Silver gilt candelabrum formed by the figure of Neptune astride a hippocamp on a rocky base holding the candelabrum branches in the form of a four winged hydra springing forth from a shell. Edward Farrell, England, 1818-1819.

Silver gilt four branched candelabrum formed by the figure of Neptune astride a hippocamp on a rocky base holding the candelabrum branches in the form of a four winged hydra springing forth from a shell.

Given by Corinne Whiteley in memory of her late husband Alfred Whiteley

"Given by Corinne Whiteley in memory of her late husband Alfred Whiteley
This magnificent candelabrum has been modelled with a figure of Neptune (Roman god of the sea) part kneeling on a sea horse or hippocamp, on a rocky base cast and chased with shells, seaweed and sea creatures. Neptune has a trident in his left hand and supports with his right a shell from which a hydra ( mythical many headed snake ) springs to form the branches to hold candles. Although marine forms became a feature of English Royal plate, drawing for inspiration on silver ordered from the silversmiths Nicholas Sprimont and Paul Crespin for Frederick, Prince of Wales in the 1740s, the design must have seemed very innovative at a time when restrained classicism was more commonly in vogue. For comparison look at the examples of early 19th century design in the ""Grand Display"" case on the wall nearby. The candelabrum was part of a massive table garniture ordered by the Duke of York. Several other pieces of the service have survived and the cistern, which shares this case, was a later addition to enhance the impact of the dining plate. In the sale catalogue of the Duke of York's silver in 1827 the manufacture of the candelabrum is attributed to the antiquarian and silver retailer, Kensington Lewis. He purchased it from the sale for £ 180 13s 4d. and his trade card proudly proclaimed "" Silversmith and Jeweller to his R. H. the Duke of York "". The royal patronage enjoyed by Kensington Lewis has been well documented but the Duke of York did not buy exclusively from Lewis and it is arguable that not all the items of his grand dining silver came through the dealer. Several surviving candelabra have the mark of Paul Storr, a partner in the workshop of the Royal Goldsmiths, Rundell, Bridge and Rundell, who were one of the major creditors left unpaid after the Duke's death. This candelabrum is marked for Edward Farrell, a silversmith who worked in association with Kensington Lewis for many years. It has been suggested that Farrell and Lewis may have collaborated from about 1816 until the mid 1830s. The Duke of York was certainly Lewis' most important patron and his business suffered after the Duke's death. The candelabrum could have been made by Farrell and sold to the Duke of York by Lewis. But was such a sophisticated design within the scope of a silversmith such as Farrell, whose silver marked after the Duke's death shows no sign of the ambition of this piece ? Did Kensington Lewis, through his interest in antiquarian silver provide the stylistic input or was there an as yet unidentified modeller who provided the designs for the Duke of York's most inventive silver ?"

This magnificent candelabrum has been modelled with a figure of Neptune (Roman god of the sea) part kneeling on a sea horse or hippocamp, on a rocky base cast and chased with shells, seaweed and sea creatures. Neptune has a trident in his left hand and supports with his right a shell from which a hydra (mythical many headed snake) springs to form the branches to hold candles.

The candelabrum was part of a massive table garniture ordered by the Duke of York. In the catalogue of the sale of the Duke of York’s silver in 1827 the candelabrum is attributed to the antiquarian and silver retailer Kensington Lewis, whose trade card proudly describes him as ‘Silversmith and Jeweller to his R. H. the Duke of York'. Lewis purchased the candelabrum back at the sale for £180 13s 4d. The Duke of York did not buy exclusively from Lewis; other candelabra made for the Duke have the mark of Paul Storr, a partner in the workshop of the Royal Goldsmiths, Rundell, Bridge and Rundell, who were one of the major creditors left unpaid after the Duke’s death. This candelabrum is marked for Edward Farrell, a silversmith who worked in association with Kensington Lewis between about 1816 until the mid-1830s. The Duke of York was Lewis’ most important patron and his business suffered after the Duke’s death. The candelabrum could have been made by Farrell and sold to the Duke of York by Lewis, but the contribution of the silversmith and retailer in the design is uncertain. It is curious that the silver that Farrell made after the Duke’s death shows no sign of the ambition of this piece. Did Kensington Lewis, through his interest in antiquarian silver provide the stylistic input, or was there an as yet unidentified modeller who provided the designs for the Duke of York’s most inventive silver?

M.22:1 to 7-1999