Lot Essay
Born in London in 1694, Paul Crespin was a member of a leading Huguenot family. Although not as prolific as some of his contemporaries, such as Paul de Lamerie, his work was of a very high standard and in a number of instances of inspired quality. A. G. Grimwade in London Goldsmiths 1697-1837, Their Marks and Lives, London, 1982, p.479, describes his work as 'of a consistently high standard, worthily rivalling Lamerie.', with whom he is known to have had a strong working relationship though no formal partnership. A large quantity of the ambassadorial plate made for the 4th Earl of Chesterfield was executed in Lamerie's workshop to Crespin's designs, such as the celebrated Chesterfield wine-coolers of 1737, exhibited at the Goldsmiths' Hall, London, 'Paul de Lamerie', Exhibition Catalogue, 1990, no. 49. Crespin counted amongst his clients some of the most important patrons of the day, including the Duke of Malborough, the Duke of Devonshire and the Duke of Portland, (E. A. Jones, Catalogue of Plate belonging to the Duke of Portland, K.G., G.C.V.O., at Welbeck Abbey, London, 1935). He also executed a magnificent silver-gilt centrepiece for Frederick, Prince of Wales in 1741, which remains in the Royal Collection and is illustrated in A. G. Grimwade, Rococo Silver 1727-1765, London, 1974, no. 48. Both this centrepiece and the wine-coolers made for the Duke of Malborough in 1723, illustrated A. G. Grimade, op.cit., no. 13, are in the rococo style. The present lot, dating from 1728 and 1729 is in the more restrained Regence style so favoured by Huguenot silversmiths in the early 18th century. As illustrated by Crespin's early copying of the French candlestick form in 1736 (lot 93), he was stongly influenced by current French fashions. Indeed in 1722 he made alterations to a large French bowl by the addition of a rim, now in the Wilding Collection, British Museum, and the design for the Malborough wine coolers can be seen as almost entirely inspired by French sources.
Early wine-coolers, such as those of 1698 from the collection of the Duke of Devonshire and the gold pair of circa 1700 made for the 1st Duke of Malborough, now in the British Museum, are of cylindrical pail form whereas the present lot are vase-shaped. They owe more in decoration to the octagonal form, such as the pair by William Lukin of 1716 now in the Untermyer Collection, Metropolitan Musuem of Art, New York, illustrated Y. Hackenbroch, English and other silver in the Urwin Untermyer Collection, New York, 1969, no. 125, and another by David Willaume, 1718, sold anonymously at Christie's London, 10 November 1993, lot 250. Each has cast and chased guilloche rim and panels of rosette trellis. The Willaume example and the present pair have similar upcurved reeded bracket handles and foliage border to the foot. The lower bodies on the present pair are applied with typically Huguenot cut-card work more usually seen on cups and covers, such as that by Paul de Lamerie 'Paul de Lamerie', op. cit. no. 26. Although possibly originally gilded, with some original gilding surviving around the arms, these wine-collers were probably regilded in the 19th century by John Patrick, 3rd Marquess of Bute.
Early wine-coolers, such as those of 1698 from the collection of the Duke of Devonshire and the gold pair of circa 1700 made for the 1st Duke of Malborough, now in the British Museum, are of cylindrical pail form whereas the present lot are vase-shaped. They owe more in decoration to the octagonal form, such as the pair by William Lukin of 1716 now in the Untermyer Collection, Metropolitan Musuem of Art, New York, illustrated Y. Hackenbroch, English and other silver in the Urwin Untermyer Collection, New York, 1969, no. 125, and another by David Willaume, 1718, sold anonymously at Christie's London, 10 November 1993, lot 250. Each has cast and chased guilloche rim and panels of rosette trellis. The Willaume example and the present pair have similar upcurved reeded bracket handles and foliage border to the foot. The lower bodies on the present pair are applied with typically Huguenot cut-card work more usually seen on cups and covers, such as that by Paul de Lamerie 'Paul de Lamerie', op. cit. no. 26. Although possibly originally gilded, with some original gilding surviving around the arms, these wine-collers were probably regilded in the 19th century by John Patrick, 3rd Marquess of Bute.