each circular top raised on turned and reeded stands ending in waisted hexagonal bases with flattened bun feet, each with a paper label with 'Heirloom / 1869' in manuscript

These are very fine objects. In excellent restored condition with minor wear and signs of age that is typical. Ivory with age cracks, again typical for inlay such as this. Re-gilding.
"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."

This pair of torchères or candle-stands are of superior quality. The exquisite marquetry tops relate to inlay produced in the workshops of Holland & Son and seen on known pieces by them. The use of engraved ivory, mother of pearl and 18th century French-inspired reserves of trellis-work were all flourishes employed by them. These are also seen on pieces produced by the company for the Royal residence Marlborough House in London. See a pair of tables, of the same exceptional quality, produced by Holland & Sons, Property from the Collection of Lily & Edmond J. Safra, Sotheby's New York, 19 October 2011, lot 752.

The firm of Holland & Sons first appeared in 1803 as Taprell, Stephen and Holland. The partnership then became Taprell, Holland and Son between 1835 and in 1843 it finally became Holland & Sons. Their earliest known commission was to furnish the Athenaeum (1824-1838). They also worked alongside the firm of Thomas Dowbiggin at Osborne House.

Holland & Sons were the quintessential firm of Victorian cabinet-makers and their style developed over the period between 1851 and 1870. Th🍸eir development was stimulated by a series of international exhibitions commencing here in London with the Great Exhibition at the Crystal Palace and in Paris in 1856, 1867, 1878 and 1889 and again in London in 1862.

Royal commissions included work at Buckingham Palace, Osborne House, Balmoral, Sandringham a🌟nd Windsor Castle, and their records from 1864 to 1872 devote some eighty-eight double pages exclusively to Marlborough House.

Lastly, it is interesting to note that Holland & Sons exhibited at the 1878 Paris International Exhibition in The Prince of Wales Pavilion which was devoted to British art manufacturers and designers.  'In connection with furniture, it has been said with truth that both the Prince and Princess have ever since their marriage done their utmost to encourage home manufacture in every department and everything in Marlborough House may, broadly speaking, be said to be of British make' (Arthur H. Beavan, Marlborough House and its Occupants, Past and Present, London, 1896, p.55).