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Lot Essay
THE PROVENANCE
The 'PPR’ marks to the underside of these candelabra almost certainly signify Principe Piedmonte Racconigi or Proprieta Privata Racconigi. This is further supported by the presence of the 1933 Castello Reale di Racconigi inventory labels, which conclusively place these candelabra in the private collection of the Italian Royal Family at Castello Reale di Racconigi by that date.
Located south of Turin, Racconigi was first constructed in the 12th century, and from the early 17th century was a residence of the Savoy family. The palace was retained as a private residence of the Royal House of Savoy throughout the unification of Italy and was presented in 1930 by King Vittorio Emmanuele III to his son, later King Umberto II, following his marriage to Princess Maria-José of Belgium. It is likely that these candelabra were in his possession when the inventory was produced in 1933. Racconigi was acquired by the Italian state in the 1970s, carefully conserved and later opened as a state museum in 1980.
THE DESIGN
The figural supports to this impressive pair of candelabra relate to those to a pair dated to circa 1805, formerly in the possession of the Murat family and today in the collections of the Mobilier National (GMLC 700/1-2, see M-F Dupuy-Baylet, L’heure, le feu, la lumière, Les bronzes du mobilier national 1800-1870, Dijon, 2010, pp. 168-9). They derive from a design for similar candelabra, with winged figures of Nike, produced by the architect Charles Percier as part of a commission to furnish Empress Josephine's bedroom at the château de Saint-Cloud (illustrated in M.L. Myers, French Architectural and Ornament Drawings of the Eighteenth Century, New York, 1991, pp. 157-160, cat. 98).
Interestingly, the bold scrolling acanthus branches of the present candelabra closely relate to those on a pair of candelabra also from Castello Reale di Racconigi, sold from the collection of S.A.R. La Principessa Reale Maria Gabriella Di Savoia, Christie's, London, 27 June 2007, lot 214, which would suggest they were likely part of the same commission.
The 'PPR’ marks to the underside of these candelabra almost certainly signify Principe Piedmonte Racconigi or Proprieta Privata Racconigi. This is further supported by the presence of the 1933 Castello Reale di Racconigi inventory labels, which conclusively place these candelabra in the private collection of the Italian Royal Family at Castello Reale di Racconigi by that date.
Located south of Turin, Racconigi was first constructed in the 12th century, and from the early 17th century was a residence of the Savoy family. The palace was retained as a private residence of the Royal House of Savoy throughout the unification of Italy and was presented in 1930 by King Vittorio Emmanuele III to his son, later King Umberto II, following his marriage to Princess Maria-José of Belgium. It is likely that these candelabra were in his possession when the inventory was produced in 1933. Racconigi was acquired by the Italian state in the 1970s, carefully conserved and later opened as a state museum in 1980.
THE DESIGN
The figural supports to this impressive pair of candelabra relate to those to a pair dated to circa 1805, formerly in the possession of the Murat family and today in the collections of the Mobilier National (GMLC 700/1-2, see M-F Dupuy-Baylet, L’heure, le feu, la lumière, Les bronzes du mobilier national 1800-1870, Dijon, 2010, pp. 168-9). They derive from a design for similar candelabra, with winged figures of Nike, produced by the architect Charles Percier as part of a commission to furnish Empress Josephine's bedroom at the château de Saint-Cloud (illustrated in M.L. Myers, French Architectural and Ornament Drawings of the Eighteenth Century, New York, 1991, pp. 157-160, cat. 98).
Interestingly, the bold scrolling acanthus branches of the present candelabra closely relate to those on a pair of candelabra also from Castello Reale di Racconigi, sold from the collection of S.A.R. La Principessa Reale Maria Gabriella Di Savoia, Christie's, London, 27 June 2007, lot 214, which would suggest they were likely part of the same commission.