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RICHARD REDDING ANTIQUES |
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RICHARD REDDING ANTIQUES |
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A large and important pair of Empire gilt bronze twelve-light candelabra by Pierre-Philippe Thomire, each stamped THOMIRE A PARIS, each surmounted by a central foliate-wrapped vase-shaped candle nozzle with circular drip-pan above two tiers of scrolled and foliate-wrapped candle branches terminated by fluted vase-shaped nozzles with circular drip-pans issuing from a fluted columnar stem terminated by lotus leaf motifs on a square stepped plinth decorated with relief-cast laurel wreaths and a stiff leaf cast edge Paris, date circa 1810-15 Height 116 cm, width 45 cm. each. Literature: Hans Ottomeyer and Peter Pröschel, “Vergoldete Bronzen”, 1986, p. 393, pl. 5.17.12, illustrating a similar candelabrum by Pierre-Philippe Thomire and supplied in 1837 to the Grand Trianon, Versailles. The related candelabrum by the same preeminent fondeur-ciseleur Pierre-Philippe Thomire (1751-1843), which was supplied in 1837 to the Grand Trianon, Versailles is of the same overall design as here but rests on tripod lion paw supports rather than a square plinth. Interestingly the decorative casting around its stem is far closer in design to another candelabrum in the Grand Trianon, supplied in 1837 by the bronzier Jean-François Denière (1774-1866) (illustrated in Ottomeyer and Pröschel ibid. p. 393, pl. 5.17.13). However the bold and restrained ornament of Thomire and Denière’s candelabra in the Grand Trianon relate to works of circa 1815 and thus it is possible that the dispatched candelabra may date from a slightly earlier production. The present candelabra also relate to a further pair, likewise signed Thomire à Paris, sold at Tajan 12th December 1995, lot 122 as well as another pair from the Royal House of Hanover Collection, Schloss Marienburg, sold by Sotheby’s London 5-15th October 2005, lot 1525. Born into a family of ciseleurs, Thomire began working with the renowned bronzier Pierre Gouthière (1732-1813) as well as Jean-Louis Prieur (b. 1725 d. after 1785) ciseleur-doreur du roi, before opening up his own workshop in 1776. Famed for his production of finely chased gilt bronze objets de luxe, of which a large quantity were commissioned by the royal household, Thomire frequently collaborated with the marchands-merciers, such as Simon-Philippe Poirier and his successor Dominique Daguerre. In addition Thomire supplied finely chased mounts to leading ébénistes of his day such as Guillaume Benneman (maître 1785, d. 1811) and Adam Weisweiler (1744-1820). Thomire also helped establish his name when working at the Sèvres Porcelain Manufactory, firstly as an assistant to its artistic director Jean-Claude Duplessis in making the factory’s mounts and then following the latter’s death in 1783, he took over Duplessis’s job and in this capacity supplied all the gilt bronze mounts for the factory’s porcelain. His post Revolutionary success somewhat eclipsed his fame during Louis XVI’s reign and in 1806 he became the first bronzier to be awarded a gold medal at the Exposition des Produits de l’Industrie. He won another gold medal in 1809, in which year he was also appointed ciseleur de l’Empereur. In response to growing demand Thomire became an associate and then in 1804 purchased the extensive business owned by Martin-Eloi Lignereux, the famous marchand-mercier, formerly associated with Daguerre. Soon his newly named company Thomire-Duterme et Cie was employing a work force of about 800; it had a workshop at rue Boucherat and a showroom at rue Taitbout, from where Thomire retailed a large range of decorative objects inspired by antiquity including candelabra, extravagant centrepieces, monumental Greek shaped urns and clock cases. Like many Parisian trades, the firm encountered financial difficulties due Napoleon’s continuing wars. Soon after 1815 the partnership with Duterme was dissolved and under its new style, Thomire et Cie thrived once more under the restored Bourbons. 1823 saw Thomire winning a gold medal for sculpture in Paris as well as his retirement from the firm though he continued to produce sculptures and regularly exhibited at the Paris Salon until 1834. His business was continued by his two sons-in-law up until 1852 though Thomire’s legacy has continued for much longer. |