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Pair of candlesticks; After Claude Michel Clodion, 19th century.

Auction Lot 40041442
Pair of candlesticks; After CLAUDE MICHEL CLODION (Nancy, 1738 - Paris, 1814); End of the nineteenth century.
Gilded bronze, patinated and "verde antico" marble.
Electrified.
Measurements: 60 x 31 x 25 cm.

Open live auction
Estimated Value : 3,000 - 3,500 €
Live auction: 27 May 2026
Live auction: 27 May 2026 15:00
Remaining time: 21 days 10:14:00
Processing lot please standby
Next bid: 2500

BID HISTORY

DESCRIPTION

Pair of candlesticks; After CLAUDE MICHEL CLODION (Nancy, 1738 - Paris, 1814); End of the nineteenth century.
Gilded bronze, patinated and "verde antico" marble.
Electrified.
Measurements: 60 x 31 x 25 cm.
In these three-light candelabra, one of Clodion's favorite themes is taken up again, starring two children whose attributes allude to the festive universe of the bacchanals. In one of the candelabra the composition is articulated around a faun figure that, in an ascending helical movement, supports and dynamizes the structure of the candelabra, integrating function and sculpture in a profoundly decorative unity, while in the other case we see the figure of a child. The extraordinary success of this type of model on the market is explained by its perfect adaptation to the taste of the time: refined pieces, with a gentle mythological theme, capable of evoking Antiquity without the severity of strict classicism.
Born in Nancy, Clodion trained in Paris with his uncle Lambert Sigisbert Adam and later with Jean-Baptiste Pigalle, one of the most influential sculptors of his time. His precocious talent was recognized with the Grand Prix of the Royal Academy, which allowed him to complete his training in Italy, where he deepened his study of classical antiquity. Upon his return to Paris, he developed his own language, located between the late Rococo and the nascent Neoclassicism, characterized by mythological scenes full of grace, movement and sensuality. His work reached an enormous international diffusion, being appreciated both in Parisian aristocratic circles and in foreign courts, including that of Catherine II of Russia. Today, his sculptures are kept in first class institutions such as the Louvre Museum, testimony of the validity and attractiveness of an artist who knew how to capture the elegant and hedonistic spirit of his time like few others.

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