A George II silver cup and coverWilliam Grundy, London 1747 Cylindrical with baluster form cover chased with fruiting vines and entwined vine finial, the rim with ribbon and flower head motifs, the sides with caryatid scroll handles capped respectively with a male and female faun, with fur bodies and hoof feet, trailing vines below, finely cast and chased detailed with 'lion pelt' among vines, rococo scroll cartouches above an applied girdle, the lower body with a band of scrolls and foliate festoons, the pedestal with twist-flutes on a spreading circular foot with further fruiting vine band, the cartouches with later engraved crests, height 40.5cm, weight 115oz.Footnotes:The arms and crest are assumed and unrecorded and are used by the HUGHES family of East Bergholt, Suffolk. They are recorded in the index: Armorial Families (1895) 'as used but for which no authority has been established in the College of Arms'. The family could have been using the arms and crest from any date but 1895 was the first recorded use. In 1773 the family were created Baronets and in 1895, when the first record appears, the holder was Sir Alfred HUGHES (1825-1898) 9th Baronet who married Maria SMITH daughter of Col. John SMITH of Ellingham Hall, Norfolk.For further information on this lot please visit Bonhams.com
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A George II silver chinoiserie coffee potSamuel Courtauld (I), London 1757Baluster form, the body richly chased and embossed with flowers amongst scrolls, the sides applied with cast panels, one depicting a lady holding a parasol with a pagoda and palm trees in the background, the other depicting a lady in a tropical landscape with a hammock below a building in the background, the lid with vine leaf finial and gadrooned edge, the spout formed as a bird's beak with Bacchanalian mask junction, with a wood scroll handle, height 25cm, weight total 31.8oz.For further information on this lot please visit Bonhams.com
A monumental 19th century Irish silver covered tankard jugJohn Smyth, Dublin 1874, incuse stamped 'Waterhouse', Helsinki 1928 import marks Of cylindrical form, the hinged domed cover with open scroll thumbpiece, topped by a large cast finial of a traditionally dressed sailor singing, seated on a coiled ship's rope, opening to reveal a cavernous gilt interior, to the exterior a leaf-capped double-scroll handle with acanthus leaf terminal, to the opposite side a flared spout with an embossed classical mask of a bearded male to its base, an applied oval armorial plaque below for the 'LEIGHTON' family and the family motto 'DREAD SHAME', the whole elaborately embossed with flowers, fruit, foliage, diaper-work and 'C' scrolls in both high and low relief, an inscribed cartouche to one side in Finnish to 'Walter Petterson' from 'The Association of Finnish Stevedores', on a domed spreading circular base, height 46cm, diameter 22cm, weight 107oz.Footnotes:The motto DREAD SHAME is for the LEIGHTON family of Wattlesborough Shropshire, who were baronets and include a descendant family of Bausley or Ballesley, co. Montgomeryshire. Notably the motto was used by Revd. Francis Knyvett LEIGHTON (1807-1881) who was descended from Daniel LEIGHTON Lt. Col. of General Evan's Regiment of the Horse and was the younger son of Sir Edward LEIGHTON 1st Baronet. The very distinctive crest above the motto of 'two hands clasping each other in fess, conjoined at the wrist to a pair of wings all proper' is extremely rare. Only one family uses this crest, albeit in a differenced form: DAY of co. Cork. The crest was confirmed to Richard DAY MD of Auckland New Zealand, Robert DAY of Cork, merchant and Revd. William Tottenham DAY of Youghal. However, there is a distinct possibility that the heraldic crest could be alluding to a Freemason ritual. In relation to this, a Samuel LEIGHTON KCT PPSGW of Antrim has been discovered, who was a Grandmaster of freemasonry and trustee of the masonic hall in Belfast in this period, up until 1938. This armorial therefore seems to combine the motto of the LEIGHTON family, with a crest associated with the Freemasons and as such seems to logically point to Samuel LEIGHTON of Antrim.For further information on this lot please visit Bonhams.com
A monumental Victorian silver and parcel-gilt double-handled cup and coverCharles Frederick Hancock, London 1866, designed and modelled by Henry Hugh Armstead (1828-1905) Tapering urn form, polished gilt highlights to the whole, the vase-shaped flaring neck embossed with symmetrical arabesques, repoussé ovals, diamonds and hearts against a matt and burnished ground, a shaped scroll and foliate upper rim, the pull-off double-knop circular cover topped by a baluster finial, the two handles formed by a pair of cast female Winged Victory, one either side draped in diaphanous garb, a circular laurel wreath in each hand, arms outstretched, both elegantly balanced on the head of a roaring mythical beast, to the main a three dimensional English Civil War diorama with Roundheads and Cavaliers on horseback, arms and flags aloft, and on the reverse an engraved armorial for SIR DAVID BAXTER (1793-1872), First Baronet of Kilmaron, within applied fleur-de-lis and foliage, a gilded double banded girdle to the lower body, repeating arabesques tapering to a shaped octagonal mount, the knop beneath joined to a spreading circular base adorned with cast mythical sea creatures and scrolling leaves, a domed heart-shaped cartouche either side inscribed with initials and set within an openwork shield, the stepped foot with zig-zag motifs and gilded rim, height 65cm, diameter approx 28cm, weight 228oz.PLEASE SEE BONHAMS WEBSITE FOR THE FULL FOOTNOTE ON THIS LOT:-Bonhams : A monumental Victorian silver and parcel-gilt double-handled cup and cover Charles Frederick Hancock, London 1866, designed and modelled by Henry Hugh Armstead (1828-1905)
Victor Paillard (French 1805-1886): A pair of important and impressive First Universal 'Great Exhibition' gilt bronze and Sèvres style 'Bleu Céleste' turquoise glazed porcelain ground vases and coversin the Louis XV style, the mounts to each vase stamped Victor Paillard Paris 1851 and with printed at 6 Rue Saint-Clarde manufacturers / retailers paper labels for Victor Paillard to the inner sectional components, circa 1851each of inverted pear shape form with a pair of elaborate applied fruiting vine entwined scrolling figural handles formed as twin pairs of nude putti picking grapes above grotesque animal masks, united by fruiting oak twin garlands, beneath pierced gadrooned galleried rim mounts and raised on strapwork and formalised acanthus and pierced foliate scroll and flowerhead footed bases, the porcelain bodies with twin acanthus and rocaille moulded shaped oval cartouches, each finely enamelled to one side with classical figural scenes in the manner of Francois Boucher (French, 1733-1770) depicting resting female nudes and putti, possibly emblematic of Spring/Summer and Autumn, the former with three reclining female nudes and a sleeping putto within a garden setting beneath floral garlands, the later with two sleeping female nudes and a baby satyr, a winged cupid looking on, surrounded by fruiting vines and an upturned ewer or urn within a garden setting beneath similar floral garlands, the opposing sides enamelled with bouquets of colourful garden flowers and fruit including roses, convolvulus, daisies, chrysanthemums, dahlias, honeysuckle, auricular/primroses and grapes, the acanthus clasped, fluted and oval cabochon moulded swept lower sections on moulded strapwork pedestals with twin small cartouches further enamelled with grapes and flowers, the lobed domed figural covers with gilt bronze circular collars surmounted by white glazed groups, one depicting a putto feeding grapes to a recumbent panther clad in fringed saddle, the other of a similar putto holding aloft a fruiting garland whilst seated on a similarly saddled recumbent goat, the porcelain bodies and covers all with gilt bandings and enrichments, 103cm high (panther and putto cover), 97cm high (goat and putto cover)Footnotes:Victor PaillardThe son of Charles Paillard, a small landowner, Victor Paillard's artistic talents were first noticed by the Count of Guzmán, who sent him to hone his skills in Paris. After attending the Royal School of Drawing and training as a chiseler, he became the pupil of Jean-François Denière and a collaborator of Ferdinand Barbedienne. By 1830, Paillard had quickly established himself as a maker of 'bronzes of art and furnishing', first at 105 Boulevard Beaumarchais Paris and later at 6 Rue Saint-Claude, Paris. Although he initially specialised in producing small objects including candelabra and statuettes he began exhibiting at the Exposition des produits de l'industrie in 1839 and this led on to him experimenting with gilt and silvered bronze in the 1840s.The 1851 Great ExhibitionIn 1851 his refined techniques in metal finishing caused great admiration at the London Great Exhibition where a Mr E. Beres commented 'Mr. V. Paillard excels in the novel art of oxidising bronze. His silver hues are perfect and, at first glance, deceive even an expert eye...'. In the Art-Journal Illustrated Catalogue for the first universal exhibition, Paillard's entries are listed as including a Louis XV style gilt bronze clock and a group of tableware and sculptures. Additionally on page 289, a near identical single vase with goat and putto finial to the cover is shown in a black and white outline along with other decorative pieces which bears almost exact similarities to one of a pair of vases offered. The accompanying text for the illustration reads as follows:'In an early page of the catalogue we introduced two single examples of the BRONZES of MR M (sic?) PAILLARD of PARIS. We now bring forward a GROUP composed from his numerous contribution's in the exhibition. In the centre is a Noble VASE, of porcelain, in the Louis style, with bronze ornaments, festoons of flowers and figures. To the right is the well known group of THE CUPIDS STRUGGLING FOR THE HEART'. The remainder of the composition is made up of statuettes, candelabra, vases and other objects.'Commissions and ClientsVictor Paillard amongst others worked for the cabinet maker Alexandre-Georges Fourdinois, Honoré de Balzac, the Prince of Galliera, Abel Laurent, Louis-Constantin Detouche, Officer of the Legion of Honour, and Knight of the Iron Crown in Austria and numerous Russian nobility. He was appointed a member of the jury of the 1855 Universal Exhibition and in 1874, a Councillor of Paris and Mayor of the 3rd arrondissement. He also received many official commissions, notably during the decoration of the hotel of the Minister of Foreign Affairs at the Quai d'Orsay (French Foreign Ministry) in Paris.Palliard is perhaps best remembered for his work the Quai d'Orsay which was located on the left bank of the Seine River. In the Ministry, the Salon du Congrès and the Salon de l'Horloge in particular display his great artistic and technical brilliance. Originally called the Salon des Attachés, the former was later renamed in memory of the 1856 Congress of Paris which ended the Crimean War. Dominated by an impressive Renaissance style chandelier decorated with putti and arabesques, the room also featured a patinated and gilt bronze clock resting on a green marble plinth emblematic of architecture and painting, two pairs of candelabra - one depicting The Three Graces, the other pair decorated with putti and bouquets of flowers and a pair of torchieres in the form of chimera, with flowers and garlands. Paillard also produced the famous clock in the Salon de l'Horloge from which the room takes its name along with bronze mounts for the impressive chimneypiece. As well as undertaking his own commissions Paillard also undertook the casting for a number of the most famous sculptors of the day including Barye, Carrier-Belleuse, Feuchère, Pradier, Preault and Klaggmann. As such he was to run one of the most successful and admired foundries in FranceRelated Liberature:Kjellberg, Pierre, Les Bronzes du XIX siècle, Dictionnaire des Sculpteurs, Les Editions de l'Amateur, (Paris), 1989; p.662.This lot is subject to the following lot symbols: TPTP Lot will be moved to an offsite storage location (Cadogan Tate, Auction House Services, 241 Acton Lane, London NW10 7NP, UK) and will only be available for collection from this location at the date stated in the catalogue. Please note transfer and storage charges will apply to any lots not collected after 14 calendar days from the auction date.For further information on this lot please visit Bonhams.com
A 17th century German silver-gilt 'snakeskin' tankardPaul Hübner, Augsburg circa 1610, also later stamped with Austrian Freistempel 1809/10 Plain tapering cylindrical form, the hinged flat-domed cover surmounted by a cast golden sheep finial, a beaded scrolled thumbpiece with C-shape handle beneath terminating in a shield, the whole gilded and embossed with matt 'snakeskin' effect juxtaposed against polished bands top and bottom, all on a stepped circular spreading foot, height 20cm, diameter 18cm, weight 40oz.Footnotes:ProvenanceSold Sotheby's auction 'European Silver' Geneva 18th November 1991, Lot 204 - incorrectly identified as Paulus Hoschel, Augsburg circa 1650 - the Augsburg mark is an earlier date and therefore this piece cannot be by HoschelFrom a private collectionFor further information on this lot please visit Bonhams.com
A 17th century German silver and parcel-gilt tankardHieronymus Holl II, Danzig (Gdansk Poland) circa 1688, the cover with two additional marks Of cylindrical form, a hinged gilt cover embossed with a band of prunus and acanthus leaves on a matted ground, with a bud finial and bifurcated thumbpiece, a cast scrolling figural Minerva handle with foliage, around the body an embossed bas-relief featuring a procession of Biblical characters celebrating, with soldiers, horses, camels, women, babes in arms, frolicking children and running dogs, a silver finish in contrast to the gilt top and bottom, the domed spreading foot embossed to match the cover, height 25cm, diameter 18cm, weight 45oz.Footnotes:ProvenanceSold Sotheby's auction 'European Silver' Geneva 12th November 1990, Lot 65 (incorrectly identified scene)From a private collectionLiteratureFeatured in the following publications:-Anna Frackowska, 'Gdansk Silver Tankards of the 17th and 18th Centuries', (Warsaw: ARGRAF, 2013), p.376, no.XXX/1 - incorrect identification of sceneAndrzej Fischinger and Darius Nowacki, 'Goldsmiths work from the former Royal and Ducal Prussias in the collections of the Wawel Royal Castle', published 2000, p.116, note 6For further information on this lot please visit Bonhams.com
A French gilt bronze mounted porcelain potpourri pedestal bowl and coverin the Louis XVI style, 18th / 19th century, the porcelain probably Paris, perhaps Locre, the mounts in the manner of Pierre Gouthière (French, 1732-1813) the dark blue glazed shallow bowl with twin lobed and reeded handles above fruiting vine bacchante mask head mounts and below a fret-pierced rim, the circular shallow lid with artichoke finial within a fruiting palmette leaf collar with gilded foliate border, the whole raised on tripartite legs with bearded Bacchus mask heads tapering to goats feet, raised on corresponding shaped platform base with milled border panels, 35cm high For further information on this lot please visit Bonhams.com
Two Chinese Yixing teapots and covers: the first of hexagonal form with metal spout and handle mount, the sides decorated with panels depicting a dragon pursuing a flaming pearl, Qing Dynasty, 15cm [minor chips to cover]; the second of compressed globular form with dragon spout and chilong finial, seal mark, 20cm.* Notes the second with paper label for the 'Williams Teapot Collection'.
A mixed lot of Chinese porcelain: including a small famille rose cup, cover and stand decorated with figures and inscriptions from the 'Table of the Peerless Heroes', late Qing Dynasty, diameter of stand 10.5cm; a similar teapot and cover with peach finial and enamelled with ladies on terraces, 15cm; a famille verte tea canister and an eggshell teabowl [7 including covers].
A mixed lot of late 19th/early 20th century Dresden and other Continental porcelain: comprising a Dresden six-division egg stand painted with floral sprays, 21cm; a similar coffee pot and cover and matching sucrier and cover; a covered cup with entwined stalk finial; a small shell moulded bowl, a peach-shaped cup with AR mark; and a Vienna-style two-handled cup [7].
Handley and Moore, London and Francis Adams, London, a Regency bracket clock: the shaped eight-day duration, double-fusee movement having an anchor escapement and striking the hours on a bell, engraved to the backplate by the movement makers Handley & Moore, Clerkenwell, London, with typical border engraving, the pendulum with an engraved bob and fine regulation, the eight-inch round painted dial having black Roman numerals, blued-steel hands, a strike/silent lever above XII o'clock and signed F.B. Adams, London, the mahogany curved-top case with brass inlaid decoration, brass fish-scale frets and handles to the sides, canted corners and surmounted by a pediment top with brass finial, height 49cm.* Biography Handley & Moore were makers of movements to the clockmaking trade, working in Clerkenwell Close from 1801 until Handley retired in 1820 whereupon John Moore continued alone.*Biography Francis Bryant Adams, apprenticed in 1795, is recorded as working in St. Johns Square, Clerkenwell, a few hundred yards from the Handley & Moore workshops, until 1825 with his son of the same name continuing the business.*Notes Reference Brian Loomes Watchmakers and Clockmakers of the World, Pub. NAG 2006.
Charles Frodsham, Strand, London, a walnut bracket clock: the eight-day duration, double-fusee movement having an anchor escapement and striking the hours on a bell with the backplate engraved Chas. Frodsham, Clockmakers to the Queen, 84 Strand, London, No. 1930, the brass break-arch dial having a raised silvered chapter ring engraved with black Roman numerals, fleur-de-lys half-hour markings and with a repeat of the makers name and address, with cast-brass female-head spandrels to the four corners, the arch with a 'Strike/Silent' dial and dolphin spandrels, with decorative blued-steel hands, the walnut break-arch case with cast carytid mounts to the corners, decorative frets to the sides and surmounted by an acron finial to the stepped top, all standing on brass bracket feet, with an applied presentation plaque to the front engraved for Captain F.C. Meyrick and dated for 1892, height 41cm.* Biography Charles Frodsham, born 15th July 1810, was a member of the illustrious Frodsham clockmaking dynasty. Educated at Christ's Hospital school he was apprenticed to his father, William James, on the 14th July 1824 for seven years. Rather than join the firm of Parkinson & Frodsham, Charles set up on his own account in 1834 with various addresses in the City before finally settling at 84, The Strand having taken on the premises and stock of the renowned chronometer maker John R. Arnold, naming the business J.R. Arnold - Chas. Frodsham. The name changed to simply Charles Frodsham in 1848 having established himself as one of the leading chronometer makers as well as a maker of other ecxceptional clocks. Charles Frodsham died on the 11th January 1871.Reference Vaudrey Mercer The Frodshams, The Story of a Family of Chronometer Makers Pub. The Antiquarian Horolgical Society 1981.* The property of the Late Ann Meyrick
A William IV silver teapot, maker Edward, Edward Jnr, John & William Barnard, London, 1835: crested, of squat melon-shaped outline, the domed hinged lid with flowerhead finial, having engraved foliate decoration to the body, raised on four scroll feet, 28cm long, 813gms, 26.14ozs. (Exemption reference U5P9A2SB)
A George III silver mustard pot, maker Thomas & Jabez Daniell, London, 1773: initialled, of cylindrical outline, the domed hinged lid with pineapple finial, the trellis decorated sides with birds and flowers, with acanthus capped scroll handle, on a circular base with blue glass liner, 13cm high, 193gms, 6.22ozs.
A Burmese silver pedestal oil lamp: of oval outline, the circular pull-off lid with temple dragon finial, the handle in the form of a woman dressed in traditional costume, raised on a circular pierced base, 18cm long, together with a Persian glass and silver mounted flask and stopper, 14cm high, weighable silver 265gms, 8.54ozs
A late 19th French porcelain ormolu and gilt metal lyre clock garniture de cheminee, by Sartinot of Paris, the alabaster shaped frame holding a barrel dial with enamel, eight day movement and striking a bell, with pendulum and each garniture vase having a reversible pineapple and candle stand finial, 74cm high. Provenance: The estate of Mrs Sandra Mapletoft (Dec'd) who purchased this as Lot 99 on 29th June, 1996 from The Bourne Auction Rooms with a hammer price of £2,050.
A Hadley's Worcester lobed ovoid teapot, painted with roses on a blush ground, the cover with spire finial, pattern number 189, 14cm, printed marks; a 19th century Aesthetic Movement ovoid tea kettle, moulded with leafy pink blossom, brass mounted naturalistic branch swing handle and conforming spout, 16cm, unmarked, c.1880 (2)
A TALL SLIM CASED GOTHIC REVIVAL LONG CASE CLOCK, the slender mahogany case with boxwood inlay decoration, the breakneck dial having angelic spandrels, tempus fugit top plate, silvered chapter ring and matted inner dial, 8 day movement with pendulum striking on a bel, H 186 cmCondition Report:Damage to left hand column, missing finial
A vintage 1960s Irish silver hallmarked tea service. The service having engraved shell and foliate detailing with green stone finial handles. The lot to include tea pot, coffee pot, hot water jug, creamer jug and sugar bowl. All hallmarked Dublin 1967, sponsors marks for Royal Irish Silver Ltd. Hot water jug measures 28cm tall. Weight 3.006g.
A 19th Century William IV silver hallmarked coffee pot. The pot having shaped gadrooned sides with a scrolled handle and curved reeded spout, moulded apple finial handle, raised on scrolled feet. Hallmarked London 1834, sponsors marks for J Wrangham & William Moulson. Measures 25cm tall. Weight 927g.
A George III presentation silver-gilt bachelor's teapot, by John Page, London 1816, compressed circular form, chased foliate scroll decoration, flush hinged cover with a foliate finial, wooden scroll handle, on four ball feet, inscribed 'Smithfield Club 1816, The Right Hon. Earl Talbot, Three new Leicester Fat Wethers, 20 M.O. Bred by Himself', also engraved with his crown and Coronet, length handle to spout 20.8cm, approx. weight 12.4oz.
A mid 18th century West Country silver chocolate pot, maker's mark IB, possibly for John Boutet of Plymouth, circa 1740, marked twice with crowned leopard's head, tapering circular form, leaf capped wooden scroll handle, the domed hinged cover with a pull-out unmarked finial, leaf capped faceted spout, height 24cm, approx. weight 27.8oz. For maker's mark see; Harrison, M., Exeter and West Country Silver 1700-1900, Berforts Group 2014, page 281, entry 97.
λA three-piece Edwardian silver tea set, by J. Gloster Ltd, Birmingham 1908, oblong bellied form, engraved foliate decoration, scroll handles, the teapot with ivory insulators and an ivory finial, length handle to spout 29.4cm, approx. weight 31.5oz. (3) Ivory Act registration reference: 9DEDDDWRH.
A collection of four Victorian Regimental silver mustard pots, comprising: three by Smith and Nicolson, London 1861, drum form, scroll handles, one of the hinged covers applied with a Sphinx finial, on ribbon and reed bases, engraved with the badge of the 24th Regiment, plus one by J. Carrington, London 1893, worn crest, the underside inscribed '1st Service', no liners, approx. weight 25oz. (4) Provenance: This lot is being sold on the instructions of the Trustees of The Royal Welsh Regiment Museum Trust.
An Edwardian commemorative silver Admiralty Oar, Bombay and East Indian Company, unmarked, tapering form, with a crown finial, with various inscriptions, 'In the 50th Year Of The Reign Of Our Sovereign Lord King George The 3rd Whom God Preserve', 'In The 15th Year Of The Hon'ble Jonathan Duncan, Governor Of Bombay, Q.D.C.', 'In The 6th Year Of The Hon'ble Sir James Mackintosh, Recorder of Bombay, Q.D.C.' and 'In the Sheriffalty Of James Falconar Esquire By Whom This Was Made, 1810', the blade inscribed: 'Created (circa) 1670, Recognised by Crown Letters Patent 24th September 1726' and to the other side 'Eustace Ferrers Nicholson, Sheriff of Bombay 1907', length 20.7cm. Provenance: The Arthur Holder Collection.
A 17th century German silver pomander, unmarked, baluster shaped on domed circular foot, the screw-off cover with hexafoil baluster finial, the body comprising six segments with exterior engraved with panels of figures working in landscape settings, chased floral borders, the pomander opens to reveal six gilded segments, engraved decoration, each with a slide-off cover inscribed various floral and herbal names 'Ruden', 'Canel', 'Rosen', 'Rosmerin', 'Schlog', and 'Melgelken', height 5.7cm, approx. weight 2.2oz. Provenance: The Arthur Holder Collection. Christie's, London, Important Silver The Property of a European Collector, 5 July 2005, lot 96. Sotheby's London 21 October 1971, lot 153, The Property of a Lady.
A mixed lot of silver items, various dates and makers, comprising: a George II punch ladle, possibly by William Coles, London 1744, oval bowl, chased foliate decoration, turned wooden handle, a cased set of six teaspoons, London 1921, the terminals with the arms of The Leys School, Cambridge, and a 17th century bodkin, maker's mark IC, with a later finial, approx. weighable 3oz. (3)
A George II Scottish silver teapot, by John Main, assay master Archibald Ure, Edinburgh probably 1736, bullet form, leaf capped scroll handle with insulators, one is wooden and one is horn, chased foliate decoration, flush-hinged cover with a ball finial, on a raised circular foot, later initial, length handle to spout 15.5cm, approx. weight 20.8oz.
A mid 18th century Irish silver two-handled cup and cover, by Samuel Walker, Dublin circa 1760, circular form, central girdle, embossed with figural scenes in landscape settings, trailing vines, scroll-work and foliate decoration, engraved with an armorial and later crest, the pull-off cover with a cone finial, on a raised circular base, height 35cm, approx. weight 63oz. The crest is that of Massy.
A George II Irish silver coffee pot, by Charles Leslie, Dublin circa 1740, tapering circular form, chased foliate shell and strap-work border, leaf capped faceted tapering spout with chased decoration, flat chased cover with an urn finial, wooden scroll handle, on a circular foot, engraved with an armorial within foliate scroll mantling, the reverse with a crest, the underside with a scratch weight '33:17', height 22cm, approx. weight 34oz. The crest is that of Hansard of Lifford, Co. Donegal impaling Eccles, Maddison, Marley or Morris. Provenance: A Private Collection. Bonhams, Knightsbridge, Fine Silver, 19 November 1991, Lot 306, Front cover illustration.
A Charles I silver Apostle spoon, probably St. Philip, maker's mark of T.P, London 1639, fig-shaped bowl, faceted tapering stem with a gilded finial, with a holy dove nimbus, the reverse of the bowl with prick-dot initials 'G.S' over 'T.W', length 18.5cm, approx. weight 1.6oz. Provenance: A Private Collection.
Please note: the finial is St Paul, not St John as previously catalogued.A James I silver Apostle spoon,probably by John Round, London 1606, fig-shaped bowl, faceted tapering stem, the finial with a pierced nimbus, the reverse of the bowl with later initials, length 18.2cm, approx. weight 2oz. Provenance: A Private Collection.
An Elizabeth I silver Seal-top spoon, maker's mark of a device, partially obscured, London 1578, faceted stem, the finial with traces of gilding, length 16.2cm, approx. weight 1.3oz. Provenance: A Private Collection. Woolley and Wallis, Salisbury, Silver Sale 19 January 2016, lot 33. A Private Collection. Purchased from Sotheby's,14th March 1996, lot 169.
A rare Mary Tudor silver Wrythen Knop silver spoon, maker's mark of a cross with a pellet, London 1556, fig shaped bowl, tapering stem, the finial with traces of gilding, length 16.6cm, approx. weight 1.4oz. Provenance: A Private Collection. Bonham's, New Bond Street, London, 2 July 2008, lot 85. The Quernmore Collection. Purchased from Ian Pickford Limited on the 17th March 1998. This spoon was discovered by Dennis Price while digging in his garden in Chester in 1997. The spoon was in two pieces and had parted neatly at the notch joint. This find was written up in the Finial Volume 9/01, Aug/Sept 1998 page 37. For an illustration of the maker's mark, see How, Commander G.E.P and Jane Penrice, English and Scottish silver spoons and pre-Elizabethan silver hallmarks on English plate, volume III, page 37, cycle IV.
A pair of Elizabeth I silver seal-top spoons, maker's mark of W within a sun, London 1561, fig-shaped bowl, faceted tapering stem, the reverse of the bowl with prick-dot initials 'A.G' and 'E.G', gilded finial, length 17.1cm, approx. weight 3.8oz. (2) Provenance: A Private Collection. Woolley and Wallis, Salisbury, A Private Collection of Early Silver Spoons, 25 October 2000, lot 16. William Bruford and Son Ltd., Eastbourne.
A Charles I tentatively ascribed West Country silver Seal-top spoon, marked once in the bowl and three times on the stem with a scallop shell mark, possibly Gloucester, circa 1633, fig-shaped bowl, faceted tapering stem, the gilded finial with prick-dot initials ''R.C' over 1633 over 'E.C', length 18cm, approx. weight 1.7oz. Provenance: A Private Collection. Woolley and Wallis, Salisbury, A Private Collection of Early Silver Spoons, 25 October 2000, lot 11. William Bruford and Son Ltd., Eastbourne. For marks see Jackson's, Ian Pickford Edition, The Antique Collectors' Club, 1989, page 317.
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116061 item(s)/page