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拍品專文
These candelabra are after the celebrated model by François Rémond, for which a drawing survives in a Paris private collection. The model is dated c. 1785, but these candelabra have nozzles of a design he introduced c. 1800 (P. Hughes, The Wallace Collection Catalogue of Furniture, vol. III, pg. 1284). A nearly identical pair with these later nozzles has been attributed to François Rémond by C. Baulez, and is in the Wallace Collection and illustrated in P. Hughes, op. cit. , pg. 1285.
Although a celebrated Louis XVI model, the presence of letters to various elements, together with the quality of the patinated bronze figures, indicates these are of a slightly later date. Earlier techniques are used, however, such as mercury gilding. It is curious that two different marbles are used, but all other elements of the candelabra are of the same quality. Rémond's popular models were known to have been reproduced both from Rémond's workshop in the late 18th century and also as after-casts in the 19th century. An example of this continuation of Rémond's models is seen in a Pair of Restauration Candelabra after the celebrated model supplied by Rémond to the comte d'Artois for his Cabinet Turc at the Palais du Temple, sold from Longleat, Christie's, London, 13-14 June 2002, lot 307.
François Rémond (1747-1812) was one of the pre-eminent bronziers of his time, rapidly rising to prominence after his maîtrise to the point that in 1786 he had the fourth highest capitalization out of over 800 bronziers in Paris. 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 Dominique Daguerre, for whom he supplied work valued at the staggering sum of 920,000 livres between 1778 and 1792. Latterly he also worked for Martin-Eloi Lignereux, one of the most important marchands-merciers of the early 19th Century (C. Baulez, 'Le Luminaire de la Princesse Kinsky,' L'Estampille L'Objet d'Art, May 1991, p. 86 and 92).
Although a celebrated Louis XVI model, the presence of letters to various elements, together with the quality of the patinated bronze figures, indicates these are of a slightly later date. Earlier techniques are used, however, such as mercury gilding. It is curious that two different marbles are used, but all other elements of the candelabra are of the same quality. Rémond's popular models were known to have been reproduced both from Rémond's workshop in the late 18th century and also as after-casts in the 19th century. An example of this continuation of Rémond's models is seen in a Pair of Restauration Candelabra after the celebrated model supplied by Rémond to the comte d'Artois for his Cabinet Turc at the Palais du Temple, sold from Longleat, Christie's, London, 13-14 June 2002, lot 307.
François Rémond (1747-1812) was one of the pre-eminent bronziers of his time, rapidly rising to prominence after his maîtrise to the point that in 1786 he had the fourth highest capitalization out of over 800 bronziers in Paris. 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 Dominique Daguerre, for whom he supplied work valued at the staggering sum of 920,000 livres between 1778 and 1792. Latterly he also worked for Martin-Eloi Lignereux, one of the most important marchands-merciers of the early 19th Century (C. Baulez, 'Le Luminaire de la Princesse Kinsky,' L'Estampille L'Objet d'Art, May 1991, p. 86 and 92).