An exceptionally fine & rare pair of George III Neo Classical Cast Candlesticks made in London in 1781 by Robert Jones, the design attributed to the Royal Architect, Sir William Chambers.
An exceptionally fine & rare pair of George III Neo Classical Cast Candlesticks made in London in 1781 by Robert Jones, the design attributed to the Royal Architect, Sir William Chambers.
374077
The Candlesticks stand on a circular spreading,stepped, foot which is decorated with an unusual band of foliate motifs, below a beaded band. The base also displays bluebell garlands and paterae. The central baluster shaft is also decorated with bluebell garlands, beading, laurel leaf bands and very unusual palm motifs. The main shaft rises to a tulip shaped socket, also decorated with bluebell garlands and displaying a beaded rim. Both have a detachable nozzle and beaded edge. The inside of the base displays a very crisp set of hallmarks and each nozzle is marked with the maker's mark and sterling mark. The base and nozzle are engraved with a contemporary Crest, this being the Crest of the Reverend William Norris of Wood Norton Hall in Norfolk, who commissioned these pieces. An image of Wood Norton Hall is attached.
This design was first used by the Royal architect, Sir Wiliam Chambers, based on drawings carried out by Chambers' pupil, John Yenn (1750-1821), now in the Victoria & Albert Museum. The design was first used by Chambers in the 1760's after the 4th Duke of Marlborough employed the celebrated architect to undertake extensive alterations to Blenheim Palace, and Marlborough House in London. The Duke also ordered a silver dinner service from Parker & Wakelin in this design attributed to Chambers, as well as the Fitzwilliam Silver Tureens, also shown, and designed by Chambers. Stylistic similarities, as well as the use of heavy swags, can be seen in Chambers' model for a state coach for George III (also in the V & A). Similarly, the bluebell festoons and paterae relate to Chambers' work on the East Gate at Blenheim. Some pieces from the Marlborough Service still survive at Blenheim Palace and other known examples are a Tureen in the Leeds City Art Gallery. An image is attached of Chambers Tureen designs.
Robert Jones was an exceptional maker who specialised in producing salvers and candle related pieces. His work is of the finest quality in terms and production and he was, for some time, in partnership with the great John Schofield.
Height: 12.4 inches, 31cm.
Base Diameter: 5.5 inches, 13.75cm.
Weight: 56oz, the pair.
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, now in the Victoria & Albert Museum. The design was first used by Chambers in the 1760's after the 4th Duke of Marlborough employed the celebrated architect to undertake extensive alterations to Blenheim Palace, and Marlborough House in London. The Duke also ordered a silver dinner service from Parker & Wakelin in this design attributed to Chambers, as well as the Fitzwilliam Silver Tureens, also shown, and designed by Chambers. Stylistic similarities, as well as the use of heavy swags, can be seen in Chambers' model for a state coach for George III (also in the V & A). Similarly, the bluebell festoons and paterae relate to Chambers' work on the East Gate at Blenheim. Some pieces from the Marlborough Service still survive at Blenheim Palace and other known examples are a Tureen in the Leeds City Art Gallery. An image is attached of Chambers Tureen designs.Robert Jones was an exceptional maker who specialised in producing salvers and candle related pieces. His work is of the finest quality in terms and production and he was, for some time, in partnership with the great John Schofield.Height: 12.4 inches, 31cm.Base Diameter: 5.5 inches, 13.75cm.Weight: 56oz, the pair.){kind=link}