A pair of mercury-gilt-bronze candelabra, the bronze figures after a design by Etienne Maurice Falconet, the gilt-bronze elements after François Rémond, late Louis XVI, late 18th/early 19th century

each with a fluted column surmounted by a flaming urn finial, issuing five candlearms above the figures of l'Amour menaçant and Psyché also called La nymphe or La Petite fille cachant l'arc de l'Amour, on Turquin blue marble bases with gilt-bronze gadrooning, beading and foliage, the bas-relief representing swags and putti

This lot is described on reference 128 in the valuation of the estate of the Prince Marc de Beauvau Craon, 5th Prince de Beauvau (1816 - 1883) in 1883 (French National Archives AN.MC/ET/L/1385). They were located in the Grand Salon of his house on 34 avenue Montaigne in Paris. They are also mentioned as being in the château d'Haroué in 1965.

Literature:
D. Cooper, Trésors d'Art des Grandes Familles, Paris, 1965, Les Princes de Beauvau au château d'Haroué, p. 302 (illustrated)

Related literature:
Falconet à Sèvres ou l'art de plaire, exhibition catalogue, Musée national de Céramique, Sèvres, 6 November 2001 - 4 February 2002
H. Ottomeyer & P. Pröschel, Vergoldete Bronzen, Munich, 1986, vol. I, p. 20
C. Baulez, Versailles, deux siècles d'histoire de l'art, Paris, 2007

The illustration of the catalogue is accurate. Good overall condition despite the inevitable minor scratches and marks due to age and use. The gilding is slightly tarnished. A chip to the marble at the front of each base (visible on the illustrations). The pans of the arms of light were fitted with additional protecting pans. Only three are still present, visible on the illustration. It would benefit from a general cleaning due to many candle wax traces. Exquisite model with very refined details.
"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. Prospective buyers should also refer to any Important Notices regarding this sale, which are printed in the Sale Catalogue.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD AS IS" IN ACCORDANCE WITH THE CONDITIONS OF BUSINESS PRINTED IN THE SALE CATALOGUE."

The sculptor, Etienne-Maurice Falconet (1716-1791)
Commissioned by Madame de Pompadour in 1755, the model for L'Amour menaçant in the guise of Cupid was first produced in marble and exhibited at the Salon of 1757, and mentioned in the brochure for the Salon of 1761 as, "130, a marble figure representing a cupid; belonging to Madame the Marquise de Pompadour".  The model for the Nymph or Little Girl hiding Cupid's bow, or perhaps Psyche, was never produced in marble by Falconet, although this model was mentioned in the brochure for the Salon of 1761. The latter, however, was executed as a pendant for L'Amour menaçant, a popular theme during the 18th century in which Cupid captures the hearts of mortals and leads them at his will. Whilst these two groups were widely produced in porcelain by Sèvres and Wedgwood, they were also fashioned in bronze, as seen in the present pair of candelabra.

The bronze artist, François Rémond (1747-1812)
The Falconet figures produced in bronze were often used as group figures, essentially to decorate candelabra. The name of the foundry for these figures remains unknown, however the origin of the gilt-bronze mounts is attributable to François Rémond. This attribution, advocated by C. Baulez and P. Hughes (op. cit. 2007), is based on the similarity with other pieces realized by Rémond and in particular the pair bought by Count Stroganoff directly from the marchand-mercier dealer, Dominique Daguerre in 1785 (sold Christie's New York, 21 June 2012, lot 1200, with another similar example in the Wallace Collection, London, inv. F140-141). Since its creation in the 18th century, this model has continued to be very popular. Whilst the designs for candelabra boasted several variations to the candlearms, the bases primarily kept the same shape, with only the choice of marble differing from one model to another. During the 18th century the use of speckled red or blue Turquin was often employed. An almost identical pair of candelabra with blue Turquin marble base was sold in Paris, Drouot Montaigne, Ader, Picard, Tajan, on 22 November 1987, lot 214 and then sold Sotheby's London, 13 June 1997, lot 61.  Another, similar Louis XVI pair of candelabra, was sold Sotheby's New York, 21 May 2004, lot 102.