Hawkesley Testimonial
Centrepiece
1880-1881 (made)
1880-1881 (made)
Artist/Maker | |
Place of origin |
In 1881 Thomas Swaffield Brown (1845-1914) was living in Peckham and described himself as a sculptor, artist and general designer. Ten years later he had moved to Sheffield and though continuing to call himself an artist, he also described himself as a designer for metalwork. He continued with this type of work for the rest of his life and in 1911 had dropped the 'artist' completely. With an increasing emphasis on practical design it is unsurprising that he was involved with the Art Workers Guild, of which he is said to have been master.
Object details
Categories | |
Object type | |
Title | Hawkesley Testimonial |
Materials and techniques | Silver gilt, cast and applied ornament, applied medallions |
Brief description | Centrepiece for the Hawkesley Testimonial, silver-gilt, London hallmarks for 1880-81, mark of Hunt & Roskell, designed by Thomas Swaffield Brown |
Physical description | On the centrepiece there are waterlilies, kingfishers, swans and bullrushes. On the salver are water loving plants, water crowsfoot, brook lime, forget-me-not and bulrushes as well as cast frogs. In addition to reeding, waterlilies and swans, the dessert stands are decorated with applied medallions, one of which is engraved with Thomas Hawkesley's crest. Reliefs on either side of the centrepiece show the Nottingham Waterworks, Hawkseley's first major engineering scheme, and the salver has six engraved views of his other work. The figure at the top of the centrepiece represents Hygeia, Goddess of Health. |
Marks and inscriptions |
|
Credit line | Given by Mrs T.E. Hawkesley |
Historical context | The Hawksley Testimonial was shown at the International Health Exhibition in 1884. Its design was attributed to Thomas Swaffield Brown who was working for Hunt & Roskell from the mid 1850s. |
Summary | In 1881 Thomas Swaffield Brown (1845-1914) was living in Peckham and described himself as a sculptor, artist and general designer. Ten years later he had moved to Sheffield and though continuing to call himself an artist, he also described himself as a designer for metalwork. He continued with this type of work for the rest of his life and in 1911 had dropped the 'artist' completely. With an increasing emphasis on practical design it is unsurprising that he was involved with the Art Workers Guild, of which he is said to have been master. |
Bibliographic reference | "The Ismay Service - A parcel-gilt service in the National Museums and Galleries on Merseyside", Allison Pollard, Apollo January 1996 |
Collection | |
Accession number | M.4F-1974 |
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Record created | March 3, 2004 |
Record URL |
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