the central column surmounted by a bust of Apollo, issuing four candlearms, on a stepped base with two seated putti and a mask of Zephyr, on foliate lion paw feet

Exposition des produits de l'industrie in 1819, palais du Louvre, Paris

Literature:
L. Costaz, Rapport du jury central sur les produits de l'industrie française, Paris, 1819, p. 215.
L. Héricart de Thury, Rapport du jury d'admission sur l'Exposition des produits des manufactures du département de la Seine à l'exposition du Louvre (...), Paris, 1819, p. 83.
L.-S. Le Normand et J.-G.-V. de Moléon, Description des Expositions des produits de l'industrie française, faites à Paris depuis leur origine jusqu'à celle de 1819 inclusivement, t. II, Paris, 1824, p. 228 and pl. 27, fig. 4.
H. Ottomeyer et P. Pröschel, Vergoldete Bronzen Die Bronzearbeiten des Spätbarock und Klassizismus, Munich, 1986, t. 2, p. 669, fig. 4.

Related literature:
Exh. cat. Un âge d'or des arts décoratifs 1814-1848, Paris, 1991.

The illustration is accurate but the gilding is less orange in reality. There are some chips to the malachite, especially to the edges to the centrer of the column with somes losses. There are some restorations to the top, under the Apollo bust. One bouquet is slightly loose. The gilding is in good overall condtion with minute stains. A beautiful French Restauration candelabra by the famous foundryman Feuchère.
"In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective, qualified opinion. Prospective buyers should also refer to any Important Notices regarding this sale, which are printed in the Sale Catalogue.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD AS IS" IN ACCORDANCE WITH THE CONDITIONS OF BUSINESS PRINTED IN THE SALE CATALOGUE."

The Restoration sought to reinstate the Expositions promoting the industrial production.  Established in 1798 in order to promote the French industry and its innovations, the aim was to stage it regularly. The first was held in 1819 at the Louvre. With regarding to the decorative arts, the Exposition highlighted for the first time the use of malachite, a semi-precious stone from Russia and for which its mining monopoly was long held by the Demidoff family. In the third section, dedicated to "Chiseled Bronzes and Gilding", the renowned bronzier Thomire exhibited and amongst other items, a monumental malachite vase received a gold medal (the vase now in the Metropolitan Museum of Art, New York, inv. 44.152).

Furthermore, the bronzier Lucien-François Feuchère, established at Rue Notre-Dame-de-Nazareth, presented for the first time and displayed "four very rich and tasteful fireplace garnitures, candelabra, chandeliers, bracket ornaments, (...) "(C. Costaz, 215). The jury awarded him a silver medal alongside Desnière and Matelin, Galle, Lenoir-Ravrio and Ledure. Sources must be cross-referenced to obtain more information about the products exhibited. The jury was full of praise with L. Héricart de Thury in 1819 in his Rapport du jury, but especially Le Normand and Moléon, in their "Description" of the Exposition of 1819, published five years later. Amongst many artifacts, including two speckled marble and malachite fireplace casings, one gilt bronze Medici vase, a small lapis lazuli temple, a candelabrum said to have a "tall stem above a plinth with seated 🐼children"(Le Normand and Moléon, 228). The bronzier was also the subject of a plate (27) where the mentioned candelabrum was illustrated under figure 4. This candelabrum matches our pair.

Lucien-François Feuchère took over the workshop from his father, Pierre-François at the end of the 18th century. A very important bronze artist, he delivered a great deal of furnishings under the First Empire and his company empl🦹oyed up to 150 workers. He won a silver medal at the Exposition in 1819, but also several prestigious commiss🐟ions, including the Louvre balcony railings which he exhibited a part of during the Exposition of Industrial Products. "Patented Supplier to the Garde-Meuble" (furniture repository), he ceded the company to his son and collaborator, Armand in 1824.