A Zoomorphic Collection of Claret Jugs

Koopman Rare Art Zoomorphic Collection

Koopman Rare Art

Dear Friends and Colleagues,

Rarely does one get a chance to see a collection as interesting as this; animal claret jugs have been a fascination to collectors all over the world since they were made in the 19th century.

We are proud to be able to offer this collection on behalf of a private client. Some of these models you may recognise, others are extremely rare, but all are fine Pleasequality.feelfree to get in touch if there are any you like.

Lewis, Timo and the Team at Koopman Rare Art

A Zoomorphic Collection of Claret Jugs

Perhaps due to the deep-rooted desire of Western culture to tame all that was foreign, atypical and unknown, the fascination with the exotic exploded in the Victorian era. Wild tigers were displayed caged in zoos, children could pose at the museum with ferocious taxidermied bears, and African elephants were mounted in parades through the streets with travelling menageries. In this Victorian landscape of eccentric excesses, animals functioned as human properties, the existence of which reflected the status and the capricious fantasies of their human

Collectors’owners.interest

in exotic animals exploded as they became more accessible to the general public. Sir Stamford Raffles established the London Zoo in 1826. However, he died the fol lowing year of a stroke. On his death, the third Marquis of Lansdowne took charge of the project and organised the construction of the first structures to house the animals. In 1829 King George IV issued a Royal Decree-Law in favour of the Zoological Society, and in 1847 the zoo officially opened to the public. The zoo opened the first Reptile House in 1849 and Aquarium in 1853.

The appearance of live exotic animals combined with the publication of Illustrated Books such as the Monkeyana - a collection of 24 etched plates of anthropomorphic monkeys published in 1827 by Thomas Landseer - or Tenniel’s illustrations of Alice in Wonderland (1865) indeed moved the artists to incorporate exotic animals in their models.

The silversmiths’ naturalistic approach consisted of reproducing nature as faithfully as possible: the artist aims to represent objective reality, avoiding any stylisation or abstraction. This approach is evident in creating the zoomorphic claret jugs, in which silversmiths not only portrayed animals in detail but approached their reproduction scientifically.

William Leuchars, A Victorian silver mounted claret jug shaped as a parrot, London, 1881

Height: 31 cm, 12 in

The body of the claret jug is made of clear glass which comprises the body of the parrot, with the addition of a handle on the back of the animal. The jug rests on two silver legs shaped as the feet of the parrot. The silver head opens on the beak to reveal the gilded spout. The animal also features glass eyes. Engraved on inside of beak “Leuchars, London & Paris”.

William Leuchars was the son of James Leuchars, the founder of the original company that passed to his widow Lucy Leuchars upon his death; the firm then being known as Lucy Leuchars & Son, 1841. After Lucy’s death in 1847, sole ownership of the business was transferred to William.

Large exotic birds are generally not the animals we imagine inhabiting a 19th century home. Parrots were quite popular as pets as they were non-threatening, feminine, intelligent, graceful and capable of singing delightfully. The birds not only decorated the living room with their colorful plumage, but powerfully reflected the status and wealth of most women in educated society.

Best known for producing the finest quality dressing cases, the firm exhibited and won prize medals at the Great Exhibition 1851, the International Exhibition 1862, and the International Exposition 1867 in Paris. In 1870, William Leuchars and his son, also called William, opened a further shop in Paris under the name Leuchars & Son.

William Jnr took control over the business on his fathers’ death in 1871 and went on to win a gold medal at the International Exposition 1878, Paris, for the firms dressing cases.

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William Leuchars, A Victorian cockatoo claret jug, London, 1881

Height: 27 cm, 10,5 in

The body of the claret jug is made of glass which comprises the body of the parrot, with the addition of a handle on the back of the animal. The glass is beautifully carved to resemble the tick and vivid plumage of the bird. The jug rests on two silver legs shaped as the feet of the parrot. The silver head opens on the beak to reveal the gilded spout. The animal also features glass eyes. Engraved on inside of beak “Leuchars, London & Paris”.

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Alexander Crichton, A silver-mounted glass claret jug shaped as a duck, London 1881

Height: 34.2 cm, 13 ½ in

The jug is realistically modelled as a duck, and rests on a silver base which features the scientificallty rendered webbed feet of the bird and a feathery tail that balance the weight of the body. The main body of the jug is made of clear glass and features a handle on the back of the bird. The duck’s silver head is fully detachable to allow the liquid to be poured. the The jug is engraved under the beak with initials. Marked on each mount, further engraved underneath with design registration mark.

Alexander Crichton’s trademark was registered at Goldsmiths Hall in November 1872. In the same year, he entered into a business partnership with Charles John Curry, trading as the firm of Crichton &

However,Curry. the partnership was dissolved in the October 1884 with Crichton’s bankruptcy in December 1886 due to a severe financial recession.

Despite his sudden financial decline, Alexander Crichton was an exceptionally talented and prolific designer: it is es timated that, between 1881 and 1882, Alexander Crichton created more than thirty-four silver and burgundy glass jugs, many of which were also registered in the Patent Office.

Alexander Crichton, A Victorian silver mounted clear glass claret jug shaped as a duck, London 1882

Height: 17 cm, 7 in

The body of the jug is made of clear glass and features a c scroll handle on the back of the animal. The tail and the head of the duck are fully made of silver, realistically modelled and carved to resemble the fea tures of the bird. The beak of the duck opens to reveal the gilded spout. Hallmarked in all its Crichtonparts.and

Curry registered the claret jug design for a duck, which became one of the most famous, on the 1st of October 1881. However, the design registered for the patent differs partially from the objects that were later made. The original body was supposed to be more elongated and flattened, and the animal, between the un derbeak and the neck, would have had sup port which, however, is not present in the final object, improving its design.

duck is of notable interest. Although it is difficult to identify the origins of such a widespread fashion for this bird, ducks were part of the daily life of London’s wealthy families. The noblewomen entertained themselves during their afternoon walks, feeding the ducks in the ponds of the London parks, while on the table, the duck had become an increasingly refined dish with the advent of new recipes.

Crichton’s work can be inserted into the tradition of creating new silver animal toys begun - according to the historians - by the firm Rundell, Bridge & Rundell in 1825 with the production of a monkey inkwell. These silver toys definitely developed in the Victorian era.

The fascination Victorian collectors demontrated for decorative or commonly used objects and brooches modelled like a

Crichton may have been inspired by the bestiary work of William Burges, who designed a large silver and glass jug in 1866, now on display at the Victoria and Albert Museum. Similarly, he may have seen George Fox’s pair of 1865 silver bird jugs now housed in the V&A museum.

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Alexander Crichton, A silver mounted clear glass seal claret jug, London, 1881

Height: 15cm, 5.9in

Naturalistically modelled in the form of a seal, the jug presents a silver head with glass eyes, which opens to reveal the spout. The body is made of clear glass and is mounted with a silver scroll handle, inward facing flippers and tail which comprise the base of the Theobject.jug

is also engraved with original registration kite-mark at the bottom. The model for this female seal claret jug was registered by Alexander Crichton on the 22nd of September 1881.

Crichton’s imaginative and whimsical style is seen in some of the best English silver of the period and can be connected to the success of Sir John Tenniel’s drawings for Alice in Wonderland and Alice Through the Looking Glass. Tenniel successfully translated visually some of the most emblematic characters that Crichton, with enormous skill, was able to reproduce in a tangible way.

Henry William Curry, A seal claret jugs, London, 1883

Height: 16 cm, 6,5 in

The jug is realistically modelled as a walrus, with the body entirely made of yellow glass and resting on the four glass-made inward-facing fins of the mammal. A C shaped handle, also made of yello glass, is applied on the back of the animal. The silver head and mouth, with applied tusks, opens to reveal the spout of the jug and the head is also decorated with glass eyes.

Alexander Crichton and Henry William Curry registered together the design patent n 370401 for a male walrus claret jug, on the 22 September 1881. This model, which became extremely successful because of ‘Through the Looking-Glass, and What Alice Found There’, differes from the design registered in that it losses the silver framing on the Thebody.clear

glass originally planned for the body of the jug is replaced by yellow one, as coloured glass was highly fashionable during Victorian times.

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Richard Hodd & Sons, A George V novelty monkey claret jug, London, 1914

Height: 28 cm, 11 in

The body of the jug is made of lightly carved glass to form the body of the monkey which features a C scroll handle on the back of the animal. The silver head is realistically modelled and the mouth opens to reveal the spout. The monkey also features glass eyes. The glass base of the jug is balanced out by the addition of the two realistically modelled feet. The lid is engraved with a French phrase which translates with ‘In vino veritas’ or ‘With wine, one tells the

Whattruth’. catches the eyes of the observer first is the collar, worn by animals and the chain that is attached to it, anchoring it to the jug. This detail well represents the condition of the monkeys in the Victorian era.

you have at your disposal a fertile source of endless antics.’

The leading importers of monkeys in Great Britain were Cross, Carpenter and Johnson of Liverpool or Jamrach and Abrahams of London. The monkeys were brought to Britain by sailors, traders, and traditional cargoes from South America, India and Southeast Asia.

An exotic pet monkey was highly desirable to the Victorians, and Arthur Patterson (London, 1888) sums up their appeal: “A more comical and entertaining pet cannot be kept, unless under proper control, and

Richard Hodd and son, A silver mounted clear glass monkey claret jug, London, 1893

Height: 27 cm, 10,5 in

The body of the jug is made of partially carved glass to form the body of the monkey, with a C scroll handle placed on the back of the animal. The head in silver is realistically modelled, and the mouth opens to reveal the spout. The monkey also features glass eyes. The glass base of the jug is balanced out by the addition of the two realistically modelled feet of the monkey.

“Properly trained and looked after, there is no pet which can be so interesting or amusing as a monkey.” Hardwicke’s Science Gossip, Reading1889.the

accounts relating to the importation of animals that arrived at the London Zoo in the 12 years between 1883 and 1895, one comes across the surprising number of over 1,300 primates imported.

soon be filled to the brim and that many of the animals would not have reached their expected lifespan. However, many of these animals were purchased privately and exhibited as pets within Victorian homes.

With primate arrivals exceeding a hundred per year, a demographer is unnecessary to point out that available housing would

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Height: 20 cm, 8 in

The claret jugs’ bodies are made of clear glass and shaped like snakes. The spouts are modelled as the head of the snakes and mounted in silver and silver gilt, comprising red and black eyes for the animals. The silver head is further marked with a registration mark.

Although in colonial times, lions and tigers were traditionally the “kings of the jungle”, interest in the snake - arguably a more lethal enemy than the majestic lion - became attractive thanks to the publication of late Victorian children’s magazines such as The Boys of England and Sons of Britannia.

columns - they were sometimes very general when identifying the species. This factor partly contributed to the mystery surrounding these creatures whose Nature the general public knew little or nothing However,about. in the Victorian era, much scientific research was conducted on these fascinating creatures, and many scientific articles were published about snakes in journals such as the fledgling Nature (founded in 1869 and still going strong) or the Journal of the Royal Asiatic Society (founded in 1834 and equally thriving).

In popular literary works, the snake was the absolute king of the jungle. However, late Victorian folk fiction writers cared little about identifying the actual snake species they wrote about or represented. Even when children’s magazines published true accounts of snake encounters - as they printed exciting real stories in their

A blow to the ignorance surrounding these animals was certainly given by the opening of the Reptile House in 1849 at the London Zoo, which introduced snakes to the general public in a more informed and scientific manner.

Cornelius Desormeaux Saunders & James Francis Hollings (Frank) Shepherd, A pair of silver and silver-gilt mounted glass claret jugs shaped as snakes, London, 1895-1902

George Brace, A silver-mounted glass scent bottle shaped as a cockatiel, London, 1882

Height: 10cm, 4 in

The body of the scent bottle is made of carved glass to resemble the feathers of the parrot and shaped as the body of the bird. The tail and feet aare made of silver, as is the lid of the bottle which is shaped as the head of a cockatiel. Inside, traces of the perfume the bottle used to contain are still visible.

Perfume bottles, for wealthy Victorian women were highly desiderable and Afterfashionable.theausterity of Napoleon’s time and the return to classicism, Victorian women began again, albeit very slowly, to enter the world of cosmetics.

The origins of this type of object can be traced back to the middle of the 17th century, when these glass bottles replaced the historic pomander. Some of these objects were part of a much larger toilet set, often made of glass and set in a silver cage, while others were made to be single and transportable objects.

This charming and very minute object lent itself well, in the Victorian era, to the adoption of zoomorphic models, which made it much more than an accessory to keep hidden in one’s bathroom, but rather a collector’s item to proudly exhibit.

Slowly,. over the decades, the perfume lost its rustic character and the sweet mixtures, albeit more delicate than in the past, returned to the ladies’ favourites.

Height: 36 cm, 14 in

The C shaped body of the cockerel is made of partially carved clear glass. The voluminous feather tail are made of silver with a scroll shaped feather balancing the base. The jug sits on two silver legs realistically modelled like the feet of the animal. The neck and head of the rooster made of silver, the beak opening to reveal the spout. The head also features glass eyes.

Although the cockerel does not represent an exotic type of animal foreign to the English fauna, this bird, with its high crest, thick plumage and considerable size, was well suited for the Victorian claret jugs.

of time was spent by the breeders to improve the breed, enhancing plumage, conformation and size.

Furthermore, in Britain, poultry farming was a hobby of the aristocracy and the wealthier classes, and owning this animal implied a certain social status. The owners’ goal was not so much to own a slaughterable animal but rather to win prestigious prizes. In this regard, a considerable amount

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Sampson Mordan, A silver mounted glass cockerel claret jug, London, 1882

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William Leuchars, A silver mounted glass carp flask, London, 1883

Height: 11 cm, 4,5 in Length: 24 cm, 9,5 in

The body of the fish is made of carved glass which comprises the flask. The finial fin and the head of the fish are made of silver which is realistically modelled. The mouth of the fish opens to pour the liquid. The fish also features glass eyes. The translucent glass body is engraved with scales marked on head, mouth and tail.

F. Jenner & F. Knewstub, A Victorian decanter, London, 1880

Height: 23 cm, 9 in

The main body of the decanter is made of red wine glass with a long neck and a ring-shaped holder. The lid is shaped as a caricature novelty man and a circus like dog. Part of the man featuring the mark of Louis Dee.

If, on the one hand, the silver frame fits into the context of Victorian caricatures, which, between 1830-40, became almost more famous and requested than the text they used to accompany, on the other hand, the red glass represents the fashion for the rediscovered cranberry (or ruby)-coloured glass.

Although the origins of red glass can be traced back to Roman times and subsequently taken up by the Florentine glassmaker and chemist Antonio Neri and Joseph Knuckel in 1679, the production of coloured glass reached its peak during the Victorian era.

Perhaps because of its semiprecious character and expense, coloured glass objects became ideal pieces of furniture on a crowded Victorian dining table.

A Zoomorphic

Height: 22 cm, 9 in Weight: 1360 g, 47 oz

The jug is realistically modelled as a bear with opening mouth to reveal the gilded spout. The body of the bear is modelled throughout to resemble to fur of the animal. The animal is represented in an unnatural non-threatening pose, reflecting the domestication of these beasts in the Victorian era.

some cases, the bear was let loose, allowing it to chase animals or people.

What represented a novelty for the Victorian people as consequence of the exploratory journeys of the time, was the polar bear that was discovered and imported in captivity into the London Zoo to be admired by a horde of curious visitors.

Although brown bears were native to the continent and the Europeans had encountered this deadly animal for centuries, in Victorian times, these creatures were added to the list of beasts that humans try to tame.

One of the most barbaric practices was perhaps that of bear baiting. In its best-known form, arenas were called bear gardens, consisting of a high circular fenced area, the “pit”, and raised seating for spectators. A pole would be placed on the ground towards the edge of the pit, and the bear would be chained to it, either by the leg or by the neck. Several well-trained hunting dogs were then placed on it, replaced when they got tired or were injured or killed. In

Robert Hennell IV, A silver claret jug in the form of a bear, London, 1875

Height: 16 cm, 6,5 in Weight: 1440 g, 50,7 oz

The first jug is realistically modelled as a walrus, with the body resting on the four inward looking fins of the mammal. A C shaped handle is applied on the back of the body. The mouth, with applied tusks, opens to reveal the spout of the jug and the head is also decorated with glass eyes.

of the ‘Through the Looking-Glass, and What Alice Found There’ book.

The second jug is realistically modelled as a female seal, with the body resting on the four inward looking fins of the mammal.

A C shaped handle is applied on the back of the body. The mouth opens to reveal the spout of the jug and the head is also decorated with glass eyes.

Some of the best-known sources of inspiration for Victorian imagery and the production of claret jugs were the drawings of Sir John Tenniel for Lewis Carroll’s Alice’s Adventures in Wonderland (1865) and Through the Looking Glass and what Alice found there (1872 ).

The Walrus and the Carpenter is the title of a nonsense poem written by Lewis Carroll and published in 1871, and recited in chapter four by Tweedledum and Tweedledee to Alice.

Alexander Crichton and Henry William Curry registered the design Patent n 370401 for a male walrus claret jug, on the 22nd of September 1881. However, although the model is very similar, the patent was for a glass and silver claret jug which became extremely popular if paired with an additional claret jug shaped as the carpenter

Henry William Curry, A pair of claret jugs shaped as a seal and a London,walrus,1883

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Walter and John Barnard, A Victorian silver kangaroo jug, London 1882

Height: 21 cm, 8 in Weight: 600 g, 21,1 oz

The jug is realistically is modelled as a kangaroo, resting on the elongated feet and tail of the animal, the tail rolling backward to create the handle of the jug. The head opens to reveal the spout.

Possibly the oldest manufacturing silversmith in the world, the origin of this business having been established by Anthony Nelme c. 1680. Francis Nelme inherited the business on the death of his father in 1722 and continued until 1739 when Thomas Whipham took over the business. On his death in 1756 his son Thomas Whipham jr took into partnership Charles Wright. Thomas retired in 1775 and the business was continued by Charles

TheWright.business

was amalgamated by Henry Chawner in 1786 and the latter son of Edward Barnard (I) became the foreman of the firm. Chawner was master to the first Edward Barnard (I) so that the connection

of the Barnard family can be traced from 1773. In 1796 took into partnership John Emes that became the owner after the retirement of Chawner, maintaining Edward Barnard (I) as manager. Emes died in 1808 and his widow Rebecca took as partner Edward Barnard (I). Rebecca Emes withdrew in 1829 and Edward Barnard (I) became the proprietor with his son Edward Barnard (II), John Barnard and William Barnard, trading under the style Edward Barnard & Sons.

After the retirement of Edward Barnard (I) the firm was continued by Edward Barnard (II) (1846-1851), John Barnard (I) (18461868), William Barnard (1846), Edward Barnard (III) (1868), Walter Barnard (1868-1903), John Barnard (II) (18681903), Michael Barnard (1896-1903), Stanley Barnard (1896-1903) and Robert Dubcock (1896).

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James Howden & Co, A Scottish Victorian fox claret jug, Edinburgh, 1843

Height: 29.9 cm, 11.75 in Weight: 2,173 g, 69 oz 17 dwt

The jug is realistically modelled as a sitting wild fox resting on a chunk of grass which comprises the base. The right paw of the animal rests on S shaped stick which forms the side handle of the jug. The mouth opens to reveal the spout.

Comparing this claret jug with the other zoomorphic ones included in this catalogue, one feature that catches the eye is how the animal has been placed in a natural context. While most other animals are either wholly detached from context or represented in the way Victorian society - which imposed its dominion over nature - would have seen them, this fox is inserted in its natural habitat. The fox sits peacefully on a bundle of grass, and its paw rests peacefully on a branch.

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A Victorian novelty 19th Century owl cocktail jug, Germany

Height: 29 cm, 11,5 in Weight: 720 g, 25,3 oz

The cocktail jug, or cocktail shaker, is realistically modelled as an owl with closed wings. The body rests on two bird feets with claws - the whole structure balanced by the tail which acts as a thiord leg. The head, set with penetrant yellow galss eyes, opens to reveal the pierced top of the shaker, from which the liquid would be poured.

The cocktail jug, made in Germany during the 19th century, also bears English import hallmarks for London, 1891. The importers mark is that of Samuel Boyce (or Boaz) Landeck.

James Barclay Hennell, A performing elephant with ivory tusks claret jug, London, 1881

Height: 22,5 cm, 9 in Weight: 1020 g, 35.9 oz

The claret jug is realistically modelled as a kneeling elephant. Its hinged head forms the cover, the mouth of the animal opens to reveal the gilt spout. The claret jugs also presents ivory tusks.

that some tricks elephants were forced to perform included “stepping on” handlers without harming them, playing music, balancing, and in 1846 elephant training peaked with an “elephant walking on a double suspended tight rope “.

Observing the unnatural position in which Hennell represented the elephant, it is possible to suppose that the animal portrayed was used in circus performances of the time.

James Barclay Hennell, son of the founder of the Hennell firm Robert Hennel II, is mostly famous for his novelty items that he produced in the third quarter of the Nineteenth Century.

The elephant was a trendy animal in Victorian circuses, the most famous one being “Jumbo”, an elephant from the British zoo, which was a male African elephant born in Sudan. Jumbo was exported to the Jardin des Plantes, a Paris zoo, and then moved in 1865 to the London Zoo in England. Despite public outcry, Jumbo was sold to Barnum, who took it to the United States for an exhibition in March 1882.

It is known from accounts at the time

A Zoomorphic Collection of Claret Jugs

Designed by Giorgia Zen

Photography by Karen Bengall