AN IMPORTANT AND MASSIVE PAIR OF FRENCH SILVER THIRTEEN-LIGHT CANDELABRA
No VAT will be charged on the hammer price, but VA… Read more THE PROPERTY OF A GENTLEMAN (LOTS 247-256)
AN IMPORTANT AND MASSIVE PAIR OF FRENCH SILVER THIRTEEN-LIGHT CANDELABRA EXHIBITED AT THE PARIS INTERNATIONAL EXHIBITION

MARK OF ODIOT, PARIS, CIRCA 1878

Details
AN IMPORTANT AND MASSIVE PAIR OF FRENCH SILVER THIRTEEN-LIGHT CANDELABRA EXHIBITED AT THE PARIS INTERNATIONAL EXHIBITION
MARK OF ODIOT, PARIS, CIRCA 1878
Each baluster stem applied with frolicking putto, the circular base on shell feet and later applied with the Royal arms of Denmark accolé with the Royal arms of France and below a Royal crown, the scrolling branches each terminating in a fluted socket with detachable nozzles, fully marked, the bases further stamped 'ODIOT A PARIS and numbered 5419 and 5420
38¼ in. (97 cm.) high
gross weight 1,108 oz. (34,459 gr.)
The arms are the Royal arms of Denmark accolé with the Royal arms of France with a label for difference, presumably 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. (2)
Provenance
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, at which time the coats-of-arms and crowns were added. Almost certainly presented by him as a wedding gift to his granddaughter
Princess Marie d'Orléans (1865-1909) in honour of her marriage on 20 October 1885 to Prince Valdemar of Denmark (1859-1939), youngest son of King Christian IX of Denmark.
Literature
'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.
Exhibited
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 (part).
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

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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