▲ An important set of four 19th century mi

An important set of four 19th century mixed metals table salts†,
North European, probably French, unmarked except for two possibly French counter marks, each cast with figures representing the four continents, resting on parcel gilt fluted shaped they may best be viewed as small pieces of sculpture and not as pieces of silver. This would explain the lack of importance of a uniform metal standard.

Perhaps these salts form part of a surtout de table and were seen as more ceremonial than functional. The exceptional quality would suggest an exhibition provenance, perhaps inspired by the Barre sculpture for the surtout of the Duc d'Orléansdesigned by Aime Chenevard.

Barre was the master of 'depicting violent scenes from nature. They were technically highly competent and were based on studies of wild animals in the Paris Zoo where carcasses were made available to him for study and dissection'.(1) The modelling of these salts is realistic and detailed in the finish which would suggest the involvement of a top sculptor.

During the 19th century there was 'an extraordinarily co-ordinated system that integrated the skills of the fondeurs ciseleurs with those of the silversmiths resulting on occasion in such collaborations as that of Thomire and Odiot on the mirror frame for Marie Louise and the cradle for the King of Rome'.(2)Another example of collaboration is Christofle's emperor surtout of 1855 where the figures were modelled by MM Diebolt, Daumas, Montagny, Briant frère & Rouillard, under direction of M Gilbert.

The goldsmith Froment Meurice worked with a number of sculptors producing a variety of objects in different materials, including bronze works and furniture. His most famous piece being the dressing table and mirror commissioned in 1845 as a wedding present for the ladies of France to give to the Duchess of Parma. He collaborated with the architect Duban and the sculptors Feuchere and Dechaume as well as others on this piece and exhibited it at the Great Exhibition in London in 1851. (3)

Although it has not been possible to make any firm attribution, looking through the catalogues of the 19th century exhibitions there are examples of superbly designed pieces in the style of these salts. In the Paris exhibition of 1844, there is an illustration of a bowl by Monsieur Maurice Mayer where the pedestal is modelled as rearing horses trying to be restrained by men in Arabian costume. It was commissioned by Baron Rothschild as a Chantilly racing prize which was won by Lord Seymour. Described at the time as '…Le roi en a commande une semblable, destine au compagnon du general allard, le general avitabile, arrive tout recemment du royaume de Lahore. Ce groupe rectangular bases, each with two shell shaped bowls with armorial shield shaped cartouches in front flanked by pierced leafy scrolls, supported on four scroll and leaf pierced bracket feet.

Salt A
Asia is represented by a figure wearing a sari d'arabes, jetes en bas de leurs coursiers et cherchant a les retenir, est d'un mouvement heureux, le galbe en est pur et l'execution en est tres soignée'. (4)The theme of the savage hunt was even used in the decoration of a Limoges clock dated 1839 where an Arab riding a horse is fighting a tiger or lion. This piece by Michel et Valin appeared in the 1839 Paris exhibition where it won a bronze medal.(5)

General Sir Henry Percival de Bathe

The arms are those of the De Bathe family, possibly for General Sir Henry Percival de Bathe, 4th Baronet. He was born on 19th June 1823 in Valetta, Malta and educated at Eton. He had the unusual honour of being a page at Queen Victoria's Coronation and also attending her funeral. He was commissioned into the Scots Fusiliers Guards in 1839 and served with distinction in the Crimean War. He was second in command of his battalion at the siege of Sevastopol where he was wounded. He is mentioned in the despatches, receiving the medal and clasp, the Turkish medal and the Fifth Class Order of the Medjidie. He was also present at the Battle of the Traktir Bridge as aide de camp to Lord Rokeby. In 1864 he was promoted to Colonel of the Scots Guards. Later he commanded the Northern District from 1874 to 1878. He was promoted to Lieutenant General in 1876 and again to General in 1879. He retired from the army in 1883.(6)

One gets the impression that he enjoyed life. He is mentioned as an amateur theatrical giant taking part in a performance given by the Guards before Sevastopol.(7)He was a member of the Windsor Strollers performing in a musical called 'Out of Sight' in 1871.(8)He also kept a racing yacht and is known to have entered the Pembroke Dock Royal Regatta in 1857.(9)In addition, he was also a JP and DL for County Meath and a JP in Sussex too.

In 1870, on the death of his father, Sir William Plunkett de Bathe, he succeeded to the title. Later that year he married Charlotte Clare, daughter of William Clare, and had at least two sons and four daughters.

His main residency was Woodend. The 1881 England Census indicates that General Sir Henry and his family were living there in style. They employed seventeen staff to including a butler, footman, lady's maid, governess, schoolroom maid, cook, kitchen maid, two housemaids, dressmaker, needlewoman, coachman, groom, two gardeners and two under gardeners.

His will mentions in general 'pictures, plate, jewels, furniture, linen, china, glass with bejewelled armlets and a necklace astride a rearing horse attacking a ferocious lion, which in turn is clawing and attempting to bite the horse.

Salt B
North America is represented by a Native American wearing a feathered headdress astride and articles of household use and ornament, prints, busts, statues, bronzes, marbles, vases, antiquities, books and manuscripts belonging to Woodend', but there is only one instance where he details a specific piece being his gold watch by Oudin of Paris. The salts are not mentioned.

He died at the age of 83 on 5th January 1907, leaving an estate valued at £26964 17s 10d. He was succeeded by his eldest son, Hugo Gerald, who in 1899 married Emily Charlotte, formerly wife of Edward Langtry and daughter of the Very Rev. W.C. le Breton, Dean of Jersey. Interestingly, a short time after the marriage of Hugo to Lilly Langtry, the famous society beauty and actress, General Sir Henry changed his will.(10)

Woodend

This was the main residence of both Sir William Plunkett de Bathe and later on his son Sir Henry de Bathe. It is in Funtington, West Stoke, near Chichester and is now grade II listed. The house was originally a large cottage built by Lord George Lennox around 1800. At the time of the Funtington Tithe Map (surveyed 1839/9), the main part of the house and its complex were in place. By the time of the OS 1st Edition 6in map of 1875, the complex had been extended on to the north side of the north road to include an ice house and gasworks. West of the house more formal gardens had been laid out and greenhouses constructed. Additional buildings, including stables, had also been erected north-west of the house on the south side of the road.

Spectroscopy Test Results

The Goldsmiths' Company have analysed the salts and covers by X-ray Fluorescence Spectroscopy in order to ascertain the precious metal content and the results are as follows:

Salt A Asia
Base 938.7 Ag 61.3 Cu
Figure 854.4 Ag 145.6 Cu
Wt 2338.5 grams
Ht 28cm

Salt B North America
Base 934.0 Ag 66.0 Cu
Figure 817.3 Ag 182.7 Cu
Wt 2727.8 grams
Ht 29.5cm

Salt C Africa
Base 932.9 Ag 67.1 Cu
Figure 893.1 Ag 106.9 Cu
Wt 2370.3 grams
Ht 29cm

Salt D North Europe
Base 939.3 Ag 60.7 Cu
Figure 652.2 Ag 347.8 Cu
Wt 2696.4 grams
Ht 29.5cm

Covers 926.7 Ag, 950.6 Ag, 949.2 Ag and 950.0 Ag. Varying from 9cm to 7.25cm long at widest point.

Literature

1. Christopher Payne, Animals in Bronze, Antique Collectors' Club, 1986.
2. Clare le Corbeiller, Associate Curator, European Sculpture and Decorative Arts, in 'An Introduction to Napoleonic Silver', 'The Arts Under Napoleon', the Metropolitan Museum of Art, 1978.
3. Daniel Marchesseau, Tresors d'Argent, an ox, his right hand holding a tomahawk raised to kill an attacking puma.

Salt C
Africa is represented by a North African wearing a turban kneeling upon an overgrown rocky mound and clasping a palm tree in one hand, waiting for the moment to Les Froment Meurice, Musee de la Vie Romantique, 2003.
4. Exposition de L'Industrie Francaise, annee 1844. Description methodique d'un grand nombre de planches et de vignettes, texte par M Jules Burat. Tome II. Publiee par M Challamel. P33.
5. Un Age d'or des arts decoratifs 1814-1848, Galeries Nationals du Grand Palais, Paris, 1991, p.349.
6. The Times Newspaper, March 14th 1870.
7. William Gerald Elliot, Amateur clubs & actors, 1898.
8. John Lowerson, Amateur Operatics, a Social and Cultural History, Manchester University Press, 2005.
9. Illustrated London News, July 18th 1857.
10. 1881 England Census.
11. England & Wales, National Probate Calendar (Index of Wills and Administrations), 1861-1941.
12. Maps referred to are available at the West Sussex Record Office in Chichester.

Many colleagues, curators and scholars have offered advice and we are grateful to them all.

We would like to thank John Culme, Phillipa Glanville, Eric Turner, Heike Zech, Dr Marjorie Trusted, Alicia Robinson, John Fallon, Jonahan Meyer, Christopher Payne, David Beasley, David Cawte, Dave Merry, Ian Scrivener-Lindley, Katherine Purcell, Anne Gros and lastly but most important of all Charlie Truman.

Further images of the backs of the salts are available at www.sworder.co.uk kill two gazelles grazing below.

Salt D
Europe is represented by a hunter supporting himself against an oak tree in an attempt to kill a wild boar with the assistance of two hounds.

In addition there are four covers. Two are decorated with exotic flowers, possibly for salt A or C. The other two with acorns and oak leaves, probably for Salt D. The four other covers are missing. All the covers are unmarked.

Provenance

Possibly acquired by General Sir Henry Percival de Bathe.
Thence by family descent to the present owner.


The Salts

Salt A and Salt D have an almost illegible mark on the inside of the base which is possibly the French counter mark. The other two salts are unmarked. Perhaps the De Bathe family asked for the salts to be personalised for them with the addition of their coat of arms with the supporting scrollwork and feet. This idea is reinforced by the fact that the coat of arms prevents the covers from being able to sit properly over the salts. This might explain why the salts appear unmarked and that there might be another mark or signature behind the decoration on the outside of the salt bases. The figures are completely unmarked and are of a variety of standards. With this in mind,