MARK OF PAUL DE LAMERIE, LONDON, 1742

Details

A HIGHLY IMPORTANT PAIR OF GEORGE II SILVER CANDLESTICKS
MARK OF PAUL DE LAMERIE, LONDON, 1742
Each on cast shaped square base with scrolls, foliage, and rocaille, the angles formed as stylized shells, rising to a stem modelled as a putto herm draped in a garland of flowers and fruit, holding aloft a candle socket with auricular and rococo ornament, the removeable shaped circular nozzle cast with a border of flowers and scrolls, marked above the angles of the base
11in. (28cm.) high; 70oz. 10dwt. (2206gr.) (2)

Provenance

Hugh R. Jessop, Ltd. (The Antique Collector, September and October 1947)
Christie's, October 28, 1964, lot 99
Sotheby's, June 19, 1986, lot 78

Literature

The Glory of the Goldsmith: Magnificent Gold and Silver from the Al-Tajir Collection, 1989, no. 83, p. 117
Susan Hare, ed. Paul de Lamerie: The Work of England's Master Silversmith (1688-1751), 1990, illus. p. 157, no. 104

Exhibited

"The Glory of the Goldsmith: Magnificent Gold and Silver from the Al-Tajir Collection," Christie's, London, 1989, no. 83
"Paul de Lamerie: The Work of England's Master Silversmith (1688-1751)" Goldsmiths' Hall, 1990, no. 104

Lot Essay

Putti were used ubiquitously by Paul de Lamerie as part of his rich rococo vocabulary. They are found on finials of coffee pots, as supporters of engraved arms, part of the decorative vocabulary of ewers and dishes. However, it is rare to find putti employed as the standards of figural candlesticks. Further, this pair pre-dates other examples of Lamerie's figural candlesticks, including the two pairs of male and female caryatid candlesticks of 1748 in the Ashmolean and Dowty collections and a pair of aged Bacchus candelabra of 1747, at the Metropolitan Museum of Art.

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