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Lot 482
A collection of silver items, comprising: a rectangular plain picture frame, Birmingham 1920, 22cm x 15.5cm; a mustard pot, Birmingham 1926, of navette shape, with a glass liner and a spoon; a hexagonal sugar basin, Chester 1923; a small circular picture frame, 7.2cm diameter; two piereced bon bon dishes, one late Victorian; a pedestal bon bon dish; a loaded bud vase, 12cm high; a powder bowl with mirror lid, damaged; a small round mustard pot; a small inkwell, loaded; a tortoiseshell easel back clock, damaged; a trophy cup, damaged; a small salt; a match box holder; two modern silver wine labels, with a plated label; a pair of whisky tots; three toilet bottles; and a glass mounted sugar caster, 649g (21 oz) of weighable silver
Lot 498
A collection of small silver, including: a tortoiseshell pique hand mirror, Birmingham 1924; a silver handled ivory page turner, Birmingham 1906; a Victorian silver cover cut glass pounce pot, London 1890; a late Victorian embossed sugar bowl, London 1899; an embossed twin handled pedestal small bowl, Birmingham 1905; a pierced circular wine coaster, Chester 1915; and other items including cruet items, 581g (18.5 oz) gross of weighable silver
Lot 16
A pair of Russian mid 19th century silver wine coolers, Carl Tegelsten, St. Petersburg, 1849. the bowls finely cast, repoussé, chased and engraved with huntsmen with hounds pursuing deer and rabbits through dense woodland, the handles realistically modelled as scrolling fruiting vines rising from bases in the form of rock promontories, the rims of the detachable liners similarly cast with vines (2), Each 42cm high, Note: These wine coolers are possibly inspired by the great Parisian goldsmiths, Thomas Germain and Jacques Roettiers. But these are very far from copies. The way in which the krater-like vase has been completely enveloped by the living vine could only be Victorian but the craggy rocky base which supports the vase reinvents a Roettiers centrepiece of the 1740s, while the vine handles recall those of a Germain wine cooler of 1727 Carl Tegelsten supplied silver for the famous firm of Nichols and Plinke, who were known as the Magazin Anglais (The English Shop). The two English gentlemen who founded the firm, Constantine Nichols and William Plinke were granted Russian citizenship in 1804, the firm was active between 1829 & 1870. The Russian aristocracy and the Imperial Court being the main clients. The firm was very much the leader in the Russian market but were eventually outshone by Faberge. These wine coolers are possibly inspired by the great Parisian goldsmiths, Thomas Germain and Jacques Roettiers. But these are very far from copies. The way in which the krater-like vase has been completely enveloped by the living vine could only be Victorian but the craggy rocky base which supports the vase reinvents a Roettiers centrepiece of the 1740s, while the vine handles recall those of a Germain wine cooler of 1727. Carl Tegelsten supplied silver for the famous firm of Nichols and Plinke, who were known as the Magazin Anglais (The English Shop). The two English gentlemen who founded the firm, Constantine Nichols and William Plinke were granted Russian citizenship in 1804, the firm was active between 1829 & 1870. The Russian aristocracy and the Imperial Court being the main clients. The firm was very much the leader in the Russian market but were eventually outshone by Faberge.
Lot 105
ROYAL YACHTING INTEREST, A Royal presentation prize ewer; The Queens Cup, Royal Albert Yacht Club, Edgar Finlay and Hugh Taylor, London 1890-91, retailed by H.M.E. Manuel and Son, 12 and 13 Ordnance Row, Portsea, loosely modelled on the America's Cup by Garrard, of ewer shape, the bold C-scroll handle with acanthus clasping and rosettes, the everted lip with a bold mask of Neptune below, the whole body profusely chased with vinery and fruit, a small central oval cartouche with a crest, a leaf clasped cartouche with engraved inscription to one side, the other with a similar cartouche with a scene of yacht racing, all supported by a central leaf clasped column with three cast dolphinesque supports and shells between, lower gadroon border and inscribed around the circular base, 61cm high, 110oz, Note: Engraved to the front: 'Presented by her Majesty The Queen to the Royal Albert Yacht Club 1890' and to the foot rim '"Queens Cup" won by DEERHOUND August 18th 1890, Charles G Nottage./rTHE CUP, Like the famous 'America's Cup', fashioned by Garrards forty years earlier, the Queen's Cup given by Queen Victoria to the Royal Albert Yacht Club, Southsea, in 1890 is a silver wine ewer, probably - if any function was ever intended for it - for use as a claret, champagne or hock/moselle jug in the fashion of the day. By 1890, Queen Victoria had, for many years, given three cups annually for yacht racing: one went automatically to The Royal Yacht Squadron at Cowes, one was given to either a Scottish or Irish 'Royal' yacht club and one was given to an English 'Royal' yacht club - 'Royal' yacht clubs were those with a Royal patron or commodore, or both. In 1890, it was the turn of the Royal Albert Yacht Club, founded in 1865 and which had previously received a Queen's Cup in 1873, to receive a Queen's Cup - The Queen's gift to the club being ascribed by The Portsmouth Times and Naval Gazette of 23rd August 1890 to the 'co-operation of the commodore, H.R.H. The Duke of Edinburgh'. In 1890, H.R.H. The Prince Alfred, Duke of Edinburgh (1844-1900), second son of Queen Victoria, was an admiral in the Royal Navy and commander-in-chief at Devonport./rTHE YACHT, Yacht 'DEERHOUND's lines were drawn by the famous G.L. (George Lennox) Watson (1851-1904), the Glaswegian designer of H.R.H The Prince of Wales's famous racing yacht 'BRITANNIA' in 1893 as well as several British challengers for the America's Cup and many of the most famous British racing yachts of the last thirty years of the 19th century. Built in Southampton by Black & Co. for Charles Nottage and rigged as a cutter, she was launched in 1889, her Gross Registered Tonnage being 56 tons, overall length 72 feet 4 inches, waterline length 58 feet 10 inches and beam 13 feet 3 inches; her sails were by Lapthorn and Ratseys and her sail area 4,065 ? square feet. She was a '40 rater' in the ratings of the Yacht Racing Association and raced in that class. Immediately successful as a racing yacht, she won Nottage nineteen prizes in 1890 and was top of her class in that year. Nottage sold her to the Marquis Ridolfi in 1892 and her name was changed to 'ORETTA'. Based in Livorno and subsequently Naples for the next twenty years, she changed hands several times, being renamed 'LUISA' in 1898, when bought by Vincenzo Murolo, and 'LUISA M.' in 1903. Last owned by Ernesto Murolo from 1909 to 1911, she disappeared from Lloyd's Register of Yachts in 1912./rTHE OWNER, Charles George Nottage was the only son of George Swann Nottage (1822-85) and Martha Warner (1832-c.1914). In 1855, George Swann Nottage founded the London Stereoscopic and Photographic Company and was proprietor of that highly successful commercial business until his death; he was also an alderman of the City of London, its sheriff 1877-78 and died in office as Lord Mayor in 1885. Charles George Nottage was born on 1st October 1852 and, after an education at Jesus College, Cambridge (BA and LLB 1879), was admitted to the Inner Temple, being subsequently called to the Bar on 11th May 1881. Nottage, generally known in yacht racing circles as 'Captain Nottage' because of his rank as such in the Devon Militia Artillery from 1885, first owned yacht 'FOXHOUND' and raced her from c.1886. 'FOXHOUND' was a 58 foot cutter, built by Fife of Fairlie in 1870 and Nottage sold her to the American yachtsman Harry North in 1889 when he bought yacht 'DEERHOUND'. By 1890, Nottage was one of the notable yachtsmen of his day, belonging to eleven yacht clubs - ten of them 'Royal' - in Britain and featuring in the yachting press on a regular basis from 1886 to 1892 as he and his crews sailed yachts 'FOXHOUND' and 'DEERHOUND' in regattas in both British and Continental waters. A Fellow of the Royal Geographical Society, Nottage succeeded his father as proprietor of the photographic business in 1885 and appears to have given up yacht racing when he sold 'DEERHOUND' in 1892. His health failing, he went on a world tour during 1892-93, visiting Hawaii and California and subsequently publishing a book on his travels. Nottage died in London on 24th December 1894. In his will, he left 13,000 for the establishment of the Nottage Institute at Wivenhoe in Essex - from which area he had drawn the crews for his two racing yachts - in order to instruct yachtsmen and other sailors, especially those from the Wivenhoe area, in navigation: this Institute, now known as the Nottage Maritime Institute, still exists in Wivenhoe. He also left money to the Yacht Racing Association for the annual award of what was to be called 'The Nottage Cup' but this bequest failed to meet appropriate charitable trust legislation and so could not be implemented./rTHE RACE, Such was the interest at the time in yacht racing that the race for which The Queen's Cup of the Royal Albert Yacht Club was presented on 18th August 1890 was covered in both the national and the local press. The Portsmouth Times and Naval Gazette specified the details of the race and course in the Solent on 23rd August 1890, as follows. 'Handicap for yachts of an above 25 Y.R.A. rating, owned by members of the Royal Albert Yacht Club. First prize, the Queen's Cup, value 100 guineas, presented by Her Majesty the Queen; 2nd prize, 30; 3rd prize 10. Course, from the starting vessel near the Spit Fort, round the Nab lightship, thence round the [Ryde] West Middle Buoy, and back round the starting vessel. Twice round - say 45 miles'. The Portsmouth Times's report went on to list the names, rigs, ratings and owners of the competing yachts. There were twelve entries, six cutters and six yawls, ranging in size from the largest yawl, 'LETHE' rated at 123.79, and the largest cutter, 'THISTLE' rated at 121, down to smallest yawl, 'ANACONDA' rated at 25.43, and the smallest cutter, 'DEERHOUND' rated at 39.73. A detailed report of the race was contained in the Portsmouth Evening News of 19th August 1890, as follows. 'All started but Anaconda. Mohawk was first over the line, at 2 minutes 13 seconds after ten. Deerhound was seven seconds later, Vanduara 16 seconds after her, and then came Neptune, Thistle, Maid Marion, Lethe, Naeira, Castanet, Wendur and Foxglove in the order named. The yachts had all sail crowded on and made a stately progress down to the Nab without much change of position. On their way down, the breeze freshened very slightly and veered to the westward. The Thistle assumed the lead and was well to the front on the way back to the West Middle Buoy, being followed by the Castanet, which was a long way ahead of the third vessel, the Vanduara. Wendur hugged the Isle of Wight shore too closely, forgetting the set of the tide, which caused her to fall sadly behind, with Foxglove as a near companion. These were the last two and the remaining six yachts filled up in processional order the gap between them and the three leading vessels. The wind had now gone round to the south and increased so
Lot 118
An early Victorian silver-gilt mounted claret jug, Reilly and Storer, London 1849-50. the rich green bulbous glass body with a silver-gilt vine leaf handle, the hinged cover with vine leaves and grapes, the whole body clasped with vine branch tendrils, the front with socket for a wine label (lacking), all on a simple circular foot, 30cm high
Lot 119
A pair of early Victorian silver-gilt frosted glass wine ewers, Reilly and Storer, London 1847-48. the glass body of ewer form, plain stem and spreading foot, the silver-gilt handle of naturalistic branch form onto a vine branch clasping the neck, the lower part with vine leaf and grapes clasping the main body, the base with a solid rim and further branch detail with leaves, the rim engraved ‘Green and Co. Fecit London’, each with a gilt spirit label Joseph Wilmore, Birmingham 1834, each of vine leaf form, pierced for ‘Claret’ and ‘Burgundy’ (2), 34.7cm high
Lot 127
A pair of early Victorian silver-gilt mounted satin glass wine ewers, John Samuel Hunt, London 1843-44. each with glass body of ewer form with knopped stem and spreading foot, the silver-gilt handle of naturalistic branch form onto a vine branch clasping the neck, the lower part with vine leaf and grapes clasping the main body and with a central coronet above conjoined initials, the base with a solid rim and further branch detail with leaves (2), 36cm high. Provenance: Sotheby’s New York, 16th October 1996, lot 180. Provenance: Sotheby's New York, 16th October 1996, lot 180
Lot 158
THE COOTE CANDELABRA, A pair of important Regency silver-gilt seven light candelabra, Benjamin Smith, London 1812-13. the incurved triangular plinths raised on winged paw feet, the triple caryatid female figural stem rising from a leaf decorated platform resting on three winged sphinxes, the stem with applied armorials, each with six scrolling foliate and lion mask decorated branches with fluted waxpans rising from twin leafy vases below the similar central light, detachable nozzles and engraved with armorials, crests and initials (2), 91cm high, 932oz. Provenance: Possibly the pair sold Christie’s October 17th 1962 lot 103. Heraldry: The arms are those of Coote, for Sir Charles Henry Coote, 9th Bt whose great great great grandfather was the younger brother of Sir Charles Coote, 2nd Bt and created Earl of Mountrath in 1660. Sir Charles Henry succeeded to the Baronetcy in 1802 on the death of Charles Henry, 6th and last Earl of Mountrath. He was a Colonel of the Queen’s County Militia and an MP for Queens County 1821-47 and 1852-69. He married Caroline, daughter of John Whaley of Whaley Abbey, Co. Wicklow in 1814 and died at 5 Connaught Place, Paddington on 8 October, 1864. Note: These magnificent candelabra match the set of four in the Royal collection (Jones pl. LXIV) supplied by Rundell, Bridge and Rundell, Paul Storr, London, 1808 and weighing 1963oz. The attribution to Boileau (Young, pp. 334-337) is based on comparisons of details to a volume of drawings held at the Victoria & Albert Museum and in particular designs for a wine cooler with sphinx supports and centre pieces incorporating fleshy patera in the branches. Boileau arrived in England on the advice of Henry Holland in 1787 to work on the decoration of Carlton House. It has been suggested that the couchant-sphinx support owe their inspiration to Piranesi’s engraving of an antique marble candelabrum on couchant-lions, published in Rome, 1778 in Vasi, candelabri, cippi, sarcofagi, tripodi, lucerne ed ornamenti antichi, Schroder, pp. 356-7, figure 79. The candelabrum was not a complete piece but a composition of excavated fragments, restored under Piranesi’s supervision and sold in 1775 to Sir Roger Newdigate. It seems more likely, however, that the source for these candelabra was originally an engraving of one of pair of antique examples from the Farnese Collection in the Museo Nazionale at Naples, originally in the Royal Palace at Capodimonte. Such sphinxes can be found in other of Boileau’s designs including, for example, the magnificent group of four soup tureens, Paul Storr, 1802/3, in the Royal Collection. A single candelabrum of similar size and design, Scott & Smith, 1804/05/07 from the collection of the Duke of Sussex and sold Sotheby’s London, 18 March, 1982 is now in the Al Tajir Collection (Truman, p156) and four-light examples were previously in the collection of the Lord Barnard and are now in the Gilbert Collection (Schroder, pp354-357), Literature: Jones, E A: The Gold and Silver of Windsor Castle, London, 1911. Young, Hilary: A further Note on J J Boileau ‘a Forgotten designer of Silver’, Apollo, October 1986. Truman, Charles: The Glory of the Goldsmith, Magnificent Gold and Silver from the Al-Tajir Collection, London, 1989. Schroder, Timothy: The Gilbert Collection of Gold and Silver, Los Angeles, 1988. Udy, David, Neo-Classical Works of Art, Grosvenor House Exhibition Catalogue, 1966, no 7. See also Christie’s New York, April 11th 1995, lot 234. for other candelabra with the Coote crest/r159. CHECK DETAILS NOT LIFTED FROM A SIMILAR PAIR SEE END CHRISTIES The arms are those of Coote, for Sir Charles Henry Coote, 9th Bt whose great great great grandfather was the younger brother of Sir Charles Coote, 2nd Bt and created Earl of Mountrath in 1660. Sir Charles Henry succeeded to the Baronetcy in 1802 on the death of Charles Henry, 6th and last Earl of Mountrath. He was a Colonel of the Queen's County Militia and an MP for Queens County 1821-47 and 1852-69. He married Caroline, daughter of John Whaley of Whaley Abbey, co. Wicklow in 1814 and died at 5 Connaught Place, Paddington on 8 October, 1864. . Provenance: Sir Charles Henry Coote 9th Bt (1792-1864), An Important American Private Collection, Christie's London, 17 October, 1962, lot 103. Simon Kaye Ltd, Garrards, Grand Duke Vladimir Kirillovich, These magnificent candelabra match the set of four in the Royal collection (Jones pl LXIV) supplied by Rundell, Bridge and Rundell, Paul Storr, London, 1808 and weighing 1963oz. The attribution to Boileau (Young, pp334-337) is based on comparisons of details to a volume of drawings held at the Victoria & Albert Museum and in particular designs for a wine cooler with sphinx supports and centrepieces incorporating fleshy patera in the branches. Boileau arrived in England on the advice of Henry Holland in 1787 to work on the decoration of Carlton House. It has been suggested that the couchant- sphinx support owe their inspiration to Piranesi's engraving of an antique marble candelabrum on couchant-lions, published in Rome, 1778 in Vasi, candelabri, cippi, sarcofagi, tripodi, lucerne ed ornamenti antichi, Schroder, p356-7, figure 79. The candelabrum was not a complete piece but a composition of excavated fragments, restored under Piranesi's supervision and sold in 1775 to Sir Roger Newdigate. It seems more likely, however, that the source for these candelabra was originally an engraving of one of pair of antique examples from the Farnese Collection in the Museo Nazionale at Naples, originally in the Royal Palace at Capodimonte. Such sphinxes can be found in other of Boileau's designs including, for example, the magnificent group of four soup tureens, Paul Storr, 1802/3, in the Royal Collection. A single candelabrum of similar size and design, Scott & Smith, 1804/05/07 from the collection of the Duke of Sussex and sold Sotheby's London, 18 March, 1982 is now in the Al Tajir Collection (Truman, p156) and four light examples were previously in the collection of the Lord Barnard and are now in the Gilbert Collection (Schroder, pp354-357), Literature: Jones, E A: The Gold and Silver of Windsor Castle, London, 1911. Young, Hilary: A further Note on J J Boileau 'a Forgotten designer of Silver', Apollo, October 1986. Truman, Charles: The Glory of the Goldsmith, Magnificent Gold and Silver from the Al-Tajir Collection, London, 1989. Schroder, Timothy: The Gilbert Collection of Gold and Silver, Los Angeles, 1988. Udy, David, Neo -Classical Works of Art, Grosvenor House Exhibition Catalogue, 1966, no 7. See also Christie's New York, April 11th 1995, lot 234
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