Lot Essay
The cypher is that of Augustus III (1696-1763), Elector of Saxony and, as Augustus II, King of Poland, who succeeded his father, Augustus the Strong in 1733 (see footnote to lot 260, The Patino Collection, Christie's, New York, October 28, 1986). Augustus the Strong, dubbed "the ever cheerful Man of Sin" by Thomas Carlyle, was a man of gargantuan sensuality. It was said that he kept of harem of beautiful women and the Margravine of Bayreuth calculated that at his death he left 354 bastards. Among his descendants were Louis XVI and George Sand. However it is perhaps as a patron of the arts that he is best known for he devoted much of his time to improving the city of Dresden and was instrumental in the development of the Meissen porcelain factory.
Following his father's example Augustus III continued to lavish large amounts of money on artistic commissions for Dreden. Indeed his father had written to Augustus in 1719, the year of his marriage, 'Princes win immortality through great building as well as great victories'. Of Augustus III it was said that 'He showed neither talent nor inclination for government (but) took great interest in music and painting'. Nancy Mitford's observations were more aceberbic: 'Historians look with no good eye on Augustus the Strong and his son Augustus III who between them reduced the rich state of Saxony to penury in order to satisfy their craving for works of art. Beautiful Dresden under their rule was the most civilized town in the Empire' (Frederick the Great, 1970, p.33).
Much of the existing silver in the Green Vaults was disposed of and new commissions, carried out on the orders of Count Bruhl, were given to Dresden silversmiths. Augustus the Stong, on the other hand, had patronized Augsburg makers almost exclusively (see Jean-Louis Sponsel, Das Grunegewolbe zu Dresden, 1928, vol. II, p. 127).
These candelabra are possibly part of the set of 'neu-faconnirte franzosische Tafel- und Giraldolen-Leuchter' commissioned from Ingermann in 1745 and made in the Dresden court silver manufactory (see Friedrich August O'Byrn, Die Hof-Silberkammer und die Hof-Kellerei zu Dresden, Dresden, 1880, p.130).
Another four candelabra from the same set, numbered 7-10, were presented to Baliol College, Oxford, by W.A. Coolidge in 1984. (We are indebted to Mr. E.L. Phillips for this reference). In this group, only number 7 is marked. Other pairs are in the Kunstgewerbemuseum, Berlin (see Staatliche Museum Preussicher Kulturbesitz, Katloge des Kunstgewervemuseums, Berlin, vol., IV, nos. 63, 13-14), and the Huelsmann Collection, Bielefeld (see Eurpaisches Kunsthandwerk, 1500-1800, Vermachtnis F.K.A./G.A.E Huelsmann, The Bielefeld Museum, 1985, p.210), while another pair, of which one is unmarked, was sold Christie's, New York, October 27, 1986, lot 465.
Six related candlesticks by Ingermann, presumably part of a set of thirty-six recorded by Rosenberg, also engraved with the cypher of Augustus III were sold by Sotheby's, Geneva, may 12, 1983, lot. 80. These are similar to a pair of four-light candelabra, by Ingermann, not engraved with the Royal cypher but perhaps a Royal commission, wihich are in the Thyssen-Bornemisza Collection (see Hannelore Muller, The Thyssen-Boremisza Collection: European Silver,1986, no. 75).
Following his father's example Augustus III continued to lavish large amounts of money on artistic commissions for Dreden. Indeed his father had written to Augustus in 1719, the year of his marriage, 'Princes win immortality through great building as well as great victories'. Of Augustus III it was said that 'He showed neither talent nor inclination for government (but) took great interest in music and painting'. Nancy Mitford's observations were more aceberbic: 'Historians look with no good eye on Augustus the Strong and his son Augustus III who between them reduced the rich state of Saxony to penury in order to satisfy their craving for works of art. Beautiful Dresden under their rule was the most civilized town in the Empire' (Frederick the Great, 1970, p.33).
Much of the existing silver in the Green Vaults was disposed of and new commissions, carried out on the orders of Count Bruhl, were given to Dresden silversmiths. Augustus the Stong, on the other hand, had patronized Augsburg makers almost exclusively (see Jean-Louis Sponsel, Das Grunegewolbe zu Dresden, 1928, vol. II, p. 127).
These candelabra are possibly part of the set of 'neu-faconnirte franzosische Tafel- und Giraldolen-Leuchter' commissioned from Ingermann in 1745 and made in the Dresden court silver manufactory (see Friedrich August O'Byrn, Die Hof-Silberkammer und die Hof-Kellerei zu Dresden, Dresden, 1880, p.130).
Another four candelabra from the same set, numbered 7-10, were presented to Baliol College, Oxford, by W.A. Coolidge in 1984. (We are indebted to Mr. E.L. Phillips for this reference). In this group, only number 7 is marked. Other pairs are in the Kunstgewerbemuseum, Berlin (see Staatliche Museum Preussicher Kulturbesitz, Katloge des Kunstgewervemuseums, Berlin, vol., IV, nos. 63, 13-14), and the Huelsmann Collection, Bielefeld (see Eurpaisches Kunsthandwerk, 1500-1800, Vermachtnis F.K.A./G.A.E Huelsmann, The Bielefeld Museum, 1985, p.210), while another pair, of which one is unmarked, was sold Christie's, New York, October 27, 1986, lot 465.
Six related candlesticks by Ingermann, presumably part of a set of thirty-six recorded by Rosenberg, also engraved with the cypher of Augustus III were sold by Sotheby's, Geneva, may 12, 1983, lot. 80. These are similar to a pair of four-light candelabra, by Ingermann, not engraved with the Royal cypher but perhaps a Royal commission, wihich are in the Thyssen-Bornemisza Collection (see Hannelore Muller, The Thyssen-Boremisza Collection: European Silver,1986, no. 75).