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.

A Cigarette Box, London, George III Milk Jug, pair of Ashtrays

Assorted Silver, mostly post 1900 dates, comprising: silver-mounted cut-glass Claret Jug, baluster, three Bud Vases (one loaded); Tea Strainer with Stand; single shell Saint Cellar; Cream jug; three Bon-Bon Dishes; three Teaspoons; six Tea Knives, plated blades (case); and a pair of Saint Cellars, Avower moulded octagonal (liners), (of weighable silver).

A Cigarette Box, London, 1931, engine-turned rectangular (lined), 9in.

A Fish Slice, pierced triangular blade
in Georgian taste, turned wood handle,
obliterated hallmarks.

Fiddle pattern Table Silver, London, mostly 1890’s dates, variously initialled, comprising: fourteen tablespoons, sixteen table forks, twenty dessert spoons, sixteen dessert forks, sixteen teaspoons, four cruet spoons, and a pair of sugar tongs; Fiddle Thread pattern, London, comprising: two tablespoons, four table forks, dessert spoon and dessert fork; Old English pattern: two tablespoons and a saint spoon; and a quantity of plated Flatware, 170oz. (of silver).

A silver-gilt Charger, London, 1991, circular, in I7th Century taste, the centre chased with cherubs and satyr fondling a goat within a border of ribbon tied stiff leaves, the broad domed rim chased with matted foliate arabesque, 25oz., loin.

A Salver, Birmingham, 1937, shaped
circular, crested within a beaded border, on
claw and bail supports, 30oz.

A Beaker, unmarked, 19th Century,
inscribed cylindrical, bail supports, Flask, Matchbox Sleeve and capstan Inkwell (loaded), earliest date Birmingham, 1893, ail initialled,. (of weighable silver) .

Assorted Silver, earliest date London, 1890, comprising: Sugar Bowl, part lobed circular; Sauce Boat, oval in Georgian style, pad supports; Art Deco example, oblong, spreading foot; and three Milk Jugs, two plain oval, the third flower chased baluster, 20oz.

A Caster, Chester, 1901, flower and scroll embossed inverted pear shaped, 7in.; and a pair of Indian Colonial Peppertrees, circa 1840, flower chased melon shaped above spreading bases, pierced covers with bail finials, 13oz.

A George III Milk Jug, London, 1810, plain oval, receded  rim, angular handle, gilt interior, 4oz.

Fiddle Thread Shell, Kings and Husk pattern Table Silver, late Georgian and Victorian dates, comprising: twelve tablespoons, twelve table forks, twelve dessert spoons, twelve dessert forks and seven teaspoons, 135oz.

Assorted Flatware, mostly post 1900 dates, comprising: two pairs of sugar tongs; another two pairs, circa 1790; pair of salad servers; three teaspoons, 1859; ten teaspoons and tongs; two sets of six coffee spoons (cases); eight pairs of dessert knives and forks, mother o’ pearl handles and eight pairs of fish knives and forks, bone handles. 20oz. (of weighable silver).

A Sauce Boat, London, 1907, plain oval above a collets foot, gadroon borders. leaf capped double scroll handle and a Hanoverian pattern Sauce Ladle, 1914, 13oz., 7in.

Assorted Silver, earliest
date Birmingham, 1833, comprising: pair of
Sauce Boats, oval, shaped rims, flying scroll
handles; pair of Ashtrays; pair of Menu
Holders, Naval Crown form; Peppertree; six
Apostle Teaspoons and tongs (case), and six
Coffee Spoons, enamelled (case), 15oz. (of
weighable silver).

A Fiddle pattern Soup Ladle and Serving Spoon, London, 1859 and Dublin, circa 1820; Old English pattern, comprising: serving spoon, Birmingham, 1874, and seven tablespoons, one Hester Bateman, Georgian dates, 31oz.

A George II Hanoverian pattern Soup Ladle, London, 1759, 4oz.

A George I Porringer, London, 1725, part lobe chased and leaf punch decorated circular, strap handles, 23Ain., and a pair of Trencher Salts, marks indistinct, circa 1715, cut-cornered oblong capstan form, 7oz.

A George III Sugar Basket,
Sheffield, 1799, plain boat shaped above a
spreading foot. swing handle, 6oz., 5in.

Fiddle pattern Table Silver, mostly
London, Georgian and Victorian dates,
comprising: six tablespoons, thirteen table
forks, twelve dessert spoons, twelve dessert
forks, two teaspoons, two butter knives, four
saint spoons, mustard spoon, sauce ladle,
serving spoon, fish slice and six plated soup
spoons, 96oz.

Kings and Queens pattern Table
Silver, late Victorian and Georgian dates,
comprising: nine tablespoons, eight table forks, nineteen dessert spoons, six dessert forks, twelve teaspoons (case), eight saint spoons, mustard spoon, two sauce ladies, serving spoon, soup ladle and eight table knives with steel blades; and plated: nine pairs of fish knives and forks and a fish serving fork, 151oz. (of weighable silver).

Six Coffee Cup Holders, Sheffield,
1906, lattice and scroll pierced cylindrical,
with bone china liners and saucers, 5oz.

A Victorian Rose Bowl, sets of Flatware, Apostle Spoon, London

A Vase, Sheffield, 1928, plain tapered
cylindrical below a shaped reverted rim
(loaded), 103/dn.

A set of four Table Candlesticks,
Sheffield, 1907—10, square bases, plain
octagonal stems, detachable circular nozzles
(loaded.

Two silver-mounted Horse’s Hoof
Inkwells, London, 1919, the hinged covers
engraved ‘Bounty’, detachable wells, 5in.
Kings and Husk pattern Table Silver, Victorian dates, comprising: six table forks, six dessert spoons, six teaspoons and six table knives with steel blades, 37oz. (of weighable silver).

A Victorian Rose Bowl, London, 1889, flower and scroll chased hemispherical incorporating inscribed and vacant cartouches, spreading foot, 20oz.

Two Christening Cans, London, 1829/52, crested ribbed baluster with spreading foot and flower Cluster chased baluster with panel supports, both initialled and with scroll handles. 3 and 4in.; Peppertree, London, 1820, foliate scroll chased inverted pear shaped, flower finial, 3in.; and a Russian Saint Cellar, Moscow, 1840 s, parcel-gilt lobed stepped circular, spreading foot, 12oz.

A two bottle Inkstand, London, 1903, inscribed rectangular, with two pen depressions and well sockets within a gadroon border, panel supports, complete with two silver capped glass wells, with dip pen, Hoz. (of weighable silver).

A Victorian Butter Dish, London,
1851, plain glass compressed pail form body,
with silver scroll engraved and crested
circular stand and similar domed cover with
recumbent cow finial, 9oz. (of silver).

A George III Salver, Dublin, 1780,
shaped circular, crested within a beaded
border, pad supports, 7in., and a Cream Jug,
London, 1752, initialled baluster, waved rim,
trepid supports, leaf capped double scroll
handle, 3in., 8oz.

Assorted Silver, comprising: Trophy
Bowl, inscribed circular (base), 6in.,
Peppertree, pair of Saint Spoons and Waiter,
inscribed shaped circular, ail post 1900 dates;
pair of Napkin Rings (case), Sugar Bowl,
crested circular and a silver-capped faceted
glass Cruet Bottle, ail Victorian dates, 24oz.

Cased sets of Flatware, mostly post
1900 dates, comprising: set of six Oyster
Forks with agate handles; set of six Tea
Knives, pistol grip handles and plated blades;
set of six Teaspoons with tongs; and a pair of
Berry Spoons, London, 1843, 8oz. (of weighable
silver).

Assorted Silver, post 1900 dates,
comprising: pair of Casters, inverted pear
shaped, pellet pierced covers, 43Ain.; silver-
mounted Watch Frame, oblong, receded
border, with plated Goliath movement; and a
Box, initialled oblong, gilt interior, 8oz. (of
weighable silver).

A set of four Menu Holders, Chester, 1914, modelled as cock pheasants above oval bases (loaded), P/dn.
Seven Georgian Wine Labels, comprising: four cut-cornered
oblong examples engraved Sherry, Port and
Madeira twice, three examples with mask and
grape surrounds engraved and pierced
Claret, Sherry and Port, and three Whisky
Labels, 1907, 2oz.

Fiddle pattern Table Silver, Georgian, Victorian and modern dates, comprising: sixteen tablespoons, twenty table forks, twelve dessert spoons and twenty-two dessert forks, 135oz.

Assorted Flatware, mostly Georgian dates, comprising: eight Old English pattern tablespoons; four tablespoons, four table forks and five teaspoons, Hanoverian pattern; marrow spoon; sixteen cruet spoons; six pairs of sugar tongs; tea infuser; christening knife, fork and spoon (loaded); dessert knife and fork with mother o’ pearl handles and a further christening spoon, 50oz. (of weighable silver).

A Charles I seal top Spoon, London, 1629, fig shaped bowl, faceted stem and part lobed terminal with vacant seal, lost.

A James I Apostle Spoon, London, 1609, St. James the Greater, fig shaped bowl initialled on the reverse, faceted stem and cast figure terminal with St. Esprit nimbus.

Assorted Silver, mostly late Victorian dates, comprising: shamrock and mask cast Chatelaine with five pendant attachments; two Card Cases; small oval Photograph Frame; double Scent Bottle, glass bodied and a Matchbox Sleeve, (of weighable silver).

A George III Lancet Case, London,
1789, oval section, flared form; two Snuff
Boxes, Birmingham, 1802110, initialled oblong,
and crested oblong,
Vinaigrette, Birmingham, 1824, engraved
oblong (detached grille), lin.; and a Patch Box,
Birmingham, 1799, plain round ended oblong,
4oz.

Two three light Candelabra, German, circa 1900, the concave square bases rising to column stems, with receded branches, Corinthian sconces and circular drip pans with stiff leaf or beaded borders, ribbon tied receded borders, 24oz. (of silver-coloured metal, branches only excluding loaded bases, all nozzles wanting), 18in. high  .

A German silver-mounted cut-glass Claret Jug, S. Aback, circa 1890, the cut tapered cylindrical body with rope girdle, laurel embossed collar-cum-spout, shell moulded domed cover with scroll thumb piece and scroll handle mounts, high .

A Dutch Tea Caddy, Dumont, Amsterdam, 1801, plain oval with hinged concave cover, with applied beaded borders, enclosed by wriggle worked bands, fitted lock, 7oz.

A Victorian Salt Cellar, A Victorian Mustard Pot, A Victorian Christening Cup

A Victorian Salt Cellar, Benjamin Smith, London, 1845, the compressed company shaped body with applied grape and vine border above a spreading textured base applied with two realistically detailed doves, gilt interior, 8oz. 5in. diam.

A Victorian Trinket Box, George Fox, London, 1889, of oblong casket form, the body scroll and flower cast and pierced above corner panel supports, the concave domed cover with central hard stone panel surmounted by an ostrich finial, marked on body and cover (lined), wide.

A Victorian four piece Tea and Coffee Set, Edward Barnard & Sons, London, 1858, the baluster bodies fluted at intervals and leaf scroll and strap engraved on linear grounds incorporating vacant panel areas, on cast panel supports, with scroll handles and shaped rims, the pots with domed covers and baluster finials, the basin and jug with gilt interiors, fully marked, 72oz. (all in).

A Victorian Bowl, Old winkled &:
Slater, London, 1893, scalloped circular,
crest engraved within a ribbed surround,
otherwise mask and flower panel chased,
applied with four monster head scroll
supports, 18oz.

A Victorian three piece Tea Set,
Leonard Urquhart, Edinburgh, 1839, the
inverted pear shaped bodies ribbed at
intervals and flower chased on matted
grounds at the shoulders incorporating
vacant cartouches above shaped
spreading bases, with applied shaped
foliate rims and leaf capped scroll
handles, the pot with leaf wrapped
spout, domed cover and flower finial, the
basin and jug with gilt interiors, marked
on pot base and cover and bodies,
53oz. (all in).

A Victorian Mustard Pot, Joseph
& John Angell, London, 1849, cast and
pierced strap capstan form, with scroll
borders, domed cover with flower finial
and leaf lug handle, fully marked,
6oz. 4dwt. (blue glass liner), 3in. High.

A Victorian Taper stick, Walter
Morrissey, London, 1841, the hexagonal
base scroll flat-chased on matted
reserves, with double knapped and
faceted stem and sconce, detachable
nozzle conforming to the base outline,
fully marked, 4oz. 18dwt., 47in. High.

A Victorian Christening Cup,
Edward Barnard & Sons, London, 1852,
the hemispherical body strap engraved
on a linear field above a knapped
pedestal base, with scroll handle and gilt
interior, 5oz., 45in. High.

A Victorian Mug, George Unite, Birmingham, 1877, flower panel strap and vacant roundel engraved bell shaped, on spreading foot, with scroll handle, beaded borders and gilt interior, 8oz. 53 high.

A Victorian four piece Tea and Coffee Set, Edward Barnard 8c Sons, London, 1851/52, the baluster bodies ribbed at intervals and scroll cluster engraved incorporating vacant cartouches above cast panel supports, with scroll handles, the pots with faceted spouts, domed covers and baluster finials, the basin and jug with gilt interiors, fully marked, the pots the later date, 67oz. 16dwt. (all in) .

A Salver, Edward Hutton, London, 1892, sex foil, presentation inscribed within a band of engraved flower roundels, raised and applied leaf interrupted ovals border, on bun supports, 34oz.

A four piece Tea and Coffee Set, Sib ray, Hall & Co., London, 1889, the compressed spherical and baluster bodies profusely scroll chased incorporating vacant roundels above moulded lobes and slight ring bases, with receded loop handles and beaded rims, the pots with curved spouts and lobed finials, the basin and jug with gilt interiors, fully marked, 63oz. (all in).

A Victorian Rose Bowl, Thomas Bradbury, London, 1898, hemispherical, moulded with swirl lobes and flutes above a spreading foot, applied lion mask and drop ring handles and engraved presentation below the gadroon rim, 44oz..

A Salver, Martin, Hall & Co., London, 1874, six foil, presentation inscribed within a band of engraved flower roundels with strap surrounds, raised and applied leaf punctuated ovals border, on claw and ball supports, 61 oz. 163 diam.

A Victorian silver-fitted wood Travelling Dressing Case, makers’ mark WT/FP, London, 1865, comprising twelve faceted glass bottles, jars and boxes with strap and vacant disc engraved silver covers, and three sundry implements, 9oz. (of silver).

A Victorian three piece Tea Set, Edward Barnard 8c Sons, London, 1893,
the compressed vase shaped bodies lobed
above ring bases and applied with foliate
shell and mask cluster interrupted
gadroon collars, the pot with leaf
wrapped spout and wood handle and
button, the basin and jug with leaf
capped scroll handles, fully marked,
51oz. 16dwt. (all in).

A Victorian Coffee Pot, maker’s mark FM, Edinburgh, 1862, the baluster body engraved in Indian taste with foliate panels and straps above a spreading foot, with leaf capped scroll handle and domed cover with ball finial, 24oz. 2dwt. (all in), 103in. high .

A Victorian silver-mounted
cut-glass Claret Jug, Henry Wilkinson
8c Co. Ltd., London, 1899, the bulbous
body with attenuated neck applied with
flower and leaf chased spreading foot,
girdle, collar-cum-spout, domed cover
and loop handle, fully marked,
High.

A Victorian Christening Can, George Angell, London, 1881,
cylindrical, heron, bulrush and bamboo
bright-cut in Aesthetic Movement taste
incorporating a vacant area below
spandrels of engraved ivy, ring foot, loop
handle, gilt interior, 5oz. 18dwt.,
high.

A large Victorian Claret Jug,
Sib ray, Hall & Co., London, 1897, the
baluster body profusely textured scroll, flower and husk chased and applied with winged figures and a leopard mask around vacant and armorial engraved cartouches, on similarly decorated stepped spreading foot and with attenuated neck, the leaf wrapped scroll handle with mechanism to open the domed cover, triple scroll finial, fully marked, 59oz. High.

The Arms are those of Swampy of Ivy Lodge, Newry, Co. Down.

A Victorian Travelling Thermometer, maker’s mark JJ, London,
1864, cylindrical, of concentric tube construction, the outer sleeve crest and
garter motto engraved and twisting to reveal the thermometer, fully marked,
A Victorian Rose Bowl, Edward
Barnard & Sons, London, 1898, the
hemispherical body flower, scale and
scroll chased incorporating a vacant
cartouche above a spreading foot,
33oz. diam.

HELMET-SHAPED SILVER CREAM JUG, GEORGE II SHAPED CIRCULAR SALVERS, SILVER TABLE CANDLESTICK, GEORGE IV SILVER-GILT CIRCULAR SEAL, SILVER CYLINDRICAL BEAKER

A HELMET-SHAPED SILVER CREAM JUG, applied with а
reeded girdle and chased with scrolls, florai
clusters, a beast and a mask, also incorporating а
crested cartouche, double scroll handle, on three
shell headed hoof feet, 4 high, marks rubbed,
Dublin, circa 1750, 6oz. 6dwt.

Two GEORGE II MATCHING OVAL SAUCE BOATS,
the stepped bodies engraved wtih two crests
below the waved rims, with leaf capped double
scroll handles, each on three hoof feet, 8/гт., one
by Francis Nelme, 1735, the other by Gabriel Sleath,
1743, both London, 31oz. 4dwt.

A PAIR OF GEORGE III TELESCOPIC TABLE CANDLE-
STICKS, the stepped circular bases, twin knops and
detachable nozzles all foliate gadroon applied,
high extended, fully marked, by J. & T.
Settle, Sheffield, 1816.

A PAIR OF GEORGE II SHAPED CIRCULAR SALVERS, plain within raised and applied shell punctuated gadroon borders, hoof supports, 63 diam., by W. &R. Peaston, London, 1758, 17oz.

5dwt.

A GEORGE II BALUSTER MUG, with double scroll
handle, initialled on the underside, on a spreading
base, gilt interior, 4Vein. high, makers mark
rubbed, London, 1734, 13oz. ldwt.

A GEORGE II TAPERED CYLINDRICAL SILVER COFFEE РОТ, plain, with partlv faceted curved spout, the stepped domed lid with bell-shaped finial, 9/пп. high, marked on base and lid, by

Thomas Tearle, London, 1732, 23oz. 9dwt.

A PAIR OF GEORGE II SILVER TABLE CANDLESTICKS, the
shaped square bases cast and chased with shells at
the angles and engraved with armorials rising to
knopped lobed and fluted stems and spool-shaped
sconces, the detachable nozzles conforming in
outline, 7/гт. high, marked on bases and sconces,
by John Cafe, London, 1747, one nozzle by another,
32oz 18dwt.

A  WlLLIAM AND  MARY  CIRCULAR  SALVER  ON
FOOT, initialled on the underside, with raised
gadroon rim and trumpet foot,diam.,
marked on body and foot, makers mark К croivned,
possibly for Jonah Kirke (Jackson p. 146), London,
1691, 16oz. 19dwt.

A GEORGE II SILVER TABLE CANDLESTICK, the shaped
square base cast and chased with shells at the
angles rising to a knopped lobed and fluted stem
and spool-shaped sconce, corded borders, 8
high, marked on base and sconce, by John Cafe,
London, 1754, 16oz. 16dwt.

A PAIR OF GEORGE II OVAL SAUCE BOATS, with  waved rims and leaf capped flving double scroll handles, each on three hoof feet, 6l, by William Cripps, London, 1745, 22oz. 6dwt.

A QUEEN ANNE SILVER BALUSTER CASTER, engraved with a crest above an applied girdle, on a spreading foot, the sleeved cover pierced with stvlized foliage below the bun finial, 63

high, by Charles Adam, London, 1712, 7oz. 10dwt.

A GEORGE III SHAPED SILVER CIRCULAR SALVER engraved
in the centre with armorials above crossed foliate
spravs, the border decorated with husk swags and
paterae below the applied gadroon rim, Min.
diam. makers mark indistinct but аррагепиу in а
serrated surround and possibly the mark of John
Laughlin, Lloyd or Locker, Dublin, 1779, 36oz.
12dwt.
The Arms are those of Fetherstonhaugh of Bracklvn Castle со. Westmeath impaling Wolfe, for Cuthbert Fetherstonhaugh (d. 1817) of Mosstovra who was High Sheriff in 1781 and

married in 1770, Магу daughter of Theobald Wolfe.

A GEORGE I CYLINDRICAL TANKARD with applied girdle and rim foot, scroll handle with shield terminal, the domed lid with volute thumbpiece, 7in. high, marked on body, lid and

handle, by Thomas Langford, London, 1718, 24oz. 7dwt

ROYAL: A GEORGE IV SILVER-GILT CIRCULAR SEAL Вох, the lid embossed with the Royal Coat of Arms and with an applied border of oak leaves and acorns, the body of plain form with

moulded borders, 7in. diam., marked on base and lid, by Phillip Rundell, London, 1820, 21oz. 6dwt.
*** A similar Seal Вох by Phillip Rundell, London, 1822 appointing William Turner as Ambassador to the Sublime Porte at Constan-tinople from 1820 to 1825 was sold in these Rooms

on 19th June 1969. Seal Boxes by Paul Storr have been sold by Sothebys on 12th December 1974 and 24th June 1980 (at Lennoxlove), and by John Bridge (a pair) on 18th December
A GEORGE I MUG, of tapered cylindrical form, with tuck-in base, scroll handle and gilt interior, initialled on the underside, 37/sin., high, by William Fleming, London, 1720,

9oz. 3dwt.

A QUEEN ANNE TAPERED SILVER CYLINDRICAL MUG,
fluted below an incised girdle topped by punched
leaf motifs, later initialled above and within а
scroll and scale cartouche, skirt base, scroll
handle, 33 high, makers mark WA conjoined,
probably that of Thomas Waterhouse, London,
1710, 5oz. 18dwt.

AN EARLY GEORGE II FLARED SILVER CYLINDRICAL BEAKER, engraved with armorials within a foliate scroll and brickwork cartouche, ЗАт. high, by William Darker, London, 1727, 3oz.

V The Arms are those of Montagu quartering Monthermer
A JAMES II PORRINGER, lightly pricked with
initials, scroll handles, high, makers mark
FS, London, 1685, 6oz. 9dwt

A CHARLES II PORRINGER, the lower body chased
with acanthus, scroll handles, 3in. high, makers
mark DG and two fleur-de-lys in a lozenge (Jackson
p. 138), London, 1679, 5oz. 9dwt.

A GEORGE I BALUSTER SILVER MILK JUG engraved with two sets of initials, short spout, scroll handle and on spreading foot, the underside also initialled, 4in. high, by Colin

McKenzie, Assay Master Edzoard Penman, Edinburgh, 1719, 5oz. 2dwt.

A GEORGE II SHAPED CIRCULAR SALVER, engraved
with armorials within a scrolling foliate, mask and
scalework surround, also flat chased with a band
of shells and diaper motifs below the raised and
applied scroll border, on four volute supports,
in. diam., by George Hindmarsh, London,
1736, 40oz. 2dwt.

GEORGE III SHAPED CIRCULAR SALVER, FOUR-BOTTLE SILVER CRUET FRAME, GEORGE III BALUSTER MILK JUG, GEORGE II BELL-SHAPED TWO-HANDLED CUP

A GEORGE III SHAPED CIRCULAR SALVER, engraved
in the centre with armorials and with a band of
trailing foliage below the raised and applied
gadroon border, on three hoof feet, 16in. diam.,
makers mark G & M, Edinburgh, 1796, 42oz.
13dwt.

A SET OF FOUR GEORGE III FACETED NAVETTE
SAUCE TUREENS AND COVERS, with reeded rims
and loop handles, the spreading bases and domed
covers conforming in outline, urn-shaped finials,
10  over handles, marked on bases and
covers, by Непгу Chawner, London, 1786/88,
65ozs. 6dwt.

A GEORGE III OVAL VASE-SHAPED SILVER COFFEE РОТ,
engraved with armorials on one side and a crest
on the other within foliate swag cartouches,
curved spout and pedestal base, the domed lid
with spherical finial, reeded borders, ll high,
marked on base and lid, by Robert Gaze, London,
1796, 29oz. 4dwt.

A GEORGE III SHAPED CIRCULAR SALVER, engraved with a crest and motto, raised and applied gadroon border, on three hoof feet, llin. diam., by Richard Rugg, London, 1763, 23oz.

9dwt.

A GEORGE III FOUR-BOTTLE SILVER CRUET FRAME, the
quatrefoil base pierced with paies and raised on
four ball-and-claw feet, beaded borders and
central ring handle, complete with cut glass
bottles and silver labels engraved for  Soy,
Lemon and Ketchup. high, marked on base,
handle and labels, by Thomas Daniell, London,
1777, 5oz. 6dwt.

A GEORGE III BOAT-SHAPED SWEETMEAT SILVER BASKET,
the lower body wriggleworked with simulated
lobes enclosing bright cut husks and other motifs,
further bright cut with a similar band below the
beaded rim, swing handle, on a spreading base,
7in., London, 1786, 6oz.
6dwt.

A GEORGE II TAPERED CYLINDRICAL COFFEE РОТ,
with tuck-in base, ribbed and curved spout, the
stepped domed lid with bell-shaped finial, the
underside later inscribed and dated 1752, 8*Мп.
high, marked on body and lid, by Gabriel Sleath,
London, 1744, 20oz.

A GEORGE III BOAT-SHAPED SWEETMEAT SILVER BASKET, bright cut with husk swags incorporating two pendant vacant ovals above piercing and wriggle-work engraving simulating lobes

and below а further pierced band of interlaced ovals, beaded rim and reeded swing handle, on a spreading base, 5/2in. , by Thomas Chawner, London, 1785, 4oz. 14dwt. (excluding

ruby glass liner)

A GEORGE III TAPERED CYLINDRICAL MUG
initialled above the tuck-in base, leaf capped
double scroll handle, 5in. high, by Charles Wright,
London, 1778, 16oz. 12dwt.

A GEORGE III BALUSTER MILK JUG, with flat belly,
moulded rim and reeded angular handle, the
underside inscribed, high, makers mark
rubbed, London, 1805, 4oz. 4dwt.

A GEORGE III OVAL TEA TRAY, engraved with armorials within draperv mantling, gadroon borders and foliate mounted loop handles, on four panei supports,  over handles, by Hannam

and Crouch, London, 1803, 104oz. 14dwt.

A GEORGIAN SHAPED SILVER CIRCULAR SALVER, armorial engraved within a rocaille and flower cartouche, raised and applied foliate scroll border, four pad supports, 15in. diam., by

Edward Wakelin, London, mid-18th century, 43oz. 16dwt.
The Arms are those of Daly of Castle Daly impaling Foster for Francis Daly of Ballylee Castle who married Elinor, daughter of Mr. Foster on lst November 1786.

A GEORGE III COMPRESSED OBLONG TEAPOT, initialled and later chased with florai clusters and rococo cartouches on a matted ground, gadroon collar, on four bail feet, the domed

lid with button finial, marked on body and lid, makers mark indistinct, London, 1818, 19oz. 2dwt.
This salver was submitted to The Antique Plate Committee of The Goldsmiths Hall, case no. 5456; the committee was of the opinion that it complied with the Hallmarking Act 1973.

A PAIR OF GEORGE III VASE-SHAPED GOBLETS, engraved with a crest, on knopped pedestal bases, beaded borders and gilt interiors, 63 high, by John King, London, 1782, 14oz. lOdzut.

A GEORGE II BELL-SHAPED TWO-HANDLED CUP,
chased at intervals with vertical rocaille scrolls
and leafage, also with a band of flowers, scroll
and scalework below the rim, leaf-capped double
scroll handles, on a spreading base, 43 high,
аррагепиу no makers mark, Dublin, circa 1752,
lloz. 18dwt.

A GEORGE III BALUSTER SILVER COFFEE РОТ, engraved
with armorials within crossed foliate spravs, leaf
wrapped curved spout, on a spreading base, the
stepped domed lid with urn-shaped finial, П/гт.
high, marked on base and lid, makers mark GS
struck over that of another, London, 1784, 28oz.
2dwt.
V The Arms are those of Clarke of Handsworth, Со. Stafford

A CHANNEL ISLANDS CHRISTENING CUP, the plain
hemispherical body incised S CL, applied scroll
handles, 33Mn. diam., makers mark apparently
TC in an oval, circa 1740, 5oz.

A PAIR OF TABLE SILVER CANDLESTICKS, the crested
shaped circular bases cast and chased with rococo
ornament rising to knopped baluster stems and
sconces, detachable nozzles, decorated through-
out with foliage and blooms, lPin. high,
аррагепиу unmarked, possibly Irish, mid-18th
century, 66oz. 14dwt.

A GEORGE II INVERTED SILVER PEAR-SHAPED TEA KETTLE
AND LAMPSTAND, engraved with armorials within
a rococo cartouche on one side and with a crest on
the other, the upper body and domed lid chased
with scrolls, flowers and foliage on a matted
ground, curved bird head spout, scroll raffia-
wrapped swing handle and pineapple finial, the
circular stand applied with a florai apron, raised
on three scroll supports and shell feet, fixed
burner, 15in. high overall, marked on base and
stand, by Charles Woodward, London, 1747, 55oz.
12dwt.

A GEORGE II SHAPED CIRCULAR WAITER, plain
below the Chippendale border, initialled on the
underside, on three hoof feet, 6 diam.,
makers mark doublestruck, by Joseph Sanders,
London, 1738, 8oz. 12dwt.

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

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

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

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

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

AN EDWARDIAN CIRCULAR DRESSING TABLE BOX, Birmingham 1913.

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

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

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

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

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

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

A SMALL PLAIN CREAM JUG Birmingham, 1933.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

THE ROCOCO STYLE
The formal, classical designs of the French Regence period (approximately 1700-25) were superseded by the Rococo style which again originated in France and involved the use of highly elaborate asymmetrical
ornament based on natural forms and incorporating rock, shell, plant and marine motifs.
One of the greatest exponents of this extravagant decoration was Juste-Aurele Meissonnier (1695-1750). Born in Turin, he moved to Paris and was admitted to the goldsmiths’ guild in 1725. The only known piece which has survived bearing his mark is a gold snuff box with Paris hallmarks for 1728, but a number of his engravings for designs in silver are in existence ; one example is the candlestick reproduced. A three-light
candelabrum after this engraving, by Claude Duvivier, Paris, 1734-35, is in the Mus6e des Arts Decoratifs, Paris.
Other Parisian silversmiths of world fame are Thomas Germain and his son, Francois-Thomas, who produced some of the most remarkable creations in this style. As a large proportion of 18th-century French silver was destroyed during the Revolution of 1789, it was fortunate for posterity that both father and son worked for the kings of Portugal. A most extensive collection by these makers which has been preserved is in the Museo National de Arte Antiga, Lisbon. A visit to this museum convinces one of the superb craftsmanship displayed by these makers. Thomas Germain held apartments in the Louvre as well as a separate shop in Paris and employed a large staff. He was obviously a prolific maker, but of the relatively small number of pieces of his work which have survived some bear his son’s mark, making identification difficult. It appears that when Francois-Thomas inherited his father’s position at the age of twenty-two he stamped his mark on a number of his father’s works. Francois-Thomas, who benefited from his father’s skill and reputation, came to a disastrous end through extravagance. He was declared bankrupt in 1765 and consequently lost his royal appointments. He died in obscurity in 1791.
Another notable Parisian silversmith, Jacques Roettiers, who was apprenticed to Germain, and another royal gold-Salver by Paul de Lamerie. London 1737
ship. His success is recorded by the number of pieces still in existence in livery companies, museums and private collections. His early works were either in the Queen Anne style or the French Regence manner, but he later developed the asymmetrical designs associated with the Rococo style.
The four pieces illustrated have been taken from the later period, when his finest works were produced. The first, a sideboard dish of 1736, has a border applied and chased with emblems of the Four Elements
interspersed with fish and shells, all linked with garlands of flowers and alternating with grotesque masks at the rim. The centre is applied with a contemporary coat of arms within a cartouche echoing the ornament on
the rim. This piece represents the heavy cast and applied work at which de Lamerie excelled.
The salver of 1737 illustrates another mode of decoration, displaying engraving and flat chasing. A band of rocaille motifs and scrolls appears below the matching fluted rim, and the centre is engraved with a monogram within a typical asymmetrical cartouche.
One of his stock and the other of his tools, patterns and shop fittings, but the sale catalogues have not been discovered. In his will de Lamerie stated that his journeyman, Samuel Collins, was to be paid a certain sum
on condition that Collins fnished plate already in hand, which was then to be sold. Why these pieces made in 1738 should be overstruck with Garden’s mark is difficult to explain. Perhaps they were bought at the auction by Garden and, acting as a retailer, he felt entitled to use his own mark.
The last piece by de Lamerie, a coffee jug of 1747, is in comparison with the other pieces simple in design. If it were not for the well-modelled butterfly finial and delicate leafage at the spout and handle sockets, it
could be by any other English silversmith of the period. Throughout his working life de Lamerie wrought pieces of plain design but obviously his skill in applied ornament and other forms of decoration brought to English silver a standard which has not been surpassed in this country.
Detail of coffee jug by Paul de Lamerie. 1747
Set of three casters in sizes by Paul de Lamerie. 1738
The controversy as to whether armorials and their accompanying cartouches were executed by the silversmiths or were farmed out to engravers will probably continue, but the engraving and other decoration on works by de Lamerie executed at the height of his career are so similar in design that it is quite probable they were carried out in his workshop.
The set of three casters of 1738 contains a variety of decoration, yet there is sufficient restraint to allow the ornament to be appreciated. On the body the applied masks with feather headdress alternate with foliate
swags. The bases are pierced between scale and shell motifs; the covers display piercing and engraving of diaperwork above scroll panels enclosing cornucopias.
These casters are overstruck with the maker’s mark of Phillips Garden, who is reputed to have purchased patterns and dies belonging to de Lamerie after his death. We do know, from the research of Philip A. S. Phillips in his book The Life and Work of Paul de Lamerie, that two auctions did take place.

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

SILVER WAITERS AND TRAYS
First let me explain that a silver waiter is the trade name for a salver. They were used by servants when waiting upon you. Salvers can be round, oval or rectangular, but they only become silver trays when they have handles. Small trays are coffee trays, larger ones are tea trays.
They are amongst the most common and useful of objects. Even though we no longer leave visiting cards, the small waiters once used to receive them are still highly popular for serving a drink, or even as an ornament on the hall table.
Unfortunately, being amongst the most used, they are also amongst the most abused of silver items, and many are in far from good condition. Firstly, examine the front. Is there an original arms or monogram? If not, holding the article at an angle, you may see a hollow. Sometimes the repairer, logically enough, prefers to make the front flat - if so, a hollow will be found in the back. It is extremely difficult, and the waiter must be of good gauge, to remove engraving without it showing. Sometimes the original cartouche remains but the centre with the actual arms has been erased and re-engraved. If the front is decorated, is the decoration original? If it is engraved (other than bright cut at the right period) it probably is not - if decorated at all, waiters are usually flat-chased. For this to be original the waiter must date 1735 - 1755 or, after 1815. I include two examples of genuine George II flat-chasing - you will see that they are curly and swirly, with
extra-elaborate feet and borders - you would not expect this decoration with a plainish border. Also the chasing is flat, no lumpy flowers rising above the surface, and no matted backgrounds. Also, for some reason the centres of later-chased waiters are usually plain and shiny and often seem to be slightly above the level of the rest of the front. Check if the front is springy, even if otherwise it seems all right.
Unless the border is cast separately, waiters are made (except for the feet and mounts) in one piece. Examine the angle between the flat and the bouge (which is what the raised part is called) to see if it has been cracked and repaired, or if any of the little angles in the shaping of the border have been worn through and repaired. When these come down to a point on the front, look especially carefully for holes, as constant cleaning wears away these corners. Some waiters which are beaded at the junction of the bouge and centre have a hole through every bead! Feet also tend to get pushed through, or torn out. Finally, the surface back and front should show the degree of wear consistent with the age and use.
Armorials, if original, are an important feature of waiters and trays - without them, it always looks as though something is missing, as the centre is otherwise usually so plain.
All the items shown in this section have original armorials.
This article is the earliest form of waiter. It is commonly called a tazza, or a salver on foot. The feet must be marked with the lion’s head erased (most of them date from the higher-standard period) or the lion passant. Really fine examples have a heavy cast gadroon border, and cast screw-on feet with cut-card work at the junction. Late seventeenth century examples often have a coarse embossed gadroon border which is less popular than this plain type. They are normally up to nine inches in diameter, but the Irish made
much larger ones sometimes.
Most George I waiters are anything but round - variations on the square are most popular. Being rare, they are much sought after. This would be about 1725, about twelve inches
across. Anything larger is very rare.
An octafoil waiter. These are made with anything from six to twelve “foils” but eight is most common. They are usually of excellent quality, with bold bracket feet. They are liable
to split at the corners.
An early George II salver, about ten inches. Of rather softer outline than the one on page 397. Might have bracket feet, but scroll feet are developing. Rarer and more desirable
than a round one of the same date.
So-called “Chippendale” border. A “Bath” border is somewhat similar, but with bracket-shaped outlines and no break between the front and bouge. 1730 - 1740. A popular type.
The most common type of border 1738 - 1760. Sometimes you get little differences, like masks replacing the shells.
Very large cast-border salver early 1740’s. Superb engraving and flat-chasing. Usually the border is separate, and the bottom is held in by a strip bent over it, which, on a waiter
of this size, usually means the bottom is far from rigid. In this, the cast border is soldered directly to the front. Usually about twenty-four inches in diameter, between one hundred
and fifty and two hundred ounces, they are comparatively reasonable in price because not many people have room for them.
More conventional cast-border waiter, in which the bottom is not soldered to the border. Except for the smallest waiters of this type, the border must be marked, at least with the
lion passant, preferably plus the maker’s mark. The bottom is fully marked. Sometimes the border is fully marked as well, or the border is, and the bottom part marked. About 1750.
The shaped gadroon waiter. One of the most popular patterns 1760 -1775. The armorial engraving is still rococo here in the Chinese Chippendale style.
The first waiter retains the outline of the last example, but shows a greater Adam influence with the beaded edge, the bouge embossed with swags of husks (look for holes) and ball and claw feet.
The other two date from the 1790’s and have panel feet. Incidentally, all waiters have feet - if there are none, they have been removed. All with original armorials.
The beaded border was popular from 1775 - 1790, after which the reeded border was in vogue until 1805
Incidentally, separate pairs of small waiters will be about 50% dearer per ounce.

You do see trays - by which I mean a rectangular object more than eighteen inches long - earlier than this, but they are so rare that prices would hardly be realistic. Tea trays came into general use in the late 1780’s and this one is just after that. They are invariably oval, with threaded (most popular) or beaded border, usually with bright-cut engraving. They are as small as sixteen inches across (excluding handles) but twenty to twenty-two inches is the more usual size. Trays may or may not have feet.Larger circular thread edge waiter about 1800. Twelve to fourteen inches.Perfectly plain thread edge tea tray about 1805. Personally, I prefer the engraved ones, but these are very popular.Plain round gadroon waiter 1805 - 1815. The arms, though genuine, is a pastiche of the George II style.
About 1810, trays become oblong (so do teasets). The incuse corners on this example are rather unusual, however In 1805, the tea tray is still oval, but has developed a gadrooned border. The finer the gadrooning, the more valuable the tray.
The heavy gadroon and shell mounted oblong Regency tea tray 18 15 1825. Very popular type. Rather more delicate ones were also made.
William IV salver in the George II taste. One thing this does do is show the difference between mid-eighteenth and nineteenth century flat chasing. Note the ‘C’ scrolls, and the
matted back-ground finishing with a definite line. It is very rigid, and rather nasty, although this is a fine piece of silver.
Another early Victorian example in the George lI taste except that the form of the waiter is 1735, the cartouche 1750, and the flat chasing typically Victorian. But it is a more practical size than the previous example.
A more typical example of a silver waiter. The decoration is quite free - incidentally, another Victorian thing - the Criss-cross diaper motif, not found in the eighteenth century
A good example of Robert Garrard’s silver tray about 1845. The cast border includes the monogram crest and coronet of its original owner.