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Lot Essay
The Second Empire was a period of major commercial and industrial growth in France. Impressed by his visit to the Great Exhibition at London's Crystal Palace in 1851, Emperor Napoleon III decided that France should organise an event to equal, if not better, that of London. The result was the Exposition Universelle held in Paris in 1855 which attracted more than five million people. It was followed in 1867 by another exhibition, the most splendid occasion of its kind yet, which boasted many royal visitors, including Tsar Alexander II of Russia, Emperor Franz Joseph of Austria, the Kings of Prussia, Greece, Portugal, Bavaria and Belgium, which prompted the Goncourts to remark that it was 'raining kings'. The success of these exhibitions, the royal presence at the inauguration of the Suez Canal, and the welcome extended to the Empress Eugénie in Constantinople and Cairo, all helped to open up the Near East to products of French art and industry, especially crystal wares. The Shah of Persia, the Sultan of Turkey and the Khedive of Egypt acquired huge chandeliers and candelabra such as the present lot, nothing being too large or too expensive for these Eastern rulers eager to transform their numerous residences into fairy palaces of light. The most extravagant of these was the Maharajah of Gwalior, who built a palace expressly for the purpose of housing a spectacular Baccarat chandelier known as the 'Hall Oriental'. When it was finally installed, the ceiling collapsed and the chandelier shattered. Undeterred, the Maharajah built another, sturdier palace, and had his heaviest elephant hoisted on the roof to test its strength, then ordered another chandelier.
Only three companies were able to create such over-sized pieces: Baccarat in France, Osler in Great Britain and Val-St-Lambert in Belgium. Baccarat is renowned for the high quality and extreme strength of its glass, enabling the Cristalleries to create pieces such as the spectacular pair of 17 feet 90-light candelabra exhibited at the 1855 Exposition Universelle which were awarded the Gold Medal. Although retailing ormolu-mounted items, Baccarat always commissioned the gilt-bronze components from the best bronziers, only the crystal elements being made and cut in house. Although unsigned and boasting Egyptian symbols, the quality of the carving on these particular bases may be attributed to a Parisian workshop.
The cut, quality and size of the crystal on the present lot suggests a Baccarat production. Several types of cut exist, depending on the complexity of the design: while 'flat cuts' were used in the 1840's and 50's, 'deep cuts' became increasingly popular in the last quarter of the 19th century.
Electricity was introduced to Cairo in 1889. It was most probably following this exciting event that these candelabra were created, allowing their owner to display his affluence and fashionable taste.
The base, which is inspired by Piranesi's engravings, depicts three symbols: the date palm, which was sacred to the sun-god Re and was regarded as his abode; the crescent moon and star, attributes and 'followers' of Isis and Osiris, the god of the dead; and a pyramid, probably The symbol of Egypt.
Only three companies were able to create such over-sized pieces: Baccarat in France, Osler in Great Britain and Val-St-Lambert in Belgium. Baccarat is renowned for the high quality and extreme strength of its glass, enabling the Cristalleries to create pieces such as the spectacular pair of 17 feet 90-light candelabra exhibited at the 1855 Exposition Universelle which were awarded the Gold Medal. Although retailing ormolu-mounted items, Baccarat always commissioned the gilt-bronze components from the best bronziers, only the crystal elements being made and cut in house. Although unsigned and boasting Egyptian symbols, the quality of the carving on these particular bases may be attributed to a Parisian workshop.
The cut, quality and size of the crystal on the present lot suggests a Baccarat production. Several types of cut exist, depending on the complexity of the design: while 'flat cuts' were used in the 1840's and 50's, 'deep cuts' became increasingly popular in the last quarter of the 19th century.
Electricity was introduced to Cairo in 1889. It was most probably following this exciting event that these candelabra were created, allowing their owner to display his affluence and fashionable taste.
The base, which is inspired by Piranesi's engravings, depicts three symbols: the date palm, which was sacred to the sun-god Re and was regarded as his abode; the crescent moon and star, attributes and 'followers' of Isis and Osiris, the god of the dead; and a pyramid, probably The symbol of Egypt.