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		AN IMPORTANT PAIR OF GEORGE IV SILVER-GILT THREE-LIGHT CANDELABRA £ price on application      MARK OF PHILIP RUNDELL, LONDON, 1820, RETAILED BY RUNDELL, BRIDGE AND RUNDELL, BASED ON THE DESIGNS OF JOHN FLAXMAN, MODELLED BY EDWARD HODGES BAILY Each on circular base with fruiting grapevine border, the stem cast as Orpheus resting against fruiting grapvines as he is struck by Cupid with an arrow, the three branches each terminating in a grapevine cast socket and wax-pan, the base applied with a coat-of-arms, the sockets and wax-pans each engraved with two crests, marked on base, on branches, sockets, wax-pans and applied coats-of-arms, the bases further stamped 'RUNDELL BRIDGE ET RUNDELL AURIFICES REGIS LONDINI' 24 in. (61 cm.) high 423 oz. (13,151 gr.) The arms are those of Russell quartering Watts with those of Watts in pretence for Jesse Watts-Russell (1786-1875) of Ilam Hall, Staffordshire. Provenance Jesse Watts Russell M.P. (1786-1875), of Ilam Hall. The Eaton Family, Toronto, Canada. A Connecticut Collector; Phillip's, New York, 16 April 1982, lot 240. Literature J. B. Hawkins, The Al Tajir Collection of Silver and Gold, London, 1983, pp. 160-161. The Glory of the Goldsmith, Magnificent Gold and Silver from the Al-Tajir Collection, 1989, p. 192. C. Hartop, Royal Goldmsiths, The Art of Rundell & Bridge 1797-1843, 2005, p. 73, fig 63, cat. no. 44 C. Hartop, "Royal Goldmsiths, The Art of Rundell & Bridge 1797-1843" The Magazine Antiques, June, 2005 Exhibited London, Christie's, The Glory of the Goldsmith, Magnificent Gold and Silver from the Al-Tajir Collection, 1989, no. 147. London, Koopman Rare Art, Royal Goldmsiths, The Art of Rundell & Bridge 1797-1843, 2005, p. 73, fig 63, cat. no. 44 Jesse Watts-Russell Jesse Watts-Russell was the son of Jesse Russell (1743-1820) of Newcastle-under-Lyme, who had made a fortune through the manufacture of soap. He married as his first wife Mary (d.1840), daughter and heiress of David Pike Watts of Portland Place, London and cousin of John Constable, the artist. He subsequently assumed by Royal License in 1817 the additional surname and arms of Watts. He was to marry twice more, in 1843 Maria Ellen (d.1844), daughter of Peter Henry Barker of Bedford and in 1862 Martha, daughter of John Leech of Wexford. These candelabra would have been commissioned for use in the dining room of Ilam Hall, the large Gothic Revival house built for Watts-Russell by the builder and engineer James Trubshaw (1777-1853) to the designs of the architect John Shaw (1776-1832). The house was sold after Watts-Russell's death in 1875, but Biggin Hall in Northamptonshire, another of his houses, has remained in the family. Ilam Hall only survives in fragmentary form, as does the memorial cross in Ilam village, which imitates the Eleanor Crosses and which was raised in memory of Watts-Russell's first wife. Code: prlab		more photos make enquiry
		OF ROYAL IMPORTANCE, A MASSIVE FIVE-PIECE FRENCH SILVER CENTERPIECE AND CANDELABRA GARNITURE EXHIBITED AT THE PARIS INTERNATIONAL EXHIBITION 1878. MARK OF ODIOT, PARIS, CIRCA 1878 £ price on application      Further images..... Code: odiotpics		more photos make enquiry
		OF ROYAL IMPORTANCE, A MASSIVE FIVE-PIECE FRENCH SILVER CENTERPIECE AND CANDELABRA GARNITURE EXHIBITED AT THE PARIS INTERNATIONAL EXHIBITION 1878. MARK OF ODIOT, PARIS, CIRCA 1878 £ price on application      THE ROYAL HOUSES OF FRANCE AND DENMARK The wedding gift of François d'Orléans, Prince de Joinville, third son of Louis-Philippe I, King of the French to his Grandaughter; Princess Marie d'Orléans in honor of her marriage on 20 October 1885 to Prince Valdemar of Denmark , youngest son of King Christian IX of Denmark. OF ROYAL IMPORTANCE, A MASSIVE FIVE-PIECE FRENCH SILVER CENTERPIECE AND CANDELABRA GARNITURE EXHIBITED AT THE PARIS INTERNATIONAL EXHIBITION 1878. MARK OF ODIOT, PARIS, CIRCA 1878 The central centerpiece supporting cast figures of Flora and Zephyr, reclining among putto, the two smaller centerpieces each supporting cast putto at play, each applied with the Royal arms of Denmark accolé with the Royal arms of France, below cast crowns, Each thirteen-light candelabra applied with frolicking putto. The Centerpieces marked on bases, the bases further stamped 'ODIOT A PARIS' the candelabra fully marked also numbered 5416, 5417, 5418, 5419 and 5420 The centerpiece: 37½ in. (95 cm.) wide The two side pieces 13½ in. (34 cm.) wide The Candelabra 38¼ in. (97 cm.) high gross weight 2527 oz. (78690g) The arms are the Royal arms of Denmark accolé with the Royal arms of France with a label for difference, for Prince Valdemar of Denmark (1859-1939), youngest son of King Christian IX of Denmark, and his wife Princess Marie d'Orléans (1865-1909), eldest daughter of Robert, Duke de Chartres and his wife Princess Françoise d'Orleans (1844-1925), who he married in 1886. Purchased as part of a service for 40,293 French Francs from Odiot by François d'Orléans, Prince de Joinville (1818-1900) on 31 January 1886, Presented by him as a wedding gift to his granddaughter Princess Marie d'Orléans (1865-1909) in honor of her marriage on 20 October 1885 to Prince Valdemar of Denmark (1859-1939), youngest son of King Christian IX of Denmark. Literature 'Illustrated Catalogue of the Paris International Exhibition', The Art Journal, London, 1878, p.77. Le Nouveau Journal Republican, December 1878. Monde Illustre, December 1878. J. B. Hawkins, Masterpieces of English and European Silver and Gold, Sydney, 1979, p. 118-125. J. B. Hawkins, The Al Tajir Collection of Silver and Gold, London, 1983, pp. 197-203. J.-M. Pinçon and O. Gaube du Gers, Odiot l'Orfévre, Paris, 1990, p. 188. Exhibited Paris, Paris Universal Exhibition, 1878. Sydney, The Art Gallery of New South Wales, Masterpieces of English and European Silver and Gold, January, 1980, no. 45. MAISON ODIOT While the Maison Odiot can trace its origins back to 1690, it was Jean-Baptiste-Claude Odiot, the grandson of the founder, Jean-Baptiste-Gaspard Odiot, who brought the firm to the attention of the world. Born in 1763 and becoming a master in 1785, Odiot succeeded his father in the business, steadily building the firm's reputation, coming to a particular notice following the Exposition de l'industrie held in Paris in 1802. Following the bankruptcy, in 1809, of the celebrated neoclassical silversmith Henry Auguste, who at the time was the silversmith to Emperor Napoleon, Odiot was able to purchase many of his models and designs. Odiot, along with Martin-Guillaume Biennais, soon replaced Auguste as Emperor Napoleon's silversmiths ensuring the success of both firms. Soon Odiot was receiving orders from the French court, including a service made for Napoleon's mother, styled 'Madame Mère' and as well as from across Europe and beyond. The Russian Imperial court's love affair with French silver, most famously realised in the service made for Catherine the Great from the Parisian silversmith Jacques Roettiers and his son Jacques-Nicolas Roettiers in 1770 and subsequently presented to her lover Count Gregory Orloff, continued with commissions from the Russian court to Odiot. Among these important commissions were a massive service for Countess Branicki, the niece of Gregory Potemkin and Count Nikolai Demidoff. Odiot's work during this period is characterised by strong neoclassical forms, ornamented with cast figural elements, often attached not by the traditional soldering but with the use of bolts and rivets, a method he inherited from his collaboration with the bronzier Pierre-Philippe Thomire (1751-1843). Having survived the French Empire as well as the Bourbon monarchy, Jean-Baptiste-Claude Odiot retired in 1823 passing the business to his son Charles-Nicolas, who continued to build on the firms success and to enhance their reputation and their list of Royal clients such as François d'Orleans, Prince de Joinville who purchased this magnificent suite which Odiot had exhibited at the 1878 Paris Universal Exposition. Code: roalodiot		more photos make enquiry