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Lot Essay
These impressive candelabra with their eclectic decorative vocabulary and combination of motifs, share similarities with a pair of candelabra from St. Petersburg, circa 1800, now conserved in the State Hermitage, illustrated in I. Sychev, Russian Bronze, Moscow, 2003, p. 78, and illustrated here. The same flattened berried laurel scrolls and animal heads, as well as the trio of griffin supports, are found on both the present pair and the St. Petersburg examples.
Increased demand for and interest in bronzes d'ameublement occurred in Russia with the growth of the nobility and consequential large scale construction of palaces in St Petersburg under the reign of Catherine II (1762-1796). This demand, coupled with the high costs of importing bronzes from France, encouraged the development of of indigenous skilled bronzemaking during the second half of the 18th Century. Prior to 1801, bronzemakers in Russia were largely German or Swedish. While enthusiasm for French designs became increasingly popular towards the end of the century, the opportunities for French bronziers to work in Russia and the regulations regarding the importation of French bronze goods were highly restrictive. Under Paul I (1796-1801) limits on trade with France were tightened, but had little effect on actually stopping imports as items were still smuggled. The start of the revolution in France resulted in a prohibition by Russia of all French goods, and laws enforced between 1793-1820 that prohibited the import of gilt bronze.
These restrictions were, on the one hand, an impediment to the first-hand study of fashionable objects, but on the other hand allowed local craftsmen to prosper. The eclectic combination of elements found on objects of this period, such as these candelabra, are attributable to this lack of imports from France, as craftsmen were inspired more by vague ideas of modern design vocabulary, including Egyptian and martial-inspired motifs, rather than many direct examples. Patination was also extensively used and continuously perfected during this period of development.
Russian bronzes of this period are rarely signed, despite the efforts of authorities to enforce marking of nationally-produced items. Local craftsmen did not push for recognition of their wares and in fact worked against these efforts, as they seemed to enjoy the possibility that their creations might be passed off as sophisticated and skilled French wares. (See ibid, pp.75-87).
ALBERTO BRUNO TEDESCHI
Alberto Bruni-Tedeschi (d.1996) was a wealthy industrialist and highly accomplished musical composer as well as a passionate art collector. In 1952 he bought the Castello di Castagneto in Po, near Turin, and spent the next three decades restoring and decorating it. Built to guard the region of Piedmont from invasion, it was first mentioned in historical records in the 11th century. Alberto bestowed tremendous effort into its refurbishment and embellishment and commissioned artisans to restore frescoes, craft panelling and hang paintings and tapestries. In 18th century taste, he decorated the music room with chinoiserie decoration. Precious artworks were scattered throughout the castle, including a medieval crucifix with a life-size Christ and an image of the Virgin by Renaissance sculptor Luca della Robbia. Bruni-Tedeschi amassed a tremendous variety of eclectic items beyond traditional paintings and objets d'art, including minatures, china, handkerchiefs and even flags. A number of other pieces in the sale come from this distinguished collection.
Increased demand for and interest in bronzes d'ameublement occurred in Russia with the growth of the nobility and consequential large scale construction of palaces in St Petersburg under the reign of Catherine II (1762-1796). This demand, coupled with the high costs of importing bronzes from France, encouraged the development of of indigenous skilled bronzemaking during the second half of the 18th Century. Prior to 1801, bronzemakers in Russia were largely German or Swedish. While enthusiasm for French designs became increasingly popular towards the end of the century, the opportunities for French bronziers to work in Russia and the regulations regarding the importation of French bronze goods were highly restrictive. Under Paul I (1796-1801) limits on trade with France were tightened, but had little effect on actually stopping imports as items were still smuggled. The start of the revolution in France resulted in a prohibition by Russia of all French goods, and laws enforced between 1793-1820 that prohibited the import of gilt bronze.
These restrictions were, on the one hand, an impediment to the first-hand study of fashionable objects, but on the other hand allowed local craftsmen to prosper. The eclectic combination of elements found on objects of this period, such as these candelabra, are attributable to this lack of imports from France, as craftsmen were inspired more by vague ideas of modern design vocabulary, including Egyptian and martial-inspired motifs, rather than many direct examples. Patination was also extensively used and continuously perfected during this period of development.
Russian bronzes of this period are rarely signed, despite the efforts of authorities to enforce marking of nationally-produced items. Local craftsmen did not push for recognition of their wares and in fact worked against these efforts, as they seemed to enjoy the possibility that their creations might be passed off as sophisticated and skilled French wares. (See ibid, pp.75-87).
ALBERTO BRUNO TEDESCHI
Alberto Bruni-Tedeschi (d.1996) was a wealthy industrialist and highly accomplished musical composer as well as a passionate art collector. In 1952 he bought the Castello di Castagneto in Po, near Turin, and spent the next three decades restoring and decorating it. Built to guard the region of Piedmont from invasion, it was first mentioned in historical records in the 11th century. Alberto bestowed tremendous effort into its refurbishment and embellishment and commissioned artisans to restore frescoes, craft panelling and hang paintings and tapestries. In 18th century taste, he decorated the music room with chinoiserie decoration. Precious artworks were scattered throughout the castle, including a medieval crucifix with a life-size Christ and an image of the Virgin by Renaissance sculptor Luca della Robbia. Bruni-Tedeschi amassed a tremendous variety of eclectic items beyond traditional paintings and objets d'art, including minatures, china, handkerchiefs and even flags. A number of other pieces in the sale come from this distinguished collection.