A large and important pair of Louis XVI ormolu seven-light candelabra circa 1770

the base marked with the number 5485

Alexander & Berendt, London, from whom acquired

With the original gilding. Slight rubbing in isolated areas consistent with age. Some minor oxidation and surface dirt to ormolu. Overall, the candelabra are very well chased and of the best quality. There is a small loss of a leaf or flower stem to one of the candelabra, however this is barely visible. With some minor losses to leaves. One goat mask with handing drapery detached due to broken screw. Piece present. Drilled for electrcity. In overall excellent condition.
In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective qualified opinion.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING CONDITION OF A LOT, ALL LOTS ARE OFFERED AND SOLD "AS IS" IN ACCORDANCE WITH THE CONDITIONS OF SALE PRINTED IN THE CATALOGUE.

The only other known pair of candelabra of this model, with some minor differences, was in the collection of Baron Guy de Rothschild, Château de Ferrières, sold Sotheby's, Monaco, December 3, 1994, lot 83.  They were marked with the Rothschild inventory mark R 283. While the fondeur of these candelabra cannot be established with absolute certainty, the most likely authors are Philippe Caffiéri (1714-1774, maître in 1756 ) or Jean-Louis Prieur (c.1725-after 1785, maître in 1769). Caffiéri and Prieur were two of the most influential proponents of the goût grec style as demonstrated by their work for King Stanislas Augustus of Poland both for the Royal Palace in Warsaw and for Lazienki Palace outside Warsaw.

It is evident from a candelabrum which was made by Caffiéri in 1760 that he had 'entirely gone over to Neoclassicism by 1760', see Svend Eriksen, Early Neoclassicism in France, London, 1974, pl. 204 and p. 351, respectively.  The model was for nine-branch candelabra which Caffiéri made for Notre-Dame de Paris (since lost) and which were reviewed in L'Avantcoureur on July 7, 1760 as:

"one may see on two pedestals .. a pair of bronze torchères three and a half feet high, with seven nozzles each, the body in the form of classical incense-burners.  These are in the very best taste ... The studies of classical forms which M. Caffieri has made in Italy permit one to hope that one will see the reappearance of good taste in the decorative arts."

It is worth noting that Caffiéri was also responsible for designing and making the gilt-bronze mounts on the famous desk and cartonnier  made for Lalive de Jully around 1756-57 confirming his position as one of the pre-eminent craftsmen of the nascent goût grec and Neoclassical styles. The 1770 inventory of Caffiéri's stock lists the model for a candelabrum "dans le goût grec". As noted by Eriksen, the term le goût grec was largely used in reference to a particular fashion in furniture and decorative arts which flourished in the early part of the 1760s, see ibid., p. 49. It is referred to as early as 1750 when Louis Petit de Bachaumont, author of the Mémoires secrets, stated that Servandoni was an "excellent architect pour les grandes chose dans le goust (sic) grec et du bel antique". The expression rather loosely encompassed designs which interpreted the "classical" period. Lalive de Jully's furniture, referred to above, was directly inspired by Classical Antiquity and Lalive noted in his journal in 1764 that this furniture was "composés dans le style antique, ou, pour me servir du mot dont on abuse si fort actuellement, dan le goût grec".

Caffiéri made a tall, almost six feet in height, candle stand for the Cathedral at Clermont-Ferrand in 1771, see ibid., p. 355, pl. 217. This work can be compared with the present candelabra relative to similarly scrolled supports linked by virtually identical drapery swags. The supports terminate in identical acanthus leaf-cast paw feet above a deeply fluted base. Similarly scrolled tripod supports ending in hairy paw feet appear on a set of six candelabra made by Caffiéri between 1766 and 1768 for the Lazienki Palace in Warsaw; they surround a similarly deeply fluted vasiform center as found on the present lot, see, ibid., pl. 206. Caffiéri charged 4000 livres for each candelabrum.

Jean-Louis Prieur, sculptor, furniture designer and fondeur-ciseleur executed a series of drawings for furniture and bronzes for the Polish court in Warsaw in 1766 for which he was paid 57,500 livres, see ibid., p. 217. This may also have included the cost of manufacture. Those bronzes in the palace not signed by Caffiéri are presumed to have been produced by Prieur. These include a pair of candelabra originally intended for the King's bedroom in the Royal Palace at Warsaw, see ibid., pl. 205. The original drawing is illustrated, Hans Ottomeyer and Peter Pröschel, Vergoldete Bronzen, Vol. I, Munich, 1986, p. 167, fig. 3.4.4.