A pair of gilt-bronze and patinated bronze hard-paste porcelain–mounted candelabra attributed to Pierre-Philippe Thomire (1751-1843), the porcelain attributed to Piat-Joseph Sauvage (1744-1818), Louis XVI, circa 1790

each with a female figure in a Nemes (Egyptian headdress) supporting a stylised basket issuing flowers and arabesques linked by chains, the five candlebranches surmounted by open-winged eagles centred by a raised candle-nozzle on a triform base mounted with hard-paste porcelain decorated with a gold cameo after the Antique, one depicting a neo-classical maiden with instruments including a horn, harp and a wreathed trumpet, another with a bacchic neo-classical maiden with a ewer in one hand and cup in another flanked by a bunch of grapes and a thyrsus, another with a male figure in profile in drapery with a ewer in one hand and drinking vessel in another with a thyrsus, another with a neo-classical maiden in drapery holding a thyrsus flanked by a pair of crossed trumpets, each corner with a ram’s heads, on leaf cast paw feet

Acquired by Adrien Godard d’Aucour de Plancy (1778-1871), husband of Sophie-Dorothée Lebrun (1787-1851), daughter of Charles-François Lebrun (1739-1824), see fig. 1, Third Consul under the Consulat, duc de Plaisance and Prince Arch-Treasurer under the Empire, at château de Plancy, Aube France, photographed in situ on the mantelpiece in the salon de compagnie reproduced here in fig. 2.

 

In overall very good original condition. Good colour match with catalogue photograph. The quality of the casting and chasing is very good and so is the detail to the painted porcelain plaques on the base. They are an exceptional and rare model and good large size. There is some very minor surface dirt and verde gris on the bases which can easily be removed. There is an old break to the rinceaux beneath one candlearm which shows evidence of an old glue repair which would benefit from some resoldering. On the other candelabrum-one rinceaux has be resoldered to the candlearm and another candlearm appears to have a restored break but this has been well executed and is hardly noticeable.The foliate motif on the front of the headdress of one would benefit from the gilding being touched up. One of the porcelain plaques has a restored diagonal break but this has been well executed. There is a slight variation in the inverted bell section on the underside of both.
"In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective, qualified opinion. Prospective buyers should also refer to any Important Notices regarding this sale, which are printed in the Sale Catalogue.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD AS IS" IN ACCORDANCE WITH THE CONDITIONS OF BUSINESS PRINTED IN THE SALE CATALOGUE."

Comparative Literature:
Marie-France Dupuy-Baylet, L’heure le feu la lumière, les bronzes du mobilier national 1800-1870, Dijon, 2010, p. 145, no. 75.
El Palacio Real de Madrid, Monografias de Sitios Reales, Madrid, 1975, p. 109 and 111.
Philippe Seydoux, Châteaux et manoirs de Champagne, Paris, 1993.
G. de Plancy, Le marquisat de Plancy, Paris, 2005.
Pierre Verlet, Les Bronzes Dorés Français du XVIIIe siècle, Paris, 1987, p. 47, fig. 41.

This outstanding pair of candelabra nearly one metre in height are a very fine early example of the `goût d’Egypte’ style popularised by Baron Dominique Vivant Denon (1747-1825), which took its inspiration from Egyptian monuments and symbolism. They are exceptional both in terms of their design and execution with superbly cast and chased gilt-bronze and bronze mounts and expertly painted porcelain bases. The early dating of this pair of candelabra to the Louis XVI period, around 1790, which would at first sight appear to be Empire and early 19^th century, is consistent with an identical pair, circa 1790, which are recorded in the Spanish Royal Collection, now in the Throne Room in the Royal Palace in Madrid, illustrated El Palacio Real de Madrid, Monografias de Sitios Reales, op. cit., p. 109 and 111, reproduced here in fig. 3. The most distinctive elements on the offered pair of candelabra are the neo-Pompeiian porcelain plaques on the base decorated in imitation of antique cameos which are by Piat-Joseph Sauvage (1744-1818). Furthermore, there is a pair of candelabra in the Spanish Royal Collection signed and dated by Thomire in 1790 and 1791, however, these are only similar in terms of the triform base with ram's masks at the angles and a grisaille by Sauvage, reproduced here in fig. 4.

It is also worthwhile comparing the gilt-bronze ornamentation of the palmettes on the base of these candelabra to that on a Japanese lacquer commode and secrétaire à abattant attributed to Adam Weisweiler and Pierre-Philippe Thomire, possibly under the direction of Martin-Eloi Lignereux dated to the late 18^th century, which were sold lot 749, from the Collections of Lily and Edmond Safra, Vol. IV, Sotheby’s, New York, 19^th October 2011, which reinforces the early date of the offered pair of candelabra.

Other `Antique' scenes painted on porcelain by Sauvage depicted in a similar vein to those on this pair of candelabra include:

-an antique scene on a pair of vases manufactured by Lefebre, Paris circa 1810, (Private Collection)

-a pair of vases decorated by Sauvage with the `Triumph of Augustus and Alexandre', in Paris porcelain, circa 1810, (Private Collection).

-a secrétaire attributed to Weisweiler decorated with porcelain plaques by Dihl and Guérhard with a central medallion depicting en camieau `The Triumph of Ceres’ by Sauvage acquired in Paris between 1805 and 1807 by Queen Marie-Louise of Spain, in the Palacio de Oriente, Madrid, reproduced here in  fig. 5. 

Charles-François Lebrun (1739-1824):
He was the 4th son of Paul Lebrun, a minor landowner and Louise le Cronier. Charles studied at the College of Coutances, then the College of Grassin, part of the old University of Paris. After discovering the writings of Montesquieu, he fervently wanted to study the British constitution and embarked on a long sojourn most notably in Belgium, Holland and finally arriving in England in 1762. He attended sessions of the British Parliament, which he admired and wanted to adopt this system to his native France. On returning to France, he undertook his law studies under Professor Lorry who introduced him to the first President of the Paris Parliament, René Nicolas de Maupeou (1714-1792), who engaged him as a private tutor for his son. Maupeou was appointed chancellor in 1768, which gave Lebrun the opportunity to shine and it was was always said “What would be Maupeou without Lebrun?” Thanks to the minister’s goodwill, Lebrun was appointed official censor for the King in 1765, a position that rewarded him well and three years later, he became Inspector General of the Domains of the Crown. Lebrun married Anne Delagoutte and had a son called Anne Charles Lebrun (1775-1859). He held many political positions from 1789 -1795.

Napoleon appointed him Arch-Treasurer of the French Empire in 1804 and gave him the Great Eagle (the highest rank) of the Legion of Honour on February 2nd 1805 and Lebrun also received the title of Duc of Plaisance in 1806. In 1807, Lebrun participated in the creation of the Cour des Comptes (general auditing office). After the Empire, Louis XVIII made him a Peer of France but during the subsequent Hundred Days he accepted from Napoleon the post of grand maître de l'Université. As a consequence, he was suspended from the peerage when the Bourbons returned again in 1815. He then retreated to his residence in Sainte-Mesme and died at the age of 85 and was buried at the Père Lachaise Cemetery.

The Godard d’Aucour de Plancy family:

The family maintained a high profile during the Consulat and the First Empire which is the reason why the château de Plancy is endowed with many works of art from this period and personal souvenirs of Jerome Bonaparte and Charles-Francois Lebrun (1739-1824), who was one of the three Consuls with Napoleon Bonaparte and Cambaceres (1753-1824) after Napoleon’s coup d’état. On 4th June 1764, Claude Godard d’Aucour (1716-1795) bought from François-Jean-Baptiste Moreau’s widow the seineury of Plancy. Unlike his ancestors, who preferred to live in the Saint-Just castle, Claude Godard d’Aucour and his wife settled in Plancy. They demolished the old medieval castle and built a large, elegant and bright manor on the former’s foundations. It remained unfinished due to the French Revolution.

Adrien Godard d’Aucour de Plancy (1778-1871):
He was born in 1778 and his grandfather, Claude Godard (1716-1795), was a food supplier to the French troops and also a literary man. In 1742, he wrote “Themidore and Turkish memoirs” and other books earning a large fortune and married Claire Poisson, a distant cousin of Madame de Pompadour.  When his grandfather died, Adrien inherited the entire family fortune, including a private hôtel in rue Vivienne in Paris, a castle in Ivry-sur-Seine, the Plancy land in Arcy-sur-Aube and plenty of other domains and farms in the Champagne region.

He studied at the military school of Rebais (Seine-et-Marne département).  In 1802, when Adrien was 24 years old, he married Sophie-Dorothée Lebrun (1787-1851), Charles-François Lebrun’s daughter. Adrien wanted to join the civil service and was appointed sub-prefect in Soissons in September 1804. On 14^th May 1805, he was appointed prefect of the Doire département and prefect of the Nièvre département on May 30^th 1808. On 28^th May 1809, he was also appointed Comte of the Empire and on 4^th December 1810, he became prefect of the Seine-et-Marne département and Chevalier of the Légion d’Honneur in 1811. He wrote his memoirs in 1845 and died in his castle on 5^th September 1871. His memoirs, Les Souvenirs du Comte Adrien de Plancy, were published in 1904 thanks to his grandson, the Baron Georges de Plancy, former Consul in Seoul, and Frédéric Masson, a member of the Académie Française, who wrote the preface.  

Piat-Joseph Sauvage (1744-1818):
This talented painter was born in Tournai on 19^th January 1744 and became a pupil of A.F. Gilles and R. Malaine, and then went to Antwerp to perfect his painting technique where he had M. Gaeraerts and G. van Spaendonck as masters. He chiefly painted `grisailles’ either portraits in profile or genre subjects, usually mythological in miniature imitating cameos and also in oils. He also painted on porcelain and enamel  and was ` the master of the miniature in `grisaille’. ‘ His miniatures were often used to decorate the sides of beautiful `boîtes à cages’. Most of the French collections and many foreign ones as well as numerous museums contain works by Sauvage. He became painter to the Netherlandish court in 1774 and in the same year he moved to Paris, where he became a member of the Académie Royale (1783) and court painter to the Prince du Condé and to Louis XVI where he remained until 1808. He became a member of the Academy of Lille and Toulouse in 1776 and about at the same time the Academy of St. Luc.  He also took part in the Salon de la Correspondence in 1783. He returned frequently to Flanders, where he was engaged in buying pictures for the Comte D' Angiviller in 1785-86. He joined the side of the Revolutionaries in around 1789, was allowed a studio in the Louvre and in 1795, commanded a battalion of the Parisian National Guard. In 1808 he returned to Tournai, where he became a teacher at the Academy.  His decorations still exist at the Châteaux of Compiègne (1785), Rambouillet (1786-87) and Fontainebleau (1786). Several of his portraits, including that of William Beckford, were engraved.

Pierre-Philippe Thomire (1751-1843):
He was the most celebrated bronzier in addition to Pierre Gouthière during the reign of Louis XVI. Thomire was the son of a ciseleur but also received training under the sculptors A. Pajou (1730-1809) and J.-A. Houdon (1741-1828) and he cast bronze portrait busts for both. Thomire was a pupil at the Académie de Saint-Luc. He was already working for the Royal family by 1775 and collaborated with Jean-Louis Prieur ciseleur et doreur du Roi, on the bronze mounts for the coronation coach of Louis XVI. He set up his own atelier the following year and in 1783, Thomire was appointed as the modeller to the Manufacture de Sèvres, succeeding Jean-Claude Duplessis. He cast and chased bronzes the following year, which were designed by the sculptor, L.-S Boizot, for a monumental vase in dark blue porcelain intended for the Musée Centrale des Arts, which is now in the Louvre.

During the Napoleonic period he was still working for Sèvres. In the accounts of the Garde-Meuble de la Couronne, his name appears frequently from 1784 as a maker of furniture mounts. He also collaborated in particular with Beneman on some pieces made for the Crown aswell as Boulard and others, on a large screen made for Louis XVI’s bedchamber at Compiègne in 1786 (now in the Louvre). He was also well known for bronzes d’ameublement such as the two sets of chenets for Marie-Antoinette’s apartments at Versailles in 1786 (now in the Louvre cat. nos. 369 and 370) and the set of wall lights for Compiègne in 1787 (four are now in the Wallace Collection, London, Cat. Nos. 366-369 and two at Waddesdon Manor).

Additionally he made chimney mounts for Thierry de Ville d’Avray, the contrôleur-général des Meubles de la Couronne. He also undertook other commissions for example, he executed for the City of Paris in 1785, a set of monumental candelabra for presentation to General Lafayette to celebrate the Declaration of Independence. His other patrons included the Comte d’Artois, for furnishings for the château de Bagatelle.

During the Revolution, his atelier was used for the production of arms, but in 1804 he reverted to his former profession when he acquired the premises and business of the marchand-mercier Martin Éloi-Lignereux, the former partner and successor to Dominique Daguerre. His business flourished during the Empire period, and was renamed Thomire, Dutherme et Cie and in 1807, he is recorded as employing at least seven hundred workers and he enjoyed prestigious commissions from both the City of Paris and the Emperor including an important toilet service for presentation to Empress Marie-Louise on the occasion of her marriage and also the celebrated cradle for the Kind of Rome. He retired from business in 1823, and was awarded the Légion d’Honneur in 1834 and died in his 92^nd year.

His style is more purely neo-classical than Gouthière’s and he utilised motifs such as Victories, sphinxes and neo-classical incense burners quite early in his career. When he made mounts for the monumental Sèvres vase in 1783, he was already using the anthemion motif. During the Louis XVI period, he appears to have sometimes cast the works himself but at other times used fondeurs such as Forestier who also worked after models he provided. He is also recorded as gilding his own bronzes and sometimes employing others to do so, such as the fondeur-ciseleur Chaudron. His work pre-revolution is to be found in all the major collections including the Louvre, Versailles, Fontainebleau, Compiègne, the Pitti Palace, Florence and Wallace Collection, London and Waddesdon Manor, Hertfordshire.