Each with leaf-cast finial above a squat well issuing two reeded nozzles above a waisted socle and beaded frieze on a fluted baluster shaft with lion's mask-capped naturalistic paw feet, fitted for electricity, minor differences to the patination of the lamps and the bases
82 in. (208 cm.) high

The Barratt Collection, Crowe Hall, Bath; sold Christie's, London, 16 December 2010, lot 40.

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Lot Essay

Popularised as 'Drawing Room Candelabra', such Pompeiian bronze tripods were illustrated in Thomas Hope's Household Furniture and Interior Decoration, 1807 (pl. 6), where they were reinterpreted from 'antique' prototypes probably by the French-born Piccadilly bronzier Alexis Decaix. The Barratt torcheres, with bacchic lion-paw 'claws', relate to patterns for 'Tripod Stands for Work Tables, Screens & Candelabri' published in George Smith's Collection of Designs for Household Furniture and Interior Decoration, 1808 (pl. III) and in particular to the Cavaceppi candelabrum illustrated in H. Moses, Collection of Antique Vases, Tripods, Candelabra..., London, 1814 (pl. 85). One such tripod also features in the 1830s trade-sheet of Thomas Messenger and Sons of Birmingham and London (Temple Newsam House, Country House Lighting, Exhibition Catalogue, 1992, fig. 95).

Among the possible manufacturers of such candelabra/torcheres is William Collins, who traded in the Strand from 1808-1852. In 1823, Collins supplied candelabra 'in Grecian Metal' to the 3rd Duke of Northumberland for Northumberland House. Another contender is Hancock and Rixon, who were perhaps the most eminent makers of chandeliers and lights in England during the second quarter of the 19th century. They are known to have supplied chandeliers and mirrors to Hampton Court and St James's Palace in the 1830s, having earlier, as Hancock, Shepherd and Rixon, supplied lighting to Stoneleigh Abbey, Warwickshire and Chatsworth, Derbyshire.