CIRCA 1660

This charger belongs to an interesting group with a distinctive iconography, almost all of which are attributed to London. Both Frank Britton, English Delftware in the Bristol Collection (London, 1982), pp. 49-50 and John C. Austin, British Delft at Williamsburg (Williamsburg, 1994), pp. 128-9 discuss the derivation of the design from a painting by John Overbeck subsequently engraved by Crispin van der Passe. An early charger from this group, made at Southwark in circa 1635 and which is at Williamsburg is illustrated (Austin, no. 155)(there is a similar, dated example in the V & A; see Louis L. Lipski and Michael Archer, Dated English Delftware, London, 1984, col. pl. II; see also other examples from the group, dated 1640, 1650, and 1663, nos. 13, 22 and 44). Austin also illustrates a later example (no. 156) which he dates to 1675. The earlier example is (understandably) more closely related to the original engraving, with the painter making a more concerted attempt to follow the subtleties of the engraving, for example in the modelling of the musculature of the figures; by the later date the painting has become looser and more stylised, although the posture of the figures and the characterisation and positioning of the serpent show the continued relationship to the original source and which, given the long period of production, is probably indicative of the use of pouncing. The current lot shows some elements of both earlier and later characteristics, therefore indicating a mid-way dating. Another feature which may reinforce a circa 1660 dating is that the painter has given Adam curly dark hair and features somewhat similar to those of Charles II; perhaps the painter was alluding to the proclivities of 'The Merry Monarch'.