Lot Essay
Plateaux, surtouts or dormants, as they were also known fall into a long tradition of table ornaments inherited from the middle-ages. They originated in France where they were placed at the center of the table and assumed both a decorative and utilitarian function. In 1698, the fashionable French publication, Mercure Galant, reporting on the reception given by Louis XIV's brother, Monsieur, in honor of the English Ambassador, described the table decoration as follows:
"Il y avait au milieu de la table un grand surtout ou milieu de table de vermeil doré. Il y a peu de temps que ces sortes d'ouvrages sont inventés pour garnir le milieu des tables. Ils y demeurent pendant tout le repas. On en fait de plusieurs plans différents. Ils sont toujours enrichis de figures et portent quantité de choses pour l'usage de la table; en sorte qu'on peut ne rien souhaiter de nécessaire à un repas, que l'on n'y trouve." (Quoted in Gérard Mabille, Versailles et les tables royales en Europe, XVIIème - XXème siècles, 1994, p. 98).
Stylistically, plateaux of this particular form date from the Empire and late Georgian/Regency periods. Juliette Niclausse has credited the famous French bronzier Pierre-Philippe Thomire with the invention of this form, typically with a gallery enclosing the pieces and accessories necessary to a meal within a defined space but this point remains open to discussion (Juliette Niclausse, Thomire. Fondeur-Ciseleur (1751-1843). Sa Vie-Son Oeuvre, 1947, p. 129). However, unlike the French examples which were made in ormolu with a mirrored field, our lot is entirely made out of silver-gilt.
Considering the high level of crafstmanship and important size of this piece which compares with the best French examples of the same period, it is surprising how very little is known about its maker. Abstainando King first registered his mark on February 8, 1791. In 1806, he was registered as a small worker working at 10 Berkly Street, Clerkenwell, London. He was still active in 1821.
Despite the lack of information on the maker and original circumstances for the commission for this particular piece, its remarkable quality, good condition and unusual use of silver-gilt make it a rare testament to the Regency aesthetic sensibility in table decoration.
"Il y avait au milieu de la table un grand surtout ou milieu de table de vermeil doré. Il y a peu de temps que ces sortes d'ouvrages sont inventés pour garnir le milieu des tables. Ils y demeurent pendant tout le repas. On en fait de plusieurs plans différents. Ils sont toujours enrichis de figures et portent quantité de choses pour l'usage de la table; en sorte qu'on peut ne rien souhaiter de nécessaire à un repas, que l'on n'y trouve." (Quoted in Gérard Mabille, Versailles et les tables royales en Europe, XVIIème - XXème siècles, 1994, p. 98).
Stylistically, plateaux of this particular form date from the Empire and late Georgian/Regency periods. Juliette Niclausse has credited the famous French bronzier Pierre-Philippe Thomire with the invention of this form, typically with a gallery enclosing the pieces and accessories necessary to a meal within a defined space but this point remains open to discussion (Juliette Niclausse, Thomire. Fondeur-Ciseleur (1751-1843). Sa Vie-Son Oeuvre, 1947, p. 129). However, unlike the French examples which were made in ormolu with a mirrored field, our lot is entirely made out of silver-gilt.
Considering the high level of crafstmanship and important size of this piece which compares with the best French examples of the same period, it is surprising how very little is known about its maker. Abstainando King first registered his mark on February 8, 1791. In 1806, he was registered as a small worker working at 10 Berkly Street, Clerkenwell, London. He was still active in 1821.
Despite the lack of information on the maker and original circumstances for the commission for this particular piece, its remarkable quality, good condition and unusual use of silver-gilt make it a rare testament to the Regency aesthetic sensibility in table decoration.