Maker’s mark of Joseph Preedy
Height: 27cm, 10.6in.
Width, Handle to Handle: 25.5cm, 10in.
Ernest Augustus, Duke of Cumberland (1771-1851), from 1838 King of Hanover Ernest Augustus, Duke of Cumberland was the fifth son of George III and Queen Charlotte, and like many of his brothers including the Prince of Wales was an avid patron and collector of fine plate. An extreme conservative, he was feared by the British public for his reactionary views. On the death of his brother William IV, Ernest's niece Victoria became Queen to public acclaim, and he succeeded as King of Hanover. Six coolers and stands of this model from the Cumberland plate were shown by Crichton, London, in 1924.Silversmith Biography
Son of the Rev. Benjamin Preedy of St. Albans in the County of Hertford clerk, apprenticed to Thomas Whipham 2 October 1765 and turned over 9 June 1766 to William Plummer of Gutter Lane goldsmith, Citizen and Clothworker on consideration of £21. Free, 4 August 1773 as plateworker. First mark entered as plateworker, 3 February 1777. Address: Westmoreland Buildings, Aldersgate Street. Second mark, in partnership with William Pitts, 11 January 1791. Address: Litchfield Street, St. Ann's, 3 August 1795. The partnership was apparently dissolved by 21 December 1799 when Pitts entered a single mark. Third mark alone, 20 January 1800. Address: 8 Great Newport Street. Heal records all the above addresses and dates, and also Preedy alone in Litchfield Street in 1791, the year of the commencement of the partnership with Pitts.Description
Each wine cooler heavily cast and chased with fluted and laurel bases. The bodies with acanthus-decorated lower bodies below friezes of Bacchanals, openwork grapevine garlands and the rim linking rams' head handles.
Each with detachable fluted collars and liners. The bases engraved with the Royal garter below a Royal Ducal coronet for Ernest Augustus the Duke of Cumberland, later the King of Hanover.
The figures of Bacchus and Silenus as being taken from Bernard de Montfaucon's L'Antiquité Expliquée and Representée en Figures (Paris, 1719/24), while the small putti are drawn from the designs of Lady Elizabeth Templetown, an amateur artist who supplied designs to Wedgwood and Bentley, and the dancing figure with a tambourine from one of the Marlborough Gems, published in 1788.
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