Viennese Biedermeier chandelier consisting of a central baluster carved with floral corollas, from which curl-shaped rays radiate, supporting a circular wooden structure. Along the upper perimeter it has curled corollas that hold up the 12 corollas supporting the glass; along the external perimeter alternates decorative rosettes with carved and curl arms, supporting another 12 candles. Supported by chains and an upper rosette decorated with palmettes.
Entirely in carved and gilded wood; it was electrified at a later time.
Dimensions: h 142 cm; diameter: 100 cm ( 55,9 x 39,4 in )
The chandelier is an expression of the Viennese Biedermeier taste, which established itself following the fall of Napoleon and with the beginning of the Restoration period. Clearly a derivation of the Empire style, this new style is characterized by a revival of the wavy shapes and by the foliage decorations, which, in the North European Biedermeier version, is translated into a typically Nordic research of rigor.
This type of chandelier furnished the great halls of the buildings. Similar models are known thanks to comparisons with prints and paintings that reproduce the interiors of the time. Among these, one of those that brings the most evidence is a watercolor by Franz Heinrich, dating back to 1829 and in which the study of the prince of Metternich at the Foreign Ministry is described. This painting offers a glimpse of the taste and furniture of those years, in particular, for our study, the chandelier shows references to the one in question.
The group of eight Biedermeier wall lamps, also belonging to our collections, with which they were made concurrently as lighting accessories for a single room also come from the same origin.
– Mario Praz, The philosophy of furniture. The changes in the taste of interior decoration through the centuries of ancient Rome to our times, Milan, Longanesi & C., 1981;
-Robert Weissenberger, Vienne 1815-1848. L’èpoque du Biedermeier, Friborg, Officine du Livre, 1985.