A set of four French gilt-bronze, bronze and white marble candelabra, after the model by Jean-François Lorta in Louis XVI style, 19th century

each in the form of a standing neo-classical female figure in drapery representing the Four Seasons, holding aloft a fluted cornucopia of fruit and flowers issuing four reeded acanthus cast candlearms festooned with fruiting and floral swags centred by a flaming atheniènne with rams' masks  centred by a serpent  on the backs of winged sphinx supports on a square white marble plinth and gilt-bronze base with bracket feet 

In overall good original condition and just in need of a light clean. They all bear the inscription on the base of the bronze figure Jean Lorta sculp 1788. The gilt bronze on two is very dirty and all of them would benefit from a clean. The gilt bronze and figures are attractively cast. On two candelabra the atheniènnes are loose and just need tightening up. Formerly fitted for electricity as visible from the photograph on page 87 of the printed catalogue. On one candelabra the long fruiting swag is missing on one candle-arm. The short swag is also missing on the same one together with a flowerhead to which it attaches on the rear left candlearm which is bent slightly inwards. On another candelabrum the rear left candlearm is also bent slightly inwards but these can easily be re-adjusted. An impressive large size and rare to have a set of four. Once cleaned they will look magnificent.
"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."

Comparative Literature:
Daniel Alcouffe, Anne-Dion-Teneenbaum, Gérard Mabille, Gilt-Bronzes in the Louvre, Dijon, 2004, p. 181, no. 93.
Shelley M. Bennet and Carolyn Sargentson, French Art of the Eighteenth Century at The Huntingdon, 2008, The Huntingdon Library, p.179, No. 70 (27.106, 27.107).

This set of four candelabra are based upon the celebrated model now in the Louvre,  in white marble and gilt-bronze by Jean-François Lorta, illustrated by Alcouffe, op. cit., p. 181, reproduced here in fig. 1, which were transferred from the Mobilier national in 1901 (inv. OA 5313 and 5314 now on long term loan from the Musée national du château de Fontainebleau, 1930 (inv. OA 8172 and 8173).

The decision for the candelabra now in the Louvre to be in white marble and gilt-bronze on porphyry bases, was due to Louis XV's daughters Mesdames Adélaïde and Victoire deciding to enrich the furnishings of the grand salon of their château at Bellevue. The Four Seasons candelabra bear testament to the refinement and luxury of the furniture of the Mesdames at Bellevue upon which this striking set are based.

Jean-François Lorta (1752-1837) whose signature is accompanied by the date 1788 on each of the pedestals are carved in the purest white statuary marble with four Antique style female figures symbolising the Seasons by their hairstyles and attributes; a floral wreath for Spring, one of wheat for Summer, grapes for Autumn and winter had a long thick cloak. The top of the candelabra section has Apollo's tripod. The manufacture of the bronzes of the original model remains still unkown to date. The candelabra remained in place until the Revolution. In 1807, they were installed in Empress Josephine's second Salon in the Tuileries; from 1809 to 1830, without leaving that Palace they moved to the Galeria de Diane and in 1830 they were split into two pairs, eventually reunited at the Louvre.

See a related pair of four light candelabra with variations, but stated to be after a model  by Lorta circa 1800 and later, now in the Huntingdon Collection, illustrated by Bennet and Sargentson, op. cit., p. 179, no. 70 (27.106, 27.107).