Antique and Silver and Plate, Tea and Coffee Set, Tea Tray

PLATED

Assorted Plate, comprising: two Salvers, 12 and 10in.; pair of Coasters, part pierced circular, turned wood bases; Entree Dish, oblong; Rose Bowl, hemispherical, Celtic borders, grille; Coffee Jug; two Hot Water Jugs; Teapot; Basket, circular; twelve assorted Wine Cups; two pint Mugs; half-pint Mug; Flask; Toast rack; Spirit Tot; six Liqueur Cups (case); six pairs of Fish Knives and Forks (case) and twelve piece  s of Flatware.

A four piece   Tea and Coffee Set, Art Deco style vase shaped, the pots with composition handles and buttons, and a Tea Tray, plain oval, gallery border, bun supports, loop handles    .

Assorted Plate, comprising: four piece   Tea and Coffee Set, engraved fluted circular and baluster; Siphon Stand, pierced cylindrical, and a Hot Water Jug, part lobed campanile shaped, stag horn handle.

A Tea Tray, cut-cornered oblong, formal band stamped within a gallery border, bar handles, bun supports, 25in.

A Breakfast Dish, pain oval revolving cover, fluted strap supports with paw and ball feet, with liner and drainer.

A pair of Table Candlesticks, concave square bases, column stems, Corinthian sconces with detachable nozzles, gadroon borders, 93Ain.

A pair of three light Candelabra, circular bases, flared stems, serpentine branches with thistle shaped sconces, circular drip pans and nozzles, flame finals, 17 5Ain.

A pair of Coasters, circular, foliate shell borders, turned wood bases with vacant central bosses, and a pair of Fish Servers, bone handles (case).
A Dessert Basket, lattice pierced and festoon embossed boat shaped, Hon mask and drop ring handles, 127 dn.

A set of four Table Candlesticks, circa 1820, circular bases, knapped flared stems, campanile shaped sconces and assorted nozzles, stiff leaf and foliate scroll border applied throughout.

Assorted Plate, comprising: Tea Kettle on lamp stand, part fluted oval, ivory swing handle, with burner; three piece   Tea Set, pain oblong, the pot with composition button and burner; Sugar Basin, part ribbed oval; Desk Clock, circular above a Mercury figure stem and spreading base, and a Snuffers Tray, flat-chased shaped oblong.

A pair of three light Candelabra,
circa 1840, shaped circular bases, knapped
baluster stems, foliate scroll serpentine
branches flanking the central higher lights,
with inverted pear shaped sconces, shaped
circular drip pans and nozzles, flame finials,
applied scroll and cartouche borders
throughout.

Assorted Plate, comprising: four piece   Tea and Coffee Set, scroll engraved compressed circular and baluster; three piece   Tea Set, plain oval with shaped collars, and an individual Entree Dish, circular, beaded borders, ail pots with composition handles and buttons    .

Assorted Plate, comprising: Salver, engraved circular, 12in.; plate-mounted cut-glass Claret Jug, tapered cylindrical, 12in.; pair of Entree Dishes, oval, beaded borders; pair of Butter Knives and Jam Spoons (case), and six pairs of Dessert Knives and Forks.

Assorted Plate, comprising: pair of Entree Dishes, oblong; two other examples, oblong and oval, gadroon borders; Hot Water Jug, tapered cylindrical; Toast rack and a Christening Can  .

A pair of three light Candelabra, circa 1830, circular bases rising to knapped  flared stems, serpentine receded branches with campanile shaped sconces, circular drip pans and nozzles, gadroon borders throughout, 20in.

A Tea Tray, oblong, scroll flat-chased within a lattice pierced and festoon applied border, loop handles, 26in.

Another Tea Tray, cut-cornered oblong, formal scroll band engraved within a beaded border, angular handles. 22in.

Assorted Plate, comprising: Snuffers Tray, initialled oblong; set of nine Napkin Rings; twelve pairs of Fish Knives and Forks, bone handles; ten Dessert Knives and twelve Forks (case), and a silver Christening Knife, Fork and Spoon, circa 1810, mother o’ pearl handles.

A Tea Tray, circa 1815, oblong, armorial engraved within a broad band of flat-chased foliage, applied gadroon and shell border, similar loop side handles (wood case), 29m.

A Wine Cooler, circa 1815, plain campanile shaped, with foliate loop side handles above a spreading foot, gadroon rim, detachable collar and liner, 93in.

FRENCH SILVER-PLATED FLATWARE, SHEFFIELD PLATED THREE-LIGHT CANDELABRA, ENGLISH SILVER FLATWARE

FRENCH SILVER-PLATED FLATWARE
SERVICE, Christophe, in the Shell-and-Thread pattern,
comprising: 12 dinner knives, 12 dinner forks, 12 fish
knives, 12 fish forks, 12 oval soup spoons, 12 luncheon
forks, 11 luncheon knives, 12 teaspoons, 12 butter
spreaders, a serving fork and a pie slice, in fitted wood
case.

AMERICAN SILVER-PLATED HOT WATER
URN AND AN ENGLISH SILVER-PLATED HOT WATER
KETTLE ON STAND WITH BURNER, the first circa
1800, of urn form with concave corners, on square base,
4 ball feet, with partly reefed loop handles, the
conforming domed cover with detachable ball finial, the
front with engraved draped armorial, with interior
warming cylinder, unmarked, the second by Ellington
Co., circa 1880, of oval section, with beaded rims,
engraved with bands of fretwork, the flat hinged lid
with ivory finial, the upright swing handle with ivory
supports.

A PAIR OF SHEFFIELD PLATED THREE-LIGHT CANDELABRA, circa 1815, of vase shape, detachable reefed arms, all decorated with shells, gardening and vertical flutes, detachable

nozzles.

CONTINENTAL SILVER KIDDUSH CUP AND A
SILVER BUG-FORM SPICE CONTAINER, the first late
19th century, the bell-form cup repose and chased
with scrolling foliage, the stem in the form of a lion
rampant holding a shield with Hebraic presentation
inscription, on domed and tiered scalloped base, gilt
interior, the second standing foursquare, the body and
wings engraved with details, with removable pierced
head, 11 H.

RUSSIAN SILVER ETROG CONTAINER, St. Petersburg, 1870, of trunk form on 4 bracket feet, with engine-turned ground, engraved with simulated leather straps and a strap work

cartouche, with padlock-shaped thumb piece, gilt interior, 14 L.

ENGLISH ART DECO SILVER LARGE
PICTURE FRAME, Sanders & Mackenzie, Birmingham,
1928, rectangular, with a diamond motif at the
midpoint of each side on engine-turned ground, with
wood easel support. H.

SHEFFIELD PLATED COVERED ENTREE DISH
ON WARMING STAND AND A DISH CROSS, circa
1820, the first rectangular, with rounded corners, raised
on 4 foliate-capped paw feet, with foliate and shell
reefed handles, gadroon borders, the second with
beaded oval feet, matching burner, shell supports. L.

PAIR OF SHEFFIELD PLATED THREE-LIGHT
CANDELABRA AND A PAIR OF CHAMBER
CANDLESTICKS, circa 1810/25, the first each with
circular base rising to vase-shaped stem and company-
shaped sconces, detachable branches and 2 spiral reefed
arms rising to conforming sconces, drip-pans and
detachable nozzles, central light with detachable bud
finial, gadroon rims and borders, the second each
circular with molded floral, foliate and shell rims,
company-form sconces, with matching detachable
nozzles, scroll handle capped with anthem ion,
detachable matching conical extinguishers.

GROUP OF AUSTRIAN SILVER TABLE
ARTICLES, Vienna, comprising: a pair of three-light
candelabra, late 19th century, the tiered domed bases
engraved with belt-form cartouches alternating with
engine-turned panels, rising to paneled baluster stems
engraved with intersecting strap work, the detachable
branches with double scroll arms terminating in tulip-
form sconces, the matching central sconces with
detachable bird-form finials, a shaped oval tray, late
19th century, molded rim, engraved with engine-turned
if or m panels and stylized foliage, and a large cigar
box, possibly by Eduard Friedman, early 20th century,
rectangular with rounded corners, plain surface, matte
gilt and wood lined interior, 110 gross.

FOUR SHEFFIELD PLATED TABLE
ARTICLES, circa 1810-35, comprising: a pair of wine
coasters, each circular with gadroon rim, wood base, a
coffee pot, of pear form, embossed and chased with
flowers, foliage and scrolls on a matte ground, with
acanthus-capped spout, wood handle, the collar applied
with foliate scrolls and shells, the domed hinged lid
with leafy finial, and a salver, circular with gadroon
rim, on 3 gadroon scroll feet, the center engraved with
boar’s head crest. D. of first and last 6 and 10″ H.

GROUP OF ENGLISH SILVER FLATWARE,
comprising: a pair of gravy ladles, Thomas Death,
London, 1826, Fiddle pattern, another pair of gravy
ladles, William Eaton, London, 1834, Fiddle pattern,
engraved with crests, a pair of two-pronged forks,
Richard Turner, London, 1804, Old English pattern, the
backs engraved with crests, a fish slice, possibly
William Elliott, London, 1815, with pierced blade, ivory
handle engraved with crested monogram TAC, and a
pair of fish servers, maker’s mark HA, Sheffield, 1878,
the oval handles with rococo cartouches and gadroon
edge, the blades and tines engraved with foliage, 12
weighable silver.

FRENCH SILVER FLATWARE SERVICE,
Cadillac, Paris, circa 1900, with stylized dog-nose
terminals, acanthus banding, the spoons with trefoil
strap work rat-tails, applied on the back of the handles
with Medieval style initials, comprising 12 of each of
the following: dinner knives, dinner forks, luncheon
knives, luncheon forks, dessert spoons, oval soup spoons,
and 6 fish knives and 6 fish forks, in case, 133
weighable silver.

PAIR OF SHEFFIELD PLATED THREE-LIGHT CANDELABRA AND A PAIR OF LARGE CANDLESTICKS, circa 1830, the first each on domed circular base rising to tapering cylindrical stem, with

bands of shells and strap work, the detachable branches with curling reefed arms, conforming drip-pans, tulip-form sconces and nozzles, with detachable flame finial, the second

each of fluted baluster form, embossed with scrolls and acanthus, with tulip-form sconces, detachable nozzles.

PAIR OF GEORGE III SILVER OCTAGONAL ENTREE DISHES AND COVERS, Thomas Heming, London, 1766, with gadroon rims and scroll handles, matching domed covers engraved with armorials on

one side and vacant cartouches on the other, ring finials, marked on bases and covers, 54 W.

AMERICAN NEOCLASSICAL STYLE SILVER
COFFEE POT, circa 1865, of pear form on pedestal
foot, applied with bands of beads and overlapping
roundels, the spout and C-scroll handle capped with
leafy oval medallions, the latter with scrolling foliate
terminals and ivory supports, the hinged domed cover
with swan finial, monogrammed CLM, unmarked, 39
gross. H.

FIVE SILVER LADLES, unmarked, probably
English, late 18th century, comprising: a pair of gravy
ladles and a matching soup ladle, possibly Irish, in
Onslow pattern, with shell bowls, scroll terminals,
another soup ladle with shell bowl, oval handle bright-
cut with monogram TAH and crest, and a toddy ladle
with mounted wood handle, the bowl set with a coin
dated 1787, 17 gross.

GROUP OF AMERICAN AND CONTINENTAL
SILVER SPOONS, including: 12 teaspoons, The Dumez
Co., Cincinnati, circa 1900, with plain tipped handles,
monogrammed RR, 6 German table spoons, Nuremberg,
mid-19th century, with plain handles monogrammed
BLS, 8 demitasse spoons, Reed & Barton, in the French
Antique pattern, monogrammed SR, a pair of table
spoons, John Lynch, Baltimore, early 19th century,
plain handles monogrammed JH, a pair of teaspoons,
Wallace Bros., late 19th century, fiddle tipped handles,
monogrammed MJF, 8 teaspoons, unmarked, plain
handles, monogrammed HB, and 6 other spoons.
Together with 2 Victorian silver condiment spoons,
London, 1843 and 1888, 3 American silver forks, C.
Bard & Co., Philadelphia, and another American silver
fork.

A AMERICAN SILVER FLATWARE SERVICE,
International Silver Co., in the Joan of Arc pattern,
comprising: 6 dinner knives, 6 dinner forks, 8 soup
spoons, 8 salad forks, 6 butter spreaders and 8
teaspoons, monogrammed S. Together with a set of 12
teaspoons, Gorham Mfg. Co. 19th century, in the
Colonial pattern, monogrammed JAP, 51 excluding
knives.

PAIR OF CHINESE SILVER PITCHERS, in the
form of archaic bronze cheers, signed on bases. 33
H.

AMERICAN SILVER FOUR PIECE COFFEE SERVICE, Gorham Mfg. Co., circa 1885, retailed by C & M, comprising: coffee pot, creamer, two-handled covered sugar bowl and two-handled waste

bowl, the lower bodies repose in ‘Kirk’ style with flowers and foliage on matte ground, under bands of overlapping roundels, with leaf-capped ring handles, the repose covers

with butterfly finials. Together with a similar American silver kettle on stand with burner, Gorham Mfg. Co., 1887, with upright fixed handle, ivory supports, repose allover

with flowers and foliage, the stand on 4 shell panel feet, engraved with interlocking initials SH.

FOUR AMERICAN SILVER TABLE ARTICLES,
comprising: a child’s porringer, Gorham Mfg. Co., circa
1930, the sides etched with panels of children at a table
or saying prayers and with poem, the handle etched
with a bunny in a basket, the base with presentation
inscription and date, gilt interior, a dessert stand,
Jacobi & Jenkins, Baltimore, circa 1900, the oval bowl
and foot repose and chased with flowers and foliage,
the rayed center monogrammed FCSS, a bowl, S. Kirk &
Son, circa 1930, with plain surface, molded lip, the
center engraved JEA, and a covered box, Gorham Mfg.
Co.,

ANTIQUE SILVER SAUCE BOAT, A GEORGE III CIRCULAR FREEDOM BOX, GEORGE III SILVER TABLE CANDLESTTCKS, A VICTORIAN SILVER WINE GOBLET, GEORGE III SILVER SHOE BUCKLES

An 18TH CENTURY IRISH PROVINCIAL SAUCE BOAT, plain below an applied gadroon rim, shell hoof Supports, leaf capped double scroll handle, incised on ihc underside ‘RW 1761, maker‘s mark of Samuel Johns Struck twice, Limerick.

GEORGE III PROVINCIAL MEAT SKEWER, by Corden Terry and Jane Williams, Cork, c. 1800, 1oz.

A GEORGE III SILVER-GILT COFFEE BIGGIN ON LAMPSTAND, the cylindrical body with staved and banded decoration, ivory handle, the stand with reeded Supports.

An 18th century Provincial MUG, the baluster body with leaf capped double scroll handle and on spreading foot, Cork or Limenck, circa 1760.

GEORGE III PROVINCIAL ALL TWO-HANDLED CUP, engraved with a crest above the applied girdle, later inscribed ‘The Gift of his Great Uncle / to / Richard White / afterwards / 2nd Earl of Bamry 1800 / passed to his / Great Niece Ina Countess Ferrers, double ‘C scroll handles, one engraved R.W. on spreading foot, 7cm. high marked Sterling, by Stephen Waith, Cork, c.

A GEORGE II HELMET-SHAEEB MILK JUG eagraved with a crest above tbe applied girdle, leaf capped double scroll handle and on three volute feet, marked on base and body, maker’s mark rubbti, Dublin, circa 1740.

THREE GEORGE III PROVINCIAL FIDDLE PATTERN TABLESPOONS, by John Seymour, Cork c. 1810 8oz.

A GEORGE II BALUSTER CREAM JUG, engraved with armorials within a scroll cartouche,and chased with floral foliate swags, double scroll handle and spreading foot, 13.5cm. high, possibly by Louis Guichard.

A GEORGE III HOOK HANDLED SERVING SPOON, with a wild boar crest, Dublin.

AN EARLY GEORGE III CIRCULAR FREEDOM BOX, the detachable lid engraved with contemporary armorials of the Weavers Company, Dublin, the base with presentation inscription, reeded borders and gilt interior.

A GEORGE IV MARROW SCOOP by Samuel Neville, Dublin.

A GEORGE III CIRCULAR FREEDOM BOX, the domed lid engraved with the arms of the town of Drogheda, gilt interior, by Benjamin Stokes, Dublin c. 1770.

A GEORGE III PROVINCIAL MARROW SCOOP, marked STER. by Peter Wills, Cork, c. 1810, and a plated example.

A GEORGE III MUSTARD POT, pierced and bright-cut engraved with a formal band, domel lid, by John Robertson, с.1798.

A GEORGE III OLD ENGLISH PATTERN SERVING SPOON, by John Shiels, Dublin. 1767, and another example, London, 1810, 5oz.

FOUR GEORGE III TEASPOONS, with engraved bowls, by Michael Keating, Dublin, c. 1790.

A PAIR OF GEORGE III TABLE CANDLESTTCKS WITH Corinthian column stems and square bases, detachable nozzles, 35cm. high, marked on bases and nozzles, probably by John Walker, Dublin, circa 1770.

A GEORGE I CIRCULAR BOWL. the almost hemispherical body engraved with armorials and a later crest, on rim foot, 17.5cm. diam., by Thomas Slade, Dublin, 1724, 18oz.

A GEORGE II SHAPED CIRCULAR WAITER with scroll and shell border and on three volute supports, 17.5cm. diam., by Francis Waysmith, London, 1757, 5oz.

A VICTORIAN WINE GOBLET, inscribed 1886 Strabanel Presented by Spratts Patent Ltd., on knopped and reeded pedestal foot, 16cm. high, London, 1886, 3oz.

A GEORGE III CYLINDRICAL MUSTARD POT, with pierced body and hinged lid, 8cm. high, by Robert Hennell, London, 1804, 2oz.

A GEORGE III CIRCULAR SUGAR BOWL chased with spiral flutes and on three shell and volute supports, unmarked, Irish, circa 1780.

A GEORGE IV FISH SLICE, with pierced blade. by Clement Cheese.

A PAIR OF VICTORIAN HEAVY TRENCHER SALTS, the circular spiral bodies with gilt interiors, on rim feet, 8.5cm. diam., by Messrs. Barnardt London, 1838, 14oz.

A GEORGE I TUMBLER CUP of typical form; and another, both 6cm. diam., marks rubbed, 3oz.

A GEORGE III IRISH DISH RING of typical form, the concave sides pierced and chased with a musician, a folly, a sheep, birds, flowers and scrolls, Bin. diam., maker’s marks of Michael Cormick and another, CT. possibly for Corden Terry of Cork, Dublin, 1770, 13oz. 2dwt.

A PAIR OF GEORGE III SILVER SHOE BUCKLES, clasps inscribed RIGHT/LEFT, with leather insets, London 1818.

А МЕТАХ BELT BADGE of the ROYAL IRISH CONSTABULARY, with embossed registration mark, 12cm.

A PAIR OF GEORGE III OVAL SAUCE BOATS chased with flutes and engraved with armorials, scroll handles and each on three scroll and shell feet, 9in., by William Townsend, Dublin, circa 1760, 27oz.

A gilt bronze insignia of the crowned harp, possibly from a state coach, 18th Century.

A pewter spoon with trifid handle  and a pewter pepper canister, 17th and 18th century.

AN ANTRIM CAVALRY BELT BADGE, inscribed for our king and country, 1796, maker’s mark only, by George Wheatley of Dublin.

A RARE GEORGE III BUTTON inscribed For Past Service and depicting a rabbit hanging a fowl from a gallows, by Daniel Popkins, Dublin, c. 1760, 2.5cm. diam.

A COLLECTION OF SIX ARMORIAL METAL ” COACHMOUNTS, 18th-19th centuries.

METAL COACH mourus from A LORD MAYOR OF Dublin’s coach, I8th Century.

METAL AND SILVER COACH MOUNTS from the state coach of George, Earl Temple, Lord ‘Lieutenant, depicting and earl’s Coronet and the insignia of the Order of St. Patrick,

consisting of a pair of exterior handles, a pair of interior handles dated 1783, four armorials copied from the chain of the master of the order, a pair of crests, and a embossed silver fragment of Earl Temple was installed Grand Master of the Order on its inauguration in St. Patrick’s Cathedral 17th March 1783.

A set of four pewter armorial coach mounts from a livery company, two missing crests, 10cm.

A brass Sovereign Scale, a brass Tobacco Cutter, a brass Dice found at Butt Bridge, a bone Pipe Stopper formed as a horses leg, a carved wooden Top to a walking stick, 19th Century.

A PAIR OF CARVED WOOD PLASTER MOULDS, a fleur-de-lys and a seahorse motif, 18th Century.

A QUART MEASURE, a pair of pint Measures, eight pint Tankards, two half-pint Tankards mostly inscribed on base with the names of London taverns, Victorian.

ANTIQUE SILVER TEASPOONS - GEORGE II STYLE SILVER WAITERS - SILVER HOT-WATER JUG - EIGHTEEN GEORGE III DESSERT FORKS - SILVER PEPPER POTS

A  PAIR  OF SILVER VICTORIAN THREE LIGHT CANDELABRA, in Empire style, the central stems fluted above three mythical monsters, shaped bases, 63cm. high, circa 1870.

A PAIR OF CHAMBER CANDLESTICKS inscribed ‘Maud’ mounted on horses’ hooves, with plated shoes, 14cm. high, circa 1870.

A SMOKER’S SET comprising a rectangular Tray with depression for cigars, a two-handled lighter and an Ashtray, the whole chased with scrolls, by Tiffany & Co., circa 1920, 36oz.

TWELVE TEASPOONS with shell handles, Birmingham 1921 (fitted case), another six teaspoons, London 1859 four coffee spoons and a sifter,Birmingham 1902, (fitted case), a cigarette case inscribed in script,Arthur McLeanf from WilliamOrpen 1914, Birmingham 1912.

AN EDWARDIAN CIRCULAR DRESSING TABLE BOX, Birmingham 1913.

A CIRCULAR SALVER with shaped rococo rim, chased centre and on three scroll feet, Birmingham 1902, 55 oz.

A PAIR OF GEORGE II STYLE SILVER WAITERS WITH CHIPPENDALE RIMS, ENGRAVED COATS of ARMS, on THREE scroll FEET, 21.5cm. diam., London.

TEN VARIOUS FIDDLE PATTERN DESSERT SPOONS, Dublin, early 19th Century, various makers, 9oz.

A CHRISTENING MUG in the shape of a small staved tankard, Birmingham 1915, 8.5cm. high 4oz.

A SMALL SILVER HOT-WATER JUG, wooden handle, Birmingham 1904, 14cm. high 1 oz.

A SET OF FOUR SMALL SILVER Bowls on ball feet and with wirework grilles, London, 1903.

A SMALL PLAIN CREAM JUG Birmingham, 1933.

A VICTORIAN LARGE AND HEAVY OVAL TRAY, the pierced border embossed with Shells, flowers and river gods with four sea horses and scroliing coral decoration also engraved with a coat of arms, flanked by dolphin and shell handles on four massive scroll feet, 80cm. wide over handles by Richard Sawyer, Dublin 1844, approx. 250 oz.

A COFFER SHAPED TEA CADDY, with hinged lid and lion mask handles, London 1900, 11cm. high 12oz.

A GEORGE IV CUP AND COVER, the campana shaped body flanked by cornucopia handles and satyr masks and embossed with fruiting vines, on spreading foot, later converted to a tea urn, 38cm. marked in body and lid, by James Le Bas, Dublin 1818, 88oz.

Ten Victorian egg Spoons, the majority by Waterhouse & Co., Dublin, 1881, 4oz.

A PAIR OF SILVER SAUCE LADLES, bably London, 1810, 2oz.

TEN VICTORIAN BRJGHT-CUT DESERT FORKS, by West and Son, Dublin, 1896.

EIGHTEEN GEORGE III DESSERT FORKS, and TEN DESSERT SPOONS, by John Power, Dublin 1787/1799.

A GEORGE III WINE FUNNEL, of typical form, with detachable pierced bowl, mark rubbed, London.

FIFTEEN GEORGIAN AND VICTORIAN SILVER TEASPOONS, various patterns, Dublin and London marks, 7oz.

A GROUP OF BUTTER KNIVES, SALT AND MUSTARD SPOONS, etc., Dublin and London, Georgiern and later dates, 6oz.

FOUR GEORGE III FEATHER EDGED TABLESPOONS, three by James Kennedy 1781, one by Michael Kealing, 1801, all Dublin, Sau.

A GEORGE IV CIRCULA* MUSTARD POT* with hinged lid, by Messrs. Barnard, London 1828 ad an octagonal example, Birminghan.

A VICTORIAN “ARMADA” SILVER CLARET JUG of typical form, the lid opened by hand lever, the body with embossed figures, 34 cm. high, by John Smyth, Dublin 1875, 32oz.

A VICTORIAN LARGE TANKARD, the cylindrical body chased on one side with a steeplechase and engraved with a later inscription on the other amid chased flowers and scrolls, the lid with racehorse and jockey finial, 37cm. high, by R. Henhell, London, 1859, 59oz.

TWENTY-TWO FIDDLE PATTERN TABLESPOONS AND FIVE TABLE FORKS, Dublin and London dates, the majority c.1830, 62oz.

A PAIR OF CYLINDRICAL SILVER PEPPER POTS, Dublin 1911, two modern examples, Birmingham, and a salt cellar on three shell feet, London, 1807, 9oz.

A GEORGE IV BRIGHT-CUT SOUP LADLE with shell bowl, Dublin 1826 and a fiddle pattern serving spoon, Dublin 1806, 9oz.

A GEORGE IV SILVER-GILT COMMUNION BOWL, comprising a mall Flagon, a Chalice and a Paten, each engraved with i Ducti Crown and thc monogram of Allguttut Frederick, Duke of Cumberltnd, the Flagon Wem. high, by Sebastian Crespell, London, 1827.

A GOLD ENGRAVED REPLICA OF THE TARA BROOCH, the back munbedEgan, Cork, c. 1947.

Scandinavia
The Rococo style did not appear in Sweden until the middle of the 18th century. The impetus was provided partly by the arrival of Louisa Ulrika of Prussia, sister of Frederick the Great, who became the wife of Adolphus Fredrick. With her arrival the furnishing of the Stockholm palace was once more a matter of importance, and contact was made with French artists and craftsmen. However, the Swedish silversmiths quickly developed their own distinctive traits.
In Sweden beakers continued to be produced in large numbers, and to a lesser degree tankards, but it was the vessels connected with tea and coffee which displayed the most attractive designs. Teapots continued to
be made resembling kettles but of smaller size, either without a foot, or with moulding at the base. It was not until about 1770 that they were raised on supports echoing the foliage embossed on the bodies. Two
distinct styles of coffee pot were made. The earlier type of oval outline rested on domed bases and later, when supports were introduced, the shape altered to a circular design. The decoration was confined to floral
sprays, rocaille ornament and moulding as seen on the coffee pot illustrated, by Magnus Graffe, about 1765. This maker worked in G6teborg and later moved to St Petersburg. As the pot bears a maker’s mark only, one
cannot establish with certainty its country of origin, but there is no doubt that the design is of Swedish derivation.
The Danish coffee pot, by Neils Johnsen, Copenhagen, of 1741, which was originally accompanied by an oval stand, illustrates another type of design, displaying vertical fluted panels. This form of decoration later
developed during the Rococo period into spiral ornament, frequently accompanied by rocaille motifs of a rather coarse nature. The two patterns did not blend, unlike pieces made in Sweden, where they are seen to
complement each other. A more pleasing form of ornament found in Denmark at this time was inspired by the work of French craftsmen, displaying finely matted floral tendrils and C-scrolls of symmetrical outline,
sparingly applied.
The Norwegian silversmiths closely followed their Danish neighbours, but the Rococo influence was not in evidence until some years later. Germany
A sentiment often expressed
in England is that German silver is too ornate. One can-
not deny that the decoration is frequently elaborate, but many pieces displaying fine craftsmanship were produced. There are a number of distinctive styles associated with various towns, but obviously it would be
impossible to discuss the wide variety in detail.
The two examples reproduced serve to illustrate the
dissimilarity of ornament found in two different regions.
The first example is of north German origin, made in Esens in about 1770 by Henricus Remmers. The body is chased with floral sprays and fluting, which are repeated on the domed cover
and at the short spout.
The second coffee pot re-
presents one of the most
consistent designs produced in Augsburg, where more
silver was wrought in the 18th century than in any other German centre. Made by I C. Neuss in about 1775, this piece displays curved fluting encircling the body,
above Coffee pot by Henricus Remmers. North German, Esens about 1770; below Coffee pot by, J. C Neuss. South German, Augsburg, about 1775
and the only break occurs at the spout which is embellished with moulding.
Many noteworthy pieces were made in Augsburg. An outstanding maker of the period was Gottlied Satzger who, together with J. G. Klosse, produced a toilet service in 175557 which is now in the Wurttembergisches
Landesmuseum, Stuttgart.
Switzerland
With few exceptions the silver made in Switzerland during the Rococo period is devoid of chasing and repousse work. The shape of many pieces of domestic plate, such as coffee pots, meat dishes and ecuelles followed French designs, one example being the coffee pot illustrated, made in Geneva in about 1750.
A characteristic not found on French pots is the double moulding of the cartouches applied above the feet. Also many examples of French origin display some form of decoration at the spout, whereas the ornament on those by Swiss makers is normally confined to a moulded band near the body.
Coffee pot. Swiss, Geneva, about 1750
Holland
Although a certain amount of Dutch silver is spirally fluted and chased in the Rococo style, a more distinctive characteristic, connected with silversmiths working in The Hague, is the application of leaves decorating borders, forming covers, handles and supports. The coffee pot reproduced has leaves forming the feet and cover and in this instance is combined with spiral fluting encircling the body. It closely resembles the next example made in the Cape.
South Africa
Although little silver was made in the Cape during the 18th century, the pieces which have survived show strong Dutch influence. But judging from the research of David Heller the majority of silversmiths were of
German origin. This is true of the four most important families of silversmiths ? Lotter, Schmidt, Combrink and Vos who all produced generations of craftsmen. Perhaps the Dutch influence can be accounted for by the fact that they may have served their apprenticeships in Holland, or alternatively these early designs were copies of pieces brought from their native country by the Dutch settlers. The maker of the coffee pot, D. H.
Schmidt, who was one of the most talented, emigrated to the Cape as a soldier in the Dutch East India Company in 1768 and worked as a silversmith between 1779 and 1811. His work can be identified by his initials, D.H.S., which are accompanied by another mark, a bunch of grapes.
Belgium
The coffee pot reproduced, made in Mons in 1774, is a typical Belgian shape. The spiral fluting is far more pronounced than that found in most other countries and sweeps from the cover to the base. Often the spout
rises from an angle similar to the one illustrated so that it becomes an integral part of the design. Many Belgian pots are of large proportions, a feature shared with similar vessels of Irish and American origin.
Italy
The next coffee pot is a typical north Italian design, made in Venice about the middle of the 18th century. A characteristic
of vessels from this area is the pronounced ribbed and fluted ornament which decorates the body, lid and foot. Another point indicating north Italian origin is the hinge of the cover which forms a right angle with the
upper terminal of the handle. Those made further south, in Rome, usually have long curved spouts, decorated with grotesque masks and other motifs at the base.
Malta
Italian silver played a major part in influencing the designs produced in Malta during the middle of the 18th century. Sometimes it is difficult to dissociate southern Italian pieces from those of Maltese origin. Due to lack of research in the past a number have been incorrectly ascribed. Towards the end of the century Maltese designs became more local, and among the prominent features are the hoof feet supporting the coffee pot
illustrated, made around 1775, together with the flower-head sockets of the handle and twisted bud finial surmounting the domed lid.
above Coffee pot Italian, Venice, about 1760, below Coffee pot. Maltese, about 1775
Covered bowls with similar feet and finials appear to be among the most numerous items which have survived from this region.
Portugal
Among the many Portuguese designs made during the middle of the 18th century one finds ‘pieces of English inspiration, which is apparent in the two coffee pots reproduced. The first was made in Oporto, about 1775, and the English example is by John Swift, London, 1767. The architectural scrolls found among the more usual flowering foliage are one of the distinguishing features of Portuguese chasing.
The shape of the two pots gives one an idea of the close relationship between items made at this time in the two countries, and other pieces such as salvers with shell and scroll borders, casters and salt cellars on hoof
supports, could easily be ascribed incorrectly if reference to the hallmarks was ignored.
above Coffee pot. Portuguese, Oporto, about 1775, bottom Coffee pot by John Swift. English, 1764

ANTIQUE 17TH-CENTURY SILVER IN ENGLAND
In England in the early part of the 17th century styles did not vary enormously from those produced in the Elizabethan era, but two changes did occur. Firstly, decoration became more elaborate and covered whole
surfaces, unlike Elizabethan vessels which are frequently found with plain panels alternating with ornament of one kind or another. Secondly, gilding replaced parcel-gilding.
The most notable alterations which took place were the changes in the shape of vessels. Gradually such items as cups and ewers became taller and tankards became larger. One form which evolved was the steeple
cup, which takes its name from the steeple finial surmounting the cover. These finials are usually of triangular section, cast and pierced, or composed of sheets of silver soldered together, engraved or left plain.
An example is the Cunliffe Cup, by the anonymous maker T.C. of 1616-17, named after its original owner. It also displays other alterations. The ornament embellishing the body, cover and foot is engraved and not
embossed, and the flowers are no longer in tight clusters but appear in loose sprays. The stamped borders and matted backgrounds are features of the earlier style which remained.
The Mendip Cup, now in the City Art Gallery, Bristol, is of interest for two reasons. The decoration on the tazzashaped bowl is composed of a network of punched lozenges resembling Venetian glass of the period, known as vitro di trina. Secondly, the inscription records : ‘from MENDEP I was brought* out of a leden mine’ in bristoll I was wrought* and now am silvar fine’. From this inscription we know that silver was mined in
Somerset during the latter part of the 16th and early 17th centuries.
One of the earliest examples of these cups, dated 1572, is at Christ’s College, Cambridge, and Sir Charles Jackson records another with London hallmarks for 1603; these contemporary examples help to date the
Mendip Cup, which
The Mendip Cup, about 1610, City Art Gallery, Bristol strawberries is left to conjecture. We do know that strawberries were cultivated in the 16th century and were noted for their particular flavour, which unfortunately appears to have declined somewhat since the dessert strawberry that we know today was cultivated as a hybrid in 1806. The term strawberry dish was used again in the early 18th century to describe circular dishes with raised fluted borders.
The handles of Charles I dishes are cut out of sheet silver and tooled to resemble shells or leaves. Others are cast, usually of scroll design ; the wire handles found on contemporary wine tasters are another variation.
Some of these measure no more than 2 i to 3in in diameter and are frequently seen with punched ornament. Sometimes vine motifs replaced the more usual designs. Although these items have a certain attraction, the
standard of decoration is frequently crude and lacks the imagination and variety seen in the previous century.
The so-called bleeding bowl of 1635, maker’s mark R.P.,
Charles I strawberry dishes by VV Maunday London 1631
James II sweetmeat dish in the Portuguese style- London 1619
is unmarked. Taking into consideration the ornamentation on the foot, one can assume that it was made around 1610.
By the second decade of the 17th century plate became plainer in design and gilding was no longer popular. Possibly the Puritan influence was beginning to take effect. An exception is the sweetmeat dish, London, 1619, which represents a style believed to have reached England through trade with Portugal. In 1604, when James I of England made peace with Philip II of Spain, who had succeeded to the Portuguese throne in 1580, trade was once more resumed with the Iberian peninsula. In 1626 when Charles I had to raise money, no fewer than nineteen pieces of Portuguese plate were consigned to the melting pot. The dish of 1619 combines piercing with punched ornament. The strawberry dishes of 1631, by W. Maunday, again of Portuguese inspiration, show a later development of the style. A characteristic of this period was the light gauge of metal used.
This particular form of decoration helped to strengthen the pieces.
Patterns most frequently encountered are clusters resembling fruit or flowers within panels, or spiral beading radiating from the centre. Whether the later dishes were used for
illustrates the type of vessel devoid of ornament produced in the reign of Charles I and the Commonwealth period. It is said that these bowls were used when it was the practice of surgeons to bleed their patients as a
cure for a variety of ills. A number of American examples are in existence, frequently found with the initials of a husband and wife, dating from the latter half of the 17th and the 18th centuries. Produced under English
influence, those of American origin are believed to have been used as porringers, hence they can be described by both terms.
Only slight variations of design occurred from one century to another. The early examples have straight sides; later they acquired a convex outline and were bordered at the lip by a narrow band. The only alteration in the design of the flat handles is to be found in the piercing.
The term porringer or caudle cup is used in England to describe two-handled vessels with or without covers. Today to avoid confusion porringers are regarded as having straight sides, dating from the middle of the 17th century to 1720, and caudle cups are of baluster form, dating from 1650 to 1690. The name caudle is derived from the warm drink made of wine or ale, mixed with bread, sugar and spices, originally served in these vessels.
The caudle cup and cover of 1656 stands on a salver with a capstan-shaped foot. This is the earliest type of salver known and was the forerunner of an item which has remained in its 18th-century form to the present
day. In the 18th century the capstan foot was replaced by bracket, hoof, or claw and ball supports. The border of the salver is embossed with acanthus foliage, a motif not encountered since the early part of the
century, alternating with ovals and at the rim fleshy scrolls, obviously influenced by the lobate style. Similar decoration encircles the body of the cup and cover with corded foot and matching ring finial. The
contemporary armorials are enclosed in a cartouche of crossed plumes similar to that shown on page nine.
The decoration of these pieces shows considerable skill compared with plate produced in the reign of Charles I, and paved the way for the more exuberant Baroque style which came to England after the Restoration.
Commonwealth candle cup and cover, and a salver on a foot. Land n 1656
Charles I bleeding bowl, London 1635
The Cunliffe Cup. A James I steeple cup and cover.
Silver-gilt. London 1616-17

ANTIQUE SILVER FAKES AND ALTERATIONS
When trying to decide whether or not a piece of silver is authentic, it is easier to approach the subject from a positive angle. First, without reference to the marks, establish a date. Then, if on further examination one
finds the article is completely out of period, one’s suspicions should be aroused.
It is all too easy to condemn objects as ‘wrong’, and therefore careful consideration is necessary. After all, it must be remembered that until recently silver was made by hand, and if a craftsman decided to deviate from
the norm in some minor way, this does not necessarily mean that the item is a fake. Many genuine copies do exist, made when a particular fashion was revived, or a special order demanded the replacement of
something lost or destroyed. To discuss the subject in detail would be impossible, and therefore the items which have been chosen are a cross-section of the more usual alterations and fakes.
Mug by J. Kentember, 1768, with added lip
Two-handled porringer with let-in base, with London hallmarks for 1724
The first piece is a common alteration, namely the conversion of a mug into a jug. The mug by J. Kentember started life as a plain piece of baluster form. The decoration was carried out when it was re-shaped and
applied with a spout. It bears an inscription dated 1882, which is probably the date when the alteration took place. In this state it infringes the hallmarking laws of Britain and cannot be sold.
The second piece illustrates transposed hallmarks. This is one of the commonest examples of forgery carried out in England. At one time it was done to avoid paying duty, which was 6d an ounce, enforced between 1719 and 1758. The offending objects are known as ‘duty dodgers’. It was a simple process to cut the marks out of a small or damaged piece and insert them into another one, possibly much larger, so avoiding considerable expense. They can be detected by the style being slightly out of period and the presence of a solder line around the marks. Sometimes the insertion was carried out between the base of the body and thefoot which is concealed by a genuine join. For this reason it is advisable to examine the inside of pieces marked on the base, as an impres-
Coffee pot by Seth Lofthouse, London 1718, later chased and embossed
sion of the hallmarks can sometimes be seen, confirming that a false disc bearing marks has not been inserted.
The porringer of 1724 is not a duty dodger, but a fake of a much later date. No effort has been made to reproduce the article in the correct style of the period. On examination a solder line can be seen around the base.
As the bodies of these porringers were made in one piece, there is absolutely no doubt that it is not genuine.
The coffee pot of 1718 is not a fake as no additions have been applied and the marks are authentic, but the chased decoration represents the work of our Victorian ancestors who, obviously, considered plain silver dull and unfashionable.
Later decoration can reduce the price of a piece enormously. This has led to the removal of later ornament, a fact which can be quite easily overlooked by an unsuspecting buyer. It can sometimes be detected by traces
of the pattern which become visible as tarnishing occurs. Another indication can be the slightly bulbous outline of the body of a cylindrical vessel.
This is caused by the de-chasing process which stretches the metal; also an overpolished flat surface is common.
The wine cup of 1780, which again started life plain, with the exception of the beading on the foot, illustrates both later decoration and additions. The strapwork is inspired by the Huguenot designs, and the chasing is in the naturalistic style of the Victorian era. This is an example where the original purpose has not been changed by the additions. Therefore, if they are up to standard, they can receive addition marks. This type of alteration is more usual on salvers which have acquired new borders and feet to suit current fashions. Sometimes the additions were marked at the time of alteration.
To conclude, the main points to watch for are the construction, the position and quality of the marks, and the colour and patina of the surface. Also the style of the piece is important. Badly proportioned component
parts, giving an unbalanced appearance, are not features of authentic pieces, but it is only by handling many genuine articles that a specialized knowledge of the craft can be acquired.
Wine cup, later gilt and decorated, bearing London hallmarks for 1780

Antique Silver Tea Set - A Victorian Sterling Silver Sugar Basket - A Victorian Christening Bowl and Spoon - Table Silver

A three piece Tea Set, Birmingham, 1933, plain circular bodies, spreading bases, the pot with composition handle and button.
A Bowl, London, 1904, oval, inscribed within a gadroon border, spreading foot.
A Salver, Sheffield, 1931, cut-cornered square, plain within a reeded border, panel supports.
A Tea Kettle on Lampstand, Sheffield, 1904, part lobed oval, with composition handle and button.
A Victorian Caster, Birmingham, 1893, swirl fluted lighthouse form, slip-lock cover with baluster finial
A Victorian Sugar Basket, London, 1879, leaf chased boat shaped, on spreading foot, with swing handle
A Cigarette Box, Birmingham, 1923, engine-turned oblong
A Salver, Birmingham, 1971, shaped circular, plain within a Chippendale border, volute supports
Assorted Silver, post 1900 dates, comprising: Teapot with Milk Jug en suite, boat shaped; Tea Caddy, oblong; and Sauce Boat.
A William IV Milk Jug, London, 1835, compressed vase shaped, panel supports, reeded rim, scroll handle
A Victorian Christening Bowl and Spoon, London, 1885, the former festoon and lobe chased hemispherical, the latter Grecian pattern.
Fiddle pattern Table Silver, Victorian dates, comprising: three tablespoons, four table forks, seven dessert spoons, four dessert forks, five teaspoons and four salt spoons; four
Knives Dessert  and Forks, plated pairs of blades of    tines (loaded); Napkin Ring; Sifter and four other pieces of Flatware; Ladle, Danish; four Salt Cellars with spoons, Indian loaded); and plated: Waiter and four
pieces of Flatware.
A George III Sugar Basket, Dublin, 1803, fluted boat shaped, cartouche and formal band engraved.
A George III Wine Funnel, London, 1804, crested, the detachable strainer with simple thumbpiece.
Four Georgian Salt Cellars, London, 1753/71, compressed circular, two spoons and plated spoons, 6oz.
A William IV Mustard Pot, London, 1833, drum form, crested cover with shell thumbpiece, angular handle, 2oz.
A Victorian Sifter, London, 1879, Fiddle pattern; Pepperette, modern; and Indian Knife, Fork and Spoon, 5oz. (of silver and silver-coloured metal).
Assorted Silver, post 1900 dates, comprising: pint. Mug, tapered cylindrical; pair of Salt Cellars and Mustard Pot en suite, panel incised circular.
A Caster, Late Victorian, scroll embossed inverted pear shaped; and two Tablespoons, nine Teaspoons and aair of Sugar Tongs, mostly Old English and Feather Edge pattern, 10oz.
A George III Milk Jug, London, 1792, initialled helmet shaped, pedestal foot, reeded loop handle (loaded), 6in.
A pair of Georgian Sugar Nips, circa 1760; and a Vinaigrette, Birmingham, 1843, tartan lattice incised oblong, gilt interior.
A seal top Spoon, unmarked, apparently 17th Century.
A silver-mounted horn Snuff Mull, 19th Century, the cover hardstone inset.

An Antique Victorian Silver Coffee Pot - A George I Silver Caster - Silver Milk Jug and Mug

A Victorian Coffee Pot with Teapot and Sugar Basin en suite, London, 1882, initialled and -3art lobed oval, the pots with composition handles and wood buttons.
A Victorian Bowl, London, 1882, oval, lobed below a waved cord rim, on spreading foot.
A Victorian Milk Jug, London, 1882, part lobed and crested oval, angular handle, and a Brandy Saucepan on stand with burner, London, 1881, baluster with ivory handle.
A George III Caster, London, 1797, inverted pear shaped, initialled above a pedestal foot, pierced cover.
Seven Models, modern dates, realistically cast, comprising: two stags, two spaniels, fox, rhinoceros and a figure from Dickens.
Thirteen Hanoverian pattern Tablespoons, mid Georgian dates, including: two scroll back, one harvest back and one rat tail bowls, various initials.
A Salver, Birmingham, 1911, shaped square, plain within a moulded border, on pad supports.
A pair of George III Waiters, London, 1776, shaped circular, crested within stiff husk borders, pad supports.
A Victorian Coffee Pot, London, 1873, festoon, crested cartouche and formal border bright-cut tapered oval, with angular handle and button finial.
Three Georgian Wine Funnels, Edinburgh and unmarked, all circa 1730, compressed circular bodies, two with detachable muslin ring-cum-rims, the third with detachable strainer.
George IV Chamberstick, London, 1828, shaped circular, with rose stem and sconce with textured leaves, bud and blooms within a cast and pierced rose border, flying leaf handle.
A silver-mounted Coconut Cup, circa 1770, the shell with waved rim mount and domed foot with baluster stem.
A Teapot with Milk Jug en suite, Sheffield, 1902, part lobed oblong with gadroon shell rims, the pot with composition handle.
A six piece Cruet Set, London, 1931, crested, comprising: pair of circular trencher salts, pair of vase shaped pepperettes and a pair of drum mustard pots.
A George I Caster, London, 1723, octagonal baluster, crested above a spreading foot, pierced cover with turned finial.
Assorted Silver, circa 1900 dates, comprising: pair of Salt Cellars (case); Pepperette, Indian; embossed Box, Dutch; three model chairs and table, Dutch,.
A Victorian Teapot    strap London, 1854, panel engraved faceted capstan shaped, scroll , handle, domed cover with lobed finial.
A George III Milk Jug, London, 1770, flower and flute chased inverted pear shaped, spreading foot, punched rim, scroll handle.
Ten Fiddle pattern Tablespoons, Dublin, 1808/14/18, initialled; pair of Salt Cellars, Birmingham, 1896, shell form; and a four piece Carving Set, steel blades and tines, plated handles (case), 23oz. (of silver)  A William

and Mary miniature Porringer, London, 1691, part swirl lobed circular, with wirework scroll handles above a ring foot.
A Chalice and Paten, probably English, early 18th Century, the former with bell shaped bowl above a knopped stem and spreading foot engraved with a crucifix, the circular paten sunburst and Holy cipher engraved.
A George II Mug, London, 1741, baluster, with small later inscription, spreading foot, double scroll handle.
A Victorian Christening Can, London, 1852, roundel moulded baluster, leaf and lattice engraved above a cast shell spreading foot, scroll handle.
Six Victorian Dessert Serving Spoons, London, 1878, with twist and openwork terminals (case); and a pair of Berry Spoons, Birmingham, 1879.

Antique Silver George III Sugar Basin - Sauce Boats - Silver Salt Cellars - A Victorian Sterling Silver Trophy Cup

Another George III Old English fattern Soup Ladle, Edinburgh, 1790
A Victorian two handled Cup, Sheffield, 1892, fern-cut and inscribed above a spreading foot, loop handles.
A set of four Toastracks, Birmingham, 1935, square, two compartment, central ring handles, bun supports.
A Capstan Inkwell, Birmingham, 1926.
A Victorian Trophy Cup, Sheffield, 1880, inscribed vase shaped, knopped spreading foot.
Assorted Silver, earliest date Birmingham, 1898, comprising: Cigarette Box, oblong (lined); Butter Shell; five assorted Ashtrays; two Matchbox Sleeves; and a silver-rimmed hardstone Dish, oval
A George III Wine Funnel, London, 1768, the circular strainer with detachable spout and muslin ring.
A Sugar Vase, London, 1912, Georgian style, roundel and pale pierced vase shaped, beaded borders and swing handle, plated Sifter (liner); and a Milk Jug, Birmingham, 1912, miniature Renaissance ewer form, A
Coffee Jug, London, 1935, girdle moulded baluster, ring foot, simple spout, domed cover, with composition handle and wood button
A pair of George II Salt Cellars,
London, 1749, later flower chased compressed circular, two plated Spoons; pair of Pepperettes, Chester Georgian style
A George III Sugar Basin and Milk Jug en suite, London, 1809, oblong, part lobed above ball supports, with shell punctuated gadroon rims, gilt interiors, 20oz.
A Victorian Teapot, London, 1837, stiff leaf chased compressed vase shaped, spreading foot, domed cover with flower finial
A four piece Tea and Coffee Set, London and Birmingham, 1906/07, scroll chased shaped oval and baluster, the pots with composition handles and buttons, 50oz.
Asorted Silver, mixed dates, comprising: eleven Teaspoons and Tongs (case); six Tea Knives, plated blades (loaded, case); six Teaspoons (case); pair of Salad Servers; two Tablespoons; four Teaspoons; Jam Spoon;
and a Hand Mirror, 19oz.
A George IV Vinaigrette, Birmingham, 1826, leaf bright-cut oblong, foliate borders and snap, gilt interior and grille, 1in.
A George IV two handled Cup and Cover, London, 1823, the vase shaped body inscribed and engraved with the insignia of the Prince of Wales above applied acanthus and vine leaves, on knopped spreading foot, with
reeded loop side handles and domed cover with sailor and anchor finial, stiff leaf borders throughout
A matched three piece Tea Set, London, 1807 and Exeter, 1823, the oblong bodies crested between gadroon borders, on ball supports, with angular handles, the pot with curved spout, domed cover and ivory button
finial, 37oz.
A pair of George II Sauce Boats, London, 1746, the oval bodies later flower and scroll chased incorporating crested cartouches, with waved rims, stepped pad supports and leaf capped flying scroll handles, 14oz.,
Salver, Sheffield, 1900, shaped circular, monogrammed within a flower punctuated moulded border, panel supports
Assorted Silver, earliest date Birmingham, 1896, comprising: four Salt Cellars, part lobed oblong; and three silver-capped glass Toilet Bottles, 4oz. (of weighable silver)
Toilet Silver, circa 1900 dates, comprising: pair of hair brushes and hand mirror (case), three other hair brushes, clothes brush and hand mirror, scroll stamped throughout