A pair of George III gilt-bronze candelabra circa 1765, probably by Diedrich Nicolaus Andersen

in neo classical style, with three leaf-cast scrolling branches, the drip-pans cast with anthemion motifs and with gadrooned tops and bases, issuing from a leaf-cast urn with a foliate finial, the body ornamented with anthemions and gadrooning, on a slender baluster leaf-cast stem and socle, raised on a triform plinth ornamented with lion masks, garlands of husks and paterae, on a leaf-cast plinth

These are in overall good condition. They could both benefit from cleaning according to taste. Both have numerous drops of wax and surface dirt. The socle above the stem and beneath the top of one of the candelabra is lacking. Some drip-pans and sconces are loose and could benfit from re-assembly. The lid of one central urn needs to be re-attached. Three arms have been broken and rather crudely re-attached with solder, which is visible. And a further three arms have been broken and reduced in length during the process of repair. The internal 'thread' which holds the upper section to the stem is a replacement, this is internal and not visible to the naked eye.
"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 present beautifully cast candelabra are of a quality associated with the metal worker and chaser, Diederich Nicolaus Anderson. Anderson ( d.1767) was the leading purveyor of objects in ormolu and gilt-bronze before Matthew Boulton began production at Soho, Birmingham in 1768.  Anderson is known to have supplied related candelabra around 1760 to John Spencer, later 1st Earl Spencer for the Painted Room, Spencer House, St. James`s Place and also to Sir Nathaniel Curzon, 5th Baronet, later 1st Lord Scarsdale, for the dining room , Kedleston Hall, Derbyshire and other examples, one of which is in the Victoria and Albert Museum and which came from Wentworth Woodhouse, Yorkshire. For a further example in the same form as these examples, see Sotheby`s London, Important English Furniture, 9th July 1999, lot 54. His work is characterised by its exceptionally finely detail and crisp casting and burnished gilding, both of which can be seen in these examples and also the present lot. These examples also share similar detail in the form of the flattened urn central to all, suggesting a close link with this maker.

The form of these candelabra including the present examples is derived in part from the Grecian designs of James `Athenian' Stuart. Stuart was one of the earliest practitioners of the neo-classical style, using as a basis his sketches of the Choragic Monument of Lysicrates, later incorporated into the first volume of Stuart and Nicholas Revett`s `Antiquities of Athens', of 1762. The finial and top of the present candelabra clearly relate to this monument. These details which appear in various forms in the other Anderson candelabra further link the present examples to him as a possible maker.

The form of the present candelabra can also be linked with designs produced by the celebrated architect Robert Adam at this same period. He produced a design for a candelabra for Syon House in the 1760s, illustrated in Steven Parissien, Adam Styles, 1992, p.129, which shares a number of details with the present candelabra. This design is also equally early in the development of the neo-classical style and it is conceivable that Anderson could have worked to one of Adam`s early designs. Sir Lawrence Dundas is known to have been supplied with an ormolu vase of Adam design around this period (E.Harris, Furniture of Robert Adam, London, 1963, fig. 135) and therefore it is equally possible that Anderson worked to his designs also. For comparison see a similar pair of candelabra sold Christie`s London, 500 Years, Decorative Arts Europe, London 9th June 2011, lot 330, £49,250.

 Adam produced a detailed drawing for a candelabrum in 1773 for Sir Watkin Williams-Wynne for his residence 20 St James Square, London which is illustrated in Eileen Harris, The Genius of Robert Adam, his Interiors, 2001, pl. 401, (see illus.).  A set of four silver candelabra were made closely based on the Adam drawing for this same client in 1774 by John Carter, now form part of the collection of LLoyds of London, and are illustrated Adam Silver 1765-1795, by Robert Rowe, Faber & Faber, London, 1965, Fig. 12.  These candelabra have the same detail and form of the arms as well as similar drip-pans and rams` head ornament.  The top of this candelabra and paterae ornament to the base are also of strikingly similar form. Adam also designed a pair of candle-stands for the same client in 1777, illus. Eileen Harris, op. cit., pl. 402. which also share detail seen in the present candelabra and it is conceivable that the present candelabra could have also been designed and made for the same client.  By the mid 1770s Andersen was dead and if the present candelabra are based on these later Adam drawings, the most likely maker would have been Matthew Boulton.  

Matthew Boulton and his partner, John Fothergill, founded their metalwork factory in Soho near Birmingham in 1760s. The firm produced silver, Sheffield plate amd ormolu ornaments and received commissions from a number of leading patrons including George II and Catherine the Great as well as a great number of the aristocracy. The firm produced a variety of objects which included vases, inkstands, ice pails, tripods as well as candelabra and it is conceivable that they could have also produced the present lot.