A pair of neo-Greek candelabras
Height : 73 cm (28 3/4 in.) ; Diameter : 29 cm (11 1/2 in.)
A very fine pair of Greek style patinated and gilded bronze figural candelabras ; each presenting six light arms ornamented with ivy leaves and fine chains, supported by a grooved stem and a tripod base decorated with palmets, theater masks, lioness heads and paw feet.
Each candelabra is topped by a bronze figure standing on a capital, representing The Child and the Goose, a recurring theme in ancient statuary. The origin of this subject is a Hellenistic bronze work of the third century BC, reported by Pline (Natural History, Book XXXIV) and due to the Greek sculptor Boethos of Chalcedon. A famous Roman marble copy is now preserved in the Louvre museum.
Victor Paillard (1805-1886) was one of the most distinguished bronze casters in Paris during the second half of the 19th Century. He was taught chasing by Guillaume Denière (1815-1903), then opened in the 1830’s his own workshop making « Art bronzes and Furnishing bronzes », settled n°105 boulevard Beaumarchais in Paris. He executed first small objects, then cast statuettes, candelabra, clocks as well as impressive sized torcheres. He appeared to the public for the first time at the Industrial Products Exhibition of 1839 and worked for the greatest French sculptors, such as Pradier, Barye and Carrier-Belleuse. He exhibited extensively with great success being mentioned for the quality of his work at the famous 1851 and 1862 London Universal Exhibitions, and the 1855, 1867 and 1878 Universal Exhibitions then held in Paris. Paillard was there celebrated by everyone for the exceptional quality of his work. Appointed a Chevalier of the « Légion d’honneur » by the French Government, Paillard employed since the 1850’s a hundred workers and proposed to his wealthy clients about four hundreds models, cast in bronze not only after famous sculptors’ works, but also after his own creations. It is especially interesting that his « Cherub » figures, such as those ones presented here were particularly singled out for their charm and popularity by commentators at both the 1862 and 1867 Universal Exhibitions. Burney Waring noted that they portrayed the « happy and innocent moods of childhood ».