This beautiful Art Nouveau cruet set consists of a silver mustard pot and three silver salt cellars. The set was manufactured in Paris in the workshops of Paul Canaux & Company, 75 Boulevard Malesherbes, during the period 1892-1911.
The cylindrical silver mustard pot is made of a 1 mm rolled silver sheet and is seamed to make the upright shape. The body is divided in three sections of which the middle section is adorned with swags and scrolls of floral motifs intertwined with swans. The upper and lower sections are adorned with roses and palm foliage. The mustard pot stands on four small ornamental feet and the original cobalt blue liner is in pristine condition. The domed hinged lid has a finial representing a bunch of grapes. The looped handle ends in a flower and foliage. The mustard pot stands 90 mm high with a diameter of 55 mm. The weight of silver is a hefty 94 grams (172 grams including the liner).

In total six marks are punched as well on the outer and inner side of the body, as on the bottom of the body and the outer and inner side of the hinged lid:

Mercury’s head, both on the outer body-side of the pot and the outer side of the lid (mark introduced since 1st July 1879 for .950 silver)

Minerva’s head (partially erased) on the inside of the pot (hallmark introduced on 10th of May 1838

Countermark (Bigorne or beak-iron)

The sponsor's mark ‘P.C Cie over an anvil’ in a lozange punched on both the bottom and the outer side of the lid

The silver mustard pot is accompanied by three silver salt cellars with the original cobalt blue liners. The pierced contour is adorned with garlands, flowers and swans. The salt cellars are raised on four ornamental feet. Dimensions are: 35 mm high, 40 mm wide and 48 mm long. The silver weight of a salt cellar is 23 grams (60 grams including the cobalt blue glass liner).

The sponsor’s mark ‘P.C Cie over an anvil’ in a lozenge is punched on the bottom of the salt cellars.

Searching internet I traced a set of three pitchers and eighteen liquor glasses, manufactured by Paul Canaux, showing an identical finish with swans and palm foliage as the cruet set described above.

The time line of workshops succeeding to Paul Canaux covers a period dating from 1839 till 1936, or nearly one century. The century was characterized by the development of several art styles, which influenced considerably the silversmiths and jewellers crafting, in France and abroad.

The Empire style (1800-1815)
A design movement in architecture, furniture and other decorative arts was popularized by the designs of the architects to the court of Napoleon Bonaparte, Pierre Léonard Fontaine and Charles Perrier. The style was based on Greek and Roman art.
The most renowned silversmiths of that period were Henri Auguste (1759-1816), Jean Baptiste Claude Odiot (1763-1850) and Martin Guillaume Biennais (1764-1843).

Restauration style (1814-1824)
A reaction against the ideas of the Revolution and the Empire style; characterized by less decorations, yet still retaining the taste for antiquity.

The Style Charles X (1824-1830)
Was adapted to the tastes and needs of the new Bourgeois society.
It is a difficult and encumbered style as well in shapes as in colors. The Charles X style is not at all discrete but celebrates the reign of oddities (bibelots).

The Louis Philippe style (1830-1848)
Named after the reign of Louis Philippe I, king of France, it is characterized by simplicity and very little ornamentation.

The Second Empire style or Napoleon III style (1852-1870)
A period during which "Orientalism", luxury and the taste for flamboyance is exercised in all the fields of decorative arts such as furniture, ceramics and silversmithing.
Emile Froment Meurice is the most renowned French silversmith of this period.

Art Nouveau style (1890-1914)
The name derives from the Maison de l'Art Nouveau, an interior design gallery opened in Paris in 1896. During the 1900 World's Fair in Paris, Art Nouveau was established as the first new decorative style of the twentieth century. Art Nouveau was in many ways a response to the Industrial Revolution.

Art Deco style (1925-1940’s)
The name Art Deco is derived from the exhibition 'Exposition des Arts Décoratifs', which was held in Paris in 1925.
A well known silversmith of Art Deco creations is Jean E. Puiforcat, who joined his family's silversmithing firm in 1922. He was mathematically inclined and transferred his creativity into simple, yet breathtaking, Art Deco designs for silver.

 

BIOGRAPHIES

Joseph Mégemond & Charles Deneux
Joseph Mégemond
Maison Mégemond (note 5)
The sponsor's mark of Joseph Mégemond, silver-plater, was struck off on the 2nd of August 1888.
Joseph Mégemond and Charles Deneux, silver platers located 3 passage des Petites Ecuries Paris, recorded their rectangular sponsor's mark on the 2nd of October 1863. The sponsor's mark was struck off on the 2nd of August 1888.
Joseph Mégemond was awarded prizes during the Universal Exhibition of 1878 (silver medal) and golden medals for the 1880 and 1887 exhibitions.
A note at the Bureau de Garantie (Assay Office) records that on 2 August 1888 Monsieur Mégemond presented himself to the Garantie but was not able to show his sponsor’s mark at that time.
Remark: The French internet site of the Department of Culture indicates that Paul Canaux succeeded to Mr Mégermond, (note 1) though several other sources point to Joseph Mégemond (without the letter "r") as his predecessor. The latter has a sponsor's mark "J anvil M" and Mégermond has a sponsor's mark "J hammer M". Likely Paul Canaux based his sponsor's mark with an anvil on that of his predecessor Mégemond and not on that of Mégermond!

Paul Canaux
Paul Canaux & Cie
Paul Canaux, a manufacturing jeweller-silversmith, at 30 rue des Francs-Bourgeois in Paris succeeded the silver-plater Joseph Mégemond. He was manufacturer of silverware and table cutlery, tea sets, centrepieces, serving dishes, etc.
Paul Canaux & Cie, still manufacturing jeweller-silversmith, now at 30 boulevard Malesherbes, registered their sponsor's mark on the 12th of April 1892 and moved to 127 rue de Turenne around 1889.
Their sponsor's mark was struck off on the 20th of July 1911.
A third sponsor's mark in the name of Paul Canaux, manufacturing-silversmith at 127 rue de Turenne, was registered on the 20th of July 1911 and struck off on the 16th of December 1930.
Maison Murat succeeded to Paul Canaux & Cie.

Maison Murat
Murat & Cie
Murat, Charles
Charles Murat started his career by manufacturing jewellery and gold-plated wares. Murat, with his premises at 62 rue des Archives and 1 rue des Grands Chantiers in Paris, registered his first sponsor’s mark on the 18th of February 1851. He was manufacturer of chains, bracelets, rings, etc.
Murat & Cie , a manufacturing-jeweller at 6 rue des Archives and 62 rue des Archives, registered their sponsor’s mark on the 3rd of July 1884 and the 20th of August 1884. Another sponsor's mark was registered by Charles Murat at 62 rue des Archives on the 3rd of June 1897. It is not known when these marks were struck off.
Murat exhibited and received prizes at the Universal Exhibitions of 1855, 1862, 1867, in Philadelphia in 1876 and in Paris in 1878. By 1900 the Maison Murat, at 62 rue des Archives, was an important business, and a large part of its production was silverware, cutlery and silver tableware, including tumblers, napkin rings, cups for coffee, tea and chocolate, etc. The firm was active until about 1900, when a number of its flatware patterns were bought by Olier & Caron.

Eugène Caron / E Caron
The website of the French Department of Culture gives following information for Eugène Caron:
Manufacturer jeweller with his premises at 24 rue des Bons-Enfants, Paris. He registered his sponsor's mark "E over a rowboat over C" (note 2) on 23 May 1876. N° de garantie A8782. No préfecture number.
Nevertheless I found a sponsor’s mark on internet "a rising sun over EC over a 5 pointed star" (note 3) for E Caron (most probably not the same silversmith as Eugène Caron). This sponsor's mark looks more consistent for the silversmith Caron who entered in partnership with Olier in 1910.

Olier & Caron
Caron took the succession of Henri Soufflot, who himself succeeded to Henri Chenailler (note 4).
Olier & Caron registered their sponsor's mark on the 15th of November 1910 and it was struck off on the 1st of May 1936.

Henri Chenailler
Henri Chenailler, a manufacturer silversmith at 36 rue Meslay, Paris and later at 89 rue de Turbigo in Paris, registered his sponsor's mark in 1867. The mark was struck off in 1884. He was succeeded in the same house by Henri Soufflot.

Henri-Louis Chenailler
Henri-Louis Chenailler, a silversmith, had his premises at 277 rue Saint-Martin, Paris. He registered his sponsor's mark on the 3rd of January 1839. The mark was struck off at his death on 11 June 1859.
Based on the time gab between the activities of Henri-Louis Chenailler (1839-1859) and Henri Chenailler (1867-1884) it seems reasonable to assume that Henri Chenailler was a relative who succeeded to Henri-Louis Chenailler.

Henri Soufflot
Henri Soufflot & Cie
Henri Soufflot, operating from 89 rue de Turbigo in Paris, registered his sponsor's mark on the 12th of April 1884. The sponsor's mark was struck off on the 30th of April 1910. Henri Soufflot manufactured silverware, fine cutlery and silver flatware.
The style of the firm was changed to Henri Soufflot & Company and a sponsor's mark was registered on the 25th of May 1910. The sponsor's mark was struck off on the 9th of November 1910, when Caron took over the business.

In her article "Les entreprises de bijouterie à Paris de 1860 à 1914" Jacqueline Viruega states that it was typical for the period 1860-1914 that Parisian jewellery and silversmith companies were more frequently own name owners of the registered capital than in other business sectors.
Before, to become a freeman, the young individual learned the practice of jewellery or silversmithing during an apprenticeship of at least 5 years. Thereafter he acted a few years as a worker before he could, eventually, start his own business. An apprentice worked at least 14 to 16 hours a day. In return the employer paid a weekly salary, gave him residence, a daily supper and bread in the morning and at noon. Practically all addresses of the workshops mentioned above, are located in the oldest quarter of Paris. Indeed, since the 19th century jewellery and silversmithing houses occupy this quarter of Paris called Marais (swamp). The location is justified by the proximity of the Royal Palace, the Louvre Palace and the Tuileries where the sovereigns lived (and who placed most orders for jewellery and silver art work). Even now after 200 years these professionals continue to set up their shops in the same area.

I have tried to satisfy my curiosity about the history of Paul Canaux through books, internet, antique shops, and auction houses, but I am no further ahead with all my answers.
It appears that, nonetheless Paul Canaux was a reputed manufacturer silversmith and jeweller, little is written concerning his activities. Incidentally, if any reader comes across additional information regarding the life and work of Paul Canaux, his predecessor Joseph Mégemond or his successors Olier & Caron, I would be most grateful to hear from him or her.

1 The sponsor’s mark of J Mégermond is "J hammer M"

2 The website of the French Department of Culture shows the following sponsor's mark for Eugène Caron: Address of workshop: 24 rue des Bons-Enfants
Date entered: 23 May 1876
N° de garantie: A8782
N° de préfecture: -
Sponsor's mark: E over a rowboat over C

3 Sponsor’s mark of E Caron

4 Note that his successors Soufflot and later Caron used the symbols of a radiating or a rising sun and a 5 pointed star. The same practice is seen with the sponsor's marks of Paul Canaux and Joseph Mégemond, who both used the anvil mark.

5 pictures from the book PARIS, ses vues, Places, Monuments, Théatres, etc

French Silver Cutlery of the 19th Century, D. Allan, Dijon 2007, Editions Faton

Paris, Ses Vues, Places, Monuments,Théàtres, etc., F.G.Dumas, Paris 1889, Librairie des Imprimeries Réunies

Department of Culture France - www.cult.gouv.fr

Dictionnaire des poinçons de fabricants d’ouvrages d’or de Paris et de la Seine 1798-1838, Catherine Aminjon-James Beaupuis-Michèle Bilimoff, Paris 1991, Imprimerie Nationale

Dictionnaire des poinçons de fabricants d’ouvrages d’or de Paris et de la Seine 1838-1875, Catherine Aminjon-James Beaupuis-Michèle Bilimoff, Paris 1994, Imprimerie Nationale

Les enterprises de bijouterie à Paris de 1860 à 1914, Jacqueline Viruega, article in "Histoire, Economie & Société"- 2006/4

Almanach du commerce de Paris, des départements de l’Empire Français et des principales villes du monde, Année 1811, J. de la Tynna