page_title: Rococo Revival
section_title: Rococo Revival in England (1811-1830)
hierarchical_section_title: Rococo Revival / Rococo Revival in England (1811-1830)
caption_attribution_description: English: A gilded charger plate in the Huntington Museum of Art, Huntington, West Virginia, USA. Photography was permitted in the museum without restriction. This artwork is in the public domain because the artist died more than 70 years ago.
context_page_description: The Rococo Revival style emerged in Second Empire France and then was adapted in England. Revival of the rococo style was seen all throughout Europe during the 19th century within a variety of artistic modes and expression including decorative objects of art, paintings, art prints, furniture, and interior design. In much of Europe and particularly in France, the original rococo was regarded as a national style, and to many, its reemergence recalled national tradition. Rococo revival epitomized grandeur and luxury in European style and was another expression of 19th century romanticism and the growing interest and fascination with natural landscape.
  During the later half of the nineteenth century, Rococo Revival was also fashionable in American furniture and interior design. John Henry Belter was considered the most prominent figure of rococo revival furniture making. Revival of the rococo style was not restricted to a specific time period or place, but occurred in several waves throughout the 19th century.
context_section_description: During the Regency era, the Prince Regent (who later became King George IV) patronized makers of high-quality works of rococo silver. The Prince Regent favored neoclassical elements of more luxurious interpretations of the late Louis XV and Louis XVI periods. The tastes of the Prince Regent helped fuel interest in the rococo revival spirit in England.
  Paul Storr was recognized as one of the most important and well-renowned English silversmith. His quality of workmanship and versatility enabled him to create works that suited a wide range of tastes and preferences. Many rococo themes and motifs can be found in his works. An example of his work is a salver featuring signs of the Zodiac, a border cast chased with rococo scrolls, rococo decoration of the surface, and feet in rococo-cartouche form. One of the most monumental works created in rococo expression was Storr’s large candelabrum, created during the reign of William IV. The piece featured flowing branches and rolling, curved surfaces.
  During the late 1820s, the aristocracy commissioned anti-classical styles, producing a much different expression of rococo in England. Manufacturers in Birmingham and Sheffield became mass-producers of Sheffield plate, a layered combination of silver and copper. Mass-production also enabled silver embossed with scrolls, flowers, and foliage, which were produced cheaply by steam-presses on thin silver. These wares were made to imply luxury, not previously available on thin-sheeted silver, while mass-production allowed for mass-distribution and export. Historically reserved for royalty and aristocrats, industrialization and technological advances in machinery made rococo silver accessible to a broader audience.
  Metal works based on Parisian design that were truly rococo were in ormolu, or bronze cover in finely-ground gold. Parisian designers responded to the desire and tastes of Napoleon III and his wife Eugénie. They sought legitimacy of their court through stylistic references to the ancien régime style of Louis XV.
caption: Gilt Charger, Paul Storr, British, 1810-1811, silver, Huntington Museum of Art
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