Posts Tagged ‘Berlin’

Dishes
Pair of George III oval meat dishes by Frederick Kandler, London, 1765, 73 oz 2 dwt Pair of Victorian octagonal entree dishes and covers with
vegetable dividers for each and ball finials, Sheffield, 1880,
120 oz 14 dwt 450 0
George III circular vegetable dish with ivory grips, pierced sides and four scroll and foliate feet, by W.S., London, 1809, 80 oz 2 dwt 360 0
William IV shaped oblong entree dish and cover with engraved armorials and foliate ring handle, by J. C. Eddington, London, 1835, 61 oz 5 dwt 260 0
George III muffin dish and cover, the domed cover with urn
shaped finial, by Henry Chawner, London, 1791, 15 oz 1 dwt        210 0
Jugs—Cream and Milk
George III helmet-shaped cream jug with ‘bright-cut’ engraving, loop handle and square pedestal foot, by George Smith, London, 1790, 3 oz 7 dwt 80 0
George II cream jug of conch shell type with serpent handle and
three coral-like supports. Circa 1755, 3 oz 5 dwt 80 0
George III oblong milk jug engraved with crests and with gadroon lip and scroll handle, by R. and S. Hennell, London, 1808, 6 oz 2 dwt 70 0
Victorian baluster milk jug chased with flowers and scrolls and on three feet. Possibly by William Brawn, London, 1845, 5 oz 7 dwt 52 0
Jugs—Water
George III pear-shaped hot-water jug, stand and lamp, the jug with rams’ masks and laurel festoons, the stand on three claw feet with female bust terminals, by Andrew Fogelberg. The jug 1776, the stand 1775, 40 oz

780 0
George III vase-shaped hot-water jug, plain with wood handle and on circular foot, by William Fountain, London, 1801, 25 oz 11 dwt 460 0
George II baluster hot-water jug chased with scrolls, leaves and flowers, raffia-covered handle and rim foot, by Gurney and Cook, London, 1755, 19 oz 15 dwt 270 0
Jugs—Wine and Ale
Queen Anne ale jug, die ground embossed with foliage and flowers and a satyr spout, by John Wisdom, London, 1712, 35 oz 280 0
Victorian wine ewer with baluster body and engraved with Grecian figures and leaves, entwined snake handle and butterfly finial, by E. and J. Barnard, London, 1862, 27 oz 11 dwt        170 0
Marrow Scoops
Queen Anne scoop of typical form by Charles Jackson, 1713,
1 oz 10 dwt 68 0
Early George III scoop, the larger bowl engraved with initials,
probably by William Tuite, London, 1767, 1 oz 12 dwt 20 0
Mustard Pots
George III drum mustard with moulded borders, flat hinged lid and simple scroll handle, with spoon of earlier date. Pot by Ernes and Barnard, London, 1813, 5 oz 10 dwt 165 0
some auction room prices : 1968-69
William IV mustard with ribbed baluster body and hinged domed lid with floral finial, scroll handle and shell thumbpiece and spoon of same date but different maker. Pot by C.G., London, 1830, 6 oz 17 dwt
George III oblong mustard with domed cover, urn finial and angular handle on four bun feet, London, 1813, 3 oz 11 dwt
Salts
Four George I plain oval trencher salts with incurved sides, by
Mary Rood, 1723, 6 oz 15 dwt Pair of George III boat-shaped salts, reeded at the lips and
pedestal feet, gilt interiors, by Peter and Ann Bateman, 1792,
4 oz 6 dwt
Pair of George II compressed circular salts, with plain engraved bodies below gadroon lips each on three shell-headed hoof supports, possibly by Isaac Cookson, Newcastle, 1747, 8 oz 1 dwt
Salvers
George II large circular salver on four lions’ mask and shell bracket feet, the shaped border pierced and chased, by George Wickes, 1744, 137 oz
George I plain circular salver on central foot with moulded border, by W.P., 1720, 13 oz 12 dwt
George III circular salver, engraved with initials, chased wave border and gadroon rim, on three claw and ball feet, by Robert Rcw or Rugg, 1766, 24 oz 3 dwt
Victorian salver engraved in the centre with an initial and also with scrolls and foliage, moulded border, by J. and J. Angell, London, 1845, 25 oz 14 dwt
Sauceboats
Pair of George II plain sauceboats each on three shell and scroll feet with gadrooned rims and double scroll handles, by Peter Archambo and Peter Meure, 1754, 29 oz
George II two-handled plain double-lipped sauceboat on collet foot, with double scroll handles and waved rim, with a moulded drop beneath the spout, by Peter Archambo, 1732, 17 oz 5 dwt
Pair of George III sauceboats, each on fluted shaped lozenge foot, with gadrooned borders and double scroll handles, by William Sampcl, 1766, 25 oz
Snuff Boxes—See Small Decorative Antiques Sugar Basins—See Baskets—Sugar Tapersticks—See Candlesticks Tankards
William and Mary tankard on three lion couchant feet, scroll handle, cylindrical body and moulded base, by Robert Cooper, 1692, 31 oz
George II baluster tankard with domed cover, openwork thumb-piece and double-scroll handle, on moulded spreading foot, by William Grundy, 1755, 34 oz 5 dwt 650 0
George III baluster tankard, with domed moulded cover and heart-shaped lower terminal to the scrolling handle, by William Caldecott or Gripps, 1765, 27 oz 15 dwt 570 0
Tea Caddies
George III oval caddy, the body with two bands of bright-cut engraving in beaded borders and the plain hinged lid with urn finial, by Hester Bateman, 1781, 14 oz 10 dwt 900 0
George III shaped oval caddy, the body fluted at intervals, decorated with bright-cut engraving, hinged domed cover with wood finial, by Robert Hennell, 1787, 14 oz 17 dwt 480 0
Teapots and Stands
George II bullet teapot with engraved shoulder decoration of satyr masks, leaves and flowers, straight spout, loose lid, ivory handle and finial, by Isaac Liger, 1729, 15 oz 1 dwt 2,100 0
George III teapot stand on four fluted panel supports, by Hester
Bateman, 1789, 4 oz 15 dwt 280 0
George III oval teapot with moulded girdles and a matching stand, supported on four feet, by Crespin Fuller, London, 1800, 16 oz 15 dwt 270 0
George III oval, semi-lobed teapot, with swan-neck spout, ivory handle and finial, by P. A. and W. Bateman, 1799, 17 oz 3 dwt 170 0
George IV teapot, compressed circular body, ivory handle and
finial, curved spout, by Eley and Fearn, 1823, 25 oz 16 dwt        150 0
William IV compressed circular teapot with moulded girdle, wood finial and similar wood handle, by E. E. J. and W. Barnard, 1830, 14 oz 2 dwt 135 0
Early Victorian bullet-shaped teapot with engraved body, Edinburgh, 1840, 24 oz 82 0
George III oval teapot stand, gadroon border on four panel
supports, but George Fenwick, Edinburgh, 1806, 5 oz 14 dwt 80 0
William IV small melon-shaped teapot, with slightly domed cover and ivory finial, scroll handle and curved spout, London, 1833, 13 oz 18 dwt 60 0
Tea and Coffee Services
Victorian tea and coffee service of compressed circular form, decorated with embossed flowers and foliate handles and on scrolled feet with shell motifs, by Rawlins and Sumner, London, 1838, 72 oz 600 0
George IV three-piece melon-shaped tea service with scroll handles and shell decorated panel supports, by E. E. J. and W. Barnard, London, 1829, 44 oz 7 dwt 500 0
George III circular three-piece tea service with curved lobes, gadroon rims and leaf decorated handles, on paw supports, the pot with rose finial, by John Angell, 1819, 41 oz 6 dwt 380 0
Victorian three-piece tea service of compressed circular form,
the plain ground richly chased, by I. J. Keith, London, 1840, 48 oz
Vinaigrettes—See Small Decorative Antiques Waiters
Pair of George III plain oval waiters each on four shell and beaded bracket feet, beaded rims, by John Scofield, London, 1777, 27 oz
George II plain shaped square waiter on four hoof feet, moulded border, by Thomas Farren, London, 1734, 6 oz 17 dwt
Early George II square waiter with raised border incurved at the angles, 1727, 3 oz 18 dwt
SHEFFIELD PLATE Candelabra and Candlesticks
Pair of candelabra, each for three lights, with reeded scrolling arms, gadroon bordered knops, detachable nozzles and circular bases, 17i in high to centres
Pair of three-light candelabra, the tapering vase stems, circular bases and campana-shaped sconces decorated with chased borders, each fitted with two detachable scrolling branches, one converting to form a

five-light and bearing flame finial, 20 in high
Pair of table candlesticks with V-shaped stems, gadroon shoulders, circular bases and detachable nozzles, llj in high
Pair of table candlesticks with circular bases, vase-shaped stems and gadroon borders, detachable nozzles, 11 in high
Coffee Pots
Vase-shaped coffee pot on pedestal foot with reeded borders, ball finial and wood handle, 13 in high
An oval coffee pot on pedestal base, with reeded shoulder, gadroon borders and angular wood handle, 9] in high
Urn-shaped coffee pot, body semi-lobed between ribbed panels, on pedestal base, ball finial and wood handle, 27 in high
Coasters—Wine
Four circular wine coasters with lobed sides below gadroon lips, the wood bases centred by crested bosses, 5J in diameter
Pair of circular coasters with beaded and ovolo rims, wood bases, 6 in diameter
Caddies—Tea
Two caddies of bombd form embossed with shell motifs Serpentined caddy with hinged lid and beaded borders
Dishes
Set of four entree dishes and covers on heater bases, oblong with scrolling foliate borders, 14 in wide over handles
Pair of entree dishes and covers with gadroon borders and
detachable foliate handles, 11 in wide 22 0
A rectangular entree dish and cover complete with liner, gadroon and leaf borders, wood end handles, on four supports, 141 in wide 20 0
Teapots
An oblong teapot, body semi-Iobed between gadrooned borders, short spout, ivory finial and angular wooden handles, 5J in high 25 0
A compressed circular teapot engraved with swirling leafage,
fruit finial and scroll handle, 5J in high 18 0
Tea and Coffee Services
Oval three-piece coffee service with vase-shaped pot, oval jug and basin decorated with bands of sprays and foliage, 10 in high the pot 160 0
Three-piece tea set with compressed circular bodies, fluted,
foliate collars, scroll handles and foliate panel supports 38 0
Tea Trays
Oblong two-handled tray, engraved with armorials within a chased surround of scrolls and floral sprays, gadroon border, 30 in wide 220 0
An oblong tray, gadroon bordered and reeded end handles
springing from chased foliage, 28 in wide 95 0
Tea Urns
An inverted compressed pear-shaped urn, the body engraved
with a crest, foliate handles and flower finial, 16 in high 75 0
An oviform urn with an applied plain shield, the cover with vase finial, reeded loop handles, on square base with ball feet, 221 in high 45 0
Tureens
Large shaped oval sauce tureen on four feet below heavily
chased floral motifs, detachable liner, 16J in wide 230 0
Pair of oval sauce tureens and domed covers with gadrooned rims, decorated with acorns and oak leaves at the handles, 8Ј in wide (end handles missing from one tureen) 120 0
Wine Coolers
Set of four coolers, the campana-shaped bodies engraved with contemporary armorials above lobing reeded handles and gadroon borders, on pedestal bases, 9i in high 520 0
Pair of coolers with campana-shaped bodies, reeded handles and
on pedestal bases, 9J in high 200 0
NON-PRECIOUS METALS
Brass
Pair of eighteenth-century andirons, with spherical finials, and
masks, 29 in high 100 0
SOME AUCTION ROOM PRICES ! 1968-69
A club fender
A Corinthian column floor standard
An embossed fire kerb
A two-handled log tub on paw feet
An alms dish with lobed centre and inscription border, the rim
with punched rosettes, 15} in diameter Pair of spirally-turned candlesticks on domed feet, 20J in high A hanging oil lamp Pair of chambersticks, with snuffers A heavy log tub with lion mask handles on paw feet Brass

and steel semi-circular fender
An oval fire insurance plate with a crest of a stag, dated 1774 Pair of carriage lamps A helmet coal-scuttle
A warming-pan with turned wood handle Pair of baluster candlesticks, 9 in high
Bronze
Figure of a racehorse and jockey after Isadore Bonhcur, I0j in
high
The Capture of Alexander by G. Halse. Two warriors hold a
struggling youth. Signed and dated 1860, 24 in high Eighteenth-century Italian figure The Dying Gladiator signed
Canova
Figure of a dancing fawn, holding up a bunch of grapes and
balanced on his left foot, 14 in high Figure of an infant satyr playing a set of pipes, 9j in high Pair of busts of Henry IV and Sully, three-quarter length, both
wearing ruffs and decorations, on rouge marble socles, 20} in
high
Pair of Art Nouveau winged figures stamped A. Moreau, 9J in
high
Pair of five-light candelabra on bulbous stems Italian figure of Venus, 7 in high
Copper
Early nineteenth-century tea urn on a square base
A street lamp
Three large saucepans (one with lid) Two coal scuttles A large kettle
Coal helmet with swing handle
Large two-handled urn and cover
A copper and brass tea urn with tap
A long turned wooden-handled warming-pan
Iron and Steel
Steel and brass basket grate with pierced frieze and baluster
uprights, 20 in wide Seventeenth-century Sussex wrought-iron fireback, 2 ft 10 in
by 1 ft 8 in and a log fork Wrought-iron shaped fire-back Regency iron and brass stick stand on paw feet
Victorian cast-iron corner stick stand 5 10
Victorian cast-iron oil heater 3 10
Pewter
A charger with secondary touch of Thomas Lanyon, circa 1730,
20 in diameter 36 0
Five quart tankards 35 0
A four-branch candelabrum, 24 in high 22 0
Eighteenth-century circular charger, 20 in diameter 22 0 Pair of altar candlesticks, baluster-shaped stems on triangular
bases, 20 in high 16 0
Pair of baluster and cup candlesticks, 18 in high 15 0
A hot-water meat dish with two handles and a grill, 22 in wide 15 0
A travelling chamber-pot, stamped Jas. Dixon 14 0
Two tankards and a mug 6 0

CLOCKS, WATCHES AND BAROMETERS Bracket Clocks
Repeater clock by Edwardus East with signed and engraved
backplatc in cboniscd case 600 0
A three-train musical clock by Moore of Ipswich with eight tunes in ebony case with gilt metal mounts in mid-eightccnth-century style, 2 ft 2 in high 440 0
George III fruitwood clock by Recordon, late Emery, London, with painted dial and frets at side and front of case, 1 ft 2 in high 290 0
George III walnut clock, the dial signed Joseph Smith, Chester,
and of pronounced Continental character, 1 ft 6 in high 210 0
George III ebonised clock, the 7-in dial signed William Smith, with calendar and strike/silent dial. The movement is contained in an inverted bell-topped case, 1 ft 4 in high 190 0
Louis XV contra-boullc clock with enamel dial signed Darmezin, Paris, and movement signed Crepaux, Paris, in cartouche-shaped case, 3 ft 1 in high 190 0
Louis XV Boulle clock by Pcrrache, Paris, with an enamelled dial, the case surmounted by a youthful figure of Jove, richly mounted in ormolu, 2 ft 6 in high 170 0
George III mahogany clock by Massey, Bridge Road, Lambeth, the circular white-painted dial with a central calendar hand, 1 ft 4 in high 140 0
George III mahogany clock, the 7-in circular dial signed Lamb and Webb, London, with calendar and engraved backplate in bell-top case, 1 ft 4 in high 120 0
Mid-eighteenth-century veneered ebony clock signed John Small-wood, Lichfield, with pull quarter repeat, 1 ft 4 in high (later dial) 85 0
George III mahogany clock, the 8-in arched silvered dial signed Gravell and Tolkien, London, with engraved backplate and tic-tac escapement in broken arch-topped case, 1 ft 6 in high 60 0
Regency rosewood clock signed on dial John P. Smith, 1 ft 3 in
high 20 0
Carriage Clocks
Clock in gilt case by James McCabe, London 675 0
Repeating French brass clock with white dial signed Gibson
and Co Ltd, Belfast, 6J in high 68 0
French brass clock with white dial signed Rowel, Oxford, 4Ј in high
Repeating brass clock with white dial and glazed brass case, 5 in high
Gilt metal timepiece, the glazed case with pierced floral frets at the sides and front, 5 in high and with travelling case
Miniature silver-cased repeating clock with white dial. The case stamped J. Keller, 3J in high
Lantern Clocks
Brass clock with engraved copper dial and an alarm disk, 1 ft 1 in high
Late seventeenth-century brass clock, the dial engraved with flowers and with pierced dolphin cresting, 1 ft 3 in high
Longcase Clocks
Late seventeenth-century marquetry clock, the 11-in dial signed Robt. Williamson, London, with calendar aperture in a walnut case inlaid with shaped panels of birds and flowers, with a bullseye in the waist door and with spirally turned columns at the corners, 6 ft 7 in high (frieze of a later date)
Tall mahogany cased clock with chimes. The elaborately foliated brass dial with a silvered chaptered ring. The case inlaid with classic urns in coloured woods, the arched hood has brass spires and the waist has a bevelled glass door
A carved mahogany cased clock with a grotesque satyr mask to the hood over a brass floral scrolled dial. Westminster, Whittington and St Michael chimes, 7 ft 7 in
Mahogany clock made by Manley of Chatham
Eighteenth-century walnut clock with domed canopy and brass face, the movement by William Stapleton, London, 7 ft 4 in high
Walnut clock, the early eighteenth-century movement signed
Andr. Dunlop, London, the 12-in dial with chestnut and
flower spandrels, 7 ft 4 in high Georgian lacquer clock with brass face and striking movement.
The case, with ‘bullseye’ door, decorated with gilt chinoiseries
on a simulated tortoiseshell ground Eighteenth-century small clock by John Lee, Gookham; with
brass dial and foliated spandrels, in a black lacquer case
decorated with chinoiseries in red and gill
Mantel Clocks
An ormolu clock, the painted dial signed F. Linke, Paris, the movement in a glazed case in well chiselled ormolu with drapery, acanthus leaves and groups of fruit and ending in double cloven-hoof feet, 2 ft 11 in high
Bronze and ormolu mounted clock, the movement contained in a drum upon which is seated a Chinaman holding a parasol, the whole on the back of an elephant, 1 ft 4 in high
A French clock, inscribed Bonniere a Clermont, in a rococo porcelain case. The blue and gilt ground painted with musicians, lovers and flowers. On a similar stand
Louis XVI marble and ormolu clock, the striking movement with enamel dial signed Hessen. The arched architectural case with drapery festoon, pineapple finials, an urn and fluted columns, 1 ft 5 in high 110 0
Regency rosewood clock, the movement by Dwerrihouse &
Carter, Davies Street, 2 ft high 70 0
Philippe clock with glass panels in gilt metal case with corinthian columns and surmounted by an urn. Decorated with coloured enamels, 18 in 68 0
An Empire marble clock mounted in ormolu, the movement with outside count-wheel, the dial surmounted by a white marble urn and suspended between fluted columns capped by ormolu pineapples, 1 ft 4 in high 55 0
Watches
Gentleman’s 18-carat gold half-hunter watch 20 0
Early nineteenth-century verge watch by D. Nevern, in a tor-
toiseshell case, the dial enamelled with a wharf-side scene 13 0
Gentlemen’s 18-carat gold pocket watch by George Harvey,
Wellington 13 0
George III verge watch by William Fowler, London, in a silver
case, London 1783 9 0
Nineteenth-century verge watch by Nicoll, Great Portland
Street, in a tortoiscshcll case 7 10
Barometers
Early   Victorian   mahogany  stick   barometer  by  E. Davis,
Shrewsbury, 3 ft 3 in high 70 0
Regency rosewood inlaid with mother-o’-pearl banjo barometer
and thermometer 46 0
George III mahogany banjo barometer and thermometer with engraved scales by A. M. Ortelli, Godalming, the case outlined with fruitwood lines, 3 ft 2 in high 38 0
Georgian mahogany stick barometer and thermometer by Rout-ledge, Carlisle 38 0
Mahogany stick barometer and thermometer by Salmon, Bath 38 0
A Regency rosewood banjo barometer and thermometer by
Aprile Sudbury 34 0
Early nineteenth-century mahogany banjo barometer by Lione and Tarone, London, with a thermometer and the case inlaid with Prince of Wales plumes and a whorl pattern, 3 ft 2 in high 30 0
Early nineteenth-century mahogany banjo barometer by A.
Celti, Reading, the case inlaid with shells, 3 ft 2 in high 22 0
SILVER
(Troy weight: 20 pennyweights [dwt] = 1 ounce [oz])
Baskets for Bread, Cakes, Fruit, Sugar or Sweetmeats George II oval-shaped cake basket on four cherub mask and scroll feet. The sides pierced and engraved with flowers and
scrolls and the base engraved with a coat-of-arms, by Paul
Crespin, 1753, 62 oz 3,600 0
George III oval pedestal cake basket by John Ernes, London,
1804, 24 oz 10 dwt 400 0
George III boat-shaped pedestal sugar basket with engraved border, reeded edge and swivel handle by Peter, Ann and William Bateman, London, 1793, 5 oz 10 dwt 320 0
Victorian oval basket, the pierced panels embossed with beading
and garlands, London, 1895, 19 oz 62 0
Candelabra and Candlesticks
Pair of George I dwarf table candlesticks, the baluster shafts upon square terraced bases by William Darkeratt, 4J in high, London, 1726, 20 oz 1,500 0
Victorian tabic candelabra with two tiers of six scrolled branches issuing from a bold Corinthian column supported on a square terraced foot, with neo-classic rams’ mask and husk swags by R.H. over R.H., London, 1877, 30 in high 355 0
Pair of George III table candlesticks, the tapering baluster shafts upon half-fluted circular bases by John Green & Co, Sheffield, 1800 195 0
George III chamber candlestick and snuffer, the gadrooned edge
witli shell motif by William Cafe, London, 1761, 12 oz 130 0
Casters
Garniture of three George II vase-shaped sugar casters of plain
design by John Delmester, London, 1758, 15 oz 10 dwt 930 0
William IV Scottish baluster caster engraved with a crest above floral decoration on a granulated ground, by Elder & Co, Edinburgh, 1832, 4 oz 7 dwt 90 0
George III baluster caster with pierced cover and wrythen
finial, by Thomas Satchwell, 1780, 2 oz 4 dwt 85 0
George III vase-shaped caster the otherwise plain body engraved with contemporary crest. The mark of George Giles struck over another, 1783, 2 oz 8 dwt 65 0
Coasters—Wine
Set of four partly fluted circular coasters with gadrooned rims and engraved with crests by John & Thomas Settle, Sheffield, 1818 410 0
Pair of George III coasters with pierced waved galleries, London, 1794 270 0
Pair of William IV circular-shaped wine coasters with foliate borders and crested silver bosses to the wood base, by Henry Wilkinson & Co, Sheffield, 1831 150 0
Pair of George III coasters with beaded rims, the pierced sides stamped with arcading, urns and laurel festoons, maker’s mark missing, 1794 100 0
Coffee Pots
George I small plain cylindrical coffee pot with octagonal spout and low domed cover with baluster finial, by Paul De Lamcrie, London, 1725, 11 oz 3 dwt 1,900 0
George II baluster coffee pot, plain with foliate decorated spout, wood handle and hinged domed lid, probable maker Fuller White, London, 1759, 21 oz 1,350 0
Late George III tapering cylindrical coffee pot, the plain body engraved with contemporary armorials and a crest, by Peter, Ann and William Bateman, London, 1802, 35 ox 2 dwt 1,200 0
George IV coffee pot, vase-shaped, with moulded bands at the neck and waist, leaf-capped scroll handle and foliate finial on lid, by Pearce & Burrowes, London, 1826, 22 oz 5 dwt 210 0
Victorian vase-shaped coffee pot engraved with key pattern
decoration, London, 1872, 24 oz 135 0
Cruets
George II five-bottle cruet frame on four shell feet with detachable baluster handle. Five cut-glass silver-mounted bottles. By Jabez Daniel, 1750, 28 oz 7 dwt 105 0
George III cruet frame for six bottles with reeded loop end handles, ring holders, on four feet. Five glass bottles all chipped, one broken. By Henry Chawner, London, 1792 16 0
Cups and Goblets
Elizabeth I secular wine goblet, the bowl decorated with tulips and strapwork motifs, on a slender baluster stem and circular fluted foot, London, 1593, 5 oz 10 dwt 2,000 0
Pair of George III goblets of plain design, probably by William
Sumner, London, 1800, 20 oz 520 0
Pair of George III two-handled pedestal challenge cups and covers with reeded decoration and urn knops, by Samuel Hcnnell, London, 1806, 32 oz 5 dwt 400 0
George III tumbler cup engraved with armorials, gilt interior and the base with contemporary initials. Possibly by John Garter, London, 1766, 2 oz 1 dwt 150 0
Victorian wine cup, the beaker-shaped bowl and pedestal base cast and chased in low relief with grape-laden vine tendrils, by Hunt and Roskell, London, 1875, 10 oz 1 dwt 52 0
Cutlery—Canteens
George III fiddle thread pattern table silver: 24 tablespoons, 36 table forks, 12 dessert spoons, 12 dessert forks, 12 teaspoons, 6 sauce ladles, 2 soup ladles, 1 marrow scoop, majority by Richard Crossley, 1798/1800/1804, 146 oz 9 dwt 750 0
Victorian fiddle pattern table silver: 12 tablespoons, 12 table forks, 12 dessert spoons, 12 dessert forks, 6 teaspoons, 2 salt spoons, by George Angell, London, 1863, 116 oz 14 dwt 260 0
Cutlery—Forks Dessert
Twelve George I  three-pronged  forks with crest, different
makers, 1718, 14 oz 1 dwt 1,500 0
Twelve George IV fiddle pattern forks by James Scott, Dublin,
1822, 15 oz 75 0
Six George III fiddle pattern forks by G.D., London, 1794,
8 oz 14 dwt 65 0
SOME AUCTION ROOM PRICES ! 1968-69
Cutlery—Forks Table
Twelve Queen Anne three-pronged forks engraved with a crest,
by David King, Dublin, 1708/10, 28 oz Four George II three-pronged forks engraved with two crests,
1755, 7 oz 18 dwt Eleven Victorian fiddle shell pattern forks by George Angell,
1857/61, 36 oz 16 dwt
Cutlery—Forks Toasting
George III fork with knopped shaft and scrolled handle, probably by R. Preston, London, circa 1767, 7 oz 10 dwt. 17f in long
George III fork with knopped shaft and scrolled handle by John Deacon, London, circa 1775, 8 oz. 19i in long
Cutlery—Knives
Forty-eight Victorian table knives and twenty-four dessert knives, kings pattern, steel blades by J.A. or T.S., 1884
Twelve eighteenth-century dessert knives, the multi-faceted bloodstone handles with knopped urn finials and mounts engraved, the scimitar blades of steel. Circa 1700, (Some handles cracked)
Cutlery—Ladles
Four George III sauce ladles, crested Old English pattern by
Hester Bateman, 1783, 5 oz 19 dwt Pair of George III sauce ladles with ribbed and punched beaded
bowls, by Michael Keating, Dublin, circa 1780, 2 oz 16 dwt
Cutlery—Spoons Dessert
Nine engraved spoons, seven by William Soame, 1741, two 1748, 12 oz
Ten Hanoverian spoons engraved with crest, 1760, 11 oz 5 dwt Cutlery—Spoons Serving
Pair of George III Old English pattern spoons by Steven Adams,
London, 1772, 5 oz 15 dwt Pair of Victorian spoons by George Angell, 1854, 10 oz 14 dwt
Cutlery—Spoons Table
Six George I Hanoverian pattern spoons with rat-tail bowls
by Charles Jackson, 1723, 11 oz 2 dwt Six George III Old English pattern spoons with contemporary
initials J.G. by Hester Bateman, 1780, 11 oz 17 dwt
Cutlery—Spoons Tea and Coffee
Six William IV ‘bright-cut’ spoons, 1836, 3 oz 7 dwt Eight George IV fiddle shell pattern spoons by J. McKay, Edinburgh, 1827, 4 oz 8 dwt

The eighteenth century
The somewhat oppressive style of Louis XIV died with him. After his death life at court was characterised by elegance and a lighter touch. The effect was also felt in art with the salons of Paris being at the heart of the cultural life. The luxury of city life worked through to the country homes of the aristocracy which set an example to all Europe. The houses were extended with libraries, boudoirs, dining rooms, ballrooms, dressing rooms, bedrooms, workrooms and quarters for the servants being added. To give each room
its distinctive function, the range of furniture also became extended.
France — Regency and Rococo
During the Duke of Orleans’ regency rooms were still furnished with robust furniture but in the second half of the eighteenth century this altered radically. The fashion switched to lighter, more elegant designs that were also somewhat decadent in their decorative style. This made itself apparent in furniture with flowing lines, S-forms, and scrolls. Rococo was a fairly radical style period that endured for a shorter period in France than in other European countries. Customers made ever increasing demands on the furniture makers and furniture was required that was larger in size.
This caused a demarcation among the furniture makers with them specialising for instance in a particular type of expensive wood which they then made into furniture of the very highest standards. This was equally true of the bronze founders who engraved their adornments as if it were jewellery.
Increased demand brought about a certain amount of standardisation. The ebenistes started to buy in timber, drawers, mouldings, marquetry, and handles and catches. All the ebenistes were required to sign their work from 1743, except for those working in the service of the King and yet it can be extremely difficult to identify a maker. This is because all the ebenistes also sold furniture made by others and it was their custom to sign all the furniture that they sold.
Daily life for the upper echelons of French society was extremely lively. Lots of callers were received and many visits also made, and in the evening they either attended or gave dinner parties. Lots of different types of seating were therefore needed which had to be comfortable.
Only curved forms would do for these. Among the new types of seating there was a short upholstered sofa of which one type was known as a berg&e.
This had a closed back.
There was also the bergere a joue, which somewhat resembled a modern wing chair, and a number of versions of the chaise longue for lounging on. A chaise longue that was open at the front was known as a turquoise, while the variety with upholstered armrests was known as a vieilleuse.
A canape has open armrests at the side, while a sofa has S-form closed side arms. The dressing table was accompanied by a fauteuil de toilette and a desk or bureau by a fauteuil de bureau. Rococo furniture was decorated with brocade, damask, velvet, or satin. Damask came from Genoa, Lyon, or Peking. Gobelin tapestry and cloth with petit-point embroidery from the state factory at Aubusson were used to upholster furniture. Woven reed was also used to make seats and chairs backs.
The gilt carved cartouches and shells of Italy disappeared from decorations to be replaced with unrestricted compositions with ribbons and flower stems.
The rocaille from which some say Rococo got its name came into vogue around 1750. There was a movement, up to the middle of the century, away from structure-led form towards ornamental design and was expressed also in the bronze embellishments. These were applied to table legs for example where stringers and legs met. A piece of furniture with a purely decorative function is the Rococo console which eventually replaced the console table.
Cabinets disappeared from interiors during the Rococo period except for in country homes and those of the citizenry, although there were half-height cabinets with two doors serving as wash-stand chiffoniers known as meuble d’entre deux and small bookcases with two doors. There would be a games table in
the salon, sometimes with a chessboard inlaid into its top and the round gueridon or pedestal table was made for all manner of small items. There would be a large table in the dining room together with a whole series of smaller tables and for when they wished to talk without being overheard by the servants, there would be a ‘dumb waiter’ on which the staff would leave the food before retiring. In a ladies’ room there would certainly be a dressing table or table de toilette which later became known as a poudreuse. The lady would also have a writing table or bonheur du jour in one of her rooms. Men’s desks were much heavier in appearance, usually made from palisander but other words were also used for bureaux. Flat-fronted bureaux were popular until 1750 after which the cylindrical bureaux became more fashionable.
There would be several night tables in the sleeping quarters: the tables de nuit and tables de lit. During the Rococo period beds became more elegant and graceful but often with whimsical valances from which their names were derived of lit a la Chinoise, l’Anglaise, l’Allemagne, or l`Italienne. No chests or coffers were to be seen anywhere in the salons, these had been replaced by a commode with two attendant corner cabinets.
The form of the commode had also changed. The curves of the front had now disappeared and the bronze handles and catches were geometrically arranged. The bottom of the commode was bowed. As the years passed, Rococo became increasingly more complex. Bronze ornamentation and intarsia inlays now covered the entire fronts of pieces, without regard for the drawers.
Subsequently the decoration moved more to the sides of pieces. Bronze ornamentation became more simple with cleaner lines after 1740. Whatever their specialisation, virtually every furniture maker produced commodes during the Rococo era. Some of the famous names are J.P.
Latz, J.F. Leleu, Nicolas Pineau, F. Oeben, J.H. Riesener, Bernard van Risen-burgh, and Abraham Roentgen.
There was strongly exotic side to Rococo so that lacquered furniture was extremely popular at this time. Rococo flourished most during the first half of the eighteenth century and at this time French lacquer-work production overtook even that of the Dutch who had been the biggest producers of reproduction chi-
noiserie and the largest importers of Chinese and Japanese lacquer items. The Dutch Martin brothers were the major producers of reproduction chinoiserie.
Germany and Austria
The political situation had as great an influence on the furniture industry during the Rococo period as during the preceding era.
The artistic and cultural leanings of the individual courts depended both on their geographical position and political realities. Hence the main cities of Berlin, Dresden, Munich, and Vienna took their lead from the French court.
The German/Dutch Rhineland and the area between Liege and Achen differed markedly from the German/French Rhineland. There was a clear preference for Dutch and English style furniture in northern Germany.
The biggest variation in types of furniture and their styles resulted from the personalities of the persons commissioning them. When German makers did follow French inspiration they did not do so closely. This resulted in the Bandestil or `banded style’ which got its name from the banding motif popularly used until the mid eighteenth century on much furniture, but specially on bureaux.
A German Rococo secretaire had a style of its own, with a curved form which gave a far from restful appearance. The legs and corners were also slightly bowed and slanted. These secretaires were mainly made of ebony and fitted with drawers. Colourful marquetry was very popular for decoration. Frankfurt cabinets had a similar appearance and were therefore also extremely popular.
Northern makers who followed French ideas for commodes fitted them with three, four, or five drawers but they used no veneer. Further south, in contrast, a commode was deemed to be a tall cabinet finished in walnut veneer. This was finished unpretentiously with iron handles and fittings and had straight sides. The only decorated examples were those for aristocratic houses of the princes. The commode was a piece of furniture for the common folk. These were finished with refined carving in unvarnished oak and walnut in both Achen and Liege. These cities also made corner cabinets for tableware, wardrobes,
small and tall dressers, and display cabinets.
The bureau was adopted from France too but German versions were both lower and less deep.The glazed fronted Dutch cabinet was further developed in north-west Germany and there was also clearly a Dutch influence in their lacquered furniture. Some chairs were both lacquered and decorated with inlays. The most common furniture though is made of stained walnut and oak.
The most precious pieces were gilded. Furniture made of beech or lime was usually painted yellow or white. Luxury items of furniture were also made in some places in Austria and Switzerland, often with the help of important artists. There are also delightful country pieces from this era. Rocaille motifs continued to be used in painted decoration until the middle of the nineteenth century.
France - Louis XVI
A desire for the classical world returned in the middle of the eighteenth century resulted in a number of artists making journeys to Greece and Italy. Classicism became more widely known through their books, lectures, and works of art. Excavation of Herculaneum and Pompeii produced a great array of artistic treasures which inspired many contemporary artists.
This also coincided with a movement in art towards simplicity and naturalism. This trend manifested itself first in furniture, before the other arts. Furniture makers once more used motifs such as plaited garlands, egg and tongue mouldings, Hermes, nymphs, lion’s heads, vines, rosettes, bull’s heads, and Doric friezes. Rococo had shown a preference for gilding, white paint, and light colours. The mouldings and bronze ornamentation now faded into the background. Muted coloured veneers
Louis XVI dining chair.
From the 1880’s, at the end of Rococo, inlays of Sevres porcelain had been used together with glass painting and lacquer from Asia. Floral motifs were popular for upholstery fabrics. Chairs were not just required to look fine but also to be comfortable. The backs of chairs became rounded or oval in the 1870’s. These were crested with carved decoration. Legs resembling fluted columns were popular. The types of seating did not change though.
A newcomer was the three-seat sofa known as a confidente. The sides of both sofas and bergeres were now generally straight. Console tables stood on a fluted column. Beds were no longer placed in an alcove and the side not against the wall was decorated.The common folk’s furniture remained conservative. Items made for the citizenry
included two-door cabinets, ladies’ and medium height two-door dressers. Commodes were rectangular, smooth, and mainly set on conical legs.
A newcomer to less exalted homes was the cylinder bureau.One of the best furniture makers of the time was undoubtedly J.H. Riesener.
His pieces are decorated with marquetry flowers, urns, and fruits. Furniture was decorated with many allegorical figures and bronze embellishments. Riesener partially changed his approach towards the end of the eighteenth century with the introduction of straight legs and more geometrical marquetry. He undoubtedly gave his closest attention to his rectangular secretaires and commodes with rounded corners Most of the ebenistes working for the French court were actually German.
Great names among suppliers to the court include J.F. Schwerdtfeger and Adam Weisweller. The greatest of all were Abraham and David Roentgen, who also sold to the courts of other European rulers.
A provincial Louis XVI cabinet with basin for rinsing glasses.
David Roentgen’s speciality was furniture with secret mechanisms. His marquetry decorations were based on designs by the fresco artist Januarius Zick.
David Roentgen lived in Paris between 1775 and 1780 and it was at this time that his finest pieces were made. Most of them were light in colour with bronze decoration.
The first to incorporate English ideas in furniture in France was G. Jacob, a woodcarver, who made armchairs of mahogany. The backs of his chairs were in the form of an oval medallion and they had console legs.
The fan-like fretwork form of his chair backs was very fine. The German maker J.G. Bennemann specialised after 1779 in large horizontally arranged dressers that were decorated with bronze adornments specially made by P.P. Thomire.

After World War I, furniture designers combined luxury and practicality in their products, and created both traditional types of furniture and innovative forms. In France, traditional Art Deco furniture was typified by elegant styles looking back to the 18th or 19th centuries, using inlay and exotic woods. After 1925 French makers started to incorporate the “new” materials
that were part of the Modernist aesthetic, such as chromium, aluminium, and tubular steel — as advocated by the innovative German Bauhaus, whose industrial designers created functional furniture for mass production. In the USA, designers were influenced by both traditional and Modern European Art Deco, using materials such as laminated wood and chromed metal.

In the early 20th century, Dutch, German, and
Scandinavian furniture designers were at the forefront of the Modern movement. Designing specifically for Machine production, they rejected ornament and experimented with the new materials of tubular steel, aluminium, chromium, and preformed plywood, aiming to create standardized, functional furniture accessible to all markets.
THE NETHERLANDS
Among the earliest furniture designs inspired by the new machine aesthetic ere those of Gerrit Rietveld 1888-1964). From c.1918 Rietveld was associated with the Dutch magazine De Stijl (Style), whose contributors, a group of avant-garde architects, painters, designers, and theorists, aimed
to create a new “universal” art based on lines, geometric shapes, primary colours, and black and white. Rietveld’s “Red-Blue” chair, designed in 1918, is one of the best-known expressions of De Stijl ideas. Its straightforward construction meant that it was highly suitable for mass production. Versions made before 1923 are stained, varnished, or limed, reflecting Rietveld’s traditional training in carpentry. Only after this date was the chair painted in red, blue, black, and yellow. From c.1918 Rietveld’s furniture designs were constructed from linear wooden elements; from the mid-1920s they featured flat Wooden planes. Rietveld produced his own furniture until 1924, when he sold his business to his assistant Gerard van der Groenekan. Rights to the designs were sold in 1971 to the Italian furniture company Cassina, which still reproduces them today.
GERMANY
Most of the well-known furniture designers in Germany in the inter-war period were associated with the Bauhaus. Founded in 1919 in Weimar by the architect Walter Gropius (1883– 1969), the Bauhaus was one of the first schools to train artists and craftsmen to design high-quality goods specifically for industrial production. It is particularly renowned for the functional, geometric style of its products and its experimentation with new Materials such as tubular steel and plywood.
The best-known furniture designs associated with the Bauhaus were those produced by the Hungarian-born architect Marcel Breuer (1902-81), head of the school’s carpentry workshop from 1925 to 1928. His earliest designs feature linear wooden components, similar in
style to Rietveld’s furniture. However, by c.1925, Breuer was designing chairs with tubular steel frames, and his “Wassily” chair (1925) was one of the first tubular steel pieces to be produced on a large scale. Designs including the “Wassily” chair and the tubular steel-framed, cantilevered “B32″ chair (1926) were manufactured by such firms as Standard-Mobel Lengyel & Co. in Berlin and Thonet in Vienna. In 1932 Breuer began to design aluminium furniture for the Wohnbedarf furnishings stores in Switzerland; since aluminium is weaker than steel, these designs are more complex in construction than his tubular steel pieces. In 1935 Breuer emigrated to Britain, where he met Jack Pritchard (b. 1899), owner of Isokon (1932-9), which produced furniture in the Modern style and promoted the use of plywood. For Isokon, Breuer designed the “Long Chair”, a sculptural plywood reclining chair that moulded to the position of the body, and lightweight tables and chairs created from single sheets of cut and moulded plywood.
The avant-garde architect Ludwig Mies van der Rohe (1886-1969), artistic director of the Bauhaus from 1930 to 1933, designed cantilevered tubular steel furniture for mass production by the firm of Berliner Metallgewerbe
from 1927 to 1931. Many of his other designs, although functional in appearance, were in fact handmade for the luxury market. A notable example is his padded leather and chrome “Barcelona” chair and stool, designed for
the German pavilion at the 1929 International Exhibition in arcelona. With a curved X-frame inspired by Classical furniture, the chair was designed as a “throne” for King Alfonso XIII of Spain for the opening ceremony of the exhibition. Original Berliner Metallgewerbe models are exceptionally rare and valuable today, but since 1947-8 the chair has been mass-produced by the American firm of Knoll, and these reproductions are more accessible to collectors.
SCANDINAVIA
In the 1920s and 1930s, Scandinavia was less industrialized than the rest of Europe or the USA, and
its craft tradition was still highly evident in furniture and interior design. This tradition continued even with the advent of Modernism, Scandinavian designers preferring curving forms and wood to the angular shapes and tubular steel favoured by their German peers. This is well illustrated by the furniture designed by the Finnish architect Alvar Aalto (1898-1976), who from from 1929 experimented with plywood for such items as chairs and trolleys, and in 1933 patented a method of bending wood to make stacking stools. Like other Modernist furniture of the period, Aalto’s designs are simple in construction, with no surface decoration, although they may be painted in bright primary colours. His furniture was produced from 1930 to 1933 by the firm of Otto Korhonen in Turku and from 1935 by his own manufacturing company, Artek, in Helsinki. Aalto’s versatile furniture, especially his stacking stools, proved particularly popular in Britain, where it was imported and distributed by Finmar Ltd (est. 1934-5).

•    COLLECTING original 1920s and 1930s pieces are rarer and more valuable than recent versions; many designs were sold to large furniture companies from the 1940s and have been in continuous production since
Gerrit Rietveld
•    CONSTRUCTION linear elements were typical before the early 1920s; planar designs thereafter
•    COLOURS primary colours, plus black and white; early versions of “Red-Blue” chair are unpainted
Marcel Breuer
MATERIALS tubular steel, aluminium, or bent and
laminated plywood; leather arid cane for seats
•    CONSTRUCTION simple contours
construction; chairs and tables made after 1925 have runners rather than feet; Isokon side-chairs and tables are made from single sheets of cut plywood

Ludwig Mies van der Rohe
•    MATERIALS tubular steel combined with padded leather upholstery, raffia, or glass
•    CONSTRUCTION Some chairs are cantilevered; the “Barcelona” chair and stool have a distinctive X-frame; careful hand-finishing is typical
•    COLLECTING on early, handmade “Barcelona” chairs the top rail is in bent chromed steel with lap joints and chrome-headed bolts; on later, mass-produced pieces (after 1947-8) the top rail is of cut and welded stainless steel
Alvar Aalto
•    MATERIALS woods, especially plywood, bent laminated (which may flake), and solid birch
Marks
Some Finnish furniture is marked “Aalto Mobley, Svensk Kvalitet Sprodurt”; most pieces have an applied metal label bearing a model number