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A fine pair of Empire gilt and patinated bronze candelabra attributed to Claude Galle, each formed as a patinated classical maiden with long flowing hair wearing armbands and a ruffled shift gathered under her bare breasts and a flowing skirt gathered up above each knee, supporting on her head an anthemion cast vase-shaped candle holder above a shield-set drip-pan and stiff leaf cast shaft, her arms held out to support in each hand a vase-shaped candle holder with cast drip-pan, each figure standing upon a demi-sphere upon a hexagonal plinth alternately cast with a caduceus and a maiden with butterfly wings representing one of the Horae, upon a stiff-leaf banded hexagonal base
Paris, date circa 1810
Height 54 cm, width 26 cm, depth 15 cm. each.
The style of these candelabra conforms to one most commonly associated with the eminent Empire bronzier Claude Galle (1759-1815). In particular they can be compared with a figural dish of circa 1810 (illustrated in Hans Ottomeyer and Peter Pröschel, “Vergoldete Bronzen”, 1986, p. 385, pl. 5.16.7) featuring three classical females, each with similar facial features, wearing armbands and the same style of dress as here, which the writers attribute to Galle. Claude Galle was one of the most important Empire gilders and bronze makers who created numerous candelabra and other bronze works of art, combining beautiful female figures and antique motifs such as caducei (winged-tipped serpent entwined rods, often associated with Mercury the messenger God) and Horae (mythological spirits personifying the Seasons, usually portrayed with butterfly wings).
As one of the finest craftsmen of his day, Galle enjoyed the patronage of royalty, the aristocracy and Napoleon Bonaparte. He was born at Villepreux near Versailles and during his youth moved to Paris to begin an apprenticeship, generally assumed under the fondeur, Pierre Foy at rue du Four, where Galle was given lodgings. In 1784 Galle married Foy’s daughter, Marie-Elizabeth. When, in 1788 Foy died, Galle was required to pay off the latter’s debts before he took over the workshop, which he built up into one the finest of its kind, eventually employing about 400 craftsmen. Galle moved the business to Quai de la Monnaie (renamed Quai de 1’Unité) and from 1805 operated from 60 Rue Vivienne, close to fellow fondeur, Pierre-Victor Ledure. From 1784 Galle began appearing in the trade registers; he became a maitre-fondeur in 1786 and in the same year received the first of many commissions from the Garde-Meuble to furnish the royal palaces. Among many contracts he gilded fine bronze mounts for the royal ébéniste, Guillaume Benneman. He also worked closely with others, gilding a number of fine bronzes for Pierre-Philippe Thomire, whose castings have often been confused with Galle’s, as they are so similar.
Like many, Galle suffered as a result of the Revolution though the situation dramatically improved when Napoleon came to power and regenerated interest in the arts. During the Consulate Galle was appointed an official supplier to the Garde-Meuble for which he was paid handsomely, receiving for instance 65,543 francs for bronzes at Saint-Cloud. He also supplied other palaces especially Les Trianons, Le Palais des Tuileries, Châteaux de Fontainebleau, Compiègne, Rambouillet and a number of the Italian palaces at Monte Cavallo Rome and Stupinigi near Turin. His commissions included numerous light fittings, figural clock cases, vases and other fine bronze furnishings.
Ingenuity and finesse were a hallmark of his work. Yet despite numerous important commissions Galle was often in debt. This was partly due to a lavish life style, for instance he owned several large properties as well as a fine collection of art. In addition many of his clients, such as Prince Joseph Napoleon, failed to pay him. After his death Feuchère and André Coquille assessed his stock and managed to retrieve his debts. Thus Galle’s business was reopened and prospered under the direction of his son, Gérard-Jean Galle (1788-1846).
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