Lot 419
AN IMPORTANT QUEEN ANNE PUNCH BOWL
COLIN MCKENZIE, EDINBURGH 1707
Scottish Silver & Applied Arts | 568
Auction: 14 August 2019 at 11:00 BST
Description
Assay Master Edward Penman, the exceptionally large hemispherical punch bowl of plain form, reeded rim and short flared foot, the underside prick engraved S * E / F within scroll cartouche, additionally engraved with original scratch weight 66oz 19dwt
Dimensions
34.5cm diameter of rim, 22cm diameter of foot, 65.9oz
Footnote
Note: This remarkable new discovery is arguably amongst the finest work by the highly regarded 'Edinburgh Golden Age' maker Colin McKenzie and is also likely to be one of the largest early 18th century pieces of Scottish silver to survive. While punch bowls would have been commonplace in Scotland at the time, only the very highest levels of society would have been able to afford a silver example, most making do with ceramic.
There are currently only ten pre-1710 punch bowls, or Montieths recorded, with at least five in museums / institutional collections. Indeed, it is not until the very late 18th century that punch bowls of any form can be considered anything other than rare in Scotland.
Colin McKenzie is amongst the most important early 18th century Edinburgh (and Scottish) makers. His hand is linked to many important examples of silver and what must be considered some of the finest and most fashionable items of their day. From tankards and tazze to candlesticks and, as under discussion, Montieths and punch bowls, not to mention the only surviving toilet service hallmarked in 1703.
The two earliest Montieths in Scotland are by his hand, one in a Private Collection (Mount Stuart) and the other the Kinloch Monteith (City of Edinburgh Museums), both dated 1698. Each of these weighs in excess of 70oz, making them not only among the finest but also the largest extant.
McKenzie was trained in the workshop of James Penman and therefore completed his apprenticeship in one of the most successful workshops of the late 17th century. He was trained alongside a remarkable group of silversmiths whose work would define the early part of the next century and whose legacy would last well beyond their working lives. When Colin McKenzie was completing his apprenticeship he would have trained and worked with Thomas Ker, Henry Bethune and Edward Penman, all makers whose work must be considered as fine a quality as their master and McKenzie.
After gaining his freedom in 1695 McKenzie's career flourished, during which time he took on ten apprentices including two of his sons, and he is recorded working up until at least 1720. For a maker of such renown it is interesting to note that although an active member of The Incorporation of Goldsmiths of The City of Edinburgh he never served as Deacon.
A bold example of McKenzie's work, this piece typifies his quality in manufacture, his use of large and bold proportions and also the plain almost austere form of the period.