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.

three piece Tea Set, Snuff Box, Coffee Pot, Table Candlesticks

A Georgian Mazarine, circa 1760,
the oval body pierced with groups of saltier within scrolls around central engraved armorials, further pierced with pellet and mullet borders, apparently unmarked, 48oz. 18dwt .

A George III three piece Tea Set, Erne’s & Barnard, London, 1815, the
oblong bodies initialled below receded
girdles, on ball supports, with foliate shell cluster punctuated gadroon rims,
the pot with leaf and shell capped spout and handle, domed cover and lobed
button, the basin and jug with foliate strap handle, fully marked, pot body marks
rubbed, 41oz. (all in).
A George III Snuff Box, John
Linnet, London, 1817, oblong,
engine-turned throughout and with
applied foliate snap, gilt interior, marked
on body and cover, 3oz. 8dwt., 31in. Wide.

A George III Nutmeg Grater,
Phipps &  Robinson, London, 1797,
round ended oblong, wriggle worked with
formal borders throughout, with hinged
cover revealing steel grater and
three-quarter hinged base, fully marked, Wide.

A George III Vinaigrette, Throop &  Taylor, Birmingham, 1812,
rectangular, the cover engraved with a
hansom cab on a linear ground within a
border of stylised leaves, the base
engraved with a flower head, gilt interior
and shell and pellet pierced grille, later
applied ring, marked on body and cover,
16dwt., wide.

A George III Snuff Box, Mary
Tart &  Co., Birmingham, 1806, concave
oblong, the cover flower head and lattice
panel engraved on linear and pricked
reserves, the base vermicelli, lattice and
fan engraved on similar reserves, gilt
interior, marked on body and cover, 14dwt.,
2in. Wide.

A pair of George II Table
Candlesticks, John Cafe, London, 1750,
the shaped square bases shell moulded at the angles and rising to double knapped and faceted stems, with spool shaped sconces and detachable nozzles conforming to the base design, 33oz. 12dwt., high  .

An early George III Coffee Pot,
Fuller White, London, 1760, the baluster
body plain above a spreading foot, with
leaf capped curved spout, stepped
domed cover with twist finial and ivory
handle, marked on base, body and cover,
22oz. 12dwt. (all in), high.

A set of four miniature Doghouse
pattern Spoons, early 18th Century,
crest engraved, rubbed makers mark only,
12dwt.

A George II Coffee Pot, Gurney &  Cooke, 1749, the tapered cylindrical
body later crest and motto engraved above a spreading foot, with leaf capped
curved spout and composition handle, the stepped domed cover with baluster
finial, marked on base and body, 21 oz. 6dwt.
(all in), 97in. High.
A George II Salver, Robert
Abercrombie, London, 1742, shaped
circular, crested within a raised and
applied scroll and shell border, on pad
supports, 6oz. 8dwt., diam.

A pair of George II Table
Candlesticks, John Cafe, London,
1748/49, the moulded shaped square
bases crested below double knapped and
faceted stems supporting spool shaped
sconces, with detachable nozzles
conforming to the base design,
31 oz. 12dwt., 8in. high    .

A 17th Century Seal Top Spoon,
maker’s mark RW, with fig shaped bowl,
faceted stem, scroll and lobe moulded
terminal and seal pricked ‘1672/GW/ET’,
makers mark struck thrice on the stem and
once in the bowl, Jackson, inscribed,
2oz., High.

A George II Pint Mug, Francis Pillsbury, London, 1737, the tapered cylindrical body monogram engraved above a tuck-in foot, with leaf capped scroll handle, 43in. high .

A George II Coffee Pot, Gabriel
Sleuth, London, 1741, the tapered
cylindrical body later script initialled
above a tuck-in foot, with leaf capped
curved spout, stepped domed cover with
baluster finial and wood scroll handle,
marked on body and cover, 22oz. 6dwt. (all
in), high    .

A George I Half Pint Mug, John
East, London, 1722, the tapered
cylindrical body monogrammed within
an engraved strap and scale work
cartouche above a tuck-in base, with
double scroll handle, 7oz. 6dwt., 33/4in.
High.

Six George I Hanoverian pattern Tablespoons, Charles Jackson, London, 1720, with rat-tail bowls and crested terminal reverses, 13oz.

A George II Salver, James Shredder, London, 1740, shaped circular, flat-chased with a band of scrolls and lattice within a raised and applied scroll and shell border, on pad supports,
8oz. 2dwt., 63/4in. diam.

A 17th Century Seal Top Spoon, Fleur-de-Lys Group, circa 1623, with fig
shaped bowl, broad faceted stem and gilt
scroll and lobe moulded terminal, the seal incised ‘RA/RT/1623′, struck with
fleur-de-lys with pellets mark in the bowl only, loz.
The mark of the present spoon resembles but is not identical to Ellis  69, which the late Mr. Ellis included in his Fleur-de-Lys group attributed to Lincoln, Bury St. Edmunds, Ipswich and other East Anglican towns.

A Travelling Knife and Fork,
European, late 17th Century, the pistol
grip handles flower and leaf incised and
with scale incised fillets, applied bosses
and mother o’ pearl faces, steel blade and
tines Cleat her case initialled TEF and dated
1734, one boss wanting), the knife 6in.
Long.

A pair of George II Butter Shells,
Thomas England, London, 1743, scallop
shell form, crest engraved on the rear
lug angles, applied pad supports, one
maker’s mark rubbed, the other date letter and
leopard’s head rubbed, 7oz., 53in.Wide.

A George II Caster, Samuel
Wood, London, 1746, the vase shaped
body armorial engraved above a
moulded girdle and spreading foot, with
detachable pellet and scroll panel pierced
cover with baluster finial, marked on base
and cover, 5oz. 8dwt., 63in. High.

A set of four George II Table
Candlesticks, John Cafe, London, 1755,
the shaped square bases shell moulded at the angles and rising to double knapped and faceted stems with spool shaped sconces, with detachable nozzles conforming to the base design, one nozzle London, 1810, the others unmarked, 75oz. 4dwt., 93Mn. high  .

ANTIQUE SILVER CANDLESTICKS

Candlesticks are amongst the easiest objects for the beginner to assess it is rare that there is anything wrong with cast candlesticks though sometimes there are small cracks in the casting or along the seams where the separate parts of the casting are joined, but these are not serious faults.
Damage to the loaded ones is usually the result of continued cleaning. This wears them through on the high spots, but this is easily seen upon examination, and should always be looked for. Such candlesticks, if badly
worn, should be avoided. They will quickly get worse. In examining a pair of candlesticks and tapersticks (and even more so with larger sets) great care should be taken to see that all are alike. Put them side by side,
and examine them for differences all the way down the stem and on the bases and capitals. A set of four candlesticks is worth roughly three times the price of a pair, so it pays to match up, and although most
candlesticks of a design look much the same, there will always be small differences in the pattern. A fairly uncommon fault, but a most dangerous one, is the pair of candlesticks in which one has been cast from the
other, marks and all. If the positioning, spacing and angle of the marks is identical, this is a probability. Sets of four candlesticks or pairs of tapersticks, if not more than a few years apart, but by the same maker and
absolutely identical, are worth about two and a half times the price. Two pairs identical, but different dates and makers, may be worth about 10% more. A pair of candlesticks, identical in appearance but of different
dates and/or makers will be worth from 20% - 50% less according to the degree of discrepancy, but more important, will be difficult to re-sell.
As there is limited space on candlesticks, full armorials are uncommon, although crests are quite often seen. If armorials are found, it does not add quite so much to the value as with other items  say 5% - 10%.
Candlesticks grew taller throughout the eighteenth century, about six inches at the beginning to nearly twelve inches at the end. Any considerable departure from the norm will affect the value, as shown.
The earliest candlesticks were made from sheet, hammered up and hand-chased, and this type was made until about 1705, though the cast type was introduced by the Huguenot silversmiths about 1690, and rapidly
became universal. From the beginning of the eighteenth century, therefore, until about 1760 all candlesticks were cast. With the development
of Birmingham and Sheffield as centres of the silversmithing industry, the cast candlestick was more or less abandoned for that die-stamped from thin silver sheet. The early dies were rather unsatisfactory, and some
hand work was required to sharpen up the chasing. However, the dies were rapidly improved, and by about 1770, there was very little hand-finishing required, the stampings being soldered together and filled with
resin, sometimes with an iron bar up the centre to give weight and strength.
Owing to the comparatively small amount of silver and hand-work in them, they could be sold for very much less than London made cast ones, and became very popular. Although most of these are hall-marked in
Sheffield and Birmingham, there is no doubt that many hall-marked in London are either overmarked, or made up in London from die-stampings made elsewhere. In the writers view, the only true London candlesticks are those cast ones which continued to be made and a few clumsy attempts, about 1760, to reprcduce by hand the cheaper die-stamped types. There is a considerable discrepancy in price between the two types.
Firstly, cast candlesticks can only be damaged by severe mis-use, whereas loaded candlesticks are very susceptible to bruising, which can only be removed by unloading, and sometimes dismantling the candlesticks.
The silver is fairly thin, and is stretched thinner by the die-work, so they tend to wear into holes on the high spots. Once this happens, there is little that can be done, and, as I have said, loaded candlesticks should
always be examined most carefully for damage or for filling in with soft solder, as is sometimes done to effect a quick and cheap repair. Also, people like to feel what they are buying, as they can with cast candlesticks, though you will see that one or two manufacturers stamped the weight of silver, in ounces and penny weights, on their candlesticks before they were loaded. It might be interesting to see if they were accurate! To sum up, however, cast candlesticks will be found to be about three times the price of loaded ones of the same period.
The marks on all candlesticks should be good, but on cast ones marked underneath or inside (as the great majority are, unless Irish) the marks may be a little rough, as they are stamped directly on to the rough inside surface of the casting. The marks should at least be readable, and complete. Although they may be badly struck, they should seldom be worn, as they will have received very little cleaning.
I should like to say a particular word about the correct marking of candelabra. Owing to their very high value and rarity, compared to candlesticks, made-up branches are rather more common than genuine ones! To be
genuine, branches must be marked as follows: on the sleeve which fits into the candlestick  fully marked, and corresponding to the candlesticks. On the wax pan (below the capitals) lion passant and makers mark. On the capitals  lion passant (and sometimes makers mark). On the nozzles  up to 1784 lion passant and makers mark, after 1784 these plus the duty mark. From the early nineteenth century, usually the date letter as well. With London made candelabra, the capitals are screwed on, and the wax pans are also separate. The branches must be made like this, and all separate pieces must be marked to be genuine. Birmingham and
Sheffield made candelabra are also marked on the sleeve but differ in that the wax pan and capital are usually made in one piece. They usually, but not invariably, unscrew, but need not be marked. All the nozzles, however, must still be marked, and so should the flamepiece, if it is separate. Most fake branches are marked only on the sleeves, as it is fairly easy to find a pair of the nozzles.
It is quite common to find branches somewhat later than the sticks. If  branches are genuine, the value depends on various circumstances.
If the branches are within a year or two of the candlesticks, by the same maker, and perfectly matching in style and proportion, the value is not really affected. If slightly different date and maker but matching, about
20% less than a perfect pair. If considerably different in date and maker and not matching, estimate the value of the candlesticks, and add the value of the branches, which is roughly that of a pair of candlesticks of the
period and quality of the branches. Add a bit for the overall decorative effect, if the branches go reasonably well.
One of the earliest post-Restoration types made circa 1660 - 1685. Raised and embossed from sheet silver, the base usually in one piece, the square knop in two horizontally joined halves, the column with one seam,
the fluting hand-chased and slightly irregular. The spool shaped sections at the ends of the column may be part of it, or made separately. This type of stick is hollow, and you can see into the column. The position of the marks, one on each side, is slightly unusual. Most of these candlesticks feel light in the hand, and are about seven inches high.
A rather similar pair, but the more decorative bases indicate a slightly later date 1675 - 1690. Similar construction. Previous remarks applicable in every respect.
The method of making candlesticks by casting, introduced by the Huguenot silversmiths about 1690, was generally accepted by about 1700, and continued in almost universal use until about 1765. They are cast in
several pieces  the base, the column in two vertical halves, the capital in two halves. As well as having a good substantial feel about them, these candlesticks are of far more attractive proportion than the previous
example, with which they were concurrent. They are very much more desirable and valuable. Average height still about six inches.

SILVER CHAMBER CANDLESTICKS

Chamber candlesticks, or chambersticks as they are commonly known, were undoubtedly made in large numbers from the late seventeenth to middle of the nineteenth century, when gas lighting became fairly universal. Once this happened, most must have been scrapped, since their main function was to light one to bed, and they were not considered to have the decorative possibilities of candlesticks. They probably also had rather a hard life, as those of our forebears who could afford them seldom went to bed sober! All in all this accounts for the comparative scarcity of chambersticks in relation to candlesticks. Nevertheless, simply because people have felt that they could not put a pair on the dining table, they are still comparatively inexpensive, and good examples are well worth buying.
Earlier examples, made up to about 1730, have a more-or-less long baluster-shaped handle. On those made before 1715, it is usually hollow and made from sheet, and must be hall-marked, though the lion, or lion’s
head erased is sufficient. After 1715 the handles are usually cast, and are preferably, but not essentially, hall-marked. Earlier examples are usually marked inside the bowl, and after 1730 underneath. Sometimes the capital is marked. Like candlesticks, nozzles are not usually seen until about 1745, and they may or may not be marked. However, those made after about 1785 should be marked in the same way as candlestick nozzles.
The conical extinguishers should also be marked. If one or both parts are unmarked when they should be, due allowance should be made to the price. The originals are often lost, especially the extinguishers. It is very uncommon to find the scissor-like snuffers still in place, although almost all chambersticks made after 1735 have a slot to take them. If present, they add very considerably to the value.
There is not much to go wrong with chambersticks  they were sturdy utilitarian objects  but always look round the handle for repairs as the handles are often torn away from the bases.
An early Queen Anne example with a hollow handle. The mark on the handle can be seen. The cut-out on the side of the capital is for removing the candle-end, and the lug in front held snuffers or an extinguisher which is now missing.
Circa 1745 - 1755. The side handle has disappeared and been replaced by the scroll handle. This pair have attractive rococo armorials engraved so they face you as you hold them in your right hand.
A fine pair made about 1790 complete with snuffers and extinguishers which are of steel with silver handles. The armorials are now opposite the handles, as is usual.
The handle and capital are mark is still inside, and there is the slot for poking the candle-end out.
Ordinary chambersticks 1780 - 1810 with thread, bead, or gadroon borders  all approximately the same value, which is more dependent on quality, completeness and condition, than anything else.
Circa 1720 - 1730. The handles are shorter, the bases shallower, and marked underneath. This pair stand on narrow rims, which is slightly unusual.
Another pair, 1755 - 1765, with conical extinguishers, apparently not marked. Also on rim feet.
A pair made 1810 - 1825. Good quality but rather coarse gadroon borders.
Typical plainish William IV and early Victorian examples. They almost all have some type of shaped base, as shown. Quality is important, and Sheffield made ones, which are usually lighter and less good, and
sometimes rather clumsy, are about 20% less valuable.