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RICHARD REDDING ANTIQUES |
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RICHARD REDDING ANTIQUES |
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A very fine pair of Empire gilt bronze five-light wall-lights attributed to Claude Galle, each surmounted by a pair of ribbon tied loops above a pair of pipes and a winged putto supporting on its shoulders a pair of tapering scrolled branches with circular nozzles above a pair of arrow quivers and a tapering shaft issuing three Egyptian style foliate wrapped scrolled branches terminating in circular drip-pans and flame cast nozzles, the shaft with foliate cast rings connected by a tied ribbon, terminating in a stiff-leaf and foliate boss Paris, date circa 1811 Height 50 cm, width 42 cm, depth 21 cm. each. Literature: Denise Ledoux-Lebard, “Versailles, Petit Trianon, Le Mobilier des Inventaires de 1807, 1810 et 1839”, 1989, p. 142, pl. 1614, illustrating a similar pair of four light wall-lights by Claude Galle in the Petit Trianon at Versailles described as ‘d’une série de quatre bras de lumière dorés or mat à décors d’enfant et guirlande de fleurettes, à deux lumières, livrées par Galle le 23 juillet 1811 (M. V. Inv. T583).” As one of the leading bronziers of his day and as a supplier to the Garde-Meuble Claude Galle (1759-1815) created numerous gilt bronzes for the Royal and subsequently Imperial household, not least wall-lights of similar design, which were delivered to the Boudoir of the Petit Trianon in 1811. Born at Villepreux near Versailles, Galle moved during his youth to Paris to begin an apprenticeship under the fondeur, Pierre Foy at rue du Four. In 1784 Galle married Foy’s daughter, Marie-Elizabeth. When Foy died in 1788 Galle was required to pay off the elder’s debts before taking 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 and also collaborated with Pierre-Philippe Thomire, whose castings have often been confused with Galle’s. 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 as well as 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). In addition to those already mentioned Galle’s work can be found among other of the world’s finest collections including the Musée National de Chateau de Malmaison, the Musée Marmottan in Paris, the Museo de Reloges at Jerez de la Frontera, the Residenz Munich and the Victoria and Albert Museum in London. |