Posts Tagged ‘finial’

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

TRANSLUCENT WINE GLASS IN THE
CAMEO TECHNIQUE
Rinnan Empire, possibly isi century A.I).
Hi. 62 mm (2-44 in.)
PORTLAND VASE IN DARK AND OPAQUE
GLASS, CAMEO-CUT
Roman Empire, late isl century B.C. or early isi
century A.I). III. 245 248 mm (0-65 075 in.)
Cameo Class: This technique is a mixture
of both wheel-cutting and engraving, and
in the later period, of acid etching. This
art, certainly practised by the Romans, in
their glass-houses at Alexandria, was
brought to such perfection between the 1st
century B.C. and 1st century A.D. that
glasses like the Portland Vase could be
produced. It is possibly the most dramatic
form of abraded decoration on a vessel. At
least two layers of differently coloured
glasses were needed for vessels of cameo
glass. These would be carved through to
the under-layers by the lapidary’s wheel.
Roman cameo glass (also called verre
double) was usually made up of translucent
white glass cased on to a darker ground of
blue glass, which was then carved with
ornamental designs or mythological or
genre scenes. The scene depicted on the
blue and white glass cup illustrated is a
mythological scene devoted to the worship
of Priapus, a fertility god.
Roman cameos form only a small group of
Roman glass products, bui they rank high
amongst the achievements of the great
glass-makers of this period. Possibly the
most famous of all Roman cameos is the
Portland vase, said to have been found in
1582 in a sarcophagus on the Appian Way
near Rome. It was bought by the British
Museum from the Duke of Portland in
1045. To make it, two gathers of glass, one
cobalt blue, one opaque white, were fused
together and probably blown and shaped
as one. This would have to have been very
carefully annealed (cooled under con-
trolled conditions), for if the rate of
cooling on cither face was even slightly
different, the glass would shatter. When
annealed, the glass would have been
marked with the desired decoration, and
the larger unwanted areas of white glass
ground away with heavy wheel abrasion to
the blue underneath.
OVAIL CAMEO (WITH A DEMONSTRATION OF HOW IT
WAS MADE)
Roman Empire, 41b century A.D.
Ht. 41 mm (163 in.)
The delicate work necessary to finish off
the figures on a cameo would probably
have been accomplished with fine wheel
abrasion, since even at this early period it
was possible for wheels the size of a
pinhead to be made for fine work. The
manner of carving was very much akin to
the carving of a layered gem-stone such as
onyx or banded agate. The changes in
thickness of the opaque or translucent
white glass layer brought about by the
differences in the depth of the carving
produced subtle tonal variations. The
illustration shows the various stages a
Roman glass-maker would go through to
produce the cameo of a youth’s head and
shoulders. First the two layers of glass
were fused together, then the oval shape
cut out; the main areas of white which
were not needed were then removed, then
the finer details were filled in.
FI.ASK WITH CAMEO CUT DECORATION
Persia, oth-iolh century A.D. Ht. 150 mm (59 in.)
Between the period of Roman cameo-
working to the great revival of the tech-
nique in the 19th century, it is often
assumed that no such work was carried
out. This is not quite the case, for cameo
glass was certainly made in Egypt and
Persia in the 9th and 10th cerituries A.D.
Complete pieces have been found from
those countries, and fragments of cameo
glass of the same period have been found
in Samarra. The overlay glass is either
coloured green or blue. The flask illus-
trated is an outstanding example of Persian
camco-cut work. It is in colourless glass,
cased with green depicting the form of a
hare, the articulation of the joints being
cut away to the colourless glass beneath.
This cameo glass formed part of the school
of relief-cutting which flourished in Persia
and probably Mesopotamia in the 9th and
10th centuries. Cameo glass was also
produced in China well before the 19th
century.
John Northwood, born in Stourbridge,
England, in 1837, was the first, and lead-
ing, exponent in England of the art of
cameo glass. After completing his famous
relief-carved ‘Elgin’ vase, he was commis-
sioned by Phillip Pargeter of the Red
House Glassworks near Stourbridge to
produce a copy of the Portland vase. He
did this successfully, and followed it up by
producing his ‘Milton’ vase and later his
famous ‘Pegasus’ or ‘Dennis’ vase, com-
missioned by Thomas Wilkes Webb,
which is illustrated here. Members of the
Northwood School included his own son
John II, who produced works in the
cameo technique. During the early years
of English cameo glass, (.1870 to 1880,
pieces were carved mainly with hand
tools, and each was normally the work of
an individual artist. To supply public
demand a quicker method for production
had to be found and thus the engraving
wheel came to be used, and the production
became a co-operation between designer,
etcher and engraver.
This new ‘commercial’ production of
English cameo glass lasted roughly from
1880 to 1890, and on the whole the results
tended to be good. Stevens 8c Williams of
Brierley Hill and Thomas Webb & Sons
of Stourbridge produced the greatest
amount of cameo work in this period.
Besides the John Northwood school there
existed a second school of cameo glass
artists at the firm of Hodgetts, Richardson
& Company of Wordsley. The two most
important artists there were Alphonse
Lechevrel and Joseph Locke. Alphonse
Lechevrel, a Frenchman, was taken on by
the firm to instruct a small group of men
in the art of carving glass cameos and was
one of the first to follow John Northwood
in this difficult technique. Lechevrel had
already made his name as a medalist, and
had a good grounding in figure, floral and
geometric designs. A few of his pieces of
cameo glass survive, including the vase
illustrated.
CAMEO GLASS VASE, RUBY BODY
Ctrved by Joseph Locke, New England Glass
Company, U.S.A., c. iMg
Alphonse Lechevrel’s most promising
pupil was Joseph Locke, a perfectionist in
whatever medium he attempted, an accom-
plished glass technologist, a finished pain-
ter, engraver, etcher, sculptor and inven-
tor. When eventually he came to be
employed by Hodgetts, Richardson &
Company he produced his masterpiece,
the second copy of the Portland vase in
cameo glass, exhibited at the Paris Exhibi-
tion in 1878, where it won the Gold Medal
Award. Locke left Hodgetts, Richardson
& Company to work for Phillip Pargcter of
the Red House Glassworks, who had the
Northwood version of the Portland vase.
He went on to Webb & Corbetts, and then
left lor America in 1882 where he joined
the New England Glass Company of
Cambridge, Mass. Hecontinued his cameo
work in America, the vase illustrated being
an example of his work there. Occasionally
he used enamelling to embellish his cameo
work still further.
Carved by George Woodall, late 19th century
Ht. 220 mm (9 in.)
The brothers George and Thomas Woodall
had the good fortune to receive their early
training in cameo work from John North-
wood. Both were engaged by the firm of
Thomas Webb & Sons of Stourbridge to
work exclusively on cameo glass. The
Woodall school is noted for being by far
the most productive of the three schools
of English cameo glass. George had a
natural talent for figure composition, as
did his brother, though Tom seemed to
prefer decorative and floral patterns and
often executed the borders on their joint
works, usually signed ‘T & G Woodall’.
The early works of George Woodall were
mainly hand-carved, and his later pieces
mostly worked on the engraver’s wheel.
Much cameo glass was produced under
his direction by a large group of workers.
Tom and George Woodall and James
O’Fallon were the designers, though some
of their workers were quite capable of
producing and executing their own de-
signs.
‘lace-de-boheme’ cameo glass vase
Bohemia, (.1885. lit. 229 mm (9in.)
Most of the English cameo glass produced
between 1880 and 1890 was destined for
the American market. After 1890 demand
for this tine work dropped, because of the
influx of cheap imitation cameo work on
to the market. These cheaper pieces were
made by giving the glass a thin opal casing
and then applying the pattern to this
casing with acid-resisting ink; the article
was then plunged into a hydrofluoric acid
bath, which dissolved away all parts of the
casing not protected by the acid-resisting
ink. Thus an article was easily made with
a flat opal glass design in very shallow-
relief on a coloured background. Still
cheaper imitations came with ‘Florentine
Art Cameo’, and i.ace-dc-Boheme Cam-
eo’ made in Bohemia, which was simply
heavy white enamelling, often copying
English cameo designs, on a coloured or
satin glass body. ‘Mary Gregory’ glass,
described in the enamelling section, was
also a cheaper imitation of cameo work.
CAMEO GLASS VASE IMITATING  CARVED IVORY
WITH APPLIED GLASS WINDOW’S
Designed by Kretschman and decorated in gold and
enamel by Jules Barbc, Thomas Webb & Sons,
Kngland, 1-.1887
Thomas Webb & Sons of Stourbridge,
England, were the sole producers of a
novelty-type cameo glass which was made
in imitation of old carved ivory. Thomas
Wilkes Webb patented the process in 1887
and in the U.S.A. in 1889. An article made
of ivory coloured or opaque white glass
was etched with a shallow relief design,
which was deepened with an engraving
wheel. The design produced was wiped
clean and then rubbed with a brown or
other coloured stain; the stain made a dark
tint in the recesses of the design, and was
also apparent on the high points of the
design. The result made a piece of’cameo’
glass which looked like old carved ivory.
‘Tom and George Woodall used Oriental
and East Indian objets d’art as models for
this technique, and other members of the
Woodall team, Jules Barbc, Jacob Facer
and Nash, produced designs for this ware.
Both Stevens & Williams of Brierley Hill
and Thomas Webb & Sons of Stourbridge,
England, produced a glassware which was
known as ‘Dolce Relievo’ or ’soft relief. A
gather of clear coloured glass was picked
up on a first gathering of opaque white or
ivory-coloured glass, and the article was
fashioned in the normal way. When the
object had cooled, a design was painted on
the outer coloured glass, which was care-
fully etched away. This left various shad-
ings in shallow relief on the white or ivory
background. Any merit that the piece may
have depends entirely on the original
beauty of the design and on the skill of the
etcher. The vase illustrated, made at
Stevens & Williams, is one of the better
examples of the technique. Thomas Webb
& Sons were also responsible for cameo
glass pieces made to imitate 18th-century
Apart from beads, decorative plaques and
models of animals, very little glass was
made in China before the 5th century A.D.
As already mentioned, it is thought that
the secrets of glass-making were brought
to (ihina from the West in A.D. 435. Little
is known of Chinese glass-making during
the Sung and Ming periods. During the
Ch’ing period a glass workshop was
established in Peking in 1680 under the
patronage of the Kmperor K’afig Hsi, and
cameo-cut glass was featured amongst its
products. The most prolific period of
Chinese glass-making, however, comes in
the reign of the Kmperor Ch’ien Lung
(1735-95). The bottle illustrated is thought
to have come from this period, being in
opaque white glass with an overlay of red
glass depicting mounted warriors, build-
ings and nobles in a stage-like setting. The
effect of layered onyx or other semi-
precious stone was thus simulated, for the
Chinese seemed to be only interested in
glass in so far as it imitated more precious
materials.
CAMEO GLASS VASE IN PINK AND WHITE OPAQUE GLASS
Ml. Washington Glass Company, U.S.A., late
iQth century. Ht. 121 mm (475 in.)
Production of cameo glass in the U.S.A. in
this period was limited, not for lack of
expertise, but because of the high cost of
production. A great deal of English cameo
glass was of course being imported to the
States. However, some was made there,
the example shown being a pink and white
cameo of the Mt. Washington Glass
Company, New Bedford, Mass. The firm
also made blue and white cameo glass,
using the same relatively few patterns for
both. The outline of the ‘cameo’ decora-
tion is finely etched, but there any
resemblance to English cameo work ends,
for the decoration is produced solely by
the use of acid, and the effect of the design
is rather flat. On the other hand, some very
notable cameo work was produced in
America by the firm of Louis Comfort
Tiffany with Arthur J. Nash. Frederick
Carder certainly made traditional cameo
glass objects in England, and later, when
he worked in the U.S.A. he invented
Steuben ‘Acid Cutback’ glass, which is
allied to the cameo technique.
CAMEO GLASS VASE
Venice, Italy, last quarter of 10th century
Cameo glass was produced in Venice in the
late 19th century. It is not known who
produced these pieces, but their chief
characteristic is that they are made of
Venetian soda-lime metal, as opposed to
the heavy lead glass of English cameo
glass. This lighter glass, when used for
both the inner and outer layers of the
objects, gives the carving of the cameo a
more delicate but less distinct appearance.
Small details such as the carving of faces
were not easily achieved with the more
brittle metal. These pieces, all apparently
carved by the same artist, are in deep blue
glass cased by white opal glass. They
attempt to copy some of the ancient
Roman cameos, including the Portland
vase. Small alabastrons, vases, large and
small cups and saucers are copied from
ancient examples. The owners of the
cameos, Pauly & Cie of Venice, produced
a few pieces of cameo engraving on leftover
blanks from the late 19th century.
VASE IN CAMEO GLASS
Kmilc Galle, Nancy, France, end of ihe iqth century
I It 44S mm (17-63 in.)
French cameo glass has en entirely different
artistic feel from that of the meticulously
engraved English type. The French glass-
makers used acid etching to engrave their
designs on to blanks of cased coloured
glass, in a style originally intended to copy
oriental models. Emile Galle (1846 1004)
was the most prominent figure in the
production of French cameo glass. He
learned his trade at Mcisenthal, and then
had a more formal art education in Weimar,
followed by studies in the major museums
of London and Paris. He established his
own workshop for glass decoration in 1867.
With his father he began the regular
production of art glass in Nancy in 1874,
and continued until his death in 1004.
Strongly influenced by the art of Japan, he
took as his favourite subjects flowers,
insects and landscape designs, in contrast
to the figure subjects favoured by English
artists for cameo glass.
CASED-GLASS CAMEO VASE IN AUBERGINE,
WHITE
By Emile Galle, Nancy, France, iSgo 1000
The smaller details on Gallc’s cameo glass
were finished off on the engraving wheel.
The majority of his cased glass vases, with
a decoration of flowers and leaves, date
from after 1890. So-called ’standard Galle’
vases with conventional Art Nouveau
flower patterns in one colour against an
opaque white background as illustrated arc-
probably factory products, rather than
Galle’s personal handiwork. It is very rare
to find two identical pieces among the
massive output of his factory. Like most
French glass-makers of this period, he
usually signed his work. Even after his
death, when the factory continued under
the direction of Victor Prouve, the pro-
ducts were still signed ‘Galle’, hut a star
preceded the name, and production in
Gallc’s style certainly continued until
1913. Closest to Galle’s work came the
products of the firm of Daum in Nancy;
this concern was established by Jean
Daum Urol hers, Nancy, Franee, c. 1895
Jean Daum’s two sons, Auguste and
Antonin, were personally influenced in
glass-making by Emile Galle. They soon
(V.i890) began to produce articles decor-
ated with flowers and leaves in cased glass,
using on their works a monogram incor-
porating the Cross of Lorraine. Their
early productions of Art Nouveau glass
were very fine, and they continued to make
art glass until the First World War, but
their later work is of much poorer quality.
Once Galle died, his inspiration seemed to
die with him. Other makers of cameo glass
in Galle’s style were the factory of Lunc-
ville, near Nancy, and also Sevres, which
produced the designs of the firm of
Landier et Fils. Other lesser-known
workers in French cameo glass were De
Vez, Le Gras, Andre De Lattc, Edward
Michel, M. Walter, Alphonse G. Reyen,
Tessire du Motay, Kessler and Mareschal.
The technique of French cameo glass was
copied by many countries in Europe.
i \MH) glass vasi in KM) imhiiihu 111 ysn
By Tiffany, U.S.A., late i<)th century/early 20th
century. Hi. 146 mm (575 in.)
Louis Comfort Tiffany (1848-1933) joined
forces on a shareholding basis with Arthur
J. Nash, an English glass-maker, and other
investors. Nash later brought in his sons
A. Douglas and Leslie Nash. They oper-
ated the factory at Corona, Long Island,
New York, known as Tiffany Furnaces,
and later as Louis C. Tiffany Furnaces
Inc. When Tiffany left in 1924, it became
the A. Douglas Nash Co. Tiffany products
owed much to L. C. Tiffany from 1 he-
design point of view, but it was the Nashs’
practical knowledge of glass-making that
made them technically outstanding. One
of the products that must be mentioned
here is their cameo glass, which generally
consisted of two or more layers of glass.
The designs were painted on in acid-
resistant materials, then the object was
plunged into an acid bath, which revealed
the under layer or layers. The design was
finished off with engraving and polishing
tools.
VASE IN ‘ACID CUTBACK’
By Frederick Carder, Steuben Glass Works,
U.S.A., early 20th century. III. 305 mm (12 in.)
Frederick Clarder of the Steuben Glass
Works, Corning, New York, established
an etching room for glass at the works in
about 1006. He was familiar with the
etching process in connection with cameo
glass from his Stevens & Williams days in
Kngland, and he carved his cameo plaque
‘The Immortality of the Arts’ while
working under the tutelage of John North-
wood. Until about 1932 Carder produced
at Steuben a cameo-type glass which is
called ‘Acid Cutback’ by collectors. The
design was transferred to the glass by
means of a print made on paper in a ‘wax
ink’. The area of the glass not covered with
the pattern was painted with wax, to
protect it from the etching acid. The glass
was left in the acid bath for the time
required to etch the designs to the desired
depth. Two layers of glass were normally
used, the darker colour most frequently
being the outer layer, though occasionally
single-layer pieces were made.
COLOURLESS GLASS WITH CUT
DECORATION
Ireland, late iSth century. Ht. 13(1 mm (538 in.)
(See also colour photograph 21)
Cut Glass: To most people the term means
the type of deep wheel-cutting used on
Irish glass from the late 18th century
onwards, and also on modern cut wine-
glasses and containers. The popularity of
today’s cut-glass products is a legacy of the
great popularity this type of glassware
enjoyed in Kngland and America during
the 19th century. In this style of decoration
angular cuts are made into the vessel
which, when polished, act as prisms with
adjacent cuts, giving a very brilliant effect.
The glass blank would first be marked
with the pattern, a mixture such as white-
lead and gum water being used. Following
the design, deep cuts would be roughed in
against an iron wheel fed with abrasive
such as sand. Water-cooled stone wheels
which need no abrasive might be used to
add fine lines. The cuts could then be
polished by lead or wooden wheels, or,
after the second half of the 19th century,
by plunging the vessel into a mixture of
hydrofluoric acid and sulphuric acid.
waisted bowl in clear, colouri j.s.s glass, stained decanter in cut glass with mushroom stopper
yellow, vviiti cut decoration England, about 1820. Ht. 241 mm (0-5 in.)
Ireland, 1.1820-30. Diam. 143 mm (563 in.)
The years 1780 to about 1835 can be
described as the period of freedom for
Irish glass-making, when the trade was
unfettered by any serious restraints. It was
during this period that some of the most
notable work in cut glass was produced in
Ireland. The principal glass-house cities
were Dublin, Cork, Waterford and Belfast.
The common belief that Waterford glass
has a blue tint is entirely wrong; some
glasses made on the Continent in imitation
of the Waterford style are markedly blue
in colour, but the original Waterford glass
is clear and colourless. Objects made
included barrel-shaped and straight-sided
decanters, bowls and vases, often with a
turned-over rim and a domed foot, covered
bowls and jars with button finials, urns,
kettle-drum bowls, plates, bowls and
stands, ewers with swan neck handles, jugs
with rounded bodies, and serving dishes.
The cut decoration was mostly done by
English craftsmen, who emigrated to
Ireland after Free Trade had been de-
clared in 1780.
The historical impact of early 19th century
English cut glass can be compared to the
influence on glass-making that Venice had
in the 16th century or to that of the
engraved glass of Central Europe in the
17th and 18th centuries. The inability of
the Venetians, with their lighter soda-lime
metal, to copy cut glass led to their eclipse
as the main glass-making centre at this
period. The success of the French and
Belgian factories in copying English cut
glass was a main cause for their develop-
ment in the first half of the 19th century.
The United States of America quickly
took to cut glass, and even in Central
Europe the style could only be partially
resisted. Mitre-cutting, or the cutting of
V-section grooves into glass, was the
characteristic Regency style. The decan-
ters, like the illustrated one, were mostly
barrel-shaped, with rings applied to their
necks, and usually with ‘mushroom’-
shaped stoppers.
Kngland. probably the 1820’s. lit. 89 mm (3-5 in.)
in m dish i\ tit GLASS
Kngland. about 1820. Length 219 mm (8-6? in.)
The V-section grooves of the mitre-cutting
were usually in straight lines. The main
decoration on the glass was caused by the
intersection of these grooves at ninety or
forty-five degrees. The simplest decora-
tion, when the grooves met at ninety
degrees, was the production of a field ol
plain ‘diamonds’ or small pyramids of
glass. There were many variants of this
sort of decoration, but one of the most
popular was the field of intricate ’straw-
berry diamonds’ found on so many pieces.
The bowl illustrated is a typical example.
Since the middle of the iSth century the
geometrical cutting of the soft English
lead glass had absorbed many glass decora-
tors, but it was the styles of the early 19th
century that were to establish its lasting
popularity. Regency cut glass was in fact a
logical technical development from the
shallow facetted glass of the mid-i8th
century.
Regency cut glass subordinated the shape
of the vessel to the decoration. Its solidity
and sparkling appearance reflected the
ostentation that was prevalent in all the art
forms of the British Regency and Con-
tinental Empire styles. In addition to the
square-cut patterns, other designs on
vessels involved the use of radiating cuts.
Usually the base would be ’star-cut’, and
the edge of the vessel might have ‘fan-
cutting’ on each of a scries of semi-circular
projections. This can be seen in the oval
cut-glass dish illustrated. It is strange that
this style of decoration, which needed such
thick glass for its execution, should coin-
cide with the period of the Glass Excise.
Between 1745 and 1845 the various
governments sought to gain revenue by
taxing the glass output in England.
Strangely enough, the effect of the Excise
seemed to be the concentration of all the
glass-makers upon one current style of
clear glass with cut decoration.
The Techniques of Taking Away
Early 19th-century glass shapes can norm-
ally be distinguished from their late 18th-
century forerunners by their heaviness and
formality. The cut decoration was more
often arranged horizontally than vertically.
This is apparent on the cut-glass dish with
cover that is illustrated. It has generally-
been assumed that most cut glass was
made in Ireland, where until the mid-
1820’s there was no Glass Excise tax. This
cannot in fact be true, since there were
never more than ten factories in Ireland
producing decorative glass, whereas in
England they numbered about fifty. Apart
from a few special cases, it is virtually
impossible to distinguish between English
and Irish glass on the grounds of style or
of the glass used. When the Excise was
introduced into Ireland in 1825, that
country was producing Ј20,000 worth a
year of flint glass, compared with over
Ј20,000 worth in Scotland and Ј170,000
worth in England.
The tendency to call all cut glass ‘Irish’ or
‘Waterford’ probably reflects the way
research has been made into the subject.
Much has been written on the history of
the Irish factories in the early 19th
century, but very little has been done on
the much wider field of English cut glass
in this period. Wine-glasses or ‘rummers’
of the early 19th century in England
usually had convex or straight-sided bowls.
Short bucket shapes were common, as
well as the taller flute shape illustrated.
Stems were short, often with disc-shaped
knops. The intersecting mitre cutting used
so much on other vessels was considered
unsuitable for drinking glasses, so their
decoration usually consisted of flat vertical
facets towards the lower part of the bowl.
Jugs had become a popular form of glass-
ware but in Regency times they tended to
copy pottery shapes and did not have the
fluidity of form of true glass art.

Flatware, or cutlery, remains among the most popular antique silver today. Spoons, owned and valued by all classes of society, are among the earliest utilitarian silver to survive in any quantity – being small, they had a relatively low value as bullion and were not as readily converted into coin as larger items. Forks were only used for sweetmeats or desserts until the 16th century in continental Europe and the late 17th century in Britain. It was not until the 18th century that matching sets of silver spoons, forks, and knives were produced, but thereafter they were made on a large scale and in an extensive range of patterns. Complete and original sets of flatware are rare and expensive, since individual pieces were often very heavily used and then replaced.
APOSTLE SPOONS
English apostle spoons were made in London and the provinces from the mid-15th to the mid-17th century. They have a fig-shaped bowl and faceted hexagonal stem, and are so called because the cast finials depict the
12 Apostles; originally they were made in sets of 12 or
13 (the thirteenth spoon usually representing Christ), but very few full sets survive today. Spoons were often given as christening presents, the child receiving the spoon representing the saint after whom he was named. Each Apostle can usually be identified by the symbolic object in his right hand – for example keys or a fish for St Peter or a saltine cross for St Andrew. The bowl and stem were created from a single piece of silver, one part being drawn out for the stem and the other hammered into a shaped die for the bowl; the finial was attached with a “V”-joint on pieces made in London; provincial makers used a lap joint. The position of marks on apostle spoons is also distinctive – the town mark is in the bowl; other marks appear on the back of the stem.
Apostle spoons tend to fetch high prices on the market today, as they have been of interest to collectors and antiquarians from as far back as the 18th century. Many fakes were created by cutting off the stem from a similar spoon and adding a reproduction apostle finial. Indistinct features of the apostles are not always a sign that the finial is a fake, because in the 15th and 16th centuries a single mould may have been employed to cast hundreds of finials, so some genuine examples lack sharpness.
SETS OF SILVER FLATWARE
French styles of silver were popular in England after the Restoration in 1660, when King Charles II returned from exile in France. Among the new forms introduced was a type of spoon with an egg-shaped bowl and broad, flat stem ending in a simple trefoil, known as a “trefid” spoon. The bowl was joined to the stem by a tapering rib, or “rat-tail”, and sometimes the back of the spoon was decorated with scrolls in low relief or engraved with a crest or initials. By c.1690 the trefid pattern had flattened out into the “dognose” – the end of the stem had a central curve with a smaller one on either side. Dining forks, used in France and Italy since the 16th century, were also introduced to England at the Restoration; these followed the styles of trefid and dognose spoons and usually had two or three prongs, or tines. Early forks are rare and much sought after. Some fakes have been converted from spoons, but the proportions are slightly wrong and the tines too thin. Usually, early forks were thick and heavy.
By the early-18th-century forks, knives (with rounded cannon- or pistol-shaped handles), and spoons were made as a set – a trend probably influenced by the fashion for dinner services with matching ornament. The first pattern for matching flatware was the “Hanoverian”; it features a flat, rounded end turned upward and a ridge along the front of the handle. Coats of arms or crests were engraved on the back of the stem, since flatware was laid face down on the table in the French manner.
The Hanoverian pattern evolved by the 1760s into the “Old English” pattern, with a plain, rounded end but turned down instead of up (on spoons), according to the new fashion of placing cutlery face up on the table. In the same period, forks were made with four instead of three tines. With increasingly elaborate dining habits, special silver-gilt services for dessert became popular.
Flatware was made in a huge variety of patterns from the late 18th century, especially with the development of mechanized manufacture in Sheffield, which became the most important centre of cutlery production in England. The more popular styles in the late 18th and 19th
centuries included the “fiddle” (with the end of the handle in a fiddle shape), and the more ornate “King’s” and “Queen’s” pattern. Flatware of this date was often supplied with a fitted case.
Today, complete and original sets of flatware, even from the 20th century, are very rare, as pieces were often replaced due to heavy use. When buying flatware, it is important to check for forks that have been trimmed off (this is difficult to detect) and for spoons whose bowls have been reshaped to disguise wear.
CADDY AND MOTE SPOONS
Before the 1770s tea was measured out using the domed caps on tea-caddies; when these were replaced by larger lids a small spoon was kept in the caddy. From the late 18th century thousands of caddy spoons were produced in a diverse range of designs, especially by manufacturers who specialized in “toys” – wine labels, boxes, buckles, and other small items. Like wine labels, caddy spoons are popular with first-time silver collectors.
Among the earliest and most common designs was a spoon with a shell-shaped bowl; other popular novelty forms included a vine leaf with a vine tendril as a handle, a shovel or scoop, and, most coveted by collectors, an eagle’s wing and a jockey cap. Most spoons were made by die-stamping, but heavier and more expensive pieces might be cast. Filigree and handles of bone, ivory, or in other- of-pea rl were also used. In recent years many reproductions of earlier designs have been produced.
Mote silver spoons, or skimmers, were used to skim tea leaves off tea. Made from the early 18th century, they usually have a pierced bowl, with a pattern of circular holes or crosses and scrolls, and a slender, tapering, pointed stem, for unblocking the spout of the teapot. Mote spoons were often made en suite with teaspoons. Some fake mote spoons have been converted from teaspoons, but teaspoons have larger bowls and no pointed end and are shorter.
LADLES AND FISH SLICES
Ladles for serving soup, sauce, punch, and sugar were produced from the 18th century, sometimes en suite with tureens and punch-bowls. The styles tend to follow flatware, but some soup ladles were made with deep-fluted shell bowls. Punch ladles had circular or oval bowls with a lip and a handle of wood, whalebone, or silver.
Fish slices, produced from the 18th century, have a broad pierced blade and turned wooden or silver handle. Early pieces are pierced with simple patterns, but some Victorian ones depict fishing themes. Fish slices are easily damaged, especially on the piercing and where the blade joins the handle.

Apostle spoons
• CONSTRUCTION the finial is joined to the stem on London-made spoons with a “V”-joint and on provincial pieces with a lap joint
• COLLECTING very few complete sets survive today; most are provincial pieces
Marks
The town mark is typically found in the bowl; other marks may appear on the back of the stem
Flatware
• COLLECTING it is important to check patterns closely because of small variations in design; complete and original sets are now rare; those with an equal amount of wear on each piece are most collectable; early forks are valuable; knives made before 1800 are abundant but few have survived in good condition
Marks
These were struck near the stem in the early 18th century but near the handle by the 1770s
Caddyspoons
• CONDITION check for badly repaired pieces, with spoons that have snapped where the bowl joins the stem; filigree spoons tend to be very fragile
• COLLECTING designs are extremely varied
STYLES OF FLATWARE
Sets of flatware with matching decoration were first produced in the early 18th century. These are some common styles.

Featured at Antcollectors Silver:
silve filigree fish slice and fork with ivory handles
silver antique candelabra markings
silver candleabras made in england
silver candlestick pillar
silver candlesticks worth
silver entree dishes
silver ornate tea spoons italy
silver pillar candlestick
silver plated corinthian hexagonal base three light candelabra
silver tray on stand
silver tray with food
silver tray with top
silversmiths london england 19th century

Tureens
Tureens were introduced in the early 18th century, reflecting the French fashion for serving stews, soups and sauces. Legend has it that the tureen was named after the 17th-century Vicomte de Turenne, who reputedly ate his soup from his upturned helmet; in fact, the term derives from the French terrine. From the early 18th century, soup usually accompanied boiled meats, fish, and vegetables as part of the first course and was served to the guests by the host or hostess. As such, the tureen became associated with a show of wealth and was often the most richly ornamented and expensive piece in the dinner service. Sauce tureens replaced sauceboats in the second half of the 18th century and were often smaller versions of soup tureens.
SOUP TUREENS
soup tureens were introduced c.1720, but examples dating from before 1750 are very rare today. Generally circular or oval and of heavy-gauge silver, they were set on four cast scroll, hoof, or ball-and-claw feet with cast scroll, ring, or drop handles at the sides and a domed cover with an ornamental finial; most are engraved with a coat of arms. Tureens designed in the 1730s and 1740s by famous French silversmiths such as Juste-Aurele Meissonnier ( 1695-1750) and Thomas Germain are among the most magnificent pieces of Rococo silver pair of tureens (1734-40), designed by Meissonnier for the English Duke of Kingston, is cast in the shape of lame shells on curving scroll bases, with the covers decorated with cast crustacea, game, and vegetables. These pieces were highly influential: vegetable, fish, and game finials are a feature of European tureens from the 1730s to the 1760x. In the I 750s matching stands and ladles became popular, and many tureens were fitted with detachable liners in thin sheet silver with two end handles; these are often sold separately as baskets. Sheffield-plate liners became more common after the 1770x.
In the Neo-classical period architects such as Robert Adam (1728-92) produced designs for tureens to match the dining-room furnishings. Adam’s designs particularly influenced silversmiths, and tureens of this period arc generally oval on a single pedestal foot, with high loop handles, a ring handle, or an urn finial on the cover, and reeled, beaded, and gadrooned edges; decoration includes fluting, swags, palmettos, and bands of Vitruvian scrolls. Soup and sauce tureens were often made as sets from the 1770x, but these are now rare. Tureens were also made in Sheffield plate. The handles and feet of such pieces were not cast but stamped in two halves from thin sheet metal, filled with lead, and soldered together; in many cases a silver panel was inserted for engraving the armorials.
Early 19th-century Regency tureens contrast strongly with the elegant forms of the late 18th century: massive and of heavy-gauge silver, they are richly decorated with lion masks and Classical ornament and have four cast shell, scroll, dolphin, or paw feet. The best pieces have solid cast crests and heraldic devices on the cover. Due to the increasing popularity of the ceramic dinner service, fewer silver tureens were made in the first half of the 19th century. However, a distinctive form of the 1830s and 1840s was the melon-shaped tureen with cast vegetable finials, typical of the Rococo Revival style.
Silver disks for engraved coats of arms or crests, are often easily visible. More ornate and expensive examples have cast-and-applied swag ornament, with fruit- or bud-shaped finials; some especially fine pieces made by the renowned Birmingham manufacturer Matthew Boulton (1728-1809) also have radiating fluting on the covers. In addition, some sauce tureens were engraved with a crest or coat of arms on both the cover and the body; any armorials on the cover should match those on the body. In the late 18th century engraved armorials Such as these were often ten enclosed within wreaths or ribbon cartouches.
In the early 19th century silver sauce tureens were made in fewer numbers (sometimes in Sheffield plate), as ceramic examples (particularly those in creamware) became more popular and widely available. However, some heavier versions in both silver and Sheffield plate, with large, cast, drop-ring handles and elaborate mounts, finials, and decorative borders, standing on four feet, survive from this period, while the Neo-classical boat shape was revived at the end of the century.
SAUCE TUREENS
Sauce tureens became popular from the 1770s. Unlike traditional cold accompaniments to meat, such as mustard and redcurrant sauces, the new French sauces were served hot – meaning that tureens with lids were more practical than open sauceboats for keeping them warm. Sauce tureens were usually made in pairs or sometimes as a set of four – one for each corner of the table – and some had matching ladles. Single tureens are generally less collectable than a pair, and sets of four fetch considerably higher prices. Some examples have matching stands, as with sauceboats, to protect the table from the heat of the tureen’s contents and to hold the ladle when not in use, although other pieces have covers with a notch inside the tureen where the ladle could be placed.
Like soup tureens of the period, sauce tureens from the late 18th century are characteristically oval or boat-shaped, with elegant upswept loop handles and a single pedestal foot. The cover will often be steeply domed in the centre, with the finial at the same height as the top part of the handles. The body of the tureen was raised from a single sheet of silver, while the handles and foot were made separately and soldered onto the body. The majority of early tureens have cast handles, but from about 1790 a number were made from thick silver wire. These delicate handles, which could be very easily damaged by lifting the tureen when full, were sometimes reinforced at the bottom, but it is always important to make sure that the handles have not been pulled away from the body; nor should there be any cracks or tears on the lid where any reinforcing plate that secures the finial has been damaged and/or repaired.
Sauce tureens of this period tended to be sparingly decorated, usually only with reeding, gadrooning, or beading around the rims, covers, and feet; small, urn-shaped finials on the lid were common, but these
were generally replaced with a single reeded or plain ring handle from the early 1790s on onward. On such plain pieces scratches, dents, and, on versions made from Sheffield plate, inserted

Soup tureens• CONDITION seldom good as many pieces suffered from over-use and cleaning; pieces were raised from a single sheet and should therefore not have scams, thinning of metal may indicate removed armorials
• COLLECTING examples were usually made singly but sometimes in pairs; many were produced with stands, liners (often in Sheffield plate), and ladles, but these are typically missing or have been sold separately
Marks
These should appear on both the cover and the base; armorials on the cover should match those on the body
Sauce tureens• CONDITION with the earliest designs (typically featuring a pedestal foot and loop handles) it is particularly important to check for cracking, splitting, and signs of repair where the foot, finial, and handles, join the body
• COLLECTING examples were made from the I 770s, in pairs or sets of four; from c.1790 reeded or plain ring handles were common on the lid instead of the finial
Marks
The cover and body should feature the same mark; a crest on the cover should match that on the body