A pair of late George III patinated bronze and gilt-brass candlesticks, circa 1809, by Benjamin Vulliamy & Son, after a design by Charles Heathcote Tatham

each with detachable nozzle on a later slate base and inscribed LONDON / Published as the act directs / by B. VULLIAMY & SON / Dec 1st 1809

Sotheby's New York, 13 October 1994, lot 266

These handsome candlesticks are in overall good condition. There is some tarnishing to the gilt brass elements and some residual wax to the surface of one chimera. The patina and colour is good overall, with some minor blemishes. Some minor chips to the slate plinths. One candlestick is loose as a result of a broken pin. A very attractive pair.
"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."

The present candlesticks are engraved 'LONDON / Published as the act directs / by B. VULLIAMY & SON / Dec 1st 1809' and are modelled after a well-known etching by the architect Charles Heathcote Tatham (d. 1842) representing the ‘Antique Chimière in basso relievo of white marble, a fragment from Rome’ in his Etchings of Ancient Ornamental Architecture drawn from the Originals in Rome and Other Parts of Italy during the years, 1794, 1795 and 1796, which was published in 1799-1800. Tatham’s influence was seen in the work of architects and designers alike, but perhaps most importantly, his patron Henry Holland, the architect to the Prince Regent at Carlton House and the Royal Pavillion, Brighton and his brother, Thomas Tatham, of the cabinet-makers firm Marsh and Tatham. The linear style of his etchings, which was later adopted by Thomas Hope, had widespread influence as his Etchings was reprinted in 1803 and 1810.

The Vulliamy firm was established by François Vulliamy (1712-97) in the mid-18^th century. François Vulliamy is believed to have left his native Switzerland in the 1730s and by 1743 had set up in partnership with Benjamin Gray, Watchmaker to the King. Following François Vulliamy’s death in 1797, his son Benjamin (d. 1819) took over the running of the business. He was later joined as partner by his son, Benjamin Lewis Vulliamy (1780-1854) in 1806 and between them,  the Vulliamys were responsible for producing some of the finest horological 'conceits', candelabra and ornamental metalwork in England in the 18^th and 19^th century, winning commissions from the Prince Regent and numerous other distinguished patrons.

A very similar pair was sold from the Fermor-Hesketh Collection, Christie’s London, 1 July 1988, lot 8, were also signed ‘B. Vulliamy & Sons’ and also dated ‘Dec 1st 1809’.