Surtout de table - Centerpiece

Louis XVI Style
Gilt-Bronze
French, 2nd Half 19th Century



H 33 x W 51,5 x D 34 cm
H 13 x W 20 1/4 x D 13 1/3 inch




This gilt-bronze surtout de table presents itself as a tazza-like centerpiece of remarkable sculptural richness. Raised on a circular, fluted and molded pedestal base with tiered ornamental bands of laurel and beading, the wide bowl rises in an elegant profile accentuated by a gadrooned underside. The rim is ornamented with a classical ovolo frieze, from which spring two large, sinuous handles in the form of naturalistically modelled serpents, their bodies entwined in complex coils before terminating in alert, forward-facing heads. The handles are striking for their dynamism and scale, transforming the vessel into a dramatic sculptural object. Around the exterior of the bowl, alternating with festoons of fruits and flowers, are applied female masks with softly modelled features and flowing hair, recalling personifications or classical nymphs. Their serene visages contrast with the energy of the serpentine handles, achieving a balance of grace and intensity characteristic of neo-classical decorative vocabulary. The entire surface is richly fire-gilded, its burnished and matte areas carefully contrasted to heighten the relief.

The form and decoration of this centerpiece reflect the enduring appeal of the Louis XVI style in the 19th century. In particular, the combination of classically inspired masks, floral garlands, and serpents finds its roots in the ornamental repertoire of antiquity, mediated through the rediscoveries of the 18th century.

The taste for gilt-bronze surtouts de table and centerpieces flourished in France during the second half of the 19th century, when the grand bourgeoisie and aristocracy commissioned sumptuous table ornaments for banquets and receptions. Makers looked back to the models of the late 18th century — especially the work of celebrated bronziers such as Pierre-Philippe Thomire — while at the same time adopting a more exuberant, sculptural approach suited to the opulent interiors of the Second Empire and Third Republic.
The serpent handles, rare in earlier Louis XVI models, speak to the 19th-century fascination with archaeological eclecticism and the symbolic repertoire of antiquity, where serpents could signify protection, wisdom, or the chthonic forces of nature. Their highly naturalistic modeling demonstrates the technical virtuosity of Parisian bronziers and the taste for striking, conversation-piece objects.

This example, with its dramatic serpentine handles and refined gilt surface, epitomizes the 19th-century revival of Louis XVI classicism in its most opulent and sculptural expression, serving both as a functional centerpiece and as a display of wealth, erudition, and taste.