Joseph Rodgers & Sons, Sheffield (uk), 1923, Candlesticks With Winged Cherubs

Joseph Rodgers & Sons, Sheffield (UK), 1923

Candlesticks with winged cherubs and floral decorations

Silver and ivory, 21 cm high

This pair of candlesticks, crafted in 1923 in Sheffield by the renowned workshop Joseph Rodgers & Sons, represents an exquisite example of a refined synthesis between precious metalwork and the art of carving. The objects feature a slender and elegant structure, where the cool sheen of the silver blends harmoniously with the warmth of the ivory. The central part of the shaft is entirely dedicated to a complex carved ivory decoration, animated by finely sculpted cherub figures that seem to emerge from an interlacing of plant and floral motifs. These small winged cherubs, rendered with extreme plastic softness, support a smooth central shield, framed by volutes and acanthus leaves, which lends the ensemble a dynamism typical of the fin-de-siècle Neo-Baroque style. It is interesting to note that, although the silver parts were made in the 1920s, the ivory parts were likely crafted in the 19th century.

At the base of each candlestick, the silver surface bears the very history of the object through a series of hallmarks that certify its authenticity and provenance. The workshop’s distinctive symbols are clearly visible: the star and the Maltese cross flanked by the initials JR, the trademark of Joseph Rodgers, a company founded in 1682 and renowned for the superior quality of its products. Next to these, the crown identifies Sheffield as the hallmarking office, while the rampant lion—sometimes mistakenly confused with the standing figure of Britannia but here a symbol of the metal’s purity—ensures the national standard for sterling silver. Finally, the lowercase cursive letter “f” precisely indicates the year 1923.

Historically, these pieces date to a period of great ferment in British decorative arts, straddling the solidity of Victorian tradition and new aesthetic demands. Joseph Rodgers & Sons, operating in the industrial heart of Sheffield and boasting a prestigious shop in London, was able to interpret the bourgeoisie’s desire for luxury in the late 19th century. In these candlesticks, late-Victorian eclecticism is expressed through the fusion of precious materials and references to classical and Renaissance themes, reworked with a sensibility that foreshadows the ornamental complexity of the new century. These objects served not only a practical function but also acted as true symbols of status and taste within the salons of the era.