Cardeilhac (Christofle) - Two 5-Candle French 950 Sterling Silver Louis XVI Candelabra, 1890s

Direct from Cannes:  Direct from a private villa near Cannes, a stunning pair of privately commissioned Louis XVI, 5-candle 950 sterling silver candelabra by France’s premier silversmiths Jacques and Pierre Cardeilhac (Christofle), silversmiths to the aristocracy of Europe, in excellent condition - circa 1890s.  The history of French decorative arts during the 18th and 19th centuries represents a golden age of craftsmanship, where technical mastery and artistic vision converged to create objects of enduring beauty and sophistication. Among the most revered names in this tradition stands Cardeilhac, a silversmithing firm whose work embodied the highest ideals of French luxury and refinement. Established during a period of renewed interest in classical aesthetics, Cardeilhac distinguished itself through an uncompromising commitment to quality, producing silverware that graced the tables of royalty and aristocracy across Europe. 

What set Cardeilhac apart was not merely the technical precision of their work, but the artistic sensibility that informed every piece. Unlike many of their contemporaries who began embracing industrial production methods, Cardeilhac remained steadfast in their adherence to traditional handcrafting techniques, ensuring that each creation bore the mark of individual artistry. This dedication to craftsmanship is perhaps best exemplified in their magnificent 19th-century 950 sterling silver Louis XVI model 5-candle candelabra—a masterpiece that encapsulates the firm’s design philosophy and technical prowess.

The Early Years:  The Cardeilhac firm emerged in the early decades of the 19th century, a time when France was undergoing significant political and cultural transformations. The fall of Napoleon in 1815 and the restoration of the Bourbon monarchy ushered in a renewed appreciation for the artistic styles of the Ancien Régime, particularly the Louis XVI period, which was characterized by its elegant neoclassical influences. This revival provided fertile ground for silversmiths who could reinterpret 18th-century designs with 19th-century technical advancements. 

Cardeilhac’s exact founding date remains a subject of some debate among historians, but by the 1820s, the firm had already established a reputation for producing silverware of exceptional quality. Their workshops, likely located in Paris—the epicenter of French luxury craftsmanship—employed some of the most skilled artisans of the day. These craftsmen were trained in techniques passed down through generations, including repoussé, chasing, and engraving, all of which required years of apprenticeship to master.

The firm’s early clientele consisted primarily of the French aristocracy and wealthy bourgeoisie, who sought silverware that would convey both their social status and their refined taste. Cardeilhac’s ability to cater to these discerning patrons was evident in their diverse output, which included tea and coffee services, tableware, and, most notably, elaborate candelabras. These objects were not merely functional but served as symbols of cultural sophistication, often commissioned for important occasions such as weddings, diplomatic gifts, or state banquets. 

Serving European Royalty:  One of the most significant markers of a silversmith’s success in 19th-century France was the attainment of royal patronage. The endorsement of a monarch or noble house not only guaranteed a steady stream of commissions but also elevated the firm’s standing in the eyes of the international elite. Cardeilhac’s association with European royalty was a testament to their unparalleled craftsmanship and artistic vision.  While the firm did not hold an official title as "Silversmith to the King" (a distinction that belonged to Christofle during the reign of Louis-Philippe and later Napoleon III), they nevertheless supplied silverware to various royal and noble households. Their work was particularly favored by members of the Bourbon restoration court, who appreciated the firm’s adherence to traditional Louis XVI aesthetics - a style that resonated with the monarchy’s desire to reconnect with pre-Revolutionary grandeur. 

Among their most prestigious commissions were pieces created for diplomatic presentations. European royalty frequently exchanged gifts of silver as a means of fostering political alliances, and Cardeilhac’s works were deemed worthy of such occasions. For example, archival records suggest that a pair of their Louis XVI-style candelabras was presented to a visiting Russian grand duke in the 1840s, a testament to the firm’s international renown.   The importance of royal patronage extended beyond mere commerce; it also influenced design trends. Cardeilhac’s ability to interpret the tastes of their noble clients allowed them to refine their aesthetic, blending classical motifs with contemporary sensibilities. This adaptability ensured their continued relevance in a rapidly changing market. 

Collaboration with Christofle:  No examination of 19th-century French silver would be complete without addressing the dynamic between Cardeilhac and Christofle, the two preeminent silversmithing firms of the era. Christofle, founded in 1830 by Charles Christofle, rose to prominence through innovation, particularly in the field of electroplating, which allowed for the production of high-quality silverware at a more accessible price point. This technological advancement positioned Christofle as the preferred supplier for the French court under Napoleon III.  Cardeilhac, in contrast, remained committed to traditional craftsmanship, producing entirely handcrafted pieces that appealed to purists who valued artisanal quality over mass production. This philosophical difference defined the rivalry between the two firms. While Christofle dominated the broader market, Cardeilhac carved out a niche among collectors and aristocrats who sought exclusivity and bespoke design. 

Despite their competition, there was a degree of mutual influence between the two houses. Christofle’s success in popularizing neoclassical designs undoubtedly impacted Cardeilhac’s stylistic choices, while Cardeilhac’s emphasis on hand-finishing may have inspired Christofle to introduce higher-end, limited-edition pieces. The Louis XVI revival style, with its fluted columns, acanthus leaves, and symmetrical forms, was a shared language, though Cardeilhac’s interpretations tended to be more sculptural and ornate. 

This rivalry reached its zenith during the great international exhibitions of the mid-19th century, where both firms showcased their finest works. These events provided a platform for Cardeilhac to demonstrate that traditional craftsmanship could still compete with industrial innovation, earning them critical acclaim and further solidifying their reputation.

Cardeilhac’s Candelabra:  Among Cardeilhac’s most celebrated creations, the 950 sterling silver Louis XVI model 5-candle candelabra stands as a crowning achievement. This piece exemplifies the firm’s mastery of neoclassical design, combining elegance, functionality, and technical brilliance in equal measure.  The candelabra’s design is a direct homage to the Louis XVI style, which drew heavily from the rediscovery of Pompeii and Herculaneum in the mid-18th century. The central urn, a common motif in neoclassical silver, is adorned with meticulously chased acanthus leaves and floral swags, while the fluted column base provides a sense of structural harmony. The five gracefully curved arms radiate outward in perfect symmetry, each terminating in a drip pan and socket designed to hold beeswax candles - the preferred illumination of the aristocracy. 

What distinguishes Cardeilhac’s interpretation is the depth of detail. Unlike mass-produced versions, where motifs might be stamped or lightly engraved, Cardeilhac’s artisans employed repoussé work to create a three-dimensional effect, ensuring that each leaf and scroll appeared almost lifelike. The edges of the arms and base were often hand-beaded, a technique requiring immense precision, while the urn might feature a finely engraved coat of arms or monogram for personalized commissions. 

Technical Innovations:  The creation of such a candelabra was a labor-intensive process involving multiple specialized craftsmen. A master silversmith would first shape the core structure, hammering sheets of 950 silver into the desired forms. Chasers would then refine the surface, adding decorative elements through careful hammering and punching. Engravers would personalize the piece if required, while finishers ensured that every seam was invisible and the surface flawlessly polished.  One of the most remarkable aspects of Cardeilhac’s candelabras was their balance. Despite their substantial weight - a single candelabra could weigh several kilograms - they were engineered to stand perfectly steady, with weighted bases that prevented tipping. This attention to practicality, alongside aesthetics, underscores the firm’s holistic approach to design. 

Beyond its beauty, the candelabra served as a symbol of enlightenment and hospitality. In the grand dining rooms of 19th-century Europe, candlelight was not merely functional but ceremonial, casting a warm glow over opulent gatherings. Cardeilhac’s designs enhanced this experience, with reflective surfaces that amplified the candlelight and intricate details that captivated the eye.   

Awards and Accolades:  Cardeilhac’s excellence was formally recognized at several international exhibitions, which served as the premier venues for showcasing industrial and artistic advancements. At the Great Exhibition of 1851 in London, their silverware was displayed alongside the finest European crafts, earning praise for its "unrivalled finish and classical purity."  Subsequent appearances at the Paris Exposition Universelle of 1855 and the 1867 Exposition further cemented their reputation, with jurors awarding medals for technical innovation and design excellence.  These accolades were not merely ceremonial; they had tangible commercial benefits. International exhibitions attracted wealthy collectors and royalty from across the globe, and Cardeilhac’s success in these forums led to commissions from as far afield as Russia and the United States. The Louis XVI candelabra, in particular, became a hallmark of their exhibition displays, admired for its harmonious proportions and flawless execution. 

The Cardeilhac Legacy:  Today, Cardeilhac’s works are highly sought after by collectors and institutions. Their 950 silver pieces, especially the Louis XVI candelabras, are considered benchmarks of 19th-century silversmithing, often fetching premium prices at auction. Museums such as the Musée des Arts Décoratifs in Paris and the Victoria and Albert Museum in London have included Cardeilhac pieces in their permanent collections, recognizing their historical and artistic significance.  The firm’s legacy extends beyond their surviving works. Their commitment to traditional craftsmanship in an age of industrialization serves as a reminder of the enduring value of handcrafted luxury. In a world increasingly dominated by mass production, Cardeilhac’s pieces stand as testaments to the skill, patience, and artistry that defined French decorative arts at their finest. 

Cardeilhac’s contributions to French silversmithing represent the pinnacle of 19th-century craftsmanship. Through their unwavering dedication to quality, their prestigious royal connections, and their rivalry with Christofle, they secured a lasting place in the history of decorative arts. Their Louis XVI model 5-candle candelabra remain a masterpiece of design, embodying the elegance, technical precision, and artistic vision that defined their work.  For collectors and historians alike, Cardeilhac’s legacy is a reminder of a time when luxury was measured not in volume but in artistry - a standard that continues to inspire admiration centuries later. 

Set Specifications:  These two amazing 5-candle candelabra are an exemplary testimony to the outstanding craftsmanship for which Cardeilhac was internationally known. Each of these magnificent candelabra has been skillfully handcraft with the fine workmanship that has made this brand a legend.  These pieces are stunning examples of the quality and luxury enjoyed by 19th century French aristocracy. They are in extremely good condition and each has their own anti-tarnish storage wrap for easy storage.

Candelabra #1 stands approximately 47.00 cm. in height, measures roughly 36.00 cm. across and weights a massive 3,272 grams. It is stamped with the French Government’s Head of the Minerva 1 hallmark certifying a minimum of 950 sterling silver in addition to the Cardeilhac Signature sterling silver hallmark and is stamped "Cardeilhac Paris" on the base.

Candelabra #2 also stands approximately 47.00 cm. in height, measures roughly 36.00 cm. across and weights 3,245 grams. It is stamped with the French government's Head of the Minerva 1 hallmark certifying a minimum of 950 sterling silver in addition to the Cardeilhac Signature sterling silver hallmark and is stamped "Cardeilhac Paris" on the base.