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拍品專文
These elegantly designed and finely executed ormolu candlesticks with removable candlebranches belong to a small group, all masterfully cast with great finesse between circa 1780 and 1785, almost certainly commissioned by the marchand mercier Dominique Daguerre, and attributed to the eminent bronzier François Rémond. Their delicate à l’antique form reflects the fashionable étrusque style promoted by the influential dessinateur Jean-Demosthène Dugourc (1749-1825).
Among the known examples of this model of candlestick, the only other examples to be supplied with removable candlebranches are those preserved at the White House in Washington D.C. is identical with this lot as it has retained its removable candle branches. The White House pair was incorporated into the American presidential collections in 1952, during Harry S. Truman's term of office. It was presented as a diplomatic gift from Vincent Auriol, then President of the French Republic. During Jacqueline Kennedy's tenure as First Lady, these candelabra were placed on the mantel of the Red Room fireplace, a position they have retained until the present presidency. The other known pairs are not fitted with branches and intended to be used solely as candlesticks. One pair was sold from the Estate of Nelson A. Rockefeller, former Vice-President of the United States, Sotheby’s, New York, 20 May, 2005, lots 29 and 30 (lot 30 was subsequently sold Sotheby’s, New York, 18 November 2010, lot 223), while a further pair was recorded in the collection of Ruth Leavitt, widow of the celebrated collector Robert Lehman.
The design of these candlesticks relates to the celebrated model with figural uprights by Dugourc featured in a drawing by him now preserved in the collections of the Musée des Arts Décoratifs in Paris (Inv. GF 21 n. 38.378). This drawing is part of an album comprising a series of furniture designs for both Madame Élisabeth and the Comte de Provence. The album is inscribed Dessin par J.D. Dugourc, architecte et dessinateur du Cabinet de Monsieur Frère du Roi. Paris. 1790.
FRANCOIS REMOND AND DOMINIQUE DAGUERRE
The delicate à l’antique detailing of these refined candlesticks, in particular the distinctive beaded swags beneath the capitals, are typical of the work of the ciseleur-doreur François Rémond. After an apprenticeship under the tutelage of the gilder Pierre-Antoine Vial, Rémond attained the rank of master on December 14, 1774. He worked mainly for the illustrious marchand-mercier Dominique Daguerre, who also collaborated with renowned cabinet-makers such as David Roentgen and Jean-Henri Riesener. Rémond enjoyed a distinguished private clientele, including Queen Marie-Antoinette, the Comte d'Artois, the Duc de Penthièvre and the Comte d'Adhémar. As for Dominique Daguerre, Simon-Philippe Poirier's successor as marchand-mercier, he specialized in selling luxury items to the court and, later, to the English aristocracy. In 1786, an exclusive contract with Josiah Wedgwood fleshed out his business, giving him exclusive rights to sell Wedgwood's creations in Paris. In the 1780s, Daguerre expanded his business by opening a shop in Piccadilly, London, where he supplied objets d'art to George, Prince of Wales, and his entourage, including the Duke of Bedford and Earl Spencer.
JEAN-DEMOSTHENE DUGOURC
Jean-Démosthène Dugourc (1749-1825) was appointed Architecte et Dessinateur du Cabinet de Monsieur, a title held by the Duc d'Orléans, brother of Louis XVI in 1780. The following year he distinguished himself with the creation of costumes and sets for the Royal Opera in Stockholm, and in 1783 received the title of Directeur des Costumes et Décors de l'Opéra in Paris. Promoted in 1784 to the position of Intendant des Bâtiments for the Duc d'Orléans, he later became Dessinateur au Garde Meuble de la Couronne. The Revolution forced him into exile in Spain, where he became royal architect in 1800. His return to France coincided with the restoration of the monarchy and the return of the Bourbons in 1815.
BARON ALPHONSE DE ROTHSCHILD AND THE CHATEAU DE FERRIERES
These candelabra may have been acquired by Baron James de Rothschild (1792-1868), founder of the French Rothschilds' art collections. James, the youngest of the family's five second-generation brothers, founded the MM de Rothschild Frères bank in Paris in 1817 and became the undisputed leader of the siblings after Nathan's death in London in 1836. His marriage to Betty, a woman of spirit and culture, in 1824, coincided with the purchase and refurbishment of his homes in and around Paris. Château de Ferrières, acquired in 1829, was transformed between 1853 and 1863 by architect Joseph Paxton. The interior decoration was entrusted to Eugène Lami, in close collaboration with Baroness Betty de Rothschild. Upon James’ death, Alphonse de Rothschild (1827-1905) inherited Château de Ferrières and the Parisian residence at 2 rue Saint-Florentin, where he had lived since 1857, the year of his marriage to his British cousin Leonora. The couple were avid collectors and enriched their collection with seventeenth-century Dutch and eighteenth-century French paintings, while paying particular attention to the decorative arts. This acquisition strategy is corroborated by the financial records of the French branch of the Rothschilds between 1870 and 1905, which attest that Alphonse, towards the end of his life, invested even more fervently in expanding his collection. On his death, his art collections were bequeathed to his son, Baron Edouard Alphonse James de Rothschild, who in turn passed them on to his own son, Baron Guy de Rothschild.
BARON GUY DE ROTHSCHILD'S COLLECTION AND THE HOTEL LAMBERT
Following the donation of the Château de Ferrières to the Universités de Paris, the pair of candelabras "aux coqs" continued to adorn the Guy de Rothschild collection, which was subsequently housed in the Hôtel Lambert, one of the most sumptuous private mansions in Paris. Designed by the architect Louis Le Vau and built between 1640 and 1644 for the financier Jean-Baptiste Lambert, and later completed by his brother, Nicolas Lambert, the Hôtel Lambert saw its interior decorations magnified by the hands of eminent painters of the time, such as Charles Le Brun and Eustache Le Sueur. In the 1740s, the Marquise du Châtelet and Voltaire, her illustrious lover, frequented the hotel during their stays in the capital, where the Marquise held her famous salon. Later, the hotel changed hands to belong to Claude Dupin and his wife, who perpetuated the salon tradition. Acquired in 1843 by a member of the Czartoryski family, the Hôtel Lambert became a hub for the political and artistic elite, welcoming such luminaries as Frédéric Chopin, Honoré de Balzac, Hector Berlioz, Franz Liszt and Eugène Delacroix, and where Chopin composed "La Polonaise" for the annual Polish ball.
In the 20th century, the Hôtel Lambert was divided into apartments, one of which was occupied by Mona von Bismarck and Baron Alexis de Redé, who, with the financial backing of Arturo Lopez-Wilshaw, commissioned decorators Georges Geffroy and Victor Grandpierre. The building became the scene of some of the century's most sumptuous soirées. In 1956, the Bal des Têtes, held in its salons, launched Yves Saint Laurent's career.
Among the known examples of this model of candlestick, the only other examples to be supplied with removable candlebranches are those preserved at the White House in Washington D.C. is identical with this lot as it has retained its removable candle branches. The White House pair was incorporated into the American presidential collections in 1952, during Harry S. Truman's term of office. It was presented as a diplomatic gift from Vincent Auriol, then President of the French Republic. During Jacqueline Kennedy's tenure as First Lady, these candelabra were placed on the mantel of the Red Room fireplace, a position they have retained until the present presidency. The other known pairs are not fitted with branches and intended to be used solely as candlesticks. One pair was sold from the Estate of Nelson A. Rockefeller, former Vice-President of the United States, Sotheby’s, New York, 20 May, 2005, lots 29 and 30 (lot 30 was subsequently sold Sotheby’s, New York, 18 November 2010, lot 223), while a further pair was recorded in the collection of Ruth Leavitt, widow of the celebrated collector Robert Lehman.
The design of these candlesticks relates to the celebrated model with figural uprights by Dugourc featured in a drawing by him now preserved in the collections of the Musée des Arts Décoratifs in Paris (Inv. GF 21 n. 38.378). This drawing is part of an album comprising a series of furniture designs for both Madame Élisabeth and the Comte de Provence. The album is inscribed Dessin par J.D. Dugourc, architecte et dessinateur du Cabinet de Monsieur Frère du Roi. Paris. 1790.
FRANCOIS REMOND AND DOMINIQUE DAGUERRE
The delicate à l’antique detailing of these refined candlesticks, in particular the distinctive beaded swags beneath the capitals, are typical of the work of the ciseleur-doreur François Rémond. After an apprenticeship under the tutelage of the gilder Pierre-Antoine Vial, Rémond attained the rank of master on December 14, 1774. He worked mainly for the illustrious marchand-mercier Dominique Daguerre, who also collaborated with renowned cabinet-makers such as David Roentgen and Jean-Henri Riesener. Rémond enjoyed a distinguished private clientele, including Queen Marie-Antoinette, the Comte d'Artois, the Duc de Penthièvre and the Comte d'Adhémar. As for Dominique Daguerre, Simon-Philippe Poirier's successor as marchand-mercier, he specialized in selling luxury items to the court and, later, to the English aristocracy. In 1786, an exclusive contract with Josiah Wedgwood fleshed out his business, giving him exclusive rights to sell Wedgwood's creations in Paris. In the 1780s, Daguerre expanded his business by opening a shop in Piccadilly, London, where he supplied objets d'art to George, Prince of Wales, and his entourage, including the Duke of Bedford and Earl Spencer.
JEAN-DEMOSTHENE DUGOURC
Jean-Démosthène Dugourc (1749-1825) was appointed Architecte et Dessinateur du Cabinet de Monsieur, a title held by the Duc d'Orléans, brother of Louis XVI in 1780. The following year he distinguished himself with the creation of costumes and sets for the Royal Opera in Stockholm, and in 1783 received the title of Directeur des Costumes et Décors de l'Opéra in Paris. Promoted in 1784 to the position of Intendant des Bâtiments for the Duc d'Orléans, he later became Dessinateur au Garde Meuble de la Couronne. The Revolution forced him into exile in Spain, where he became royal architect in 1800. His return to France coincided with the restoration of the monarchy and the return of the Bourbons in 1815.
BARON ALPHONSE DE ROTHSCHILD AND THE CHATEAU DE FERRIERES
These candelabra may have been acquired by Baron James de Rothschild (1792-1868), founder of the French Rothschilds' art collections. James, the youngest of the family's five second-generation brothers, founded the MM de Rothschild Frères bank in Paris in 1817 and became the undisputed leader of the siblings after Nathan's death in London in 1836. His marriage to Betty, a woman of spirit and culture, in 1824, coincided with the purchase and refurbishment of his homes in and around Paris. Château de Ferrières, acquired in 1829, was transformed between 1853 and 1863 by architect Joseph Paxton. The interior decoration was entrusted to Eugène Lami, in close collaboration with Baroness Betty de Rothschild. Upon James’ death, Alphonse de Rothschild (1827-1905) inherited Château de Ferrières and the Parisian residence at 2 rue Saint-Florentin, where he had lived since 1857, the year of his marriage to his British cousin Leonora. The couple were avid collectors and enriched their collection with seventeenth-century Dutch and eighteenth-century French paintings, while paying particular attention to the decorative arts. This acquisition strategy is corroborated by the financial records of the French branch of the Rothschilds between 1870 and 1905, which attest that Alphonse, towards the end of his life, invested even more fervently in expanding his collection. On his death, his art collections were bequeathed to his son, Baron Edouard Alphonse James de Rothschild, who in turn passed them on to his own son, Baron Guy de Rothschild.
BARON GUY DE ROTHSCHILD'S COLLECTION AND THE HOTEL LAMBERT
Following the donation of the Château de Ferrières to the Universités de Paris, the pair of candelabras "aux coqs" continued to adorn the Guy de Rothschild collection, which was subsequently housed in the Hôtel Lambert, one of the most sumptuous private mansions in Paris. Designed by the architect Louis Le Vau and built between 1640 and 1644 for the financier Jean-Baptiste Lambert, and later completed by his brother, Nicolas Lambert, the Hôtel Lambert saw its interior decorations magnified by the hands of eminent painters of the time, such as Charles Le Brun and Eustache Le Sueur. In the 1740s, the Marquise du Châtelet and Voltaire, her illustrious lover, frequented the hotel during their stays in the capital, where the Marquise held her famous salon. Later, the hotel changed hands to belong to Claude Dupin and his wife, who perpetuated the salon tradition. Acquired in 1843 by a member of the Czartoryski family, the Hôtel Lambert became a hub for the political and artistic elite, welcoming such luminaries as Frédéric Chopin, Honoré de Balzac, Hector Berlioz, Franz Liszt and Eugène Delacroix, and where Chopin composed "La Polonaise" for the annual Polish ball.
In the 20th century, the Hôtel Lambert was divided into apartments, one of which was occupied by Mona von Bismarck and Baron Alexis de Redé, who, with the financial backing of Arturo Lopez-Wilshaw, commissioned decorators Georges Geffroy and Victor Grandpierre. The building became the scene of some of the century's most sumptuous soirées. In 1956, the Bal des Têtes, held in its salons, launched Yves Saint Laurent's career.