A PAIR OF MERCURY GILT-BRONZE, PATINATED BRONZE AND 'ROUGE GRIOTTE' MARBLE EGYPTIAN CANDELABRA, FRENCH CONSULAT, CIRCA 1803, MADE UNDER THE DIRECTION OF MARTIN-ÉLOI LIGNEREUX |

each central Egyptian figure with stylized nemes issuing five, tiered candlearms, the upper nozzle with pendants and crescent supported by a fluted vase with stylised hieroglyphics and centred by a lion mask, above a geometric shaped candlearm with hieroglyphics ending in ram’s heads supporting two nozzles with pendants, above two candlearms in the form of winged serpents supporting two nozzles with crescents, on a square gilt bronze mounted rouge griotte marble base; (drilled for electricity)

- Bought by Édouard and Jacqueline de Ribes in 1964 at the Biennale des Antiquaires, Paris

RELATED LITERATURE
- J.-M. Humbert et al., Egytomania, exh. cat. Paris, 1994
- C. Baulez, « Les imaginations de Dugourc », in Versailles, deux siècles d'histoire de l'art, Versailles, 2007, pp. 367-384

The photographs are quite accurate. There are the inevitable minute dents, marks and scratches to the gilding and to the patina due to age and use. The ormolu gilding is slightly tarnished and rubbed as expected, especially on the flat surfaces of the bases. One branch has been broken and restored. The snakes are slightly wobbly. As said, the nozzles were pierced for electricity. Very nice quality of chasing and patina. The marble bases are with tiny expected chips to the edges. On one base, there are some small restored cracks on the right edge along the front gilt-bronze panel; on the other base, the rear left corner is broken with a small loss under the lower gilt-bronze frieze (not distracting). Very rare and attractive model.
"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."

This model of candelabra, of which very few copies exist, presents a very strong association with Egypt through the depiction of the large patinated bronze figures wearing nemes and the use of hieroglyphics. However, it also combines typical characteristics from the Etruscan and Turkish styles so well imagined by Jean-Démosthène Dugourc (1749-1825). Likewise, drawings by the ornamentist Jean-Guillaume Moitte from the 1790s, in particular those sold from the Odiot archive collection (auction Sotheby's, Monaco, 26 November 1979, see figs. 1 and 2), show a similar feature of the central figure issuing the candlearms which are directly supported by the head of the figure. A second drawing shows a stem consisting of addorsed Egyptian heads, with the base terminating in clawed feet. The ornamental repertoire is particularly rich and varied, with eclectic references to ancient Egypt, the Turkish crescent, the arms lowered with life-like serpents with tiny wings recalling the "camel wall lights", the perfectly geometric upper branches terminating in ram's heads, or the different models of cone-shaped nozzles, reminiscent of Turqueries. This composition is most certainly a work by Martin-Eloi Lignereux, a decorative arts dealer during the late 18th century. As Dominique Daguerre's partner and successor, his reputation grew as the firm traded across borders and attracted foreign clients, especially those in England, Spain and Russia.

Thus in 1803, Thomas Bruce, 7th Earl of Elgin and 11th Earl of Kincardine purchased a pair of identical candelabra from Lignereux for his Scottish residence, Broomhall. These candelabra were auctioned at Christie's in London on 31 May 1962, lot 79 before reappearing on the Parisian art market (auction Kapandji and Morhange, 18 December 2015, lot 72bis, then Steinitz Gallery, Paris, see fig. 3).

As Envoy-Extraordinary in Brussels and Prussia and then Ambassador to the Ottoman Empire under King George III, the 7^th Earl of Elgin left Constantinople in 1803 and passed through Paris where he would have encountered the work of Lignereux and was charmed by the objects imitating aspects of Turkish art and culture.

Whilst in Paris he made multiple purchases as evidenced by the bills kept by his descendants and which identify several pieces of furniture and objects auctioned in recent years (Sotheby's London, 12 June 1992, lots 299-310 and 13 June 2001, lot 324; Sotheby's Paris, 8 October 2015, lot 172). Amongst the housewares, several pieces are stamped or attributed to Adam Weisweiler. Along with a large selection of artifacts and various candelabra, the homogeneity of these pieces are representative of a particular decorative arts style during the early 19th century.

A similar pair were sold by Sotheby's, New York, 8-9 November 1985, lot 266. A variant of this triple branched model from the collection of Edmond and Lily Safra was auctioned at Sotheby's in New York on 19 October 2011, lot 741 (fig. 4). Another, with Egyptian figures entirely covered in a striped tunic and with clawed feet, was sold at Christie's in London on 12 December 2002, lot 49. Another pair is in the Marmottan Museum in Paris.

Roman bronze artists like Giuseppe Boschi made similar models and the popularity of these in turn probably influenced giltwood models.