Table Centrepiece
1778-1779 (hallmarked)
| Artist/Maker | |
| Place of origin |
Object Type
The functional and decorative centrepiece may have evolved from the practice of placing a dish of fresh or candied fruit on top of a monumental standing salt. By the mid-17th century, round or hexagonal waisted salts made with three arms could support a filled plate, but it was at the French court of Louis XlV (ruled 1643-1715) that the centrepiece was fully developed. By the 1680s the epergne (known in France as the surtout) had begun to take shape as a grand and dramatic centrepiece, which stayed on the table throughout the meal. It provided a range of services for diners from lighting to serving foods, and was a flexible and adaptable table ornament. Tureens for stews and soups could be incorporated, as well as casters and cruets for condiments, salvers and baskets to present fruit or jellies, and creams. The branches could be adapted to hold candles for evening supper parties. Late 18th-century English epergnes seem to have been largely decorative centrepieces for holding fruit for the dessert course. The English adopted the French word épargne ('to save'), meaning to save space on the table, or to spare servants or guests the trouble of passing vessels, which were now more conveniently located together in the centre of the table.
Design
The epergne was the most important and expensive item on the dinner table. As the focus of the table setting it displayed the owner's wealth and status. The earliest, experimental designs show large tureens with branch attachments on a plateau (stand) with associated casters and salts. These were further elaborated in the 1740s with Rococo shellwork or the covered pagodas of Chinoiserie design. Illustrated cookery books may have helped to disseminate the designs from France. This epergne is in the Neo-classical style, which replaced the Rococo from the 1760s. The swags (garlands hung between two points), medallions and acanthus leaves are typical Neo-classical motifs. The pierced decoration, refined ornament and long slender branches show the influence of the architect Robert Adam (1728-1792).
People
The maker of this centrepiece, Thomas Pitts I (active about 1740-1780), specialised in epergnes. He is known to have supplied the goldsmith George Wickes. Despite their cost, epergnes were so popular that 31 were ordered from Wickes between 1735 and 1745.
The functional and decorative centrepiece may have evolved from the practice of placing a dish of fresh or candied fruit on top of a monumental standing salt. By the mid-17th century, round or hexagonal waisted salts made with three arms could support a filled plate, but it was at the French court of Louis XlV (ruled 1643-1715) that the centrepiece was fully developed. By the 1680s the epergne (known in France as the surtout) had begun to take shape as a grand and dramatic centrepiece, which stayed on the table throughout the meal. It provided a range of services for diners from lighting to serving foods, and was a flexible and adaptable table ornament. Tureens for stews and soups could be incorporated, as well as casters and cruets for condiments, salvers and baskets to present fruit or jellies, and creams. The branches could be adapted to hold candles for evening supper parties. Late 18th-century English epergnes seem to have been largely decorative centrepieces for holding fruit for the dessert course. The English adopted the French word épargne ('to save'), meaning to save space on the table, or to spare servants or guests the trouble of passing vessels, which were now more conveniently located together in the centre of the table.
Design
The epergne was the most important and expensive item on the dinner table. As the focus of the table setting it displayed the owner's wealth and status. The earliest, experimental designs show large tureens with branch attachments on a plateau (stand) with associated casters and salts. These were further elaborated in the 1740s with Rococo shellwork or the covered pagodas of Chinoiserie design. Illustrated cookery books may have helped to disseminate the designs from France. This epergne is in the Neo-classical style, which replaced the Rococo from the 1760s. The swags (garlands hung between two points), medallions and acanthus leaves are typical Neo-classical motifs. The pierced decoration, refined ornament and long slender branches show the influence of the architect Robert Adam (1728-1792).
People
The maker of this centrepiece, Thomas Pitts I (active about 1740-1780), specialised in epergnes. He is known to have supplied the goldsmith George Wickes. Despite their cost, epergnes were so popular that 31 were ordered from Wickes between 1735 and 1745.
Object details
| Categories | |
| Object type | |
| Parts | This object consists of 30 parts.
|
| Materials and techniques | Silver, pierced, chased and engraved, with cut glass |
| Brief description | TABLE CENTREPIECE or 'Epergne' |
| Dimensions |
|
| Marks and inscriptions |
|
| Gallery label | British Galleries:
Decorative but functional table centrepieces, known as an 'épergnes' had been developed at the French Court in the 1680s. On grand occasions they might be displayed throughout the dinner, but normally were used to serve condiments and candied fruits for dessert.(27/03/2003) |
| Credit line | Given by Trenchard Cox |
| Object history | Made in London by Thomas Pitts I (active about 1740-1780) |
| Summary | Object Type The functional and decorative centrepiece may have evolved from the practice of placing a dish of fresh or candied fruit on top of a monumental standing salt. By the mid-17th century, round or hexagonal waisted salts made with three arms could support a filled plate, but it was at the French court of Louis XlV (ruled 1643-1715) that the centrepiece was fully developed. By the 1680s the epergne (known in France as the surtout) had begun to take shape as a grand and dramatic centrepiece, which stayed on the table throughout the meal. It provided a range of services for diners from lighting to serving foods, and was a flexible and adaptable table ornament. Tureens for stews and soups could be incorporated, as well as casters and cruets for condiments, salvers and baskets to present fruit or jellies, and creams. The branches could be adapted to hold candles for evening supper parties. Late 18th-century English epergnes seem to have been largely decorative centrepieces for holding fruit for the dessert course. The English adopted the French word épargne ('to save'), meaning to save space on the table, or to spare servants or guests the trouble of passing vessels, which were now more conveniently located together in the centre of the table. Design The epergne was the most important and expensive item on the dinner table. As the focus of the table setting it displayed the owner's wealth and status. The earliest, experimental designs show large tureens with branch attachments on a plateau (stand) with associated casters and salts. These were further elaborated in the 1740s with Rococo shellwork or the covered pagodas of Chinoiserie design. Illustrated cookery books may have helped to disseminate the designs from France. This epergne is in the Neo-classical style, which replaced the Rococo from the 1760s. The swags (garlands hung between two points), medallions and acanthus leaves are typical Neo-classical motifs. The pierced decoration, refined ornament and long slender branches show the influence of the architect Robert Adam (1728-1792). People The maker of this centrepiece, Thomas Pitts I (active about 1740-1780), specialised in epergnes. He is known to have supplied the goldsmith George Wickes. Despite their cost, epergnes were so popular that 31 were ordered from Wickes between 1735 and 1745. |
| Bibliographic reference | Hernmarck, The Art of the European Silversmith Pl. 409 |
| Collection | |
| Accession number | M.19 to CC-1958 |
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| Record created | March 27, 2003 |
| Record URL |
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