Sugar Basin, London, silver-gilt Dressing Table Set, Table Candlesticks, Sheffield

A Breakfast Dish, oval, with crested lobed revolving cover, complete with liner and drainer, and a pair of Coasters, circa 1820, circular, foliate borders, turned wood bases, 6in.

Assorted Plate, comprising: Tea Kettle on lamp stand , compressed circular, complete with burner; Candlestick, oblong base, 6in.; Hot Water Jug, part lobed vase shaped; two Trophy Cups; Sugar Vase, vine cast (liner); pair of Wine Labels; Tea Caddy, part lobed oval; pierced Bottle Sleeve; and two Inkstands, cylindrical with hinged cover and shaped oblong with central taper stick.

Further assorted Plate, comprising:
small Vegetable Dish, circular (liner); three
Entree Dishes, with covers and a handle from
another (two handles wanting); Entree Dish on
Heater Frame, oblong, with burner; Salver,
twin crested circular, 9in.; Tray, plain oval,20in.; and a three light Candelabrum branch.

A plate-mounted oak and ram’s horn Desk Compendium, circa 1890, the oblong oak body with drawer below two ram’s horns with dolphin mask and tail mounts enclosing a bell, later clock and two inkwells, applied inscribed shield, with bell striker (the clock detached), 17in.

A set of three Meat Domes, in sizes, plain oval, fluted at intervals above gadroon borders, with twin dolphin ring handles, and a pair of handles from entree dishes, 15, 18 and 20in.

An Old English pattern Canteen, twelve place setting, crested, comprising: twelve tablespoons, twelve table forks. twelve dessert spoons, twelve dessert forks. twelve teaspoons, six egg spoons, four cruet spoons, pair of sauce ladies. serving spoon. soup ladle, twelve table knives. twelve cheese knives, two pairs of caners and a steel wood case.

SILVER AND ALLIED WARES
A Victorian Flask, Edinburgh, 1875,
scroll engraved concave oblong, crested and
monogrammed, beaker base, 5in., and a pair
of Mustard Pots, Birmingham, 1909, oval. pad
supports, gadroon rims and baluster finials.
spoons (liners), 14oz.

A silver and ivory fitted crocodile travelling Dressing Case, Birmingham, 1913/15, comprising of ivory: hand mirror. two hair brushes, two clothes brushes. shoe horn, two glass bottles and box; of ivory with silver rim bands: five glass bottles and a flask with beaker base; of ivory and steel: button hook and sundry manicure implements. monogrammed throughout.

A George III Sugar Basin, London, 1816, plain oval above bail supports, gadroon rim, angular handles, 10oz., 8in.

A Victorian matched three piece   Bachelor’s Coffee Set, London and Sheffield, 1870/84, engraved tapered shaped oval, the pot with ivory handle and button. 21 oz. (all in).

A George IV three piece   Tea Set, Dublin, 1827/28, melon shaped, stiff leaf chased at the Shoulders above panel supports, leaf capped scroll handles, the pot with curved spout, domed cover and flower finial, 52oz. (all in).

A six piece   silver-gilt Dressing Table Set, London, 1954/55, engine-turned. diamond and sapphire chip initial ‘S” applied, comprising: hand mirror, pair of hair brushes, pair of clothes brushes and a comb.

Assorted Silver, comprising: Paper
Grip, embossed heart shaped, London, 1889; Berry Spoon, 1836; Sugar Bowl and pair of
Sugar Tongs, modem dates; Spill Vase, import marked London, 1890, figure stamped oval;
and plated: glass Flask with beaker base and a pair of Berry Spoons (case), (of silver).
A George III Mustard Pot, London, 1798, plain oval, receded borders, crested cover with simple thumb piece, 3oz. liner.

Eight Snuff and Pill Boxes, comprising: engraved oblong example, Birmingham, 1825, four die-stamped, engine-turned and plain examples, post 1900 dates, sizes between l and 3in.; and three examples die-stamped and engraved, Victorian dates, sizes between VA and 3in., 8oz.

A Caster, Birmingham,1914, octagonal vase shaped, plain above a
spreading foot, scroll pierced cover, 4oz.,7m.

Beaded pattern Table Silver, Georgian dates, comprising: six tablespoons; twelve table forks, six dessert spoons and two sauce ladies, Sheffield, 1900, 48oz.

A Victorian Rose Bowl, Sheffield, 1894, part lobed hemispherical, presentation inscribed above a spreading foot, 28oz., 9in.

A two handled Bowl, London, 1904, circular, chased with shield shaped panels incorporating an inscription above a spreading foot, scroll side handles, 26oz., 7in.

A pair of Table Candlesticks, Sheffield, 1903, the concave square bases moulded with rivet straps at the angles below tapered square stems, circular drip pans and cylindrical sconces (loaded), 8in.; Mustard Pot, London, 1903, scroll pierced cylindrical in Georgian taste, gadroon and shell borders, shell thumb piece (liner), 3in.; and a Cigarette Box, Birmingham, 1939, engine-turned rectangular (lined), 7in., 4oz. (of weighable silver).

Fiddle pattern Table Silver, London, 1818/29/60, crested, comprising: twelve table forks, ten dessert spoons and twelve dessert forks, 53oz.

Eight Hanoverian pattern Tablespoons and a pair of Sauce Ladies, Chester, 1906, rat-tail bowls, 26oz.

Victorian Salt Cellars, Sugar Basin, London, Wine Funnel

Assorted Flatware, comprising: pair of Fiddle Thread pattern Sauce Ladies, London, 1821; six Husk pattern Teaspoons, London, 1833134; pair of Sugar Tongs, circa 1790, and two Tablespoons, possibly Channel Islands, 16oz.

A Salver, Sheffield, 1931, shaped circular. inscription and facsimile signature engraved within a moulded border, volute supports. 35oz., 14in.

A model Fox, Birmingham, 1969, realistically cast and textured in prowling pose. 7oz.

Six George II Hanoverian pattern Tablespoons, London, 1736/37, later initialled, 12oz.

Fiddle pattern Table Silver, mostly late Georgian dates, comprising: twelve tablespoons, twelve table forks. six dessert spoons and ten dessert forks. 79oz.

A set of four Victorian Salt Cellars,
Birmingham, 1864, shell form above dolphin
supports, and a plated Salver, shaped
circular, crested and scroll flat-chased, foliate
scroll border, volute supports, 12in., 3oz. (of silver).

A silver-mounted Glass Lemonade Jug, London, 1904, crest and initial out cylindrical body with loop handle and inner ice tube, plain silver rim and crested silver-capped cork tube stopper, Win
A George III Teapot, London, 1798, crest and initialled cartouche and festoon engraved oval, wriggle worked
borders, straight spout, domed cover, ivory loop handle and button, 14oz. (all in), 6in.

Assorted Silver, mostly post 1900 dates, comprising: twelve pairs of Dessert Knives and Forks, silver blades and tines, mother o’ pearl handles (case); two Flasks, engine-turned; set of six Coffee Spoons; Teaspoon; five Old English pattern Teaspoons and Tongs, Georgian dates, 17oz. (of weighable silver).

A George III Sugar Basin, London, 1800, crest, initial and foliate band engraved oval, angular handles, gilt interior, 7oz.

Twelve William IV Fiddle pattern Table Forks, London, 1832, crested, 28oz.

Twelve Victorian Hanoverian pattern Dessert Spoons and twelve Dessert Forks en
suite, London, 1880, crested, 32oz.

Assorted Silver, post 1900 dates, comprising: pair of Sauce Boats, plain oval,
waved rims, pad supports; single smaller
example and an Ashtray with central golfer,16oz.

Assorted Silver, earliest date, London, 1897, comprising: pair of
Candlesticks, oval bases, flared stems (loaded), 7in.; pair of Sati Cellars, oval (liners); Sugar
Bowl, plain circular; two Cigarette Cases;
Note Case (lined) and a Matchbox Sleeve.

Assorted Silver, comprising: Fiddle
pattern Serving Spoon, Exeter, 1804; two
Fiddle pattern Mustard Spoons, Irish Georgian
dates; Kings pattern Butter Knife and Sugar
Tongs, Victorian dates; Sugar Bowl and Milk
Jug, monogrammed part lobed oval; Tobacco
Box; two Napkin Rings; pair of small circular
Photograph Frames; Watch Frame; pair of
Sugar Tongs and Jam Spoon, ail post 1900
dates, 27oz. (of weighable silver).

Assorted Silver, post 1900 dates,
comprising: silver-mounted glass Teapot
Stand; three Napkin Rings; two Teaspoons;
pair of Sugar Tongs; decorative Spoon,
terminal moulded with the arms of The
Fan makers’ Company; and foreign: Indian
Napkin Ring and cylindrical Box, Siamese or
Burmese, figure chased, detachable cover, 8oz.
(of weighable silver).

A Christening Can, London, circa 1830, tapered cylindrical with receded bands, angular handle, and a pair of American Salad Servers, pierced floral terminals, 5oz. (of weighable silver).
Fiddle pattern Table Silver, mostly Dublin, Victorian dates, comprising: six table forks, six dessert spoons and five dessert forks, and six Fiddle Thread pattern Table Forks, London, 1864, 50oz.

A Victorian nine piece   Dressing Table Set, London, 1899, Romance figure and scroll embossed, comprising: tray, shaped oval, hand mirror, pair of hair brushes, pair of clothes brushes and three boxes, cylindrical, oval and shaped oval, 21oz. (of weighable silver).

Toilet Boxes, comprising: circular example with Rococo figure cast detachable cover, London, 1811; three glass bodied examples with embossed and engine-turned covers, Birmingham, 1902112; oblong example, scroll embossed oblong, figure stamped hinged cover, Chester, 1904, and an oblong example, Tiffany, circa 1900, part scroll and shell decorated cover, inscribed, 14oz.

A Victorian seven bottle Cruet
Frame, London, 1848, flower embossed
circular, panel supports, central ring handle,
wood base, with seven faceted glass bottles,
three with silver covers, 9in.

A William IV Wine Funnel,
London, 1833, part racially and cartouche
chased campanile shaped strainer with foliate
thumb piece, detachable spout, 4oz.

A George III Waiter, London, 1761,
shaped circular, plain within a scroll and shell border, pad supports, 5oz., 6in.

Victorian Sauce Boats,  four piece Tea and Coffee Set, telescopic Table Candlesticks

A pair of Victorian Sauce Boats,
London, 1899, plain oval, waved rims, shell
headed pad supports, leaf capped flying
scroll handle, 16oz., 7in.

A Victorian Cake Basket,
Birmingham, 1899, fruit embossed and
lattice pierced shaped oval, scroll and shell
border, swing handle, 14oz., 12in.

A pair of Sabbath Candlesticks,
London, 1905, domed bases on panel
supports, double knapped  baluster stems,
thistle shaped sconces with nozzles, flower
and scroll embossed throughout, 24oz.

A pair of Victorian Candlesticks, Sheffield, 1896, petered and husk embossed concave square bases and pillar stems, Corinthian sconces, nozzles, gadroon borders (loaded), 7in.

Eleven Kiddush Cups, London and Birmingham, circa 1910 dates, wriggle
worked thistle and flared cylindrical, spreading bases, sizes between 3 and 4in.

A Caster, London, 1908, octagonal baluster, girdle applied above a spreading foot, pierced cover with faceted Finial, 8in.

Thirteen George III Old English pattern Table Forks, London, 1794/97, initialled, and a five piece   Cruet Set, Birmingham, scroll embossed, spoon (case), 35oz.

A Victorian matched four piece   Tea Set, London, 1889/90/99, part lobed oval and baluster, the pots with composition handles and buttons, 28oz. (all in).

Assorted Silver, post 1900 dates, comprising: pair of Sauce Boats, oval, waved rims, stepped pad supports; single example, oval, gadroon rim; two Tea Caddies, cylindrical with detachable cap and shaped oblong with hinged cover; pair of small Armada Dishes; Saint Cellar, compressed circular; Quaich; pair of Bon-Bon Dishes, boat shaped above spreading bases; and plated: Salver, six cup Egg Frame with cups, Sauce Boat, pair of Beakers, Napkin Ring, Muffin Dish, liner and cover, 42oz. (of silver).

A silver-mounted cut-glass Claret Jug, London, 1901, vase shaped, with silver spreading foot, twin crest engraved capstan neck, domed cover and loop handle, beaded borders, 11in.

A George II half-pint Mug, London, 1752, plain baluster, spreading foot, double scroll handle; Pap Boat, circa 1840, oval gadroon rim and four Turkish Zarfs, 19th century, pierced and chased hemispherical, ring bases, 13oz.

Four Dishes, earliest date Birmingham, 1900, comprising: shaped oval example, foliate scroll stamped and lattice pierced, 10in.; circular example, vine panel pierced within a vine border, spreading foot, 8in.; circular example, band engine-turned, 6in., and an octagonal example, alternate panel pierced above a spreading foot, 38oz.

A George III Teapot, London, 1817,
stiff leaf chased compressed circular above panel supports, curved spout, loop handle, domed cover with button finial, 26oz. (all in).

A four piece   Tea and Coffee Set, Birmingham, 1917, faceted oblong, plain
above pad supports, the pots with composition handles and buttons, 57oz. (ail in)

A George III Teapot, London, 1807,
later flower chased compressed circular, ring foot, curved spout, domed cover with flower finial, wood scroll handle, and a pair of Sugar Tongs, Newcastle, 1873, 19oz. (all in).
A Victorian Trophy Cup and Vase,
both London, 1867, the former band
wriggle worked vase shaped above a spreading
foot, 7in., the latter scroll strap engraved
bell shaped, waved rim, spreading foot,
and two Cigarette Boxes,
engine-turned oblong (lined), 13oz. (of
weighable silver).

A pair of Victorian Candlesticks,
London, 1894, concave square bases, pillar
stems and urn shaped sconces, festoon and
ram’s mask embossed throughout, detachable
nozzles, stiff leaf borders (loaded), 6in.

A four piece   Tea and Coffee Set,
Sheffield, 1911/15, compressed circular and
baluster, plain above pad supports, the pots
with composition handles and buttons, 65oz.
(all in).

A pair of George III telescopic Table Candlesticks, Sheffield, 1818, circular bases, cylindrical stems, campanile shaped sconces with detachable nozzles, gadroon borders throughout (loaded), 8in.

A Coffee Tray, Sheffield, 1923, oblong, plain within a part scroll pierced border, loop handles, 45oz., 18in.

Six pairs of Victorian Dessert Knives and Forks, London, 1887, silver blades and tines, banded agate handles; six Old English pattern Teaspoons, London, 1806, initialled; pair of Sugar Tongs, 1880; and two sets of six Coffee Spoons, post 1900 dates, 6oz. (or weighable silver).

A Salver, Sheffield, 1964, shaped circular, plain within a gadroon border, volute supports, 39oz.

RUSSIAN PARCEL-GILT CIGARETTE BOX, AUSTRIAN SILVER-GILT AND CARVED AGATE COUPE, GERMAN PARCEL-GILT STANDING CUP, GEORGE III SILVER CREAMERS

RUSSIAN PARCEL-GILT CIGARETTE BOX
AND A CONTINENTAL SILVER -GILT COMPACT, the
first with maker’s mark KK, Moscow, circa 1900,
rectangular with rounded corners, applied with gilt,
enameled or ‘jeweled’ souvenirs and inscriptions,
including a frog climbing a ladder after a rat, a dragon,
crested shields, a tragedy mask, a Japanese style
mountainous landscape, a bottle of champagne, a tennis
racket and a lady bug, with gilt interior, the second
apparently unmarked, probably Russian, circa 1900,
similar, engraved in one corner with a spider’s web,
applied with enameled or ‘jeweled’ trinkets including an
owl’s head, a crowned serpent, a pair of tongs, a riding
whip and horseshoe, a crowned double headed eagle, and
a sword, opening to reveal gilt mirrored compartmented
interior, on gilt chain hung with more trinkets. L.

AUSTRIAN SILVER-GILT AND CARVED
AGATE COUPE, Vienna, 1821, of tapering cylindrical
form on circular base, the border of the base applied
with band of quatrefoils and foliage, set at intervals
with faceted carnelian beads, the edge and gallery
mount with gadroon rims, raised on 4 faceted agate ball
feet, struck with Austrian quality, date and tax marks.

AMERICAN SILVER-PLATED REVOLVING
SUPPER SERVICE, English Silver Mfg. Corp., Brooklyn,
N.Y., 20th century, the circular base with 4 turned
handles, fitted with 4 covered entree dishes, 2 casters,
2 footed bowls and a central covered bowl, gadroon
rims and handles, monogrammed CBU. L.

ITALIAN SILVER FOUR PIECE TEA AND COFFEE SERVICE, Milan, 20th century, comprising: coffee pot, teapot, creamer and covered two-handled sugar bowl, each of lobed pear form on

leaf-capped scroll feet, wood handles, bouquet finials, the interiors of the creamer and sugar gilt, stamped on the bases File Peruzzi, 90 gross. H. of coffee pot 8″.

RUSSIAN NEOCLASSICAL CANDLESTICKS, maker’s mark M.P.circa 1900, each
of square section, embossed and chased with ribbon-tied laurel swags and wreaths, with reed-and-tie borders, on 4 scroll panel feet, the sconces and fixed drip-pans chased with

stiff leafage, fluting and beading. Together with a pair of Continental silver candlesticks, 20th century, 750 standard, each of baluster form, on 4 openwork grapevine feet,

engraved with Greek key pattern bands and circular cartouche.

THREE SILVER-PLATED TABLE ARTICLES,
late 19th century, comprising: a George III silver-plated
hot water urn, with fluted lower body, reefed loop
handles, ball finial and feet, ivory spigot, a hot water
siphons, maker’s mark WP&S, the globular urn on 4
reefed legs and paw feet, with detachable tube
terminating in strainer, ivory spigot, flanked by
cylindrical vessel, all on shaped rectangular base, 4
panel feet, engraved with foliate swags and bands,
beaded rims, and a meat dish cover, Ellington & Co.,
1884, engraved with swags and pattered, with beaded
borders, detachable reefed handle, monogrammed IMD.

GROUP OF ENGLISH AND AMERICAN SILVER
TABLE ARTICLES, comprising: a presentation salver,
Adie Bros. Ltd., Birmingham, 1931, circular with
molded piecrust border, on 3 scroll feet, engraved in
the center with inscription and date, a tassel, Gorham
Mfg. Co., circa 1867, the shallow bowl applied with
openwork medallions of female masks, engraved with
interlocking initials SGD, an oval bread dish, Tiffany &
Co., 1907-1938, with reefed rim, monogrammed SJS, a
set of 4 open salts, Graff, Washburn & Dunn, retailed
by Cartier, with a blue glass liner, and a mug, Tiffany &
Co., circa 1900, with lobed lower body, presentation
inscription and date, 76 gross. D.

GROUP OF CONTINENTAL SILVER TABLE
ARTICLES, comprising: a pair of Belgian circular
platters, Decocted, Brussels, 20th century, with gadroon
rims, a Hungarian shaped oval presentation tray,
Bacharach A. Sock, 20th century, with gadroon rim,
engraved with 7 facsimile signatures, an Austrian
caster, maker’s mark AW, Vienna, 1820, of tapering
cylindrical form on pedestal foot, with reefed and
gadroon bands, pierced detachable cover, a pair of
French footed condiment dishes, circa 1800, each of
boat form with loop handles, diamond-shaped base, with
gilt compartmented interiors, engraved on the foot
D.G/C.B., and a French gilt beaker, late 19th century,
in Louis XVI style, monogrammed JH, 92 D.

GROUP OF SILVER AND SILVER-GILT
ARTICLES, comprising: a French part dressing table
set, with brush, shoe horn, 3 small circular boxes, a
rectangular box, and 4 mounted glass containers, some
engraved with armorial and motto, a Dutch mounted
embroidered cloth purse, 19th century, an Italian small
box, retailed by Tiffany & Co., with rusticated surface,
an American rectangular cigarette box, the lid
engraved Janie, the gilt compartmented interior
inscribed with name and address, a French oval pen tray
and a pair of circular ashtrays, G. Keller, the former
monogrammed, 2 pairs of English sugar nips, one
London, 1888, the other Birmingham, 1963, an
American silver letter opener, Tiffany & Co., an
English inkwell, Birmingham, 1928, an American
jewelry box with drawer and hinged lid, an etui, and 2
teaspoons. Together with a gilt plated seal. 48
weighable silver.

GERMAN PARCEL-GILT STANDING CUP AND
COVER, late 19th century, of lobed inverted pear form,
chased and applied with scrolling foliage and
flower heads, rope work bands, with openwork knap of
winged putty herms alternating with beaded strap work,
on conforming circular foot, engraved with armorials,
the matching cover with openwork beaded foliate
gallery, leafy finial, 62 H.

PAIR OF CONTINENTAL SILVER COMPOTES, late 19th century, each with circular bowl pierced with ovals, flutes, berried laurel oval wreaths, swags and foliage, reed and foliate rim,

on 4 panel legs capped with grotesque masks connected by laurel swags and terminating in paw feet, on circular bases with rosettes in the center, lack liners, 34 H.

TWO GEORGE II SILVER CASTERS, George
Methuen, London, 1744, of baluster form with molded
pedestal bases and borders, detachable covers pierced
with diaper and scrolls, one with partly pierced sleeve,
bell finials, marked on bases and covers, 11 H.

GROUP OF GEORGE III SILVER FLATWARE,
comprising: an Old English pattern bright-cut gravy
spoon, by Hester Bateman, 1787, a fish slice with
reefed handle, the blade pierced with a band of
pattered, the center engraved with armorials, by Peter
& Ann Bateman, 1793, the handle by Moses Brent, and 2
Onslow pattern sauce ladles with shell-shaped bowls,
one by Christopher Skinner, Dublin, 1767, the other by
Michael Keating, Dublin, 1773, 6 excluding slice.

GROUP OF FRENCH SILVER-GILT
FLATWARE, Paris, early 20th century, comprising: 6
forks, possibly Havilland & CAE, in a modified Kings
pattern, 6 fruit knives, in a similar pattern, and 12 fruit
spoons, in a Baroque style strap work pattern. Together
with a set of 9 English silver coffee spoons, Goldsmiths
& Silversmiths Co., Sheffield, 1960, 6 Continental
silver-gilt teaspoons, in a Shell-and-Thread pattern, and
2 gilt silver-plated fruit knives. 28 weighable
silver.

GROUP OF SILVER, comprising: a wine funnel
of typical form with pierced bowl and detachable
funnel, by ?Luke Proctor & Co., Sheffield, 1791,
engraved with initials W.B.S.C., a Belgian slightly
tapering cylindrical beaker, circa 1835, and a vase-
shaped nutmeg grater, engraved with initial H,
unmarked, possibly American, 19th century, 7 H.

FRENCH EMPIRE STYLE SILVER COVERED
TUREEN, maker’s mark MR with hammer between,
Paris, late 19th century, circular, with leaf-and-dart
bands, swan-form handles, the collar flat-chased with
interacting bird wings alternating with foliate motives,
the domed lid with cone finial centered by abjure
roundel of anthemion and leaf tips, monogrammed SL,
43 L.

POLISH SILVER STANDING CUP AND COVER,
mid-19th century, of inverted pear form on baluster
stem, domed foot, chased with petal-shaped lobes
engraved with scrolling foliage and strap work on matte
ground, alternating with plain lobes, the double domed
cover with conforming decoration and flaming scroll
finial, gilt interior, 36 H.

GROUP OF GEORGE II AND III SILVER TABLE ARTICLES, comprising: an open sugar bowl, Fuller White, London, 1753, of inverted pear form, with molded lip and pedestal foot, a cruet

stand, Samuel Wood, London, 1740, with reserves for 2 bottles, on 4 shell feet, with C-scroll handle, applied with a rococo cartouche engraved A/R.H., with one silver-covered

cut-glass cruet bottle, a dinner plate, maker’s mark DW script, London, 1768, with shaped gadroon rim, the border engraved with a crest, and a salver, maker’s mark RR, London,

1771, with shaped circular gadroon rim, on 3 splayed slipper feet, later engraved with racially around the edges, 57 L.

FOUR GEORGE III SILVER CREAMERS, the
first by William Abby I, London, 1788, of helmet form
on square foot, bright-cut with floral swags and ribbon-
tied cartouche monogrammed ST, with reefed strap
handle, the second by Robert and David Kennel,
London, 1797, of oval section, the shoulder with
pinpricked band of wriggle work design, engraved under
the spout with a wreath containing monogram MAC,
with reefed lip and harp-shaped strap handle, the third
no maker’s mark, Dublin, 1799, oval, with vertical ribs
at intervals, scalloped molded lip and reefed strap
handle, engraved with crest, and the fourth with
obscured maker’s mark, London, 1815, of oval bombe
form on 4 ball feet, with gadroon lip and strap handle,
18 H

GROUP OF AMERICAN SILVER TABLE ARTICLES, comprising: 2 similar sauce boats, one by Gorham Mfg. Co., retailed by Foster & Co., Boston, monogrammed EL, the other by Wm. B. During

Co., retailed by Bailey, Banks & Biddle, monogrammed MEH, each of boat form on 3 shell-capped paw feet, with shell-capped upright C-scroll handles, another sauce boat with under

plate, Unger Bros., early 20th century, of boat shape, plain surface, monogrammed HSH, 8 bread and butter plates, maker’s mark H in rope twist, circular, with gadroon rim, and

an octagonal bread basket, Reed 6c Barton, the sides pierced and applied with foliage and scrolls. Together with a Continental silver plate, of shaped circular form, embossed,

chased and engraved with foliage and flowers.

GEORGE III OVAL SILVER TEAPOT, CIRCULAR SILVER DISH, TAPERED CYLINDRICAL SILVER TANKARD, SAUCE TUREEN AND COVER, GEORGE III OVAL TEAPOT

А GEORGE III OVAL TEAPOT, crested on one side between broad bands of wrigglework bordered vermicelli, straight spout, wood loop handle and button finial, the domed cover,

shoulder and base all with reeded borders, 63/»w. high, marked on base and cover, by Peter & Ann Bateman, London, 1794, 17oz. 6dwt.

A GEORGE III CIRCULAR SILVER DISH, engraved with
armorials on the raised rim below the applied
border of shell and honevsuckle bloom punctu-
ated leafage, 10xldn. diam., by Paul Storr,
London, 1815, 28oz. 8dwt.

A GEORGE III OBLONG SAUCE SILVER TUREEN AND COVER, the tureen engraved with armorials and a crest within scroll cartouches between chased lobes, gadroon rim with leaves and shells at

the angles, on paw feet, foliate end handles, similar handle to the domed cover, 8in. over all, fully marked, byj. Angell, London, 1816, 25oz. 7dwt.

A GEORGE III ONSLOW PATTERN SOUP LADLE,
crested on the upper stem, fluted bowl, makers
mark TF, possibly Thomas Foster, London, 1767,
4oz. 10dwt.

A GEORGE II SHAPED SILVER CIRCULAR WAITER,
engraved with armorials within foliate mantling,
raised and applied shell and scroll border, on
four hoof feet, diam., by John Harvey,
London, 1745, 7oz. I7dwt.
*** The Arms are those of Phelps, Russell Square, London

A SILVER QUEEN ANNE BELL-SHAPED TwO-HANDLED
CUP, engraved with armorials within a scroll
and foliate surround and above an applied
girdle, harp-shaped handles, on a spreading
base, 8lkin. high, by Thomas Bolton, Dublin,
1704/5, 44oz. 2dwt.

A GEORGE III OVAL TEAPOT, later chased with scrolls and blooms incorporating two vacant cartouches, straight spout, wood loop handle and button finial, 6lkin. high, by Hester

Bateman, London, 1786, 14oz. 14dwt.

A GEORGE I TAPERED SILVER CYLINDRICAL TANKARD,
later engraved with a crest and motto above an
applied girdle, skirt base and loop handle
initialled MC, the stepped domed cover with
volute thumbpiece, high, marked on body,
cover and handle, by James Smith I, London,
1720, 24oz. 16dwt.

A SILVER GEORGE III COVERED SILVER CIRCULAR JUG, the bodv
and slightlv domed cover part lobed, applied
girdle of egg and dart motifs, gadroon rim, on а
spreading base, raffia covered angular handle,
bud finial, 51kin. high, makers mark rubbed,
London, 1814, 15oz.

А PAIR OF WILLIAM AND MARY TABLE
CANDLESTICKS, the octagonal bases engraved
with armorials above scalloped and gadrooned
bands, columnar stems, 7Угт. high, makefs
mark D.B. a mullet above, an annulet beloiv,
London, 1690, l6oz. 18dwt.
*** The Arms are those of Lee quartering Ashlev

AN ELIZABETH I SILVER-MOUNTED TIGERwARE JUG, the mount typically engraved with a band of scrolling arabesques, below the initials R.E.,
high, by Christopher Tanner, Norwich,
circa 1581.

A GEORGE II TWO-HANDLED CUP, the bell-shaped body engraved with armorials above an applied girdle, double scroll handles and on spreading foot, 63Am. high, by William Totvnsend,

Dublin, circa 1740, 21oz.

A QUEEN ANNE SILVER TWO-HANDLED CUP, the bell-
shaped body later engraved with armorials
above an applied girdle, harp-shaped handles
and on spreading foot, the underside initialled,
7%ш. high, makers mark indistinct, Dublin,
1708, 33oz. ldzot.

A GEORGE III SILVER TwO-HANDLED CUP, the bell-shaped body engraved with armorials within а foliate scroll cartouche above an applied girdle, leaf-capped double scroll handles and on

spreading foot,  high, by R. Williams, Dublin, circa 1770, 35oz. lidzot.
*** The Arms are those of Adams of Tydd St Магу, Со. Lincoln.

A GEORGE II TwO-HANDLED CUP, the bell-shaped body engraved with armorials within а scroll and foliate cartouche, surmounted by а crest, leaf-capped double scroll handles, and on

spreading foot,  no makers mark, Dublin, circa 1760, 32oz. 9dwt.
*** The Arms are those of Humfrey or Humphrey

A PAIR OF GEORGE III SHAPED CIRCULAR SALVERS
engraved in the centre with armorials within an
asvmmetrical foliate scroll cartouche below the
gadroon rims interrupted by shells, volute feet,
7Vzm. diam., by Thomas Heming, London, 1756,
20oz. 12dwt.
*** The Arms are those of Webb of Clifford, Со. Somerset

A PAIR OF GEORGE III OVAL SILVER SAUCE TUREENS, COVERS AND STANDS, the compressed bodies crested and chased with lobes below waved gadroon rims and foliate end grips, the domed lids

ribbed below leafy handles, the stands engraved with armorials within similar gadroon and foliate borders, 9in. overall, fully marked, by Thomas Heming, London, 1769, 59oz.

4divt.

A PAIR OF GEORGE III CIRCULAR SALVERS
engraved in the centres with armorials within
reeded borders, each on three panei feet, Min.
diam., by Elizabeth Jones, London, 1790, 85oz.
2dwt.

A SET OF FOUR SILVER GEORGE II SILVER TABLE CANDLESTICKS,
the shaped square bases moulded with shells at
the corners and armorial engraved below double
knopped twisted baluster stems supporting
spool-shaped sconces with detachable crested
nozzles, cord borders, llin. high, marked on
bases and nozzles, by Thomas Heming, London,
1759, llloz. Sdwt.
*** The Arms are those of Webb of Clifford, Со. Somerset

A GEORGE II SHAPED OVAL SILVER САКЕ BASKET engraved with armorials below pierced scrolls and saltires, the rim applied with scrolls and florai spravs, carvatid swing handle, the four

shell feet headed by maiden masks, 14xhin. long, by George Methuen, London, 1748, 60oz. 13dwt.
The Arms are the same as the precedin.

GEORGE III OBLONG SILVER CAKE BASKET, GEORGE III OVAL SALT CELLARS, GEORGE III SILVER BOAT-SHAPED SAUCE TUREENS AND COVERS, PEAR-SHAPED SILVER TEAPOT

A PUNCH LADLE, the circular bowl inset with а
coin, twisted whalebone handle, unmarked, circa
1790.

A GEORGE IV CHEESE SCOOP, with ivory handle, by Barber and Whitwell, York, 1821.

A GEORGE III OBLONG CAKE BASKET, engraved with a broad band of leafage and applied with shells below reel and bobbin border, crested within a garter motto and Marquis coronet in

the depression, reeded swing handle, slight spreading base, long, by Richard Sawyer Jr., Dublin, 1811, 39oz. 14dwt.

A GEORGE III SILVER WINE FUNNEL, the detachable
strainer with reeded rim and plain thumbpiece,
high, marked on body and strainer, byJohn
Death, London, 1811, 4oz. 9dwt.

A GEORGE III WINE FUNNEL, with detachable
spout and reeded borders, 5in. high, marked on
body and spout, marks rubbed, circa 1790, 3oz.
2dwt.

A GEORGE II TAPERED CYLINDRICAL SILVER COFFEE Рот, engraved with a later crest, leaf wrapped curved spout, on a spreading base, the stepped domed lid with baluster finial,

9ikin. high, by Shaw and Priest, London, 1750, 29oz.

A WlLLIAM IV COMPRESSED CIRCULAR SILVER SUGAR
BASIN, fluted at intervals and engraved with а
crest, with foliate mounted scroll handles and
volute supports, gilt interior, high, by
John, Непгу and Charles Lias, London, 1833,
15oz. 18dwt.

A PAIR OF GEORGE III OVAL SALT CELLARS,
initialled and pierced with formai leafage at
intervals between bands of paies, waved beaded
rims, on bail and claw feet, ЗУат. , byJohn
Lee, London, 1784, 2oz. I8dwt.

A  WlLLIAM  IV ALMOST  SPHERICAL  TEAPOT,
crested, with curved lobed and fluted spout and foliate mounted loop handle, on a spreading base, the domed lid with vase-shaped finial, high, marked on base and lid, by

Richard Sibley, London, 1834, 19oz. 3dwt.

A GEORGE IV BALUSTER COFFEE РОТ, moulded
with a multiple rib and later initialled below the
reeded rim, spreading base, the domed lid with
button finial, Tin. high, marked on body and lid,
by John Wakefield, London, 1823, 14os. 5dwt.

A PAIR OF GEORGE III BOAT-SHAPED SAUCE
TUREENS AND COVERS, with reeded rims and
loop handles, on spreading bases, the domed
covers with urn finials, 9lkin.  over handles,
marked on bases and covers, by Charles Hougham,
London, 1791, 28oz. lldwt.

A PAIR OF GEORGE III BOAT-SHAPED SAUCE TUREENS AND COVERS, engraved with a crest below the reeded rims, loop handles and spread¬ing bases, the domed covers with urn finials,

91kin.  over handles, marked on bases and covers, makers mark of Smith and Hayter struck over that of another, London, 1801, 31oz. ISdwt.

A GEORGE III CYLINDRICAL TEA CADDY, bright-
cut with bands of scrolling foliage on a linear
ground to form panels incised with vertical
staves and engraved with Chinese svmbols, the
flat lid with flower finial, 44in. high, marked on
base and lid, by Parker and Wakelin, London,
1763, 14oz. ldzot.

A WILLIAM IV COFFEE РОТ, the vase-shaped bodv crested and ribbed at intervals, with florai rim, similar finial and scroll handle, on panei supports, 9in. high, fully marked, by

Pearce and Burrows, London, 1835, 29oz. 4dwt.

A GEORGE III OCTAGONAL TEAPOT AND STAND en
suite, engraved twice on the bodv with draperv
mantling tvpe cartouches, one enclosing the
initials CEP, wood loop handle and faceted
straight spout, the concave domed cover with
bone button finial, modest wrigglework borders
throughout, 5V«w. high, the stand conforming
in outline and featuring the same decoration,
6lkin. , fully marked, by Chaivner,
London, 1790, 19oz.

A TAPERED CYLINDRICAL HALF-PINT YORK MUG,
the plain body incised with two bands of reeds,
angular handle, gilt interior, 3lkin. high, by
James Barber & William Whitwell, York, 1817,
5oz. 14dwt.

A GEORGE III NAVETTE-SHAPED SNUFFERS TRAY,
with raised and applied reeded border, 9V»m.
, by Timothy Renou, London, 1801, 4oz.
4dwt.

А GEORGE III WINE FUNNEL, initialled RJS below the corded rim, plain shaped thumb¬piece, the detachable spout with similar border, Sin. high, marked on body and spout, by Hester

Bateman, London, 1774, 2oz. 14dwt.

A GEORGE III BALUSTER MUG later engraved as
a prize, double scroll handle and spreading foot,
41kin. high, by Samuel Wood, London, 1768,
lOoz. 12dwt.

A GEORGE II OVAL SAUCE BOAT, crested below а
waved gadroon rim, the spreading foot cast with
shells and gadroon scrolls, leaf capped double
scroll handle, 9in., by Peze Pilleau, London,
1758, 18oz. lOdivt.

A GEORGE III CAMPANA-SHAPED CHRISTENING MUG, applied above the belly with a band of arabesques, spreading foot, leaf moulded strap handle, gilt interior, 33kin. high, makers

mark very ivorn, London, 1816, 4oz. 12dwt.

A GEORGE I TAPERED CYLINDRICAL HALF-PINT
MUG, plain above a tuck-in base, scroll handle,
3xkin. high, by Thomas Parr, London, 1718, 6oz.
6dwt.

A GEORGE II VASE-SHAPED CASTER engraved with armorials, on spreading foot, the detachable domed cover pierced with alternate panels of saltires and scrolls below the bell

finial, high, marked on base and cover, by Thomas Farren, London, 1733, 9oz. 4dwt.

A GEORGE III PEAR-SHAPED TEAPOT with fluted
curved spout and spreading foot, the domed lid
with wrythen finial, 63kin. high, marked on base
and lid, by W. andj. Priest, London, 1770, 16oz.
2dwt.

A GEORGE III OVAL SOUP TUREEN AND COVER
supported on four volute feet headed by scroll-
work and demi-hounds, the reeded side handles
springing from satyrs masks, gadroon rim and
similar band on the domed cover with foliate
and berried handle, 143kin. overall width, fully
marked, by Thomas Holland II, London, 1809,
94oz. 15dwt.

Antique Silver Tablespoons - Six Victorian Silver Teaspoons - Two George III Salt Cellars - A Victorian Cup

Six Victorian Teaspoons, London, 1880, with Apostle terminals (case), and six silver-gilt Teaspoons, London, 1898, scroll and putto moulded.
A George III Hanoverian pattern Serving Spoon, Edinburgh, 1790; Old English pattern Soup Ladle, London, 1797; Dessert Spoon, Dublin, 1785; and Fish Slice, London, 1819, pierced blade, ivory handle.
A Tray, London, 1936, plain oblong, inset with two medallions commemorating the Coronation and Abdication of H.M. King Edward VII.
A pair of George III Salt Cellars, London, 1761 ‘ compressed circular, gadroon borders, with plated spoons; and a Turkish Zarf with saucer, 19th Century
A Victorian Cup, London, 1863, the bell shaped cup, knopped stem and spreading foot all flowerhead lattice embossed, presentation inscribed, gilt interior
Bon-Bon Dishes, post 1900 dates, comprising: shaped oblong pair, husk embossed; part pierced octagonal pair on volute supports; and a part pierced single circular example with swing handle and spreading foot
(loaded), 7oz. (of weighable silver)
Assorted Silver, post 1900 dates, comprising: triple Bud Vase, trumpet form (loaded). 8bi.: pierced Bon-Bon Dish (loaded); pair of Casters, vase shaped (loaded); and a Milk Jug, 4oz. (of weighable silver)    A set of four
William IV Salt Cellars, London, 1835, compressed circular, shell headed pad supports, gadroon rims, with four Fiddle pattern Salt Spoons.
Assorted Silver, earliest date Birmingham, 1899, comprising: Sauce Boat, oval, waved rim; Tobacco Box, oval, Pill Box, circular; and six silver-gilt Teaspoons with Tongs (case)
A silver-mounted horn Toasting Fork, 19th Century, three pronged
Two George III Salt Cellars, London, 1795/1801, crested boat shaped, spreading bases, reeded borders
A Victorian Blotter Mount, London, 1884, flower vase embossed rectangular, incorporating embossed name and date,
A George II Taperstick, London, 1745, the shaped square base later inscribed below a double knopped and faceted stem, banded spool shaped sconce, captive nozzle
A 17th Century Bleeding Bowl, the shallow circular body with roundel and mullet pierced and initialled lug handle.
Two pairs of Georgian Salt Cellars, London, 1751/65, compressed circular, cord rims, pad supports, and a larger example, 1758
A Victorian Hot Water Jug, London, 1896, Adam style, part fluted vase shaped, spreading foot, capstan neck, domed cover, wood handle and button.
A matched three piece Tea Set, London 1898 and Sheffield, 1911, girdle moulded oblong, ball supports, the pot with composition handle and wood button, 20oz.
A Victorian silver and tortoiseshell-mounted Cigarette Box, Birmingham, 1897, rectangular, applied with the silver legend ‘Cizarettes’ within applied corner brackets, 5in.; and another Cigarette Box, Birmingham, 1897,
plain oblong
A Victorian Quaich, Edinburgh, 1891, plain hemispherical, single pierced lug handle; and a Mustard Pot, Chester, 1911.
Twelve Victorian Husk pattern Tablespoons, London, 1856, and seven Old English pattern Tablespoons, mostly Georgian dates.
A George III Pap Boat, London, 1809, shell and leaf cluster interrupted gadroon border, gilt bowl.
A William IV Snuff Box, Birmingham, 1836, engine-turned oblong, foliate snap, gilt interior with later inscription, 31/4in.; and another example, Austrian, 1849, of similar proportions, similar inscription
A Victorian silver-fitted wood Travelling Dressing Case, London, 1850/85, comprising: seven glass boxes and bottles with silver covers and sundry steel and mother o’ pearl manicure implements, 3oz. (of silver)
Travelling Dressing Case, London, 1861, with silver-capped glass bottles and boxes and sundry steel and mother o’ pearl manicure implements, 3oz.
A George III Old English pattern Soup Ladle, Edinburgh, 1790, crested

19th Century Silver

The Neo-classical style which had swept Europe and America in the last decades of the 18th century had in part been the result of an artistic interpretation of the Roman and Greek styles of antiquity that were being revealed through archeological discoveries. Around 1800 antique silver moved into a new phase which was fired by the desire to reproduce even more exactly the styles of antiquity, which now also included Etruscan and Egyptian forms. In France the new style became known as Empire which corresponds with the Regency style in England.
Silver gilt was much used in work at this time – it exhibited the highly cultivated taste of the Prince Regent, later George IV. In France, the firm founded by M. G. Biennais (1764-1843) rose to success in the service of Napoleon’s Imperial dream and here again the use of silver gilt was preferred. So highly regarded was the British firm of Garrards, that in the 1820s the Paris goldsmith Odiot sent his son to work there and ordered English machines for his Paris workshop.
Garrards had started in 1802 when Robert Garrard senior took control of a company he had partnered with John Wakelin. Garrard died in 1818 leaving the business to his three sons, Robert, James and Sebastian, although from the start it was Robert who dominated and controlled the company until his death in 1881.
Garrards succeeded Rundell and Bridge as Royal goldsmiths in 1830. Much of their financial success was due to the fact that they produced everyday silverware in contemporary styles that were literally good, solid pieces of silver whose weight and value were immediately apparent. Their reputation however was derived from their presentation silver of which they were the leading purveyors, furnishing cups for many well-known races and producing a large number of table-centres.
Edmund Cotterill, a sculptor, joined Garrards in 1833 and by 1842 was being hailed as an outstanding artist. His speciality was racing trophies and among his most notable creations were the Ascot Cup for
Silver coffee pots, top: Wurzburg, c.1810; bottom: Stuttgart, early 19th century.
1842 which represents an incident at the battle of Crecy and the Queen’s Cup for Ascot 1848, depicting a Mexican lassoeing a wild horse.
England continued to dominate the industrial world by producing in 1820 a steam-powered lathe for spinning shapes and by the discovery of the electroplating process. As early as 1814 Paul Storr had made an electrogilt silver goblet, but not until 1840 did the Elkington cousins of Birmingham take out the first patents which led to their revolutionizing and monopolizing the plating industry.
While the fortunes of the Elkingtons were made by mass production of domestic-type wares, particularly for hotels and restaurants, they also tried to rival Garrards and Hunt and Roskell in solid decorative silver. To this end, they employed a number of French sculptors such as Aim& Chesnau, Pierre Emile Jeannest and Albert Wilms. Their most successful sculptor was Leonard Morel-Laudeuil who was with the company from 1859 until his death in 1888. He is best known for the Milton shield which was exhibited at the Paris Exhibition in 1867.
When articles were made in Sheffield plate the copper sheet was silver plated before the object was shaped. In electroplating the object was completed in base metal before being put into the plating vat to be covered with a thin skin of precious metal by means of an electrical current passing through. At first the electroplaters used a copper base which gradually showed through with wear, as it had done with Sheffield plate, then a layer of whitish alloy was interposed between the copper and the silver. This was ‘German’ or nickel silver, a mixture of copper, zinc and nickel, invented in China and introduced into England in the 18th century. By 1836 the copper base was replaced entirely by one of improved nickel silver, now called ‘Argentine’ silver.
Another metal, a mixture of copper, antimony and tin which originated in the 18th century and had been used by the Sheffield platers was also electroplated. This was called ‘Britannia’ metal. The great advantages of using a ‘white’ base metal and of the electroplating process itself was that when the silver wore away the colour of the exposed base layer was less obvious, and also that the object could be put in the vat for replacing as often as was necessary.
Electrogilding was a merciful improvement on the gilding technique which had been used until this time, since although mercury gilding had produced a lasting effect of great beauty it was lethal to the workmen who often used it incautiously.
Electrotyping was a further development of the electroplating process, in which objects could be copied in copper and plated. This was popular with the growing public for revived styles, who were satisfied with electroplate. Usually, a mould was taken from the object to be reproduced, but in the 1840s there was a revival of interest in natural forms and objects which led to the electrotyping of real flowers, leaves and plants and also of small animals and insects – an interesting return to the work of the 16th-century mannerist goldsmiths.
From 1842 G. Christofle (1805-63) in Paris began making electroplated goods under licence from Elkingtons, of Birmingham. All his designs were available both in silver and electroplate, an important selling point, and his use of an 18th-century style was greatly to the taste of Second Empire France under Napoleon III and the Empress Eugenie.
A turning point in Christofle’s career came in 1852 when his nephew Henri Bouilhet joined the company. Bouilhet, who had a diploma in engineering and chemistry, was able to devise a new machine for stamping out spoons and forks as well as developing a method of producing large scale architectural ornaments in single pieces on a commercial scale.
In America the company of Reed and Barton, heirs in the 19th century to the Taunton (Massachusetts) Britannia Manufacturing Company, did not at first make articles in silver at all, but concentrated on the market for electroplated goods. Silver was discovered in the USA in 1859 and the success of the Gorham Manufacturing Company was derived from the consequent lowering in price and the increased supply.
One of the styles of gold and silver work to appear in the first half of this century was a new naturalistic style. With the advances in technology, silversmiths found themselves with the ability to copy exactly all the known historical styles and to simply add naturalistic details to them. Eventually, however, this naturalism began to form the basis of a new advance in design rather than simply an element in design. Amongst the first work of this kind to appear were experimental productions by Rundell’s, one of the most notable pieces of which is an 1820s salt cellar designed as a sea-urchin resting on coral.
In the 1840s there was a marked return to classical styles. The copying of Roman articles which had been started by Rundell’s, Storr and Flaxman was revived on a large scale as a result of the advances in technology. Copies of the Portland vase were made by Hunt & Roskell in the 1840s. Chinoiserie also reappeared for a short time in the 1840s.
A revival of the Gothic style, in this period, was led by A. W. N. Pugin, who had worked for Rundell’s. While much of his work was with furnishings and ecclesiastical buildings he also designed domestic wares. Popular adaptations of Pugin’s Gothic style were made by Elkington’s such as the tea sets exhibited by them at the Great Exhibition. The popularity of the style persuaded Gough & Co., Elkington’s and Henry Wilkinson & Co. to produce silver and electroplate salt cellars, cruets, mugs, tea sets and other domestic wares.
Unhampered by the rigid assay systems of European rivals, the firm of C. F. Tiffany (1812-1902) was able to show at the 1867 exhibition in Paris work which reflected the simpler style stimulated by the resumption, after many years, of trade with Japan. The ‘Aesthetic Movement’ as the Japan inspired style began to be called, was more palatable to the Western intellectual elite than were the eclectic revivals of previous styles which continued to be popular with the general public.
In 1876, the English designer, Christopher Dresser (1834-1904) visited Japan, buying both for Tiffany and for the South Kensington Museum (now the Victoria and Albert) in London. Dresser’s functional designs, drawn with the machine in mind, and made to be executed in either silver or silver plate, were marked by their beauty and simplicity of shape, no decoration blurring the burnished surface. Japanese influence appeared in the shapes he used and the positioning of the handles on his objects.
Artists in many fields were by now concerned to eliminate the grosser evils resulting from the Industrial Revolution. The many popular Silver teapot designed by Christopher Dresser, 1880
exhibitions from 1851 onwards unwittingly demonstrated supreme technical control allied with appalling design. Throughout the rest of the century designers and artists tried constantly to revert to what was thought to be the golden age of the craftsman when, it was felt, the worker, unsullied by contact with machines, was inspired by joy in the work of his hand and mind.
Christopher Ashbee (1863-1942) was one such thinking artist. He was probably influenced by philanthropic classes organized in Philadelphia by Charles Leland. He founded a Guild and School of Handicraft in 1888 at Toynbee Hall in London, where unskilled workers were taught age-old crafts and where an amateur, hand-made look was cultivated in opposition to the cheaper, characterless, slick finish of the factory.
The firm of Liberty and Co. of London exploited the appeal of Ashbee’s Guild style. It was in keeping with the general Art Nouveau taste of the 1880s and also with Liberty’s original reputation as importers of oriental goods. From 1899, Liberty’s ‘Cymric’ silver and ‘Tudric’ pewter fused the influence of Dresser with that of Ashbee. Made by using factory die-stamping and spinning processes, Liberty silver bore hammer marks which made the work look as though it was completely hand-made. In fact, the hammer marks were either
included in the die-stamp or added to a spun piece after it was finished. Liberty silver was not cheap, but the use of machine process and hand finish enabled it to undercut firms which would have no involvement with machines.
The designs of the Glasgow architect, Charles Rennie Mackintosh (1868-1928), more influential in continental Art Nouveau than they were in Britain, clearly showed a development from sappy, tendril-like hothouse curves to a tauter, more purposeful and energetic style appropriate to the 20th century.
Russia has not been previously mentioned, because in general silver designs were derived from those prevailing in Western Europe.
Since the mid-17th century Russian rulers had encouraged architects and artists from outside to go there to work. Russian museums now held many superb examples of the best European silver which over the years had been presented to successive Czars as ambassadorial gifts. Not all Russian silver, however, was derivative, certain objects developed along their own lines in a particularly national tradition. An example of this was the kovsh, a flat-based boat-shaped vessel with a prow-like handle, which was used as a cup
or a ladle. Another was the charka, a small spirit cup of more conventional shape. Both could be decorated in niello or in cloisonne enamel – neither the shape of these cups nor the techniques used to decorate them were to be found antique elsewhere in 19th Century Silver.