A Regency gilt and patinated bronze and cut glass spirit cask circa 1820

the hob cut barrel applied with the Royal Arms to each end and with a bronze crocodile spout and triton tap mounted on a ribbed glass oblong dish with a rim cast with seashells on four dolphin supports with mermaid handles on a bronze plinth decorated as a sea shore on scallop shell feet with, the through chain ending in an agate block, cracks to glass

With Temple Williams Ltd., Haunch of Venison Yard, London, where acquired by Wilfrid Evill (£120) circa 1956 and thence by descent to Honor Frost.

The quality of the workmanship is very high and it could well be that this is a one off commission. The glass is thickly cut and of very high quality. The barrel is cracked across one end. The stepped glass reserve in which it sits is also cracked. These components would benefit enormously from professional restoration and a thorough clean. The hinged lid and central shaft are loose, the mounts are tarnished and there is very minor rubbing to some raised areas, however this is barely discernable. There is evidence of residual glue to the applied armorials. An exceptional and intriguing object.
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The iconography on this fascinating cut-glass cask perhaps relates to the Horatio Nelson's celebrated victory over Napoleon's fleet at the battle of the Nile on 1^st and 2^nd August 1798. The trident spigot and 'Nile' crocodile formed spout would relate to such a campaign while the nautical symbolism of the dolphins and shells further suggest a possible naval link. This combined with the Royal arms and predilection for rum and brandy in the navy may suggest that this was a special commission for the Admiralty or an important naval figure.

A cabinet in the collection of The Victoria and Albert Museum, London, made in commemoration of this famous victory, the frieze mounted with a brass crocodile, is illustrated by Margaret Jourdain, Regency Furniture, 1795-1820, London, 1948, p. 141, fig. 160.

The interest in the Egyptian taste was further popularized by the publication of Dominique Vivant Denon's Voyage dans le Basse en Haute Egypte, of 1802. Denon (1747-1825) was an artist who accompanied Napoleon to Egypt on his conquest of the Nile in 1798 and his drawings would have undoubtedly been scrutinised the great antiquarian, collector and designer, Thomas Hope who acquired his Duchess Street mansion shortly before Denon's publication and who promoted the Egyptian taste in his publication, Interior Decoration and Household Furniture of 1807.

To be definitive about the authorship of this finely worked piece is a difficult thing. The high quality, fine chasing and beautifully designed mounts must be by one of the very best makers working at the time of its manufacture. There are a number of possibilities.

In 1802 Rundell, Bridge and Rundell the Royal silversmiths undertook an Egyptian inspired commission, an extremely important group of candelabra, in gilt-bronze. These were produced for three different patrons between 1802 and 1806. The Prince of Wales, The Marquess Wellesley of Norrago, 2^nd Earl of Mornington and Charles, 3^rd Duke of Richmond. This incredible group, of which a pair from the four produced for the Prince of Wales remain in the Royal Collection, are also highly iconographic and also feature applied armorials. See The C. Ruxton and Audrey B. Love Collection of Important European Furniture, Christie's New York, 24 October 2004, lots 526, 527, 528. Another possibility could be the firm of Benjamin Vulliamy (1747-1811) and his eldest son, Benjamin Lewis Vulliamy (1780-1854). As well as clock making, Vulliamy & Son were distinguished bronze workers and were responsible for some of the finest bronze mounts and ornaments produced in England in the late 18^th and early 19^th centuries, winning commissions from the Prince Regent and other distinguished patrons of the period. For an example of  their work in bronze, in a maritime theme, see Sotheby's London, July 7 1995, lot 97.

The applied armorials are the The Royal Arms of Great Britain with the Royal arms of Hanover in pretence (used between 1816-1837).