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Louis XVI Style Cage Chandelier Attributed to L'Escalier de Cristal, circa 1900
$51,166.76
£38,000
€44,810.21
CA$70,884.64
A$79,501.84
CHF 41,633.88
MX$966,024.91
NOK 528,680.58
SEK 501,226.44
DKK 334,484.81
About the Item
A fine Louis XVI style gilt-bronze and glass cage chandelier with applied porcelain flowers, attributed to L'Escalier de Cristal.
French, circa 1900.
Fitted internally with eleven light fitments.
This fine chandelier is of cage form with a beaded trellis frame and chains of faceted drops. The gilt-bronze frame embellished all over with white porcelain flowers in the manner of Meissen.
L'Escalier de Cristal (1802-1923) was established by Marie Jeanne Rosalie Désarnaud-Charpentier, the daughter of a goldsmith from Châlons-sur-Marne, when she opened her renowned boutique in the Galerie de Valois of the Palais Royal in 1802. There she specialised in objects of great technical and aesthetic innovation, many composed entirely of crystal and gold plated bronze. What the previous century had done incorporating porcelain into objects and furnishings, Mme Désarnaud-Charpentier did with crystal in the nineteenth. Sadly very few of these crystal furnishings survive with us today.
Mme Désarnaud-Charpentier's fame was secured by the success of her innovative suite of furniture at the 1819 exhibition of the Produits de l'industrie, where she was awarded a gold medal. This toilette suite was purchased following the exhibition by one of Escalier de Cristal's most famous patrons, the Duchess de Berry, Louis XVIII's niece, and was subsequently installed in her country residence, the Château de Rosny-sur-Seine.
This exhibition, followed on from her success at the Paris 1801 exhibition. The competitive character of the exhibitions led many manufactories and maisons de luxe to create objects of increasing daring and originality; despite this for the judges and visitors the technical innovation of Escalier de Cristal's creations would have been a revelation.
In 1840, Pierre-Isidore Lahoche acquired L'Escalier de Cristal; joined later by his cousin Emile-Augustin Pannier, the company would become in 1867 Lahoche, Pannier et Cie. At the end of 1872, Pierre-Isidore Lahoche retired from business leaving his son-in-law in charge of the company. The boutique moved to the centre of Paris, at the corner of rues Auber and Scribe, a few steps away from Opera Garnier.
By 1885 the company was known simply as Pannier et cie, managed by Georges and Henri Pannier, sons of Emile. Henri Pannier was the art director whereas Georges took care of the finances. In the last decades of the 19th century the company widened its repertoire to include exceptional furniture in Louis XV and Louis XVI revival styles and ground breaking works by designer-ornamentists such as Edouard Lièvre. In the tradition of the 17th and 18th century marchand-merciers, they would collaborate with the finest bronziers, ebenistes, lacquers and painters of the day creating objects of unparalleled luxury and embracing sophisticated modernist styles such as extreme oriental and japonisant.
The company won multiple awards and medals at national and international exhibitions, including bronze medals at the Universal Exhibitions in London in 1862, and in Paris in 1867 and 1878. They were awarded a gold medal at the 1900 Paris Exposition Universelle.
The firm will finally closed in 1923.
The large number of objects that remain today in the possession of European Royal households, that were made by Escalier de Cristal, attests to the success and reputation the company achieved. Pieces also remain in the collections of the Louvre and Musée D'Orsay.
Bibliography:
De Commines, Laurent & Gizard, Eric. Un Âge D'or Des Arts Décoratifs 1814-1848, Réunion des Musées Nationaux, (Paris), 1991.
- Attributed to:L'Escalier de Cristal (Manufacturer)
- Dimensions:Height: 44.49 in (113 cm)Diameter: 19.69 in (50 cm)
- Style:Louis XVI (In the Style Of)
- Materials and Techniques:
- Place of Origin:
- Period:
- Date of Manufacture:circa 1900
- Condition:
- Seller Location:Brighton, GB
- Reference Number:Seller: B717501stDibs: LU1028015592892
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The etymology of the word "crystal" has its origins in the Ancient Greek word for ice ‘krystallos’. Rock crystal which is always cool to the touch they considered to be ice permanently frozen by the Gods. For thousands of years Rock crystal has been prized for its beauty and remarkable ability to refract light. When cut and polished, the inherent striations and inclusions of the crystal create a refracted light richer in luminosity than that of manmade crystal or glass. These properties have made it highly desirable throughout history; its scarcity ensuring its use was limited to all but the most luxurious of decorative items.
Rock crystal is in reality a natural quartz, pure monocrystals of siliceous oxide. A material of exceptional hardness with indices of light refraction close to that of a diamond, quartz has been mined and worked since antiquity. In the Middle Ages, this rare material was used almost exclusively on religious objects. A prohibitively expensive material, Cristal de roche was first mined in France in small quantities in the 17th century and its rarity forced artisans to innovate.
The imitation of crystal began in Venice in the 15th century - the art of the glassmaker being to recreate the limpidity and luminosity of rock crystal. To do this, the glassmakers invented a 'crystal' made in reality of glass combined with a mixture of potassium, silicon, manganese and lead oxide heated to between 1200 and 1500 degrees. This crystal imitated rock crystal, although it displays a metallic colouring. This crystal de roche should not be confused with what is now called crystal. The latter was a development of 18th century Bohemia and, subsequently France with the Manufacture Royale de cristaux.
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