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Lot Essay
These vases were almost certainly produced by one of the finest bronzier workshops of Paris. However, several elements of their design set them apart from the many other French pieces of superb quality. Specifically these are the waterfall or grotto frieze and the two curious water nymphs. Yet it is not only these distinctive motives - but also the combination of so many elements into this especially rich surface decoration that would have made these vases appeal to the Russian market. It is all of these characteristics that link the present lot to other objects that were both produced in France for the Russian market and to those gilt-bronze works that were made by Russian and foreign craftsmen working in Russia.
There is a group of closely related Russian vases that were strongly influenced by the work of Claude Galle. As there was a Russian embargo on French gilt-bronzes and clocks, Russian workshops not only had to come up with their own designs but also produce metalwork that would satisfy their clients used to the best Parisian productions. These related vases, attributed to Friedrich Bergenfeldt (1768-1822), the celebrated Russian bronzier working in St. Petersburg, originate from an 1802 drawing by Ande Voronikhin (1760-1814), probably Count A.S. Stroganov's illegitimate son.
The only vase signed by Bergenfeldt, and the basis upon which the remaining vases in the group are attributed, is the one sold by Christie's New York, 26 October 2001, lot 298. The others include a pair recorded in the collections of the Hermitage in the first half of the 19th century; another pair, possibly the latter, exhibited by Ariane Dandois in L'Empire Travers l'Europe, exh. cat., Paris, 2000, no. 22; a pair formerly in the collections of the counts Bobrinski (illustrated in I. Sytchev, 'Friedrich Bergenfeldt, an Unknown Russian Bronzier', Russian Jeweler, No. 1, 1998, p. 31); and a pair in the Palazzo Pitti, Florence (see M. Chiarini and S. Padovani, Gli Appartamenti Reali di Palazzo Pitti, Florence, 1993, p. 229, fig. II.36).
Related vases with many of the same elements, attributed to Claude Galle, but possibly also by Bergenfeldt, are in the collections of the Villa Hardt, Eltville, Schloss Ludwigsburg and the Musée Massena, Nizza (see H. Ottomeyer and P. Pröschel et al., Vergoldete Bronzen, vol. I, Munich, 1986, p. 365, fig. 5.12.11).
While all of these vases share many of the same decorative elements, not a single one of them is identical. The present pair either slightly pre-dates the Russian group, or is contemporary. Interestingly, they are the only models with the alternating acanthus-leaf and anthemion spray collar at the base of the vase which is identical to the Voronikhin drawing.
Christie's is grateful to Yuna Zek, Curator of Decorative Bronzes at the State Hermitage Museum and Galerie Ariane Dandois for their research on Bergenfeldt, Voronikhin and this model of vase.
There is a group of closely related Russian vases that were strongly influenced by the work of Claude Galle. As there was a Russian embargo on French gilt-bronzes and clocks, Russian workshops not only had to come up with their own designs but also produce metalwork that would satisfy their clients used to the best Parisian productions. These related vases, attributed to Friedrich Bergenfeldt (1768-1822), the celebrated Russian bronzier working in St. Petersburg, originate from an 1802 drawing by Ande Voronikhin (1760-1814), probably Count A.S. Stroganov's illegitimate son.
The only vase signed by Bergenfeldt, and the basis upon which the remaining vases in the group are attributed, is the one sold by Christie's New York, 26 October 2001, lot 298. The others include a pair recorded in the collections of the Hermitage in the first half of the 19th century; another pair, possibly the latter, exhibited by Ariane Dandois in L'Empire Travers l'Europe, exh. cat., Paris, 2000, no. 22; a pair formerly in the collections of the counts Bobrinski (illustrated in I. Sytchev, 'Friedrich Bergenfeldt, an Unknown Russian Bronzier', Russian Jeweler, No. 1, 1998, p. 31); and a pair in the Palazzo Pitti, Florence (see M. Chiarini and S. Padovani, Gli Appartamenti Reali di Palazzo Pitti, Florence, 1993, p. 229, fig. II.36).
Related vases with many of the same elements, attributed to Claude Galle, but possibly also by Bergenfeldt, are in the collections of the Villa Hardt, Eltville, Schloss Ludwigsburg and the Musée Massena, Nizza (see H. Ottomeyer and P. Pröschel et al., Vergoldete Bronzen, vol. I, Munich, 1986, p. 365, fig. 5.12.11).
While all of these vases share many of the same decorative elements, not a single one of them is identical. The present pair either slightly pre-dates the Russian group, or is contemporary. Interestingly, they are the only models with the alternating acanthus-leaf and anthemion spray collar at the base of the vase which is identical to the Voronikhin drawing.
Christie's is grateful to Yuna Zek, Curator of Decorative Bronzes at the State Hermitage Museum and Galerie Ariane Dandois for their research on Bergenfeldt, Voronikhin and this model of vase.