MARK OF PAUL STORR, LONDON, 1810, THE DESIGN ATTRIBUTED TO WILLIAM THEED

WILLIAM THEED
The design for these superb salt-cellars is attributed to the painter and sculptor William Theed (1764-1817), on the basis of its close similarity to the artist's bronze 'Thetis returning from Vulcan with Arms for Achilles' in the Royal Collection (exhibited in the Royal Academy of Arts Bicentenary Exhibition, fig. 171, p. 50). Theed, a friend of fellow designer John Flaxman, was also connected with the firm Rundell, Bridge and Rundell, supplying designs and working as their chief modeler, commencing in 1803. Theed later became a partner in the firm and continued his association with Rundell's until his death in 1817. The attribution to Theed is further strengthened by the existence of a design drawing from an album of Rundell's entitled 'Designs for Plate by John Flaxman, etc.' in the Victoria and Albert Museum.

Charles Oman's study of the album concluded that the designs were the work of John Flaxman's pupil Edward Hodges Baily (1788-1867), who joined Rundell's in 1815. However, the silver salt-cellars predate Baily's tenure at Rundell's, and the close association to Theed's sculpture indicates that the original designer must have been Theed. There are at least three variations of this model, each with a differing base. A set of twenty-four salt-cellars with oval bases by Paul Storr of 1810 entered the Royal Collection in 1811, invoiced at a cost of £902 12s. One of these is illustrated in Carlton House: The Past Glories of George IV's Palace , 1991, cat. no. 95, p. 133. A set of three salt-cellars on an oval, wave-capped base by Paul Storr of 1811-12 is illustrated in J. Bliss, The Jerome and Rita Gans Collection of English Silver, n.d., cat. no. 37, pp. 112-13, and a set of four by William Pitts of 1813 were in the Love Collection, lot 232. A set of eight salt-cellars with heavier rockwork base by Paul Storr of 1822 is illustrated in The Glory of the Goldsmith: Magnificent Gold and Silver from the Al-Tajir Collection, London, 1989, cat no. 151, p. 198.

ROBERT GROSVENOR, 1ST MARQUESS OF WESTMINSTER
Born in 1767 and initially known as Viscount Belgrave, he became a prominent figure in 19th century England, known for his political career, estate development, and contributions to art and horse racing. He was the son of Richard Grosvenor, 1st Earl Grosvenor, and Henrietta, Lady Grosvenor. He received his education at Westminster School, Harrow School, and Trinity College, Cambridge, where he graduated with a Master of Arts degree in 1786.

Grosvenor's political career began in 1788 when he was elected as Member of Parliament for East Looe. He later served as MP for Chester from 1790 to 1802, during which time he was appointed a Lord of the Admiralty and served as a commissioner of the Board of Control. He also raised a regiment of volunteers from Westminster to fight against France during the French Revolution. In 1802, upon the death of his father, he succeeded as the 2nd Earl Grosvenor.

Grosvenor was known for changing his political allegiance from the Tories to the Whigs after the death of William Pitt the Younger in 1806. He supported various progressive causes, including Catholic Emancipation, the abolition of the Corn Laws, and the Reform Bill. He championed Queen Caroline and is said to have thrown a Bible or a Prayer Book at King George IV's head in protest. However, his relations with the King later improved, and he was created Marquess of Westminster in the coronation honours of King William IV in 1831. He participated in the coronation of Queen Victoria in 1837 and was installed as a Knight of the Garter in 1841.

In addition to his political career, Grosvenor was known for his estate developments. He continued to develop the family's London estates, creating Belgravia and Pimlico. He also rebuilt Eaton Hall, the family's country seat in Cheshire, at a significant cost. The new house was designed by William Porden and included turrets, pinnacles, arched windows, towers, and buttresses. It was described as magnificent by a young Queen Victoria when she visited in 1832. Grosvenor was also interested in the arts and horse racing. He maintained and extended the family's collection of works of art and was known for his patronage of artists. He was also involved in breeding racehorses, continuing the family's long-standing tradition in this field.

Robert, 2nd Earl Grosvenor, c.1820 by Alfred-Edward Chalon (1780-1860). © Haldane Fine Art / Bridgeman Images

A drawing of a silver salt cellar, by Edward Hodges Baily, c.1820. © Victoria and Albert Museum, London.