A pair of Italian carved giltwood and faux marbre candelabra, Genoese, 18th century

each in the form of a blackamoor in drapery with a feathered headdress and standing on rockwork, one holding aloft a tazza, the other a ewer issuing three foliate carved candlearms, on painted faux marble square bases, each with a transporter's label underneath and ink printed labels with the numbers 772 and 773

In overall good conserved condition. Some very minor chips as visible from the catalogue photograph which would benefit from being touched up. Old very minor restorations generally which have been well executed and are hardly noticeable. Evidence of old very minor worm which appears to be no longer active. Extremely rare.
"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."

Comparative Literature:
Enrico Colle, Il Mobile Barocco in Italia, Arredi e decorazioni d’interni dal 1600 al 1738, Milan, 2000, p. 218, no. 52.

No other pair of candelabra in the form of blackamoors on rockwork are recorded. 

Whilst at first sight this rare pair of candelabra would appear to be Venetian in origin, however, due to the particular carving of the candelarms which are often found on Genoese mirrors, a Genoese attribution should be considered. The fact that the candelarms fit perfectly naturally indicates that they were conceived at the same time as the blackamoors lends further credence to a Genoese origin.

In addition, the rockwork base is often found on works by the celebrated Genoese carver Filippo Parodi (1630-1702). See Colle, op. cit., p. 213, where he illustrates various sculptural figures by Parodi of the Seasons on rockwork bases which may well have inspired the maker of this pair of miniature blackamoors.