01932 882519

Maderia Label
by Paul Storr

Description:

An elaborate and extremely rare Rococo style large Madeira wine label by Paul Storr London dated 1818-19.  Ornately decorated with grapes and vines, flanked with scalloped shells at the top within large leaves.  Below, neatly placed ammonites on each side with Tudor Rose, grapes, apple, foliage and blossoms decorating the base.  Raised stamp MADEIRA.  In excellent condition with a heavy belcher chain.

Weight 52.67 grms

Period:

Late Georgian - George III 1760 to 1820

Maker:

Paul Storr

Maker Bio:

Paul Storr : Legacy of English Silver, one of England's finest silversmiths.

Paul Storr is one of England's greatest and legendary silversmiths. He was born on 1 October 1770 in Middlesex. Paul Storr's reputation for perfecting the works, styles and designs of the grandiose neo-classical style developed in the Regency period during the late 18th and early 19th centuries. His works are considered one of finest in English silver. His works range from simple flatware to grand, magnificent sculptural pieces made for royalty and palaces. His works can be found in European Royal palaces and museums throughout the world.  His legacy lives on and his works still command astonishingly high prices in auctions worldwide.

The Beginning

Paul Storr portrait painting, oil on canvas

Paul Storr started learning silversmithing at the age of only 14 years old. He learned to silversmith under the apprenticeship of Andrew Fogleberg, a Swedish born silversmith located at 30 Church Street, Soho in London. 

A Little About Andrew Fogelberg

Andrew Fogelberg was born in the year 1732 and died about 1815. In the 1770s, he was already active and established in Church Street, London in the 1770's. His silver workshop was near that of the gem engraver and modeller James Tassie (1735-1799). It was documented that Andrew Fogleberg probably relied directly on Tassie's glass paste reproductions of classical gemstones for his models. Fogleberg is known for his fine quality work done in the high neo-classical style of the era and had made silver pieces which can be distinguished by its high quality of workmanship and an elegant, restrained classicism. This probably influenced young Paul Storr at that time. 

The Beginning of the Paul Storr Legacy

In the year of 1792 and when Paul Storr was only 22 years old, he decided to start out on his own and on 2nd May 1792, he moved to Snow Hill to become partners with William Frisbee, a plate-worker of 5 Cock Lane (just south of Smithfield Market). Paul Storr entered his first mark in the first part of 1792. Soon after, he began to use his PS mark, which he maintained throughout his career with only minor changes.

Paul Storr "PS" Mark

The partnership with William Frisbee did not last long, a mere 8 months, after which they broke up. Records shows that from 1796, Storr relocated to 20 Air Street, which runs from Piccadilly across Regent Street to Glasshouse Street. Here he remained for 11 years, and it was at this Air Street store that he made a name for himself as one of London’s leading manufacturing goldsmiths. He married Elizabeth Susanna Beyer on the 27th June 1801 at St. James, Westminster. Elizabeth Susanna Beyer was from a Saxon family of piano and organ builders of Compton Street.

Work Made for Royalty

Though he held no official title, he quickly became the most important silversmith of the nineteenth century, and had enjoyed patronage from many important and powerful figures of the period. Some of his notable customers includes: King George III, King George IV and the Duke of Portland .

King George III and King George IV had purchased much of Storr's work. His first major work was a gold font commissioned by the Duke of Portland in 1797 and in 1799 he created the "Battle of the Nile Cup" for presentation to Lord Nelson. 

Battle of the Nile Cup by Paul Storr

Collaboration with Phillip Rundell

Much of Storr's success was partly due to the influence of Phillip Rundell, of the popular silver retailing firm of Rundell, Bridge and Rundell. Rundell's firm nearly monopolised the early 19th century market for superior silver and obtained the Royal Warrant in 1806. Since 1803, this cunning but clever businessman realised the talent of Paul Storr and begun persuading the 33 year old Paul Storr to join him. Phillip Rundell pursuaded Paul Storr to leave Air Street and move to larger premises at 53 Dean Street, Soho which is quite near his old address in Church Street. 

Storefront of Rundell and Bridge

It was only in 1806, at the age of 36 years old, that Paul Storr finally joined Phillip Rundell.

After joining Phillip Rundell, Paul Storr soon realised he had lost much of his artistic freedom. There was no individuality and personal craftsmanship in his works. He was merely the boss for a mass-production workshop.

In the year 1819 he left Phillip Rundell and decided to open his own shop, seeking the freedom and turning his attentions towards more naturalistic designs and soon began enjoying the patronage he desired.

Partnership with John Mortimer

After only a few years of independence, Storr realised he needed a centralised retail location and partnered with John Mortimer, founding Storr and Mortimer in 1822 on Bond Street. 

By 1838, his latest collaboration became riddled with complications, mostly due to Mortimer's poor management of the business. Storr retired from silversmithing and at the age of 68 he and his wife, Elizabeth, moved to Hill House in Tooting in 1839. Storr died just 5 years after retirement, on the 18th March 1844 and is buried in the churchyard of St Nicholas, Tooting. His estate at that time was only £3,000. He had 10 children. There is a memorial to him at the church of St Mary, Otley, Suffolk put up in 1845 by his son the Rev. Francis Storr, the incumbent.

Final Thoughts

Readers at this time might have the impression that Paul Storr silver pieces value lies in the notion that he commissioned works for Royalty. But it is untrue. The true value for Paul Storr is that he imparted a level of craftsmanship and superior quality into his works. His efforts were not reserved for his more prestigious pieces. Every piece from Paul Storr was given the same superior level of quality and workmanship. He had made various flatware and even small items like spoons and forks.

Item 1299   
SOLD



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