A monumental Victorian silver and parcel-gilt double-handled cup and cover
Charles Frederick Hancock, London 1866, designed and modelled by Henry Hugh Armstead (1828-1905)
Tapering urn form, polished gilt highlights to the whole, the vase-shaped flaring neck embossed with symmetrical arabesques, repoussé ovals, diamonds and hearts against a matt and burnished ground, a shaped scroll and foliate upper rim, the pull-off double-knop circular cover topped by a baluster finial, the two handles formed by a pair of cast female Winged Victory, one either side draped in diaphanous garb, a circular laurel wreath in each hand, arms outstretched, both elegantly balanced on the head of a roaring mythical beast, to the main a three dimensional English Civil War diorama with Roundheads and Cavaliers on horseback, arms and flags aloft, and on the reverse an engraved armorial for SIR DAVID BAXTER (1793-1872), First Baronet of Kilmaron, within applied fleur-de-lis and foliage, a gilded double banded girdle to the lower body, repeating arabesques tapering to a shaped octagonal mount, the knop beneath joined to a spreading circular base adorned with cast mythical sea creatures and scrolling leaves, a domed heart-shaped cartouche either side inscribed with initials and set within an openwork shield, the stepped foot with zig-zag motifs and gilded rim, height 65cm, diameter approx 28cm, weight 228oz.
Footnotes:
The design and manufacture of grand presentation silver reached the peak of its popularity in the mid-19th century. At the top end of the silver market, sculptural trophies and testimonials dominated this period; trophies awarded for competitive achievements such as horse racing, and testimonials presented to worthy individuals. 'These silver sculptures, bulky, glittering and proud, celebrated the achievements of the Victorian industrialist, soldier and sportsman and demonstrated the virtuoso skills and techniques of the contemporary silversmith' (Patterson, p.59). The subject matter chosen for these pieces was always on an epic scale, often figural compositions featuring dramatic mythological tales or key historical moments. Heroes from history were frequently staged in mounted combat against man or beast, often within a battle scene or historical diorama. Whatever the scene portrayed, each element was meticulously designed and modelled, with every minuscule detail intricately cast and hand-chased for absolute realism. These trophies were a vehicle to not only showcase silver as a national art form, but also to symbolise and represent Britain's place as a trailblazing manufacturing nation in the industrial age – art and industry combined to spectacular effect.

The most prominent silver manufacturers at the time, such as Hancock's, Garrard's, Elkington and Hunt & Roskell, used the International Exhibitions to great effect, ladening their stands with massive exhibition trophies and testimonials in order to reach a far wider clientele. The World Fairs were great advertising vehicles, akin to the Instagram of the day, allowing a worldwide audience of thousands to view their work – each company trying to outshine the other, hoping to win prestigious commissions. What is fortuitous when researching presentation silver is the fact that the press loved them, and by searching newspaper archives such as the 'Illustrated London News' and the 'Art Journal' amongst many others, it is possible to discover illustrations and potentially the dates of these pieces. However, what needs to be noted is that these exhibition silver pieces frequently stayed in the goldsmith's showroom for years and were moved from one exhibition to another. Sometimes their history can be traced through inscriptions or the arms of later owners, who frequently bought them years after the date of manufacture. As such, exhibition dates and manufacturing dates in terms of hallmarks often do not tally; in other words when you see it illustrated in a paper with the date of publication, it does not automatically mean it was manufactured that year. In addition, when viewing newspapers and periodicals throughout the 19th century and researching silver presentation pieces, it is often confusing to see what appears to be the same trophy appearing as a prize over several years, however what needs to be noted is that the manufacturers often re-used patterns and slightly altered designs, so keen observation is key to establishing provenance via periodicals. Sometimes you are seeing the same piece again, but often you are seeing an old design re-imagined for a new purpose.

The Hancock silver presentation trophy cup and cover on offer is therefore interesting for many of the reasons cited above. The goldsmith Charles Frederick Hancock (British, 1807-1891), the prestigious manufacturing retail silversmith and jeweller of Bruton Street and Bond Street in London, was known for the 'manufacture of plate and jewellery of a superior class, and is extensively patronised by the nobility and gentry, being noted for the taste and quality of its productions. Artists of celebrity are engaged as modellers of groups and designs for ... presentation pieces, racing prizes, &c. Among the modellers may be noted especially H. H. Armstead R.A.; C. B. Birch A. R. A.; Signor Raffaele Monti; Eugene (Lamy) and Marshall Wood' (Gilda Aurifabrorum, p. 97). Hancock had previously been a partner at Hunt & Roskell, but the partnership had been short-lived and he had left to set up on his own. Such was the quality of his work that on 13th August 1849, only eight months after establishing his own business, he was awarded the Royal Warrant of appointment from Queen Victoria. He was blessed with patronage from gentry, celebrities and the nobility of Europe, topped by being awarded the sole manufacturing rights to the Victoria Cross in 1856.

Hancock was particularly well known for specialising in high quality trophy and presentation plate, for which he won numerous medals at the respected International Exhibitions: the Council Medal 1851; Gold Medal d'Honneur Paris 1855; Juries prize medal 1862; gold and silver medals Paris 1867 and Vienna 1872. Collaborating with famous artists and sculptors of the day was an award-winning business strategy, and working with the talented sculptor Henry Hugh Armstead R.A. was an inspired decision. Between them they produced many iconic trophies and testimonials, and it was Henry Hugh Armstead R.A. who designed the monumental silver cup and cover that is on offer, the profile of which he used on a variety of commissions over the years.

Born in London in 1828, Henry Hugh Armstead (British, 1828-1905) – sculptor, illustrator, engraver and artist - received his earliest artistic education in the workshop of his father John, a heraldic chaser. From the age of thirteen he studied at the Government School of Design based at Somerset House, going on to become the most successful English silver designer to graduate from the government school's system. As a young man Armstead was employed by the silversmiths Hunt & Roskell, while at the same time working in the studio of sculptor Edward Hodges Baily and also studying at the Royal Academy Schools. Until around 1863 he concentrated on metalwork, designing two of the masterpieces of 19th century presentation silver: The Doncaster Cup of 1857 (now in the Victoria and Albert Museum), by Charles Frederick Hancock and the Outram Shield of 1862, by Hunt & Roskell. Many of his drawings, which are technically brilliant, can be found in the Royal Academy archives, and there are numerous sketches which echo the piece on offer in terms of outline and design elements.

In the publication 'Masterpieces of Industrial Art & Sculpture at the International Exhibition, 1862' plate 114, number 3 appears to be an illustration of the current lot (fig.1). However, on closer inspection and despite sharing many elements, this is not the same cup and cover which was exhibited in 1862. Christie's catalogue entry for the current lot, sold in their New York 'Silver' auction on September 17th 1990 as Lot 70, described it as one and the same, but this was an oversight. The version on show in 1862 had the same outline as the one today plus many shared features, however the description of the bas-relief on the main body does not relate to the current lot. As stated in the 1862 catalogue, 'The remaining subjects are by Mr. Hancock, and are worthy of the reputation he has obtained. No. 3 is a vase in oxydized silver, designed and chased by Mr. H. H. Armstead. It was executed for the Earl of Dudley, and is ornamented with figures in relief round the body of the vase, representing the meeting of Henry VIII and Francis I on the field of the Cloth of Gold ... The handles of this vase, both from the manner in which they spring from the body and for their contours, are deserving of great praise' (Waring, plate 114). The shape of the vase, the top finial, the Winged Victories either side, many details echo the current lot, however the current sculptural relief to one side appears to show a later period in history - an English Civil War scene between Roundheads and Cavaliers, reminiscent of a painting by Charles Parrocel (1688-1752) featuring the 'Battle of Naseby'.

By the mid-19th century it becomes apparent that racing trophies and testimonials were being commissioned on a fairly regular basis. They needed to be both large and spectacular enough to be seen amongst vast crowds of spectators, and in addition attract the attention of the press. For example, the horse racing trophies awarded for Goodwood numbered three per race day; The Chesterfield Cup, The Goodwood Cup and The Stewards Cup. Given the amount of horse races across the country and other sporting activities, as well as the testimonials for the great and the good, gives you some idea of the quantity of silver presentation plate which was being produced. A breakdown listing the cups, vases and other race trophies supplied by Hancock's can be found in 'The Sporting Review' edited by 'Craven' circa 1865, vol 53-54, for example 'Colonel Towneley – Ascot Queen's Vase 1858; Doncaster Cup, 1861; Duke of Newcastle – Monmouth Cup 1859' and so on. Hence it must have been more economically viable to repeat and adapt designs wherever possible.

On a quest to find the current lot in question, it became apparent that there were several similar versions manufactured by Hancock, with modifications to Armstead's initial design and modelling. The Goodwood Cup of 1855 (part of the Goodwood Race Plate trio), is remarkably similar to the present lot, 'the vase – executed by Mr. Hancock, of Bruton Street, from the designs and model of Mr H. H. Armstead, a clever young artist connected with the establishment – combines the utmost mastery and piquancy of detail, with exceeding simplicity of dignity and form', as illustrated on p.138 of 'The Illustrated London News', 4th August 1855, and also shown on p.141 of the 'Illustrated Times', 4th August 1855 (fig.2). Another Goodwood Cup with a close resemblance to the current version is The Steward's Cup of 1857, with a bas-relief of 'Queen Elizabeth at Tilbury', shown in 'The Illustrated London News' 1st August 1857, p.128 and interestingly yet another Goodwood Prize Cup – 'The Masque of Comus' dated 1858 (by Armstead for Hunt & Roskell), is also similar and again illustrated in 'The Illustrated London News' dated 31st July 1858, p.107.

The arms inscribed on the current lot were solely used by Sir David BAXTER (Scottish, 1793-1872), 1st Baronet of Kilmaron County Fife. He was the 2nd son of William BAXTER of Balvies, Angus, and married Elizabeth MONTGOMERIE (1801-1882) of Barrahill, Ayrshire. Sir David only gained his baronetcy and coat of arms in 1863 and this presentation piece bears a hallmark for 1866 – a later date than other versions found. Sir David BAXTER was a prosperous linen manufacturer of Dundee and a known educational philanthropist, who supported and was instrumental in the foundation and development of higher educational establishments in Scotland. In 1861, Sir David Baxter and his sisters, Eleanor and Mary Ann Baxter purchased 36 acres of 'pleasure ground.' They commissioned Sir Joseph Paxton, who was considered to be one of the best designers of the Victorian era, to design the park. In 1863 David Baxter received a knighthood and the same year Baxter Park was officially opened and handed over to the people of Dundee. It is not infeasible that this piece was awarded as a testimonial by the townsfolk of Dundee, to thank him for his contribution to the town. However, evidence of such a ceremony has so far not been found and therefore this is purely conjecture. Sir David BAXTER had no children, and the baronetage became extinct on his death in 1872.

As for Henry Hugh Armstead, he felt he did not receive the recognition he deserved for his silverwork and from 1863 onwards increasingly turned towards his sculptural ambitions. The Gothic Revival architect George Gilbert Scott recognised his talent, and Armstead was employed to create sculptural decorations and relief panels for various prestigious buildings, including the Palace of Westminster and the Albert Memorial. Armstead, who also produced numerous book and magazine illustrations, was elected as a Royal Academician in 1879. He took an active role in the work of the Academy, placing sculpture in many Royal Academy exhibitions and teaching within the Academy for many years. He died at his house in London, in 1905.

Hancocks London is still in existence as a prestigious goldsmith's and jewellers, now residing in Burlington Arcade, London.

Provenance
Christies, New York, Silver Auction, September 17th, 1990, Lot 70, estimate $18,000-$25,000

Literature
William Chaffers, 'Gilda Aurifabrorum a history of English goldsmiths and plateworkers', p.97

John Culme, 'Nineteenth-Century Silver', (London: Hamlyn Publishing Group Ltd, 1977)

'Illustrated London News', Royal Yacht Squadron Prize Vase, p.173

'Illustrated London News' August 4, 1855, The Goodwood Cup - most similar version, p.138

'Illustrated London News', August 1, 1857, The Goodwood Cup, p.128

'Illustrated London News', July 31, 1858, The Goodwood Prize Cup, p.107

'Illustrated Times', August 4, 1855, The Goodwood Cup, p.141

'International Exhibition of 1862 - Works in Precious Medals and their Imitations, and Jewellery', the Juries prizes, Class XXXIII

'London Gazette', January 9th, 1863, p.119 David Baxter announced Baronet

Philippa Glanville, 'Silver in England', (London: Unwin Hyman Ltd, 1987), pp.130-255

Angus Patterson, 'A National Art and a National Manufacture: Grand Presentation Silver of the Mid-Nineteenth Century', The Journal of The Decorative Arts Society 1850 to the Present, No 25, 2001, pp.59-73

'Royal Academy - Henry Hugh Armstead', RA Collection: Art website

Jack Searle, 'The Legacy of Linen and Jute', website, pp.11-15

'Sporting Review', ed by 'Craven, vol.53-54, list of Hancock trophies

J B Waring, 'Masterpieces of Industrial Art & Sculpture at the International Exhibition, 1862' (London: Day & Son, 1863), plate 114, number 3
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