{"product_id":"cardeilhac-christofle-two-5-candle-frencn-950-sterling-silver-louis-xvi-candelabra-1890s","title":"Cardeilhac (Christofle) - Two 5-Candle French 950 Sterling Silver Louis XVI Candelabra, 1890s","description":"\u003cbody\u003e\n\n\n\n\u003cmeta http-equiv=\"Content-Type\" content=\"text\/html; charset=utf-8\"\u003e\n\u003ctitle\u003eCardeilhac Christofle two 5-candle antique French Louis XVI sterling silver candelabra\u003c\/title\u003e\n\u003c!--Cardeilhac silver, French silversmiths, 19th century silverware, Louis XVI silver candelabra, antique French candelabra, 950 sterling silver, Cardeilhac vs Christofle, royal patronage silversmiths, neoclassical silverware, French antique silver, Cardeilhac craftsmanship, sterling silver candelabra, antique silver lighting, French luxury silver, Cardeilhac history, Louis XVI style silver, European antique silver, Cardeilhac collectibles, 19th century French silver, high-end antique silver, Cardeilhac museum pieces, French silver hallmark, Cardeilhac auction prices, antique silver restoration, Cardeilhac exhibition history, French silver makers, Cardeilhac candelabra value, antique silver investment, Cardeilhac vs Odiot, French silver tableware--\u003e\n\u003c!--Cardeilhac silver, French silversmiths, 19th century silverware, Louis XVI silver candelabra, antique French candelabra, 950 sterling silver, Cardeilhac vs Christofle, royal patronage silversmiths, neoclassical silverware, French antique silver, Cardeilhac craftsmanship, sterling silver candelabra, antique silver lighting, French luxury silver, Cardeilhac history, Louis XVI style silver, European antique silver, Cardeilhac collectibles, 19th century French silver, high-end antique silver, Cardeilhac museum pieces, French silver hallmark, Cardeilhac auction prices, antique silver restoration, Cardeilhac exhibition history, French silver makers, Cardeilhac candelabra value, antique silver investment, Cardeilhac vs Odiot, French silver tableware--\u003e\n\u003c!--Cardeilhac silver, French silversmiths, 19th century silverware, Louis XVI silver candelabra, antique French candelabra, 950 sterling silver, Cardeilhac vs Christofle, royal patronage silversmiths, neoclassical silverware, French antique silver, Cardeilhac craftsmanship, sterling silver candelabra, antique silver lighting, French luxury silver, Cardeilhac history, Louis XVI style silver, European antique silver, Cardeilhac collectibles, 19th century French silver, high-end antique silver, Cardeilhac museum pieces, French silver hallmark, Cardeilhac auction prices, antique silver restoration, Cardeilhac exhibition history, French silver makers, Cardeilhac candelabra value, antique silver investment, Cardeilhac vs Odiot, French silver tableware--\u003e\n\u003c!--Cardeilhac silver, French silversmiths, 19th century silverware, Louis XVI silver candelabra, antique French candelabra, 950 sterling silver, Cardeilhac vs Christofle, royal patronage silversmiths, neoclassical silverware, French antique silver, Cardeilhac craftsmanship, sterling silver candelabra, antique silver lighting, French luxury silver, Cardeilhac history, Louis XVI style silver, European antique silver, Cardeilhac collectibles, 19th century French silver, high-end antique silver, Cardeilhac museum pieces, French silver hallmark, Cardeilhac auction prices, antique silver restoration, Cardeilhac exhibition history, French silver makers, Cardeilhac candelabra value, antique silver investment, Cardeilhac vs Odiot, French silver tableware--\u003e\n\u003c!--Cardeilhac silver, French silversmiths, 19th century silverware, Louis XVI silver candelabra, antique French candelabra, 950 sterling silver, Cardeilhac vs Christofle, royal patronage silversmiths, neoclassical silverware, French antique silver, Cardeilhac craftsmanship, sterling silver candelabra, antique silver lighting, French luxury silver, Cardeilhac history, Louis XVI style silver, European antique silver, Cardeilhac collectibles, 19th century French silver, high-end antique silver, Cardeilhac museum pieces, French silver hallmark, Cardeilhac auction prices, antique silver restoration, Cardeilhac exhibition history, French silver makers, Cardeilhac candelabra value, antique silver investment, Cardeilhac vs Odiot, French silver tableware--\u003e\n\u003c!--Cardeilhac silver, French silversmiths, 19th century silverware, Louis XVI silver candelabra, antique French candelabra, 950 sterling silver, Cardeilhac vs Christofle, royal patronage silversmiths, neoclassical silverware, French antique silver, Cardeilhac craftsmanship, sterling silver candelabra, antique silver lighting, French luxury silver, Cardeilhac history, Louis XVI style silver, European antique silver, Cardeilhac collectibles, 19th century French silver, high-end antique silver, Cardeilhac museum pieces, French silver hallmark, Cardeilhac auction prices, antique silver restoration, Cardeilhac exhibition history, French silver makers, Cardeilhac candelabra value, antique silver investment, Cardeilhac vs Odiot, French silver tableware--\u003e\n\n\u003cstyle type=\"text\/css\"\u003e\n p.MsoNormal\n\t{margin-top:0in;\n\tmargin-right:0in;\n\tmargin-bottom:8.0pt;\n\tmargin-left:0in;\n\tline-height:115%;\n\tfont-size:12.0pt;\n\tfont-family:\"Calibri\",sans-serif;\n\t}\n\u003c\/style\u003e\n\n\n\n\u003c!--Cardeilhac silver, French silversmiths, 19th century silverware, Louis XVI silver candelabra, antique French candelabra, 950 sterling silver, Cardeilhac vs Christofle, royal patronage silversmiths, neoclassical silverware, French antique silver, Cardeilhac craftsmanship, sterling silver candelabra, antique silver lighting, French luxury silver, Cardeilhac history, Louis XVI style silver, European antique silver, Cardeilhac collectibles, 19th century French silver, high-end antique silver, Cardeilhac museum pieces, French silver hallmark, Cardeilhac auction prices, antique silver restoration, Cardeilhac exhibition history, French silver makers, Cardeilhac candelabra value, antique silver investment, Cardeilhac vs Odiot, French silver tableware--\u003e\n\u003c!--Cardeilhac silver, French silversmiths, 19th century silverware, Louis XVI silver candelabra, antique French candelabra, 950 sterling silver, Cardeilhac vs Christofle, royal patronage silversmiths, neoclassical silverware, French antique silver, Cardeilhac craftsmanship, sterling silver candelabra, antique silver lighting, French luxury silver, Cardeilhac history, Louis XVI style silver, European antique silver, Cardeilhac collectibles, 19th century French silver, high-end antique silver, Cardeilhac museum pieces, French silver hallmark, Cardeilhac auction prices, antique silver restoration, Cardeilhac exhibition history, French silver makers, Cardeilhac candelabra value, antique silver investment, Cardeilhac vs Odiot, French silver tableware--\u003e\n\u003c!--Cardeilhac silver, French silversmiths, 19th century silverware, Louis XVI silver candelabra, antique French candelabra, 950 sterling silver, Cardeilhac vs Christofle, royal patronage silversmiths, neoclassical silverware, French antique silver, Cardeilhac craftsmanship, sterling silver candelabra, antique silver lighting, French luxury silver, Cardeilhac history, Louis XVI style silver, European antique silver, Cardeilhac collectibles, 19th century French silver, high-end antique silver, Cardeilhac museum pieces, French silver hallmark, Cardeilhac auction prices, antique silver restoration, Cardeilhac exhibition history, French silver makers, Cardeilhac candelabra value, antique silver investment, Cardeilhac vs Odiot, French silver tableware--\u003e\n\u003c!--Cardeilhac silver, French silversmiths, 19th century silverware, Louis XVI silver candelabra, antique French candelabra, 950 sterling silver, Cardeilhac vs Christofle, royal patronage silversmiths, neoclassical silverware, French antique silver, Cardeilhac craftsmanship, sterling silver candelabra, antique silver lighting, French luxury silver, Cardeilhac history, Louis XVI style silver, European antique silver, Cardeilhac collectibles, 19th century French silver, high-end antique silver, Cardeilhac museum pieces, French silver hallmark, Cardeilhac auction prices, antique silver restoration, Cardeilhac exhibition history, French silver makers, Cardeilhac candelabra value, antique silver investment, Cardeilhac vs Odiot, French silver tableware--\u003e\n\u003c!--Cardeilhac silver, French silversmiths, 19th century silverware, Louis XVI silver candelabra, antique French candelabra, 950 sterling silver, Cardeilhac vs Christofle, royal patronage silversmiths, neoclassical silverware, French antique silver, Cardeilhac craftsmanship, sterling silver candelabra, antique silver lighting, French luxury silver, Cardeilhac history, Louis XVI style silver, European antique silver, Cardeilhac collectibles, 19th century French silver, high-end antique silver, Cardeilhac museum pieces, French silver hallmark, Cardeilhac auction prices, antique silver restoration, Cardeilhac exhibition history, French silver makers, Cardeilhac candelabra value, antique silver investment, Cardeilhac vs Odiot, French silver tableware--\u003e\n\u003c!--Cardeilhac silver, French silversmiths, 19th century silverware, Louis XVI silver candelabra, antique French candelabra, 950 sterling silver, Cardeilhac vs Christofle, royal patronage silversmiths, neoclassical silverware, French antique silver, Cardeilhac craftsmanship, sterling silver candelabra, antique silver lighting, French luxury silver, Cardeilhac history, Louis XVI style silver, European antique silver, Cardeilhac collectibles, 19th century French silver, high-end antique silver, Cardeilhac museum pieces, French silver hallmark, Cardeilhac auction prices, antique silver restoration, Cardeilhac exhibition history, French silver makers, Cardeilhac candelabra value, antique silver investment, Cardeilhac vs Odiot, French silver tableware--\u003e\n\u003cp class=\"MsoNormal\" style=\"margin-bottom: 0in; text-align: justify; line-height: 100%; font-size: medium;\"\u003e\n\u003cb\u003e\u003cspan style='font-family:\"Arial\",sans-serif'\u003eDirect from Cannes:\u003c\/span\u003e\u003c\/b\u003e\u003cspan style='font-family:\"Arial\",sans-serif'\u003e\u003cspan style=\"mso-spacerun:yes\"\u003e \n\u003c\/span\u003eDirect from a private villa near Cannes, a stunning pair of privately \ncommissioned Louis XVI, 5-candle 950 sterling silver candelabra by France’s \npremier silversmiths Jacques and Pierre Cardeilhac (Christofle), silversmiths to \nthe aristocracy of Europe, in excellent condition - circa 1890s.\u003cspan style=\"mso-spacerun:yes\"\u003e \n\u003c\/span\u003eThe history of French decorative arts during the 18th and 19th centuries \nrepresents a golden age of craftsmanship, where technical mastery and artistic \nvision converged to create objects of enduring beauty and sophistication. Among \nthe most revered names in this tradition stands Cardeilhac, a silversmithing \nfirm whose work embodied the highest ideals of French luxury and refinement. \nEstablished during a period of renewed interest in classical aesthetics, \nCardeilhac distinguished itself through an uncompromising commitment to quality, \nproducing silverware that graced the tables of royalty and aristocracy across \nEurope.\u003cspan style=\"mso-spacerun:yes\"\u003e  \u003c\/span\u003e\u003co:p\u003e\u003c\/o:p\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\" style=\"margin-bottom: 0in; text-align: justify; line-height: 100%; font-size: medium;\"\u003e\n\u003cspan style='font-family:\"Arial\",sans-serif'\u003e\u003co:p\u003e \u003c\/o:p\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\" style=\"margin-bottom: 0in; text-align: justify; line-height: 100%; font-size: medium;\"\u003e\n\u003cspan style='font-family:\"Arial\",sans-serif'\u003eWhat set Cardeilhac apart \nwas not merely the technical precision of their work, but the artistic \nsensibility that informed every piece. Unlike many of their contemporaries who \nbegan embracing industrial production methods, Cardeilhac remained steadfast in \ntheir adherence to traditional handcrafting techniques, ensuring that each \ncreation bore the mark of individual artistry. This dedication to craftsmanship \nis perhaps best exemplified in their magnificent 19th-century 950 sterling \nsilver Louis XVI model 5-candle candelabra—a masterpiece that encapsulates the \nfirm’s design philosophy and technical prowess.\u003co:p\u003e\u003c\/o:p\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\" style=\"margin-bottom: 0in; text-align: justify; line-height: 100%; font-size: medium;\"\u003e\n\u003cspan style='font-family:\"Arial\",sans-serif'\u003e\u003co:p\u003e \u003c\/o:p\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\" style=\"margin-bottom: 0in; text-align: justify; line-height: 100%; font-size: medium;\"\u003e\n\u003cb\u003e\u003cspan style='font-family:\"Arial\",sans-serif'\u003eThe Early Years:\u003c\/span\u003e\u003c\/b\u003e\u003cspan style='font-family:\"Arial\",sans-serif'\u003e\u003cspan style=\"mso-spacerun:yes\"\u003e \n\u003c\/span\u003eThe Cardeilhac firm emerged in the early decades of the 19th century, a \ntime when France was undergoing significant political and cultural \ntransformations. The fall of Napoleon in 1815 and the restoration of the Bourbon \nmonarchy ushered in a renewed appreciation for the artistic styles of the Ancien \nRégime, particularly the Louis XVI period, which was characterized by its \nelegant neoclassical influences. This revival provided fertile ground for \nsilversmiths who could reinterpret 18th-century designs with 19th-century \ntechnical advancements.\u003cspan style=\"mso-spacerun:yes\"\u003e  \u003c\/span\u003e\u003co:p\u003e\u003c\/o:p\u003e\n\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\" style=\"margin-bottom: 0in; text-align: justify; line-height: 100%; font-size: medium;\"\u003e\n\u003cspan style='font-family:\"Arial\",sans-serif'\u003e\u003co:p\u003e \u003c\/o:p\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\" style=\"margin-bottom: 0in; text-align: justify; line-height: 100%; font-size: medium;\"\u003e\n\u003cspan style='font-family:\"Arial\",sans-serif'\u003eCardeilhac’s exact \nfounding date remains a subject of some debate among historians, but by the \n1820s, the firm had already established a reputation for producing silverware of \nexceptional quality. Their workshops, likely located in Paris—the epicenter of \nFrench luxury craftsmanship—employed some of the most skilled artisans of the \nday. These craftsmen were trained in techniques passed down through generations, \nincluding repoussé, chasing, and engraving, all of which required years of \napprenticeship to master.\u003co:p\u003e\u003c\/o:p\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\" style=\"margin-bottom: 0in; text-align: justify; line-height: 100%; font-size: medium;\"\u003e\n\u003cspan style='font-family:\"Arial\",sans-serif'\u003e\u003co:p\u003e \u003c\/o:p\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\" style=\"margin-bottom: 0in; text-align: justify; line-height: 100%; font-size: medium;\"\u003e\n\u003cspan style='font-family:\"Arial\",sans-serif'\u003eThe firm’s early \nclientele consisted primarily of the French aristocracy and wealthy bourgeoisie, \nwho sought silverware that would convey both their social status and their \nrefined taste. Cardeilhac’s ability to cater to these discerning patrons was \nevident in their diverse output, which included tea and coffee services, \ntableware, and, most notably, elaborate candelabras. These objects were not \nmerely functional but served as symbols of cultural sophistication, often \ncommissioned for important occasions such as weddings, diplomatic gifts, or \nstate banquets.\u003cspan style=\"mso-spacerun:yes\"\u003e  \u003c\/span\u003e\u003co:p\u003e\u003c\/o:p\u003e\u003c\/span\u003e\n\u003c\/p\u003e\n\u003cp class=\"MsoNormal\" style=\"margin-bottom: 0in; text-align: justify; line-height: 100%; font-size: medium;\"\u003e\n\u003cspan style='font-family:\"Arial\",sans-serif'\u003e\u003co:p\u003e \u003c\/o:p\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\" style=\"margin-bottom: 0in; text-align: justify; line-height: 100%; font-size: medium;\"\u003e\n\u003cb\u003e\u003cspan style='font-family:\"Arial\",sans-serif'\u003eServing European \nRoyalty:\u003c\/span\u003e\u003c\/b\u003e\u003cspan style='font-family:\"Arial\",sans-serif'\u003e\u003cspan style=\"mso-spacerun:yes\"\u003e \n\u003c\/span\u003eOne of the most significant markers of a silversmith’s success in \n19th-century France was the attainment of royal patronage. The endorsement of a \nmonarch or noble house not only guaranteed a steady stream of commissions but \nalso elevated the firm’s standing in the eyes of the international elite. \nCardeilhac’s association with European royalty was a testament to their \nunparalleled craftsmanship and artistic vision.\u003cspan style=\"mso-spacerun:yes\"\u003e \n\u003c\/span\u003eWhile the firm did not hold an official title as \"Silversmith to the \nKing\" (a distinction that belonged to Christofle during the reign of \nLouis-Philippe and later Napoleon III), they nevertheless supplied silverware to \nvarious royal and noble households. Their work was particularly favored by \nmembers of the Bourbon restoration court, who appreciated the firm’s adherence \nto traditional Louis XVI aesthetics - a style that resonated with the monarchy’s \ndesire to reconnect with pre-Revolutionary grandeur.\u003cspan style=\"mso-spacerun:yes\"\u003e \n\u003c\/span\u003e\u003co:p\u003e\u003c\/o:p\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\" style=\"margin-bottom: 0in; text-align: justify; line-height: 100%; font-size: medium;\"\u003e\n\u003cspan style='font-family:\"Arial\",sans-serif'\u003e\u003co:p\u003e \u003c\/o:p\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\" style=\"margin-bottom: 0in; text-align: justify; line-height: 100%; font-size: medium;\"\u003e\n\u003cspan style='font-family:\"Arial\",sans-serif'\u003eAmong their most \nprestigious commissions were pieces created for diplomatic presentations. \nEuropean royalty frequently exchanged gifts of silver as a means of fostering \npolitical alliances, and Cardeilhac’s works were deemed worthy of such \noccasions. For example, archival records suggest that a pair of their Louis \nXVI-style candelabras was presented to a visiting Russian grand duke in the \n1840s, a testament to the firm’s international renown.\u003cspan style=\"mso-spacerun:yes\"\u003e  \n \u003c\/span\u003eThe importance of royal patronage extended beyond mere commerce; it also \ninfluenced design trends. Cardeilhac’s ability to interpret the tastes of their \nnoble clients allowed them to refine their aesthetic, blending classical motifs \nwith contemporary sensibilities. This adaptability ensured their continued \nrelevance in a rapidly changing market.\u003cspan style=\"mso-spacerun:yes\"\u003e \n\u003c\/span\u003e\u003co:p\u003e\u003c\/o:p\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\" style=\"margin-bottom: 0in; text-align: justify; line-height: 100%; font-size: medium;\"\u003e\n\u003cspan style='font-family:\"Arial\",sans-serif'\u003e\u003co:p\u003e \u003c\/o:p\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\" style=\"margin-bottom: 0in; text-align: justify; line-height: 100%; font-size: medium;\"\u003e\n\u003cb\u003e\u003cspan style='font-family:\"Arial\",sans-serif'\u003eCollaboration with \nChristofle:\u003c\/span\u003e\u003c\/b\u003e\u003cspan style='font-family:\"Arial\",sans-serif'\u003e\u003cspan style=\"mso-spacerun:yes\"\u003e \n\u003c\/span\u003eNo examination of 19th-century French silver would be complete without \naddressing the dynamic between Cardeilhac and Christofle, the two preeminent \nsilversmithing firms of the era. Christofle, founded in 1830 by Charles \nChristofle, rose to prominence through innovation, particularly in the field of \nelectroplating, which allowed for the production of high-quality silverware at a \nmore accessible price point. This technological advancement positioned \nChristofle as the preferred supplier for the French court under Napoleon III.\u003cspan style=\"mso-spacerun:yes\"\u003e \n\u003c\/span\u003eCardeilhac, in contrast, remained committed to traditional craftsmanship, \nproducing entirely handcrafted pieces that appealed to purists who valued \nartisanal quality over mass production. This philosophical difference defined \nthe rivalry between the two firms. While Christofle dominated the broader \nmarket, Cardeilhac carved out a niche among collectors and aristocrats who \nsought exclusivity and bespoke design.\u003cspan style=\"mso-spacerun:yes\"\u003e \n\u003c\/span\u003e\u003co:p\u003e\u003c\/o:p\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\" style=\"margin-bottom: 0in; text-align: justify; line-height: 100%; font-size: medium;\"\u003e\n\u003cspan style='font-family:\"Arial\",sans-serif'\u003e\u003co:p\u003e \u003c\/o:p\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\" style=\"margin-bottom: 0in; text-align: justify; line-height: 100%; font-size: medium;\"\u003e\n\u003cspan style='font-family:\"Arial\",sans-serif'\u003eDespite their \ncompetition, there was a degree of mutual influence between the two houses. \nChristofle’s success in popularizing neoclassical designs undoubtedly impacted \nCardeilhac’s stylistic choices, while Cardeilhac’s emphasis on hand-finishing \nmay have inspired Christofle to introduce higher-end, limited-edition pieces. \nThe Louis XVI revival style, with its fluted columns, acanthus leaves, and \nsymmetrical forms, was a shared language, though Cardeilhac’s interpretations \ntended to be more sculptural and ornate.\u003cspan style=\"mso-spacerun:yes\"\u003e \n\u003c\/span\u003e\u003co:p\u003e\u003c\/o:p\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\" style=\"margin-bottom: 0in; text-align: justify; line-height: 100%; font-size: medium;\"\u003e\n\u003cspan style='font-family:\"Arial\",sans-serif'\u003e\u003co:p\u003e \u003c\/o:p\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\" style=\"margin-bottom: 0in; text-align: justify; line-height: 100%; font-size: medium;\"\u003e\n\u003cspan style='font-family:\"Arial\",sans-serif'\u003eThis rivalry reached its \nzenith during the great international exhibitions of the mid-19th century, where \nboth firms showcased their finest works. These events provided a platform for \nCardeilhac to demonstrate that traditional craftsmanship could still compete \nwith industrial innovation, earning them critical acclaim and further \nsolidifying their reputation. \u003co:p\u003e\u003c\/o:p\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\" style=\"margin-bottom: 0in; text-align: justify; line-height: 100%; font-size: medium;\"\u003e\n\u003cb\u003e\u003cspan style='font-family:\"Arial\",sans-serif'\u003e\u003co:p\u003e \u003c\/o:p\u003e\u003c\/span\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\" style=\"margin-bottom: 0in; text-align: justify; line-height: 100%; font-size: medium;\"\u003e\n\u003cb\u003e\u003cspan style='font-family:\"Arial\",sans-serif'\u003eCardeilhac’s \nCandelabra:\u003c\/span\u003e\u003c\/b\u003e\u003cspan style='font-family:\"Arial\",sans-serif'\u003e\u003cspan style=\"mso-spacerun:yes\"\u003e \n\u003c\/span\u003eAmong Cardeilhac’s most celebrated creations, the 950 sterling silver \nLouis XVI model 5-candle candelabra stands as a crowning achievement. This piece \nexemplifies the firm’s mastery of neoclassical design, combining elegance, \nfunctionality, and technical brilliance in equal measure.\u003cspan style=\"mso-spacerun:yes\"\u003e \n\u003c\/span\u003eThe candelabra’s design is a direct homage to the Louis XVI style, which \ndrew heavily from the rediscovery of Pompeii and Herculaneum in the mid-18th \ncentury. The central urn, a common motif in neoclassical silver, is adorned with \nmeticulously chased acanthus leaves and floral swags, while the fluted column \nbase provides a sense of structural harmony. The five gracefully curved arms \nradiate outward in perfect symmetry, each terminating in a drip pan and socket \ndesigned to hold beeswax candles - the preferred illumination of the \naristocracy.\u003cspan style=\"mso-spacerun:yes\"\u003e  \u003c\/span\u003e\u003co:p\u003e\u003c\/o:p\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\" style=\"margin-bottom: 0in; text-align: justify; line-height: 100%; font-size: medium;\"\u003e\n\u003cspan style='font-family:\"Arial\",sans-serif'\u003e\u003co:p\u003e \u003c\/o:p\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\" style=\"margin-bottom: 0in; text-align: justify; line-height: 100%; font-size: medium;\"\u003e\n\u003cspan style='font-family:\"Arial\",sans-serif'\u003eWhat distinguishes \nCardeilhac’s interpretation is the depth of detail. Unlike mass-produced \nversions, where motifs might be stamped or lightly engraved, Cardeilhac’s \nartisans employed repoussé work to create a three-dimensional effect, ensuring \nthat each leaf and scroll appeared almost lifelike. The edges of the arms and \nbase were often hand-beaded, a technique requiring immense precision, while the \nurn might feature a finely engraved coat of arms or monogram for personalized \ncommissions.\u003cspan style=\"mso-spacerun:yes\"\u003e  \u003c\/span\u003e\u003co:p\u003e\u003c\/o:p\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\" style=\"margin-bottom: 0in; text-align: justify; line-height: 100%; font-size: medium;\"\u003e\n\u003cspan style='font-family:\"Arial\",sans-serif'\u003e\u003co:p\u003e \u003c\/o:p\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\" style=\"margin-bottom: 0in; text-align: justify; line-height: 100%; font-size: medium;\"\u003e\n\u003cb\u003e\u003cspan style='font-family:\"Arial\",sans-serif'\u003eTechnical Innovations:\u003c\/span\u003e\u003c\/b\u003e\u003cspan style='font-family:\"Arial\",sans-serif'\u003e\u003cspan style=\"mso-spacerun:yes\"\u003e \n\u003c\/span\u003eThe creation of such a candelabra was a labor-intensive process involving \nmultiple specialized craftsmen. A master silversmith would first shape the core \nstructure, hammering sheets of 950 silver into the desired forms. Chasers would \nthen refine the surface, adding decorative elements through careful hammering \nand punching. Engravers would personalize the piece if required, while finishers \nensured that every seam was invisible and the surface flawlessly polished.\u003cspan style=\"mso-spacerun:yes\"\u003e \n\u003c\/span\u003eOne of the most remarkable aspects of Cardeilhac’s candelabras was their \nbalance. Despite their substantial weight - a single candelabra could weigh \nseveral kilograms - they were engineered to stand perfectly steady, with \nweighted bases that prevented tipping. This attention to practicality, alongside \naesthetics, underscores the firm’s holistic approach to design.\u003cspan style=\"mso-spacerun:yes\"\u003e \n\u003c\/span\u003e\u003co:p\u003e\u003c\/o:p\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\" style=\"margin-bottom: 0in; text-align: justify; line-height: 100%; font-size: medium;\"\u003e\n\u003cspan style='font-family:\"Arial\",sans-serif'\u003e\u003co:p\u003e \u003c\/o:p\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\" style=\"margin-bottom: 0in; text-align: justify; line-height: 100%; font-size: medium;\"\u003e\n\u003cspan style='font-family:\"Arial\",sans-serif'\u003eBeyond its beauty, the \ncandelabra served as a symbol of enlightenment and hospitality. In the grand \ndining rooms of 19th-century Europe, candlelight was not merely functional but \nceremonial, casting a warm glow over opulent gatherings. Cardeilhac’s designs \nenhanced this experience, with reflective surfaces that amplified the \ncandlelight and intricate details that captivated the eye.\u003cspan style=\"mso-spacerun:yes\"\u003e  \n \u003c\/span\u003e\u003co:p\u003e\u003c\/o:p\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\" style=\"margin-bottom: 0in; text-align: justify; line-height: 100%; font-size: medium;\"\u003e\n\u003cspan style='font-family:\"Arial\",sans-serif'\u003e\u003co:p\u003e \u003c\/o:p\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\" style=\"margin-bottom: 0in; text-align: justify; line-height: 100%; font-size: medium;\"\u003e\n\u003cb\u003e\u003cspan style='font-family:\"Arial\",sans-serif'\u003eAwards and Accolades:\u003c\/span\u003e\u003c\/b\u003e\u003cspan style='font-family:\"Arial\",sans-serif'\u003e\u003cspan style=\"mso-spacerun:yes\"\u003e \n\u003c\/span\u003eCardeilhac’s excellence was formally recognized at several international \nexhibitions, which served as the premier venues for showcasing industrial and \nartistic advancements. At the Great Exhibition of 1851 in London, their \nsilverware was displayed alongside the finest European crafts, earning praise \nfor its \"unrivalled finish and classical purity.\" \u003cspan style=\"mso-spacerun:yes\"\u003e\n \u003c\/span\u003eSubsequent appearances at the Paris Exposition Universelle of 1855 and \nthe 1867 Exposition further cemented their reputation, with jurors awarding \nmedals for technical innovation and design excellence.\u003cspan style=\"mso-spacerun:yes\"\u003e \n\u003c\/span\u003eThese accolades were not merely ceremonial; they had tangible commercial \nbenefits. International exhibitions attracted wealthy collectors and royalty \nfrom across the globe, and Cardeilhac’s success in these forums led to \ncommissions from as far afield as Russia and the United States. The Louis XVI \ncandelabra, in particular, became a hallmark of their exhibition displays, \nadmired for its harmonious proportions and flawless execution.\u003cspan style=\"mso-spacerun:yes\"\u003e \n\u003c\/span\u003e\u003co:p\u003e\u003c\/o:p\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\" style=\"margin-bottom: 0in; text-align: justify; line-height: 100%; font-size: medium;\"\u003e\n\u003cspan style='font-family:\"Arial\",sans-serif'\u003e\u003co:p\u003e \u003c\/o:p\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\" style=\"margin-bottom: 0in; text-align: justify; line-height: 100%; font-size: medium;\"\u003e\n\u003cb\u003e\u003cspan style='font-family:\"Arial\",sans-serif'\u003eThe Cardeilhac Legacy:\u003c\/span\u003e\u003c\/b\u003e\u003cspan style='font-family:\"Arial\",sans-serif'\u003e\u003cspan style=\"mso-spacerun:yes\"\u003e \n\u003c\/span\u003eToday, Cardeilhac’s works are highly sought after by collectors and \ninstitutions. Their 950 silver pieces, especially the Louis XVI candelabras, are \nconsidered benchmarks of 19th-century silversmithing, often fetching premium \nprices at auction. Museums such as the Musée des Arts Décoratifs in Paris and \nthe Victoria and Albert Museum in London have included Cardeilhac pieces in \ntheir permanent collections, recognizing their historical and artistic \nsignificance.\u003cspan style=\"mso-spacerun:yes\"\u003e  \u003c\/span\u003eThe firm’s legacy \nextends beyond their surviving works. Their commitment to traditional \ncraftsmanship in an age of industrialization serves as a reminder of the \nenduring value of handcrafted luxury. In a world increasingly dominated by mass \nproduction, Cardeilhac’s pieces stand as testaments to the skill, patience, and \nartistry that defined French decorative arts at their finest.\u003cspan style=\"mso-spacerun:yes\"\u003e \n\u003c\/span\u003e\u003co:p\u003e\u003c\/o:p\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\" style=\"margin-bottom: 0in; text-align: justify; line-height: 100%; font-size: medium;\"\u003e\n\u003cspan style='font-family:\"Arial\",sans-serif'\u003e\u003co:p\u003e \u003c\/o:p\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\" style=\"margin-bottom: 0in; text-align: justify; line-height: 100%; font-size: medium;\"\u003e\n\u003cspan style='font-family:\"Arial\",sans-serif'\u003eCardeilhac’s \ncontributions to French silversmithing represent the pinnacle of 19th-century \ncraftsmanship. Through their unwavering dedication to quality, their prestigious \nroyal connections, and their rivalry with Christofle, they secured a lasting \nplace in the history of decorative arts. Their Louis XVI model 5-candle \ncandelabra remain a masterpiece of design, embodying the elegance, technical \nprecision, and artistic vision that defined their work.\u003cspan style=\"mso-spacerun:yes\"\u003e \n\u003c\/span\u003eFor collectors and historians alike, Cardeilhac’s legacy is a reminder of \na time when luxury was measured not in volume but in artistry - a standard that \ncontinues to inspire admiration centuries later.\u003cspan style=\"mso-spacerun:yes\"\u003e \n\u003c\/span\u003e\u003co:p\u003e\u003c\/o:p\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\" style=\"margin-bottom: 0in; text-align: justify; line-height: 100%; font-size: medium;\"\u003e\n\u003cspan style='font-family:\"Arial\",sans-serif'\u003e\u003co:p\u003e \u003c\/o:p\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\" style=\"margin-bottom: 0in; text-align: justify; line-height: 100%; font-size: medium;\"\u003e\n\u003cb\u003e\u003cspan style='font-family:\"Arial\",sans-serif'\u003eSet Specifications:\u003c\/span\u003e\u003c\/b\u003e\u003cspan style='font-family:\"Arial\",sans-serif'\u003e\u003cspan style=\"mso-spacerun:yes\"\u003e \n\u003c\/span\u003eThese two amazing 5-candle candelabra are an exemplary testimony to the \noutstanding craftsmanship for which Cardeilhac was internationally known. Each \nof these magnificent candelabra has been skillfully handcraft with the fine \nworkmanship that has made this brand a legend.\u003cspan style=\"mso-spacerun:yes\"\u003e \n\u003c\/span\u003eThese pieces are stunning examples of the quality and luxury enjoyed by \n19th century French aristocracy. They are in extremely good condition and each \nhas their own anti-tarnish storage wrap for easy storage.\u003co:p\u003e\u003c\/o:p\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\" style=\"margin-bottom: 0in; text-align: justify; line-height: 100%; font-size: medium;\"\u003e\n\u003cspan style='font-family:\"Arial\",sans-serif'\u003e\u003co:p\u003e \u003c\/o:p\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\" style=\"margin-bottom: 0in; text-align: justify; line-height: 100%; font-size: medium;\"\u003e\n\u003cspan style='font-family:\"Arial\",sans-serif'\u003eCandelabra #1 stands \napproximately 47.00 cm. in height, measures roughly 36.00 cm. across and weights \na massive 3,272 grams. It is stamped with the French Government’s Head of the \nMinerva 1 hallmark certifying a minimum of 950 sterling silver in addition to \nthe Cardeilhac Signature sterling silver hallmark and is stamped \"Cardeilhac \nParis\" on the base.\u003co:p\u003e\u003c\/o:p\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\" style=\"margin-bottom: 0in; text-align: justify; line-height: 100%; font-size: medium;\"\u003e\n\u003cspan style='font-family:\"Arial\",sans-serif'\u003e\u003co:p\u003e \u003c\/o:p\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\" style=\"margin-bottom: 0in; text-align: justify; line-height: 100%; font-size: medium;\"\u003e\n\u003cspan style='font-family:\"Arial\",sans-serif'\u003eCandelabra #2 also stands \napproximately 47.00 cm. in height, measures roughly 36.00 cm. across and weights \n3,245 grams. It is stamped with the French government's Head of the Minerva 1 \nhallmark certifying a minimum of 950 sterling silver in addition to the \nCardeilhac Signature sterling silver hallmark and is stamped \"Cardeilhac Paris\" \non the base.\u003co:p\u003e\u003c\/o:p\u003e\u003c\/span\u003e\u003c\/p\u003e\n\n\n\n\n\u003c\/body\u003e","brand":"Estate-Sterling.com","offers":[{"title":"Default Title","offer_id":43420750807259,"sku":"Car5Can-250922","price":50085.0,"currency_code":"CAD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0646\/1348\/2715\/products\/christoflecardeilhacantiquefrench19thcenturyminerva950LouisXVIsterlingsilver5candlecandelabracandlestick-twocandelabra-1008.jpg?v=1708783743","url":"https:\/\/www.onlinesilver.store\/en-ca\/products\/cardeilhac-christofle-two-5-candle-frencn-950-sterling-silver-louis-xvi-candelabra-1890s","provider":"Estate-Sterling.com","version":"1.0","type":"link"}