An 18th Century Cup and cover

It is perhaps appropriate to describe, compare and contrast an early 18^th. Century Cup and cover, made by Paul de Lamerie, whom some describe as the finest silver craftsman ever to work in London, with the former described 20^th century example. It is interesting to see how the original Huguenot concepts of design, which originated in circa 1714, with de Lamerie and his contemporys' were stylised and absorbed as English traits. This particular cup is part of the Gilbert Collection and was made in London at de Lameries’ workshop in Windmill Street, Soho, London.[1] It is engraved with the heraldic coat of arms of Robert Herbert (died 1769) the second son of the eighth Earl of Pembroke, whose residence was at Wilton House, near Salisbury in Wiltshire.

It is perhaps useful to understand the period of transition in display of silver and plate to appreciate the stylistic development of these particular cups and covers. The English buffet or tier dresser had long gone out of fashion at this time and the two handled cups were taking centre stage on sideboards and at the table display. The cup itself marked the transition in taste between the handleless ceremonial or standing cup and the more functional two handled form.

This cup represents the fusion of true English form and the new continental ideas and design bought to London by the Huguenots. When this cup was made de Lamerie found a balance between plain and decorated surfaces, put together by complicated processes. The foot and handles are cast in a mould of sand, which was boxed and wired as shown in the illustration. The lid and lower body decoration are cut card, soldered to the surface[2], which was a Huguenot speciality design. Despite the simplicity of the design appearance of the cup, it has great sophistication and skill in its creation. De Lamerie himself had started in apprenticeship with Pierre Platel in France and on his arrival in London started his own registered workshop when only 24 years of age.

By 1730 he was the chief exponent of English Rococo[3] design and taken the art of the Goldsmith & silversmith to the heights of great perfection.[4] The King and the aristocracy marked his successes and he also had commissions for work from the Tsars of Russia including Peter the Great.

An example of his rococo work is shown here, also in Gilbert Collection. It is a silver gilt cup and cover made between 1741 and 1743 it is in heavy relief rococo style; note the asymmetrical entwined vine stem handles, shells, scrolls and rockwork with Bacchus, grapes and vine leaf. Often modellers of the visual language of the Rococo style used inventive ornament and developed the themes to the de Lamerie style.

His tutor Pierre Patel has a Wine Fountain also in the Gilbert Collection. It was made in London in 1713. Fountains were usually made with matching cistern and were used in dining rooms to rinse the glasses during a meal. Often the cistern accompanied by a bowl. Decoration in these examples are cast and applied.

It should be noted that the Huguenots skills and enthusiasm were not appreciated by everyone particularly the native silversmiths whose rates were undercut by the immigrant workers. In 1711 a petition was presented to object to the low wages that they were receiving but it was a disguise for the real complaint against the undercutting rates of the foreign workers from France.

Although in considering De Lameries' most illustrious work we tend to examine his lavish Rococo style, it should always be borne in mind that his earlier work was also distinguished in its own way. He was able to demonstrate a strong sense of ornament. His method for adding of ornamentation from the simplest form clearly evolved from his apprenticeship with Platel. Having regard and analysis of Platels’ forms shows the stylistic route perhaps that De Lamerie was to follow.

The application of French style in an English form is regarded by many today[5] as the most creative contribution that the Huguenots added to English design development in the craft. It is interesting to note that the later version of this style of trophy cup has a higher girdle ring. The foot has been spun and then soldered to the body.

The 18^th century version however has a cast foot, which has been applied to the body by soldering. The cover of De Lameries’ cup is also decorated with cut card to match the lower body of the vessel. It should also be noted that the body is somewhat squatter than the later version. However stylistically there is a lot to connect the family of development when one considers they are separated by about 200 years.

In this illustration, Silver appraiser and auctioneer at Sotheby’s’ London is selling a pair of George II wine coolers. The makers’ mark is that of Paul de Lamerie over struck with that of Paul Crespin, 1727. As can be observed the coolers are on the pedestal to the right of the picture and the top bid in Sterling amounts to £420,000.[6]

The strength of quality items by an important maker such as De Lamerie can rarely be overstated, they always command a high premium, but historically one can look at recent times when silver was even selling at a higher price. The indication is that it is a reflection of the commodity price of silver.[7]

In 1980 for instance Silver was at an all time high of £8 per troy ounce as opposed to 30 pence in the 1950s. John K.D. Cooper, Silver specialist, advising in Debretts[8] was citing these figures and advising buyers not to go beyond a rate of paying £25 per ounce for anything made after 1880 unless it was outstanding, good Art Nouveau or Art Deco “or something in between such as Omar Ramsden.”[9]

Now, with commodity figures of Silver sliding back to a low rate standard, it may be suggested that items must be valued accordingly, perhaps still using Coopers’ adage of some sort of price per ounce guideline. However as regards market analysis for this particular cup and cover, one must bear in mind the judgment forwarded for the last Gilbert Collection item as far as provenance affecting price is concerned.

Some further guidance can be judged at Christies, New York on 5^th July 2000 when a pair of De Lamerie soup tureens and covers with ladles sold at £311,750. A cup and cover of similar shape to the subject article here, but with some shell and foliate engraving and a female portrait bust in cartouche, sold at £130,250. More recently on 23^rd. October at the same location a Rococo decorated Cake Basket sold at $259,000 U.S. Dollars before Sterling conversion.

In concluding this article in relation to De Lameries cup and cover depicted here, it is the starting point of his illustrious career in England. However, one must not loose sight of the influences that one craftsman imparts on another and mention in closing should be made of Juste-Aurele Meissonnier. Born in Turin in 1695, who became master goldsmith to Louis XV in France in 1724. Stylistically there is little doubt that he influenced De Lamerie in that his engravings became well known in London after 1734 by his publication Livre de Legumes. Indeed his famous crayfish design can be seen as supporting the handles of two of De Lameries' tureens made in 1739, one now in the Metropolitan Museum of Art in New York.

[1] Mark registered there at Goldsmiths Hall for de Lamerie in 1714.

[2] Process described in Article 1, page 1.

[3] The French style from ‘Rocaille’ or rockwork of shells, scrolls etc. bought to England by Huguenot silversmiths reaching its height of popularity about circa 1750.

[4] See Susan Hare, ed. Paul de Lamerie Goldsmiths Hall Publication. 1990.

[5] See Timothy Schroder, ed. Heritage Regained- Silver from the Gilbert Collection, Heather Arts Trust 1998 pp 37 - 39.

[6] Picture courtesy of Sotheby’s’ and see Joel Langford Silver a practical guide to Collecting Quantum Books 2000 and bibliography.

[7] Quoted at the current rate in f.n.15 of article 1, page 5.

[8] Patrick Macnaghten ed. Debrett’s Book of Antiques, Debrett’s Peerage Limited, London 1980. pp. 7 and 49 – 57.