Johann Georg Puschner (German, 1680–1749). Rock Crystal Chandelier from the so-called 'White Peller's House' [weiße Pellershaus] in Nuremberg, ca. 1700–1720. The Metropolitan Museum of Art, New York, Charles Z. Offin Fund, 2013 (2013.230)
Because of their extraordinary qualities or legendary creators, many designs were recorded in print after their execution. This example (2013.230) reproduces a rock crystal chandelier of Milanese manufacture that had come to the city of Nuremberg about 1694. The enormous piece, which, according to the inscription, supported 36 candles and measured approximately 9 1/2 by 22 feet, was originally commissioned as a gift for the Princely House of Thurn and Taxis. The deal fell through, however, because an agreement on price could not be reached, and the merchant family Peller—who had served as intermediate in the commission—kept the chandelier. It hung in their family chapel for more than a century, and it is likely that they also commissioned the production of this print, which turned the chandelier into a lasting part of Nuremberg history.
Juste Aurèle Meissonnier (French, 1695–1750). Cabinet de Mr le Compte Bielinski, from 'Oeuvres de Juste Aurelle Meissonnier', ca. 1742–1748. The Metropolitan Museum of Art, New York, Rogers Fund, 1918 (126.96.36.199)
Designs by notable artists were often reproduced in oeuvre publications to serve as collector's items, but also as inspirational models for other artists. The French publisher Gabriel Huquier (1695–1772) published many of the designs by the multitalented Juste Aurèle Meissonnier (1695–1750). This print (188.8.131.52) shows a view of the interior he created for the Warsaw palace of Count Franciszek Bielinski (1684–1766). The detailed reflection in the mirror over the fireplace hints at the grandeur of Bielinski's city palace.