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RICHARD REDDING ANTIQUES |
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RICHARD REDDING ANTIQUES |
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A superb pair of Louis XV gilt bronze three-light candelabra, each of asymmetrical scrolling form, with a central surmounting removable spiralling foliate and floral finial above intertwining sinuous scrolling branches of blown acanthus leaves supporting foliate cast drip-pans below foliate wrapped asymmetrical vase-shaped nozzles, the rocaille scrolling baluster-shaped stem enclosing shaped cartouches on a shaped circular foot chased with scrolled ribs Paris, date circa 1745-55 Height 43 cm. each. These magnificent candelabra typify the Rococo delight in sinuous and naturalistic asymmetrical lines in which form has almost been dissolved, the various parts seemingly merging into one another as through by some process of organic growth. In many respects the flattened or blown acanthus leaf candle branches as well as the naturalistic candle nozzles and their corresponding drip-pans can be compared with the work of François-Thomas Germain (1726-91), for instance a wall-light by the latter of 1756 now in the Palais Bernstorff, Copenhagen as well as another pair also of 1756 now in the J. P. Getty Museum, California (illustrated in Hans Ottomeyer and Peter Pröschel, “Vergoldete Bronzenâ€, 1986, p. 144, pl. 2.11.21 and p. 145, pl. 2.11.24). François-Thomas Germain was the fourth son of Thomas Germain (1673-1748) who was probably the finest Rococo silversmith and with Juste-Aurèle Meissonier (b. circa 1693 d. 1750) was one of the creators of that movement. Though predominantly a silversmith, F-T Germain also created bronzes d’ameublement for the royal household. The combination of the overt Rococo branches and the more restrained classical baluster stem and foot can also be compared with a four-light silver candelabrum by Claude II Ballin (1661-1754), made in Paris 1739-40 (illustrated in “Sotheby’s Concise Encyclopedia of Silverâ€, 1993, edited by Charles Truman, p. 94). In addition a pair of unattributed candelabra, baring the C-couronné poinçon (thus made between March 1745 and February 1749) in the Wrightsman Collection, the Metropolitan Museum of Art, New York is of similar overall form (illustrated in F. J. B. Watson, “The Wrightsman Collectionâ€, 1966, vol. II, p. 330, no. 161, A and B). |