Martin Mortimer, The English Glass Chandelier (London, 2000), p. 18 pl. 9 where similar pair is illustrated
Metropolitan Museum of Art New York, where there is a similar pair
A highly important pair of George III cut-glass ormolu-mounted wall lights attributed to Parker and Perry, each with a central diamond and slice-cut shaft surmounted by two gilt fountain sprays issuing ormolu-capped icicles, flat-back spangles and drop-hung strings of faceted beads; the shaft finishing in a diamond-cut and ormolu-tipped pinecone and the main chased-ormolu receiver plate supporting two S-shaped candle arms connecting multi-spike drip pans supporting urn-shaped candle nozzles and drop-hung with icicles and pendants, graduated in size; the whole finishing with a second diamond-cut pinecone supported on a round ormolu back plate.
This pair of wall-lights is attributed to the renowned firm of glass-smiths Parker and Perry, to whose work they bear very close resemblance. The ormolu sprays issuing icicles and tear-drop pendants are identical to those on candelabra and wall-lights made by the firm (c.f. Martin Mortimer, The English Glass Chandelier (London, 2000), pp. 18 & 106). Likewise, the diamond-cut and ormolu-mounted pinecone finials are present on candelabra and other wall-lights by the firm and common to many of their works (ibid., pp. 18-9, 97, 101 & 106). The drawing of the candle arms of the present pair with short inner curves and extended outer curves appears to be unique to the firm and strongly indicates their hand.
The drop-hung strings of beads are identical to the vertical chains of drops used by Parker on a pair of chandeliers (ibid., p. 103) which represent one of the first uses of such strings. The manner in which they issue from a pair of ormolu fountain sprays is identical to this pair of wall-lights whose strings are likewise hung from two identical gilt fountain sprays surmounting the central shaft. The Vitruvian scroll pattern of the receiver plate bands of the wall-lights is also identical to that on this pair of chandeliers and other works by Parker, namely a fine eight-light example (ibid., p. 105), the set of six Portuguese candelabra in the Winterthur Museum (ibid., p. 108) and the aforementioned pairs of candelabra and wall-lights (ibid., pp. 18 & 106).
Parker and Perry was the foremost firm of glass-smiths during this period, enjoying the patronage of both King and Court. William Parker, who founded the firm in 1803, was the finest glass-smith of his day, his name appearing in many household accounts of the last quarter of the eighteenth century and his chandeliers surviving in such remote places as China.
Beginning trading on his own at 69 Fleet Street in 1762 after taking over the business of the famous maker Jerom Johnson, Parker made his reputation in 1771 when he supplied the splendid set of three chandeliers and five lustres for the Team Room and Ball Room respectively at the New Assembly Rooms, Bath. Constructed of vase-shape stem-pieces they were a leap forward in design, Parker introducing the first Neoclassical elements into chandelier design, replacing the old-fashioned ball-stem. Never had such fabulous chandeliers been seen and the commission was followed by a second from the Guildhall, Bath in 1778.
From here his career soared. In 1782 he supplied the 5th Duke of Devonshire at Chatsworth House with a magnificent pair of twelve-light chandeliers, candelabra, and girandoles, of which some featured his patented designs, and between 1783 and 1789 chandeliers to a total cost of £4,000 to the Prince of Wales for Carlton House.
Parker completed some of his most important work in 1788 for Arbury Hall, Nuneaton for which he supplied a pair of chandeliers. The Arbury chandeliers represent the evolution of the Neoclassical chandelier to classic form. The model became widely popular and was produced by makers for the next fifteen years. How classic was the design was exemplified by Sir Roger Newdegate’s second order for Arbury in 1804 for a further chandelier of the same model, this time for the Saloon.
Throughout the 1790s William Parker continued to refine his leading Neoclassical designs, introducing ormolu enrichments and strings and curved ormolu leaves which can be seen of the present wall-lights.
This pair of wall-lights reflects therefore the highest refinement of William Parker’s designs and taste. Defined by a central theme of elegantly shaped arms on cylindrical stems, the wall-lights are hung with pendants and decorated with the sparing use of cut-glass and ormolu enrichments. Restrained, well-balanced and of confident free-flowing form, they retain all the grace of classic, eighteenth-century design.
These wall-lights are of the finest quality available and rare as examples of that cool period of taste either side of 1800, soon to vanish in nineteenth century extravagance.