Silver Sculptural Project for a Large Centerpiece and Two Tureens Which Have Been Executed for His Lordship the Duke of Kingston, plate 115 from Works of Juste-Aurèle Meissonier (Oeuvre de Juste-Aurèle Meissonier)

Executed in fine etching lines, the image captures the fluid, asymmetrical forms characteristic of rococo design. Delicate scrollwork, naturalistic marine motifs, and exaggerated curvilinear handles reflect Meissonier’s signature aesthetic. The precision of the engraving emphasizes texture and volume, transforming silver into a medium of theatrical elegance suited to aristocratic display.

The print was published as part of Meissonier’s 1756 portfolio, which circulated among European patrons and craftsmen. The inclusion of the Duke of Kingston’s name served to authenticate the designs’ prestige. While one tureen was produced and survives in collections, the centerpiece remains unverified. The print’s survival attests to its role as a tool for disseminating fashionable taste across social circles.

Meissonier’s designs emerged during a period when aristocratic dining was increasingly performative, with tableware signaling wealth and refinement. The publication of such designs mirrored the rise of illustrated catalogs in luxury goods, akin to modern advertising. Contemporary engravers like Gabriel Huquier similarly promoted ornamental styles, reinforcing a visual language of excess tied to courtly culture.

Though few of Meissonier’s silver commissions were realized, his published plates influenced silversmiths and interior designers across Europe. This print exemplifies how design theory was commercialized through print, shaping aesthetic expectations beyond the reach of actual production. The work remains a key document in understanding the intersection of art, status, and mass dissemination in the 18th century.