Silver-gilt, Paris 1826-38, mark of Claude-Nicholas Odiot.

Silver-gilt (two colours). The oviform body is engraved with an upper border of laurel and a lower border of palm leaves. To the front is applied a wreath of flowers encircling a Bacchante mask whose hair is entertwined with with vine-leaves and grapes. To one side is applied a nude male figure, winged, holding a flaming torch in his right hand and wreath of laurel in his left. To the other is applied a winged figure holding a crater and a serpent. The rim is decorated with a band of palm leaves: the junction of the body and neck is also decorated with a band of palm leaves. The junction of the body and base is encircled by a rope girdle; the base is domed in form, and engraved with palm leaves: the moulded edge is decorated with a band of palm leaves. The ebony handle rises from sockets composed of palm leaves and acanthus: the upper socket is encircled by a band of rosettes and there is a rosette to either side of it.

Purchased with Art Fund support

Bought from Messrs. Frank Partridge, New Bond Street, London.

From a tea service. Part of a composite tea-service with elements by J.C.-B and his son Charles-Nicolas Odiot. Probably made up during the Restoration. This is part of a composite tea service, made up from pieces marked for Jean-Baptiste (master 1785) and his son Charles-Nicolas Odiot (mark in use from 1826).

Historical significance: The Odiot workshop was one of the largest, most prestigious in Paris, supplying the court and aristocracy. It was quite usual to make up sets of tea, coffee or other services from stock. Designs and casting patterns were kept and re-used as necessary.

The bowl is characteristic of Odiot's production and the so-called "Empire" style, popular in France in the early 19th century. The use of classical motifs and figures applied to plain surfaces, and for pouring vessels, spouts ending in animal's heads are typical. It was considered the epitome of French stylishness in England. The French craft, on the other hand, looked to England for technical developments; Charles-Nicolas spent some time working as a modeller for Garrards in London.

This ewer is part of a composite tea service consisting of a hot water urn, sugar bowl, tea caddy, teapot and ewer. The firm of Jean-Baptiste-Claude Odiot was one of the most important and influential Parisian silversmiths at the beginning of the 19th century. Skilful practitioners of the neo-classical style, Odiot were patronised by the aristocracy of Europe. J.B. C. Odiot's son, Charles Nicolas studied English technique and style at Garrards and took over the family business in 1827. Tea drinking after dinner became fashionable in the early 19th century, even in France. In 1827, Domestic Economy and Cookery for Rich and Poor reported that " In France, now, the tea-table is partially introduced to accommodate the English, which serves to show off their nice cakes and bon bons…"

M.4 to B-1973