Estimate

20.000 - 30.000

Session 1

24 June 2020

Hammer Price

Description

Raised, chiselled and gilt bronze
Foliage, flowers, putti and birds decoration
Inverted pine cone shaped finial of rose decoration
France, 19th century (2nd half)
(wired for electricity)

Height: 146 cm Diam.: 80 cm

Category

Objects

Additional Information

The surname Caffieri is linked to an important dynasty of Italian sculptors and bronze founders from Naples that, in the 18th century, worked for the French court.
Summoned by Cardinal Mazarin (1602-1661), Philippe Caffieri (1634-1716) travelled to France to assume the position of “Sculpteur du Roi”. Following his death, his son Jacques Caffieri (1678-1755), master “fondeur-ciseleur”, after his admission as sculptor at the Saint-Luc academy, continued his father’s work for the French Royal House, while simultaneously supplying various other patrons.
From his workshop at Rue des Canettes, Jacques produced in large quantity, mainly gilt bronze mounts for the furniture produced by the best Paris “ébenistes” and cabinet makers. A major example was the commode delivered in 1739 by Antoine-Robert Gaudreau, the “ébeniste du roi”, for Louis XV’s bedroom, that today belongs to the Wallace Collection.
This same museum has in its collection two large gilt bronze chandeliers that are signed and dated by Caffieri. The one with the date 1747 was a wedding gift from Louis XV to his daughter Marie Louise Élisabeth (1727-1759).
Compiled in the same year, his workshop inventory allows for the identification of the various clock cases he produced. Standing out from this list is the cartel clock with mechanism by Julien Le Roy, today at the Getty Museum. But his most recognizable work is the astronomical clock case made for Louis XV by C.-S. Passement and Dauthiau, that can still be seen at the King’s apartments at Versailles.
Unfortunately, some of his works have disappeared such as the enamel “toilette” set made for the Prince of Asturias. Similar fate had the six candelabra and large cross from Paris Notre Dame Cathedral main altar, lost during the Revolution, and similar to the ones still extant at Bayeux Cathedral.
The chandelier we are offering for sale is a version of the one Caffièri produced for the Château d'Anet, which was transferred to the Library Mazarine in Paris where it remains.
The fact that his pieces bear his signature has somehow maintained his work “alive” throughout the 19th century, making him a source of inspiration for various artists. And although the evident rococo taste of his pieces was subject to disapproval, he would eventually make it to the Encyclopædia Britannica in 1911.
Literature:
Pierre Verlet, "Les Bronzes dorés Français du XVIIIe Siècle", 1987, p. 288;
Hans Ottomeyer & Peter Pröschel, "Vergoldete Bronzen", Vol I, 1986, p. 137;