A FRENCH SILVER-GILT SOUP-TUREEN, COVER AND STAND
No VAT will be charged on the hammer price, but VA… Read more THE PROPERTY OF A GENTLEMAN (LOTS 247-256)
A FRENCH SILVER-GILT SOUP-TUREEN, COVER AND STAND

MARK OF ODIOT, PARIS, 1906-1956

Details
A FRENCH SILVER-GILT SOUP-TUREEN, COVER AND STAND
MARK OF ODIOT, PARIS, 1906-1956
Circular and on four lion's mask and foliage feet, the base applied with gryphon and insect frieze, the shoulder applied with a further frieze of animals and masks within trailing foliage, with two cast winged female handles, the detachable cover with finial cast as Ceres, with conforming liner, marked under base, on two feet, inside cover and underneath liner, the base further stamped 'MON ODIOT PARIS and numbered '2159'
19¾ in. (50 cm.) wide over handles
394 oz. (12,245 gr.)
Special notice

No VAT will be charged on the hammer price, but VAT at 17.5% will be added to the buyer's premium, which is invoiced on a VAT inclusive basis.

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Monica Turcich
Monica Turcich

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Lot Essay

This tureen is based on a design, dated 1805-1806, by Charles Moreau, the original of which is in the Collection Odiot (O. Gaube du Gers, Odiot l'Ofrévre, Paris, 1990, p. 62).

Though any number of variations of the design were used by Odiot in some of the great 19th century services, for example the Branicki service (Christie's, London, 12 June 2007, lot 120) and the Borghese service, (O. Gaube du Gers, op. cit., p. 97), a tureen made for Maximillian Joseph, King of Bavaria, seems most likely to be the prototype for the present example, (O. Gaube du Gers, op. cit., p. 62).

MAISON ODIOT

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', (Christie's London, 19 October 2005, lot 134) 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 (Christie's New York, 19 April 2002, lot 74), 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, (Christie's London, 12 June 2007, lots 120-122) and Count Nikolai Demidoff (Christie's London 5 July 2000, lots 2-3).

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 the magnificent centrepiece which Odiot had exhibited at the 1878 Paris Universal Exposition, (lots 251 and 252).

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