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.

A VICTORIAN SCOTTISH SILVER TEAPOT - A PAIR OF VICTORIAN SILVER SALT AND PEPPER CASTERS - THREE SILVER BUTTON HOOKS - SILVER BELT BUCKLES

A GEORGE III SILVER WINE FUNNEL
MAKER’S MARK OF JOI IN MOORE, 1790
Plain circular with three short reeds, reeded border, trefoil-shaped clip, pierced strainer bowl
A PAIR OF EDWARDIAN SILVER CRUETS
EDINBURGH, 1904, STAMPED ‘BROOK & SON’
Each boat-shaped oil four panel feet, with three cut-glass condiment bottles; also a modem silver six-division toast rack
A VICTORIAN SCOTTISH SILVER TEAPOT
MAKER’S MARK OF MARSHALL & SONS, EDINBURGH, 1888
In the mid Eighteenth Century manner, circular on spreading foot, shoulder and cover chased with escallop shells and scrolling foliage
AN EDWARDIAN SILVER CAKE BASKET
MAKER’S MARK (-)I J. GLOSTER LTD., BIRMINGHAM, 1904
Shaped oval form on four ball feet, pierced with foliate scrolls, with openwork swing handle
A PAIR OF VICTORIAN SILVER SALT AND PEPPER CASTERS
MAKER’S MARK OF S. MORDAN & CO. LTD., 1884
Each engraved with crest and motto of Campbell; also a set of three Victorian Scottish Silver salts, maker’s mark of Hamilton &- Inches, Edinburgh, 1888, each plain circular on
three ball feet, gilt interiors, with similar crest and motto, and a set of four matching salt spoons; three Victorian silver salts, Chester, 1898; a pair of silver mustard pots, Birmingham, 1924; a set of four Edwardian silver salt spoons; and a silver pepper caster    (19)
A COMPOSITE SET OF SIX SILVER TABLE SPOONS
TWO WITH MAKER’S MARK OF JONATHAN HAYNE, 1828: FOUR EDINBURGH. 1846
Fiddle pattern
A SET OF THREE EDWARDIAN SILVER BONBON DISHES
MAKER’S MARK OF ATKIN BROTHERS, SHEFFIELD. ])()I
Each oval with pierced borders; also a set of three silver dessert forks of volute end pattern, Sheffield, 1814; a pair of silver sugar tongs; and a small quantity of electroplated coffee spoons etc. (15)
A PAIR OF SILVER FRAMES
MAX-ER”, MARK OF TTLHAZELWOOD, BIRMINGHAM, 1913
Each circular with corded borders; also a pair of Edwardian silver dwarf candlestick of plain circular form with reeded borders, loaded (one lacking base plate); A George III silver condiment spoon, maker’s mark of Hester Bateman, 1787; a mustard pot, possibly nineteenth century colonial; and a set of twelve electroplated fish knives and forks, the blades elaborately pierced with scroll and fish motifs (24)
A VICTORIAN SILVER SNUFF BOX
MAKER’S MARK OF NATHANIEL MILL -S, BIRMINGILANI, 1844
Of shaped oblong form, the hinged cover with presentation inscription, engine-turned with panels of lattice; and a silver stamp holder formed as an envelope, Chester, 1918
A GERMAN SILVER TEA CADDY
LONDON IMPORT MARKS FOR B.H.MULLER, 1912
In the mid-eighteenth century Chinoiserie manner, oblong with domed shoulders, detachable circular cover with bird form finial, the body embossed with Chinoiserie scenes; A Victorian silver and coral rattle. maker’s inark of Hilliard and Thomason, Birmingham, 1884; A pair of Victorian silver napkin rings engraved with bamboo and cranes, Birmingham, 1891; And a silver ring box, Birmingham, 1911    (3)
AN EDWARDIAN SILVER MOUNTED BRUSH SET IN FITTED CASE
MAKER’S MARK OF NATHAN & HAYES, BIRMINGHAM, 1909; PAIR OF BRUSHES AND COMB, CITES IER, 1908
Each profusely embossed with scrolling foliage
SUNDRY SILVER
Including an Edwardian silver rattle, formed as a double-faced bust of a gentleman, Birmingham, 1907; a Victorian silver cigarette case, oblong with spiral reeding, Birmingham, 1888; a Victorian silver whistle; etc.; and a C.B.E. civil neck badge, cased
THREE SILVER BUTTON HOOKS ALL BIRMINGHAM, 1893-1905
Three others, plated, and nine boxed sets of plated cutlery including butter knives, serving spoons etc.    A PAIR OF EDWARDIAN SILVER CAFE-AU-LAIT POTS
MAKER’S MARK OF HOLLAND ALDWINCKLE & SLATER, 1906
Each tapering circular, on three panel feet chased with Art Nouveau stylised foliage, similarly chased to the handle socket, with wood side handles (one replaced), short spout, and bud finial
A PAIR OF GEORGE IV SCOTTISH SILVER TODDY LADLES
MAKER’S MARK R.N, EDINBURGH, 1821
Of fiddle and shell pattern; a pair of silver salad helpers, Birmingham, 1913; four Victorian King’s pattern tea spoons; a pair of silver sugar tongs; and a set of six E.P. grapefruit spoons    (15)
A SET OF NINE VICTORIAN SINGLE-STRUCK STYLISED KING’S HUSK PATTERN
TABLE FORKS
MAKER’S MARK OF ROBERT GRAY & SONS, GLASGOW, 1838
A SILVER SALVER
MAKER’S MARK OF WILLIAM HUTTON & SONS LTD., SHEFFIELD, 1912
Shaped circular on three scroll feet, 12in. (30.5cm.) diam., 28oz. ; and a silver waiter, makers’s mark of Plante & Co., Birmingham, 1897, bin. (15.2cm.)    (2)
A PAIR OF PLAIN SILVER CANDLESTICKS
BIRMINGHAM, 1927
And an engine-turned photograph frame, of arched rectangular form-, two small circular frames; two four-division toastracks on ball feet; and a caddy spoon, with acorn shaped bowl, London, 1809
A GROUP OF SILVER BELT BUCKLES
Including one by Deakin & Francis, Birmingham, 1900; another of silver and hardstone, Birmingham, 1905; another formed as birds entwined in scrolls, set with lapis lazuli;
another by A. Ritchie, Iona; a small scent flask; an oval locket; and a plated sovereign case    (7)

A Pair of Victorian Silver Candlesticks - A Victorian Punch Bowl - A Silver Caster

A two bottle Inkstand, London, 1925, oblong casket form, the inscribed hinged cover revealing two well sockets and a pen depression.
A silver-rimmed cut-glass Vase, Sheffield, 1925, tapered cylindrical, 7in.; and a silver-mounted faceted-glass Flask, London, 1919, silver cap and beaker base.
A Tazza, Birmingham, 1919, part pierced and faceted circular above a trumpet foot, loop handles.
A Victorian silver-mounted glass Liqueur Set, London, 1899, comprising: four tots and oval tray with silver rims and a jug with silver neck-cum-handle.
A pair of Victorian Candlesticks, Sheffield, 1896, the concave square bases festoon and husk moulded below column stems, with Corinthian sconces and detachable nozzles, beaded borders (loaded).
A pair of matched George III Salt Cellars, London, 1774/91, pierced oval Adam style, claw and ball supports, with spoons.
A pair of Cafe-au-Laic Pots, London, 1909, faceted baluster, domed covers and spreading bases, composition handles.
A Victorian Punch Bowl, London, 1890, part swirl lobed and fluted compressed hemispherical, inscribed above a spreading foot.
A Cigar Casket, London, 1902, plain oblong, the slightly domed cover with simple snap (lined).
A set of six Brandy Goblets, Birmingham, 1972, traditional form, plain above spreading bases, gilt interiors.
A Victorian Salver, Benjamin Smith, London, 1846, shaped circular, inscribed and scroll band engraved within a foliate scroll border, on panel supports.
The inscription reads, Clarkson Stanfield from Charles Dickens.
A Salver, Birmingham, 1937, shaped square, plain within a moulded border, on volute supports.
A George III Toastrack, London, 1792, oval, six compartment wirework, central ring handle, panel supports.
A silver-gilt Bowl, Birmingham, 1934, circular above a quatrefoil base, applied at either side with cast figures of a boy and girl.
A two handled Bowl, London, 1906, plain flared cylindrical, slight skirt foot and mask and foliate scroll handles.
A three piece Tea Set, Sheffield, 1930, plain circular bodies below applied formal borders, ’s, the pot with composition handle and button; and a pair of Ashtrays, Birmingham.
A William IV silver-fitted wood Travelling Dressing Case, London, 1835, with ten cut and faceted glass bottles and boxes with monogrammed silver covers and sundry silver, steel and mother o’ pearl manicure
implements.
A three piece Tea Set, Birmingham, 1926/29/31, compressed circular bodies plain below reel and bobbin rims, the pot with composition handle and button, with tongs.
A Caster, London, 1905, octagonal vase shaped (case), 6112in.; and a Goblet, modern, armorial stamped above a baluster stem (box).
A silver fitted leather Travelling Dressing Case, London, 1901, comprising: eight glass bottles and boxes and a flask with silver covers, hand mirror, three brushes, hooks knife, glove stretchers and three button ooks all
silver-mounted, scroll embossed throughout and a gentleman’s Hair Brush.
A George IV four bottle Cruet Frame, London, 1827, the quatrefoil shaped base and bottle rings connected byilaster straps, the former with gadroon border and panel supports, the latter with central foliate ring handle, with four assorted faceted glass bottles, two having silver covers, 14oz. (of weighable silver).

ANTIQUE SILVER TANKARDS AND MUGS
Up to the end of the seventeenth century covered tankards and porringers are, I suppose, the two most commonly found pieces of silver. The increasing sophistication of the eighteenth century introduced an ever wider range of table silver together with ali the apparatus for the recently introduced tea, coffee and chocolate. However, the tankard did not lose its place until early in the nineteenth century.
Incidentally, tankards have covers, mugs do not. Most of the following apply to both. Tankards are prone to the usual ills that affect hollowware. Their plain surfaces were the ideal background for elaborate armorials,
and the older they are, the greater the likelihood that they have been erased. One should therefore examine the front of mugs and tankards most carefully inside and out, for thin spots or patches. Inside you may notice an alteration in the pattern of the hammer marks or a certain smoothness, or difference in wear or colour. Outside, the surface may be too shiny, or may show pin-pricks where erasing has not been completed properly. Most tankards are marked near the handle, but be careful of tankards and mugs which are marked underneath. The handle may have been moved round so that any weak spot is behind the handle where you might not think to look for it.
Earlier tankards often have splits round the lip, especially where the handle joins.
Up to the beginning of the eighteenth century, tankards had flat covers. Subsequently, some of these were hammered up into the domed shape popular between about 1710 and 1790, and some of these have had their covers hammered back again into their original shape. I need hardly say that this process is very detrimental to the value. Fortunately, it cannot be done without very obvious signs, as the marks on the cover will have been stretched out of shape by the raising, and made even worse by the flattening. The step of the cover may also be rather high (as the silver has to be hammered back to somewhere) the cover may be thin with hammer marks in concentric rings, and the marks will be flat, stretched and faint.
I can also state categorically that no eighteenth century tankard or mug is ever embossed, apart from the late seventeenth century types illustrated with acanthus or spiral fluting which carried on into the first few years of the eighteenth century.
As far as hall-marking is concerned, tankards are quite straight-forward. The body and cover must be fully and identically marked. Most seventeenth century examples are marked by the handle, and on the outside of
the cover in a straight line (an exception to the usual rule about marks conforming to the shape). Very occasionally, usually on rather fine tankards, the hall-mark is underneath, and must be a group mark. The cover will still be marked in a line. The cover mark may be inside, but it is unusual. Tankards up to 1730 are still usually marked on the body, but from when the domed cover comes into fashion, the cover is group-marked inside, or very occasionally outside. After 1730 the body mark is usually grouped underneath. About 80% of tankards made before 1730 have the maker’s mark struck on the handle, unless it is a cast one, usually found on mugs rather than tankards, especially from George I onwards.
All mugs and tankards, up to the reeded ones of the end of the eighteenth century have the bodies raised in one piece, with the footwire added. The bottoms should not be let-in, and there should be no seams up the
body.
Original armorials add at least 15% -to the value of mugs and tankards.
One sometimes sees extra large mugs, usually with hollow handles. They look like tankards without covers, and this is exactly what they are. It is an almost invariable rule that everything over a pint capacity originally
had a cover, and if it is missing, the value is reduced by about 75%. The only genuine type of early mug has a globular body and reeded neck.
On the whole, tankards are bought by collectors rather than for use and so, to be saleable, they need to be in the condition which appeals to collectors. Nothing is so undesirable as a second-rate mug or tankard.
This is as early a tankard as I propose to illustrate and you will not see one of this date very often outside a museum. It was made about 1640. The cover is flat, with a pointed overhang in front. The thumbpiece is cast, but they are sometimes of plain design made from sheet. The tankard is raised in one piece, with a slight curve at the bottom, and no strengthening wire.
An unusual and rather fine tankard made about 1670. It has an exceptionally hold handle with a beaded rat-tail, a heavy joint, and a drop in front of the thumbpiece. It is marked underneath, and inside the cover, and has original arms. The cover is almost of the later type, but not quite. Large size, heavy, and with original engraving.
The standard tankard 1680 - 1695. Double scroll thumbpiece, double step cover. The depressions on the handle behind the joint are from the thumbpiece. I like to see the thumbpiece still coming down in the right
place.
The standard type of early Charles II tankard  this example made in 1671, but they go from about 1660. Note the low single step cover, which is considered more desirable than the later type as shown on page 165.
A tankard with lion feet and thumbpiece, apparently 1676. I shall show other examples with the thumbpiece, but to have lion feet as well is very uncommon, as are the rope borders, and the decorative cut-out under the handle. The lions add considerably to the value, and their authenticity should always be considered. I should be very suspicious if the tankard was rather ordinary in every other respect  they are only found on extra good examples.
Typical form of late seventeenth century mug. Group marked under base. Examples with Chinoiserie decoration are found. Usually about half-pint size.
Another lion-thumbpiece tankard. As usual, of extra size, bold skirt, rib round body, original arms. Date 1692. About 3 pints.
The only other type of genuine embossing, date 1694. Generally, acanthus or fluted tankards are less valuable than equivalent plain ones, unless they have special features like the previous one. Look for holes in the decoration
A Queen Anne tankard date 1702. The cut-card work round the handle sockets adds 20% to the value.
A tankard and cover with Chinoiserie decoration. Very popular at the moment  up to three times the value of an equivalent plain one.
The type of tankard made from 1710 to 1740. Squatter than the later cylindrical types. Note the domed cover. They almost always have the moulded band round. Average size:
Queen Anne - George I - George II
Another made in 1697 showing the acanthus leaf embossing seen at the end of the seventeenth century. This, the following type, and Chinoiserie flat-chasing, are the only genuine types of embossing seen on tankards pre-1810. Sometimes the cover is similarly decorated as well, but here we have the lion. A small proof of authenticity  the marks are struck almost in the centre of the cover, well forward of normal, to clear the lion which is evidently original.
A rather unusual tankard made in 1721. The handle is cast, and the cover has a bold finial, and a rather elaborate thumbpiece. Original armorials. Because of its considerable extra quality and interesting design, it is worth considerably more than the standard type.
Type of mug developed about 1715 and continued until about 1740. The sides are almost straight, curving under at the base. The handles are cast. This example has exceptionally fine original arms.
Pint mug according to date.
Half-pint mug, according to date.
The ordinary baluster tankard and cover 1735 to 1760 Price Range.
From about 1735, mugs and tankards became more curvy and baluster-shaped, though they are broader and squatter than the later examples, as you will see.
The better type of baluster tankard of the same period. Broader, squatter, heavier, original arms.
Type of mug made between 1700 and 1730, in pint and half-pint sizes. The earlier ones may have the spiral fluted decoration of the one illustrated on page 169. These straight-sided mugs usually have a handle made
up from sheet, as this one.
The usual type 1755 - 1790. Note that the body is taller and the baluster shape less pronounced. The cover is higher. The thumbpiece is more elaborate, and the bottom of the handle often terminates in a fancy shield
with a scroll top.
The mug of the period. Taller body, cast handle, higher foot.
These reeded tankards started to be made about 1780, and continued until about 1820. They are usually of excellent quality. The ribbing is in one piece with the body, not added separately. They have never been as
popular as the earlier types.
The straight-sided tankard was made throughout the eighteenth century, although less common than the baluster type after 1740. As it is of somewhat less pleasing design, it is less valuable. Also, they are often rather lighter in weight. Some Provincial examples -of the 1770, onwards are very narrow in proportion, and thoroughly unpleasing. They are not popular.
Mugs follow the same shape. This is a rather unusual barrel-shaped example, which is sometimes seen in a full-size covered tankard. Sometimes these barrel-shaped mugs are engraved with hoops and staves,
sometimes they have moulded bands of equal width all over. Most barrel-shaped mugs are no more than half-pint size, or the even smaller child’s mugs.
The same period, but slightly unusual, without the girdle. Not necessarily more valuable, except because of the arms.
A very fine Regency tankard made in 1814, The decoration is embossed, but in order to make the tankard easy to clean inside, there is a sleeve soldered inside. Tankards of this quality are so uncommon that it is
difficult to give more than an approximate price. 50% - 100% more if Paul Story, especially if gilt.
A George IV child’s mug, often gilt. The snake handle and band of grapevines are quite usual  in fact, vine decoration was extremely popular at this period.
Victorian embossed child’s mug c. 1840.
Late Georgian early Victorian campana shaped child’s mug.
Victorian engraved child’s mug — slightly later date.
A good George IV tankard. The decoration on the body is embossed, and it, and the handle and finial, is very similar to that on teasets of the period. Actually, it is very uncommon to find a George IV tankard, as their
use seemed to have declined by then, but it does not make them very valuable, unfortunately!
An Elizabethan beaker of more English design about seven inches tall. The feet on most articles of this period were cast in sections, and not very well finished. The engraving is typical of the late sixteenth century to early seventeenth century. Normally marked underneath.
Two beakers of the type made 1660 - 1680. About three and a half to five inches high. The decoration is original. This type of pricked initial does not reduce the value.
Two similar Elizabethan beakers rather modelled on the German pattern with low feet. Normally marked underneath. All beakers are raised in one piece, the feet or base moulding being added for strength.
Another beaker, showing engraved decoration of the period. Although the technique is different the motifs are the same. As it is plainer, it might be a little more desirable and valuable.
Details of marks. Note that the silversmith has not bothered to clean off the surplus solder underneath.
Type of wine goblet made during the reigns of James and Charles 1, this one dated 1619. It could even be Elizabethan, but the bowl would probably be engraved. The baluster stem is a casting. The foot should be
marked with the lion passant, or it may be a replacement. Owing to their elegant design, they are extremely desirable and valuable.
As beakers are functional, simple articles, they continued more or less unchanged in shape for two hundred years from 1600. Only the decoration varies, but throughout the eighteenth century they were completely
plain. The earlier ones have a rather wider foot moulding.
Queen Anne George I - Early George - Late George George III.
Three tumbler cups. These were made from 1670 throughout the eighteenth century. They are hammered up from very thick plate, the sides gradually getting thinner. As most of the weight is concentrated in the base,
when laid on their side, they should tumble upright. Early ones are rather wider in proportion to their height. They are usually marked underneath, but later examples especially are sometimes marked on the side.
Unusual pair of beakers about 1790, with original arms. Pairs of goblets or beakers are worth three to four times the price of one.
So called “tot-cups” probably for a quick swig of eau-de-vie. Made 1710 to 1740, in sizes from one inch to three inches. The smaller ones are not very valuable, but the largest ones make very nice little sugar bowls
(being more in proportion to the little pitcher cream jugs than the proper ones) and are valued accordingly. However, some brandy warmers were made in this shape about 1765, so if it is rather later in period,
consider that this is one with the handle removed.
A coconut cup made about 1790. Coconuts, being strange and exotic, have been mounted in silver since Mediaeval times. The mounts often are not hall-marked. Their value at this period often depends on the interest of the carving. This one shows a naval battle in 1782.
Late 18th century, hall-marked, and as interesting as this.
This may be the place to introduce this object  it is a quaich, and they are Scottish. The earliest ones are of wood-staved construction, and are, I suppose, to the Scots what mazer bowls are to the English. They range
in diameter from two to six inches, and are sometimes engraved to represent staves and hoops. Examples made after 1700 are really rather “out of period” though this one was made in Inverness circa 1740. It is
impossible to place a value on the earlier ones; but they can easily run into thousands. Smaller eighteenth century examples are in the 400 - 1,000 range, depending on date and provenance, the rarer provincial
examples being particularly sought after.
A pair of double-barrel cups. London made ones are usually fully hallmarked on each half, on the ends or sides, and are mostly made 1770 -1800. Sometimes a half-beaker is found by itself.
A pair of vase-shaped beaded goblets about 1780. Original initials and crests.
As the monograms are prettily engraved and combined with crests, they may detract hardly at all from the value.
Perfectly plain beaker 1790-1820. Sometimes gilded inside. Usually marked on the body. About four inches high.
Generally, goblets without much character are less desirable. On the left is the plain thread edged variety made 1790 - 1810, and on the right one with a square base of the same period. Square bases are not very
popular for some reason, though it makes this one far more handsome.
An attractive pair of beakers of a type made from 1770 to 1810, though these are Scottish (as one can guess from the engraving) about 1790.
Early pair (about 1780) of bright-cut engraved goblets. Extremely desirable compared with the plain ones.

ANTIQUE SILVER COFFEE POTS
Coffee pots have always been one of the most popular pieces of silver  that or a pair of candlesticks has usually been the collectors first choice. Unlike candlesticks, however, coffee pots are amongst the most difficult things to evaluate.
Assuming the coffee pot to be a plain one, apart from a coat-of-arms possibly, the first thing to examine is the body. There may be thin spots, especially where arms or initials may have been, although one comes
across weaknesses in all sorts of odd places, where perhaps there had been a bad bruise, clumsily hammered out. Sometimes there will be patches, and these can usually be seen inside, if not outside. Beware if the inside is so heavily stained that you cannot see. The junctions of the handle sockets are also places to watch for breaks, sometimes filled in with soft solder, and for patches. Silversmiths sometimes reinforced these places with laid-on plates of silver at the time of making, although sometimes they are added later. Original strengtheners are usually shaped in some way, or even elaborated into cut-card work. However, this practice largely ceased about 1720. A little oval plate under the lower socket on later pots is usually a later repair.
If the coffee pot is decorated, the first question to consider is whether the decoration is original. A few simple rules: no coffee pot made before 1730 is embossed or engraved (apart from armorials). A few examples made 1730 - 1740 may be flat-chased, but not embossed in relief. Coffee pots of the rococo period circa 1740 - 1760 may be embossed. If the embossing covers the entire pot, it will usually have some definite decorative character; either Chinoiserie or shell-work, etc. If the decoration is floral, it normally occupies not more than two-thirds of the area of the pot. Carefully embossed flowers everywhere, especially with a matted background, are usually Victorian. During the Adam period, any embossed decoration should be in the style of the period; swags, rosettes etc. No coffee pot made before 1780 has engraved decoration, except armorials, and any there is between then and 1815 is usually bright-cut, or consists of decorative borders, never all over. Fluting round the lower half of the body may be seen from 1760. After 1815, one sees all types of decoration but it should still suit the character of the piece. I have included a number of genuine examples, but if in doubt, a reliable opinion should be sought. Decorated pots are less valuable than plain ones, possibly because they are more difficult to clean, possibly because most people prefer plainer examples, and probably because at one time all decorated coffee pots were suspected of being later embossed. Many dealers still do not understand the difference. However, fine decorated coffee pots are coming back into popularity, and may prove to be well worth buying. One dread warning - later work reduces the value by up to 60% so be sure it is right! If it is, also look to see there arc no holes in the high spots, and that they have not been filled with soft-solder.
Correct hall-marking of coffee pots is vital. On those coffee pots which are fully hall-marked underneath the marks should be struck in a group. If they are in a straight line the pot is not genuine. Those made after about 1775 are sometimes marked on the foot, as service coffee pots always are until about 1810, when they arc sometimes marked on the body. The slightly later round coffee pots are again usually marked underneath. The other position for hall-marks on eighteenth century pots is just to the right of the handle, with the handle towards you. Early octagonal coffee pots marked on the body sometimes have one mark on each panel. Except for one or two very rare examples which you are unlikely to come across, departures from these rules are almost invariably wrong. With the exception of tucked-under coffee pots made 1740 - 1755 and marked on the body, all coffee pots must also be hall-marked on the cover. The maker’s mark is not essential, but preferable. Beware of small straight-sided coffee pots dated 1715 - 1740  they may be made from mugs. If the cover is not properly marked, they almost certainly are. No coffee pot should be fully marked on the cover  too many marks are as suspicious as too few, except in Exeter. Coffee pots marked on the body sometimes have an additional maker’s mark struck under the base, especially during 1740 -1755 period and in this case the maker’s mark is not always repeated on the body, although the other marks are there. After 1810, coffee pots will usually bear in the cover the lion passant, duty mark, date letter, and maker’s mark, without the town mark.
A similar type of coffee pot, but with the strengtheners on spout and sockets elaborated into the highly desirable cut-card work.
A fine example of a side-handled octagonal coffee pot. Note the method of marking. The pots always have a cast duck’s head spout  never one made from sheet. The arms are original, but of rather unorthodox design
for the period.
A later round pot date 1724. The domed cover is about to give way to the flatter cover of the next example. This is not a fine pot  the modelling of the spout is feeble, the arms, though original, are crudely done, and
the base-moulding is clumsy.
This coffee pot, because of its cast “ducks head” spout, is made about 1715. It is unlikely to be later, as the side-handle went out of fashion around this date. On all the side-handled pots the armorials, if any, are
directly opposite the handle.
Another fine example. The handle opposite the spout, and the cast handle sockets (usually they are made from sheet) indicate a slightly later date  1715 - 1725  as well as extra fine quality. Original and typical
armorials.
More ordinary examples, especially if marked on the base, 1,500 - 2,500.
A much nicer example, about the same date 1725. Better spout, fine engraving, attractive proportions. If it were not, the previous pot would be dearer, although of the same date, because of the earlier type domed
cover.
Date 1729. The “duck’s head” has gone, but the spout is still cast and facetted. The cover has a concave section. This type of pot continues until 1740. The hall-mark on the body is slightly unusual 1725 - 1740. Here it is slightly rubbed, but acceptable considering the position.
Unusual side-handled pot seen in the 1730’s. The decoration is not engraved, but flat-chased, and would show through on the inside. Although basically baroque, the beginnings of rococo are visible in the decoration.
These pots are also usually of small size.
The first of the “tucked-under” coffee pots. The plain spout and notquite-domed cover put it about 1738. Compare with the next example.
Date about 1735. Type of spout sometimes seen about this period. Original arms. Small size, so it is less valuable.
The last of the straight-sided pots. 1735 - 1740. The spout is becoming more curly, and is leaf-capped. Fine large armorials.
Typical ordinary “tucked-under” coffee pot 1740 - 1755. Leaf-capped scroll spout, cast handle-sockets, domed cover with baluster finial.
A better example, about 1750, displaying slightly more baluster shaped body, bird’s head spout, original shaped reinforcement on lower handle socket, and rather nicely made flat hinge, always a sign of quality.
A fine coffee pot with superb rococo semi-flat-chased decoration with shell and leaf forms, waterfalls and cherubs. Note the highly decorative spout and sockets which should accompany decoration of this character, and full baluster shape of body. There are only three hall-marks visible; the maker’s mark is underneath. Date 1753.
Early George III, a coffee pot decorated with Chinoiseries. Note the unusual cast pierced foot, and the body shape, which is seen at the same time as the baluster type, but is distinctly more uncommon.
An equally good example, date 1753, better hall-mark, and fine important arms.
Rather early (1756) for its type, a fine rather uncommon water jug. Desirable for its quality, but not nearly as valuable as a coffee pot.
A water jug of the same period, with similar decoration. Not quite such fine quality, and as a water jug, considerably less valuable.
Two less outstanding examples, much smaller, and the rim feet designed to fit into stands which have almost invariably been lost. The handles are usually wickered as the one on the right should be, and the gadroon wire round the foot is probably added.
Another Irish coffee pot, about the same date, but plain. Absolutely enormous size, but slightly odd proportion.
A good typical example of the gadroon-bordered baluster coffee pots. An extremely popular and desirable type.
A London made coffee pot, date 1776, with restrained Adam decoration of embossed swags with lovely cast spout. Note beaded borders just coming in.
An outstanding water jug of the same period.
An Irish coffee pot made about 1775. Irish styles are usually some years behind London, and the decoration here still retains something of the rococo mixed with the Adam style. Irish coffee pots are often of large size.
A water-jug of the same period. Note re-emergence of the seventeenth century acanthus leaf, and the beaded borders. If not marked on the neck, as in this example, they may be marked inside or outside the edge of the foot, rather like a candlestick, or squeezed up on the body right inside the foot.
Water jug with pear-shaped body. About 1775
A water jug of the same period, with its matching stand.
A type of water jug seen about 1785. This style was favoured by Schofield.
As an exception  a round coffee pot that may have been made as an individual example about 1800.
A Regency coffee jug of handsome design. Very solid in quality. These jugs are again quite modest in price.
George IV semi-melon coffee pot about 1825.
The coffee biggin made from 1790 - 1810. The term is a Midlands one. Biggins have cylindrical sides, incurved at the top. The cover is usually a push fit, not hinged. They had a stand with a spirit lamp, usually now missing. For some reason, they are usually quite moderately priced.
Four nineteenth century coffee pots. The upper two are about 1835, but could be between 1825 and 1845. The lower two are about 1850. Of this type of pot, the engraved ones are the least popular. They all belonged
to tea and coffee sets, some of which I will illustrate in the next chapter.

ANTIQUE SILVER TEA POTS AND TEASETS
A lot of the remarks about coffee pots apply to teapots, as indeed they apply to most hollow-ware. Early teapots were usually very small, as tea was extremely expensive (about the present day equivalent of t50 per
pound). As people like to use their silver, a large early teapot is very desirable.
Teapots have always been less common than coffee pots up to 1780, and until recently were always more expensive. However, the differential is now very small  in fact, early coffee pots now are considerably more
expensive than teapots.
Examine teapots for thin spots, patches, torn-out handle sockets etc. The straight-sided oval teapots of about 1780 are usually made of a particularly light gauge silver, and have not worn well. If they have had to be erased once, it shows. Also teapots get more use than almost any other household object, and it is quite common to find, in a complete four-piece service, that the teapot is in noticeably worse condition than the other pieces. Another weak point is the joint, or hinge of the cover, especially the let-in-flush type. Once these have become very worn, it is virtually impossible to do anything about it, although people will have tried. One should always look very carefully there, and you will see some very nasty repairs.
Early teapots are rather prone to faking because they have always had a high value. They differ from coffee pots in being never marked on the body until the nineteenth century, and those made up to the oval ones of
1780 should be group marked, except the very rare rectangular-octagonal ones such as on page 127. The covers should be marked as coffee pots, except that they usually do not have bezels, so the marks should be struck inside the cover. So called “bullet” teapots of 1715 - 1745 can be made in two ways: with the body raised in one piece including the bottom, or with the bottom made and inserted separately. The latter type lend themselves particularly easily to faking, and a mark in the cover is most important. Nevertheless, the writer has handled examples without, which were undoubtedly genuine. It also rather depends on whether the joint is of the flush type, when the cover cannot be removed without removing the joint which is soldered in flush with the body; or whether it is a laid-on joint from which the pin only has to be knocked out; or even a completely loose cover. If anything, the Hall were likely to regard the first virtually “made in one piece” and the pot, even if the
cover is not marked, is more likely to be genuine than with the latter types. However, dealers regard these pots without cover marks with great suspicion, and as few amateurs have the knowledge and experience of
specialist dealers, it would be as well to leave this type of pot alone unless it comes from an unimpeachable source with a money-back guarantee. Early type of rectangular-octagonal teapot with the stand which most of them had, but which now seldom remain. The teapot would normally be
marked underneath, and should have the maker’s mark and lion’s head erased on the bezel of the cover. Note original arms. The stand should be fully marked, either on the rim in which the teapot sits, or sometimes one mark on each leg. The lamp, which is loose, should be fully marked. It would be nice if the lamp cover were marked, but they seldom are, and it does not matter. The handle socket of the stand may bear just the lion’s head erased. This is the only type of teapot made before the oval ones of 1775 which need not have a group mark.
More conventional inverted-pear octagonal teapot of 1715 - 1725. This type can also be seen with the break in the body as the previous example, in which case they are usually larger and heavier than this example.
More common round teapot of the same period.     1,500 - 2,500
The octagonal bullet type, teapot 1720 - 1730. Usually of very fine quality. Sometimes made with seven, nine, ten or twelve sides.
Scottish bullet teapot of about 1720. The cover would not be marked. Note also the silver handle with ram’s horn insulators  silver handles are not seen on English silver until the early nineteenth century. Scottish silver of this period is very rare and desirable.
Conventional bullet teapot with flush-jointed cover, decorated with a band of so-called Hogarth engraving, and with baroque armorials. Any time from 1720 to 1740, although this is probably in the middle. Quite small.
Scottish bullet teapot of completely spherical shape peculiar to that country. Could be anything from 1720 to 1750, but from the engraved decoration round the edge of the cover, one would put it about 1730. Later types have this decoration flat-chased, or even heavily embossed, when it becomes rather ugly.
The last of the bullet teapots  made about 1750 it has the leaf capped scroll spout and sockets of coffee pots of the same period, as well as fine rococo armorials.
A large, heavy and somewhat over-elaborate example about 1765. These leafy sprays with flowers can be distinguished from Victorian work by their comparative open-ness and lack of matted background.
The pear-shaped teapot was superseded by the cylindrical “drum” type. These usually have engraved borders, or are embossed or engraved with swags. They were made for a very limited period  1765 - 1780, and so they are really quite rare and usually rather pretty. Taking these facts into account, their price is really not unreasonable. This one has a hinged lid, but they are often loose.
An example of the inverted pear teapot which superseded the bullet. Completely plain examples of this type are comparatively uncommon they usually have a band of flower and scroll embossing around the shoulder
and on the cover. The bodies of these teapots are invariably made in one piece, with a flush jointed cover, which in four cases out of five is not marked. All the same, dealers much prefer those that are. The spout is
more elaborate than the preceeding example.
The next type of teapot is the straight-sided flat topped oval type. This photograph shows the typical shape, but the engraved decoration is rather elaborate and unusual, as is the wickered handle  the following two
examples show the usual type. Also this one has a loose cover. The flat-topped teapot continued from just before 1780 to about 1790. The cover must be marked.
Slightly later  a few years on either side of 1800  when a considerable variety had come into the shape, mostly rectangular with different types of fluted or curved corners. This one has its original stand, which adds greatly to the value. Check it is the same date and maker.
The idea of making tea and coffee sets as one unit came in about 1785, although there are one or two sets of great rarity going back to Queen Anne, usually Royal Property. A teaser consists of a teapot, sugar basin
and cream jug, and a tea and coffee set obviously the same with a coffee pot. They are usually referred to as three or four piece sets. Each piece has an individual value but the value of the whole is much greater than
the sum of the parts. The set in this picture is from the 1790’s.
The 1790’s teapot, oval straight-sided, but boat-shaped outline at top. Elaborate bright-cut engraving, usually rather light gauge. Cover must be marked.
Oblong tea sets produced with variations 1808 - 1818. The ball feet are typical. Marked on the bodies usually, sometimes underneath.
Rather unusual tea and coffee set which could be 1805 - 1815. Lower value than oval bright-cut set, although much more substantial.
An engraved set of the period  rather an ugly one to my mind.
About 1815 teasets reverted to the round, and stayed so with some exceptions throughout the nineteenth century. As it is comparatively restrained, this set is dated between 1815 - 1825.
A plain tea and coffee set of the same period four piece set three piece set teapot alone coffee pot alone.
A fine tea and coffee set of the Paul Storr/Benjamin Smith/John Bridge/ Phillip Rundell type. 1815 - 1825. They always have a jug on stand rather than a coffee pot, and the Greek Key mounts and snake handles are
typical.
Teapot on stand  - Teapot only - Coffee jug only Post 1830.- less 30%
A fairly ordinary tea and coffee set which could be from just after 1820 -1835.
A rather ugly set by John Angell a few years either side of 1820. Very heavy, but look for holes and solder. A very popular type which fetches a fair price for its quality if in fine condition of four piece set teapot three
piece set coffee pot only
One of the finest types of early Victorian services - basically plain yet interesting (and difficult to make) shape and decoration. 1830 - 1850.
Teapot alone - Coffee pot alone
Two tea and coffee sets 1835 - 1860. These rather ornate embossed sets are very popular, especially with Americans and Italians.
Four piece sets - three piece sets - Cream jug
A later type of set, 1870 - 1890, usually excellent quality. Probably made by Martin Hall or Elkington. Personally, I prefer it to the preceding pattern.
Four piece sets, Three piece sets, Teapots, Coffee pots only
If any of the last few Victorian sets are found with a hot-water jug as opposed to a coffee pot, the value will be intermediate between three and four piece sets as given.