A GEORGE III SILVER-GILT TRAY

Details
A GEORGE III SILVER-GILT TRAY
maker's mark of Benjamin and James Smith, London, 1810, the engraving attributed to Walter Jackson

Oval and on four bacchanalian masks, scroll and goat's feet, the border cast and applied with a band of trailing vines and with ribbon-tied berried laurel-leaf rim with two leopard-mask, fruit and foliage bracket handles terminating in ram's-masks, the centre finely engraved with the Royal Arms, the reverse with the Cholmondeley crest beneath an Earl's coronet, marked on reverse and on inner rim and engraved 'RUNDELL, BRIDGE ET RUNDELL AURIFICIES REGIS, ET PRINCIPIS WALLIAE, DUCISQUE EBORACI, LONDINI, FECERUNT', fitted with detachable metal stand
31in. (79cm.) wide; 21½in. (54.5cm.) deep
gross 263ozs. (8,197grs.)
Provenance
King George III (1760-1820)
Almost certainly given to George, 4th Earl of Cholmondeley (1749-1827) in 1812, on his appointment as Lord Steward of the Household

Lot Essay

The Royal arms are those of King George III (1760-1820)

The crest is that of George James, 4th Earl of Cholmondeley (1749-1827), later created 1st Earl of Rocksavage and 1st Marquess of Cholmondeley in 1819. He was made a Knight of the Garter in 1822. It is likely that he was given this tray on his appointment as Lord Steward of the Household in 1812, a post he held until 1821. His wife Georgina Charlotte (1764-1838), second daughter of Peregrine, 3rd Duke of Ancaster and Kesteven, was co-heir of the office of Great Chamberlain of England

A number of similar trays are known, the design for which appeared early in the 19th century, all retailed by the Royal Goldsmiths Rundell, Bridge and Rundell. The first recorded example is that made in 1802, also bearing the maker's mark of Digby Scott and Benjamin Smith, and engraved with the arms of the 2nd Baron Lowther (later Earl of Lonsdale) sold in these Rooms, 19 February 1947, lot 154

The Regency period was dominated by the re-named firm of Rundell, Bridge and Rundell, Goldsmiths to the King and the Prince of Wales. Although John Bridge trained as a jeweller, he was also astute in business and quick to take advantage of the growing prosperity in the early years of the 19th century. Added to which, the nation's military and naval successes led to many celebratory commissions. Bridge employed the best artists and designers including John Flaxman and Edward Hodges Bailey and it was their designs, many of which were for monumental pieces in the Roman and Egyptian styles, which led to his pre-eminence in this field

His ability to choose the most able young artists extended to engravers. The engraving on this lot is almost certainly by one of the most gifted early 19th century engravers, Walter Jackson (see note to lot 100). This type of large tray was the perfect object for the engraver to demonstrate his virtuosity, the large gilded surface allowing for a greater use of shading and changes of tone

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