A pair of Italian gilt-bronze, bronze and Egyptian porphyry candelabra by Francesco Righetti (1749-1819), Roman late 18th century

in the Egyptian taste, each in the form of a standing Egyptian figure in a Nemes headdress and elaborately draped costume holding a pylon shaped tablet with stylised hieroglyphs supporting an acanthus leaf cast vase with spirally-twist border issuing bullrushes with green patinated gilt-bronze leaves and four scrolled reeded acanthus leaf cast candlearms with plain vasiform candle-nozzles and drip-pans, with a futher raised central candlenozzle, on a gilt-bronze and Egyptian porphyry socle with  paterae suspending ribbon-tied fruiting swags within an acanthus border supported on the back of four recumbent lionesses on a square white marble base

A European Private Collector

In very good conserved condition. A stunning rare model which can be placed immediately. Very good quality casting. This pair have been compared to the Quirinale model in Rome which we have personally inspected and many mounts are of exactly the same size. We feel the present lot is most probably early 19th century and not late 18th century as stated in the catalogue. Very minor rubbing and pitting in places to the gilt-bronze and very minor surface dirt and the lions would benefit from a gentle clean. Also some very minor rubbing and verdi gris to the bronze. Very minor nick to the inside of the rim of one candle-nozzle which is hardly noticeable. There are some very minor scattered miniscule chips to the porphyry and white marble bases as visible in tehcatalogue photograph. Some of the bullrushes on the top are a little loose but can easily be secured. The green leaves are in painted tôle and not green patinated gilt-bronze as stated in the catalogue. Some very minor wear to the green paint on the leaves with some very minor retouching.
"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:
Alvar González–Palacios, Il patrimonio artistico del Quirinale, I Mobili Italiani, Milan, 1996, p. 333, no. 141.
Alvar González–Palacios, Exhibition catalogue,  L’Oro di Valadier, Un genio nella Roma del Settecento, Fratelli Palombi Ed., Villa Medici 29^th January-8^th April 1997,  p. 257, no. 103.
Alvar González-Palacios, Il Gusto dei  Principi, Arte di Corte del XVII del XVIII secolo, Milan, 1984, Vol. I, `Ristudiando I Righetti’, pp. 303-317 and Vol. II, p. 260, figs. 520, 521.
Enrico Colle, Angela Griseri, Roberto Valeriani, Bronzi Decorativi in Italia, Bronzisti e Fonditori Italiani dal Seicento, Milan, 2001, p.189-198.
John Wilton-Ely, Giovanni Battista Piranesi, The Complete Etchings, Vol. II, San Francisco, MCMXCIV, p. 937, no. 864.

This pair of striking candelabra on porphyry bases, which are exceptional both in terms of their innovative design, finely cast and chased gilt-bronze mounts are almost certainly the production of an outstanding Roman bronzista at the end of the 18^th century, namely Francesco Righetti (1749-1819) (see fig. 1). They are inspired by the renewed interest in Egyptian and Antique archaeological discoveries which appealed to the taste of discerning European collectors in the second half of the 18^th century, due in no small part to their subtle combination of luxurious materials incorporating gilt-bronze and Antique Egyptian porphyry derived from the ruins of Roman Antique columns.

The Model: 
The attribution of this pair of candelabra to Francesco Righetti, (whose life and work has been profusely studied by Alvar González-Palacios op. cit..), can be made upon the basis of a number of striking similarities between this so far unrecorded pair of candelabra to other known works by him. A close comparison can be made with the candelabrum, one of a pair in bronze, gilt-bronze, white and verde antico marble, with neo-classical figures signed F. Righetti, 1797, now in the Palazzo del Quirinale, Rome, illustrated by Alvar González–Palacios, Il mobile Italiani, op. cit., p. 333, no. 141, reproduced here in fig. 3. The base with its classical gilt-bronze patera suspending floral swags, the beading, the raised gilt-bronze socle upon which the figures are supported, the square marble plinth on the base supported on the backs of recumbent lionesses together with the plain vasiform candlenozzles and drip-pans and the patinated bronze green leaves in the central shaft are almost identical to those on the offered pair. Furthermore, a pair of candelabra in gilt-bronze, rosso antico and white marble with neo-classical figures in bronze supporting identical baskets on their heads cast with acanthus and a spirally- twist border, as on the offered pair, signed F. Righetti, F. Romae 1792, are illustrated by A.G. P., L’Oro di Valadier, op. cit., p. 257, no. 103. This further comparison makes the attribution for the offered pair to Righetti indisputable.

It is also worthwhile comparing an important pair of brûle-parfums, in the form of an Antique athénienne attributed to Francesco and Luigi Righetti dating to the early 19^th century, sold from the Collection of Mrs Barbara Piasecka Johnson from her Monaco residence, Sotheby’s, Paris,15^th October 2003, lot 73, (172,8756E), the bases reproduced here in fig. 4. The base of the pair with its floral swags suspended by a patera on an alabaster socle and black marble base are resting on recumbent lions, not unlike the base on the offered pair of candelabra. The device of using animals to support the base of candelabras and surtout was often employed by Righetti. The recumbent lionesses supporting the bases of the candelabra are often repeated in his work and there is listed in Francesco Righetti’s catalogue of bronze copies and statues dating from 1794, `Les deux Lionnes qui sont au bas de l’escalier du Capitole’ and `Les deux Lionnes de la Fontaine des Thermes d’un palme’.

One should also not discount the influence of G.B. Piranesi on the design of the offered pair of candelabra, see for example his design for a Chimneypiece in the Egyptian style with sphinx supports similar to those on the offered pair, illustrated by Wilton-Ely, op. cit., p. 937, no. 864, reproduced here in fig. 2. The Egyptian figures on the stems were probably inspired by the two Egyptian Isis priest caryatids (Antineous) which flank the entrance of the Museo Pio-Clementino, Rome, which were originally part of the celebrated Hadrian’s Villa, although of a different design in terms of their dress. These figures also make an appearance in the oeuvre of Valadier, (in whose workshop Righetti had been apprenticed, see post), as early as the 1780’s, for example, on clocks.

As Righetti was originally a pupil of Valadier, he was influenced by  his master's work and it is worthwhile comparing a pair of Roman gilt-bronze and porphyry candelabra, circa 1774 by Liugi Valadier, possibly in collaboration with Lorenzo Cardelli, now in the Metropolitan Museum of Art, New York, are illustrated by Koeppe and Giusti, op. cit., p. 311, no. 121, (The  Wrightsman Fund, 1994 (1994.12.1.2.). They were originally commissioned by Prince Marcantonio Borghese for Palazzo Borghese in Rome in  1774. The upper part with the candlearms and the bullrushes can be seen in a design by Valadier  illustrated by A.G.P., op. cit., p. 203, no. 85, with two female figures on a porphyry base which have been inspired by the Three Graces at Villa Borghese after a famous Piranesi print. They may in turn have inspired Righetti in the design and use of porphyry on the offered pair of candelabra. A pair of candelabra from the workshop of Giuseppe Valadier,with neo-classical figures in gilt-bronze with virtually identical nozzles to those on the offered pair on porphyry bases, sold in these Rooms, 7th July 2009, lot 61 (£205,250).

Francesco Righetti (1749-1819):
He was a leading sculptor, silversmith and bronze founder and a pupil of the leading 18th century Roman goldsmith Luigi Valadier (1726-1785). Righetti produced copies after the Antique and indulged the taste of collectors for faithful replicas of celebrated statues, both ancient and modern and antiquarian ornaments. In 1794, his foundry even produced a catalogue, printed in French, offering copies in three sizes, including full-size, to "amateurs de l'antiquité et des beaux arts". He produced a wide variety of pieces including copies of many antique and modern statues, busts, vases, trophies, animals, marble pedestals, replicas of fountains and gilt ornaments for clocks and obelisks. In 1780, Francesco's son Luigi was born and he was to become his pupil and partner in the famous workshop. In 1782, Pope Pio VI visited the workshop and after that Righetti's relationship with the Vatican intensified. In 1805, Francesco Righetti became "fonditore camerale" of the Vatican. He was also the favourite founder of Antonio Canova. After Righetti's death, Luigi and his son Francesco Righetti the younger (born 1805) continued the foundries in Naples and Rome. His long career and the list of 1794 suggest that a vast number of unsubscribed bronzes and objects must  be attributable to him and his workshop.