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拍品專文
David Pugh (1789-1861) of Llanerchydol, co. Montgomery, was a Justice of the Peace and a major in the county militia. He was also recorder of Welshpool and M.P. for Montgomery. His wife Anne, whom he married in 1814, was the daughter and heiress of Evan Vaughan of Beguildy, co. Radnor.
Beside the present ewer, there are only six known examples of this model, all of which are marked by Holland and dated 1807. All have the distinctive male caryatid handle, female mask below the spout, and classical frieze at the shoulder. An example made for the Duke of York, second son of George III and the most important silver collector of his day, was embellished with battle scenes by Edward Farrell in 1823 (and presumably lost the shoulder frieze at that time), sold Christie's New York 19 October 2004, lot 204, and like the example offered here has addition marks.
Of the seven examples four are on seemingly identical feet, including the Duke of York example. A. Phillips and J. Sloane suggest that the foot may be by Holland, as other examples of his work show an eccletic use of styles, or that the base might be replacements by Edward Farrell, (see Antiquity Revisited: English and French Silver-Gilt from the Collection of Audrey Love, London, 1997, pp. 72-74). It is possible that Farrell may have worked for Holland before registering his own mark in 1813.
The design for the frieze at the shoulder is perhaps based on designs from Caletti's Le antiche camere delle Terme de Tito e le loro pitture, which was published in Rome in 1776 and widely circulated in Europe. A section of that design is illustrated op cit, p. 124, fig. 61.
Beside the present ewer, there are only six known examples of this model, all of which are marked by Holland and dated 1807. All have the distinctive male caryatid handle, female mask below the spout, and classical frieze at the shoulder. An example made for the Duke of York, second son of George III and the most important silver collector of his day, was embellished with battle scenes by Edward Farrell in 1823 (and presumably lost the shoulder frieze at that time), sold Christie's New York 19 October 2004, lot 204, and like the example offered here has addition marks.
Of the seven examples four are on seemingly identical feet, including the Duke of York example. A. Phillips and J. Sloane suggest that the foot may be by Holland, as other examples of his work show an eccletic use of styles, or that the base might be replacements by Edward Farrell, (see Antiquity Revisited: English and French Silver-Gilt from the Collection of Audrey Love, London, 1997, pp. 72-74). It is possible that Farrell may have worked for Holland before registering his own mark in 1813.
The design for the frieze at the shoulder is perhaps based on designs from Caletti's Le antiche camere delle Terme de Tito e le loro pitture, which was published in Rome in 1776 and widely circulated in Europe. A section of that design is illustrated op cit, p. 124, fig. 61.