Important Elm Burr Veneer, Matte Gilt and Patinated Bronze, and Corsican Orbicular Diorite Guéridon with Surtout de Table
Attributed to Adam Weisweiler
The Bronzes Attributed to Pierre-Philippe Thomire
Paris, Empire period, circa 1805-1810
Provenance:
– Formerly in the collection of Louis Duchanoy (1781-1847)
– Thence by descent
Made of elm burr veneer and very finely chased, patinated, and matte gilt bronze, it features a circular tabletop made of Corsican orbicular diorite, framed by an entablature adorned with olive branches and rosettes; it is supported by four winged female figures whose bodies terminate in lions’ paw feet. The whole stands on a shaped circular base that is adorned with applied rosette and stylized palmette motifs. In its center stands a surtout de table with a top that is also made of diorite. It is adorned with a band decorated with thunder motifs and pinecones. It is supported by four winged animals with lions’ paws; they stand on a shaped plinth with concave sides.
This important guéridon, whose design was inspired by classical models, stands out above all for the exceptional quality of its bronze mounts and its veneer. This allows us to attribute it to the bronze caster Thomire and the cabinetmaker Weisweiler, who occasionally collaborated on certain very high-quality pieces of furniture. Secondly, its tabletops are made of Corsican orbicular diorite, also known as Corsite or orbicular Gabbro, which is a very rare material that comes from the quarries of Saint-Lucie de Tallano, whose decorative qualities are due to the orbicular design whose circles with fine white bands stand out against the gray granite ground. Toward the end of the 18th century, or perhaps in the early years of the following century, a small number of Parisian cabinetmakers produced this type of guéridon with standing winged female figures. One example, made by François-Honoré-Georges Jacob-Desmalter, now in the Villa Masséna in Nice (illustrated in L. Mézin, La villa Masséna: du Premier Empire à la Belle Époque, Editions Somogy d’art, December 2010, p.108-109). A second, similar model, made by Adam Weisweiller, is illustrated in P. Lemonnier, Weisweiller, Editions d’Art Monelle Hayot, Paris, 1983, p. 95. One further guéridon, which is similar to the present example and was made in Russia at a slightly later date, is in Pavlovsk Palace, where it stands in the Salon d’angle (see Pavlovsk: Palace and Park, Aurora Art Publishers, Leningrad, 1975, fig. 168).
Adam Weisweiler (1744 - 1820)
Adam Weisweiler is a cabinetmaker who became a master in Paris on March 26, 1778. Having settled in the Faubourg Saint-Antoine quarter, he quickly gained renown, becoming one of the most important cabinetmakers of the final years of the reign of Louis XVI. He worked for the most important collectors of the time through the intermediary of marchand-merciers Dominique Daguerre and Martin-Eloi Lignereux. The Revolution does not seem to have greatly affected him; at this time he purchased several buildings. He continued to be active during the Empire period, working for the Queen Hortense, among others.
Pierre-Philippe Thomire (1757 - 1843)
Pierre-Philippe Thomire was the most important Parisian bronzier of the last quarter of the 18th century and the first decades of the following century. Early on in his career he worked for Pierre Gouthière, ciseleur-fondeur du roi, and toward the mid-1770’s began working with Louis Prieur. He later became one of the bronziers attached to the Manufacture Royale de Sèvres, creating the bronze mounts for most of the important creations of the day. After the Revolution, he purchased the stock of Martin-Eloi Lignereux, thus becoming the most important suppliers of furniture bronzes for châteaux and Imperial Palaces. In addition, he worked for a wealthy private clientele, both French and foreign, including several of Napoleon’s Marshals. Thomire retired in 1823.
Important Green Marble and Gilt and Patinated Bronze Mantel Clock with Matte and Burnished Finishing
“Jason and the Golden Fleece”
Attributed to the Workshop of Pierre-François and Lucien-François Feuchère
Paris, Empire period, circa 1805-1810
The gilt bronze dial, in the form of a shield, has a matte chapter ring that indicates the Roman numeral hours and the minutes graduation along its outermost border; it is centered by a low relief group depiction of Athena and Hera. The hour and half hour striking movement is housed in a case that features a very finely chased and gilt mythological figure in gilt bronze, with patinated bronze elements, and matte and burnished finishing. Shown standing to the left of a tree, at the foot of which there is a large drapery and the body of the vanquished dragon, the magnificently sculpted male figure represents Jason, wearing sandals and a plumed helmet. The sheath of his knife is slung across his chest. He is brandishing a ram’s skin – the Golden Fleece. The quadrangular green marble base stands on four lions’ paw feet.
Inspired by the tale, from Greek mythology, of the expedition of the Argonauts, this important mantel clock depicts the most famous episode of the story, in which Jason seizes the Golden Fleece after having killed the dragon that was guarding it. Our attribution of this model to the Feuchère workshop is based on the description of a clock of this type that is mentioned in the Feuchère sale of January 1829: “73. Clock with Jason stealing the Fleece, gilt and patinated, with case and movement”. As of the time of its creation during the late Empire period, the model became immensely popular among important Parisian collectors of the day. Among the identical clocks known one example, which came from the Hôtel de Brienne, formerly the Parisian residence of Madame Mère, is on display in the Musée National des Châteaux de Malmaison and Bois-Préau (see B. Chevallier, Musée national des châteaux de Malmaison et Bois-Préau, RMN, Paris, 2006, p.120-121). A second is shown in P. Kjellberg, Encyclopédie de la pendule française du Moyen Age au XXe siècle, Les éditions de l’Amateur, Paris, 1997, p. 413). Two other clocks are in the Royal Spanish Collection (illustrated in J. Ramon de Carvajal, Catalogo de relojes del Patrimonio nacional, Editions Patrimonio Nacional, Madrid, 1987, pp. 186 and 239, catalogue n° 166 and 223).
Feuchère
The Feuchère workshop, founded by the chaser-gilder Pierre-François Feuchère (1737-1823) was active as early as the reign of Louis XVI. During the first two decades of the 19th century it became the principle rival of the Parisian bronziers Pierre-Philippe Thomire, Claude Galle and André-Antoine Ravrio. Lucien-François, the son of Pierre-François (active 1780-1828), a master chaser, assisted his father and helped develop the workshop during the Empire period, creating remarkable pieces for a wealthy clientele in France and abroad, including influential German and Austrian aristocrats.
Important Monumental Matte Gilt Bronze and Red Griotte Marble Mantel Clock
“The Reader”
Attributed to Pierre-Philippe Thomire
Paris, Empire period, circa 1810
Provenance:
– Probably purchased by Charles-Maurice de Talleyrand-Périgord, Prince of Benevento, to furnish his Parisian mansion and the Château de Valençay
– Probably his nephew, General Alexandre-Edmond de Talleyrand-Périgord
– His son, Louis Duke de Talleyrand-Périgord
– His son, Boson de Talleyrand-Périgord, prince de Sagan
– His son, Hélie de Talleyrand-Périgord (the clock in the Château du Marais)
– His daughter, Violette de Talleyrand-Périgord, Duchess de Sagan
– Thence by descent
This important monumental mantle clock, made of finely chased matte gilt bronze and red griotte marble, features a rectangular case that houses the mechanism. Its upper portion is adorned with half cartouches containing palmettes flanked by facing griffons. The sides are adorned with winged female figures holding wreaths suspended from roundels. The wreath on the façade is centered by an œil-de-bœuf aperture that reveals the cercles tournants that indicate the Roman numeral hours (below), and the Arabic numeral two-minute intervals (above). The corners of the rectangular case are decorated with flaming torches linked by ribbons and flower garlands, while four griffons whose tails are interlaced in an arabesque pattern, decorate the lower corners. The magnificent monumental figure representing a classically dressed woman is leaning on the case; she indicates the time with her right hand and holds a book in the other hand. The whole stands on a circular base decorated with a low relief band featuring mythological scenes alternating with pilasters and palm leaves. The clock stands on four flattened ball feet.
This important monumental mantel clock counts among the most spectacular clocks of the Empire period. Its rarity and the exceptional quality of its chasing and gilding, allow it to be confidently attributed to Pierre-Philippe Thomire, the most talented Parisian bronzier of his time. Its model, known as “à la liseuse” (The Reader), depicts a standing female figure who is dressed in classical robes and leans on a rectangular case, is one of the models of the Louis XVI period in which the figure is depicted either reclining or leaning on the clock case. This remarkable clock, whose main figure is a remarkable sculpture in its own right, is of monumental proportions. Its model is nearly unique; to date only one other identical clock is known, in the British embassy in Paris. It stands in the Grand Green and Gold Salon of the Hôtel de Charost. That clock was ordered in 1810 by Princess Pauline Borghèse, the sister of Napoléon I, for her Parisian mansion in the rue du Faubourg Saint-Honoré (illustrated in Jean Nérée Ronfort and Jean-Dominique Augarde, A l’ombre de Pauline. La résidence de l’ambassadeur de Grande-Bretagne à Paris, Éditions du Centre de recherches historiques, Paris, 2001, p. 73-74, fig. 57).
Pierre-Philippe Thomire (1757 - 1843)
Pierre-Philippe Thomire was the most important Parisian bronzier of the last quarter of the 18th century and the first decades of the following century. Early on in his career he worked for Pierre Gouthière, ciseleur-fondeur du roi, and toward the mid-1770’s began working with Louis Prieur. He later became one of the bronziers attached to the Manufacture Royale de Sèvres, creating the bronze mounts for most of the important creations of the day. After the Revolution, he purchased the stock of Martin-Eloi Lignereux, thus becoming the most important suppliers of furniture bronzes for châteaux and Imperial Palaces. In addition, he worked for a wealthy private clientele, both French and foreign, including several of Napoleon’s Marshals. Thomire retired in 1823.
Rare Gilt Bronze and vert de mer Marble Mantel Clock
“Venus’s Chariot Accompanied by Adonis”
Case attributed to André-Antoine Ravrio
Paris, Empire period, circa 1805
The sky blue enamel annular dial, decorated with gilt scrolls and ruby cabochons, is signed “Robin à Paris”. It indicates the Roman numeral hours within white oval cartouches and the outermost gilt dot minute graduations by means of two blued steel Breguet hands. The movement is housed within an elaborately decorated chariot wheel that is adorned with a winged figure, scrolls, and a bead frieze. A young woman in the chariot, representing the goddess Venus, sits on a seashell. Wearing drapery that is belted at the waist, she caresses a dove perched on her left knee. She looks toward a young man – the shepherd Paris – who is dressed in a short antique tunic and sandals, with a horn slung across his back. He holds a long stick; his dog sits at his feet. On the front of the chariot, Cupid holds the reins of the two swans with outstretched wings and bent necks that draw the chariot. The quadrangular vert de mer marble base features canted corners that are decorated with fluting; its sides are adorned with applied motifs depicting Cupids forging and sharpening arrows, flanking a central motif of two doves with suspended flower swags, surmounting a double flaming heart that is crowned by a wreath of roses. The clock is raised upon eight lion’s paw feet.
This magnificent neoclassical clock is attributed to André-Antoine Ravrio on the basis of an identical piece that was described in the Elysée Palace in 1809, which is said to have been supplied by Ravrio.
Only a handful of identical clocks are known today. One such example, which was almost certainly in the collection of Napoleon’s mother (Madame Mère), is in the Musée national du Château de Malmaison (illustrated in B. Chevallier, La Mesure du Temps dans les collections du Musée de Malmaison, RMN, Paris, 1991, p. 20, catalogue n° 11). A second clock, corresponding to the model described in 1809 as being in the Murat family’s “salon de famille” in the Elysée Palace, is today part of the Mobilier national in Paris (see M-F. Dupuy-Baylet, Pendules du Mobilier national 1800-1870, Editions Faton, Dijon, 2006, p. 25).
Another such clock – possibly the present example – was estimated in December 1815 at 650 francs in the probate inventory of Michel Ney, the famous Marshal of the Empire whom Napoleon called “the bravest of the brave”: “A clock representing the chariot of Venus, drawn by swans and driven by a Cupid, with the handsome Paris placed on a vert de mer marble base with gilt bronze ornaments, said gilt bronze clock with striking, skeleton dial, and enamel hour chapter ring”.
Robert Robin (1741 - 1799)
Having become a master horologist in November 1767, he was one of the most important Parisian horologists of the last third of the 18th century. He received the honorary titles of Valet de Chambre-Horloger Ordinaire du Roi et de la Reine in 1783 and 1786. He enjoyed an extraordinary career, distinguishing himself by his exceptional contribution toward the improvement of time measuring instruments.
In 1778, the Academy of Sciences approved two of his inventions, one of which led to the construction of an astronomic clock with a meridian traced on a pyramid, which was acquired by the Menus Plaisirs for Louis XVI that same year; Robin published a very detailed historical and mechanical description of that clock. He also made mantel regulators with astronomic indications and compensation balance, of which the Marquis de Courtanvaux, a man of science and a great connoisseur of precision horology, was one of the earliest acquirers. During the Revolution he made decimal watches and clocks. He worked in the Grande rue du Faubourg Saint-Honoré (1772), the rue des Fossés-Saint-Germain l’Auxerrois (1775), the rue Saint-Honoré in the l’Hôtel d’Aligre (1778) and the Galeries du Louvre in 1786.
For his desk regulators, Robin chose very sober architectural cases, which look extraordinarily modern to contemporary viewers. He always worked with the finest artisans of the day, including the bronziers and chasers Robert and Jean Baptiste Osmond, Pierre Philippe Thomire, François Rémond and Claude Galle, the cabinetmakers Jean-Henri Riesener, Ferdinand Schwerdfeger and Adam Weisweiler, the enamellers Barbezat, Dubuisson, Merlet and Coteau for the dials, and Richard and Montginot for the springs.
Robert Robin’s two sons, Nicolas Robert (1775-1812) and Jean-Joseph (1781-1856), were also fine clockmakers and ably continued to run their father’s workshop.
André-Antoine Ravrio (1759 - 1814)
Made master bronzier in 1777, he is one of the most important Parisian bronze workers of the late 18th century and the early Empire period. Supplier of bronzes to the Imperial Garde-meuble, Ravrio helped furnish Napoleon’s residences, along with Thomire and Galle; he also worked for some of the most influential figures of the time, including Marshals of the Empire. Today certain of his works are in the collections of the Mobilier national in Paris.
Rare Gilt and Patinated Bronze “Noble Savage” Clock
“The African Nursemaid”
Case Attributed to Croutelle the Elder
Paris, Empire period, circa 1810
The round enamel dial indicates the Roman numeral hours and the Arabic fifteen-minute intervals, by means of two Breguet-type hands in blued steel. It is housed in a finely chased case of gilt bronze that represents a bundle of sugar canes that is tied with a cord. It is supported on the head of a fine female figure with enamel eyes, who is wearing a loincloth and a feather headdress. Around her neck is slung a bark cradle that holds a newborn baby. The figure stands upon an oval terrace supported by a stepped base, which is adorned with an applied reed and shell motif. The base is raised upon four toupie feet.
The black man as “noble savage” was not widely used as a decorative theme in French and European horology until the late 18th century. The first “au nègre “ or “au sauvage” clocks began to appear in the final décades of the 18th century and the early years of the 19th century. They reflect a philosophical movement that is expressed in such literary and historical works as Paul et Virginie by Bernardin de Saint-Pierre (published in 1787, it spoke of innocence), Atala by Chateaubriand (based on the Christian ideal), and Daniel Defoe’s masterpiece Robinson Crusoe (published in 1719).
The present clock, one of the most sought-after models, represents a young black nursemaid carrying a newborn baby. Its design was inspired by an 1807 drawing by the bronze caster Croutelle the elder, which is today in the Cabinet des Estampes of the Paris Bibliothèque Nationale, (see D. and C. Fléchon, “La pendule au nègre”, in Bulletin de l’Association nationale des Collectionneurs et Amateurs d’Horlogerie ancienne, printemps 1992, n° 63, p. 32, fig. 4).
Very few similar clocks are known today. Among them, one example, whose dial is signed “Herbin à Paris”, is illustrated in H. Ottomeyer and P. Pröschel, Vergoldete Bronzen, Die Bronzearbeiten des Spätbarock und Klassizismus, Band I, Munich, 1986, p. 381, fig. 5.15.27 (see also Giacomo and Aurélie Wannenes, Les plus belles pendules françaises, de Louis XIV à l’Empire, Editions Polistampa, Florence, 2013, p. 314). A second example is illustrated in P. Kjellberg, Encyclopédie de la pendule française du Moyen Age au XXe siècle, Paris, 1997, p. 345, fig. F. A third clock, whose dial is signed “Cary à Lyon”, is in the Royal Spanish Collection (illustrated in J. Ramon Colon de Carvajal, Catalogo de Relojes del Patrimonio nacional, Madrid, 1987, p. 119, catalogue n° 99). One further such clock is in the François Duesberg Museum in Mons (see Musée François Duesberg, Arts décoratifs 1775-1825, Bruxelles, 2004, p. 59).
Important Gilt Bronze Mantel Clock with Matte Finishing and Green Marble
Vase with Winged Naiads
Attributed to Claude Galle
Paris, Empire period, circa 1805
The rotating dial indicates the Roman numeral hours and the Arabic numeral minutes. It is fitted in a finely chased, matte gilt case in the form of a vase. The clock is surmounted by an eagle holding a snake in its claws. The handles are formed by two superb winged female figures whose bodies terminate in scrolling leaves; they hold flaming urns that are adorned with gadrooning. The vase is adorned with vine leaves, swans facing each other and drinking from a bowl, medallions centered by groups of child musicians, one of whom is holding music, which are surmounted by a lion’s mask with snakes. The child musicians are surrounded by motifs of addorsed griffons, palmettes, and dancing putti holding a draperies that terminate in garlands of flowers and leaves on which a birds perch. The lower portion is adorned with a bouquet of large leaves and stylized palmettes. The tapering pedestal is decorated with a gadrooned knop and a torus of laurel leaves and seeds. The clock is raised on a quadrangular base with a cavetto frieze in green marble.
The composition of this vase-form clock was inspired by neoclassical models of the second half of the 18th century. One of the most elaborate horological models of the Napoleonic period, during that time it was also produced as an ornamental vase. One such pair of vases may be seen in A. Kuchumov, Pavlovsk, Palace & Park, Leningrad, 1975, p. 52-53.
Among the few similar examples known to exist, one clock whose dial is signed “Thonissen à Paris” is in the Württembergisches Landesmuseum in Stuttgart (illustrated in R. Mühe and H. Vogel, Horloges anciennes, Fribourg, 1978, p. 116, fig. 154). A second example, once part of the collection of Empress Eugenie, was formerly in the Perez de Olaguer-Feliu collection in Barcelona (see Luis Monreal y Tejada, Relojes antiguos (1500-1850), Coleccion F. Perez de Olaguer-Feliu, Barcelona, 1955, plate 71, catalogue n° 90). A third example is in the Royal Spanish Collection (see J. Ramon Colon de Carvajal, Catalogo de Relojes del Patrimonio nacional, Madrid, 1987, p. 207, n° 189). Two further similar clocks, one with a round dial and the other with a cadrans tournants dial, are in the Musée François Duesberg in Mons (see Musée François Duesberg, Arts décoratifs 1775-1825, Bruxelles, 2004, p. 32-33).
Claude Galle (1759 - 1815)
One of the foremost bronziers and fondeur-ciseleurs of the late Louis XVI and Empire periods, Claude Galle was born at Villepreux near Versailles. He served his apprenticeship in Paris under the fondeur Pierre Foy, and in 1784 married Foy’s daughter. In 1786 he became a maitre-fondeur. After the death of his father-in-law in 1788, Galle took over his workshop, soon turning it into one the finest, and employing approximately 400 craftsmen. Galle moved to Quai de la Monnaie (later Quai de l’Unité), and then in 1805 to 60 Rue Vivienne.
The Garde-Meuble de la Couronne, under the direction of sculptor Jean Hauré from 1786-88, entrusted him with many commissions. Galle collaborated with many excellent artisans, including Pierre-Philippe Thomire, and furnished the majority of the furnishing bronzes for the Château de Fontainebleau during the Empire. He received many other Imperial commissions, among them light fittings, figural clock cases, and vases for the palaces of Saint-Cloud, the Trianons, the Tuileries, Compiègne, and Rambouillet. He supplied several Italian palaces, such as Monte Cavallo, Rome and Stupinigi near Turin.
In spite of his success, and due in part to his generous and lavish lifestyle, as well as to the failure of certain of his clients (such as the Prince Joseph Bonaparte) to pay what they owed, Galle often found himself in financial difficulty. Galle’s business was continued by his son after his death by his son, Gérard-Jean Galle (1788-1846). Today his work may be found in the world’s most important museums and collections, those mentioned above, as well as the Musée National du Château de Malmaison, the Musée Marmottan in Paris, the Museo de Reloges at Jerez de la Frontera, the Residenz in Munich, and the Victoria and Albert Museum in London.
A Rare Cartel in the Form of a Picture in Gilt Bronze with Matte and Burnished Finishing, Molded, Sculpted, and Gilt Wood or Stucco and Green Marble
Dial signed by the bronze-caster Denière
Paris, Empire period, circa 1810
The round white enamel dial, signed “Denière Fabt de Bronzes à Paris”, indicates the Roman numeral hours and the outermost minutes. The hour and half-hour striking movement is housed in a picture-form case; it is made entirely of finely chased gilt bronze with matte and burnished finishing on a green marble panel. The dial is framed by a frieze of ivy leaves and is flanked by two terms on tapering pedestals that are surmounted by male busts inspired by classical theatre masks, whose faces are adorned with thyrsi embellished with eagles with outstretched wings, around which are entwined leafy garlands. The two terms are linked by a flower garland that is decorated with zigzag bracelets. In the lower portion, they rest on an entablature decorated with five applied stars surmounted by an allegorical figure representing the seated figure of History or Fame, who is dressed in classical robes and is writing on tablet with a stylus. The whole is set on a rectangular green marble panel that is surrounded by a quadrangular wood or stucco frame that is molded, sculpted, and gilt, with a frieze of alternating palmettes and flowers, with concave molding highlighted by a waterleaf frieze.
Wall cartels were particularly appreciated throughout the 18th century. They became relatively rare during the Empire period, since clocks featuring subjects inspired by classical Roman mythology were popular due to the policies of Emperor Napoleon, who wanted to recreate the frontiers of the Roman Empire. Thus, during the first two decades of the 19th century, while all cartels were not made on commission, most models were produced in small numbers or were one-of-a kind pieces, as is certainly the case for the present rare cartel. Today, among the comparable models from the same period, one gilt bronze example whose lyre-form design surmounted by a bust of Apollo is illustrated in P. Kjellberg, Encyclopédie de la pendule française du Moyen Age au XXe siècle, Les éditions de l’Amateur, Paris, 1997, p. 379. Lepaute delivered a second example in the form of a shield in 1810 to the Topographic Cabinet of the Grand Trianon (see D. Ledoux-Lebard, Le Grand Trianon, Meubles et objets d’art, Editions de Nobele, Paris, 1975, p. 137). One further oval-shaped cartel with a decoration of elaborate bronze motifs against a mahogany ground is illustrated in G. and A. Wannenes, Les plus belles pendules françaises de Louis XIV à l’Empire, Editions Polistampa, Florence, 2013, p. 370.
Jean-François Denière (1774 - 1866)
The signatures “Denière” or “Denière Fabt de Bronzes à Paris” are that of Jean-François Denière (1774-1866), one of the most important Parisian bronze casters of the late 18th century and the early decades of the following century. In just a few years he became one of the most important suppliers of bronze furnishings, working for the imperial Garde-Meuble; in addition, he developed a wealthy private clientele. Until 1820 he was in partnership with François-Thomas Matelin, which led him to take part in the decoration of most of the imperial palaces and châteaux, delivering bronze furnishings and clocks, through the intermediary of several of their fellow bronze casters.
Important Pair of Six-Light Candelabra in Portor Marble and Patinated and Gilt Bronze with Matte and Burnished Finishing
“Mars and Minerva” or “An Allegory of War”
Attributed to Gérard-Jean Galle
Paris, Empire/Restauration period, circa 1815
Made entirely of finely chased, patinated and gilt bronze with matte and burnished finishing and portor marble, the candelabra feature stems in the form of a lictor’s fasces flanked by axes that terminate in a tied ribbon that holds two crossed flags and a conical element forming the socket. Two wreaths adorned with flowers decorate the five light branches in the form of hunting horns that are adorned with oak leaves and knops; they terminate in binets that are adorned with leaf friezes that support the sockets. The lictor’s fasces are set on quadrangular terraces on which stand two warrior figures that are facing each other. One represents a helmeted Minerva who is holding a lance and a laurel branch; the other depicts Mars, the god of war, who is holding his shield and sword. The façades of the bases are decorated with applied motifs depicting trophies of weapons including shields, swords, axes and lances. On the sides, there are ribbon-tied laurel wreaths that are centered by Imperial eagles with outstretched wings that are perched on stylized thunderbolts. Square plinths adorned with heart leaf friezes support the composition.
The present important pair of candelabra, which is attributed to Gérard-Jean Galle, is a perfect illustration of Napoleon’s desire to make the Parisian decorative arts a continuation of ancient Roman art, with its war-centered themes. Among the small number of comparable candelabra adorned with warrior figures that are today known to exist, one should mention an example that is illustrated in G. and R. Wannenes, Les bronzes ornementaux et les objets montes de Louis XIV à Napoléon III, Edition Vausor, Milan, 2004, p. 386. A second example is now in the Paris Musée des Arts décoratifs (see illustration in L’aigle et le papillon, Symboles des pouvoirs sous Napoléon, under the direction of Odile Nouvel-Kammerer, Les Arts Décoratifs, American Federation of arts, Paris, 2007, p. 177). A third example is in the Pavlovsk Palace Museum (see Pavlovsk Palace, Complete catalogue of the collections, Volume X, Metal, Bronze, Edition 2, Candelabra, girandoles, miracles, chandeliers, second half of the 18th late 19th century, Saint Petersburg, GMZ “Pavlovsk”, 2016, p. 121-122).
One further pair of identical candelabra, attributed to Gérard-Jean Galle, but which are set on bronze bases, are on display in the Royal Palace of Stockholm (illustrated in H. Ottomeyer and P. Pröschel, Vergoldete Bronzen, Die Bronzearbeiten des Spätbarock und Klassizismus, Band I, Munich, 1986, p. 396, fig. 5.18.8.)
Gérard-Jean Galle (1788 - 1846)
Gérard-Jean Galle was the son of Claude Galle (1759-1815), one of the most important Parisian bronze casters of the late 18th century and the Empire period. After having led a brilliant military career in Napoleon’s army, Gérard-Jean took over his father’s workshop in 1815. He made exceptional bronze pieces, often basing them on original sketches done by his father. In 1819, during the Exhibition of the Products of Industry held at the Louvre Museum, he was awarded a silver medal for his bronze clocks and lighting instruments. He subsequently became the supplier to the crown and the aristocracy, including the Duke de Richelieu, the Marquis de Martel and the Viscount de la Rochefoucauld. However, the July Revolution of 1830, and the accession of the Orléans family to the throne, led his business to go into decline. He went bankrupt and died in 1846. Today, some of Galle’s pieces are in important private and public collections, among them those of the Château de la Malmaison, (the former residence of Napoleon’s wife Josephine de Beauharnais), and the Musée Marmottan in Paris.
