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拍品专文
This magnificent chandelier, equally refined as it is whimsical, is attributed to one of the premier families of bronziers of the late eighteenth and early nineteenth century, Claude Galle (1759-1815) and his son Gérard-Jean Galle (1788-1846). This chandelier hung in the center of the Getty’s sumptuous dining room. In Mrs. Getty’s infinite capacity for entertainment and understanding of Galle’s masterful design, she placed a Fabergé style goldfish in the center of the bowl, and as it glistened in the lights, it inspired guests below to imagine the suspended bowl filled with water (see The Ann and Gordon Getty Collection Volume 3, lot 432).
CLAUDE GALLE
Claude Galle’s humble origins did not predict his prestigious future as one of the most prolific and successful bronziers in France. Galle successfully delivered ormolu bronzes d’ameublement for the Garde-Meuble de la Couronne between 1785-88, notably for the Châteaux of Versailles and Saint-Cloud. After the Revolution, Galle supplied bronzes for the Imperial Court under Napoleon, in particular for the Châteaux de Saint-Cloud, Fontainebleau and Compiègne.
DESIGN SOURCES
The initial inspiration for the present lot very likely comes from the hot air balloon. This motif was popular in the late eighteenth century after the first hot air balloon took flight at Versailles on September 19th, 1783. Months later, a second balloon was launched from the Bois de Bolougne on November 21st, creating a public spectacle. This influence is seen in the overall form of the chandelier, with the celestial globe representing the balloon, suspending a vessel below like the passenger basket. The hot air balloon was the first critical step in the centuries-old quest for human flight and the development of aviation and represented innovation and progress.
In 1804, Napoleon I crowned himself Emperor of France. In his efforts to establish French Imperial grandeur, he looked to classical inspiration of ancient Greece and Rome as symbols of fortification and conquest. Motifs from these periods were popularized under the rule of Louis XVI, but under Napoleon, the a l’antique style developed even further as a result of Napoleon’s extensive international campaigns and archaeological excavations in Italy and Egypt. These new designs enlivened decorative arts and objects. Charles Percier (1764-1838) and Pierre François Léonard Fontaine (1762–1853) were among the most influential designers of this time. Their 1812 folio entitled Recueil de Decorations Interieures became the handbook for the Empire style. Percier and Fontaine served as official architects of the court of Napoleon, charged with renovating the decorations and furnishings of his many Royal residences. Their adaptation of ancient Egyptian and Pompeian ornament was masterful and certainly contributed to the spread of the a l’antique style, which stretched beyond the Napoleonic court across Europe, spreading to countries like Germany, Russia and England. The design illustrated here by Percier and Fontaine closely relates to the present lot, with similarly modeled outstretched griffins supporting candle arms, mounted around a central band. For another work in the Getty collection influenced by the ouevre of Percier and Fontaine see lot 29 in this sale.
GÉRARD-JEAN GALLE
Claude Galle’s eldest son, Gérard-Jean Galle, took over his studio at rue Vivienne in 1815 upon his death. As Gérard-Jean received his formal training in his father’s studio, it is equally likely he may have contributed to development of the design for this chandelier. In 1819, he participated in the Exposition des Produits de l’Industrie Française, where he showed a magnificient lustre à poisson or fish chandelier, nearly identical to the present lot. While he was awarded a silver medal at the exposition, commissions from the notable roster of clients he inherited had dwindled. He therefore made a desperate plea to the newly restored monarchy of King Louis XVIII for financial aid. Gérard-Jean made several attempts to sell this chandelier to the King, whose cabinet did not believe they could justify the extravagant purchase, but did name Galle Fournisseur de sa majesté in recognition of the quality of his work. Gérard-Jean wrote of displaying the chandelier at the exhibition, describing the massive vessel floating above ‘dont le mouvement continu [des poissons] récréé l’œil agréablement’, hoping the swimming fish would be amusing to the viewer, silent and resplendent.
Further examples of this rare model include one preserved in the Royal collections of Stockholm. (ill. M. Shapiro, “Monsieur Galle, Bronzier et Doreur”, The J. Paul Getty Museum Journal, volume 6-7, Malibu, 1979, p. 64, fig. 6) almost certainly acquired by the French-born Jean-Baptiste Bernadotte (1763-1844) who was established as King of Sweden in 1818; and one in the Getty Museum in Los Angeles (inv. 73.DH.76). Both of these chandeliers are attributed to Gérard-Jean Galle, based on the splendid model exhibited at the Exposition des Produits de l’Industrie Française. However, given the superb quality of the mounts and richness of the chasing on the chandelier offered here, it is conceivable that this example may have been produced in the Empire period by either Claude Galle or his son Gérard-Jean.
DAISY FELLOWES
The Hon. Daisy Fellowes (née Marguerite Séverine Philippine Decazes de Glücksberg, 1890-1962), was a renowned society figure and celebrated fashion icon and tastemaker. Her apartment at 69 rue de Lille was decorated by Georges Geffroy (1903-1971), the prominent Parisian society decorator, who designed the interiors for the Hôtel Lambert for Baron Alexis de Rédé in 1948 and also the renowned Parisian apartment of Loel and Gloria Guiness, later owned by Nelia Barletta de Cates at 18 Avenue Matignon, among many others. An avid collector of French furniture himself, Geffroy's personal collection contained pieces by Jacob, Weisweiler and Riesener, and other top makers. The rue de Lille apartment, which was purchased with her second husband Reginald Fellowes after the war, was a sumptuous assemblage of European furniture, European and Asian objets d'art, and paintings, see "Dernier regard sur l'hôtel particulier du faubourg Saint-Germain dans lequel régna l'Honorable Mrs. Reginald Fellowes," Connaissance des Arts, April 1977, pp. 86-93.
CLAUDE GALLE
Claude Galle’s humble origins did not predict his prestigious future as one of the most prolific and successful bronziers in France. Galle successfully delivered ormolu bronzes d’ameublement for the Garde-Meuble de la Couronne between 1785-88, notably for the Châteaux of Versailles and Saint-Cloud. After the Revolution, Galle supplied bronzes for the Imperial Court under Napoleon, in particular for the Châteaux de Saint-Cloud, Fontainebleau and Compiègne.
DESIGN SOURCES
The initial inspiration for the present lot very likely comes from the hot air balloon. This motif was popular in the late eighteenth century after the first hot air balloon took flight at Versailles on September 19th, 1783. Months later, a second balloon was launched from the Bois de Bolougne on November 21st, creating a public spectacle. This influence is seen in the overall form of the chandelier, with the celestial globe representing the balloon, suspending a vessel below like the passenger basket. The hot air balloon was the first critical step in the centuries-old quest for human flight and the development of aviation and represented innovation and progress.
In 1804, Napoleon I crowned himself Emperor of France. In his efforts to establish French Imperial grandeur, he looked to classical inspiration of ancient Greece and Rome as symbols of fortification and conquest. Motifs from these periods were popularized under the rule of Louis XVI, but under Napoleon, the a l’antique style developed even further as a result of Napoleon’s extensive international campaigns and archaeological excavations in Italy and Egypt. These new designs enlivened decorative arts and objects. Charles Percier (1764-1838) and Pierre François Léonard Fontaine (1762–1853) were among the most influential designers of this time. Their 1812 folio entitled Recueil de Decorations Interieures became the handbook for the Empire style. Percier and Fontaine served as official architects of the court of Napoleon, charged with renovating the decorations and furnishings of his many Royal residences. Their adaptation of ancient Egyptian and Pompeian ornament was masterful and certainly contributed to the spread of the a l’antique style, which stretched beyond the Napoleonic court across Europe, spreading to countries like Germany, Russia and England. The design illustrated here by Percier and Fontaine closely relates to the present lot, with similarly modeled outstretched griffins supporting candle arms, mounted around a central band. For another work in the Getty collection influenced by the ouevre of Percier and Fontaine see lot 29 in this sale.
GÉRARD-JEAN GALLE
Claude Galle’s eldest son, Gérard-Jean Galle, took over his studio at rue Vivienne in 1815 upon his death. As Gérard-Jean received his formal training in his father’s studio, it is equally likely he may have contributed to development of the design for this chandelier. In 1819, he participated in the Exposition des Produits de l’Industrie Française, where he showed a magnificient lustre à poisson or fish chandelier, nearly identical to the present lot. While he was awarded a silver medal at the exposition, commissions from the notable roster of clients he inherited had dwindled. He therefore made a desperate plea to the newly restored monarchy of King Louis XVIII for financial aid. Gérard-Jean made several attempts to sell this chandelier to the King, whose cabinet did not believe they could justify the extravagant purchase, but did name Galle Fournisseur de sa majesté in recognition of the quality of his work. Gérard-Jean wrote of displaying the chandelier at the exhibition, describing the massive vessel floating above ‘dont le mouvement continu [des poissons] récréé l’œil agréablement’, hoping the swimming fish would be amusing to the viewer, silent and resplendent.
Further examples of this rare model include one preserved in the Royal collections of Stockholm. (ill. M. Shapiro, “Monsieur Galle, Bronzier et Doreur”, The J. Paul Getty Museum Journal, volume 6-7, Malibu, 1979, p. 64, fig. 6) almost certainly acquired by the French-born Jean-Baptiste Bernadotte (1763-1844) who was established as King of Sweden in 1818; and one in the Getty Museum in Los Angeles (inv. 73.DH.76). Both of these chandeliers are attributed to Gérard-Jean Galle, based on the splendid model exhibited at the Exposition des Produits de l’Industrie Française. However, given the superb quality of the mounts and richness of the chasing on the chandelier offered here, it is conceivable that this example may have been produced in the Empire period by either Claude Galle or his son Gérard-Jean.
DAISY FELLOWES
The Hon. Daisy Fellowes (née Marguerite Séverine Philippine Decazes de Glücksberg, 1890-1962), was a renowned society figure and celebrated fashion icon and tastemaker. Her apartment at 69 rue de Lille was decorated by Georges Geffroy (1903-1971), the prominent Parisian society decorator, who designed the interiors for the Hôtel Lambert for Baron Alexis de Rédé in 1948 and also the renowned Parisian apartment of Loel and Gloria Guiness, later owned by Nelia Barletta de Cates at 18 Avenue Matignon, among many others. An avid collector of French furniture himself, Geffroy's personal collection contained pieces by Jacob, Weisweiler and Riesener, and other top makers. The rue de Lille apartment, which was purchased with her second husband Reginald Fellowes after the war, was a sumptuous assemblage of European furniture, European and Asian objets d'art, and paintings, see "Dernier regard sur l'hôtel particulier du faubourg Saint-Germain dans lequel régna l'Honorable Mrs. Reginald Fellowes," Connaissance des Arts, April 1977, pp. 86-93.