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Lot 196
A FOUR PIECE SILVER TEA AND COFFEE SET, baluster shaped coffee pot with chased scroll and foliate decoration, hinged lid with bird finial, coffee pot standing 10" high, coffee pot, teapot and sugar basin by Mappin & Webb 1900 and milk jug by S. Blanckensee & Son 1946, approximately 80 oz troy (see illustration).
Lot 226
A FRENCH ELECTROPLATED BOX AND COVER EARLY 20TH CENTURY The cover with phesant finial, the body cast with deer in a woodland setting, inscribed 'L.OUDRY.Pre.EDITEUR' 8 in. (20 cm.) high Together with a pair of German W.M.F. silver-plated pewter animalier trophy reliefs, early 20th century, each mounted on an oval oak panel -- 17 in. (43 cm.) high (3) View on Christie's.com
Lot 254
A GERMAN SILVER OCTAGONAL SUGAR BOX STRUCK ONLY WITH "12" STAMDARD MARK, CIRCA 1830 On four paw feet, 2 sides applied with a dove perched upon a quiver of arrows, front applied with rosettes flanking a foliate escutcheon, cover with lion couchant finial, stiff leaf borders -- 4¼ in. (10.8 cm.) high; 21.5 oz. (667 gr.) View on Christie's.com
Lot 443
A CUT-GLASS FOUR-LIGHT CANDELABRUM OF GEORGE III STYLE, LATE 20TH CENTURY With pineapple finial above four scroll branches on a circular base, hung overall with facetted drops 30½ in. (77 cm.) high Together with a pair of twin-light glass candelabra, of George III style, late 20th century -- 23¼ in. (59 cm.) high (3) View on Christie's.com
Lot 253
A rare Scottish George II coffee urn maker unknown, Edinburgh circa 1744 - 1759, of slightly compressed ovoid form with large chased border to upper body and rim with flower head and foliate scroll designs, containing twin blank scroll formed cartouches surmounted by lion mask detail, the slightly domed hinged cover with scroll border and diaper panels, with semi spiralled boss around ebony finial, the body set with twin scrolling serpent handles with detailed eyes and open mouths and with textured and chased bodies, the body set with straight spigot with ebony handle, the whole raised on three leaf capped cabriole legs with paw feet and shaped oval fluted appliques to body 29cm high, 26.5cm wide (across handles), 55oz Provenance: Christie`s Scotland 11th November 1987 lot 58 Christie`s Glasgow 25th April 1990 Private Collection Exhibitions: `Silver; Made In Scotland`, National Museums of Scotland 2008 References: Compendium of Scottish Silver, volume 1 page 523, R & J Dietert Silver; Made In Scotland` page 85` item 4.46, piece and detail illustrated, G Dalgleish & H Steuart Fothringham Notes: The ovoid coffee urn is perhaps the most unique design seen in Scottish silver; where the inspiration for this design emanates from still remains a mystery. Even the use of these urns has caused debate and the general consensus seems to be that of a coffee urn. Previously often termed water urns, this now appears wrong. During the period of these urns manufacture (circa 1719 - 1767) and particularly within the height of their manufacture (circa 1730 -1750) the number of standard pouring coffee pots is minimal. This and a reference in the John Rollo, Goldsmith Edinburgh, account book `To one Coffe poot 62 oz 2dr at 7sh 6pe per oz - no. 23 - 5 - 8` and the survival of this piece adds great weight to the theory of their use being for coffee. Their functionality also is worthy of note, when it is considered that within contemporary accounts coffee is considered medicinal and should `be drunk as hot as one can bear` the shape combined with the use of a burner (now lacking in most of extant examples) would have meant the contents could have been kept hot. While most of the surviving urns have now lost their burners, most (including this example) show signs of their use. The underside point of the urn (where most are marked) would have become polished out with the vigorous cleaning needed to remove the staining left behind by the burner. The survival rate of these urns is extremely small with only fifteen currently recorded, and ten of these in institutional hands. The design of these urns seems to vary more by the period than maker, with the main flare of the maker coming in the outline shape of the body; they can vary in shape from elongated egg shaped to more compressed squat bodies. While the marks to this example are now all but obliterated from polishing, it does seem possible to suggest a maker, when the whole survival of these urns is compared and stylistic trends noted. Firstly the most prolific maker / workshop seen with the extant examples are unsurprisingly that of James Kerr / William Dempster, who would laterally become Kerr & Dempster. They were one of Scotland`s most highly regarded goldsmiths and received many important commissions for the highest fashion silver of the day, it is therefore unsurprising that his marks are seen to the large percentage of these urns. Also the design and quality of this urn is of note in many features. Firstly the quality of the chased decoration, the deep and bold decoration could only have come from a very high quality Edinburgh workshop such as Kerr & Dempster. Such is the quality of the chasing to this urn that it has previously been considered to have been the hand of Ebenezer Oliphant considered one of Edinburgh`s finest chasers. Secondly the cast snake arms are of a mould recorded on other Kerr & Dempster urns, access to a prepared mould in the workshop must suggest a place of manufacture similar to the other urns featuring these handles. While this is the only urn with the textured finish to the handles this would have been added after the cast had been made. Thirdly the cast legs and importantly the appliqué between body and leg, are from the same mould as seen on other Kerr & Dempster urns. The crossover of makers using the same moulds and patterns for handles, legs and spigot does add some confusion to these theories but the majority of urns using these moulds can be tied to the Kerr & Dempster workshop and must be considered when trying to attribute this urn to a specific maker. Due to the fact that the Assay Masters mark of Hugh Gordon is still visible to this urn proves it must have been made 1744 - 1758, this does suggest that the most likely period of the Kerr & Dempster workshop would have been under the control of William Dempster, rather than Kerr and is considered that his name is the most obvious to be tied as maker of this item. While it has not been possible to prove William Dempster the maker of this urn it does now seem highly probable.
Lot 254
`The Barncleuch` Puritan spoon - an important Scottish 17th century puritan spoon by George Cleghorne, Edinburgh 1653 - 1655, Deacon Andrew Burrell, the tapered stem with three V cut notches to terminal and incised decoration to stem above large oval bowl, the reverse with large zig zag assay scrape and bottom marked, the reverse of the bowl with short V shaped rat tail and engraved with contemporary initials `QH / MD` 19.2cm long, 65g Provenance: Reputedly found in the gardens of Barncleuch House Thence by descent Sotheby`s Gleneagles, 30th August 1982 lot 483 (front and back illustrated) How of Edinburgh, 1993 Private Collection Exhibitions: Silver; Made In Scotland` item 3.47, National Museums of Scotland 2008 References: Compendium of Scottish Silver, volume 1 page 239, R & J Dietert Silver; Made In Scotland` page 52 item 3.47, piece and marks illustrated, G Dalgleish & H Steuart Fothringham Notes: The survival of Scottish Puritan spoons is surprisingly rare when compared to the same style and period of English examples. To date only nine hallmarked or provincial examples are known and this example being the earliest. It is unknown why this pattern should be so rare in Scotland when it is such a standard and comparably common pattern in English silver. It must be considered that a large number have been melted down and re fashioned throughout their history and lost. However even when compared to the other patterns of early Scottish flatware their survival still seems remarkably small. Even within such a small survival fashions and trends can be noticed. While following the English examples the Scottish made pieces do show variation. Due to its early manufacture this piece must be considered one of the plainer examples, virtually without additional decoration to the stem, other than the almost standard three V cut notches to terminal. The addition of the simple incised decoration above the bowl being it`s only additional adornment and unique to this spoon. For a full listing of currently recorded Scottish Puritan spoons see `An important new discovery in early Scottish silver` The Finial September / October 2008. Another interesting angle to this spoon are the engraved owners initials to the reverse of the bowl; with the original source of Barncleuch, it does appear that the upper initials `QH` stand for Quintin Hamilton of Barncleuch and it must be assumed the lower set `MD` for Marion Denham his wife, the date of marriage so far remains untraced but is presumably roughly contemporary to the spoon. Little is known about Quintin Hamilton other than he succeeded his father James Hamilton and took over the house and gardens at Barncleuch which had been constructed by his grandfather John Hamilton of Barncleuch, Commissary of Hamilton and Campsie in 1583. While the house at Barncleuch was of no great note within Scottish stately home architecture it was the gardens created by John Hamilton that really stood out. These terraced gardens he created with great vision and ambition carving five terraces into the steep hillside from the house to the river Avon and carried out large amounts of structural work. His visions and creations were no doubt inspired by his experiences travelling the world which consumed a large part of his life. Quintin and Marion are believed to have had five children and upon Quintin`s death in circa 1680 he was succeeded by his eldest son John who in turn died on 21st February 1705 without direct heir. References: `Historical and Genealogical Memoirs of the Branches of the House of Hamilton`, John Anderson 1825 pages 221 - 3 and supplement page 420 - 2
Lot 330
Banff / Aberdeen - a Scottish provincial punch ladle by David Izat, marks mark DI only, the circular bowl set with George III 1787 shilling to centre of base, and with slightly everted moulded rim, with straight socket to part twisted baleen handle, with simple cap finial 37cm long Notes: as it is known that David Izat worked in both Banff and Aberdeen and used the same DI makers mark in each attributing any item with makers mark only is difficult and should be left open as possibly manufactured in either location
Lot 335
Canongate - a scarce set of six Scottish provincial table knives with cutlers mark for BOOG to three blades, one blade marked STILL, two blades unmarked, the tapered handles with waisted finial and threaded borders with shell details, engraved with crest and motto (6) overall length 27cm, blade length 17cm Provenance: Craighall Castle, Perthshire Notes: the crest of a demi lion rampant and motto of FLOREAT MAJESTAS is for McKerrell-Brown of Edinburgh
Lot 336
Canongate - a scarce pair of Scottish Provincial table knives one with cutlers mark to blade BOOG the other untraced RW with a crown above, each with simple tapered cannon form handle with reeded decoration to pommel and simple ball finial, with engraved crest and motto (2) overall length 29cm long, blade 18.5cm long Provenance: Craighall Castle, Perthshire Notes: with crest of an arm holding a short sword / dagger motto possibly reads FORTITER ET CONSTANTER For a set of six tables knives circa 1760 with silver handles by Patrick Robertson (of Edinburgh) and blades by Boog, see `The Murray Collection` Lyon and Turnbull 20th August 2003 lot 195 hammer price £2300
Lot 355
Dundee - a scarce Scottish provincial mustard pot and spoon maker unknown, marked WM, pot of lilies, WM, pot of lilies, of barrel form with twin bands of reeded decoration , with simple C scroll handle and hinged domed cover with bun finial and engraved initial L, with matching spoon marked WM, pot of lilies, of Fiddle pattern with engraved initial L to terminal and unusual chased decoration to reverse of bowl (2) mustard pot 7.9cm high, spoon 10.5cm long, combined weight 4.3oz
Lot 1468
A Rogers pearlware blue printed Elephant pattern tureen and cover, circa 1820, with lion mask handles and finial, impressed mark to base (extensively repaired), together with a Rogers Zebra pattern pearlware tureen (repaired), a Wedgwood pearlware soup tureen, cover and stand printed with the Peony pattern (extensively riveted), a Greek pattern tureen and matched cover (riveted) and a Copeland `Spode`s Italian` rectangular meat dish.
Lot 1470
A Stone China tureen and cover, probably Hicks & Meigh, circa 1820, the baluster rectangular body decorated in Japan colours with chinoiserie flowers, the cover with large floral finial, brown printed marks with red painted pattern No. `142` (minor haircrack to tureen), together with a 19th Century Staffordshire tree and well meat dish (restored) and another meat dish.
Lot 8
A CHINESE EXPORT BLUE AND WHITE SOUP TUREEN WITH COVER AND STAND QIANLONG PERIOD (1736-1795) With rabbit-shaped handles, painted with peacocks amongst oversized peony sparys and further blossoms, the cover with a pomegranate finial, the stand with similar design 15¼in. (38.8cm.) wide max. (11) View on Christie's.com
Lot 290
A MATCHED PAIR OF CHINESE EXPORT FAMILLE ROSE TUREENS AND COVERS 19TH CENTURY Each with twin intertwined handles and tall flower head finial, painted to the body with cranes, long tailed birds and butterflies flying amongst magnolia, bamboo and fruiting lychee branches 14in. (35.5cm.) wide (2) View on Christie's.com
Lot 1021
A late Victorian Mustard, of hinged rectangular form, the domed cover with cast and applied finial, to a gadrooned border and polished baluster body with blue glass insert, width 3 5/8”, London 1899, Maker’s Mark JTH JHM; together with an Old English pattern Salt Spoon, various dates and makers (2)
Lot 1034
A George VI lidded Trophy Cup, of trumpet vase form, with rounded bowl and applied rim, to a wrythen and waisted pull-off cover (lacking finial), to a tapering circular and knopped stem, and raised on a spreading circular foot, mounted to a hardwood circular socle with further applied presentation engraved plaque, weight 7 ½ oz, Sheffield 1937, Maker’s Mark CB&S
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116061 item(s)/page