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A magnificent pair of Louis XVI gilt bronze chenets attributed to Jean-Joseph de Saint-Germain, each surmounted by a part-fluted ewer, the handle divided at the top and issuing vine leaves, on a gadrooned cup and spreading circular domed foot cast with acanthus on a circular stop-fluted columnar plinth with an intricate fruiting vine frieze on a foot of ribbon-tied laurels on a square base, each ewer encircled by a rich fruiting vine swag that falls to the shaped horizontal support ornamented within beaded framed panels enclosing fruiting vines and rosettes, surmounted by two pinecone finials above tapering fluted legs
Paris, date circa 1770-75
Height 48 cm, length 50 cm. each.
Literature: Hans Ottomeyer and Peter Pröschel, “Vergoldete Bronzenâ€, 1986, p. 535, pl. 19, illustrating a one of a pair of very similar chenets by Jean-Joseph de Saint-Germain at Château de Fontainebleau.
The present pair of chenets bear a striking similarity with those by the eminent bronzier Jean-Joseph de Saint-Germain (1719-91) at Château de Fontainebleau. The latter differ in certain respects having a ribbon-tied quiver and flaming torch as well as a covered vase with pinecone finial in place of the present pinecones; in addition they have more curvaceous toupie feet and the foot of the ewer is simpler. However the close comparison between these works and those above combined with their quality, especially the naturalistically cast foliage and fruits implies an attribution to Saint-Germain.
Among other chenets of the same design as those at Fontainebleau is a pair in the Philadelphia Museum of Art (inv. 54-82, a and b) as well as a pair in the Wrightsman Collection in the Metropolitan Museum, (acquired in 1972 and thus not included in F. J. B. Watson’s book on the collection of 1966). Another pair with differing vases was deposited by the Mobilier National in the Palais d’Elysée formerly in possession of the Garde-Meuble de la Couronne during the eighteenth century, while another comparable pair was sold in the sale of Thomas P. Thorne of New York at Parke-Bernet, New York, 22nd April 1939, lot 56.
Joseph de Saint-Germain was one of the most esteemed Parisian fondeur-ciseleurs of his day, who though best known for his clock cases also executed a limited number of chenets, wall-lights (for instance those in the Schloss Charlottenburg, Berlin) and decorative mounts for porcelains (for instance an example in the Wrightsman Collection, Metropolitan Museum of Art). Interestingly he came from a furniture-making family; he was the son of the ébéniste, Joseph de Saint-Germain (maître 1750) and in turn married Anne Legrand (d. 1799), widow of the ébéniste, J. -P. Mathieu. Since his father specialised in the production of veneered clock and barometer cases, Jean-Joseph initially followed his father’s line before specialising in the production of bronze cases, having also worked for Claude-Joseph Desgodets (maître-ébéniste 1749) who specialised in making clock cases.
Though he practised from 1742 working ouvrier libre Saint-Germain was not received into the guild as a maître until 1748, but by that date he had already established his name as one of the finest and more innovative
bronziers. His earliest work was in the prevailing Louis XV Rococo style such as series of outstanding clock cases with elephants, rhinoceroses and other exotic beasts but as his career advanced he also began to play a leading role in determining the Neo-classical style. From about 1760 up until his retirement in 1776, St. Germain created a number of clock cases featuring the subject of learning, of which one can find examples in the Musée du Louvre, Paris, Calouste Gulbenkian in Lisbon and the Metropolitan Museum, New York.
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