Chandelier

Thomas Hope British, born Holland
ca. 1802
On view at The Met Fifth Avenue in Gallery 951
This chandelier was made after a design by the wealthy banker and patron Thomas Hope, published in his 1807 book entitled Household Furniture and Interior Decoration. The book contains an engraving with a schematic design of the chandelier as well as details of the griffins. Probably created for Hope’s London residence, the chandelier as well as other furniture designed by him, were influenced by contemporary French Empire production.

Artwork Details

Object Information
  • Title: Chandelier
  • Artist: Thomas Hope (British (born Holland), Amsterdam 1769–1831 London)
  • Date: ca. 1802
  • Medium: Carved and gilded wood, with gilded metals (iron and brass or bronze).
  • Dimensions: H. from bottom of pendants to top of stars: 120.6 cm; W. (overall): 108 cm.
  • Classification: Metalwork
  • Credit Line: Robert Lehman Collection, 1975
  • Object Number: 1975.1.2494
  • Curatorial Department: The Robert Lehman Collection

Audio

Cover Image for 4705. Gallery Overview: Lehman Decorative Arts

4705. Gallery Overview: Lehman Decorative Arts

Gallery 951

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KANTER: Robert Lehman collected not just well-known objects, or objects by name artists, but also smaller, more precious objects that caught his fancy or that triggered an aesthetic response. He bought Renaissance jewelry, as many New York Collectors did. He bought European ceramics, porcelains, goldsmith's work. There's a very beautiful and important pocket watch in the collection. Only one, but it happens to be an enormously important one, belonging to Louis XIV, king of France. And we've chosen to display them here in this sort of wonder cabinet of small, precious objects.

AMORY: Take a moment to find the case that contains a number of pendants and other pieces of jewelry.

KANTER: What makes it so very interesting is that most of it is not Renaissance, but 19th Century. There was a great trade in fabricating Renaissance jewels in the 19th Century, which is to say all the jewels and the gold are real, but the craftsmanship is four centuries too late. We suspect that more than half of them are modern. But amongst the modern pieces are at least three that are of equal importance to Renaissance objects. They're by the greatest forger of the 19th Century. And we have them, carefully labeled and prominently displayed as the work of Reinhold Vasters. They're some of the objects of which we're proudest to be the owners.

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