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The arms are those of Tollemache quartering Joyce, Stanhope, Murray and Wilbraham, for Lionel Tollemache, 4th Earl of Dysart K.T. (1708 – 1770)
Overall width: 16¾ in (42.5 cm)
141 oz. 8 dwt (4,400 gr.)
Paul Crespin can be considered to be one of the most accomplished goldsmiths of the second quarter of the 18th century. Crespin was born in Westminster, the son of Huguenot parents. He was an apprentice to the Huguenot goldsmith Jean Pons in 1713, and his first registered marks appear between July 1720 and December 1721.
The fashion for French style and the highest levels of craftsmenship led many English patrons to buy directly from French goldsmiths, but Crespin successfully captured this style and quality in his own work which allowed him to prosper. He was also unusual in England for adopting the Rococo style as early as the mid 1730s, when this soup tureen was created. Crespin incorporated Rococo elements directly from Parisian print sourcesCommissions were received from George II, including a christening bowl for his godson, George, third son of Lyonel Tollemache; the King of Portugal and Catherine the Great. Perhaps his most outstanding creation is the centrepiece, made for Frederick, Prince of Wales in 1741, now in the collection of Her Majesty the Queen (E. Barr, George Wickes, Royal Goldsmith 1698 – 1761, 1980, fig. 103). Although recorded bankrupt in the Gentleman’s Magazine in February 1747, his mark is found on many pieces until his retirement in 1760.
Lionel Tollemache, 4th Earl of Dysart (1708-1770)
The 4th Earl of Dysart inherited his grandfather’s title and extensive estates in 1727. His inheritance included Ham House, Surrey; Helmingham Hall, Suffolk; Harrington and a 20,000 acre estate in Cheshire. Two years later in 1729 he was elected High Steward of Ipswich and in the same year married Lady Grace Carteret (1713 – 1755), daughter of John Carteret, Earl of Granville. Although he commissioned many new pieces for his houses he did not sweep aside the work of his ancestors. Both at Helmingham and Ham he renovated and refurbished, adding to the existing collections, in many cases in an antiquarian spirit.
As a young man he travelled extensively on the Continent visiting France, Switzerland and Italy. He spent little time in public life, and preferred to devote his efforts to his houses and collections. Dysart took particular interest in redecorating the Marble Dining Room, which led to an ideal opportunity to commission a complete dinner service along with sumptuous new furniture and pictures. Over the span of twenty years beginning in 1729, Dysart built his entire dinner service, and this type of gradual accumulation of plate was common. Although bought over a long period, the dinner service is stylistically consistent in reflecting a restrained Rococo character with high quality finishes and engraved armorials.
Archival research by Elizabeth Jamieson and a study of the 4th Earl’s silver collection by Tessa Murdoch, of the Victoria & Albert Museum, reveal a meticulous record-keeper and dedicated patron. Surviving pieces from the Earl’s collection and a treasure trove of silversmiths bills document the Earl’s taste for the finest work of the leading Huguenot goldsmiths of the day. Anne Tanqueray provided pieces for the dressing table, and her brother David Willaume supplied a chamber pot and a bread basket. From about 1740, Paul Crespin appear to have become the main supplier. Four candlesticks (two of 1750 and two of 1751) made by Crespin for the 4th Earl of Dysart were sold (Christies, London, 13 May 1992, lot 185).
The tureen is almost certainly the one which is recorded in the Earl of Dysart’s Account book for the years 1733 to 1743 (Buckminster Park Archives, Mss 929). The entry dated 29 January 1742 lists,
‘to Crespin Sylver-
Smith (For a Terrine)
A bill on Child for
Threescore & Ten Pounds 70.’
Although the date of the entry is up to six years after the date of the tureen Elizabeth Jamieson, author of the essay ‘A History of the Ham Archive’ and co-author of ‘The Ham Archives’ in C. Rowell ed, op. cit., 2013, notes that a number of payments cover the span of several years. AN invoice from Crespin settled in 1737 covered the period from Febraury 1734 to Mary 1737. Moreover there is only one lain single tureen listed in the 1844 inventory and the combination of this listing and the surviving payment to Crespin suggest it is more than likely to be the present lot which is recorded.
His purchases were not restricted to the London goldsmiths. His love of the latest fashion is demonstrated by his acquisition of the magnificent candelabra by the greatest 18th century Parisian goldsmith, Thomas Germain. Tessa Murdoch notes that ‘the engraved armorials on any silver he had inherited were replaced with his own’. In the 1730s the engraver Charles Gardner worked for the Earl.
Sir Lionel Tollemache 6th Bt. 5th Earl of Dysart (1734 – 1799) and then to his brother
Sir Wilbraham Tollemache, 7th Bt. 6th Earl of Dysart (1739 – 1821) and then to his sister Lady Louisa Manners, Countess of Dysart (1745 – 184), whose son changed his name to Tollemache in 1821 and was created a baronet in 2783, then by descent to his grandson
Sir Lionel William Tollemache 2nd Bt. 8th Earl of Dysart (1794 – 1878) and the by descent to his grandson
Sir William John Tollemache 3rd Bt. 9th Earl of Dysart (1859 – 1935) and then by descent to his second cousin
Sir Lionel Felix Tollemache 4th Bt. (1854 – 1952), the earldom having passed through the female line, and then by descent to his son
Sir [Cecil] Lyonel Tollemache 5th Bt. (1886 – 1969)
By direction of Sir Lyonel Tollemache Bart, Important Antique Silver, Originally the Property of the Fourth Earl of Dysart Removed from Ham House, Richmond, Surrey, J. Trevor & Sons, London, 12 May 1955, lot 48
The Collection of an Italian Princess
An inventory of The furniture, Plate, Linen, China, Books, pictures, prints, and farming implements at Ham House, in Surrey; made in duplicate this 13th day of June 1844 – by me John Dawson Kingston on Thames, Plate, folio 82, ‘A handsome silver tureen….’
T. Murdoch, ‘From the Gate to the Hearth: Metalwork at Ham House’, in C, Rowell ed., Ham House, 400 Years of Collecting and Patronage, London, 2013, p.240.
|Width||42.50 cm||(16.73 inches)|
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