Tureen and Stand

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Tureen and Stand

Artist Paul Crespin British (born France), 1693/94-1770

Place of OriginLondon, England

Date1740-1741

Dimensionsoverall: 14 3/16 x 21 7/16 in. (36 x 54.5 cm)

Mediumsterling silver

ClassificationMetalwork

Credit LinePurchased with funds from the Florence Scott Libbey Bequest in Memory of her Father, Maurice A. Scott

Object number

1964.51A-D

On View

Toledo Museum of Art (2445 Monroe Street), Gallery, 27

Collections

Decorative Arts

Published ReferencesCripps, Wilfred, Old English Plate, 11th ed., London, 1926, p. 333.

"The Sale Room," Apollo, July 1964, p. 83, repr. fig. 5.

Davis, Frank, "Talking about Salesrooms," Country Life, CXXXV, June 4, 1964, p. 1401.

"Treasures for Toledo," Toledo Museum News, New Series, vol. 7, no. 4, Winter 1964, repr. p. 99 (also published as handbook).

Wittmann, Otto, "Treasures at Toledo, Ohio," Apollo, vol. LXXXI, no. 35, January 1965, p. 35.

Banister, Judith, English Silver, London and Melbourne, Ward Lock & Co. Ltd., 1965, pp. 192-193, repr. pl. 77.

"Accessions of American and Canadian Museums," Art Quarterly, vol. 29, no. 3-4, 1966, p. 298, repr. p. 303.

Grimwade, Arthur, "Crespin or Sprimont? An Unsolved Problem of Rococo Silver," Apollo, vol. 90, no. 9, August 1969, pp. 126-128, repr. fig. 1.

Banister, Judith, "Silver with a Special Flourish, the Work of Paul Crespin," Country Life Annual, 1972, pp. 12-13, repr. fig. 6.

Clayton, Michael, The Collectors Dictionary of the Silver and Gold of Great Britain and North America, New York, 1971, p. 267, repr. fig. 536.

National Art-Collections Fund 68th Annual Report 1971, London, 1972, p. 25.

Grimwade, Authur, Rococo Silver, London, 1974, pp. xi, 31, 42, repr. pl. 25.

Mallet, J.V.G., "A Chelsea Greyhound and Retrieving Setter," Connoisseur, vol. 196, no. 789, Nov. 1977, p. 224.

Gruber, Alain, Silverware, New York, 1982, repr. p. 145.

Murdoch, Tessa, "Harpies and Hunting Scenes: Paul Crespin (1694-1770), Huguenot Goldsmith," Country Life, vol. 178, no. 4593, Aug. 29, 1985, p. 558, fig. 8.

Newman, Harold, An Illustrated Dictionary of Silverware, New York, 1987, repr. p. 94.

Toledo Treasures, Toledo, Toledo Museum of Art, 1995, repr. (col.) p. 108.

Hartop, Christopher, The Huguenot Legacy: English Silver 1680-1760 from the Alan and Simone Hartman Collection, London, 1996, p. 212, repr. (col.).

Southgate, M. Therese, "The Cover," JAMA, The Journal of the American Medical Association, vol. 278, no. 20, Nov. 26, 1997, p. 1637, repr. (col.) on cover.

Duncan, Sally Anne, Otto Wittmann: Museum Man for All Seasons, Toledo, 2001, p.17, repr. (col.) p. 18.

Reich, Paula, Toledo Museum of Art: Map and Guide, London, Scala, 2005, repr. (col.) p. 26.

Toledo Museum of Art, Toledo Museum of Art Masterworks, Toledo, 2009, p. 202-203, repr. (col.) and (det.).

Reich, Paula, Toledo Museum of Art: Map and Guide, London, Scala, 2009, p. 26, repr. (col.)

English Ceramic Circle Transactions Volume 31, London, English Ceramic Circle, 2021, repr. (col. ) fid. 17, p. 113.

Exhibition HistoryToledo, The Toledo Museum of Art, Treasures for Toledo, 1964.Label TextThis magnificent soup tureen’s function is almost entirely hidden by its elaborate sculptural ornament. The tureen itself—encrusted with fruits and flowers and cushioned by garlands of delicately rendered flowers—rests on the backs of two reclining goats. The goats’ heads are part of the tureen, but when the vessel is placed on its stand, as displayed here, the neck of each goat rests on an upturned scroll. The asymmetrical but well-balanced design keeps the eye moving restlessly from one nature-inspired detail to the next—the fur of the goats, the dimpled skin of the lemons, and the intricate flowers and leaves. One of the finest examples of English Rococo silver, the tureen may have been owned by Charles Seymour, Duke of Somerset (1662–1748), whose family crest is engraved on the tureen’s liner.