These spectacular brûle-parfums supported by elegant female caryatids, linked by garlands, standing on a triform marble base relate to the work of the celebrated Parisian bronzier François Rémond (1747-1812). Designed in the Louis XVI 'antique' manner, they correspond closely to the taste favoured by George, Prince of Wales, later King George IV at Carlton House under the joint influence of his architect Henry Holland and famed marchand-mercier Dominique Daguerre.
The design of these brûle-parfums is derived from the design for a pair of candelabra supplied by Remond for the cabinet turc, as part of a Turkish scheme of design, for the Comte d'Artois at Versailles, 28 November 1783. A pair of candelabra of that model, supplied by Daguerre to the Prince Regent for Carlton House remain in The Royal Collection displayed in The King's Bedchamber at Windsor Castle (RCIN 39216). Although slightly different in form, the basic conceit of the three supporting female figures is the same, also of patinated bronze set against richly gilt ormolu, in that case linked with gilt chains in place of the garlands employed here. Daguerre included a pair of candelabra of that model in one of the series of sales he organised at Christie's, 25-26 March 1791, second day's sale, lot 51.
A pair of related brûle-parfums of this model, but with bodies of white marble, is illustrated in P. Kjellberg, Objets Montés du Moyen Age à nos jours, Paris, 2000, p. 160. A further pair of related Louis XVI brûle-parfums, again supported by three female caryatids upon a triform marble base, again with some variance in design to the figures, which, in this case, support associated turquoise Chinese porcelain egg-form bodies but employ a similar circlet both below the porcelain body and to the centre dividing the base and the cover, was sold, anonymous sale [Property of a Private Collector]; Christie's, New York, 21-22 October 2010, lot 546.
François Rémond (1747-1812) was one of the pre-eminent bronziers of his era. Appointed maître-doreur in 1774 his rise was meteoric, having the fourth highest turnover amongst some eight hundred other bronziers in Paris by 1786. He worked as a fondeur and ciseleur, as well as a doreur and thus was able to exercise considerable artistic control over his output. In particular, he worked extensively for Daguerre, for whom he supplied work valued at the staggering sum of 920,000 livres between 1778 and 1792.