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Lot Essay
These finely-chased candelabra were conceived for the display of the precious and rare Japanese porcelain figures of seated boys (magots) in Kakiemon colours. They were almost certainly conceived under the auspices of the marchand-mercier Dominique Daguerre (c.1740-1796), the inventor and dealer of luxurious furniture and ormolu-mounted objects, who supplied works of art to Louis XVI and Marie-Antoinette, their courtiers and members of the wider Royal family but also the Prince-Regent, later George IV. Daguerre worked closely with the most talented and highly regarded fondeurs and ciseleurs-doreurs of his time, and for the creation of these objets montees relied particularly on Philippe Thomire (1751-1843) and François Rémond (1747-1812).
DOMINIQUE DAGUERRE'S UNIQUE DESIGN
The intricate design for these delicate candelabra, conceived by Dominique Daguerre circa 1785-’90 specifically for the costly Japanese porcelain figures and apparently unique in his oeuvre, consists of a rounded plateau with a mille-raies motif and resting on short fluted and gadrooned feet; the twisted branches – emerging from an acanthus clasp above the base – terminate in highly unusual drippings and nozzles, some shaped like flowers resting on a lambrequin cushion. These branches relate to the acanthus and twisted supports of the ormolu-mounted jasper coupes from the collection of Leopoldine, Princesse Kinsky (d. 1794) now in Louvre, which Jean-Pierre Samoyault attributes to Thomire (‘L’appartement de la générale Bonaparte puis de l’impératrice Joséphine aux Tuileries’, Bulletin de la Société de l’histoire de l’art français, 1999 (2000), p. 228 et 240, fig. 21) and which were almost certainly purchased from Daguerre in 1786 for the considerable sum of 1440 L (2 coupes de jaspe [jade] montées sur 4 pieds de biche avec des anses torses en bronze doré d’or mat). After the death of the princess, they were in the bedchamber of Empress Josephine at the Palais des Tuileries (D. Alcouffe, Les bronzes d’ameublement du Louvre, Dijon, 2004, p. 227, cat. n° 114). Another close comparison can be seen between the present candelabra and a granite and porphyry vase in the Louvre, attributed to Thomire and supplied by Daguerre and Lignereux to the Comtesse du Barry in 1792, both embellished with a distinct acanthus clasp, similarly modelled and chased (inv. OA 6620).
Two further, extraordinary works of art with Royal provenances – again designed by Dominique Daguerre in the late 1780s – are closely related to the present ‘magots’ candelabra. Firstly, the majestic candelabra, with similar mille-raies borders, foliate clasps and gadrooned central support and feet, this time attributed to Thomire’s contemporary and rival, François Rémond, supplied in 1786 by Daguerre for the Salon des Nobles de la Reine at Versailles. These entered the Royal collection as No. 276; they were retained and are mentioned in 1809 in the 4th Salon of the Emperor (inv. GML 9078.1). Secondly, close links are apparent with the tripod vases on bases, again with distinct mille-raies borders to the bases, which were part of the ensemble of furniture and works of art supplied by Daguerre to the Prince Regent, later George IV, at Carlton House in the late 1780s / early 1790s. They are listed for the first time in 1807 (in the Blue Velvet Room) and currently part of the Royal Collection (inv. RCIN 237).
'MAGOTS' CANDELABRA IN 18TH CENTURY INVENTORIES
Among the most highly-prized Oriental works of art among European collectors, colourful ‘magots’ were already inset into gilt-bronze candelabra in France in the first half of the 18th Century. A pair are illustrated in a drawing of c 1740 of the mantelpiece of the Galerie des Conquetes of the château de Chantilly, country seat of the prince de Condé (RL 18.943). In the second half of the 18th Century they are listed in some of the most prestigious collection sales, including:
-Louise-Jeanne de Durfort, duchesse de Mazarin (d. 1781), sale Le Brun, Paris, 10 December 1781, lot 123 (610 L).
-Sir John Lambert (d. 1799), sale Le Brun, Paris, 27 March 1787, lot 160 (sold for 220 L to Daguerre, who probably designed these and therefore re-acquired them).
-The artist Jean-Baptiste-Pierre Lebrun (d. 1813), sale Le Brun, Paris, 11 April 1791, lot 691 (700 L).
The enormous sums these items commanded in their respective collection sales, proves again how desirable and highly regarded they were, not just for the ormolu mounts but also the porcelain figures which were appreciated for their rarity. Related unmounted figures feature in the collections of the Victoria and Albert Museum, London (FE.5-1982), Ashmolean Museum, Oxford (inv 1987.670) and Burghley House; a single figure was sold at Christie's, London, 16 mai 2012, lot 235. Whereas related examples, with early Louis XV ormolu bases and hats, include a pair formerly in the collection of Mr and Mrs Jack Linsky, New York, and a pair sold, Christie’s London, 11 May 2015, lot 16 (230,500 GBP).
DOMINIQUE DAGUERRE'S UNIQUE DESIGN
The intricate design for these delicate candelabra, conceived by Dominique Daguerre circa 1785-’90 specifically for the costly Japanese porcelain figures and apparently unique in his oeuvre, consists of a rounded plateau with a mille-raies motif and resting on short fluted and gadrooned feet; the twisted branches – emerging from an acanthus clasp above the base – terminate in highly unusual drippings and nozzles, some shaped like flowers resting on a lambrequin cushion. These branches relate to the acanthus and twisted supports of the ormolu-mounted jasper coupes from the collection of Leopoldine, Princesse Kinsky (d. 1794) now in Louvre, which Jean-Pierre Samoyault attributes to Thomire (‘L’appartement de la générale Bonaparte puis de l’impératrice Joséphine aux Tuileries’, Bulletin de la Société de l’histoire de l’art français, 1999 (2000), p. 228 et 240, fig. 21) and which were almost certainly purchased from Daguerre in 1786 for the considerable sum of 1440 L (2 coupes de jaspe [jade] montées sur 4 pieds de biche avec des anses torses en bronze doré d’or mat). After the death of the princess, they were in the bedchamber of Empress Josephine at the Palais des Tuileries (D. Alcouffe, Les bronzes d’ameublement du Louvre, Dijon, 2004, p. 227, cat. n° 114). Another close comparison can be seen between the present candelabra and a granite and porphyry vase in the Louvre, attributed to Thomire and supplied by Daguerre and Lignereux to the Comtesse du Barry in 1792, both embellished with a distinct acanthus clasp, similarly modelled and chased (inv. OA 6620).
Two further, extraordinary works of art with Royal provenances – again designed by Dominique Daguerre in the late 1780s – are closely related to the present ‘magots’ candelabra. Firstly, the majestic candelabra, with similar mille-raies borders, foliate clasps and gadrooned central support and feet, this time attributed to Thomire’s contemporary and rival, François Rémond, supplied in 1786 by Daguerre for the Salon des Nobles de la Reine at Versailles. These entered the Royal collection as No. 276; they were retained and are mentioned in 1809 in the 4th Salon of the Emperor (inv. GML 9078.1). Secondly, close links are apparent with the tripod vases on bases, again with distinct mille-raies borders to the bases, which were part of the ensemble of furniture and works of art supplied by Daguerre to the Prince Regent, later George IV, at Carlton House in the late 1780s / early 1790s. They are listed for the first time in 1807 (in the Blue Velvet Room) and currently part of the Royal Collection (inv. RCIN 237).
'MAGOTS' CANDELABRA IN 18TH CENTURY INVENTORIES
Among the most highly-prized Oriental works of art among European collectors, colourful ‘magots’ were already inset into gilt-bronze candelabra in France in the first half of the 18th Century. A pair are illustrated in a drawing of c 1740 of the mantelpiece of the Galerie des Conquetes of the château de Chantilly, country seat of the prince de Condé (RL 18.943). In the second half of the 18th Century they are listed in some of the most prestigious collection sales, including:
-Louise-Jeanne de Durfort, duchesse de Mazarin (d. 1781), sale Le Brun, Paris, 10 December 1781, lot 123 (610 L).
-Sir John Lambert (d. 1799), sale Le Brun, Paris, 27 March 1787, lot 160 (sold for 220 L to Daguerre, who probably designed these and therefore re-acquired them).
-The artist Jean-Baptiste-Pierre Lebrun (d. 1813), sale Le Brun, Paris, 11 April 1791, lot 691 (700 L).
The enormous sums these items commanded in their respective collection sales, proves again how desirable and highly regarded they were, not just for the ormolu mounts but also the porcelain figures which were appreciated for their rarity. Related unmounted figures feature in the collections of the Victoria and Albert Museum, London (FE.5-1982), Ashmolean Museum, Oxford (inv 1987.670) and Burghley House; a single figure was sold at Christie's, London, 16 mai 2012, lot 235. Whereas related examples, with early Louis XV ormolu bases and hats, include a pair formerly in the collection of Mr and Mrs Jack Linsky, New York, and a pair sold, Christie’s London, 11 May 2015, lot 16 (230,500 GBP).