The Queen's Cup for Ascot Races, 1867, is a magnificent example of both the grand formal design and superb workmanship typical of the silver produced by the Crown Jewellers, R. & S. Garrard & Co. during the reign of Queen Victoria.

According to The Illustrated London News (15 June 1867, p. 610a), this 'Queen's Gold Cup . . . is in the form of a tankard in Queen Anne's style, with a group of horses on the cover.' It has to be said that nothing like this massive object was ever made in the early years of the 18^th century. Some of the detailing in the design, like the applied vertical strapwork, was inspired by similar work often found on the bodies of Queen Anne, George I and early George II cups, such as the example of 1736 attributed to Simon Jouet in the Victoria and Albert Museum. And the wide band of formal panels and medallions below the lip is reminiscent of the shoulder decoration on the pair of Philip Rollos wine coolers of 1710 at the National Trust mansion, Ickworth House, near Bury St. Edmunds. There, however, the similarity ends; this tankard is a purely Victorian concoction, no less valid than Andy Warhol's re-imaginings of photographs of Elvis Presley or Marilyn Monroe. In its way it is a masterpiece.

Among the most remarkable and popular of Garrard's 19^th century silver in this formal style are large candlesticks and candelabra, their stems embellished with Classical profiles. The designs for these were based on sticks bearing the mark of the Lille silversmith Elie Pacot (1657-1721), whose work is associated with the Duke of Marlborough (1650-1722). A number of Garrard candlesticks and candelabra of this design have been recorded, the majority dating from the 1840s to the 1880s, including a set purchased by Marlborough's descendent, John Churchill, 7th Duke of Marlborough (1822-1883).