Christening Cup
1852-1853 (made)
| Artist/Maker | |
| Place of origin |
The designer of this cup is unknown but Hunt & Roskell (of 13 New Bond St) employed several well-known artists in studio. One was E.H.Baily, a sculptor, who had formerly modelled for the Royal Goldsmiths of the Regency, Rundell, Bridge & Rundell. Paul Storr, who had persuaded him to leave, had also relinquished his direction of one of Rundell’s workshops & gone into partnership with John Mortimer in 1823. Storr’s firm was eventually styled Hunt & Roskell one of the richest & best known silversmithing concerns of the Victorian era. They employed several Frenchmen (including the great artist-craftsman Antoine Vechte) and the presence of these designers in their studio probably explains the structural use of wing forms, which was copied from contemporary French sources.
Object details
| Categories | |
| Object type | |
| Materials and techniques | Silver gilt |
| Brief description | Christening cup, silver-gilt, London 1852-53, mark of Hunt and Roskell. |
| Physical description | Gourd shaped. three nuts screwing base and stem to cup. The cup supported by three kneeling angels, hands clasped, raised & crossed wings following calyx. Below the circular base in which they kneel is a larger one, around which lies a serpent - symbolising longeivity. . |
| Dimensions |
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| Marks and inscriptions |
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| Credit line | Formerly in the collection of Charles and Lavinia Handley-Read. |
| Object history | The designer of this cup is unknown but Hunt & Roskell (of 13 New Bond St) employed several well-known artists in studio. One was E.H.Baily, a sculptor, who had formerly modelled for the Royal Goldsmiths of the Regency, Rundell, Bridge & Rundell. Paul Storr, who had persuaded him to leave, had also relinquished his direction of one of Rundell’s workshops & gone into partnership with John Mortimer in 1823. Storr’s firm was eventually styled Hunt & Roskell one of the richest & best known silversmithing concerns of the Victorian era. They employed several Frenchmen (including the great artist-craftsman Antoine Vechte) and the presence of these designers in their studio probably explains the structural use of wing forms, which was copied from contemporary French sources. |
| Subjects depicted | |
| Summary | The designer of this cup is unknown but Hunt & Roskell (of 13 New Bond St) employed several well-known artists in studio. One was E.H.Baily, a sculptor, who had formerly modelled for the Royal Goldsmiths of the Regency, Rundell, Bridge & Rundell. Paul Storr, who had persuaded him to leave, had also relinquished his direction of one of Rundell’s workshops & gone into partnership with John Mortimer in 1823. Storr’s firm was eventually styled Hunt & Roskell one of the richest & best known silversmithing concerns of the Victorian era. They employed several Frenchmen (including the great artist-craftsman Antoine Vechte) and the presence of these designers in their studio probably explains the structural use of wing forms, which was copied from contemporary French sources. |
| Collection | |
| Accession number | M.47-1972 |
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| Record created | March 3, 2004 |
| Record URL |
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