Bequeathed by Mrs C.M. Spear

Mrs G.M. Spear Bequest
Also see PDP E70-124 -1964 VOLUME OF DESIGNS For Gold and Silver Plate for the Royal Goldsmiths Rundell, Bridge and Rundell
Label: The tree caryatid figures hold thyrsi, the wand of Dionysus and his votaries. The basket resting on their heads is adapted from Thomas Hope, Household Furniture and Decoration, 1807, pl.52. Two silver-gilt versions of this design, also marked for 1810-11, formed part of the first Duke of Wellington's Ambassador Service and are to be seen at Apsley House. Made by Paul Storr, they are inscribed with the name of the Royal Goldsmiths, Rundell, Bridge and Rundell, of which he was then a director.

Stands to elevate foods were particularly popular in the early 19th century. Lavish spending on table silver at the time led to more elaborate layouts for each course, including dessert. Stands were used in the second course to display sweet jellies and in the dessert course supported pyramids of fresh and preserved fruit. From about 1810, this design of dessert stand was one of the most popular models sold by the Royal Goldsmiths, Rundell, Bridge and Rundell. It is typically eclectic in style, drawing on classical elements but creating an object that would appeal to 19th century taste. Sources such as Thomas Hope's Household Furniture and Decoration of 1807 may have provided the inspiration for the basket and the interpretation for the caryatid figures, ultimately derived from the Erechtheum on the Athenian acropolis, may owe more to contemporary models in Percier and Fontaine's Recueil de décorations intérieures of 1801. Two silver-gilt versions of this dessert stand can be seen at Apsley House. They were purchased by the first Duke of Wellington as part of an Ambassadorial service and are of the same date and by the same maker as the silver example.

The tree caryatid figures hold thyrsi, the wand of Dionysus and his votaries. Two silver-gilt versions of this design, also marked for 1810-11, formed part of the first Duke of Wellington's Ambassador Service and are to be seen at Apsley House. Made by Paul Storr, they are inscribed with the name of the Royal Goldsmiths, Rundell, Bridge and Rundell, of which he was then a director.

Stands to elevate foods were particularly popular in the early 19th century. Lavish spending on table silver at the time led to more elaborate layouts for each course, including dessert. Stands were used in the second course to display sweet jellies and in the dessert course supported pyramids of fresh and preserved fruit. From about 1810, this design of dessert stand was one of the most popular models sold by the Royal Goldsmiths, Rundell, Bridge and Rundell. It is typically eclectic in style, drawing on classical elements but creating an object that would appeal to 19th-century taste. Sources such as Thomas Hope's Household Furniture and Decoration of 1807 may have provided the inspiration for the basket and the interpretation for the caryatid figures, ultimately derived from the Erechtheum on the Athenian acropolis, may owe more to contemporary models in Percier and Fontaine's Recueil de décorations intérieures of 1801. Two silver-gilt versions of this dessert stand can be seen at Apsley House. They were purchased by the first Duke of Wellington as part of an Ambassadorial service and are of the same date and by the same maker as the silver example.

M.40 to B-1970