Paire d'importants vases couverts en argent par Paul Crespin, poinçons de Londres pour 1726

chacun reposant sur un piédouche rond décoré de feuillage, de pampres et de masques, le corps au décor similaire orné de motifs de vagues, d'un cartouche armorié porté par deux putti et sommé d'un panier de fleurs, les anses en forme de faune assis en train de se désaltérer, le couvercle à prise en putto tenant une guirlande, assis à côté d'un panier de fleurs, le dessous des vases insculpés du poinçon de Paul Crespin, de la tête de léopard couronné, du lion passant et de la lettre-date 1726; la bordure des couvercles et le dessous des prises insculpés du poinçon de Crespin et du lion passant uniquement ; le col de l'un des vases estampé "1", la bordure des couvercles estampées respectivement "1" et "2"

On cast spreading circular bases decorated with foliage, vines and masks below similarly decorated bodies each applied with two seated satyr handles flanking on either side winged cherub cartouches, later cast coats-of-arms below later baskets of fruit and flowers, the detachable lids applied with further vines and masks below detachable cherub and basket finials; the vases marked on undersides of bodies with the mark of Paul Crespin, crowned leopard's head, lion passant and the date letter for 1726; the cover rims and underside of finials with Crespin's mark and lion passant only; the rim of one vase stamped '1', the lid rims stamped '1' and '2' respectively

Vases: Spectrographic analysis of the metal concludes that the vases and covers were once electro-gilt, while the finials have traces of mercury gilding. Very light traces of gilding are still visible in areas such as the shoulder of one putti, and on the grape vine swags near the rims. The flat surface area on each body is rather bright, which can be attributed to the removal process of the gilding. Around the base of each fruit basket (above the coat-of-arms) there is a row of ermine, which would have originally formed the rim of a coronet. On one basket in particular a row of jewels clearly exists above the ermine, which is further evidence that the baskets have been converted from coronets. Each foot has a reinforcement bracket (silver) on the underside, the hallmarks on the underside are clear, although as stated in the Sale Room Notice, they were let-in from earlier objects. The arms of one fawn handle have been bent, causing the leaf to rest close to his face. The bodies have a few minor surface scratches and dents, overall good condition. Cover and Finials: It is possible that the finials are 18th C and have been associated in the 19th C. The hallmarks on the finials and rims appear to be electrotypes, although the composition of the metal (ie: not 100% silver) negates this. General condition of each is good.
"In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective, qualified opinion. Prospective buyers should also refer to any Important Notices regarding this sale, which are printed in the Sale Catalogue.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD AS IS" IN ACCORDANCE WITH THE CONDITIONS OF BUSINESS PRINTED IN THE SALE CATALOGUE."

The arms are those of Mellish quartering Gore with a mark of cadency (a mullet), probably for William Mellish (1764?-1838), second (but third surviving) son of William Mellish (1708-1791) of Blyth Hall, co. Nottingham, and his second wife Ann, daughter of John Gore of London and Bush Hill, Middlesex. While his elder half-brother, Charles Mellish (1737-1797) inherited Blyth Hall, William and his elder brother John (1763-1798) took over the Gore family banking and mercantile business in Bishopsgate Street, City of London. William Mellish, who never married, was a Director of the Bank of England from 1792 until his death; he was also Deputy Governor of the Bank between 1812 and 1814 and Governor between 1814 and 1816. He was also MP for Great Grimsby from 1796 to 1802 and from 1803 to 1806. In 1806 he was elected MP for Middlesex, a seat he held until 1820. Following William Mellish's death in 1838 much of his estate, including land, paintings and chattels were sold and the residue inherited by his nieces and nephews.

When important, otherwise unrecorded objects such as these remarkable vases and covers appear unexpectedly, it is inevitable that questions as to their provenance and authenticity will be posed. It was so with Lord Raby's great silver cistern, made in the workshop of Philip Rollos, London, 1705/06, which was sold this year at Sotheby's, London, on 6 July. Whereas the cistern raised questions about ambassadorial plate and Raby's diplomatic role at the court of King Frederick I of Prussia, the present vases are highly significant for their design, being early, perhaps the earliest, surviving examples of English rococo silver. Their maker, the influential Huguenot silversmith Paul Crespin (1694-1770) seems to have taken his inspiration from French sources, specifically the engravings of Juste-Aurèle Meissonnier (1695-1750).

Meissonnier's design for a wine cooler, published in 1723 (fig. 1), has been cited as the basis for a pair of Crespin silver-gilt wine coolers, London, 1733, with the arms of Spencer-Churchill impaling Trevor, in the possession of the Duke of Marlborough (fig. 2), which may have been made for the marriage in 1733 of Charles Spencer-Churchill, 3^rd Duke of Marlborough (1706-1758) and Elizabeth, daughter of Thomas Trevor 2^nd Baron Trevor of Bromham.  A close comparison was prompted between the Marlborough pair and the vases, which are almost identical in the bodies, but differ in the stems, by the existence of covers and in the later armorials of Mellish quartering Gore 

Sizes and weights proved to be so similar as did their general construction and workmanship, to make it tempting to suggest that the coolers and vases were made as a group or as part of a service of plate. Two further observations draw the coolers and vases together. The Marlborough coolers have interior mounts or rims, for contemporary fitted pierced liners to keep ice and bottle of wine separate. Similar rims appear to have been removed from the interiors of the vases, which may therefore have had a dual function.  Another observation draws the Blenheim coolers and the present vases together. The base of one of the baskets above the later armorials of the vases still retains the fur and 'jewels' of the coronet which the putti originally held aloft. Significantly, none of the Mellish family, merchants and bankers, were peers of the realm and therefore not entitled to wear coronets.

It remains to be seen which member of the Mellish family the vases were altered for . The most likely candidate seems to be William Mellish (1764?-1838) who was respectively Deputy Governor of the Bank of England between 1812 and 1814 and Governor between 1814 and 1816. It was coincidentally during these years that the revival in rococo plate of the grandest type was promoted by the royal goldsmiths Rundell, Bridge & Rundell and Garrard's. Examples of this work are plentiful, such as the pair of wine coolers in the manner of Paul de Lamerie, made by Paul Storr & Co for Rundell's as early as 1808 which were sold at Sotheby's, London, on 7 July 2009, lot 25.