ATTRIBUTED TO FRANCOIS REMOND AND ALMOST CERTAINLY SUPPLIED BY DOMINIQUE DAGUERRE, CIRCA 1785-90

Retaining a particularly rich gilding and of inventive form incorporating candle branches terminating in trumpet-form finials, these candelabra are almost identical to a candelabrum with the same arms, practically identical base, and similar rings illustrated in H. Ottomeyer and P. Pröschel, et. al., Vergoldete Bronzen, Munich, 1986, Vol. 1, p. 264, fig. 4.9.4. Although this candelabrum is not signed, it closely relates to many similar models known to have been executed by the ciseleur-doreur François Rémond. While no clearly identifiable pairs of this model are recorded in the daybooks of the marchand-mercier Dominique Daguerre, who worked closely with Rémond, they are most probably the result of a collaboration between the two of them, as the candelabra use numerous elements that are known to be the fruits of their continuous collaboration in the 1780s. With their tripod structure, circularly-arranged candle branches and applied acanthus decoration to the arms, these candelabra relate to a design circa 1785 by Rémond illustrated ibid., Munich, 1986, Vol. 1, p. 266, fig. 4.9.5. Furthermore, these candelabra share similar vasiform centers, tripartite base and ormolu rings with a pair by Rémond in the British Royal Collections (RCIN 2692). Rémond is known to have supplied Daguerre with a variant of this type of tripod candelabrum decorated with sphynx figures: à trépied portant huit Lumières Et six sphinx - 5,000 livres. This large sum covered not only the cost of casting and chasing the candelabra, but also of creating the main models, which were then to remain the property of the marchand-mercier. Rémond made different variants of his tripod model, some of them incorporating porcelain vases, which were sold to Daguerre for 4,500 livres the next year, see P. Hughes, The Wallace Collection: Catalogue of Furniture, Vol. 3, London, 1996, p. 1258. These tripod candelabra became very fashionable by the end of the eighteenth century and other notable bronziers executed similar models, including Gouthière and Thomire.

FRANCOIS REMOND
François Rémond (1747-1812) was one of the foremost bronziers of the late Louis XVI period and in 1786 had the fourth highest capitalization out of over 800 bronziers in Paris. He worked for many of the most sophisticated collectors of the day, such as the Comte d'Artois and Princesse Kinsky, as well as supplying a considerable amount of bronzes d'ameublement to the King and Queen, all in the style which has come to define the last flowering of the Louis XVI period; the goût etrusque or arabesque. He worked above all through the celebrated marchand-mercier Dominique Daguerre, for whom he supplied work valued at the staggering sum of 920,000 livres between 1778 and 1792.