Candela (una di una coppia) ca. 1780–90 inglesi prima dell'introduzione della lampada ad olio Argand nel 1784 e delle innovazioni tecnologiche successive come l'illuminazione elettrica e a gas, l'illuminazione artificiale degli interni domestici dipendeva in gran parte dalle candele, Fatto o di grasso animale reso (sego) o di meno cera d'api fumosa e migliore-odorante.[1] dato il costo elevato specialmente del tipo di cera, poche candele sono state usate su una base quotidiana e una volta luce del giorno sbiadito le case erano scarsamente illuminate. Solo in intrattenimenti formali, come cene e palle importanti, avrebbe più candele-posto in magnific

• Collaboratore: MET/BOT / Alamy Foto Stock
• ID dell’immagine: 2HJ29Y3
• Dimensioni dei file: 36 MB (945,8 KB Download compresso)
• Liberatorie: Modello - no | Proprietà - no
• Dimensioni: 3317 x 3792 px | 28,1 x 32,1 cm | 11,1 x 12,6 inches | 300dpi
• Data acquisizione: 22 gennaio 2022

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Candlestand (one of a pair) ca. 1780–90 British Before the introduction of the Argand oil lamp in 1784 and of later technological innovations such as gas and electric lighting, the artificial illumination of the domestic interior depended largely on candles, made either of rendered animal fat (tallow) or of less smoky and better-smelling beeswax.[1] Given the high cost especially of the wax kind, few candles were used on a daily basis, and once daylight faded the houses were dimly lit. Only at formal entertainments, such as important dinners and balls, would multiple candles-placed in magnificent chandeliers and girandoles-burn in the reception rooms. In addition to these hanging or mounted sources of light, candelabra and candlesticks would be brought in to brighten these rooms, especially in areas that would otherwise remain dark. They might be arranged on tables and mantelpieces and were often placed on tall movable candlestands with flat tops, also known as torchères. During the mid-eighteenth century, English pattern books included pictures of elaborately carved candlestands of spirited Rococo design [2], which were superseded by others in a more restrained Neo-classical style, such as this elegant example, one of a pair from the Irwin Untermyer collection.[3] With their delightful design and light painted colors, these torchères stood out amid the somber furnishings of the large Oak Room in Judge Untermyer's Fifth Avenue apartment. Unfortunately, nothing is known about either the maker or the origin of these candlestands. Made of soft basswood, which has a fine texture and even grain very suitable for carving and staining, the torchères have kept their eighteenth-century color scheme of pale gray and light blue, which must have been in harmony with the decor of the interior they were originally commissioned for. Three dolphins descend upon a triangular base, carved with an adaptation of the Vitruvian scroll, which is resting on three fluted, bun-shaped fe