DOI Page / Citation link:
https://doi.org/10.11588/diglit.1398#0092
PLATE 129.
SILVER VASES,
BY MESSRS. HUNT & KOSKELL, LONDON.
IfiOREMOST among our gold and silversmiths, whose works are not to be surpassed by
r
those of any nation, stand the names of Messrs. Hunt & Roskell, who have received in
all instances where they have exhibited, the highest rewards the Juries could decree to them.
In the present Exhibition this firm was precluded from obtaining a medal, on account of Mr.
Hunt having accepted the higher honour of acting as a Juror, to report on the works of his
class contributed by all the world,—a difficult duty, which he discharged in the most conscientious
and able manner.
We have selected for illustration in the accompanying Plate three highly artistic works in
oxydized silver; and in Plate 202 will be found other important examples of unusual merit.
The large vase, over three feet in height, forms a portion of the testimonial, of nine pieces in
all, presented to Charles John Kean, Esq., the celebrated actor, in 1862, by his fellow school-
fellows at Eton, " together with numerous friends and admirers among the public, as a tribute to the
genius of a great actor, and in recognition of his unremitting efforts to improve the tone and
elevate the character of the British stage." The body of the vase is partly gilt, and contains
subjects in low relief of Mr. and Mrs. Charles Kean, in Shakspeare's plays of " Lear," "Macbeth,"
"Hamlet," "Richard II.," "Henry V.," "Winter's Tale," "King John," "Richard III."
"Henry VIII.," "Merchant of Venice," and "Much Ado about Nothing." The neck of the
vase is enriched with medallion portraits of Queens Elizabeth and Victoria; and on the foot
are represented the elfin attendants of Queen Mab, supporting medallions of Mr. and Mrs. C.
Kean. The pedestal is surrounded with views of Eton College from the river, the Eton fete on
the 4th of June, the schoolyard, and the inscription. The entire set was designed and executed
by Mr. H. H. Armstead, the well-known sculptor, to whose good taste, rich fancy, and rare
powers of execution, they bore " confirmation strong."
To the same clever artist are also due the design and execution of the remaining subjects.
The Doncaster cup for 1860, exhibited by permission of its owner, Lord Vivian, and the
Manchester Art-Treasures Exhibition testimonial, the property of Thomas Fairbairn, Esq. The
first of these is illustrative of the ancient story of St. George, as given in Percy's "Reliques
of Ancient Poetry." Some of the principal incidents of the ballads are illustrated in medallions
round the body of the vase. On the other medallions are represented the deliverance of the
maiden and the conquest of the dragon. On the upper portion of the vase is placed the head
of the "weird lady," surrounded by interlacings of serpents and mystical symbols. The handles
are formed by the great winged dragon conquered by St. George, who stands victorious on the
summit of the vase. The foot is enriched with the cross and the lily, as the symbol of Purity.
We need hardly say that this story of St. George is purely mythical, and that the champion of
England was in reality nothing more than a violent partisan of the Arian schism, who bore by
no means an irreproachable character. (See letter-press Plate 90.)
The Manchester Art-Treasures Testimonial is surmounted by a figure of Genius contending
with an eagle, around which are allegorical figures of Painting, Sculpture, and Industrial Art.
On the column are the rose, shamrock, and thistle, and the motto of the Exhibition, from
Keats's " Hyperion,"—" A thing of beauty is a joy for ever." On the vase are the names of the
principal artists whose works adorned the Exhibition, and on the angles infantine figures of
Pame hold medallion portraits of Michael Angelo, Titian, and Cellini.
It is a great pleasure to the writer to have this opportunity of placing on record the
unvarying kindness and encouragement given to him by the committee of the Art-Treasures
Exhibition, Manchester, in the performance of the arduous task which was intrusted to him, of
forming, collecting, and arranging, within six months, the numerous and valuable contributions
which formed the first really national exhibition of works of ornamental art on loan that
Europe had ever seen, and which laid the foundation for the still finer collection that formed
one of the most remarkable features of the South Kensington Museum in 1862. In the
performance of the heavy task assigned to him, the writer was cheered on in his labours,
always difficult and often disagreeable, by the continued approval and favour of the committee,
and amongst whom he would especially mention, as untiringly active and over ready with
assistance and advice, Thomas Ashton, Esq., and the chairman to whom this testimonial
belongs, — Thomas Fairbairn, Esq., subsequently one of her Majesty's Commissioners for the
Exhibition of 1862.
SILVER VASES,
BY MESSRS. HUNT & KOSKELL, LONDON.
IfiOREMOST among our gold and silversmiths, whose works are not to be surpassed by
r
those of any nation, stand the names of Messrs. Hunt & Roskell, who have received in
all instances where they have exhibited, the highest rewards the Juries could decree to them.
In the present Exhibition this firm was precluded from obtaining a medal, on account of Mr.
Hunt having accepted the higher honour of acting as a Juror, to report on the works of his
class contributed by all the world,—a difficult duty, which he discharged in the most conscientious
and able manner.
We have selected for illustration in the accompanying Plate three highly artistic works in
oxydized silver; and in Plate 202 will be found other important examples of unusual merit.
The large vase, over three feet in height, forms a portion of the testimonial, of nine pieces in
all, presented to Charles John Kean, Esq., the celebrated actor, in 1862, by his fellow school-
fellows at Eton, " together with numerous friends and admirers among the public, as a tribute to the
genius of a great actor, and in recognition of his unremitting efforts to improve the tone and
elevate the character of the British stage." The body of the vase is partly gilt, and contains
subjects in low relief of Mr. and Mrs. Charles Kean, in Shakspeare's plays of " Lear," "Macbeth,"
"Hamlet," "Richard II.," "Henry V.," "Winter's Tale," "King John," "Richard III."
"Henry VIII.," "Merchant of Venice," and "Much Ado about Nothing." The neck of the
vase is enriched with medallion portraits of Queens Elizabeth and Victoria; and on the foot
are represented the elfin attendants of Queen Mab, supporting medallions of Mr. and Mrs. C.
Kean. The pedestal is surrounded with views of Eton College from the river, the Eton fete on
the 4th of June, the schoolyard, and the inscription. The entire set was designed and executed
by Mr. H. H. Armstead, the well-known sculptor, to whose good taste, rich fancy, and rare
powers of execution, they bore " confirmation strong."
To the same clever artist are also due the design and execution of the remaining subjects.
The Doncaster cup for 1860, exhibited by permission of its owner, Lord Vivian, and the
Manchester Art-Treasures Exhibition testimonial, the property of Thomas Fairbairn, Esq. The
first of these is illustrative of the ancient story of St. George, as given in Percy's "Reliques
of Ancient Poetry." Some of the principal incidents of the ballads are illustrated in medallions
round the body of the vase. On the other medallions are represented the deliverance of the
maiden and the conquest of the dragon. On the upper portion of the vase is placed the head
of the "weird lady," surrounded by interlacings of serpents and mystical symbols. The handles
are formed by the great winged dragon conquered by St. George, who stands victorious on the
summit of the vase. The foot is enriched with the cross and the lily, as the symbol of Purity.
We need hardly say that this story of St. George is purely mythical, and that the champion of
England was in reality nothing more than a violent partisan of the Arian schism, who bore by
no means an irreproachable character. (See letter-press Plate 90.)
The Manchester Art-Treasures Testimonial is surmounted by a figure of Genius contending
with an eagle, around which are allegorical figures of Painting, Sculpture, and Industrial Art.
On the column are the rose, shamrock, and thistle, and the motto of the Exhibition, from
Keats's " Hyperion,"—" A thing of beauty is a joy for ever." On the vase are the names of the
principal artists whose works adorned the Exhibition, and on the angles infantine figures of
Pame hold medallion portraits of Michael Angelo, Titian, and Cellini.
It is a great pleasure to the writer to have this opportunity of placing on record the
unvarying kindness and encouragement given to him by the committee of the Art-Treasures
Exhibition, Manchester, in the performance of the arduous task which was intrusted to him, of
forming, collecting, and arranging, within six months, the numerous and valuable contributions
which formed the first really national exhibition of works of ornamental art on loan that
Europe had ever seen, and which laid the foundation for the still finer collection that formed
one of the most remarkable features of the South Kensington Museum in 1862. In the
performance of the heavy task assigned to him, the writer was cheered on in his labours,
always difficult and often disagreeable, by the continued approval and favour of the committee,
and amongst whom he would especially mention, as untiringly active and over ready with
assistance and advice, Thomas Ashton, Esq., and the chairman to whom this testimonial
belongs, — Thomas Fairbairn, Esq., subsequently one of her Majesty's Commissioners for the
Exhibition of 1862.