Important Winter Sale presents highlights from the silver department

The silver tureen

During the 18th century, the traditional practice of setting the dining table with all dishes served at once (service à la française) was replaced by the new practice of serving dishes in sequence, with fresh tableware presented for each course (service à la russe). This shift led to a greater variety of serving vessels, each designed with a more specific function than before. Fixed elements of the dining table included candlesticks and, in royal and aristocratic households, a central showpiece, often a silver tureen.

The Rococo tureen by Simson Ryberg was made in Stockholm in 1775, likely commissioned for the wedding of Count Claes Erik Sparre af Söfdeborg (1746–1829) and Baroness Mariana Helena Ehrenkrona (1748–1820), which took place the same year at Idingstad in Östergötland. Their estate inventories from 1830 and 1821, respectively, list under “Silver at Thorpa,” “five larger and smaller tureens, 634 lod”. Mariana Helena, who lost her mother early, was extremely wealthy through her maternal grandmother, Mariana von Schwerin (née Burensköld), who died in 1774. Among her inherited silver was a tureen made by Nils Dahl in Linköping, sold at Bukowskis’ spring auction in 2012 (A568, lot 912).

Double-Spouted Teapot by Bengt Hafrin from 1770

In the 18th century, new beverages such as coffee, tea, and chocolate were introduced to Europe from other continents. These required specialised vessels, and in addition to teapots, items like cream jugs, sugar boxes, and milk pitchers were created in both silver and other materials like faience.

According to the records of the Goldsmiths’ Guild, it became possible to create a teapot or coffee pot as a masterwork when qualifying as a goldsmith. The first known teapot in Sweden was made in 1712. During the Rococo period, Swedish goldsmiths drew much of their inspiration from France, though English, Dutch, and Chinese designs also influenced their creations. The appearance of these objects evolved in line with the artistic tastes of the century.

Only a few Swedish teapots with two spouts are known, and their exact purpose remains unclear. One suggestion is that these teapots were designed with an internal partition to hold tea on one side and water on the other; however, no known silver teapots with such partitions exist. Another theory proposes that the additional spout was intended to aerate the beverage for a better taste. Chinese double-spouted teapots in ceramic or porcelain sometimes feature an internal divider, enabling the serving of different teas from each side. Regardless of their purpose, double-spouted teapots are a highly distinctive design, primarily found in Sweden. The oldest Swedish silver teapot with two spouts was made in Stockholm in 1747 by Gustaf Stafhell the Elder. Other known examples were crafted in Gothenburg and Uddevalla during the 1760s and 1770s.

The Silver Mirror by Christian Precht

Christian Precht (1706-79) is usually considered to be the one who introduced the Rococo style to Swedish arts and crafts. The majority of his pattern drawings for gold and silver objects are preserved at the Nationalmuseum in Stockholm today, and it shows his great ability as a designer. He apprenticed as a goldsmith with Gustaf Stafhell the elder. in Stockholm but then continued with studies in London, Paris and several German cities before returning home in 1731. Then inspired by some of the great names of the time such as Juste-Aurèle Meissonnier and Thomas Germain. Since he never sought to become a master himself among Stockholm's goldsmith's and thus be entitled to put his own stamp/mark on his creations, his items can often be found with marks of other masters. For example, his collaboration with Anders Liedberg is documented by the Christian Precht researcher Gustaf Munthe, who also includes the gold box in this auction, catalog no. 316, in his large book on Christian Precht.

A Swedish 18th century gold snuff-box, marks of Anders Liedberg, designer probably Christian Precht

Christian Precht's collaboration with Anders Liedberg is mentioned by researchers such as Gustaf Munthe, who also includes this box, i.e., the current catalogue number, in his book on the great Swedish master of the Rococo, Christian Precht.

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