Amelie Cardeilhac Christofle antique 950 French sterling silver tea set Renaissance model
Direct from Paris: A
magnificent 10pc. sterling silver tea / coffee set by France’s premier
silversmith Amelie Cardeilhac (Christofle) in the rare renaissance pattern
"Silversmiths to the Aristocracy of Europe", includes a large serving tray, 2
serving platters and 9 anti-tarnish storage wraps - meant for the discerning
family, circa 1910. The history of
French decorative arts during the nineteenth century represents one of the most
remarkable periods in the evolution of luxury craftsmanship, where technical
mastery and artistic innovation converged to produce objects of unparalleled
beauty and refinement. Among the luminaries of this golden age, the name of
Amélie Cardeilhac stands as a testament to the highest ideals of silversmithing,
embodying the perfect marriage of traditional techniques and creative vision.
Operating during the Second Empire and the Belle Époque, Cardeilhac's workshop
became synonymous with exceptional quality, attracting the patronage of European
royalty and aristocracy while forging a significant relationship with the
preeminent firm of Christofle, the official silversmith to the French crown.
One of the most extraordinary aspects of Cardeilhac’s legacy is the production
of rare and exquisite Renaissance-model tea sets, crafted in 950 sterling
silver, which remain among the most coveted examples of nineteenth-century
silverware. These masterpieces not only reflect the revivalist tastes of the
period but also demonstrate the technical brilliance and artistic ambition that
defined Cardeilhac’s work.
Quality and Craftsmanship:
The reputation of Amélie Cardeilhac as one of the
foremost silversmiths of the nineteenth century was built upon an uncompromising
dedication to quality, a characteristic that permeated every aspect of the
firm’s production. Unlike many of its contemporaries, which increasingly turned
to industrial methods to meet growing demand, Cardeilhac’s workshop remained
firmly rooted in the traditions of handcrafted luxury, ensuring that each piece
bore the unmistakable mark of artisanal excellence. The firm’s preference for
950 sterling silver, a purer alloy than the more commonly used 925 standard, was
a deliberate choice that enhanced both the aesthetic and functional qualities of
its wares. The higher silver content not only produced a richer, more luminous
finish but also increased the durability of the metal, allowing for more
intricate and delicate designs without sacrificing structural integrity.
The techniques employed by Cardeilhac’s artisans were drawn from centuries of
French silversmithing tradition, refined and perfected over generations. Among
the most important of these was the art of repoussé, a method of ornamentation
in which designs were hammered into the metal from the reverse side, creating a
raised relief that could then be further refined through chasing and engraving.
This painstaking process allowed for an extraordinary level of detail, with
motifs ranging from delicate floral scrolls to elaborate mythological scenes
rendered with astonishing precision. The firm’s tea sets, in particular,
showcased this mastery, with handles shaped as sinuous dragons or satyrs, spouts
adorned with acanthus leaves, and bodies embellished with intricate strapwork
and grotesques inspired by Renaissance prototypes.
In addition to these traditional techniques, Cardeilhac was also an early
adopter of technological innovations that enhanced the firm’s capabilities. The
introduction of electroplating, a process pioneered by Christofle, allowed for
the precise replication of complex designs, ensuring consistency across multiple
pieces while maintaining the highest standards of craftsmanship. This marriage
of old and new methods was a hallmark of Cardeilhac’s approach, enabling the
firm to meet the exacting demands of its elite clientele without compromising on
artistic integrity. The result was a body of work that stood at the pinnacle of
nineteenth-century silversmithing, celebrated for its beauty, ingenuity, and
technical perfection.
Awards and Accolades:
The excellence of Cardeilhac’s work was not only
acknowledged by private patrons but also celebrated on the international stage,
where the firm’s creations were consistently honored at the great exhibitions of
the period. These events, which brought together the finest artisans and
manufacturers from across Europe and beyond, provided a platform for Cardeilhac
to demonstrate its superiority in the field of luxury silverware, earning
critical acclaim and prestigious awards that further cemented its reputation.
The 1867 Exposition Universelle in Paris marked a particularly significant
moment in the firm’s history, as it was here that Cardeilhac unveiled one of its
most ambitious Renaissance-revival tea services. The judges, comprising leading
figures in the arts and industry, were effusive in their praise, noting the
extraordinary skill evident in every aspect of the piece. The precision of the
embossing, the harmony of the proportions, and the richness of the decorative
elements were all singled out for commendation, culminating in the award of a
medal of honor, one of the highest distinctions available. This triumph was not
merely a personal achievement for the firm but also a reflection of the broader
esteem in which French decorative arts were held during this period.
Subsequent exhibitions, including the 1878 and 1889 Expositions Universelles,
saw Cardeilhac further consolidate its position as a leader in the field. The
firm’s displays of silver-gilt tableware and tea sets were invariably among the
most admired attractions, drawing crowds of visitors and earning additional
accolades from the juries. These successes were not confined to France;
Cardeilhac’s work was also exhibited and celebrated at international fairs in
London, Vienna, and Philadelphia, where it was recognized as a shining example
of French artistic and technical prowess. The cumulative effect of these honors
was to elevate the firm’s status to unprecedented heights, attracting the
attention of collectors and connoisseurs from across the globe.
Royal Patronage:
The prestige of Cardeilhac’s workshop was further
enhanced by its association with some of the most illustrious figures of the
nineteenth century, including members of the French imperial family and other
European royalty. The firm’s ability to cater to such discerning patrons was a
testament not only to the quality of its work but also to its understanding of
the tastes and expectations of the elite.
Empress Eugénie, the wife of Napoleon III, was among the most influential
of Cardeilhac’s admirers. A passionate advocate for the arts, the Empress played
a pivotal role in the revival of historical styles, particularly the Renaissance
and Rococo, which she sought to incorporate into the decor of the imperial
residences. Cardeilhac’s Renaissance-model tea sets, with their intricate
detailing and classical references, were perfectly aligned with her aesthetic
sensibilities, leading to several important commissions for the court. These
pieces, often embellished with the imperial cipher or other personal motifs,
were not merely functional objects but symbols of power and refinement, designed
to impress both domestic and foreign dignitaries.
Beyond France, Cardeilhac’s work found favor with other royal households,
including that of Queen Victoria, who acquired several pieces for the British
royal collection. The firm’s tea sets and tableware were also prized by the
Russian imperial family, with Tsar Alexander II known to have been a
particularly enthusiastic patron. The appeal of Cardeilhac’s creations to such a
diverse and distinguished clientele underscores the universal appreciation for
its artistry, transcending national boundaries and cultural differences.
Collaboration with Christofle:
One of the most fascinating dimensions of
Cardeilhac’s history is its relationship with Christofle, the preeminent French
silversmith that held the coveted title of "Silversmith to the King." Founded in
1830 by Charles Christofle, the firm revolutionized the production of silverware
through its pioneering use of electroplating, a technique that allowed for the
mass production of high-quality pieces without the prohibitive costs associated
with solid silver.
While Christofle focused on making luxury more accessible, Cardeilhac occupied a
different niche, specializing in bespoke, high-end commissions that catered to
the most exclusive segment of the market. Despite these differing approaches,
the two firms maintained a collaborative relationship, with Cardeilhac often
producing pieces that complemented Christofle’s designs. This partnership was
particularly evident in their shared enthusiasm for the Renaissance Revival
style, which both embraced as a means of reconnecting with the artistic heritage
of the past.
Cardeilhac’s adoption of Christofle’s electroplating techniques was a
significant factor in its ability to achieve such remarkable levels of detail
and consistency. The process, which involved depositing a thin layer of silver
onto a base metal through electrolysis, allowed for the precise replication of
even the most intricate designs, ensuring that each piece was a faithful
reproduction of the original model. This technological advantage, combined with
Cardeilhac’s traditional craftsmanship, resulted in works of art that were as
technically impressive as they were beautiful.
Cardeilhac’s Renaissance Tea Sets:
Among the most celebrated achievements of
Cardeilhac’s workshop were its Renaissance-model tea sets, crafted in 950
sterling silver and adorned with elaborate ornamentation inspired by the art of
the sixteenth century. These sets, which typically included a teapot, sugar
bowl, creamer, and sometimes additional accessories, were masterpieces of design
and execution, embodying the revivalist spirit of the age.
The aesthetic influences behind these creations were drawn from a variety of
sources, including the works of Benvenuto Cellini and other Italian Mannerist
artists, as well as French Renaissance metalwork. The teapots, often
helmet-shaped with sculptural finials, were particularly striking, their
surfaces covered in intricate engravings of mythological scenes, arabesques, and
grotesques. The handles, frequently fashioned in the form of dragons or satyrs,
added a playful yet sophisticated touch, while the use of silver-gilt accents
highlighted key elements of the design, creating a sense of depth and luxury.
The rarity of these sets today is a testament to their original exclusivity.
Produced in limited numbers for a select clientele, they were never intended for
widespread circulation, and surviving examples are correspondingly scarce. When
they do appear on the market, they command extraordinary prices, with auction
houses such as Sotheby’s and Christie’s regularly achieving six-figure sums for
well-preserved pieces. Their desirability among collectors is a reflection not
only of their artistic merit but also of their historical significance, as
tangible links to a bygone era of craftsmanship and elegance.
The Cardeilhac Legacy: The
legacy of Amélie Cardeilhac is one of unparalleled excellence in the field of
silversmithing, a legacy that continues to resonate more than a century after
the firm’s heyday. Through its unwavering commitment to quality, its embrace of
both traditional and innovative techniques, and its ability to meet the exacting
standards of the most discerning patrons, Cardeilhac established itself as a
true master of the craft. Its collaborations with Christofle, its triumphs at
international exhibitions, and its creations of rare and exquisite tea sets all
contribute to a story of artistic achievement that remains inspiring today.
In an age where the value of handcrafted luxury is increasingly recognized, the
work of Cardeilhac serves as a powerful reminder of what can be achieved when
skill, creativity, and dedication converge. The firm’s Renaissance-model tea
sets, in particular, stand as enduring symbols of this ideal, their beauty and
craftsmanship undiminished by the passage of time. For collectors, historians,
and lovers of fine silver, Cardeilhac’s work represents not just the pinnacle of
nineteenth-century decorative arts but a timeless standard of excellence against
which all others must be measured.
Set Composition: This amazing
tea set in the very rare Renaissance pattern is a stunning example of the
elegance and quality for which the firm was internationally known.
The majestic Coffee Pot is an amazing 27.00 cm. high to the top of the
lid, 22.50 cm. across from the tip of the spout to the end of the handle and
weights 889 grams. It is stamped with Amelie Cardeilhac's sterling silver
manufacturer's hallmark as well as the French Government's Head of the Minerva 1
hallmark certifying a minimum of 950 sterling silver and is stamped "Cardeilhac
Paris" on the underside. It comes with its own anti-tarnish storage warp for
easy storage.
The stunning Salt Shaker is an amazing 20.00 cm. high to the top of the lid,
8.00 cm. across at its widest point and weights 651 grams. It is stamped with
Amelie Cardeilhac's sterling silver manufacturer's hallmark as well as the
French Government's Head of the Minerva 1 hallmark certifying a minimum of 950
sterling silver and is stamped "Cardeilhac Paris" on the underside. It comes
with its own anti-tarnish storage warp for easy storage. The sturdy Hot
Chocolate Server is roughly 25.00 cm. high to the top of the lid, measures
approximately 20.00 cm. across from the tip of the spout to the end of the
handle, and weights 872 grams. It is stamped with Amelie Cardeilhac's sterling
silver manufacturer's hallmark as well as the French Government's Head of the
Minerva 1 hallmark certifying a minimum of 950 sterling silver and is stamped
"Cardeilhac Paris" on the underside. It comes with its own anti-tarnish storage
warp for easy storage.
The magnificent Sugar Bowl with gold plated (Vermeil) Interior stands roughly
14.00 cm. high to the top of the lid, measures approximately 21.00 cm. across to
the tips of the handles and weights 529 grams. It is stamped with Amelie
Cardeilhac's sterling silver manufacturer's hallmark as well as the French
Government's Head of the Minerva 1 hallmark certifying a minimum of 950 sterling
silver and is stamped "Cardeilhac Paris" on the underside. It comes with its own
anti-tarnish storage warp for easy storage. The magnificent Tea Pot is
approximately 22.00 cm. in height to the top of the lid, roughly 24.50 cm.
across from the tip of the spout to the end of the handle and weighs 847 grams.
It is stamped with Amelie Cardeilhac's sterling silver manufacturer's hallmark
as well as the French Government's Head of the Minerva 1 hallmark certifying a
minimum of 950 sterling silver and is stamped "Cardeilhac Paris" on the
underside. It comes with its own anti-tarnish storage warp for easy storage.
The dainty tea strainer is silver-plated and is also in excellent condition with
no wearing of the silver plate. It measures roughly 6.00 cm. in diameter and
weights 32.00 grams. It is stamped "Christofle Paris" on the underside. The
elegant Cream Pitcher stands approximately 15.00 cm. high to the top of the
handle, measures 11.00 cm. across from the end of the handle to the tip of the
spout and weights 311 grams. It is stamped with Amelie Cardeilhac's sterling
silver manufacturer's hallmark as well as the French Government's Head of the
Minerva 1 hallmark certifying a minimum of 950 sterling silver and is stamped
"Cardeilhac Paris" on the underside. It comes with its own anti-tarnish storage
warp for easy storage.
The stunning octagonal serving platter is also in near new condition and
measures roughly 44 cm. in length, 28 cm. wide at its widest point and weights
1,367 grams. It is also stamped "Cardeilhac Paris" on the underside and comes
with its own anti-tarnish storage wrap for easy storage. The gorgeous round
serving platter, also in near new condition, measures approximately 32 cm. in
diameter and weights 1,021 grams. It is also stamped "Cardeilhac Paris" on the
underside and comes with its own anti-tarnish storage wrap for easy storage. The
massive serving tray is silver-plated and is also in near new condition with no
wearing of the silver plate - no even on the underside. It measures roughly 73
cm. in length to the tips of the handles, 48 cm. wide at its widest point and
weights an astounding 4,520 grams. It is also stamped "Cardeilhac Paris" on the
underside and comes with its own anti-tarnish storage wrap for easy storage.
