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RICHARD REDDING ANTIQUES |
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RICHARD REDDING ANTIQUES |
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A magnificent large Eclectic style gilt bronze mounted crystal chandelier attributed to Alfred Beurdeley Fils, the baluster shaft surmounted by three crouching dragons amid crystal droplets, above three standing putti, one playing a drum, another a triangle and the third a horn above three branches of lights ornamented with six seated winged putti, their lower halves terminating in acanthus leaf scrolls, the main ring encrusted with pendant droplets, the shaft terminating in an acanthus finial below three crouching putti, fitted for electricity Paris, date circa 1875-90 Height 168 cm, diameter 110 cm. The combination of French 18th century figural designs, the overall ornamentation and profusion of crystal droplets, as well as the superior quality of this piece are typical of the work of Alfred Beurdeley fils (1847-1919), who with others such as Henry Dasson excelled at copying Louis XV and Louis XVI furniture and bronzes. The present piece compares with another chandelier by Alfred Beurdeley fils, (sold Paris, 19th and 22nd October 1897, lot 132), likewise composed of six branches, featuring three seated putti playing trumpets, each with heads and upper bodies lowered like caryatids and lower bodies transformed into acanthus scrolls. The latter, in Louis XVI style, was after a model in the Palais de Versailles. Alfred Beurdeley fils and his father, Alfred Beurdeley père (1808-82), were given access by the Garde-Meuble to the collections at Versailles, the Petit and Grande Trianons and the Louvre where they were allowed to make moulds and replicas of 18th century furnishings. Such copies were heralded by contemporary critics, who praised the quality of their craftsmanship as well wealthy collectors such as the Rothschilds, who were keen to recreate 18th century interiors. The 19th century witnessed a great revival of past historical styles but due to the inevitable shortage of original works, Beurdeley and others met the demand by recreating high quality revival pieces. The firm was one of the very finest Parisian ébénistes and bronziers of the day, whose quality of gilt bronze work is often indistinguishable from earlier prototypes. While some of the firm’s works were exact copies, others, such as we see here, combined elements from various past historical styles. For instance the dragons reflect the rococo style, in particular designs by J.-A. Meissonier, while the small putti in the style of Louis Prieur and Robert Osmond belong to the Louis XVI period, yet the overall style with its profuse ornamentation clearly belongs to the later 1800’s. The famous Beurdeley dynasty began with Jean Beurdeley (1772-1853) and was continued by his son and then grandson. After serving in the Napoleonic army, Jean opened a small antique shop in the Paris Marais district and in 1830 bought the Pavillon de Hanovre, 28 Blvd. des Italiens, which was to be the firm’s principal gallery until 1894. The business was expanded by his son Alfred Beurdeley père, who continued dealing in antiques and works of art and as a supreme ébéniste specialised in reproductions of 17th and 18th century furniture. His clients included Napoleon III and the Empress Eugénie. He was first assisted and then succeeded by his illegitimate son Alfred Beurdeley fils, who took over the workshop in 1875. The latter tended to specialise in luxury 18th century style furniture and bronzes and as one of the finest manufacturers of his day was awarded a gold medal at the Paris Exposition Universelle in 1878 and in 1893 was appointed a Chevalier de la Légion d’Honneur. The death of his wife in childbirth 1894 resulted in a dramatic change of direction. In 1875 Beurdeley retired; he closed down the Pavillon de Hanovre and began selling his vast stock of furniture and bronzes in a series of sales, 1895-1900. He also sold his impressive collection of 18th century French drawings in 1905, a fine collection of architectural drawings to the Stieglitz Museum and an enormous collection of Chinese porcelain in 1906 and spent his remaining years in pursuit of fine French 19th century drawings. |