This magnificent and extremely rare grand scale silver-gilt presentational tankard was made in 1829 by Paul Storr for the Whitbread family, a prominent beer brewing family and owners of England's largest brewery.  The 119 troy ounce tankard is beautifully chased with a scene and embellished with the Whitbread's family motto:  Virtute Non Astutia  ("By virtue, not by cunning") and Amicus Amico Dedit (" A friend gave to a friend").

 

Paul Storr (English, 1771-1844) is regarded as one of the greatest craftsmen ever to have worked in silver. His pieces are in private and museum collections around the world; and when Storr silverware becomes available to buy, it generates great interest - and a high price.

Paul's father, Thomas, was a “chaser,” a skilled tradesman whose job involved the creation of patterns and designs on silverware. The young Paul followed his father into the metalwork profession and apprenticed with a Swedish Master for over seven years.

By 1796, Paul's remarkable skill allowed him to register his own mark with the Assay Office.  His style at this time followed the current neoclassical fashion, although his pieces were often plainer than the work of his contemporaries.

In 1800, the Royal Goldsmiths, Rundell and Bridge asked Storr to sell most of his work through their exclusive London shop.  He agreed and improved his style to match the elaborate forms preferred by Rundell and Bridge's wealthy patrons.

One successful piece followed another, and Paul Storr silverware developed an international reputation and by 1811, he had become a full partner.  This was the period of Wellington, the British defeat of Napoleon, and Storr’s masterful designs expressed the strength and vitality of the times.

Storr’s moves and styles changed with popular tastes, later expressing the naturalistic forms of the Rococo (Rundell, Bridge, and Rundell).  A few years later, he joined another London retailer, John Mortimer.  The firm of Storr and Mortimer lasted until 1838.

Storr's reputation rests on a number of factors. Firstly, there was his skill as a silversmith, and his absolute mastery of technique. Secondly, there was his astonishing attention to detail. This applied not just to design but to the finishing of a piece so that the overall effect was one of distinction and beauty. Finally, there was his understanding of the nature of silver, and his ability to turn the ideas of designers into concepts that perfectly matched the versatility and limitations of the metal.

If the opportunity arises, it is well worth visiting the museums that have examples of Storr's work. The Metropolitan Museum of Art, New York, has two particularly fine and elaborate candelabra from 1835-1836 and 1838. Other work appears in museum collections in Boston, San Francisco, Cleveland, USA and extensively in the United Kingdom.