A pair of Regency gilt-bronze six-light candelabra and stands, almost certainly supplied by Alexis Decaix for Rundell, Bridge & Rundell, circa 1802 - 1806

Each with three male figures in a Nemes headdress holding plaques depicting hieroglyphics, supporting a stylised pyramid with pharaohs masks and two-tiers of three candle branches formed of scrolling acanthus and medallions, with paterae and ending in spreading nozzles and inset drip-pans, the pediment surmounted with a finial topped with a stylised lotus leaf, the figures supported by architectural pedestals depicting familial scenes, ending in feet, on a shaped medallion resting on a triform base divided by pharaohs masks, surmounting a stylised pyramid, supported by three sphinxes on concave tripartite base ending in lions feet, the stand stepped with three draped coats of arms of the Dukes of Richmond, supported by three lion headed double paw feet

Almost certainly supplied circa 1802-1806 to Charles, 3rd Duke of Richmond (1735-1806), for the Egyptian Dining Room, Goodwood House, Sussex.

Thence by descent and removed to Gordon Castle, Scotland, 7^th Duke of Richmond and Gordon, 1906.

Frederick, 9th Duke of Richmond and Gordon (1904-1989); Christie's, London, 20 July 1938, (lot 152 as a group of four).

The C. Ruxton and Audrey B. Love Collection, Christie’s, New York, 20 October 2004, (either lot 527 or 528; and a similar pair, lot 526).

Hartop, Christopher., Royal Goldsmiths: The Art of Rundell & Bridge 1797 – 1843, 2005, pp. 54 – 59, a pair from the set cat no. 87

RELATED LITERATURE

Hartop, Christopher., Art in Industry The Silver of Paul Storr, 2015, p.37.

Watkin, David ed., Hewat-Jaboor ed., Thomas Hope Regency Designer, 2008, chapter 6, Chapman, M., Thomas Hope’s Metalwork for Duchess Street: “Character, Pleasing Outline, and Appropriate Meaning”. 

Rosemary Baird., Goodwood Art and Architecture, Sport and Family, 2007, Chapter 7, Man of Science Charles 3^rd Duke of Richmond, 1735-1806, a pair from the set illustrated pp. 149 – 151 and 154.

Robinson, John Martin., 'The Glories of Goodwood', Country Life, 25 September 1997, pp. 78 - 85.

Humbert, Jean-Marcel., Pantazzi, Michael., Ziegler, Christiane., Egyptomania l’Égypte dans l’art occidental 1730 -1930, 1994, pp. 304 – 305, an example from the Royal Collection plate 181.

Wilton-Ely, John., Giovanni Battista Piranesi The Complete Etchings Volume II, 1994, plates 864 – 874.

Baird, Rosemary., 'Cobras and Crocodiles return to Goodwood', Country Life, 23 April 1998, pp. 84 – 87.

Schroder, Timothy., The Gilbert Collection of Gold and Silver, 1988, pp. 338 – 341, cat no. 90.

Curl, James Stevens., The Egyptian Revival, 1982, Chapter 6, The Egyptian Revival after the Napoleonic campaign in Egypt, pp. 107 – 152.

Snodin, Michael., 'J.J. Boileau A Forgotten Designer', Connoisseur, 1978, vol. 198, pp. 124 – 133. 

Stroud, Dorothy., Henry Holland His Life and Architecture, 1966, pp. 73, 74 and 113.

Bury, Shirley., 'The lengthening shadow of Rundell’s Part 1: Rundell’s and their Silversmiths', Connoisseur, 1966, vol. 161, pp. 79 – 85.

Fox, George., [An account of] the firm of Rundell, Bridge & Co., the Crown jewellers and goldsmiths on Ludgate Hill, circa 1843 – 1850. pp. 6 and 7, 26 – 28.

Doran, W., The Only Authentic Edition Memoirs of the Life of the late Philip Rundell Esq. after 1827, pp. 1 – 10.

Hope, Thomas., Household Furniture and Interior Decoration, 1807, p. 10, plates X and XLIX.

These candelabra are of superior quality. Each component is of some weight. Candelabra Numbered. 1 Finial has broken and been re-soldered and is bent and misshapen slightly to the base. Two of the candle branches to the lower tier with repaired breaks. The paws of Chimera with holes from firing and other irregularities as to be expected from the casting process. Loses to gilding. Candelabra Numbered 2 Finial misshapen. The top tier of the candle branches very slightly tilted and with signs of re-soldering from where the arms issue. Each of the lower candle branches with repaired breaks. Rubbing to gilding and losses at these sights. The bases Superior quality. The bases have signs of use and wear from this use throughout. Irregularities as to be expected from the casting process. Loses to the gilding. Generally with typical signs of wear, including minor rubbing, scratches and dents. An impressive Ducal commission.
"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."

Nelson, the Nile and Napoleon

Yorktown, October 1781; Great Britain surrenders to joint American and French forces, leading Parliament to end hostilities with their former American colonies. This defeat left English pride smarting and the country eager for revenge on neighbouring France. In the aftermath of the French Revolution of 1789, from a political standpoint, a victory over the French was essential; an opportunity was soon given by the young French general, later Emperor of France, Napoleon Bonaparte (1769 – 1821).

Bonaparte sought to limit Britain’s involvement in France’s Mediterranean business by launching an Egyptian campaign to protect French trade routes, secure allegiances with India and, most likely, associate his name with the greatness of ancient Egypt - which became the fashion à la mode in both Paris and London. Napoleon launched his campaign in March 1798, after narrowly avoiding the British fleet under the command of Horatio Nelson (1758 – 1805), he captured Malta and subsequently landed his force in Egypt – Nelson had believed the French to be ahead of him and had overtaken during the night.

Confident in their victory the French Vice-Admiral, François-Paul Brueys d'Aigalliers, Comte de Brueys (1753 – 1798), anchored in Aboukir Bay. Brueys and Bonaparte agreed to this mooring based on its location twenty miles Northeast of Alexandria. The decision proved fatal as the French fleet were arranged in an ill-ordered line across the exposed harbor. In August 1798 Nelson finally tracked down the elusive Brueys and the Battle of Aboukir Bay, or the Nile, ensued. Nelson’s victory would shatter French naval presence in the Mediterranean Peninsular and, from the point of view of the British public, would be the greatest naval battle until the triumph of Trafalgar in 1805.

Royal Silversmiths

Nelson’s victory sparked Britain’s passion for Egypt and Napoleon’s land campaign enabled scholars to record its splendours, which were first published in 1802 by Baron Vivant Denon (1747 – 1825) in two volumes ‘Voyage dans la basse et la haute Egypte pendant les Campagnes de Bonaparte’. This combination of imagery and scholarly text fuelled the craze for 'Egyptomania' which inspired highly celebrated architects and designers in both France and England. Including Charles Percier (1764 – 1838), Pierre-François-Léonard Fontaine (1762 – 1853), George Smith (b. 1783), James Wyatt (1746 – 1813) and Thomas Hope (1669 – 1831).

These outstanding candelabra, originally a set of four, were almost without question commissioned for Charles Lennox, 3^rd Duke of Richmond, 3^rd Duke of Lennox, and Duke of Aubigny (1735 – 1806) fig. 6. Intended for the Egyptian dining room at Goodwood House they were most likely inspired from Denon’s publications, which the Duke had bought in 1802. The astonishing scagliola lined dining room is, in itself, a triumph of Egyptian taste and was constructed under the supervision of James Wyatt circa 1802 – 1806. Wyatt had begun work at Goodwood in the 1770’s, designing the kennels and orangery and re-designing the interior of the library on the orders of the 3^rd Duke, who had wished to make Goodwood ‘A domain worthy of the Dukedom’ - Robinson, J., ‘The Glories of Goodwood’, Country Life, 25 September 1997, p. 78. The dining room was probably further inspired by the 2^nd Duke (1701 – 1750) who too was an avid art collector; included in his extensive collection were ancient Egyptian pots and he was a founding member of the Egyptian society (1741 – 1743).

The candelabra were manufactured through Rundell, Bridge and Rundell, goldsmiths and jewellers favoured by George III and the Prince Regent, later George IV. When the present works were offered for sale in 2004 they were sold with a further two pairs. One is the pair now returned Goodwood, Baird, R., Goodwood Art and Architecture, Sport and Family, 2007, pp.149 – 151. The other pair had been originally commissioned by Richard, Marquess Wellesley, 2^nd Earl of Mornington (1760 – 1842). The Wellesley examples bear the inscription ‘RUNDELL BRIDGE & RUNDELL AURFICES ET PRINCIPI WALLIAE LONDINI FECERUNT’, albeit with later dating. The Wellesley’s and the Richmond’s knew each other socially; the 3^rd Duke’s nephew and heir was ADC to the Duke of Wellington, Marquess Wellesley’s younger brother, at the battle of Waterloo (1815); famously the Duchess of Richmond hosted a ball on the eve of the battle, prompting the legendary remark from Wellington ‘Napoleon has humbugged me, by God’. Further association to the two families can be found in James Wyatt, who worked on both Goodwood and Apsley.

Four further related candelabra form part of the magnificent Grand Service supplied by Rundell’s to the Prince of Wales (1762 – 1830) for Carlton House. These remain in the Royal Collection and appear on an invoice dated 4 June 1811 from Rundell, Bridge and Rundell:

4 very superb Egyptian Ormulu Candelabra, £98.0.0…392.0.0

4 Richly chased stands to do. With Arms, Crown, Garter & Motto chased out, £ 24 Each… £ 96.

One of the Royal candelabra is illustrated in Humbert, J., Egyptomania l’Égypte dans l’art occidental 1730 -1930, 1994, pp. 304 – 305, ill. 304, yet it is possible manufacture began as early as 1806; nevertheless it would seem that the Richmond candelabra are the earliest of the three commissions.

Alexis Decaix

The Rundell firm – largely known for silver, gold and jewellery manufacture – employed a number of independent craftsmen and designers but their gilt-bronze production, until recently, has been relatively poorly documented. Yet it has come to light that they had a silent partnership with such a manufacturer; dissolved in 1809 the enterprise existed between Alexis Decaix (active 1778 – 1811), his wife, Barbara Coppinger Decaix (1768 – 1835) and Rundell, Bridge & Rundell, The London Gazette, issue 16237, p. 351. This connection leaves little doubt that Decaix is the maker of the Goodwood candelabra. Further cementing this claim there is a payments ledger recording Egyptian girandoles supplied by madam De Caix for Goodwood dated to the Michaelmas quarter of 1806. Furthermore there is a surtout de table formerly in the collection one of the firm's patrons, the 1^st Marquess of Ormonde KP (1770 – 1820), which popularises this view. Again believed to have been made by Decaix it is adorned with finely chased, draped armorial plaques similar to those of the candelabra, sold Sotheby’s, London, 23 February 2015, lot 228. By 1802 the Rundell firm outsourced silver commissions to Benjamin Smith (1764-1823); dealings with Decaix would most likely have begun at that time also. Another accolade to credit Decaix, he wrote his last will and testament in 1806 and on ending the partnership in 1809 opened his new showroom, 43 Old Bond Street. Independently he was certainly successful, yet these timings would suggest significant changes to his position. If he had received the Richmond commission then he would have also attained the orders for both Apsley and the extensive Grand Service; commissions which would justify the creation of such a document and provide the resource to open a showroom.

This tie between Decaix and Rundell’s allows us to ruminate on the designer of these spectacular works. In 1778 Decaix received his maîtrise as a fondeur in Paris and by 1789 was in London, no doubt due to the French Revolution - the Prince of Wales was invoiced on 4 November 1791 for two years of his service. By 1794 he was established at 15 Rupert Street, Piccadilly, as a bronze and ormolu manufacturer. His skills were so prized that by 1799 he was producing works for the leading retail silversmiths, Garrards of Panton Street. Decaix had many distinguished patrons, notably the Royal architect Henry Holland (1745 – 1806), for whom he supplied works for Carlton House during the 1790’s. The association with Carlton House and Holland would likely be the reason for his introduction to the hugely celebrated Thomas Hope (1769 – 1831). Whilst remodeling his home in Duchess Street, circa 1800, Hope employed, as executant architect, Charles Heathcote Tatham (1772 – 1842), who was close to Holland and had worked with him from the 1790’s.

Decaix’s skills were highly rated by the incredibly discerning Hope, whose exacting standards few were able to meet, even making reference to him in the introduction to Household Furniture and Interior Decoration stating:

‘Throughout this vast metropolis, teeming as it does with artificers and tradesmen of every description, I have, after most laborious search, only been able to find two men, to whose industry and talent I could in some measure confide the execution of the more enriched portion of my designs; namely, Decaix and Bogaert’ - Hope, T., Household Furniture and Interior Decoration, 1807, p. 10

In 1800 Decaix provided Garrards with a “pair of Egyptian slaves for a light on Bronze Pedestal with hieroglyphic characters”, Watkin, D. ed, Hewat-Jaboor, P. ed, Thomas Hope Regency Designer, Thomas Hope’s Metalwork for Duchess Street: “Character, Pleasing Outline, and Appropriate Meaning”. The author, Martin Chapman, suggests that these candlesticks are those drawn by Hope in Household Furniture and Interior Decoration plate XLIX, fig. 2. He further suggests that Decaix supplied these directly to Garrards for Hope, who does not appear on the ledgers. A pair similar to these described, also to Hope’s design and likely by Decaix, sold Sotheby’s, Paris, 29 September 2009, lot 55, fig. 3 and a further pair are illustrated Thomas Hope Regency Designer, pp. 386 – 387, cat no. 72. The other craftsman mentioned is likely the wood carver Peter Bogaert (d. 1819) believed to have produced wood models for silver and gilt bronze works; he had a partnership with another of the Rundell silversmiths, Paul Storr (1770 – 1844).  

It is pertinent to note that the figures in these candlesticks bear a physiological resemblance to the Pharaohs in the Goodwood candelabra; there are yet further likenesses to be found in Household Furniture and Interior Decoration. In particular when reviewing the oil lamp, again in plate XLIX fig. 2, which is similarly supported by sphynxes, also note the lions paw feet in both the ewer and tea urn. Likewise in plate X in Hope’s publication the pair of candlesticks with architectural supports replacing legs. Whilst it is possible Thomas Hope, through Decaix,  had a hand in the design of the candelabra, it is also likely that Rundell, Bridge & Rundell, on receipt of the order, would use someone, like Decaix, already in their employ.

In the Victoria & Albert museum is a series of designs by Jean Jacques Boileau with such striking resemblances to works produced by Rundell, Bridge & Rundell that he has been strongly suggested as designer for the firm. George Smith the acclaimed cabinet maker, a supplier to the Prince of Wales inspired by the works of Thomas Hope, wrote in 1826 that Boileau:

‘has never been surpassed by any modern artist in his designs for ornamental plate or articles for casting in or molu’ Hartop, C., Art in Industry The Silver of Paul Storr, 2015, p.37.

Indeed a large proportion of the pieces for both the Grand Service and the Rosalinde and Arthur Gilbert Collection, on loan to the Victoria and Albert museum, have been attributed to him. It is noteworthy that forming part of the Gilbert Collection are two candelabrum in Egyptian taste, by Digby Scott and Benjamin Smith, attributed to Boileau. In these examples the scrolling medallion candle branches, the use of Pharaohs masks and sphinx supports are related to those in the offered lot, LOAN:GILBERT.776:1 to 17-2008 and LOAN:GILBERT.777:1 to 17-2008. Boileau and Decaix shared a great deal more than their link with Rundell, Bridge & Rundell. Both men were French émigrés, Decaix in England by circa 1789 and Boileau circa 1787. Importantly Boileau returned with Henry Holland to assist with Carlton House, an employment we know Decaix shared in. They are both again recorded working with Holland circa 1790 – 1792 for the Duke of Bedford at Woburn Abbey, Stroud, D., Henry Holland His Life and Architecture, chpt 11, p. 113 – Decaix listed as ‘Mons. De Caix’.

The three men were certainly intertwined; Boileau and Hope’s designs are clearly influenced by the sketches and drawings of the Italian artist Giovanni Battista Piranesi (1720 – 1778). One can also see from Piranesi’s interior of the Caffe degli Inglesi, and his Egyptian chimneypieces, that inspiration could have been taken for the Goodwood candelabras. Furthermore returning to the two contemporaries, Hope and Boileau, there is noticeable similarity in some of their designs, Snodin, M., J.J. Boileau A Forgotten Designer, Connoisseur, 1978, vol. 198, pp. 124 – 133. Indeed there seems to have been an admiration for each other’s work as Thomas Hope had in his collection a tea urn in Egyptian style also by Smith and Scott to a design of Boileau’s, a similar example again is in the Gilbert Collection on loan and formerly owned by the 4^th Duke of Richmond LOAN:GILBERT.773:1 to 4-2008. A further Egyptian style tea urn, to the same model and now owned by the museum, which has been classed as a Boileau design, M.2:1-2004, fig. 4, and another illustrated in the aforementioned article.

Whilst it still remains a mystery as to by whom exactly these magnificent candelabra were designed it would seem, through Rundell, Bridge & Rundell, that Alexis Decaix was almost certainly the maker and from him a strong possibility that either Thomas Hope or Jean Jacques Boileau envisaged them.

Charles Lennox, 3^rd Duke of Richmond, 3^rd Duke of Lennox, and Duke of Aubigny 

A profound patron of the arts and a lifelong Whig supporter; the Duke of Richmond was passionate, intelligent and charismatic, fig. 6. As a youth he was high spirited and mischievous, burning the hair of his Latin master at school and spending a large portion of his time in the pursuit of girls. In maturity he, like his father who he admired greatly, followed a military and political career.

Grand Tour

In 1750 he succeeded to his title aged merely fifteen; soon after travelled extensively throughout the Continent with his tutor - who the 2^nd Duke appointed on his deathbed. The tutor in question was the renowned biologist Abraham Trembley (1710 – 1784), who shared some of Jean-Jacques Rousseau’s (1712 – 1778) theories, notably a child’s individual interests should be honed and developed.

The scientist’s outwardly good nature and kindness appealed to the Duke and his teachings would have a significant impact on the young nobleman; who in 1751 was orphaned. Whilst on the Continent Trembley would introduce the Duke to the leading intellectuals of the day; including the philosopher Baron de Montesquieu (1689 – 1755), who they stayed with in Bordeaux. In Paris there were a plethora of guests presented to Richmond including René-Antoine Ferchault de Réaumur (1683 – 1757) and the Amazonian explorer Charles-Marie la Condamine (1701 – 1774). The learned company had a profound effect on the young man and he too developed a keen interest for the sciences and anatomy - especially in horses later commissioning paintings for Goodwood by the unknown George Stubbs (1724 – 1806).

The trip concluded in Italy arriving in Rome February 1755, where they studied Antiquités and virtû and the Duke commissioned portraits by celebrated artists of the day. After leaving the ancient capitol they meandered through the countryside to Naples where they witnessed Vesuvius erupting and inspected the excavation of Herculaneum. In due course they moved to Turin, after a sojourn in Amsterdam before returning to England in January 1756.

War and Politics

In 1751, the year of his mother’s death, Richmond had applied to his brother-in-law, the Secretary of War, Henry Fox (1705 – 1774), for a commission to the army; to which he gained the position of ensign in the 2^nd foot guards. Showing great aptitude the young man quickly rose in stature impressing James Wolfe, later Major General, who he met in Paris. By 1758 he was full Colonel, the same year he was elected member of the Society of Arts, becoming Vice-President in 1761; a position he held until his death. By 1760 he had left active service, with the rank of Major General, but continued to have a vested interest in military affairs becoming Lord Lieutenant of Sussex in 1763; in 1792 Field Marshal. After his war efforts the Duke returned to pursue his ambitions in politics. However his passionate nature, which had served him so well in his education and military exploits, did not ingratiate him with the newly crowned George III (1738 – 1820). The King had initially looked kindly on Richmond and in November 1760 appointed him lord of the bedchamber; whilst Prince of Wales he had fallen in love with the Duke’s sister, Sarah Lennox, which may have influenced the decision.

Only a month after the appointment the Duke’s tempestuous nature caused a strain on the royal relations when he resigned his post. This falling out meant the Duke would not receive a significant political posting until 1765 when he was appointed Ambassador Extraordinary to Louis XV. He and the Duchess, Lady Mary Bruce (1740 – 1796) whom he had married in 1^st April 1757, arrived in Paris in November of that year. Spending much of their time with Horace Walpole (1717 – 1797) they began collecting the Goodwood Sèvres collection, visiting the new factory within one week of their arrival, and accumulating Rococo furniture; although a great deal of the collection was spurred by his French mistress during the 1770’s and 1780’s.

As a politician the Duke was a reformist, aligning himself with Rockingham and Pitt. He was instrumental in matters of Ordnance – his topographical survey of the South coast would ultimately become the Ordnance Survey. He opposed the heavy tax levies on the American colonies which led to the War of Independence, and ultimately would associate himself with the Prince of Wales. In 1802 he held the first public race at Goodwood, the great highlight of which was the head to head race between his horse, Cedar, and the Prince’s, Rebel.