A large and massive French silver hot water urn, Gustave Odiot, Paris, circa 1867

platform base on four acanthus feet, urn raised on four hoof supports surmounted by ram's heads, body chased with bands of leaf tips, fluting, classical scenes, and entwined olive branches, all on matted ground, bifurcated scroll handles, lid with an acanthus leaf and bouquet finial

good, crisp condition
In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective qualified opinion.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING CONDITION OF A LOT, ALL LOTS ARE OFFERED AND SOLD "AS IS" IN ACCORDANCE WITH THE CONDITIONS OF SALE PRINTED IN THE CATALOGUE.

This impressive urn and its matching coffee pot are probably those shown by Odiot at the Paris exhibition of 1867; a silver-gilt version was shown at the 1878 Paris fair  The chasing can be attributed to Paul Dimoède, one of Odiot's best artists, who was also responsible for the Pétin surtout shown at the same Exhibition (information courtesy of Isabelle Cartier).

Odiot called its neoclassical style of the 1860s "Louis XVI-Impératrice", evoking the Empress Eugénie's fascination with Marie-Antoinette.  The design of these pieces in particular can perhaps be attributed to Paul-Edmond Récipon (1832-1898).  Benezit notes, "his composite style recalls French style of the 18th century," and the nudes here recall that on a cup designed by Récipon, illustrated Jean-Marie Pincon and Olivier Gaube du Gers, Odiot l'Orfèvre, fig. 293, p. 186.