Property from the Estate of
BEATRICE LAGRAVE MALTBY
A SET OF FOUR LATE GEORGE III ORMOLU CANDLESTICKS
Details
A SET OF FOUR LATE GEORGE III ORMOLU CANDLESTICKS
EARLY 19TH CENTURY, ATTRIBUTED TO BENJAMIN VULLIAMY
Each tapering foliate-cast nozzle above a baluster stem cast with acanthus and palm leaves, the cylindrical trellised base patterned with alternating Latimer crosses and cinquefoils and mounted with winged lion heads, on a spreading foot cast with lotus--14¼in. (36cm.) high (4)
EARLY 19TH CENTURY, ATTRIBUTED TO BENJAMIN VULLIAMY
Each tapering foliate-cast nozzle above a baluster stem cast with acanthus and palm leaves, the cylindrical trellised base patterned with alternating Latimer crosses and cinquefoils and mounted with winged lion heads, on a spreading foot cast with lotus--14¼in. (36cm.) high (4)
Provenance
Almost certainly commissioned by William Beckford for Fonthill Abbey, Wiltshire
Although no definite connection has so far come to light, the distinctive heraldic motif used on the bases of these candlesticks suggest that they were almost certainly once part of the collection formed by William Beckford (1760-1844). The two devises are the Hamilton cinquefoil, to which Beckford was entitled through his mother and the cross fleury of the first Lord Latimer, from whom he claimed descent. Throughout his life Beckford was obsessed with his ancestry and his favoured devices are found not only on the large number of silver, gold and mounted objects commissioned by him but on furniture (e.g. on the table with pietra dura top now at Charlecote Park) and porcelain. They were also incorporated repeatedly in the architecture and decoration of Fonthill Abbey, begun by Beckford in 1795.
In discussing Beckford's silver, M. Sodin and M. Baker illustrate various phases of his commissioning and collecting ('William Beckford's Silver', I and II, Burlington, November and December 1980, pp. 735-748 and pp. 820-834). The first period (when Beckford was still at Fonthill SplendeN, his father's Palladian house demolished in 1795) comprises mainly traditional neoclassical pieces. The second phase begun aftEr 1800 includes examples inspired by Rennaissance prototypes, many of which were made to Beckford's own designs in collaboration with his close friend and advisor, Chevalier Gregorio Franchi. Certainly the heraldic references on these candlesticks place them in this latter period when historicism played such an important role.
Hoping to create a dramatic effect in the same historic spirit, the Abbey was lit by rows of candlesticks. A set of twenty-four silver-gilt candlesticks displayed in St. Michael's Gallery appear to be identical in design to the offered set. These are illustrated in John Rutter's Delineations of Fonthill and its Abbey, 1823 (reproduced in C. Wainwright, The Romantic Interior, 1989, p. 126, fig. 107) and were included in the sale of the effects of Fonthill Abbey in 1823 (lots 922 to 932). They are described by Rutter as being 'executed by Vulliamy' in his Description of Fonthill Abbey, 1822, p.60. Benjamin Vulliamy (d.1816) of Pall Mall was also responsible for refurbishing Beckford's plate between 1798 and 1802. Based on their closeness in design to the silver-gilt examples and the superb quality of the chasing and casting, it would seem reasonable to attribute the execution of these candlesticks to Vulliamy's firm. After 1808, the distinguished firm of Rundell, Bridge and Rundell also supplied many pieces to Fonthill as their workshop manager Paul Storr had previously been associated with Vulliamy when working for Beckford.
This set of four candlesticks was originally from a larger set, two of which were sold by W.N. Stubb, Esq., Christie's London, 15 April 1982, lot 2 and are illustrated in C. Wainwright, ibid, p. 134, pl. 114. Their pattern is derived from that of a pair of 'gothic pattern' candelabra which Beckford commissioned from the prominent Parisian silversmith, Henri August, during his stay in Paris from 1801-1803 after designs by Jean-Guillame Moitte (d. 1810). Their classical forms, enriched with acanthus and palm leaves supported by winged demi-chimerae is inspired by Piranesian 'antique' candelabrum such as one in the Musée Napoleon (illustrated in H. Moses, A Collection of Antique Vases, Altars, Paterae, Tripods, Candelabra etc., 1814, pl. 88).
Although no definite connection has so far come to light, the distinctive heraldic motif used on the bases of these candlesticks suggest that they were almost certainly once part of the collection formed by William Beckford (1760-1844). The two devises are the Hamilton cinquefoil, to which Beckford was entitled through his mother and the cross fleury of the first Lord Latimer, from whom he claimed descent. Throughout his life Beckford was obsessed with his ancestry and his favoured devices are found not only on the large number of silver, gold and mounted objects commissioned by him but on furniture (e.g. on the table with pietra dura top now at Charlecote Park) and porcelain. They were also incorporated repeatedly in the architecture and decoration of Fonthill Abbey, begun by Beckford in 1795.
In discussing Beckford's silver, M. Sodin and M. Baker illustrate various phases of his commissioning and collecting ('William Beckford's Silver', I and II, Burlington, November and December 1980, pp. 735-748 and pp. 820-834). The first period (when Beckford was still at Fonthill SplendeN, his father's Palladian house demolished in 1795) comprises mainly traditional neoclassical pieces. The second phase begun aftEr 1800 includes examples inspired by Rennaissance prototypes, many of which were made to Beckford's own designs in collaboration with his close friend and advisor, Chevalier Gregorio Franchi. Certainly the heraldic references on these candlesticks place them in this latter period when historicism played such an important role.
Hoping to create a dramatic effect in the same historic spirit, the Abbey was lit by rows of candlesticks. A set of twenty-four silver-gilt candlesticks displayed in St. Michael's Gallery appear to be identical in design to the offered set. These are illustrated in John Rutter's Delineations of Fonthill and its Abbey, 1823 (reproduced in C. Wainwright, The Romantic Interior, 1989, p. 126, fig. 107) and were included in the sale of the effects of Fonthill Abbey in 1823 (lots 922 to 932). They are described by Rutter as being 'executed by Vulliamy' in his Description of Fonthill Abbey, 1822, p.60. Benjamin Vulliamy (d.1816) of Pall Mall was also responsible for refurbishing Beckford's plate between 1798 and 1802. Based on their closeness in design to the silver-gilt examples and the superb quality of the chasing and casting, it would seem reasonable to attribute the execution of these candlesticks to Vulliamy's firm. After 1808, the distinguished firm of Rundell, Bridge and Rundell also supplied many pieces to Fonthill as their workshop manager Paul Storr had previously been associated with Vulliamy when working for Beckford.
This set of four candlesticks was originally from a larger set, two of which were sold by W.N. Stubb, Esq., Christie's London, 15 April 1982, lot 2 and are illustrated in C. Wainwright, ibid, p. 134, pl. 114. Their pattern is derived from that of a pair of 'gothic pattern' candelabra which Beckford commissioned from the prominent Parisian silversmith, Henri August, during his stay in Paris from 1801-1803 after designs by Jean-Guillame Moitte (d. 1810). Their classical forms, enriched with acanthus and palm leaves supported by winged demi-chimerae is inspired by Piranesian 'antique' candelabrum such as one in the Musée Napoleon (illustrated in H. Moses, A Collection of Antique Vases, Altars, Paterae, Tripods, Candelabra etc., 1814, pl. 88).