Southern German, circa 1600

Convent in Lower Austria;
Dr. Albert Figdor Collection, Vienna, until 1930;
Georg Kronenbitter, until 1968;
Kunsthandlung Julius Böhler, 1968; 
Prof. Dr Joachim Wetsger, Berlin;
and thence by family descent;
Sotheby's London, 10 December 2004, lot 30;
private collection, Oslo, Norway

There are several replacements, including: the prickets, the drip pans, the Virgin's sceptres (back and front), the central rod, and the ceiling suspension applique. The upper branches below the Virgin are lighter in weight and appear to be replacements or at least modified; the terminals of these branches are certainly replaced. There is some evidence of drill holes which were made at the time the chandelier was electrified. One of the lions has been redrilled on the underside and a later screw attachment inserted. The angels' wings and the lion branch terminals have been counterstruck with numbers to help with locating the branches in the right order. Most of these changes would have been made in 1934 when the chandelier was restored. At this time a shellac lacquer was applied to the surface to even the colour of the bronze and prevent further tarnishing.
"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."

This opulent chandelier is illustrated in a photograph of Dr. Figdor's study in Vienna, which was reproduced as the frontispiece of the first volume of the sale catalogue from June 1930. Although apparently not included in the sale, the chandelier passed into the ownership of a Dr. Georg Kronenbitter. It was at this time that the later upper branches were removed, a new central rod inserted within, two sceptres created and the chandelier returned to its original state.

The chandelier follows in the tradition of the magnificent Gothic chandeliers which were produced in the Southern Netherlands and Southern Germany in the 15th century. Its composition, with the Virgin and Child atop the central section and candle-bearing angels adorning the branches, compares closely to one of the most illustrious examples from this period, the Kronleuchter in the Parish Church in Stans. Its figural style, however, places the present chandelier in late Renaissance Germany. The Virgin's beautifully rounded features and dynamic drapery are reminiscent of 16th-century South German goldsmiths' models, such as those by Wenzel Jamnitzer and Hans Kels (Hayward op. cit., figs 731 and 732). The Angels' extravagantly modelled wings, too, contrast with the more stylised figures in Gothic examples. Swirling decorations similar to those on the branches are found in a design for a fantastic chandelier by Christoph Jamnitzer from 1610 (Metropolitan Museum of Art, New York, inv. no. 2012.136.728), affirming the dating of the chandelier to around 1600. Like its Gothic predecessors, the chandelier would have been a costly commission, either for a church or as an impressive centrepiece in the home of a wealthy private citizen. 

RELATED LITERATURE
E. Meyer, 'Der gotische Kronleuchter in Stans', Festschrift Hans R. Hahnloser, Basel/Stuttgart, 1961, pp. 151-184; J.F. Hayward, Virtuoso Goldsmiths and the Triumph of Mannerism. 1540-1620, London, 1976