An Important early Victorian Racing Trophy
Silver & Wood
London, 1843
Maker's mark of Reily & Storer
Maximum height: 32cm, base diameter: 32cm, weight: 177oz

modelled as "The Death of The Douglas" two knights on horseback with a foot soldier/archer having just loosed his arrow at Douglas, a dead stag underfoot, naturalistic base, all standing on an ebonised plinth, applied shields; the central shield engraved - "Newcastle Upon Tyne 1844 Most Noble the Marquess of Normanby Right Hon'ble The Earl of Zetland, Sir C M Monck. Bart. Hope Johnstone Esq. Stewards" The second shield engraved - "Won by Alice Hawthorn The Property of Gerard Salvin, of Croxdale, 27th June 1844" The third with the arms of Salvin

In 1844 Alice Hawthorn won all but three of her races - including seven walk-overs - in another crushing schedule - and in those three non-winning races, she ran second once, dead-heated once, and paid forfeit once. She began by running second for the Chester Cup, beaten by Red
Deer in a field of twenty-five. She then won £100 in race in which she beat Philip, who, the next day, won the Cheshire Stakes, and
six others. She then embarked on another succession of wins all over the north and in the south; in a number of cases, there were
no challengers, and she enjoyed walk-overs. Alice Hawthorn was certainly acclaimed as the premier racehorse of the season; as well as the trophies offered here she won many more over her career on the turf. The firm Hunt and Roskell, originally founded by Paul Storr, has always been a name to indicate items of high quality and design. The two trophies by them certainly confirm that statement. They also made other trophies of this sculptural type up until the Royal Hunt.
Cup for Ascot in 1884, sold at Christie's 10th June 2010
In the mid 19th century the fashion changed from traditional horse racing trophies of the vase and cup style to more sculptural and narrative trophies. The principal exponent of this craft was Edmund Cotterill (1795-1858), sculptor and head of Garrard's design department.
Trophies of this type by Cotterill were very well regarded by critics and the public. He was an expert in not only modelling the figures but also the animals and the interaction of the group as a whole. The public, in particular, held the sculptural groups at the Great Exhibition of 1851 as one section not to be missed and Garrard were awarded a prize for a piece by Cotterill

Artist Biography:
Charles Reily: Son of John Reily. No record of apprenticeship or freedom. First mark entered as smallworker, in partnership with his mother Mary Reily, 31 May 1826. Address: 6 Carey Lane. Second mark as plateworker, in partnership with George Storer, 1 January 1829, same address. Moved to 3 Lovel's Court, Paternoster Row, 26 June 1835, and back to 6 Carey Lane, 16 February 1836. Third mark (two sizes), 18 June 1840. Their later marks are found principally on fine-quality snuffboxes and other small pieces.