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Lot Essay
The figures on these candelabra are identical to those found on a centerpiece signed Thomire & Cie. from the Wittelsbach collection, see H. Ottomeyer and P. Pröschel, et al., Vergoldete Bronzen, Munich, 1986, vol. I, p. 383, fig. 5.16.3. The model of the centerpiece was designed by Pierre-Paul Prud'hon (1758-1823) and sculpted by Henri-Victor Roguier (1758-1841), both of whom were among the most celebrated artists of the Empire period. Prud'hon and Roguier are known to have worked with Thomire on another occasion as they, along with the silversmith Jean-Baptiste Claude Odiot (1763-1850), collaborated on the Berceau du Roi de Rome; the cradle commissioned by the city of Paris for the birth of Napoleon's son in 1811.
Pierre-Philippe Thomire (1751-1843) studied under both the eighteenth century sculptors Pajou and Houdon and the bronzier Gouthière. But by the early nineteenth century he had become famous for his gilt-bronze furniture mounts, clocks, candelabra and other table decorations. Thomire was responsible for designing and fitting ormolu mounts at the Sèvres factory after Duplessis's death in 1783 and he frequently collaborated with Dominique Daguerre. During the early 1800s, he was quick to adapt to the new severely classical design vocabulary of the Empire, and was undoubtedly influenced by the work of the acclaimed court architect-designers Charles Percier and Pierre Fontaine. In 1809, Napoleon bestowed Thomire the title of Ciseleur de l'Empereur. His firm was one of the most successful of the Empire period although it continued well after his most famous patron Napoleon left France, even into the 1850's. From 1819 the company was known simply as Thomire & Compagnie.
Pierre-Philippe Thomire (1751-1843) studied under both the eighteenth century sculptors Pajou and Houdon and the bronzier Gouthière. But by the early nineteenth century he had become famous for his gilt-bronze furniture mounts, clocks, candelabra and other table decorations. Thomire was responsible for designing and fitting ormolu mounts at the Sèvres factory after Duplessis's death in 1783 and he frequently collaborated with Dominique Daguerre. During the early 1800s, he was quick to adapt to the new severely classical design vocabulary of the Empire, and was undoubtedly influenced by the work of the acclaimed court architect-designers Charles Percier and Pierre Fontaine. In 1809, Napoleon bestowed Thomire the title of Ciseleur de l'Empereur. His firm was one of the most successful of the Empire period although it continued well after his most famous patron Napoleon left France, even into the 1850's. From 1819 the company was known simply as Thomire & Compagnie.