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- Lot N 3063
Un siècle de joaillerie et accessoires
A 19th century Apotheosis Cup of Homer, Benjamin de Schlick (1796–1872). The body depicting the scene of Homer in electroplated oxised silver with a gilt-bronze rim, the base and handle in brass, the borders decorated with palmette friezes and egg and dart motifs, resting on a small charger applied with five coats of arms including that of the Order of the Temple. The underside of the cup and charger with a button-shaped seal inscribed “Benjamin de Schlick auteur, d’après l’antique”; stamped BS with a griffin and a front-facing crowned lion rampant, diam. 22.5 cm; height 12 cm
Provenance: Collection of Her Royal Highness Princess Marie Gabrielle of Savoy
Benjamin de Schlick (1796–1872) studied architecture and archaeology in Copenhagen and Paris, and counted among his patrons Frederick VI of Denmark, Charles X of France, Leopold, Grand Duke of Baden, Prince Torlonia in Rome, and Prince Nicolai of Russia. In the 1840s he played a key role in supplying source material to Elkington & Co., pioneers of electroplating in England. Deeply interested in archaeological discoveries in Italy, Schlick had moulds taken from artefacts unearthed during excavations, many of which derived from ancient silver pieces found in the Casa dell’Argenteria at Pompeii in 1835, notable for their low-relief mythological and classical scenes.
The theme of the Apotheosis of Homer traces back to a 3rd-century BC marble relief by Archelaus of Priene, depicting the poet’s elevation to divine status (British Museum), and was later reinterpreted by Jean-Auguste-Dominique Ingres in his celebrated 1827 painting of the same subject (Louvre).
With the development of the electrotyping process in the 19th century, objects could be produced in oxidised silver, lending a blue-black or dark grey tonality that enhanced the play of light and shadow across their relief decoration. Adapted from French techniques, this method was prized for its ability to reproduce fine detail with remarkable precision. Schlick worked with both Elkington and Christofle, enjoying the patronage of Europe’s most distinguished collectors. Bearing his personal marks to the base, the present cup was likely a special commission, its series of heraldic shields around the plinth underscoring its bespoke character.
Similar example sold by S J Shrubsole Corp :
https://www.bada.org/object/apotheosis-cup-homer-victorian-electrotype
Similar cup housed by the Royal Collection Trust at Osborne House, UK :
Description
A 19th century Apotheosis Cup of Homer, Benjamin de Schlick (1796–1872).
The body depicting the scene of Homer in electroplated oxised silver with a gilt-bronze rim, the base and handle in brass, the borders decorated with palmette friezes and egg and dart motifs, resting on a small charger applied with five coats of arms including that of the Order of the Temple. The underside of the cup and charger with a button-shaped seal inscribed “Benjamin de Schlick auteur, d’après l’antique”; stamped BS with a griffin and a front-facing crowned lion rampant, diam. 22.5 cm; height 12 cm
Provenance: Collection of Her Royal Highness Princess Marie Gabrielle of Savoy
Benjamin de Schlick (1796–1872) studied architecture and archaeology in Copenhagen and Paris, and counted among his patrons Frederick VI of Denmark, Charles X of France, Leopold, Grand Duke of Baden, Prince Torlonia in Rome, and Prince Nicolai of Russia. In the 1840s he played a key role in supplying source material to Elkington & Co., pioneers of electroplating in England. Deeply interested in archaeological discoveries in Italy, Schlick had moulds taken from artefacts unearthed during excavations, many of which derived from ancient silver pieces found in the Casa dell’Argenteria at Pompeii in 1835, notable for their low-relief mythological and classical scenes.
The theme of the Apotheosis of Homer traces back to a 3rd-century BC marble relief by Archelaus of Priene, depicting the poet’s elevation to divine status (British Museum), and was later reinterpreted by Jean-Auguste-Dominique Ingres in his celebrated 1827 painting of the same subject (Louvre).
With the development of the electrotyping process in the 19th century, objects could be produced in oxidised silver, lending a blue-black or dark grey tonality that enhanced the play of light and shadow across their relief decoration. Adapted from French techniques, this method was prized for its ability to reproduce fine detail with remarkable precision. Schlick worked with both Elkington and Christofle, enjoying the patronage of Europe’s most distinguished collectors. Bearing his personal marks to the base, the present cup was likely a special commission, its series of heraldic shields around the plinth underscoring its bespoke character.
Similar example sold by S J Shrubsole Corp :
https://www.bada.org/object/apotheosis-cup-homer-victorian-electrotype
Similar cup housed by the Royal Collection Trust at Osborne House, UK :
COLLECTION PARTICULIÈRE DE SON ALTESSE ROYALE LA PRINCESSE MARIE GABRIELLE DE SAVOIE (Part 2)
Faisant suite à la vente du médailler royal en juin 2023 et septembre 2025 (100% des lots vendus), la maison Piguet est heureuse de dévoiler un nouvel ensemble numismatique de la collection de LL. MM. les Rois Victor-Emmanuel III et Humbert II, provenant de la collection personnelle de Son Altesse Royale la Princesse Marie-Gabrielle de Savoie.
80 lots inédits qui étoffent et illustrent l’incroyable et prolifique production numismatique de la famille de Savoie.
Pour un historique plus détaillé de cette collection, veuillez vous référer à la page 10 de notre catalogue de septembre 2025 ou à notre e-catalogue dédié sur piguet.com, section ventes passées.
Les lots 3062 et 3063, ainsi que les deux médaillers ayant contenu une partie de cette collection royale (lot 1591A) proviennent également de la collection personnelle de S.A.R. la Princesse Marie Gabrielle de Savoie. Se reporter à la page 276.