Attributed to Jules Allard
An Important Pair of Gilt And Patinated Bronze Figural Six-Light Candelabra, Modelled As A Triton And A Nereid
£85,000
An Important Pair of Gilt And Patinated Bronze Figural Six-Light Candelabra, Modelled As A Triton And A Nereid, Mounted On Rouge Languedoc Marble Columns....
尺寸
Height: 260 cm (103 in)Width: 70 cm (28 in)
Depth: 57 cm (23 in)
描述
An Important Pair of Gilt And Patinated Bronze Figural Six-Light Candelabra, Modelled As A Triton And A Nereid, Mounted On Rouge Languedoc Marble Columns. Attributed to Jules Allard (1832–1907).
The candelabra exquisitely cast in patinated bronze as a Triton and a Nereid, mythological sea creatures depicted with mermaid-like tails, their lower bodies cast with intricate scales, seated on rocky outcrops, each holding aloft a gilt-bronze foliate branch issuing six candle arms, raised on Rouge Languedoc marble columns, mounted with gilt-bronze fluted socles and square section re-entrant bases enlivened with foliate paterae.
These magnificent candelabra formerly graced the fireplace of the magnificent Drawing room of Elstowe Manor, Elkins Estate, Pennsylvania; later mounted on a pair of superb marble columns of similar period and craftsmanship.
France, Circa 1890.
Elstowe Manor was constructed in 1898 for William L. Elkins, one of the wealthiest men in America during the Gilded Age, due to his success in the oil, transportation, and streetcar industries. Designed by the notable architect Horace Trumbauer, with interior decoration by Allard et Fils – names synonymous with luxury and opulence during the late 19th and early 20th centuries. Elstowe embodies the lavish lifestyle and cultural ambitions of America’s elite during the Gilded Age.
Photos illustrated in the periodical ‘Architecture’ VOl 3-4, 1901, Forbes & Co., C. Scribner’s Sons, New York Photos by W.A. Cooper. Public Domain – https://catalog.hathitrust.org/Record/000500297
The 45-room mansion was designed by Horace Trumbauer (1868-1938), a prominent society architect responsible for many grand mansions of the era, including ‘Grey Towers Castle,’ ‘Lynnewood Hall,’ and ‘Whitemarsh Hall’ in Pennsylvania; ‘The Elms,’ ‘Clarendon Court,’ and ‘Miramar’ in Rhode Island; and ‘The George J. Gould Mansion’ and ‘James B. Duke Mansion’ in New York. Elstowe Manor, designed in the Italian High Renaissance style with grand French interiors, stands as a testament to this opulent period.
Writing in The Journal ‘Architecture’ in 1901 about Elstowe, Lena Cooper noted:
“The newly completed residence of Mr. W. L. Elkins in the Chelton Hill district of Philadelphia is an excellent example of the magnificence and ornamental detail of the Italian Renaissance type. Of Indiana lime- stone and granite, with its columns and many arches, stately and graceful in design, it is imposing and picturesque. The estate comprises about eighty acres of land, beautifully laid out and enclosed by a wrought iron fence with gateways elaborate and ornamental, thus making the house with its surroundings a veritable palace, with- out and within”.
“The drawing room in tones of white and gold of the Louis XVI period is one of dainty splendor. The ceiling is a handsome painting of the Versailles period and of striking beauty. The mantel of precious marble and gilt bronze is a rich ornamentation. The wall panels are of white woodwork with carved gilt decorations in two tones of gold. Above the doors are paintings. The hangings are of Lyons and old Louis XVI tapestries of interesting design. The furniture pieces are gems of art covered with priceless Louis XVI tapestries which cannot be duplicated in this country or abroad. A number of beautiful polar bear skins lie on the highly polished floor. The setting of the room is perfect”
[Elstowe Manor, Lena Cooper, ‘Architecture’ VOl 3-4, 1901, Forbes & Co., C. Scribner’s Sons, New York, Public Domain’]
The interiors of Elstowe Manor, like many other properties designed by Trumbauer, were largely supplied by the renowned Parisian interior design firm of Jules Allard et Fils, who had established a New York office as early as 1885. Following advice from architect Richard Morris Hunt, Allard opened his New York branch to handle major projects, though much of the work was completed in Paris and then shipped to the United States.
Allard employed over 300 artisans, combining artistic merit with industrial capabilities, appealing to the wealthy elite. Boiserie, furniture, and sculpture were crafted in his Paris workshops or sourced from European designers and manufacturers, then reassembled in America.
An unnamed critic from Le Panthéon de l’industrie in 1879 praised Allard’s integration of traditional craftsmanship with modern machine tools, highlighting his balance of artistry and industrial efficiency:
“De ses magnifiques ateliers, où l’on compte des légions d’artistes dessinateurs, modeleurs, sculpteurs, il s’est bien gardé d’exclure le simple ouvrier ébéniste, menuisier, tourneur et tapissier; il a introduit, avec un empressement jaloux, les machines-outils les plus perfectionnées; il les a mises en action par une puissante machine à vapeur, reconnaissant que si la main conduite par l’intelligence et le goût peut seule fouiller le bois, le ciseler finement, le faire vivre, aucune main ne saurait, aussi bien qu’une machine, débiter la matière, la raboter, la mortaiser, la tourner et la polir.” “Jules Allard Fils: Ébéniste et sculpteur sur bois,”
“From his magnificent workshops, where legions of draftsmen, modelers, and sculptors work, he has not excluded the simple cabinetmaker, carpenter, or upholsterer. With jealous eagerness, he introduced the most perfected machine tools, driven by a powerful steam engine. Recognizing that while only the hand guided by intelligence and taste can finely carve and bring wood to life, no hand can match the precision of a machine for cutting, planing, mortising, turning, and polishing.”
[“Jules Allard Fils: Ébéniste et sculpteur sur bois,” Le Panthéon de l’industrie, January 1, 1879.]
Allard’s reputation in America soared after designing the French salon for William K. Vanderbilt’s mansion at 660 Fifth Avenue, New York, helping to establish the vogue for French dix-huitième interiors. Beyond Trumbauer, Allard worked with prominent architects such as Richard Morris Hunt and Stanford White.
At Hunt’s Marble House, Allard was responsible for the French Revivalist interiors, including the magnificent bronze figures of ‘Vieillesse et la Jeunesse’ reclining on the Grand Salon’s pedimented mantel, which unsually are signed.
Similarly, in Alva Vanderbilt’s ‘Bedroom à la Pompadour’ at Marble House, Allard furnished the room with a grand bed derived from a design by Daniel Marot (1661–1752) but updated and reimagined for the Gilded Age.
Here, Allard replaced Marot’s classical figures with sea nymphs, that coil around the frame with mermaid tails, iconographically related to the candelabra at Elstowe.
The fireplace on the east-wall of the bedroom also features comparable figural torcheres. Designed with a modern sensibility, Allard transforms Hunts original classical caryatids into striking three-dimensional Belle Époque figures dramatically holding aloft electrified candelabra.
Following William L Elkins death in 1903 ownership of Elstowe Manor passed through the Elkins family until 1948 when it was sold to the Dominican Sisters of St. Catherine de’ Ricci. The Sisters operated Elstowe Manor as a religious retreat for 75 years, preserving much of the estate’s historic Gilded Age architecture.
However, financial challenges forced the retreat house to close in 2006. In 2009, the Land Conservancy of Elkins Park purchased the 42-acre property but defaulted on payments. The Dominican Sisters foreclosed and regained control after a prolonged legal battle. In 2019, they sold the estate to Landmark Developers for $6.5 million. The estate now serves as an event venue and boutique hotel.
Elstowe Manor stands as a monument to the Gilded Age, a time when industrial wealth allowed families to construct homes that were not just residences, but statements of social standing. The candelabra, with their rich materials and classical iconography, are small but significant parts of this larger narrative, serving as reminders of the lengths to which the American elite went to demonstrate their cultural sophistication.
日期
约1890年
原产地
法国
中型
Gilt and Patinated Bronze
Jules Allard et Fils
Jules Allard et Fils was a leading French design firm, recognized for their luxurious and ornate interior designs during the late 19th and early 20th centuries. The firm is celebrated for its exceptional craftsmanship, steeped in classical French styles, and for its pioneering role in shaping the opulent interiors of the Belle Époque and the American Gilded Age. By masterfully blending traditional styles with innovative techniques, Jules Allard et Fils created some of the most iconic interiors of the period, leaving a lasting legacy in both Europe and the United States.
Jules Allard was the most significant figure in the “Maison Allard” family business. His father, Célestin Allard, had established himself as a cabinetmaker and upholsterer in 1832, and by the time of his death in 1854, he had built a thriving business in Paris, with an additional branch in Brussels. While Célestin primarily produced furniture, he also offered interior decoration services. He participated in major national exhibitions from 1844 to 1849, receiving an honorable mention at the 1849 exhibition.
After Célestin’s death, his widow, Marguerite-Victoire Lefèvre, took control of the family business, renaming it “Mme Veuve Allard” and running it until 1860. At that point, she passed the business on to her son, Jules Allard. Under Jules’ leadership, the company rapidly expanded, developing an international clientele and earning critical acclaim.
Allard’s background in traditional French craftsmanship informed the firm’s distinctive style, rooted in the elaborate design traditions of Louis XIV, Louis XV, and Louis XVI. Upon joining forces with his son Jean-Baptiste, the firm expanded its influence, becoming Jules Allard et Fils. The company took on increasingly prestigious commissions, becoming a leading force in high-end interior decoration during the Belle Époque.
At its core, the firm specialized in crafting cohesive, elegant interiors that harmonized every element within a space. Their work encompassed everything from intricate wood panelling and ceilings to custom-made furniture, gilded ornamentation, and luxurious textiles. The firm’s approach, which combined artistry with precise craftsmanship, allowed them to transform any space into an opulent showcase of French classical design.
Though rooted in Paris, Jules Allard et Fils expanded beyond France, particularly finding success in the United States during the Gilded Age. This period, marked by the immense wealth accumulated by American industrialists, created a fertile market for the firm’s luxurious and detailed designs. Affluent American families, keen to emulate European aristocratic traditions, sought out the firm to furnish their homes with the same grandeur they had witnessed in European estates.
The firm’s first significant breakthrough in the United States came through its work for the Vanderbilt family, one of the wealthiest and most influential families of the time. Jules Allard et Fils was commissioned to design the interiors of several Vanderbilt estates, including The Breakers and Marble House in Newport, Rhode Island. These lavish homes, designed in collaboration with renowned architect Richard Morris Hunt, showcased the firm’s unparalleled ability to execute grand Renaissance and Baroque designs. The interiors of The Breakers, for example, featured gilded rooms, elaborate plasterwork, and intricately carved paneling, all reflecting the height of Belle Époque elegance.
In addition to these Newport estates, the firm worked on other prestigious American homes, such as Marble House I Newport, the Biltmore Estate in North Carolina, the largest privately owned home in the United States and Elstowe Manor, Elkins Estate Pennsylvania. These commissions solidified Jules Allard et Fils’ status as the premier decorators for America’s elite.
While deeply rooted in traditional French design, Jules Allard et Fils were also innovators within these frameworks. Their ability to blend classical motifs with modern influences allowed them to create interiors that were both timeless and current. The firm’s versatility was one of its key strengths, allowing them to create bespoke interiors tailored to the specific tastes of their clients, whether they preferred the opulence of the Baroque, the delicate elegance of Rococo, or the restrained grandeur of Neoclassicism.
One of the firm’s most impressive innovations was its ability to transport entire room interiors across the Atlantic. For instance, at The Breakers, the firm constructed the Music Room and State Dining Room in its Paris workshops, then shipped the components to Newport for assembly. This logistical feat demonstrated the firm’s meticulous attention to detail and its ability to meet the demands of large-scale international projects.
Another hallmark of the firm’s work was their close collaboration with architects and designers, including notable figures such as Richard Morris Hunt and Ogden Codman Jr. These collaborations often resulted in a seamless integration of architecture and interior design, with Allard’s decorative elements complementing the structural features of the homes. In many cases, the firm also provided architectural elements such as chimneypieces, boiseries, and ornamental plasterwork, which were crafted to fit within the broader design scheme of the home.
The international acclaim of Jules Allard et Fils was further solidified by their participation in various World’s Fairs and exhibitions. The firm regularly presented their work at these prestigious events, gaining recognition for their high level of craftsmanship and artistic innovation.
Jules Allard’s rise to prominence was accelerated by his participation in the 1878 Paris Exposition Universelle, where he was awarded a gold medal for his work and was knighted into the Légion d’Honneur. His success at the 1878 exposition led to further commissions and cemented his reputation as one of France’s leading interior designers. By this time, the firm was producing everything from furniture and cabinetry to sculpture, tapestries, and complete room interiors, all of which were praised for their elegance and craftsmanship.
In the United States, the firm’s work for the Vanderbilt family—particularly their stunning Salon at William K. Vanderbilt’s mansion in New York—further bolstered their reputation. This room became one of the most iconic examples of the firm’s work, demonstrating their ability to recreate European aristocratic grandeur in an American setting.
After the death of Jules Allard in 1907, the firm continued under the leadership of his sons, notably Fernand Allard. However, the firm’s prominence gradually declined, and by the early 20th century, it had been absorbed by Lucien Alavoine & Company. Despite this, the legacy of Jules Allard et Fils lives on in the homes and interiors they designed, some of the most iconic interiors of the Belle Époque and Gilded Age many of which have since been preserved as historic landmarks.
These magnificent candelabra formerly graced the fireplace of the magnificent Drawing room of Elstowe Manor, Elkins Estate, Pennsylvania