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A beautiful pair of Rococo style silver five-light candelabra attributed to Jean-Baptiste-Gustave Odiot, each with foliate vase-shaped sockets and foliate drip-pans, the central upright and four scrolled foliate branches issuing from a foliate vase-shaped shaft on a scrolled baluster shaped stem and shaped circular scrolled rocaille base
Paris, date circa 1865-75
Hallmarked. Height 55.5 cm. Weight kilos. each.
This beautiful pair of silver candelabra epitomise the eclectic interest during the mid nineteenth century for past historical styles, in particular the naturalistic forms of the Rococo combined, albeit to a lesser extent, with the more sober classicising elements of the Louis XVI style. Although they do not bear a maker’s mark the candelabra are stamped with the Minerva head for Paris and the highest purity mark 1. Their quality and style ensure a strong probability that they were made by the famous Parisian firm of Odiot, not least that they share many similar characteristics with a design for a more elaborate ten-light candelabrum by Odiot, 1862 (Odiot Collection) with similar scrolled branches, sockets and foliate drip-pans (illustrated in Jean-Marie Pinçon and Olivier Gaube du Gers, “Odiot L’Orfèvre”, p. 181, pl. 287). In addition they bear a striking similarity to a fully hallmarked pair of seven-light candelabra by Jean-Baptiste-Gustave Odiot, previously sold by this gallery (illustrated in Richard Redding, “25th Anniversary Catalogue”, 2002, p. 167). As here, the latter feature foliate vase-shaped sockets above corresponding drip-pans, a scrolling foliate-wrapped baluster stem and shaped base. However in the present case the effect is slightly more restrained to include an angular knop above the foot and a more distinct symmetrical design.
The renowned dynasty of the Odiot family, which had dominated French silver manufacture since the late eighteenth century, was launched to fame by Jean-Baptiste-Claude Odiot (1763-1850). In 1827 he was succeeded by his son Charles-Nicolas Odiot (1789-1868) and then on the latter’s death Odiot was continued by his son, Jean-Baptiste-Gustave (known as Gustave, 1823-1912). Gustave proved a fine manager securing an appointment with the Imperial Russian court, 1898 and counted among his other illustrious patrons the Duc l’Aumale, Marie d’Orléans, Madame Léopold Goldschmidt, M. Gunsburgh and Cesar Trezza de Mussella of Italy. Good management was combined with strong design, a number of his finest pieces being modelled by Gilbert and executed by the ciseleur Diomède, who both worked on an important Louis XVI style tea service, exhibited in 1887.
Though Charles-Nicolas incorporated Rococo elements within his designs the style was more fully exploited by his son Gustave. For instance under his management the firm produced a fine bougeoir de toilette, 1883 (Odiot Collection); clearly inspired by the work of the great Rococo silversmith Thomas Germain (1673-1740); it included shell-shaped dishes and naturalistic asymmetrically stemmed candlesticks. Gustave Odiot’s interest in the Rococo revival was part of a much wider interest in earlier styles that embraced all the decorative arts. He also made pieces in the Louis XVI style, much favoured by Napoleon III’s wife Empress Eugénie, for instance a Louis XVI style silver gilt jardinière (private collection) exhibited at the Exposition Universelle 1867, where the firm won one of the highest prizes. In other instances the firm’s work looked back to the Renaissance design, for instance a set of silver gilt knives and forks with porcelain handles, 1890 (Odiot Collection), the mixture of materials for manufacture of cutlery being innovative in itself. Like his father Gustave shared a passion for Japanese art and particularly the techniques used in making Far Eastern metalwork. They were also strongly influence by Chinese art and Chinoiserie design which was so prevalent within the Rococo. Rarely however was only one past style imitated so that as here elements from more that one period of history were incorporated within a single piece.
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