France, Transition period, circa 1760<\/p>\n
Attributed to Philippe Caffieri (1714-1774)<\/p>\n
Chased and gilt bronze<\/p>\n","value_formatted":"
France, Transition period, circa 1760<\/p>\r\n
Attributed to Philippe Caffieri (1714-1774)<\/p>\r\n
Chased and gilt bronze<\/p>","value":"
France, Transition period, circa 1760<\/p>\r\n
Attributed to Philippe Caffieri (1714-1774)<\/p>\r\n
Chased and gilt bronze<\/p>","field":{"ID":781,"key":"field_67f661144735a","label":"Cartel","name":"cartel","aria-label":"","prefix":"acf","type":"wysiwyg","value":null,"menu_order":0,"instructions":"","required":0,"id":"","class":"","conditional_logic":0,"parent":614,"wrapper":{"width":"","class":"","id":""},"wp-typography":"content","default_value":"","tabs":"all","toolbar":"full","media_upload":1,"delay":0,"wpml_cf_preferences":2,"_name":"cartel","_valid":1}},"dimensions":{"simple_value_formatted":"
Height: 32 cm \u2013 12 \u00bd inches<\/p>\n
Length: 21 cm \u2013 8 inches<\/p>\n
Depth: 13 cm \u2013 5 \u00bc inches<\/p>\n","value_formatted":"
Height: 32 cm \u2013 12 \u00bd inches<\/p>\r\n
Length: 21 cm \u2013 8 inches<\/p>\r\n
Depth: 13 cm \u2013 5 \u00bc inches<\/p>","value":"
Height: 32 cm \u2013 12 \u00bd inches<\/p>\r\n
Length: 21 cm \u2013 8 inches<\/p>\r\n
Depth: 13 cm \u2013 5 \u00bc inches<\/p>","field":{"ID":782,"key":"field_67f661254735b","label":"Dimensions","name":"dimensions","aria-label":"","prefix":"acf","type":"wysiwyg","value":null,"menu_order":1,"instructions":"","required":0,"id":"","class":"","conditional_logic":0,"parent":614,"wrapper":{"width":"","class":"","id":""},"wpml_cf_preferences":2,"wp-typography":"content","default_value":"","tabs":"all","toolbar":"full","media_upload":1,"delay":0,"_name":"dimensions","_valid":1}},"exemples_comparables":{"simple_value_formatted":"
\"On the mantelpiece and opposite, two mirrors of two pieces each (...), between the two crosspieces a mirror...), a fire decorated with two children warming themselves, on their base gilded in ground gold, with pesle, tweezers and pincers, trimmed with their knob chased in ground gold copper.<\/em><\/span><\/p>\n Archives Cond\u00e9, A.C. 7, Y<\/em>, quoted in Hans Ottomeyer, Petter Pr\u00f6schel, Vergoldete Bronzen: Beitr\u00e4ge zur Geschichte und Technik der Bronzearbeiten, zu K\u00fcnstlern und Werkst\u00e4tten, <\/em>T. I, M\u00fcnchen, Klinkhardt & Biermann, p. 199.<\/p>\n <\/p>\n","value_formatted":" In finely chiseled and gilt bronze, these firedogs are each adorned with a little child, seated slightly to the side \u2013 one leg bent against the stomach and the other extended \u2013 with arms slightly outstretched and palms open, as if seeking to warm themselves by the fire. They are naked except for a loose drape covering their waist.<\/p>\n The children are seated on an octagonal pedestal of trapezoidal shape, which is decorated on its broadest faces with a simple cartouche featuring a circular motif at its center. This pedestal surmounts a platform that follows its form, itself adorned with a frieze of channels.<\/p>\n The base of the firedogs draws on the \u201cGreek style\u201d repertoire: each foot is embellished at the corners with a volute in the form of a triglyph, from which hangs a vertical laurel garland. These feet are united at their top by a frieze with a geometric fluted pattern and are connected to one another by a laurel garland fastened at the center by a ring.<\/p>\n<\/div>\n","value_formatted":" In finely chiseled and gilt bronze, these firedogs are each adorned with a little child, seated slightly to the side \u2013 one leg bent against the stomach and the other extended \u2013 with arms slightly outstretched and palms open, as if seeking to warm themselves by the fire. They are naked except for a loose drape covering their waist.<\/p>\r\n The children are seated on an octagonal pedestal of trapezoidal shape, which is decorated on its broadest faces with a simple cartouche featuring a circular motif at its center. This pedestal surmounts a platform that follows its form, itself adorned with a frieze of channels.<\/p>\r\n The base of the firedogs draws on the \u201cGreek style\u201d repertoire: each foot is embellished at the corners with a volute in the form of a triglyph, from which hangs a vertical laurel garland. These feet are united at their top by a frieze with a geometric fluted pattern and are connected to one another by a laurel garland fastened at the center by a ring.<\/p>\r\n\r\n<\/div>","value":" In finely chiseled and gilt bronze, these firedogs are each adorned with a little child, seated slightly to the side \u2013 one leg bent against the stomach and the other extended \u2013 with arms slightly outstretched and palms open, as if seeking to warm themselves by the fire. They are naked except for a loose drape covering their waist.<\/p>\r\n The children are seated on an octagonal pedestal of trapezoidal shape, which is decorated on its broadest faces with a simple cartouche featuring a circular motif at its center. This pedestal surmounts a platform that follows its form, itself adorned with a frieze of channels.<\/p>\r\n The base of the firedogs draws on the \u201cGreek style\u201d repertoire: each foot is embellished at the corners with a volute in the form of a triglyph, from which hangs a vertical laurel garland. These feet are united at their top by a frieze with a geometric fluted pattern and are connected to one another by a laurel garland fastened at the center by a ring.<\/p>\r\n\r\n<\/div>","field":{"ID":615,"key":"field_67e67d7bae7bc","label":"Description de l'objet","name":"description_de_lobjet","aria-label":"","prefix":"acf","type":"wysiwyg","value":null,"menu_order":5,"instructions":"","required":0,"id":"","class":"","conditional_logic":0,"parent":614,"wrapper":{"width":"","class":"","id":""},"default_value":"","tabs":"all","toolbar":"full","media_upload":1,"delay":0,"wpml_cf_preferences":2,"_name":"description_de_lobjet","_valid":1}},"histoire_de_lobjet":{"simple_value_formatted":" In the 18th<\/sup> century, the child began to assume an increasingly important role in society. In an era of profound transformation \u2013 marked by advances in science, medicine, literature, and a renewed closeness to nature \u2013 the child came to be at the center of political, moral, and social concerns. The education of the young was seen as a matter of considerable importance for the common good. Indeed, this education implied a vision for the future of society, in which tomorrow\u2019s adults would be called upon to create an ideal world.<\/p>\n The publication of Jean-Jacques Rousseau\u2019s (1712-1778) \u00c9mile, or On Education<\/em> in 1762 fit squarely within Enlightenment thought. This work marked a turning point in the way educators viewed the child: no longer seen as an incomplete being, the child was recognized as a full human being \u2013 idealized and brimming with hope.<\/p>\n This Rousseau-inspired view of childhood, imbued with greater naturalness and sensitivity, celebrated familial sentiment. The century saw the emergence of paintings uniting parents and children, where affection and tenderness were clearly evident. Depictions of Christ in Virgin and the Child scenes grew more realistic, with more natural adjustments in posture and gaze. The bourgeoisie began to care for their own children, and although the aristocracy still entrusted the education of their offspring to nannies, it too started moving in that direction.<\/p>\n This evolution in the perception of childhood left its mark on 18th<\/sup> century decorative arts, where it became omnipresent. The child emerged as a major subject, appearing on a variety of media \u2013 from S\u00e8vres porcelain to wood paneling and even gilt bronzes, as exemplified by this pair of firedogs.<\/p>\n The decorative repertoire and the subject depicted on these firedogs are reminiscent of a drawing by Louis Prieur from 1770, in which one can see a child on a pedestal adorned with laurel garlands. Generally, the theme of children and putti scenes was intended for small cabinets, in contrast to that of deities, which was more often featured in grand reception salons.<\/p>\n Belonging to one of the most prominent families of bronze makers of the 17th<\/sup> and 18th<\/sup> centuries, Philippe Caffieri was the son of Jacques Caffieri (1678-1755), a Sculpteur et Ciseleur Ordinaire du Roi<\/em>. He is known as \u201cthe Elder\u201d to distinguish him from his younger brother, Jean-Jacques (1725-1792), a sculptor renowned for his busts.<\/p>\n Philippe Caffieri first studied with his father and attended the drawing school at the Acad\u00e9mie de Saint-Luc<\/em>. In 1743, his parents succeeded in transferring to him the privilege heretofore granted to his mother \u2013 that of \u201cgilder, engraver, and damascener following the Court\u201d \u2013 to facilitate his establishment. In 1747, he entered partnership with his father. In 1754, after becoming a Master sculptor, he was named a member of the Acad\u00e9mie de Saint-Luc<\/em> and later became a jury of the corporation. Upon his father\u2019s death in December 1755, he became the owner of the workshop on Rue Princesse<\/em>, inheriting the family business\u2019s stock of models. A month later, on January 16, 1756, he also became a Master caster in earthenware and sand casting without having to produce a reception piece \u2013 simply because his father had been a Master caster himself.<\/p>\n Philippe Caffieri appears to have been an early proponent of the Antique style. In his compositions one finds only vague reminiscences of the old genre: console-like movements, clock frames with animal and dial motifs topped by a monkey or a young savage (as seen in the work of Jean-Joseph Saint-Germain (1719\u20131791)), palmettes or scrolls evoking Rocaille or the pliss\u00e9<\/em> style, with few floral elements and a certain disdain for frivolity.<\/p>\n Through his style and production \u2013 part of which is signed and dated between 1756 and 1771 \u2013 he occupied in the new taste a position analogous to that of his father during the Rocaille period. He worked not only for the Garde-Meuble<\/em> but also for the B\u00e2timents du Roi<\/em>, and his clientele included the Marquis de Marigny<\/em>, Madame de Pompadour<\/em>, the collector Pierre Louis Paul Randon de Boisset, Fran\u00e7ois Boucher, the Prince de Cond\u00e9<\/em>, the King of Poland, as well as several cathedral chapters that commissioned him to create significant gilt bronzes.<\/p>\n","value_formatted":" In the 18th<\/sup> century, the child began to assume an increasingly important role in society. In an era of profound transformation \u2013 marked by advances in science, medicine, literature, and a renewed closeness to nature \u2013 the child came to be at the center of political, moral, and social concerns. The education of the young was seen as a matter of considerable importance for the common good. Indeed, this education implied a vision for the future of society, in which tomorrow\u2019s adults would be called upon to create an ideal world.<\/p>\r\n The publication of Jean-Jacques Rousseau\u2019s (1712-1778) \u00c9mile, or On Education<\/em> in 1762 fit squarely within Enlightenment thought. This work marked a turning point in the way educators viewed the child: no longer seen as an incomplete being, the child was recognized as a full human being \u2013 idealized and brimming with hope.<\/p>\r\n This Rousseau-inspired view of childhood, imbued with greater naturalness and sensitivity, celebrated familial sentiment. The century saw the emergence of paintings uniting parents and children, where affection and tenderness were clearly evident. Depictions of Christ in Virgin and the Child scenes grew more realistic, with more natural adjustments in posture and gaze. The bourgeoisie began to care for their own children, and although the aristocracy still entrusted the education of their offspring to nannies, it too started moving in that direction.<\/p>\r\n This evolution in the perception of childhood left its mark on 18th<\/sup> century decorative arts, where it became omnipresent. The child emerged as a major subject, appearing on a variety of media \u2013 from S\u00e8vres porcelain to wood paneling and even gilt bronzes, as exemplified by this pair of firedogs.<\/p>\r\n The decorative repertoire and the subject depicted on these firedogs are reminiscent of a drawing by Louis Prieur from 1770, in which one can see a child on a pedestal adorned with laurel garlands. Generally, the theme of children and putti scenes was intended for small cabinets, in contrast to that of deities, which was more often featured in grand reception salons.<\/p>\r\n\r\n Belonging to one of the most prominent families of bronze makers of the 17th<\/sup> and 18th<\/sup> centuries, Philippe Caffieri was the son of Jacques Caffieri (1678-1755), a Sculpteur et Ciseleur Ordinaire du Roi<\/em>. He is known as \u201cthe Elder\u201d to distinguish him from his younger brother, Jean-Jacques (1725-1792), a sculptor renowned for his busts.<\/p>\r\n Philippe Caffieri first studied with his father and attended the drawing school at the Acad\u00e9mie de Saint-Luc<\/em>. In 1743, his parents succeeded in transferring to him the privilege heretofore granted to his mother \u2013 that of \u201cgilder, engraver, and damascener following the Court\u201d \u2013 to facilitate his establishment. In 1747, he entered partnership with his father. In 1754, after becoming a Master sculptor, he was named a member of the Acad\u00e9mie de Saint-Luc<\/em> and later became a jury of the corporation. Upon his father\u2019s death in December 1755, he became the owner of the workshop on Rue Princesse<\/em>, inheriting the family business\u2019s stock of models. A month later, on January 16, 1756, he also became a Master caster in earthenware and sand casting without having to produce a reception piece \u2013 simply because his father had been a Master caster himself.<\/p>\r\n Philippe Caffieri appears to have been an early proponent of the Antique style. In his compositions one finds only vague reminiscences of the old genre: console-like movements, clock frames with animal and dial motifs topped by a monkey or a young savage (as seen in the work of Jean-Joseph Saint-Germain (1719\u20131791)), palmettes or scrolls evoking Rocaille or the pliss\u00e9<\/em> style, with few floral elements and a certain disdain for frivolity.<\/p>\r\n Through his style and production \u2013 part of which is signed and dated between 1756 and 1771 \u2013 he occupied in the new taste a position analogous to that of his father during the Rocaille period. He worked not only for the Garde-Meuble<\/em> but also for the B\u00e2timents du Roi<\/em>, and his clientele included the Marquis de Marigny<\/em>, Madame de Pompadour<\/em>, the collector Pierre Louis Paul Randon de Boisset, Fran\u00e7ois Boucher, the Prince de Cond\u00e9<\/em>, the King of Poland, as well as several cathedral chapters that commissioned him to create significant gilt bronzes.<\/p>","value":" In the 18th<\/sup> century, the child began to assume an increasingly important role in society. In an era of profound transformation \u2013 marked by advances in science, medicine, literature, and a renewed closeness to nature \u2013 the child came to be at the center of political, moral, and social concerns. The education of the young was seen as a matter of considerable importance for the common good. Indeed, this education implied a vision for the future of society, in which tomorrow\u2019s adults would be called upon to create an ideal world.<\/p>\r\n The publication of Jean-Jacques Rousseau\u2019s (1712-1778) \u00c9mile, or On Education<\/em> in 1762 fit squarely within Enlightenment thought. This work marked a turning point in the way educators viewed the child: no longer seen as an incomplete being, the child was recognized as a full human being \u2013 idealized and brimming with hope.<\/p>\r\n This Rousseau-inspired view of childhood, imbued with greater naturalness and sensitivity, celebrated familial sentiment. The century saw the emergence of paintings uniting parents and children, where affection and tenderness were clearly evident. Depictions of Christ in Virgin and the Child scenes grew more realistic, with more natural adjustments in posture and gaze. The bourgeoisie began to care for their own children, and although the aristocracy still entrusted the education of their offspring to nannies, it too started moving in that direction.<\/p>\r\n This evolution in the perception of childhood left its mark on 18th<\/sup> century decorative arts, where it became omnipresent. The child emerged as a major subject, appearing on a variety of media \u2013 from S\u00e8vres porcelain to wood paneling and even gilt bronzes, as exemplified by this pair of firedogs.<\/p>\r\n The decorative repertoire and the subject depicted on these firedogs are reminiscent of a drawing by Louis Prieur from 1770, in which one can see a child on a pedestal adorned with laurel garlands. Generally, the theme of children and putti scenes was intended for small cabinets, in contrast to that of deities, which was more often featured in grand reception salons.<\/p>\r\n\r\n Belonging to one of the most prominent families of bronze makers of the 17th<\/sup> and 18th<\/sup> centuries, Philippe Caffieri was the son of Jacques Caffieri (1678-1755), a Sculpteur et Ciseleur Ordinaire du Roi<\/em>. He is known as \u201cthe Elder\u201d to distinguish him from his younger brother, Jean-Jacques (1725-1792), a sculptor renowned for his busts.<\/p>\r\n Philippe Caffieri first studied with his father and attended the drawing school at the Acad\u00e9mie de Saint-Luc<\/em>. In 1743, his parents succeeded in transferring to him the privilege heretofore granted to his mother \u2013 that of \u201cgilder, engraver, and damascener following the Court\u201d \u2013 to facilitate his establishment. In 1747, he entered partnership with his father. In 1754, after becoming a Master sculptor, he was named a member of the Acad\u00e9mie de Saint-Luc<\/em> and later became a jury of the corporation. Upon his father\u2019s death in December 1755, he became the owner of the workshop on Rue Princesse<\/em>, inheriting the family business\u2019s stock of models. A month later, on January 16, 1756, he also became a Master caster in earthenware and sand casting without having to produce a reception piece \u2013 simply because his father had been a Master caster himself.<\/p>\r\n Philippe Caffieri appears to have been an early proponent of the Antique style. In his compositions one finds only vague reminiscences of the old genre: console-like movements, clock frames with animal and dial motifs topped by a monkey or a young savage (as seen in the work of Jean-Joseph Saint-Germain (1719\u20131791)), palmettes or scrolls evoking Rocaille or the pliss\u00e9<\/em> style, with few floral elements and a certain disdain for frivolity.<\/p>\r\n Through his style and production \u2013 part of which is signed and dated between 1756 and 1771 \u2013 he occupied in the new taste a position analogous to that of his father during the Rocaille period. He worked not only for the Garde-Meuble<\/em> but also for the B\u00e2timents du Roi<\/em>, and his clientele included the Marquis de Marigny<\/em>, Madame de Pompadour<\/em>, the collector Pierre Louis Paul Randon de Boisset, Fran\u00e7ois Boucher, the Prince de Cond\u00e9<\/em>, the King of Poland, as well as several cathedral chapters that commissioned him to create significant gilt bronzes.<\/p>","field":{"ID":617,"key":"field_67e67ebc1f746","label":"Histoire de l'objet","name":"histoire_de_lobjet","aria-label":"","prefix":"acf","type":"wysiwyg","value":null,"menu_order":6,"instructions":"","required":0,"id":"","class":"","conditional_logic":0,"parent":614,"wrapper":{"width":"","class":"","id":""},"default_value":"","allow_in_bindings":0,"tabs":"all","toolbar":"full","media_upload":1,"delay":0,"wpml_cf_preferences":2,"_name":"histoire_de_lobjet","_valid":1}},"bibliographie":{"simple_value_formatted":"Presumably identical example, 18th<\/sup>-century collections:<\/h3>\r\n
\r\n \t
Presumably identical example, 18th<\/sup>-century collections:<\/h3>\r\n
\r\n \t
The theme of childhood in 18th<\/sup>-century decorative arts<\/h3>\n
Philippe Caffieri (1714-1774)<\/h3>\n
The theme of childhood in 18th<\/sup>-century decorative arts<\/h3>\r\n
Philippe Caffieri (1714-1774)<\/h3>\r\n
The theme of childhood in 18th<\/sup>-century decorative arts<\/h3>\r\n
Philippe Caffieri (1714-1774)<\/h3>\r\n
Bibliography:<\/h3>\n
\n
\n
\n
Bibliography:<\/h3>\r\n
\r\n \t
\r\n \t
\r\n \t
Bibliography:<\/h3>\r\n
\r\n \t
\r\n \t
\r\n \t