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A beautiful pair of Directoire gilt and patinated bronze figural three-light candelabra attributed to André-Antoine Ravrio, each with a patinated figure of a standing winged cherub wearing a gilded sash and holding in upheld hands a pair of fruiting vine-wrapped fluted stems headed by a pinecone finial issuing three spirally fluted curved branches with foliate cast drip-pans and vase-shaped sockets, the figures standing on square gilded bases on a grey veined marble plinth with a stepped gilt mounted base
Paris, date circa 1800
Height 72 cm, width 26 cm. each.
The renowned bronzier André-Antoine Ravrio (1759-1814) produced a number of gilt and patinated bronze candelabra and other light fittings that featured cherubs or Cupids, often, as here, shown in movement with one foot poised as in motion. Among closely related pieces is a pair of candelabra in the Residenz Munich, each featuring a putto with one foot raised as if running while holding a candle branch in each of hand. Another of Ravrio’s works, a chandelier at Schloss Ellingen includes a central standing winged cherub, again with one foot slightly behind as he holds a wreath above his head. Among many of Ravrio’s clock cases are a number of chariot clocks, one of which at the Palais de l’Elysée includes a winged putto driving a dog, while another portrays a young putto steering winged horses (all illustrated respectively in Hans Ottomeyer and Peter Pröschel, “Vergoldete Bronzen”, 1986, p. 325, pl. 5.1.5; p. 361, pl. 5.11.10 and pp. 692-3, pls. 18 and 19). In addition to the above there is a watercolour design circa 1810 from Ravrio’s workshop for a wall-light with a very young male herm, (Musée des Arts Décoratifs, Paris) as well as an actual wall-light of 1813 based on the latter in the Grand Trianon, Versailles (illustrated ibid. p. 356, pls. 5.10.4-5.); as there and in all the cited examples the treatment of the hair, the modelling of the faces and the soft fleshy skin of the young male figures bear close comparison with the present winged cherubs.
Both Ravrio and the other great bronzier Claude Galle were born in 1759 and likewise gained considerable acclaim in pre and post Revolutionary France. Indeed Ravrio was a highly successful, well-respected businessman and an exceptionally gifted artist and in addition to bronze work had two volumes of poetry published while three of his plays were performed at the Vaudeville Theatre. He was born in Paris, the son of a fondeur André Ravrio whose family had been in the same business since 1661. His maternal grandfather was the eminent ébéniste François Vandercruse whose son, (Ravrio’s uncle), was Roger Vandercruse, known as Lacroix, while Ravrio’s mother was sister-in-law to the royal ébéniste, J-H. Riesener. After attending a good school, Ravrio joined the Académie and then trained as a fondeur under his father. Having been recommended in 1774 by Pierre-Philippe Thomire to the comte d’Artois, Ravrio was received as a maître-fondeur in 1777, after which he joined J-B Disnematin-Dorat, a Parisian doreur-argenteur and marchand-mercier. Having married Disnematin’s daughter in 1790, his father-in-law sold Ravrio his warehouse stock, which he rapidly expanded. His success during Louis XVI’s reign was largely surpassed under Napoleon. In 1806 Ravrio supplied a number of bronzes for the Empress Joséphine at the Tuileries and in 1810 was appointed to the Emperor. Commissions followed thereafter for many of the Imperial residences at the Tuileries, Fontainebleau, Saint-Cloud, Versailles, Compiègne and Rambouillet as well as for the Quirinal in Rome, Monte-Cavallo and for Stupinigi near Turin. He also supplied King Ludwig of Holland and many other notable figures. In order to meet demand he employed over a hundred craftsmen. Sadly none of his three children survived, though his adopted son, Louis-Stanislas Lenoir-Ravrio (1783-1846) became his partner in 1811 and continued the business after his death. It is believed that he died from mercury poisoning since he left 3,000 francs to anyone who could prevent others in his trade from suffering the same fate. Ravrio’s bronzes can be seen among the finest collections including those mentioned above as well as the Stedelijk Museum Lakenhal, the Upper Belvedere Vienna and the Musée Massena at Nice.
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