OF ROYAL IMPORTANCE, A MASSIVE FIVE-PIECE FRENCH SILVER CENTERPIECE AND CANDELABRA GARNITURE EXHIBITED AT THE PARIS INTERNATIONAL EXHIBITION 1878 MARK OF ODIOT, PARIS, CIRCA 1878
THE ROYAL HOUSES OF FRANCE AND DENMARK
The wedding gift of François d'Orléans, Prince de Joinville, third son of Louis-Philippe I, King of the French to his Grandaughter; Princess Marie d'Orléans in honor of her marriage on 20 October 1885 to Prince Valdemar of Denmark , youngest son of King Christian IX of Denmark.
A MASSIVE FIVE-PIECE FRENCH SILVER CENTERPIECE AND CANDELABRA GARNITURE
EXHIBITED AT THE PARIS INTERNATIONAL EXHIBITION 1878.
MARK OF ODIOT, PARIS, CIRCA 1878
Executed by the sculptor Francois Gilbert. Odiot worked with Gilbert over a number of years and used many of his designs, especially for his grandest commissions. A similar service, is in the collection of the Muse de Compigne, France.
The central centerpiece supporting cast figures of Flora and Zephyr, reclining among putto, the two smaller centerpieces each supporting cast putto at play, each applied with the Royal arms of Denmark accolé with the Royal arms of France, below cast crowns, Each thirteen-light candelabra applied with frolicking putto. The Centerpieces marked on bases, the bases further stamped 'ODIOT A PARIS' the candelabra fully marked also numbered 5416, 5417, 5418, 5419 and 5420
The centerpiece: 37½ in. (95 cm.) wide
The two side pieces 13½ in. (34 cm.) wide
The Candelabra 38¼ in. (97 cm.) high
gross weight 2527 oz. (78690g)
The arms are the Royal arms of Denmark accolé with the Royal arms of France with a label for difference, for Prince Valdemar of Denmark (1859-1939), youngest son of King Christian IX of Denmark, and his wife Princess Marie d'Orléans (1865-1909), eldest daughter of Robert, Duke de Chartres and his wife Princess Françoise d'Orleans (1844-1925), who he married in 1886.
Purchased as part of a service for 40,293 French Francs from Odiot by
François d'Orléans, Prince de Joinville (1818-1900) on 31 January 1886, Presented by him as a wedding gift to his granddaughter Princess Marie d'Orléans (1865-1909) in honor of her marriage on 20 October 1885 to Prince Valdemar of Denmark (1859-1939), youngest son of King Christian IX of Denmark.
'Illustrated Catalogue of the Paris International Exhibition', The Art Journal, London, 1878, p.77.
Le Nouveau Journal Republican, December 1878.
Monde Illustre, December 1878.
J. B. Hawkins, Masterpieces of English and European Silver and Gold, Sydney, 1979, p. 118-125.
J. B. Hawkins, The Al Tajir Collection of Silver and Gold, London, 1983, pp. 197-203.
J.-M. Pinçon and O. Gaube du Gers, Odiot l'Orfévre, Paris, 1990, p. 188.
Paris, Paris Universal Exhibition, 1878.
Sydney, The Art Gallery of New South Wales, Masterpieces of English and European Silver and Gold, January, 1980, no. 45.
While the Maison Odiot can trace its origins back to 1690, it was Jean-Baptiste-Claude Odiot, the grandson of the founder, Jean-Baptiste-Gaspard Odiot, who brought the firm to the attention of the world.
Born in 1763 and becoming a master in 1785, Odiot succeeded his father in the business, steadily building the firm's reputation, coming to a particular notice following the Exposition de l'industrie held in Paris in 1802. Following the bankruptcy, in 1809, of the celebrated neoclassical silversmith Henry Auguste, who at the time was the silversmith to Emperor Napoleon, Odiot was able to purchase many of his models and designs. Odiot, along with Martin-Guillaume Biennais, soon replaced Auguste as Emperor Napoleon's silversmiths ensuring the success of both firms.
Soon Odiot was receiving orders from the French court, including a service made for Napoleon's mother, styled 'Madame Mère' and as well as from across Europe and beyond. The Russian Imperial court's love affair with French silver, most famously realised in the service made for Catherine the Great from the Parisian silversmith Jacques Roettiers and his son Jacques-Nicolas Roettiers in 1770 and subsequently presented to her lover Count Gregory Orloff, continued with commissions from the Russian court to Odiot. Among these important commissions were a massive service for Countess Branicki, the niece of Gregory Potemkin and Count Nikolai Demidoff.
Odiot's work during this period is characterised by strong neoclassical forms, ornamented with cast figural elements, often attached not by the traditional soldering but with the use of bolts and rivets, a method he inherited from his collaboration with the bronzier Pierre-Philippe Thomire (1751-1843). Having survived the French Empire as well as the Bourbon monarchy, Jean-Baptiste-Claude Odiot retired in 1823 passing the business to his son Charles-Nicolas, who continued to build on the firms success and to enhance their reputation and their list of Royal clients such as François d'Orleans, Prince de Joinville who purchased this magnificent suite which Odiot had exhibited at the 1878 Paris Universal Exposition.
Price : On application