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An Extremely Rare Worcester Claret-Ground Dessert Dish from 'The Hope-Edwardes Service', Circa 1770
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Description
An Extremely Rare Worcester Claret-Ground Dessert Dish from 'The Hope-Edwardes Service', Circa 1770
of lozenge-shape, painted, in the London atelier of James Giles, with a cluster of fruit and flowers at the center, including a cut apple, roses, a lemon and a gooseberry, within a claret border decorated with flowers in ciselé gilding.
Width 10 3/8 in.
26.4 cm
Provenance
Sir Henry Hope Edwardes (1829-1900), 10th Bt, Wootton Hall, Ashbourne, Derbyshire;
Christie's London, April 24–26, 1901, lot 389 (part);
Acquired by Lichfield along with thirty-five other pieces for £1018 10s (according to annotated catalogue cutting affixed to piece);
Eric Sanders Collection, England;
Sotheby's London, November 2, 1965, lot 106, bought by Amor for £620;
Bonhams London, September 13, 2006, lot 142;
Robyn Robb, London, bearing label
Literature
Robyn Robb, Fine 18th Century English Porcelain, exh. cat., London, 2007, p. 4, cat. no. 1.
Exhibited
London, Albert Amor, James Giles, China and Enamel Painter 1718-1780 A Loan Exhibition of Porcelain and Glass Decorated in the Atelier of James Giles, 1977, no. 30, bearing label
Catalogue note
James Giles (1718-80) is widely regarded as one of the finest china and glass painters of his day. Although no signed pieces are known, the work of his studio has been appreciated and categorized by its distinctive fresh palette and bold and confident execution.
Giles completed his apprenticeship in 1740 and in 1756 moved to Kentish town to take over an existing workshop and kiln. He moved to 82 Berwick Street in 1763 and in the same year he placed an advertisement in Thomas Mortimer's The Universal Director announcing that he was painting 'China and Enamel' from premises. He was based there until finally quitting the business in 1776/7. His surviving work is known on plain, cut and coloured glass, opaque white glass, Chinese and Liverpool porcelains but it is for his work on Worcester porcelain for which he is best known, though his relationship with the factory is not clear.
The exceptional Worcester service was reputedly commissioned for Sir Thomas Edwardes, whose descendants took the name Hope Edwardes in 1854. The reverse of the present dish bears a cutting from the 1901 Christie's sale lot description, which comprised: "a pair of oval pierced dessert baskets, four smaller ditto, a pair of oval-shaped dishes, four smaller ditto, and twenty-four plates".
A second dish of this size was in the Sir Edward Ellington Collection, sold, Sotheby's London, November 29, 1960, lot 111, and subsequently sold at Sotheby's, October 22, 1985, lot 196. A dessert plate was in the Parkinson Collection, sold, Sotheby London, March 29, 1966, lot 105. Two further dessert plates are now in the British Museum, London, reg. no. 1921,1215.32.CR.
of lozenge-shape, painted, in the London atelier of James Giles, with a cluster of fruit and flowers at the center, including a cut apple, roses, a lemon and a gooseberry, within a claret border decorated with flowers in ciselé gilding.
Width 10 3/8 in.
26.4 cm
Provenance
Sir Henry Hope Edwardes (1829-1900), 10th Bt, Wootton Hall, Ashbourne, Derbyshire;
Christie's London, April 24–26, 1901, lot 389 (part);
Acquired by Lichfield along with thirty-five other pieces for £1018 10s (according to annotated catalogue cutting affixed to piece);
Eric Sanders Collection, England;
Sotheby's London, November 2, 1965, lot 106, bought by Amor for £620;
Bonhams London, September 13, 2006, lot 142;
Robyn Robb, London, bearing label
Literature
Robyn Robb, Fine 18th Century English Porcelain, exh. cat., London, 2007, p. 4, cat. no. 1.
Exhibited
London, Albert Amor, James Giles, China and Enamel Painter 1718-1780 A Loan Exhibition of Porcelain and Glass Decorated in the Atelier of James Giles, 1977, no. 30, bearing label
Catalogue note
James Giles (1718-80) is widely regarded as one of the finest china and glass painters of his day. Although no signed pieces are known, the work of his studio has been appreciated and categorized by its distinctive fresh palette and bold and confident execution.
Giles completed his apprenticeship in 1740 and in 1756 moved to Kentish town to take over an existing workshop and kiln. He moved to 82 Berwick Street in 1763 and in the same year he placed an advertisement in Thomas Mortimer's The Universal Director announcing that he was painting 'China and Enamel' from premises. He was based there until finally quitting the business in 1776/7. His surviving work is known on plain, cut and coloured glass, opaque white glass, Chinese and Liverpool porcelains but it is for his work on Worcester porcelain for which he is best known, though his relationship with the factory is not clear.
The exceptional Worcester service was reputedly commissioned for Sir Thomas Edwardes, whose descendants took the name Hope Edwardes in 1854. The reverse of the present dish bears a cutting from the 1901 Christie's sale lot description, which comprised: "a pair of oval pierced dessert baskets, four smaller ditto, a pair of oval-shaped dishes, four smaller ditto, and twenty-four plates".
A second dish of this size was in the Sir Edward Ellington Collection, sold, Sotheby's London, November 29, 1960, lot 111, and subsequently sold at Sotheby's, October 22, 1985, lot 196. A dessert plate was in the Parkinson Collection, sold, Sotheby London, March 29, 1966, lot 105. Two further dessert plates are now in the British Museum, London, reg. no. 1921,1215.32.CR.
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An Extremely Rare Worcester Claret-Ground Dessert Dish from 'The Hope-Edwardes Service', Circa 1770
of lozenge-shape, painted, in the London atelier of James Giles, with a cluster of fruit and flowers at the center, including a cut apple, roses, a lemon and a gooseberry, within a claret border decorated with flowers in ciselé gilding.
Width 10 3/8 in.
26.4 cm
Provenance
Sir Henry Hope Edwardes (1829-1900), 10th Bt, Wootton Hall, Ashbourne, Derbyshire;
Christie's London, April 24–26, 1901, lot 389 (part);
Acquired by Lichfield along with thirty-five other pieces for £1018 10s (according to annotated catalogue cutting affixed to piece);
Eric Sanders Collection, England;
Sotheby's London, November 2, 1965, lot 106, bought by Amor for £620;
Bonhams London, September 13, 2006, lot 142;
Robyn Robb, London, bearing label
Literature
Robyn Robb, Fine 18th Century English Porcelain, exh. cat., London, 2007, p. 4, cat. no. 1.
Exhibited
London, Albert Amor, James Giles, China and Enamel Painter 1718-1780 A Loan Exhibition of Porcelain and Glass Decorated in the Atelier of James Giles, 1977, no. 30, bearing label
Catalogue note
James Giles (1718-80) is widely regarded as one of the finest china and glass painters of his day. Although no signed pieces are known, the work of his studio has been appreciated and categorized by its distinctive fresh palette and bold and confident execution.
Giles completed his apprenticeship in 1740 and in 1756 moved to Kentish town to take over an existing workshop and kiln. He moved to 82 Berwick Street in 1763 and in the same year he placed an advertisement in Thomas Mortimer's The Universal Director announcing that he was painting 'China and Enamel' from premises. He was based there until finally quitting the business in 1776/7. His surviving work is known on plain, cut and coloured glass, opaque white glass, Chinese and Liverpool porcelains but it is for his work on Worcester porcelain for which he is best known, though his relationship with the factory is not clear.
The exceptional Worcester service was reputedly commissioned for Sir Thomas Edwardes, whose descendants took the name Hope Edwardes in 1854. The reverse of the present dish bears a cutting from the 1901 Christie's sale lot description, which comprised: "a pair of oval pierced dessert baskets, four smaller ditto, a pair of oval-shaped dishes, four smaller ditto, and twenty-four plates".
A second dish of this size was in the Sir Edward Ellington Collection, sold, Sotheby's London, November 29, 1960, lot 111, and subsequently sold at Sotheby's, October 22, 1985, lot 196. A dessert plate was in the Parkinson Collection, sold, Sotheby London, March 29, 1966, lot 105. Two further dessert plates are now in the British Museum, London, reg. no. 1921,1215.32.CR.
of lozenge-shape, painted, in the London atelier of James Giles, with a cluster of fruit and flowers at the center, including a cut apple, roses, a lemon and a gooseberry, within a claret border decorated with flowers in ciselé gilding.
Width 10 3/8 in.
26.4 cm
Provenance
Sir Henry Hope Edwardes (1829-1900), 10th Bt, Wootton Hall, Ashbourne, Derbyshire;
Christie's London, April 24–26, 1901, lot 389 (part);
Acquired by Lichfield along with thirty-five other pieces for £1018 10s (according to annotated catalogue cutting affixed to piece);
Eric Sanders Collection, England;
Sotheby's London, November 2, 1965, lot 106, bought by Amor for £620;
Bonhams London, September 13, 2006, lot 142;
Robyn Robb, London, bearing label
Literature
Robyn Robb, Fine 18th Century English Porcelain, exh. cat., London, 2007, p. 4, cat. no. 1.
Exhibited
London, Albert Amor, James Giles, China and Enamel Painter 1718-1780 A Loan Exhibition of Porcelain and Glass Decorated in the Atelier of James Giles, 1977, no. 30, bearing label
Catalogue note
James Giles (1718-80) is widely regarded as one of the finest china and glass painters of his day. Although no signed pieces are known, the work of his studio has been appreciated and categorized by its distinctive fresh palette and bold and confident execution.
Giles completed his apprenticeship in 1740 and in 1756 moved to Kentish town to take over an existing workshop and kiln. He moved to 82 Berwick Street in 1763 and in the same year he placed an advertisement in Thomas Mortimer's The Universal Director announcing that he was painting 'China and Enamel' from premises. He was based there until finally quitting the business in 1776/7. His surviving work is known on plain, cut and coloured glass, opaque white glass, Chinese and Liverpool porcelains but it is for his work on Worcester porcelain for which he is best known, though his relationship with the factory is not clear.
The exceptional Worcester service was reputedly commissioned for Sir Thomas Edwardes, whose descendants took the name Hope Edwardes in 1854. The reverse of the present dish bears a cutting from the 1901 Christie's sale lot description, which comprised: "a pair of oval pierced dessert baskets, four smaller ditto, a pair of oval-shaped dishes, four smaller ditto, and twenty-four plates".
A second dish of this size was in the Sir Edward Ellington Collection, sold, Sotheby's London, November 29, 1960, lot 111, and subsequently sold at Sotheby's, October 22, 1985, lot 196. A dessert plate was in the Parkinson Collection, sold, Sotheby London, March 29, 1966, lot 105. Two further dessert plates are now in the British Museum, London, reg. no. 1921,1215.32.CR.
A Taste of Rococo: Porcelain from an American Private Collection
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