Literature: Hans Ottomeyer & Peter Pröschel: Vergoldete Bronzen, vol. I, Munich 1986, p. 338 similar by Claude Galle. Jean-Marcel Humbert, Michael Pantazzi & Christine Ziegler: Egyptomania - Egypt in Western Art 1730–1930, Canada 1994, p. 290ff, picture 179 almost identical candelabra.

The French bronzier Lucien-François Feuchère (1750–1828) ran one of the largest workshops in Paris for bronze casting and fire-gilding together with his father, Pierre-François (1737–1823). The company was active from the 1760s until the first decades of the 19th century, producing high-quality objects such as candelabra, candlesticks and watch cases for an international audience.

The company supplied, around 1804–1806, larger and more abundant versions of the auction candelabras to the general and viceroy of Italy, Eugène de Beauharnais. Prince Joseph II of Schwarzenberg also acquired candelabras with kneeling Naophori priestesses of the larger model in 1805. Some state that the auction candelabras were made after a model by Claude Galle, a similar pair is illustrated in Vergoldete Bronzen by Ottomeyer & Pröschel.

The candelabrum type has its origins in the Egyptian style of the French Empire, where Napoleon Bonaparte's campaign against Egypt in 1798 was absolutely crucial for the fascination with ancient culture. This gave rise to imaginative creations during the French Empire in the same way as Roman culture. At the beginning of the 19th century, L'Egyptomanie became a concept in France, when the Egyptian fever affected science as well as architecture, interior design, art and fashion. The political message within the movement was clear, expressing a millennia-long empire, which was an excellent expression of imperial power. Nowadays, the phenomenon is usually referred to as the Retour d'Egypte.