A pair of Dutch Baroque carved giltwood torchères, in the manner of Daniel Marot circa 1700, the tops later

With scattered age and construction cracks; not extensive with the largest age cracks to back of one putto. Some restored old age and construction cracks. Carving with scattered abrasions and minor chips. Gesso with some minor losses, chips and abrasions; some areas with later gess; not extensive. With some minor old worm damage. Regilt, gilding with rubbing and minor losses. In good condition.
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.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING CONDITION OF A LOT, ALL LOTS ARE OFFERED AND SOLD "AS IS" IN ACCORDANCE WITH THE CONDITIONS OF SALE PRINTED IN THE CATALOGUE.

Daniel Marot (Paris 1663-The Hague 1752), son and pupil of Jean Marot, left Paris in 1685 and moved to the Hague. He worked extensively for the Stadholder William III of Orange, who also became king of England. Marot supplied architectural plans, garden designs and schemes of interior decoration for several of King Stadholder's palaces, notably Palace Het Loo, his favorite hunting lodge. By publishing his designs in 1703, his work became well known amongst his contemporaries and he is consequently known amongst his contemporaries as the creator of the Louis XIV style in the Netherlands.

At court, a side table was often flanked by two gueridons, such as the present torchères. Compare the pair in the Rijksmuseum, which follow closely Marot's designs (Reinier Baarsen, Furniture in Holland's Golden Age, Amsterdam, 2007, pl. 181, 182).