MAKER'S MARK OF EDWARD FARRELL, LONDON, 1818
Details
The Duke of York's Neptune Candelabrum
A George III silver-gilt four-light candelabrum
maker's mark of Edward Farrell, London, 1818
The rockwork base realistically cast and chased with shells, seaweed and sea-monsters, the stem formed as the figure of Neptune astride a hippocamp and draped with a seaweed cape, clasping a trident in his left hand, his right hand holding the shell supported on his head from which spring four winged hydra mead scroll branches each with detachable water spray nozzles, fully marked
34in. (37cm.) high
540ozs. (16,798gr.)
A George III silver-gilt four-light candelabrum
maker's mark of Edward Farrell, London, 1818
The rockwork base realistically cast and chased with shells, seaweed and sea-monsters, the stem formed as the figure of Neptune astride a hippocamp and draped with a seaweed cape, clasping a trident in his left hand, his right hand holding the shell supported on his head from which spring four winged hydra mead scroll branches each with detachable water spray nozzles, fully marked
34in. (37cm.) high
540ozs. (16,798gr.)
Provenance
H.R.H. Frederick Augustus, Duke of York (1763-1827), second son of King George III
The Magnificent Silver and Silver-gilt Plate of His Royal Highness, The Duke of York, Deceased, Christie's London, 19-21 March 1827, lot 63
The Duke of York's sale contains the following entries:
The candelabra described above as lots 64 and 65 in the Duke of York's sale were presumably intended to flank the present example (lot 63) and are now in the collection of Mrs. Audrey B. Love (see A. Phillips and J. Sloane, Antiquity Revisited: English and French Silver-Gilt from the Collection of Audrey Love, London, 1997, cat. nos. 13-16). The Love candelabra now weigh approximately 7 and 6 ounces less than they were recorded as weighing in 1827 but this is explained by the fact that, unlike the present example, each of the Neptune figures is now missing its trident.
Although split up in the Duke of York's sale, the present lot, its flanking candelabra, four smaller candelabra (of which two survive in the Love collection) and twelve salt cellars were conceived as a massive table garniture. Although the salt-cellars from the Duke of York's sale have not as yet been positively identified, the model is well-known and most of the examples date from 1817-1819 as do the various extant candelabra. The branches of all the candelabra are formed as either Neptune, Amphritite, a sea-nymph, or a triton, each with sea-horse or dolphin. The same maritime figures and sea-creatures appear on the stems of the salt-cellars.
It seems likely then that Farrell's great masterpiece, the Duke of York's centrepiece of 1824 formed as Hercules slaying the Hydra (see extract from the 1827 catalogue above - lot 62), was designed to complement the earlier garniture.
The Duke of York was the younger brother of George Augustus, later George IV. At the age of 17 he was made Colonel in the Royal Army and began his career in the army. In 1794 he married Princess Frederica, eldest daughter of Friedrich Wilhelm II, King of Prussia, although they separated fairly shortly thereafter. At that time he is said to have had the enormous annual income of 70,000. In 1798 he became Commander-in-Chief of the Army but, following a scandal involving his mistress, Mary Ann Clarke, who appears to have profited from her intimacy with the Commander-in-Chief by selling promotions to officers, he resigned in 1811.
On the death of George III, the Duke of York's older brother, to whom he was very close, became King George IV and he, heir to the throne. Both brothers bought enormous quantities of silver, both antique and modern, mostly from Rundell's, and were together the most important collectors in England. Their antiquarian taste was shared to some extent by their younger brothers, the Dukes of Cambridge and Sussex. However, it seems to be the Duke of York alone who patronised the retailer Kensington Lewis who in turn employed perhaps the most innovative of all English early 19th century silversmiths, Edward Farrell.
On the Duke of York's death in 1827, he is said to have left debts ranging from 200,000 to 500,000, the imprecise figures perhaps illustrating the chaotic state of the Duke's financial affairs. His executors took the unprecedented step of selling a Royal collection at public auction. The silver sale comprised over 400 lots and took place over four days. It attracted enormous interest but, in spite of the fact that Lewis purchased back some of the silver he had sold to the Duke, prices were felt to be disappointing. The total for the entire silver sale was 22,438/10s (see Phillips and Sloane, op. cit., pp. 62-67).
The Magnificent Silver and Silver-gilt Plate of His Royal Highness, The Duke of York, Deceased, Christie's London, 19-21 March 1827, lot 63
The Duke of York's sale contains the following entries:
The candelabra described above as lots 64 and 65 in the Duke of York's sale were presumably intended to flank the present example (lot 63) and are now in the collection of Mrs. Audrey B. Love (see A. Phillips and J. Sloane, Antiquity Revisited: English and French Silver-Gilt from the Collection of Audrey Love, London, 1997, cat. nos. 13-16). The Love candelabra now weigh approximately 7 and 6 ounces less than they were recorded as weighing in 1827 but this is explained by the fact that, unlike the present example, each of the Neptune figures is now missing its trident.
Although split up in the Duke of York's sale, the present lot, its flanking candelabra, four smaller candelabra (of which two survive in the Love collection) and twelve salt cellars were conceived as a massive table garniture. Although the salt-cellars from the Duke of York's sale have not as yet been positively identified, the model is well-known and most of the examples date from 1817-1819 as do the various extant candelabra. The branches of all the candelabra are formed as either Neptune, Amphritite, a sea-nymph, or a triton, each with sea-horse or dolphin. The same maritime figures and sea-creatures appear on the stems of the salt-cellars.
It seems likely then that Farrell's great masterpiece, the Duke of York's centrepiece of 1824 formed as Hercules slaying the Hydra (see extract from the 1827 catalogue above - lot 62), was designed to complement the earlier garniture.
The Duke of York was the younger brother of George Augustus, later George IV. At the age of 17 he was made Colonel in the Royal Army and began his career in the army. In 1794 he married Princess Frederica, eldest daughter of Friedrich Wilhelm II, King of Prussia, although they separated fairly shortly thereafter. At that time he is said to have had the enormous annual income of 70,000. In 1798 he became Commander-in-Chief of the Army but, following a scandal involving his mistress, Mary Ann Clarke, who appears to have profited from her intimacy with the Commander-in-Chief by selling promotions to officers, he resigned in 1811.
On the death of George III, the Duke of York's older brother, to whom he was very close, became King George IV and he, heir to the throne. Both brothers bought enormous quantities of silver, both antique and modern, mostly from Rundell's, and were together the most important collectors in England. Their antiquarian taste was shared to some extent by their younger brothers, the Dukes of Cambridge and Sussex. However, it seems to be the Duke of York alone who patronised the retailer Kensington Lewis who in turn employed perhaps the most innovative of all English early 19th century silversmiths, Edward Farrell.
On the Duke of York's death in 1827, he is said to have left debts ranging from 200,000 to 500,000, the imprecise figures perhaps illustrating the chaotic state of the Duke's financial affairs. His executors took the unprecedented step of selling a Royal collection at public auction. The silver sale comprised over 400 lots and took place over four days. It attracted enormous interest but, in spite of the fact that Lewis purchased back some of the silver he had sold to the Duke, prices were felt to be disappointing. The total for the entire silver sale was 22,438/10s (see Phillips and Sloane, op. cit., pp. 62-67).