A Pair of Regency Silver Wine Coolers, Paul Storr for Rundell, Bridge and Rundell, London, 1810

The form, calyx and handles of these wine coolers come from Piranesi's depiction of the Medici Krater in Vasi, Candelabri, Cippi, Sarcofagi (1778). However, the Triumph of Bacchus frieze decorating the body is derived from a Roman sarcophagus in the Vatican Museum, which was published by E. Q. Visconti in Museo Pio-Clementio in 1782-1802 (see D. Udy, “Piranesi’s ‘Vasi’,’ the English Silversmith and his Patrons,” Burlington Magazine, December 1978, pp. 828-29).

Storr's workshop is known to have had Piranesi engravings and it seems likely that the workshop or Rundell’s also had Visconti’s work. These coolers relate directly to a design in the Rundell’s sketchbook - “Designs for Plate by Jonathan Flaxman, etc.” in the Victoria and Albert Museum - produced either by John Flaxman or William Theed (see C. Oman, “A Problem of Artistic Responsibility,” Apollo, March 1966, pp. 174-83).

Rundell’s commissioned Storr to make wine coolers of this substantial model from at least 1808, and the sculptural design was a success with their clients. A pair by Paul Storr of 1808 are in the collection of the Museum of Fine Arts, Boston, and another pair by the same maker of 1809-10 are in the collection of the Victoria and Albert Museum. A gilt pair of 1809-10 was in the collection of Alan and Simone Hartman, see Christie’s, New York, October 20, 1999, lot 189. Six, on detachable stands of 1809 and 1811 and made for the 1^st Earl Howe, were sold at Christie’s London, 1 July 1953, lots 107 and 108 (illustrated N. M. Penzer, Paul Storr: The Last of the Goldsmiths, 1954, pl. XXIX). Another set of four by Paul Storr of 1811 is illiustrated in P. Waldron, The Price Guide to Antique Silver, 1982, p. 333, no. 1087.