After the magnificent pair of "vestal" candelabra, identical to that of the Catherine Palace (sold a few months ago), I am proud to be able to offer you a new and no less spectacular pair of candelabras attributed to the master bronzier, gilder and chaser François Rémond, after the model of the bronzier Jean Rémy Carrangeot.
 Main characters of these magnificent pieces, two nymphs: I let you appreciate the delicate work of carving of their dress, in particular on the edge of the drape where a dotted frieze is reproduced in imitation of a pattern which would be woven and would come from the decorate. They each hold a cornucopia from which escape three sconces decorated with large scrolling scrolls and acanthus leaves. These branches of light are maintained by a central stem punctuated by two stylized bunches of grapes.
 At the top of each piece you will discover an exceptional wreath of flowers, surprisingly suspended, whose quality of details and carving has nothing to envy that of Feuchère (Psyche pendulum crowning L'Amour, offered on my site).
 The plinth, as you have noticed, is as elegant as it is rare. It is entirely executed in lapis lazuli mosaic, and embellished with a beautiful gilded and chiseled bronze trim such as this garland of rows of pearls held successively by three Louis XVI knots, these "belts" with very fine stripes and this perimeter. of d heart at the bottom of the plinth.
 The set ends on a square base of gilded bronze.

 With several variants at the level of the sconces and the base, we find these two nymphs on several models by François Rémond. The original composition of this rare pair of candelabras is inspired by the work of the sculptor Etienne-Maurice Falconet (1716-1791), in particular a model which was sketched in the margin of the booklet for the Salon of 1761 by Saint-Aubin (see H. Ottomeyer and P. Pröschel, Vergoldete Bronzen, Band I, Munich, 1986, p.254, fig.4.7.1); as well as a model of a torchiere executed by the sculptor for the Palace of Versailles (reproduced in Le Dix-eighth siècle français, Collection Connaissance des Arts, Paris, 1956, p.150).

 The quality as well as the color in the light of the gilding is characteristic of the work of François Rémond. Indeed, all you need to do is bring a light close to the gilding (the lamp on your smartphone is perfect) for it to reveal a magnificent pink hue very representative of François Rémond's gilding ... names among great amateurs: the "Rémond test".

 Little digression about lapis lazuli:
 Lapis lazuli is a fine and delicate stone, long considered a precious stone because it is confused with Sapphire.
 It was given, in turn, the name of Star Sapphire then Cianeo and finally, from the Middle Ages, Lapis-Lazuli.
 Its name comes from the Latin Lapis: stone and Lazuli meaning "like the azure", borrowed from the Persian Lāžward.
 This stone, of an intense ultramarine blue dotted with golden sequins evoking the sky, has always fascinated human societies.
 In ancient Greece, Pliny the Elder, a first century AD Roman writer and naturalist, wrongly spoke of sapphire "sometimes containing golden dust"
 The Romans, on the other hand, used it in sculptures and decorative objects. You can also admire a superb Roman bust in Lapis-lazuli at the Museum of Ancient Arts of Namur.

 In Europe, lapis lazuli made a comeback in the 16th century, under the influence of the Medici, who were passionate about semi-precious stone objects. They are moreover at the initiative of the foundation of the Art Manufacture specialized in the work of hard stones, in Florence in 1558. We speak of Florentine mosaic technique. The latter will be broadcast in the rest of Europe, as far as Russia, and will have variations specific to the taste of each nation.
 This fashion will be introduced in France by Mazarin. Louis XIV will decide to create in 1668, in the Manufacture des Gobelins, a hard stone workshop, and will then recruit Italian marquetry to initiate and train French marquetry.
 Here we find the vestiges of a prosperous period of the use of lapis lazuli in the decorative arts.

 Among the "nymphs" candelabra listed of a similar model:
 - a first pair which belongs to the Spanish royal collections (see L. Feduchi, Colecciones Reales de Espana, El Mueble, Madrid, 1965, p.473)
 - a second in the Wallace Collection in London (published in H. Ottomeyer and P. Pröschel, Vergoldete Bronzen, Band I, Munich, 1986, p.282)
 - a pair of similar composition which is exhibited at the Louvre Museum in Paris (reproduced in D. Alcouffe, A. Dion-Tenenbaum and G. Mabille, Les bronzes d'ameublement du Louvre, Editions Faton, Dijon, 2004, p.176 , catalog no.90).

 I would like to point out that, contrary to my habits, I preferred to take photos in natural light to allow you to fully appreciate the color of their beautiful original gilding as well as that of the incredible blue of lapis lazuli.

 I always think about offering you beautiful pieces of art at a price that is part of a process of pleasure, passion and at the same time "investment". This pair of rare and magnificent candelabras is offered at a price that reflects this desire.