A PAIR OF EMPIRE ORMOLU AND PATINATED-BRONZE CHENETS

This lot is offered without reserve.

Bernard conceived a particularly exacting role for himself as an antique dealer, seeing himself as being given a mission to safeguard heritage. It is well known that he showed this taste for heritage through his contribution to the preservation of certain great historic mansions, but he satisfied it mostly through objects, those objects he knows how to discover and loves so much. He instinctively knows how to give them back their forgotten status. I like to cite as proof of this his recovery of two sculpted Renaissance doors which he had found abandoned, but which he sensed to be significant. And he was right. They had been known in the nineteenth century as having come from a house in Clermont-Ferrand built during the time Catherine de Médicis was a lady of Clermont. They had then lain forgotten before their identity was rediscovered by Bernard. He is also well known for having drawn attention back to such neglected areas as wood panelling. But finding objects is not enough for him; he likes to restore them. Dedicated to the training of restorers and the preservation of art-related professions, he founded several workshops in Saint-Ouen, constituting a veritable "manufacture des Gobelins", bringing together all the branches of the profession. Some restorers who were part of these workshops now work for national museums. Bernard also loves putting objects in situ. One cannot forget the amazing installations he created with such taste, at the Biennale or at Maastricht, whatever the size or shape of the space allotted to him. The "Steinitz style" is immediately identifiable. He also makes sure his objects are well cared for, carefully training the collectors who will ultimately receive them. Numerous objects have been donated to museums, a particular honour that illustrates so well his vocation as a protector of our national heritage. Through his generosity, Bernard has always wished, together with Simone, to share his discoveries with museum visitors. An example of this is their largesse towards the Department of Objets d'Art at the Louvre. I fondly remember the gifts the department received from Bernard and Simone. They were objects we had already tried or would have attempted to acquire. They mark out the department's rooms in chronological order: a silver goblet from the fourteenth century; an altar piece in enamel painted by M.D. Pape, from the mid-sixteenth century; the Clermont doors mentioned previously; a pair of silver candle holders by Pierre Masse, from 1664-1665, probably made for the Crown and stars of the 2000 Biennale; a pair of Sèvres porcelain "piédestaux à oignons" vases from 1756-1757; a clock made by the sculptor Jean-Louis Prieur; mobilier from the Gothic Salon of Marie d'Orleans at the Tuileries. To have such friends by one's side is very reassuring for a curator! Daniel Alcouffe, Honorary General Curator, Louvre Bernard a conçu son rôle d'antiquaire d'une façon particulièrement exigeante, en se considérant comme investi d'une mission de sauvegarde du patrimoine. Ce goût pour le patrimoine, on sait qu'il l'a manifesté en contribuant à la préservation de certaines grandes demeures historiques. Mais évidemment il l'a surtout assouvi dans le domaine des objets, de ces objets qu'il sait découvrir et qu'il aime tant. Il a su instinctivement rendre leur statut à des objets majeurs qui étaient oubliés. J'aime en citer pour preuve le sauvetage de deux portes sculptées de la Renaissance qu'il avait trouvées dans un état d'abandon mais qu'il devinait importantes. Il avait raison : elles avaient été célèbres au XIXème siècle, avaient été publiées alors comme provenant d'une maison de Clermont-Ferrand construite à l'époque où Catherine de Médicis était dame de Clermont, puis avaient perdu leur identité, qu'elles ont recouvrée grâce à Bernard. Il a réussi aussi à attirer l'attention sur des domaines négligés comme les boiseries. Mais il ne lui suffit pas de trouver les objets. Il aime les remettre en valeur. Préoccupé par la formation des restaurateurs et la préservation des métiers d'art, il avait fondé à Saint-Ouen des ateliers qui constituaient une véritable petite manufacture des Gobelins réunissant tous les corps de métier, une pépinière de restaurateurs dont certains travaillent maintenant au service des collections nationales. Il aime ensuite mettre les objets en situation. On ne peut oublier les ambiances qu'il crée, avec tant de goût, à la Biennale ou à Maastricht, quelle que soit la configuration de l'espace qui lui est imparti. On identifie immédiatement le " style Steinitz ". Enfin il assure le sort de ses objets en formant avec sollicitude des collectionneurs pour les recueillir. A nombre d'objets il a offert un destin particulier qui illustre au mieux sa vocation de protecteur du patrimoine: les musées. Homme fondamentalement généreux, Bernard a souvent souhaité, ainsi que Simone, partager ses découvertes avec les visiteurs de nos musées. Témoin leurs largesses à l'égard du département des Objets d'art au Louvre. C'est avec émotion que je rappelle les dons que le département a reçus de Bernard et Simone, dons qui portent tous sur des objets que nous avions ou que nous aurions cherché à acquérir. Ils jalonnent chronologiquement les salles du département: hanap en argent du XIVème siècle; retable en émail peint de M. D. Pape, du milieu du XVIème siècle; portes de Clermont déjà mentionnées; paire de flambeaux en argent de Pierre Masse, de 1664-1665, vraisemblablement exécutés pour la Couronne, vedettes de la Biennale de 2000; paire de vases " piédestaux à oignons " en porcelaine de Sèvres de 1756-1757; pendule Transition signée par le sculpteur Jean-Louis Prieur ; mobilier provenant du salon gothique de Marie d'Orléans aux Tuileries. Etre épaulé par de tels amis, quel réconfort pour un conservateur ! Daniel Alcouffe, Conservateur Général Honoraire au Musée du Louvre In my thirty-three year career, I have had the opportunity to meet and work with some of the most talented and exceptional people all over the world. In all of my travels and work, there is no one more talented than Bernard Steinitz, the most knowledgeable and dedicated antique expert, and truly one of the most caring and generous people I ever met or had the pleasure of working with. He is truly a treasure for preserving the cultural assets that will mean so much to many countries and future generations. I am deeply grateful for all the valuable advice and assistance he provided for the US Department of State's cultural assets in many countries and will always cherish the years I had the privilege of knowing and working with him. Sincerely, Vivien P. Woofter, Director Interiors and Furnishings Division Overseas Building operations US Department of State Bernard and Benjamin Steinitz, an interview duet Headed by Frangois Curiel, Chairman of Christie's Europe and Adrien Meyer, Director of Christie's France Furniture Department, all members of the international furniture team have worked closely with the family to select exceptional pieces reflecting the distinctive Steinitz taste. They sat down with Bernard and Benjamin to unlock the gate to the fascinating Steinitz dynasty. Christie's - How did you become an antique dealer? Bernard S. - Like all good questions, this one has no real answer: I didn't become an antique dealer, I was born one. Christie's - Despite that, there was an "official" debut. Bernard S. - That was in Dijon, where I opened my first shop. I loved silverware, and so did a colleague, and so I had to buy against him; these were my first professional competitors, followed by many others Christie's - Did someone give you a helping hand? Bernard S. - My memory must be failing me (laughter), but I don't remember anyone helping me; I feel like I'm self-taught and had to face the competition right from the beginning. Nothing's changed since then except that I'm older. Christie's - What's the aspect of your line of work that you like the most? Bernard S. - Without any doubt, the first encounter with a piece. From some of them emanates, and I say this seriously, a kind of vibration as if they were saying to me: "Look at me, you haven't quite understood me yet, look how fine I am". That's a magic moment that happens again and again and never wearies me. Christie's - Do you remember the first thing you bought? Bernard S. - Like I remember my first love! It was some chairs that I thought were Louis XV period but in actual fact dated from the 19th Century; I had even raved to my wife about how beautiful they were! (laughter) Christie's - Why is it that, since your beginnings, you have had such an interest in 18th Century furniture? Bernard S. - Because it was an extraordinary discovery for me. Passion became a profession, but I prefer to say it became an occupation. Christie's - Have you ever thought about going into partnership with other antique dealers? Bernard S. - Not really. Benjamin S. - I believe my parents share a very personal and atypical taste: through their objects they show who they are. Christie's - Apart from France, is there another country you enjoy working in, and if yes, why? Bernard S. - The whole world belongs to a real antique dealer. But some countries seem to me to have a more difficult approach. Benjamin S. - Nevertheless, travelling always has its positive side. In our line of work there is an aspect of the "hunt" and a hunter doesn't limit the range of his search. At times we even jump on a plane for a piece, even if it's thousands of kilometres away. Christie's - Do you see new talents appearing in the trade? Bernard S. - Several, and this creates healthy competition, in which we also see the auction houses taking part. Benjamin S. - People learn the trade, and the trade itself teaches people. The way of working changes too, the same way tastes do. What was fashionable yesterday, is no longer fashionable today, you discover new fields in which some people show themselves to have more talent than others. And other jobs for "lovers of things" spring up around that of the antique dealer: researchers, archivists and what would an antique dealer be without museum curators? Daniel Alcouffe (2), to name only one, gave us great help by doing a job that is actually not that different from ours: showing, introducing and getting people to like things Christie's - It's been said that you might open a new gallery Bernard S. - We aren't opening a new gallery, the same one will carry on, in France or abroad. Benjamin S. - I like that answer. Because what we show reflects only our own taste which has given us some success (laughter). A branch in London (Mount Street), the city which is, for us, a synonym of opening up, both towards America and towards Russia, will allow us to approach new enthusiasts. In the same way we take part in about ten exhibitions every year. Christie's - How did you manage to find your premises in Saint-Ouen? (1) Bernard S. - These warehouses found me: they belonged to a client who no longer used them, and from this was born the idea of creating studios for the restoration of works of art. That's how this marvellous experience began, which we intend to carry on: working together with people who are passionate about what they do. Christie's - If you had to choose one of your pieces to represent yourself, which one would it be? Bernard S. - But that would be like having to choose one of my children! I could never do that: all my objects are part of my life, part of their life overlapping with mine. So they all represent me. Christie's - How do you see the relationship between antique dealers and the auction houses? Bernard S. - Closely-related professions, possibly with some common ground; in any case we need each other. Competition - including yours - forces us to adapt and this is a good thing. Benjamin S. - I agree. We are still partners with the auction houses. Besides, doesn't this sale prove it? Thanks to you, we can demonstrate three aspects of our tastes in three different cities, and part of our stock, as this isn't about closing our business. Christie's - Why did you choose Christie's? Bernard S. - Maybe because of the patience you've shown with us (laughter)! Above all because of the love you show for the pieces. Christie's - How do you see the future of 18th Century furniture? Bernard S. - It has given many of us a living; some have disappeared, but others have taken their place; our line of work still has a lot of life left in it. Benjamin S. - That's true. There are cycles and fashions, differing according to the places concerned. Our trips give us the opportunity to gauge these and to get to know new collectors, who are often young. Christie's - What has been your finest discovery? Bernard and Benjamin S. (in chorus) - Obviously it's the one we'll make tomorrow! (1)District of the inner suburbs of Paris where the Flea Market is held, in the heart of which the Steinitz warehouses are situated. (2)Former Chief Curator of the Louvre Museum.

A PAIR OF EMPIRE ORMOLU AND PATINATED-BRONZE CHENETS

CIRCA 1810

Details

A PAIR OF EMPIRE ORMOLU AND PATINATED-BRONZE CHENETS
CIRCA 1810
Each with a classical maiden kneeling and holding a covered bowl, on a rectangular plinth with twist-fluted cones centered by a flower within scrolling acanthus, on a molded base
11 in. (28 cm.) high, 11 in. (28 cm.) wide, 5¾ in. (14.5 cm.) deep (2)

Special notice

This lot is offered without reserve.

Lot Essay

A pair of related chenets of slightly earlier date, with a similar motif of a kneeling classical maiden, at Pavlovsk Palace, St. Petersburg, is illustrated in E. Ducamp ed., Pavlovsk The Collections, Paris, 1993, p. 193, fig. 46.

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