20 - Pair of Louis XV-period wall sconces, attributed to Jean-Joseph de Saint Germain (1719–1791)

Pair of Louis XV-period wall sconces, attributed to Jean-Joseph de Saint Germain (1719–1791) In chiseled and gilded bronze, with two gracefully curved light arms, the sinuous base is accented with scrollwork, oak leaves, and acanthus leaves that run throughout and adorn the composition, from which a boar’s head and a stag’s head stand out in high relief, like hunting trophies. Both are hallmarked with the crowned “C.” H: 49 cm A wall sconce that has been partially cleaned The design of this pair of wall sconces featuring naturalistic and hunting motifs is typically associated with the compositions of Jean-Joseph de Saint Germain, notably a pair of silver-plated bronze wall sconces bearing this bronze artist’s signature. Among the other known examples, one features three light arms, and another includes a crouching dog in the lower section, lying in wait. Jean-Joseph de Saint Germain (1719–1791) Born in 1719, the Parisian foundryman and engraver was the son of the cabinetmaker Joseph de Saint-Germain. After starting out as an independent craftsman running a workshop in the Faubourg Saint-Antoine, he was admitted in 1748 as a “master founder in clay and sand.” A later advertisement lists the scope of his production: “Saint-Germain, master engraver and modeler, makes and sells all kinds of gilded bronzes, such as chest of drawer fittings, multi-branched mantelpieces, grates, torches, chandeliers, girandoles, clock cases, cartels of all kinds, chime boxes, as well as boxes adorned with elephants, lions, bulls, and other motifs; he also creates the designs and wax models, all at an agreed-upon price; resides on Rue Saint-Nicolas, Faubourg Saint-Antoine, in Paris.” A master founder who described himself as a modeler and chaser, it was indeed bronze that allowed him to most easily express his taste for exuberant forms. A Taste for Animal Art It appears that the wall sconces titled “The Slaughter of a Deer or a Wild Boar” are among Saint-Germain’s very earliest works, dating from around 1745–47. His interest in cabinets of curiosities and his passion for science and natural history likely inspired his creations featuring animal figures, as seen in the wall sconces we are presenting here. Rhinoceroses, elephants, and monkeys carry or are carried by clock cases. It is often difficult to attribute a creation to a specific artist, and while it is possible to credit Saint-Germain with the authorship of certain compositions—such as our pair of wall sconces— we must also emphasize the emulation and circulation of designs among ornamental artists, sculptors, and bronze casters, linked to specific events or fashion trends. Our hunting trophies thus bear witness to this interest in animal art and, more specifically, in hunting—a royal pastime that princes and aristocrats were expected to practice in the 18th century. Creations employing this theme in the decorative arts are therefore very prevalent and appear in a wide variety of styles. Hunting scenes or simply emblematic animals associated with hunting—such as deer and wild boar—appear on androglyphs like those delivered by Quentin-Claude Pitoin in 1772 for Madame Du Barry’s salon at Fontainebleau, or on a gilded bronze frame from the Alexander Collection (Christie’s New York auction, April 30, 1999, lot 127). The design of our pair of wall sconces is likely borrowed from the compositions by Juste-Aurèle Meissonnier known as “Border Design for the King’s Hunt.” Yet there is a distinct personal style evident here, and one can note the resemblance to the “aux vents” sconces from Saint-Germain, whose silhouette, scrollwork, and leafy branches provide further support for attributing our pair of sconces to this same artist. The Crowned C Hallmark The absence of a signature on our piece may be due to the fact that anonymity was customary and because the works were the result of the collaboration of several trades. Furthermore, haberdashers did not wish to see the names of their suppliers appear on the bronze pieces they resold. Our pair of wall sconces nevertheless bears an important mark: a hallmark featuring a crowned “C,” associated with a tax on metals imposed on bronze casters to finance the War of the Austrian Succession. In effect between 1745 and 1749, the mark applied to both objects and decorative bronze furniture fittings. This date hallmark corroborates the proposed date of creation for these sconces. Bibliography: H. Ottomeyer, P. Pröschel et al., *Vergoldete Bronzen*, Munich, 1986, Vol. I, p. 109, Fig. 2.2.5. J.-D. Augarde, Jean-Josep