A GERMAN ROCOCO STYLE GILT-BRONZE AND BERLIN (K.P.M.) PORCELAIN TWENTY-ONE LIGHT CHANDELIER BASED ON A ROYAL MODEL THE GILT-BRONZE MAINLY 18TH CENTURY, THE PORCELAIN MAINLY LATE 19TH CENTURY WITH EARLIER ELEMENTS |

some flowers later and from different factories, some restoration and re-painting

Sotheby's New York, The Collection of Suzanne Saperstein, 19 April 2012, lot 70.

The ormolu with scattered areas of rubbing, traces of surface dirt and oxidation. The gilt-bronze ceiling cap of later date. The bronze and ormolu cage in good, solid and original condition. Porcelain the cherub figures: One cherub is overall restored, and a later replacement (hardly visible). One cherub with restored upper section of leafbranch (not visible). One cherub in good condition. The figures of fame: One figure with repair to feet (not visible). One figure with part of trumpet restored, further on in good condition. One figure with slightly different color, but believed to be 18th century as it derives from the same mould. The pineapple on top is probably a replacement of later date and with restoration to tips of leaves. The leaf section under the pineapple with minor firing cracks, tips of leaves restored and over-painted. Upper section under green leaves with small corner of acanthus leaves restored. The open worked middle section is a replacement of the 19th century with some minor repair and chips to flowers. The open worked lower section in good condition, the finial at the underside of later date. The majority of the flowerheads are 18th century, with some minor damage and/or chips, miniscule fitting and reattachments. Some minor repair to drip pans. Overall the chandelier is in good condition with some rubbing to gilding in places. Obviously the tole painted lightbulb holders and electricity have been fitted in the 20th century.
"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

Georg Lenz, Berliner Porzellan, die Manufaktur Friedrich des Grossen 1763-1786,  Berlin 1913, p. 25, ill. 104;
Kaiserlicher Kunstbesitz aus dem Holländischen Exil Haus (exh. cat.), Doorn, Berlin, 1991 for a discussion and illustration of the comparable chandelier by Pierre Geoffroy, p. 111, Cat. nr. 103. This impressive chandelier is based on a royal model from the first period of friderizianisches Rokoko from the celebrated Köningliche Porzellan Manufaktur (K.P.M.), considered the most beautiful Rococo porcelain produced in Germany. Two large 15 and 21 light chandeliers first appear on Christmas 1765 in the King's Privy Purse invoices, under acquisitions from the Porcelain Manufactory. The only known stamp on equivalent chandeliers belongs to Pierre Geoffroy, who headed the bronze workshop of the K.P.M. and died in 1765, which helps confirm a probable date of creation for the present model. In 1753, the bronzeur Pierre Geoffroy came to Potsdam from Paris to be employed in the Factory of Ormolu Works founded by Johann Melchior Kambly in 1752.

The porcelain figures of Fame and the cherubs in this chandelier are after a model by Friedrich Elias Meyer (1723-1785), who was the head of the figure making section of the Gotzkowsky Manufactory and who was appointed the "Directeur des Ornaments" of the Manufactory at the time of Frederick the Great. In the KPM book of models, which had been kept since 1763, the large crown chandeliers with the two figures of Fame are entered under Model number 111; One Fame, seated, holding the trumpet low drawn with B, and under Model number 173; two seated children on a case, were also used on the large 'Crown chandelier, one with A, one with B.

The frequent payments from the royal purse for the K.P.M. ‘crown’ chandeliers leads one to assume that such pieces were preferred gifts by Frederick the Great to other courts and the current lot is a testament of the lasting impression these spectaculars objects produced. The chandelier offered here is the same model as three chandeliers delivered to Potsdam (one now in Huis Doorn, Netherlands) and one given to Frederick the Great’s niece who married the Prince of Orange (now in Het Loo), although the porcelain seems to be produced in the late 19^th century, possibly using some old elements. It is interesting to note that there are archival references which mention the K.P.M. factory as having two 18^th century chandeliers of this model still in their inventory in the 19^th century (SPSG. The Archives of the Neues Palais, Postdam, Hist. Akten. Nr.264. fol.6 and fol.11, 1821). These might have been the basis for K.P.M. re-issuing a few examples of the model in the late 19^th century using old elements – such as the bronze crown completed with newly made pieces. This appears to be the case with another chandelier of this model now in the Berlin Kunstgewerbemuseum at Schloss Koepenick, which was acquired by the museum directly from the K.P.M. factory in the early 20^th century, and described in the accessions register as being composed of ‘old and new elements’. 

We are grateful to Drs Samuel Wittwer and Käthe Klappenbach at the Stiftung Preußische Schlösser und Gärten and Dr Claudia Kanowski of the Berlin Kunstgewerbemuseum for allowing us to examine the K.P.M. chandeliers in their collections