Old Silverware (page in construction)
including gold
See also : Silverware
See also : Silverware
Tang
1
Gilt Silver Bowl
2019 SOLD for $ 3.5M by Christie's
At the very beginning of the Tang dynasty, the Silk Road brings to the Chinese through the Sogdian merchants the dishes and jewels in precious metals. The Sassanian Persia thus exports its techniques for the processing of hammered, parceled, mercury gilded and incised silver. Silver could become a substitute with an acceptable healthiness facing bronze, jade and ceramics. The most luxurious pieces could be used as diplomatic gifts or for presentation.
A Tang bowl 24.5 cm in diameter and weighing 1.05 Kg was sold by Sotheby's on May 14, 2008 for £ 1.14M from a lower estimate of £ 350K, lot 54, and for $ 3.5M by Christie's on September 12, 2019, lot 551.
The technique is foreign but the refinement is Chinese. The bowl has the shape of an opened lotus flower, decorated on its outer wall with three overlapping rows of lotus petals. Each frieze is composed of eight elements. A narrow garland separates the upper frieze from the rim of the bowl. The interior is centered with a gilt medallion showing a round dance of eight birds in blooming branches.
Each petal is a cartouche that was made in repoussé before being gilded and very finely chiseled with motifs of peonies and pairs of birds. This illustration is perhaps more decorative than symbolic although the repetition of the eight is certainly not a coincidence. The shape of the petals takes into account the curvature of the wall, more flared at the bottom.
This piece was made with a thick silver sheet rounded on a mould. It is a feat with regard to the regularity of its repoussé. The experts observed two tiny reworks made by the artist to correct the hammering.
These extremely rare bowls are also known in pure gold and pure silver. This type did not survive the Tang, probably because of the development of the porcelain.
A Tang bowl 24.5 cm in diameter and weighing 1.05 Kg was sold by Sotheby's on May 14, 2008 for £ 1.14M from a lower estimate of £ 350K, lot 54, and for $ 3.5M by Christie's on September 12, 2019, lot 551.
The technique is foreign but the refinement is Chinese. The bowl has the shape of an opened lotus flower, decorated on its outer wall with three overlapping rows of lotus petals. Each frieze is composed of eight elements. A narrow garland separates the upper frieze from the rim of the bowl. The interior is centered with a gilt medallion showing a round dance of eight birds in blooming branches.
Each petal is a cartouche that was made in repoussé before being gilded and very finely chiseled with motifs of peonies and pairs of birds. This illustration is perhaps more decorative than symbolic although the repetition of the eight is certainly not a coincidence. The shape of the petals takes into account the curvature of the wall, more flared at the bottom.
This piece was made with a thick silver sheet rounded on a mould. It is a feat with regard to the regularity of its repoussé. The experts observed two tiny reworks made by the artist to correct the hammering.
These extremely rare bowls are also known in pure gold and pure silver. This type did not survive the Tang, probably because of the development of the porcelain.
On September 12 in #NewYork our Masterpieces of Early Chinese Gold and Silver sale will take place. Comprised of over 100 exquisite objects the collection, formed by Dr. Johan Carl Kempe, includes gold and silver works from the Tang period #AsianArtWeek https://t.co/Qt2FX4BOnJ pic.twitter.com/oZwbgmOVLB
— Christie's (@ChristiesInc) September 5, 2019
2
Gilt Silver Bowl
2008 SOLD for £ 1.6M by Sotheby's
In the same sale as above by Sotheby's on May 14, 2008 and coming from the same collection, a lobed bowl of similar diameter and technology was sold for £ 1.6M from a lower estimate of £ 300K, lot 64. This piece has retained its original cover. Its foliated iconography is less dense.
3, 4, 5
Silver and Gilt Silver Bowls
2008 3 lots SOLD for £ 460K each by Sotheby's
Song Gold Cup
2008 SOLD for £ 690K by Sotheby's
Link to catalogue.
1560 Great Salt
2015 SOLD for £ 1.02M by Sotheby's
On July 8, 2015, Sotheby's sold for £ 1.02M from a lower estimate of £ 300K an ancient carved silver-gilt salt cellar of Great Salt type, 35 cm high including its original detachable lid, lot 5 estimated £ 300K. Such a piece is highly rare as silverware has so often been melted to recover and reuse the metal.
With its square box and its cover topped by the tall figure of a warrior, this salt box looks like a clock. A smaller example, certainly by the same artist, is known as the Wallace salt. The origin of the Wallace salt is not English but from mainland, probably brought in England during the grand tour of a Duke of Buckingham.
The design of the four legs in acanthus terminated with lion paws is French: this ornament is one of the innovations of Jacques Androuet du Cerceau around 1550. The catalog suggests for the great salt a date around 1560 and raises a doubt about the French or Flemish origine of the silver work.
The box and the lid include cartouches for lozenge enamels in basse taille. Chemical analyses show that the colors of the enamels are not recent and they may be dated to the early fourteenth century, certainly French. The lozenge was out of fashion in the ornamentation of the sixteenth century. The recovery of the two largest enamels has certainly inspired the entire constitution of the great salt as the two other sides of the box display carved gilt scenes similar in design.
Its iconography is mostly religious. The box was placed on the table with the householder. A server opened it and laid the salt on the bread that was offered to the guests for the benedicite. Smaller salt vessels could also be spread on the table.
With its square box and its cover topped by the tall figure of a warrior, this salt box looks like a clock. A smaller example, certainly by the same artist, is known as the Wallace salt. The origin of the Wallace salt is not English but from mainland, probably brought in England during the grand tour of a Duke of Buckingham.
The design of the four legs in acanthus terminated with lion paws is French: this ornament is one of the innovations of Jacques Androuet du Cerceau around 1550. The catalog suggests for the great salt a date around 1560 and raises a doubt about the French or Flemish origine of the silver work.
The box and the lid include cartouches for lozenge enamels in basse taille. Chemical analyses show that the colors of the enamels are not recent and they may be dated to the early fourteenth century, certainly French. The lozenge was out of fashion in the ornamentation of the sixteenth century. The recovery of the two largest enamels has certainly inspired the entire constitution of the great salt as the two other sides of the box display carved gilt scenes similar in design.
Its iconography is mostly religious. The box was placed on the table with the householder. A server opened it and laid the salt on the bread that was offered to the guests for the benedicite. Smaller salt vessels could also be spread on the table.
A C16th parcel-gilt standing salt, recently restituted to its rightful heirs by the @AshmoleanMuseum sells for £1.03m pic.twitter.com/rGJ201Mzjx
— Sotheby's (@Sothebys) July 8, 2015
1580-1650 The Orpheus Cup
2016 SOLD for £ 1.06M by Sotheby's
Baron Lionel de Rothschild reveals an extravagant piece of luxury silverware at the London World Exhibition in 1862. This enameled gold cup that has no known history had probably been collected by his grandfather. It is identified as the Orpheus Cup. It is made of three parts : cover, bowl and stem, for an overall 18 cm high.
The cover sculpted in the round (en ronde bosse) is a burgeoning scene on the theme of Mount Parnassus, dominated by Diane and Orpheus and supplemented by putti and animals charmed by the lyre of the musician. The stem shows Atlas kneeling on a mound inhabited by reptiles. In between, the two sides of the bowl are decorated in an enamel paint, respectively with a scene from Ovid and a hunting scene.
According to the sensitivity of the mid-nineteenth century, this cup should be attributed to Benvenuto Cellini with several arguments : the mythology, the extreme density of the characters, the use of enamel on gold. Shortly after the Exhibition, Baron Lionel waives this attribution.
The habit of melting the old silverware leaves very few comparative elements to define the place and date of its creation and even its original use. A similarity appears however with a cup without lid preserved in the Rijksmuseum : the figure of Orpheus constituting the stem and the animals and putti surrounding the poet have probably the same origin as the corresponding elements of the Orpheus Cup.
The solution to this mystery is not found but will come from the new assumption that the three parts are composite, which is quite plausible for a piece of silverware.
A mark on another enameled bowl that also offers some similarities leads to an origin in Augsburg in the mid seventeenth century, a period consistent with the iconography of the bowl but too recent for the ronde bosse. It is possible that a South German craftsman had gathered the current cover and stem of the Orpheus Cup along with the current stem of the Rijksmuseum cup and assembled the two bowls around 1650 with these elements made circa 1580 by one of his predecessors.
The Rothschild Orpheus Cup was sold for £ 1.06M from a lower estimate of £ 600K by Sotheby's on July 6, 2016, lot 8.
The cover sculpted in the round (en ronde bosse) is a burgeoning scene on the theme of Mount Parnassus, dominated by Diane and Orpheus and supplemented by putti and animals charmed by the lyre of the musician. The stem shows Atlas kneeling on a mound inhabited by reptiles. In between, the two sides of the bowl are decorated in an enamel paint, respectively with a scene from Ovid and a hunting scene.
According to the sensitivity of the mid-nineteenth century, this cup should be attributed to Benvenuto Cellini with several arguments : the mythology, the extreme density of the characters, the use of enamel on gold. Shortly after the Exhibition, Baron Lionel waives this attribution.
The habit of melting the old silverware leaves very few comparative elements to define the place and date of its creation and even its original use. A similarity appears however with a cup without lid preserved in the Rijksmuseum : the figure of Orpheus constituting the stem and the animals and putti surrounding the poet have probably the same origin as the corresponding elements of the Orpheus Cup.
The solution to this mystery is not found but will come from the new assumption that the three parts are composite, which is quite plausible for a piece of silverware.
A mark on another enameled bowl that also offers some similarities leads to an origin in Augsburg in the mid seventeenth century, a period consistent with the iconography of the bowl but too recent for the ronde bosse. It is possible that a South German craftsman had gathered the current cover and stem of the Orpheus Cup along with the current stem of the Rijksmuseum cup and assembled the two bowls around 1650 with these elements made circa 1580 by one of his predecessors.
The Rothschild Orpheus Cup was sold for £ 1.06M from a lower estimate of £ 600K by Sotheby's on July 6, 2016, lot 8.
Discover the mysterious 400-year-old Orpheus cup in our London galleries til Wed. #Treasureshttps://t.co/LDvtPddr4n pic.twitter.com/j1jvx67ke4
— Sotheby's (@Sothebys) July 3, 2016
1590 Gryphon Egg
2008 SOLD for £ 580K by Christie's
The ancient gold- and silver-wares may surprise the amateur of today. Pattern fashions change, and objects are melted to create other shapes. Sometimes, as in France under Louis XIV, silver is requisitioned to support the State. The same artistic disaster also occurred in England but it was less exhaustive and some old pieces have survived.
On 25 November, 2008, Christie's sold the collection of silverware of an English Lord. We learn in the press release that it was fashionable in London at the end of the sixteenth century to combine the work of the silver with materials such as shells, coral, pearls, minerals, rock crystals and eggs of ostrich. It was the time of the great explorations of the seas by the British during the reign of Elizabeth Tudor, and this sudden fashion for the exotics is logical.
Sold for £ 580K, the most unusual lot of this sale is composed of an ostrich egg mounted in gilt as a cup in 1590 by the goldsmith John Spilman, and of a Dutch painting from the next century which represents this object in a still life. Mounted ostrich eggs were once called the "Gryphon eggs".
On 25 November, 2008, Christie's sold the collection of silverware of an English Lord. We learn in the press release that it was fashionable in London at the end of the sixteenth century to combine the work of the silver with materials such as shells, coral, pearls, minerals, rock crystals and eggs of ostrich. It was the time of the great explorations of the seas by the British during the reign of Elizabeth Tudor, and this sudden fashion for the exotics is logical.
Sold for £ 580K, the most unusual lot of this sale is composed of an ostrich egg mounted in gilt as a cup in 1590 by the goldsmith John Spilman, and of a Dutch painting from the next century which represents this object in a still life. Mounted ostrich eggs were once called the "Gryphon eggs".
Adam van VIANEN
1
1619 Ewer
2018 SOLD for $ 5.4M including premium
The Union of Utrecht gathers in 1579 the seven Protestant provinces of the northern Netherlands decided for a republican split against Spain. This region becomes extremely wealthy through the international trade of its harbors.
Sons of a silversmith in Utrecht, Adam and Paulus van Vianen are artists. Paulus travels and transfers the Dutch taste to Rudolf II in Prague. Adam remains in Utrecht. They create complex shapes by chasing a silver plaque of very high purity, shaping the surface into lobes that have identified their style as "auricular". The figures are modeled on wax.
The covered baluster ewer 23 cm high sold for $ 5.4M by Christie's on April 20, 2018 as lot 21 is dated 1619. It is clearly signed A. DE VIANA rather than stamped with a logo, confirming that Adam claimed the status of an artist.
Beyond a Mannerist accumulation including masks, dolphins, monsters and a beetle apparently without an overall coherence, the main theme of this ewer is the story of Marcus Curtius divided into three large roundels. The van Vianen brothers also used the themes of Mucius Scevola and Horatius Cocles for other pieces in an obvious desire to make a praise of the Republican sacrifice.
One of the greatest admirers and collectors of auricular silverware will be Rembrandt, attesting to the important influence of that style on the decorative art of the Dutch Golden Age.
Please watch the video shared by Christie's.
Sons of a silversmith in Utrecht, Adam and Paulus van Vianen are artists. Paulus travels and transfers the Dutch taste to Rudolf II in Prague. Adam remains in Utrecht. They create complex shapes by chasing a silver plaque of very high purity, shaping the surface into lobes that have identified their style as "auricular". The figures are modeled on wax.
The covered baluster ewer 23 cm high sold for $ 5.4M by Christie's on April 20, 2018 as lot 21 is dated 1619. It is clearly signed A. DE VIANA rather than stamped with a logo, confirming that Adam claimed the status of an artist.
Beyond a Mannerist accumulation including masks, dolphins, monsters and a beetle apparently without an overall coherence, the main theme of this ewer is the story of Marcus Curtius divided into three large roundels. The van Vianen brothers also used the themes of Mucius Scevola and Horatius Cocles for other pieces in an obvious desire to make a praise of the Republican sacrifice.
One of the greatest admirers and collectors of auricular silverware will be Rembrandt, attesting to the important influence of that style on the decorative art of the Dutch Golden Age.
Please watch the video shared by Christie's.
RECORD! @ChristiesInc sold a 17th century silver ewer by Adam van Vianen for $5.3 million--an auction record for the artist, and for any piece of Dutch silver.https://t.co/w8mCAzzJpV pic.twitter.com/C2907dX1FK
— SGSwritereditor (@SGSwritereditor) May 12, 2018
2
1624 Galatea Standing Salt
2018 SOLD for £ 1.03M by Sotheby's
In the later Renaissance the salt had an outstanding ceremonial and sometimes even liturgical role. During the dinner the standing salt was put in proximity to the master so that he could distribute it sparingly to the guests. The closest the guest was to the salt cellar, the highest was his social rank.
Salt cellars became works of art. The great cellars used for keeping the salt had figural lid finials while standing salts could be Caryatid stems holding on their heads the cup for offering the salt.
On July 4, 2018, Sotheby's sold a standing salt 20 cm high in embossed and chased silver for £ 1.03M from a lower estimate of £ 600K, lot 10. This piece made in Utrecht in 1624 was signed by Adam van Vianen in the Latin form of his name, A de Viana.
Salt invites to marine themes. This salt features Galatea in the nude, seated on a monster made of a sea shell with catching human arms. This figure was also published as a print ca 1650 by Christiaen van Vianen highlighting the masterpieces made by his father.
The cup over the head of the nymph is in the signature auricular style of van Vianen.
Salt cellars became works of art. The great cellars used for keeping the salt had figural lid finials while standing salts could be Caryatid stems holding on their heads the cup for offering the salt.
On July 4, 2018, Sotheby's sold a standing salt 20 cm high in embossed and chased silver for £ 1.03M from a lower estimate of £ 600K, lot 10. This piece made in Utrecht in 1624 was signed by Adam van Vianen in the Latin form of his name, A de Viana.
Salt invites to marine themes. This salt features Galatea in the nude, seated on a monster made of a sea shell with catching human arms. This figure was also published as a print ca 1650 by Christiaen van Vianen highlighting the masterpieces made by his father.
The cup over the head of the nymph is in the signature auricular style of van Vianen.
1621 Flora Standing Salt
for sale by Sotheby's on July 6
A 20 cm high standing salt will be sold by Sotheby's in London on July 6, 2021, lot 2 estimated £ 600K.
Similar in its technique of embossed and chased silver as the Galatea narrated above, it features the more realistic theme of Flora the barefoot flower girl as an allegory of Summer. The salt cup over her head has the form of an oversized basket in common use by Dutch country women.
It has been made in 1621 in Utrecht by Adam van Vianen who signed it with his Latin initials ADV. Salt is corrosive to the silver and the salt bowl has been reworked at a later date.
Similar in its technique of embossed and chased silver as the Galatea narrated above, it features the more realistic theme of Flora the barefoot flower girl as an allegory of Summer. The salt cup over her head has the form of an oversized basket in common use by Dutch country women.
It has been made in 1621 in Utrecht by Adam van Vianen who signed it with his Latin initials ADV. Salt is corrosive to the silver and the salt bowl has been reworked at a later date.
