Torchere A. Carrier Albert Ernest Carrier Belleuse 19th Century Bronze

These figural torchères of Contrapposto^[LINK] classical maidens supporting candelabra embody the belle époque fashion for grand interior lighting and were conceived to flank an impressive staircase or doorway. They are reminiscent of the monumental figural torchères, also sculpted by Carrier-Belleuse^1 [LINK], and cast by Christofle for the Grand Stairway at the Opéra Garnier^[VIDEO], Paris and like them perfectly encapsulate the monumental opulence and artistic purpose of the travaux haussmanniens.

Crafted with meticulous precision and artistry, these monumental torchères emanate neoclassical grandeur^[LINK]. Each piece prominently features a full-length Classical female figure, masterfully sculpted from patinated bronze, embodying the spirit of ancient tales and timeless elegance. The beauty of her form is accentuated by intricately detailed draping robes, solidifying the piece's neoclassical essence. Their imposing stature ensures they command attention, transforming any spacious room into a bastion of opulence and allure. A remarkable embodiment of artistic finesse and mythical romance.

A simmilar pair was chosen to represent French design at the International Exposition of 1862 in London. Forty years later, the pair was purchased from a Paris dealer for the new home of Louis W. Hill (1872-1948), a prominent businessman and the son of Saint Paul railroad magnate James J. Hill. Louis Hill's Georgian Revival house at 260 Summit Avenue was built in 1903. Hill furnished the home as lavishly as his parents' famous mansion next door which, at the time of its completion, was the most expensive house ever built in Minnesota. These elegant torchères welcomed guests to the foyer until being moved into a ballroom added to the house in 1912. They remained in the family until a daughter donated them to the Institute in 1974

The Minneapolis Institute of Art - Torchère Albert-Ernest Carrier-Belleuse^[LINK]


A similar example of these candelabra (lot 18) was sold at Christie’s New York on the 13th April 2017 for 211,500 $.


Details:

^_> dated: second half of 19th century;

^_> material: figures ^_ dark brown patinated and partially gilded bronze / tops ^_ gilt-bronze / base ^_ wood;

^_> 10-candle candelabra;

^_> normal signs of wear and age;

^_> original patina and gilding;

^_> height: 265 cm;

^_> wooden pedestal height: 95 cm;

^_> base diameter: 42 cm;

^_> top diameter: 38 cm

 

 

Biography:
Carrier-Belleuse^{1 -} Albert-Ernest Carrier-Belleuse (born Albert-Ernest Carrier de Belleuse; 12 June 1824 – 4 June 1887) nick-named the Clodion of the 19th century, was a very prolific sculptor, treating his decorative objects and his portraits with equal naturalistic rigor, full of charm and life. He entered the Paris Fine-Arts school in 1840, where he studied sculpture under David d’Angers. From the early 1860’s, he won success with his sculptures presented at the French Artists Salon and particularly during the 1867 Salon, where he was awarded a Médaille d’Honneur  and the Légion d’honneur for his Messiah. The new Paris redesigned by the Baron Haussmann during Napoleon IIIrd’s reign, commissioned many of Carriere-Belleuse’s masterpieces: at the Louvre palace with the high-relief L’Abondance on the Flore Pavilion (1865), or the sumptuous decoration made for the most famous Parisian palace on the Champs-Elysées Avenue, owned by the Marchioness of Païva. But it is especially with the torcheres-statues of the large staircase of the Paris Opera House (1873), recently built by Charles Garnier, that Carrier-Belleuse meets a huge success with the Parisian public. In the catalogue of the 1878 Universal Exhibition an art critic praised Carrier-Belleuse and added: Even the English come from London to ask him to work for them.