Paul Storr
English, 1771 - 1844
English silversmith. He was apprenticed from 1785 to 1792 to Andrew Fogelberg (c. 1732–1815), a Swedish silversmith, in Soho, London. The formative influences on Storr’s early work were the Adam and Neo-classical styles, which Fogelberg actively disseminated, characterized by oval and vase or urn forms with beaded or pearled edging, lanceolate leaves, narrow reeded legs, floral swags and oval silver portrait medallions, inspired by the cameos of James Tassie. Storr was made a freeman in 1792 and joined the workshop of William Frisbee, a plateworker, of 5 Cock Lane, Snow Hill, London. Their joint mark was used from 2 May 1792, although Storr’s own mark was entered on 12 January 1793. His pupils at this time included, until 1802, Benjamin Smith (1764–1823). From 1796 Storr worked independently at 20 Air Street, where he produced such important pieces as the font (1797–8; London, BM) for the christening of the eldest son of William Cavendish-Bentinck, 4th Duke of Portland (d 1854).
In 1807 Storr moved to 53 Dean Street, Soho, to manage a subsidiary, known as Storr & Co., of the firm of Rundell, bridge & rundell. In 1811 Storr became a subsidiary partner in this firm, together with John Bridge (1755–1834), its principal maker, who injected capital and had, in 1797, obtained the royal warrant. In the highly successful firm of Rundell’s Storr’s role was apparently as much supervisory as executant. His output during this period, much of it to royal order and ranging in style from the Adam and monumental Neo-classical forms to the Rococo Revival after about 1815, included such small wares as cups, dishes, plates, vases, kettles, wine-coolers and coasters, as well as the larger and more elaborate tureens, candelabra and centrepieces. Important pieces include two wine-coolers (1809; one London, V&A; one sold London, Christie’s, 1 July 1953), perhaps to designs by William Theed II (1764–1817), for Richard Curzon (later 1st Earl Howe; d 1870) and James Butler, 1st Marquess of Ormonde (d 1838); a massive centrepiece (London, Apsley House) for Sir Arthur Wellesley (later 1st Duke of Wellington) and the delicate Theocritus Cup (1812; Brit. Royal Col.) made after John Flaxman’s designs for Queen Charlotte as a gift for the Prince Regent (later George IV). Storr was the first Regency silversmith to revive the use of vine-leaf borders, found in antique Roman silver, in the last work and in a bombé sauce tureen (1819; London, V&A). The design of Storr’s silver was influenced by Charles Heathcote Tatham’s Designs for Ornamental Plate (1806), Thomas Hope’s Household Furniture (1807) and the work of Paul Crespin, Thomas Germain and Nicholas Sprimont.
After leaving Rundell’s in 1819 Storr set up his own business at 18 Harrison Street, subsequently buying an adjoining house that he leased to the firm of R., J. & S. Garrard of Panton Street from 1831 to 1841. By 1822 Storr required a well-located retail outlet and so combined with John Mortimer to form the firm of Storr & Mortimer (later including John Hunt) at 13 New Bond Street. During this period the Goodwood Cup (1829; Brit. Royal Col.; see ) was produced. The partners quarrelled in 1838; Storr left the following year, although the firm continued operating under the name of Mortimer & Hunt and, after 1842, as Hunt & Roskell. Storr retired in 1839 to Hill House, Tooting, where he died.
Richard Riddell. "Storr, Paul." In Grove Art Online. Oxford Art Online, http://www.oxfordartonline.com.proxy.lib.fsu.edu/subscriber/article/grove/art/T081654 (accessed May 2, 2012).
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