MARK OF PAUL DE LAMERIE, LONDON, 1745

細節

A set of six George II silver casters
Mark of Paul de Lamerie, London, 1745
Comprising two larger and four smaller casters, each baluster shaped and on slightly domed circular foot cast with a border of faces and ovolo on a partly textured ground, the partly swirl-fluted stem floral garlands suspended from rings below and applied with two lion's masks between, all on a partly-matted ground, the cover pierced with shells, foliate sprigs and paterae and with scroll and acanthus finial, each marked on rim, the covers apparently unmarked
The larger, 9½in. (24.2cm.) high; the smaller, 8¼in. (20.9cm.) high
95oz. (2,968gr.)
The crests are those of Egerton for Francis, 3rd Duke of Bridgewater (1736-1803)

來源

Francis, 3rd Duke of Bridgewater (1736-1803) and then by descent to his nephew
George, 2nd Marquess of Stafford K.G. (1758-1833), later created 1st Duke of Sutherland in 1833, and then by descent.

展覽

Hampton Court Palace 1995-2005

注意事項

No VAT will be charged on the hammer price, but VAT at 17.5% will be added to the buyer's premium, which is invoiced on a VAT inclusive basis.

拍品專文

The exceptional quality of the casters, with their cast and chased ornament, can be compared to the casters which accompany the Brobinsky Centrepiece in the collection of the Victoria and Albert Museum and exhibited London, The Goldsmiths' Hall, Paul de Lamerie, at the Sign of the Golden Ball, 1990, no. 40. However, in contrast to the shell and scroll ornament with which the Brobinsky casters are embellished, the Bridgewater/Sutherland casters display the full range of Lamerie's naturalistic design with lion's masks and flower garlands suspended from drop-rings around the waist of the body and with varied and highly detailed pierced floral sprays making up the panels of piercing in the covers.

The casters would have originally formed part of a surtout-de-table such as the Brobinsky Centrepiece with a large central epergne, possibly with candle-branches and further branches terminating in shaped platforms to support the casters. The Bridgewater plate also includes a large shaped oblong plateau, also by Lamerie, 1749, currently on loan to Manchester City Art Gallery, on which the centrepiece would have rested. The large casters would have been used for sugar and the smaller casters for black and cayenne pepper.