Each on a stepped circular base cast with woven base rims, the fluted well rising to a tapered cylindrical stem emerging from paired feet and rising to three stylized Egyptian female busts, with central heraldic finial and two acanthus-capped scroll branches terminating in dolphins and sconces formed as lobed sconces formed as Roman lamps, marked throughout, base rims engraved ‘Rundell Bridge Et Rundell Aurifices Regis Et Principis Walliae Londini Fecurunt’



The European mania for Egyptian motifs was influenced by Napoleon's campaign in North Africa in 1798. Though the branches of this candelabrum were probably designed by Jean-Jacques Boileau, the base was inspired by an engraving by the 18th-century Italian artist Piranesi.



By the early 19th century, the immense wealth of Britain's richest citizens enabled them to patronise the luxury trades of coachbuilders, cabinetmakers and silversmiths. The Prince Regent (Later George IV) and his aristocratic contemporaries set the style of what became known as the Regency period. They were indebted to the most prestigious firm of London goldsmiths of the age, Rundell, Bridge & Rundell. The company supplied silver at the forefront of fashion. Their large design studio included important artists such as John Flaxman and Jean-Jacques Boileau.