it within the highly influential period of American arts and crafts design. The underside provides an important clue to its identity. Bearing the Tiffany Studios New York signature, along with its model number. Tiffany Studios was renowned for transforming functional household objects into carefully designed works of decorative art, and this candlestick reflects that philosophy. Originally, the bronze surface would have featured a carefully developed patina, the aged finish that gives antique bronze its distinctive color and character. Rather than being merely cosmetic, this original surface is an important part of the object's authenticity and collector appeal. Unfortunately, much of that original finish was removed through polishing, exposing the copper-colored metal beneath. For collectors, this is a serious issue, because an original, untouched patina is highly desirable. Although the surface could be treated again, a newly applied finish would not be the same as the patina that naturally developed over decades. Being worth $1,000 to $1,500, which it would be worth if it were perfect, it is now worth about $200. Oh, really? But it's still valuable to me. Exactly. You can't put a price on that. The lesson here is an important one for antique collectors. Restoration isn't always an improvement. With historic bronze objects, the aged surface can be just as valuable as the underlying craftsmanship. My mother married into a family in Atlanta that was very familiar with antiques, and my grandmother gave these to my mother when she married, welcoming her into our family. Elaborate figures, hand-painted decoration, and brilliant gilding give this pair of porcelain candelabra the unmistakable theatrical character of 19th-century French porcelain. Created around 1850, they were produced by Jacob Petit, one of the most prolific porcelain makers operating near Paris during the period. The matching blue JP mark beneath both pieces provides the key to their attribution. Petit established his porcelain works in the 1830s and became known for highly ornamental objects that appealed strongly to collectors in France, England, and America. These candelabra perfectly demonstrate that taste for extravagance. Their large-scale, sculptural figures, decorative foliage, and elaborate structure were designed to command attention rather than simply provide candlelight. The palmette-style ornament is particularly interesting, giving the pair a character that could have appealed strongly to the decorative tastes of the American South. The craftsmanship is equally impressive. The figures are carefully modeled, while the floral details were painted by hand. Their gilding has also survived remarkably well, which is significant because comparable Jacob Petit pieces are often found with extensive damage, repairs, or later restoration. There is some minor restoration here, but relatively little considering the age and fragility of porcelain objects from this period. Their overall condition allows much of the original decoration and craftsmanship to remain visible. Jacob Petit was particularly active during the middle of the 19th century, and around 1850, his production was at an important high point. Pieces from this period are admired for their ambitious scale and richly theatrical designs. I suspect if they were in an antique shop today, I think they'd be priced at at least $3,500. Ooh. Ooh. And it's possible they'd be priced at $4,000 or $4,500. Wow. Well, now I'm going to give them to my daughter. Okay. It's a piece that's been in my family since it's been made. It was made by an ancestor of mine through my father's side of the family. At first glance, this 18th century candle stand may look like a simple side table, but its design reveals just how cleverly early American furniture was built around everyday needs. Dating to around 1750, it is crafted from highly desirable tiger maple, prized for the dramatic striped figure visible throughout the wood. The table's most distinctive feature is its tilting top. In an early American home, where drafts and breezes could make candlelight difficult to manage, the angled surface could be positioned beside a chair and used as a practical reading table. A candle would sit in the dedicated area, while the raised top helped shield its flame from surrounding air currents. And this particular piece carries physical evidence of that original purpose. A burn mark remains on the tabletop, left behind by candle use more than two centuries ago. Rather than being considered an imperfection to remove, it serves as a remarkable piece of historical evidence, showing how the furniture functioned in its original setting. The engineering becomes even more impressive when the top is lowered into a completely flat position. This convertible mechanism allowed the table to serve another purpose, and its unusual construction is considered exceptionally rare for furniture from this period. Other details reinforce its quality, including the original drawer, splayed tiger maple legs, box stretchers, and original structural battens. Most importantly, these components remain remarkably undisturbed, while the original surface has survived intact. And on a piece like this today, it is worth $20,000 to $30,000. Well, thank you. You're welcome. They're given to me by my parents, who bought them in Paris shortly after World War II. They were decorators, and they went to Paris to go to school. What might initially be mistaken for an elegant pair of candlesticks is actually something far more unusual, a rare pair of Lalique karyotide supports created by legendary French glassmaker René Lalique in the early 1920s. Crafted in Lalique's characteristic combination of clear and frosted, satin-finished glass, the figures display a sophisticated art deco aesthetic. Their forms also reveal an Egyptian-inspired influence, reflecting the fascination with ancient Egyptian design that became prominent in the decorative arts of the era. The small groove running across the top of each piece is one of their most intriguing features. Rather than being designed to hold candles, these supports were intended to surround a table centerpiece. The grooves could accommodate floral garlands, allowing several supports to work together as part of an elaborate decorative arrangement. Their historical importance is particularly striking because examples like these were associated with the 1925 Paris exhibition, the landmark event whose influence helped define the art deco movement. Lalique's work at the exhibition represented some of his most celebrated achievements, and these supports embody that era's fascination with luxury, geometry, and refined ornamentation. The pieces are also authenticated by the R. Lalique France signature found on the underside. For collectors, that combination of an early date, distinctive design, documented Lalique attribution, and rarity makes them especially desirable. They would be estimated to sell for at least $30,000 for the pair, and maybe as much as $40,000 or even more. So, great pair and very exciting to see here in New Orleans. Much higher than actually what I had thought. More in line with what I would like. Well, wrap them carefully when you leave. My mother purchased these candlesticks, and I believe in Europe in 1951 on a trip there. She loved antiques, and she loved to shop around and went to museums, traveling with my father and learned a lot that way. Did she get to Europe often? No, she made one trip. With their dramatic classical forms and richly contrasting surfaces, this pair of gilt bronze candlesticks captures the elegance of early 19th century French design. Although they carry no maker's mark, their construction and style point strongly toward Paris around 1810 to 1820 during the height of the Empire period. The Empire style drew heavily from the grandeur of ancient civilizations, particularly Greek and Roman art. That influence can be seen in the formal proportions and classical character of these candlesticks, which were designed as much to make a visual statement as to provide illumination. What truly distinguishes them, however, is the quality of their bronze work. Portions of the surface are covered in gilt, creating a luxurious golden appearance, while exposed bronze has developed a warm, natural patina over time. This contrast gives the pieces remarkable depth and highlights the craftsmanship. Their casting and intricate detailing are especially impressive. For decorative bronze objects of this period, sharp and carefully executed casting is an important indicator of quality. And these examples retain much of that refinement more than two centuries after they were produced. They have survived in notably good condition, with only a small area of damage near the upper section that could reportedly be repaired. The overall surface remains remarkably well-preserved, allowing the original combination of gilding, bronze, and patina to remain visible. Despite the absence of a signature, the exceptional workmanship and strong Empire-style design give the pair considerable appeal in the antique market. I would say the fair market value is probably between $3,000 and $4,000. Is that a surprise? Yes, very much so. She'd be thrilled. Good. She made a good buy. Yeah, she did. I'm happy to have them.