An antique palace artifact, Baroque 252gr, made entirely of

An authentic Baroque or Rococo palace artifact made of solid low-karat gold 4k-6k (100–200 fineness) -This is currently being verified—an XRF X-ray spectrometry test will be performed.
The object is a decorative element – most likely the base of a candlestick or part of a larger whole – of high craftsmanship. It weighs 252 g and stylistically resembles the Baroque/Rococo period, possibly associated with the workshop of Thomire (France, 18th century).
The French Revolution (1789–1799): tons of gold were looted and melted down from palaces, churches, and treasuries. Royal candlesticks, chalices, and reliquaries were considered “symbols of tyranny” and treated as “raw materials.”
The most valuable Baroque gold artifacts (especially sacred and royal ones) rarely have signatures or hallmarks.
This is not a “lack of authenticity,” but rather a testament to their status—because these works were not subject to any official requirements.
Works created on commission for the king, queen, court, or high clergy:were exempt from official hallmarking,did not have to be marked with a fineness mark or workshop stamp,were treated as “untouchable” works for the majesty, rather than as commercial goods.
For the king or monastery, the author was merely an executor and was not supposed to be “visible.”
Religious humility: in sacred works, goldsmiths deliberately did not leave their signatures so that glory would be attributed to God, not man.
Many masters worked in teams or manufactories — e.g., the workshops of Thomire, Keller, and Germain. The work left the workshop, but it could be the work of the entire team, not a specific craftsman.
The style and form are distinctly secular – asymmetry, the play of light and shadow, exuberant Rococo ornamentation, typical of palace interiors.

Such decorative bases were often used in:table candlesticks,palace lamps (oil or gas),decorative mantel clocks (separately decorated bodies and bases).
Thomire (although mainly known for his gilded bronze) also made works from low-grade gold, mainly commissioned by the aristocracy.
This Baroque artifact was initially thought to be made of ormolu. However, quite deep sawing into the metal (from below, of course, without damaging the artifact in any way) confirmed that it is solid precious metal—gold.
Practically speaking, it is one of the few surviving Baroque [Rococo] gold handicrafts saved from senseless, mindless melting down during times of war and revolution.
The artifact is covered in patina, with one spot [visible in the photo] cleaned to reveal a fragment of gold. This specific, unique “buttery” luster leaves no doubt that it is a precious metal. The exact gold content in the metal will be determined by XRF X-ray spectrometry.