Direct From Paris: A magnificent 19th century 950 sterling silver oval mirror covered "Table Centerpiece" by the world's premier French silversmith “Odiot”, an ultra-luxurious addition to any finely set table. You can't go wrong buying quality - circa 1890s. The history of French decorative arts during the 19th century would be incomplete without acknowledging the monumental contributions of the Odiot dynasty, whose silver creations came to define an entire era of European luxury. Among their most spectacular achievements were the grandiose table centerpieces crafted in superior 950 sterling silver that graced the banquet tables of royalty and aristocracy across the continent. These magnificent objets d'art represented not merely serving vessels but the very embodiment of imperial France's cultural aspirations and technical prowess. The foundation of Odiot's supremacy in centerpiece production lay in its uncompromising approach to materials and technique. Master craftsmen employed a combination of traditional techniques including repoussé, chasing, and hand-raising to transform these precious sheets of metal into monumental sculptures that could stand over three feet tall while maintaining perfect structural integrity. The creation of a single grand centerpiece might involve upwards of 1,000 hours of skilled labor, with different specialists responsible for the base, the central column, and the intricate decorative elements.
Focus on Quality: Odiot's centerpieces from the Empire through the Second Empire periods demonstrate an evolution in style that mirrored France's changing political and aesthetic landscapes. Early 19th century examples show the neoclassical influence of the Napoleonic court, with clean lines and motifs borrowed from ancient Rome and Egypt. The Restoration period saw the introduction of more naturalistic elements - vines, flowers, and game animals rendered with astonishing verisimilitude. By the time of Napoleon III, Odiot had mastered the art of eclecticism, producing centerpieces that combined Renaissance revival elements with baroque exuberance to satisfy the diverse tastes of the Second Empire's elite. What remained constant across all periods was the extraordinary attention to functional detail - hidden compartments for ice to keep food chilled, detachable bowls for serving, and ingenious mechanisms that allowed sections to rotate or open with theatrical flourish during grand dinners.
Serving European Royalty: The patronage of European royalty served as both testament to and catalyst for Odiot's preeminence in centerpiece production. Napoleon I commissioned several monumental pieces from the firm, including the famous "Service des Dieux" centerpiece that traveled with his campaign kitchen. Louis XVIII ordered an elaborate neoclassical centerpiece featuring his cipher in diamonds (later removed during subsequent political upheavals), while Charles X preferred more restrained designs that referenced medieval French history. The most significant royal patron was undoubtedly Napoleon III, whose ambitious rebuilding of Paris included furnishing the new state apartments with Odiot's most spectacular creations. The 1855 "Service Olympien" centerpiece, depicting scenes from Greek mythology, became the talk of Europe when displayed at the Paris Exposition that year. This imperial endorsement created enormous demand among the lesser nobility and newly wealthy industrialists across Europe, all eager to possess scaled-down versions of these royal showpieces.
Awards and Accolades: International exhibitions served as the proving grounds where Odiot's centerpieces cemented their reputation as the ultimate expressions of French luxury. The Great Exhibition of 1851 in London's Crystal Palace featured an Odiot centerpiece that drew particular admiration for its combination of technical perfection and artistic daring. Contemporary accounts describe how the piece's intricate vine motifs, with each grape and leaf rendered in high relief, appeared to grow organically from the silver surface. The Paris Exposition Universelle of 1867 saw Odiot awarded the highest honors for a centerpiece that incorporated innovative mechanical elements - sections that could be raised or lowered to reveal different serving compartments. These public triumphs translated directly into commercial success, with waiting lists stretching years for clients hoping to commission their own versions.
Odiot Table Centerpieces: The composition of Odiot's grandest centerpieces reveals much about both the artistry and the social rituals they were designed to serve. Odiot's mastery of surface decoration set its centerpieces apart from competitors. The firm employed a team of specialist chasers who could render everything from classical battle scenes to botanical studies with photographic precision in silver. A particularly celebrated technique involved the use of differential polishing to create tonal variations - background areas might be given a matte finish through careful oxidation while central motifs were burnished to a mirror shine. Gilding, when applied, was never used indiscriminately but rather as strategic highlights - perhaps on fruit clusters to suggest ripeness or along drapery folds to enhance the play of light. The result was a dynamic play of textures and reflections that brought the silver to life as it moved through the ritual of grand dining.
The workshop methods that produced these masterpieces reflected a hierarchical system of craftsmanship that had changed little since the guilds of the ancien régime. An apprentice might spend years mastering a single technique - say, the formation of perfect grape clusters - before being allowed to work on actual production pieces. Master craftsmen guarded their specialized knowledge jealously, with techniques for achieving certain finishes or joins often known only to a select few within the atelier. This insular approach, while limiting overall output, ensured that every Odiot centerpiece that left the workshop met exacting standards. Quality control was brutal - pieces with even microscopic flaws would be melted down rather than allowed to bear the Odiot mark.
The cultural significance of Odiot centerpieces extended far beyond their material worth. In an age when dining rituals constituted a primary form of elite social interaction, these pieces served as the literal and figurative center of aristocratic self-presentation. An Odiot centerpiece announced that its owner belonged to the absolute pinnacle of society - someone who valued tradition but appreciated innovation, who understood both art and utility. This symbolic weight explains why so many were commissioned to mark important dynastic events - marriages, successions, diplomatic alliances - and why they so often feature in contemporary portraits and interior scenes as carefully arranged status symbols.
The Odiot Legacy: Today, Odiot centerpieces occupy pride of place in museum collections from the Louvre to the Hermitage. Auction prices for documented examples regularly reach seven figures, a testament to their enduring appeal. Yet perhaps their greatest legacy lies in how they continue to influence contemporary tableware design. The exacting standards Odiot established for proportion, balance, and functional elegance remain the gold (or rather silver) standard against which all luxury tableware is judged. In an age of mass production, these handcrafted masterpieces remind us of the heights that can be achieved when art and craft unite in the service of beauty.
From their gleaming 950 silver surfaces to their monumental presence, Odiot's 19th century table centerpieces represent not just the pinnacle of French silversmithing but one of the most complete syntheses of artistic vision and technical mastery ever achieved in the decorative arts. They stand as enduring testaments to an era when luxury was measured not in ostentation but in perfection of form and execution, when even the serving of food could be elevated to high art through the alchemy of skilled hands and precious materials. In studying these magnificent creations, we gain insight not just into the history of silversmithing but into the very soul of 19th century European culture at its most refined.
Item Composition: This magnificent piece measures roughly 73 cm. in length, approximately 48.00 cm. across at its widest point and weights over 9,500 grams. It is stamped on the underside with the French Government's Head of the Minerva 1 hallmark certifying a minimum of 950 sterling silver in addition to the Odiot sterling silver hallmark and is stamped "Mon Odiot P. & Cie.". It comes with its own anti-tarnish storage wrap for easy storage.
