Perhaps due to the deep-rooted desire of Western culture to tame all that was foreign, atypical and unknown, the fascination with the exotic exploded in the Victorian era. Wild tigers were displayed caged in zoos, children could pose at the museum with ferocious taxidermied bears, and African elephants were mounted in parades through the streets with travelling menageries. In this Victorian landscape of eccentric excesses, animals functioned as human properties, the existence of which reflected the status and the capricious fantasies of their human owners. Collectors’ interest in exotic animals exploded as they became more accessible to the general public. Sir Stamford Raffles established the London Zoo in 1826. However, he died the following year of a stroke. On his death, the third Marquis of Lansdowne took charge of the project and organised the construction of the first structures to house the animals. In 1829 King George IV issued a Royal Decree-Law in favour of the Zoological Society, and in 1847 the zoo officially opened to the public. The zoo opened the first Reptile House in 1849 and Aquarium in 1853. The appearance of live exotic animals combined with the publication of Illustrated Books such as the Monkeyana - a collection of 24 etched plates of anthropomorphic monkeys published in 1827 by Thomas Landseer - or Tenniel’s illustrations of Alice in Wonderland (1865) indeed moved the artists to incorporate exotic animals in their models. The silversmiths’ naturalistic approach consisted of reproducing nature as faithfully as possible: the artist aims to represent objective reality, avoiding any stylisation or abstraction. This approach is evident in creating the zoomorphic claret jugs, in which silversmiths not only portrayed animals in detail but approached their reproduction scientifically
The jug is realistically modelled as a duck, and rests on a silver base which features the scientifically rendered webbed feet of the bird and a feathery tail that balance the weight of the body. The main body of the jug is made of clear glass and features a handle on the back of the bird. The duck’s silver head is fully detachable to allow the liquid to be poured.
Marked on each mount, further engraved underneath with design registration mark.
William Leuchars was the son of James Leuchars, the founder of the original company that passed to his widow Lucy Leuchars upon his death; the firm then being known as Lucy Leuchars & Son, 1841. After Lucy’s death in 1847, sole ownership of the business was transferred to William. Best known for producing the finest quality dressing cases, the firm exhibited and won prize medals at the Great Exhibition 1851, the International Exhibition 1862, and the International Exposition 1867 in Paris. In 1870, William Leuchars and his son, also called William, opened a further shop in Paris under the name Leuchars & Son. William Jnr took control over the business on his fathers’ death in 1871 and went on to win a gold medal at the International Exposition 1878, Paris, for the firms dressing cases.
 

William Leuchars was the son of James Leuchars, the founder of the original company that passed to his widow Lucy Leuchars upon his death; the firm then being known as Lucy Leuchars & Son, 1841. After Lucy’s death in 1847, sole ownership of the business was transferred to William.

Best known for producing the finest quality dressing cases, the firm exhibited and won prize medals at the Great Exhibition 1851, the International Exhibition 1862, and the International Exposition 1867 in Paris.

In 1870, William Leuchars and his son, also called William, opened a further shop in Paris under the name Leuchars & Son. William Jnr took control over the business on his fathers’ death in 1871 and went on to win a gold medal at the International Exposition 1878, Paris, for the firms dressing cases.