Soup Tureen thumbnail 1
Soup Tureen thumbnail 2
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Image of Gallery in South Kensington
On display at V&A South Kensington
Gold, Silver and Mosaics, Room 71, The Rosalinde and Arthur Gilbert Galleries

Soup Tureen

1806-1807 (hallmarked)
Artist/Maker
Place Of Origin

This tureen, from a set of four, are nearly identical to a set made in 1802-3 for the 'grand service' of the Prince of Wales, later George IV (1762-1830). The monumental forms and ornament were influenced by French Egyptomania - stemming from Napoleon's 1798 campaign in North Africa - as well as print sources and silver by Henri Auguste (1759-1816).

By the early 19th century, the immense wealth of Britain's richest citizens enabled them to patronise the luxury trades of coach-builders, cabinet-makers and silversmiths. The Prince Regent (Later George IV) and his aristocratic contemporaries set the style of what became known as the Regency period. They were indebted to the most prestigious firm of London goldsmiths of the age, Rundell, Bridge & Rundell. The company supplied silver at the forefront of fashion. Their large design studio included important artists such as John Flaxman and Jean-Jacques Boileau.

Sir Arthur Gilbert and his wife Rosalinde formed one of the world's great decorative art collections, including silver, mosaics, enamelled portrait miniatures and gold boxes. Arthur Gilbert donated his extraordinary collection to Britain in 1996.


object details
Categories
Object Type
Parts
This object consists of 3 parts.

  • Tureen
  • Cover
  • Stand
Materials and Techniques
Raised, cast, chased, tooled, and engraved silver
Brief Description
Silver soup tureen and stand, London hallmarks for 1806-7, mark of Paul Storr
Physical Description
Silver soup tureen and stand, the hemispherical body of the tureen has a winged bust in Egyptian head-dress and a classical frieze, the handles are in the form of the winged and crowned goddess Ephesian Artemis. The domed cover has a double serpent handle above a beaded surround, and the circular stand, resting on four paw-and-scroll feet, has a laurel-wreath border and a band applied around the raised centre.
Dimensions
  • Height: 36.7cm
  • Diameter: 40.2cm
  • Weight: 10.1kg
Scratch weight: 349 - 12 Updated with measurements taken 20/08/08
Styles
Marks and Inscriptions
  • Engraved with crest and insignia for Ernest Augustus, Duke of Cumberland and King of Hanover (1787-1851). (The royal ducal crest, coronet, and Garter badge of Ernest Augustus, Duke of Cumberland, fifth son of George III who acceded to the throne of Hanover in 1837 as Queen Victoria was barred from that position under Salic law. However Queen Victoria claimed and demanded the return of the royal plate from the palace of Herrenhausen, Ernest refused and settled the matter by having all the plate engraved with the initials EAF for Ernest Augustus Fidekommiss (entailed to the estate of Ernest Augustus). These initials are engraved on the underside of the stands.)
  • London hallmarks for 1806-7
  • Mark of Paul Storr
  • Sterling standard
  • Duty stamp
  • Engraved or stamped 'RUNDELL BRIDGE ET RUNDELL AURIFICES REGIS ET PRINCIPES WALLAE [sic] LONDINI FECERUNT' (On the stand and cover)
Credit line
The Rosalinde and Arthur Gilbert Collection on loan to the Victoria and Albert Museum, London
Object history
Provenance: H.R.H. Ernest Augustus, Duke of Cumberland and King of Hanover. Crichton Brothers, London. Mrs Fay Plohn, sale, Sotheby's, lots 89-90, October 15, 1970. Lillian and Morrie A. Moss, Memphis, Tennessee. Purchased from David Orgell, Inc., Beverly Hills, 1975.



Classical Ideal Exhibition RF.2009/1012
Historical context
Intended for serving soup from the dining table of this royal Duke
Production
Probably after a design by Jean-Jacques Boileau; an example is preserved in a folio of Boileau's drawings in the V&A and illustrated in Schroder, 1988, figure 82, page 363. The bowl of the tureen is raised, with separately assembled base. The stem is attached to the base by four screws and the cast lions by two screws each. The base is attached to the stand by four screws. The handles and relief ornament on the tureen and stands are cast and applied. The cover is raised, with seamed flanges and cast beading attached by four screws, and the handles are attached by three screws. The stand is raised, with cast and applied borders and feet. The band of ornament within is embossed; the lozenges are separately cast and each is attached by two screws.
Subject depicted
Summary
This tureen, from a set of four, are nearly identical to a set made in 1802-3 for the 'grand service' of the Prince of Wales, later George IV (1762-1830). The monumental forms and ornament were influenced by French Egyptomania - stemming from Napoleon's 1798 campaign in North Africa - as well as print sources and silver by Henri Auguste (1759-1816).



By the early 19th century, the immense wealth of Britain's richest citizens enabled them to patronise the luxury trades of coach-builders, cabinet-makers and silversmiths. The Prince Regent (Later George IV) and his aristocratic contemporaries set the style of what became known as the Regency period. They were indebted to the most prestigious firm of London goldsmiths of the age, Rundell, Bridge & Rundell. The company supplied silver at the forefront of fashion. Their large design studio included important artists such as John Flaxman and Jean-Jacques Boileau.



Sir Arthur Gilbert and his wife Rosalinde formed one of the world's great decorative art collections, including silver, mosaics, enamelled portrait miniatures and gold boxes. Arthur Gilbert donated his extraordinary collection to Britain in 1996.
Associated Objects
Bibliographic References
  • Jones, E. Alfred. The Duke of Cumberland's collection of old English plate. National Review, January 1920, London, pp. 679-85; Schroder, Timothy, The Gilbert Collection of Gold and Silver, Los Angeles, 1988, pp. 358-363
  • Tipping, H., Avray. 'The Silver Plate of the Duke of Cumberland', Parts I and II. Country Life, Vol. 56. London: Country Life Ltd, November 1, 1924, pp. 681-3, November 8, 1924, pp. 701-3, fig. 2.
  • Art at Auction: The Year at Sotheby's and Parke-Bernet 1970-1971, London; New York: Sotheby & Co. [etc.], pp. 300, 317.
  • Honour, Hugh. Goldsmiths and Silversmiths. New York: G.Putnam's Sons, 1971, p. 226. London: Weidenfeld and Nicholson, 1971.
  • Moss, Morrie A. The Lillian and Morrie A. Moss Collection of Paul Storr Silver. Miami: Roskin Book Productions, 1972, pp. 254-56, pls. 189-90.
  • Hillier, Bevis. 'The Gilbert Collection of Silver'. The Connoisseur, June 1976, Vol. 192, No. 772, pp.118-19.
  • Brett, Vanessa. The Sotheby's Directory of Silver, 1600-1940. London: Sotheby Publications, 1986, no.1130.
  • Schroder, Timothy. The Gilbert collection of gold and silver, Los Angeles (Los Angeles County Museum of Art) 1988, cat. no. 95, pp. 358-63. ISBN.0875871445
  • Williams, Elizabeth A. The Gilbert Collection at the Los Angeles County Museum of Art. Los Angeles (Los Angeles County Museum of Art), 2010, fig. 17 p. 42. ISBN 9780875872100
  • Jones, William Ezelle, Monumental Silver: Selections from the Gilbert Collection. Los Angeles : Los Angeles County Museum of Art, 1977no.23
  • Clark, Mark A., Paul Storr Silver in American Collections, Indianapolis ; Dayton, 197222 (lent by Lillian and Morrie A. Moss)
Other Numbers
  • SG 63C - Arthur Gilbert Number
  • M.75.135.48 - LACMA
  • SG 362 i - Arthur Gilbert Number
  • 2001.10 - The Gilbert Collection, Somerset House
Collection
Accession Number
LOAN:GILBERT.786:1 to 3-2008

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record createdJune 26, 2008
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