The Antique Silver Spoon Collectors Magazine. ISSN X Volume 27/03 Where Sold 8.50 January/February 2017

Transcription

1 The Antique Silver Spoon Collectors Magazine The Finial ISSN X Volume 27/03 Where Sold 8.50 January/February 2017

2 The Silver Spoon Club OF GREAT BRITAIN 5 Cecil Court, Covent Garden, London. WC2N 4EZ Tel: silverspoonclub@bexfield.co.uk V.A.T. No Hon. President: Anthony Dove F.S.A. Editor: Daniel Bexfield Volume 27/03 January/February 2017 CONTENTS Introduction 3 Thomas Burridge s Master by Laurence Joyce 3 Advertisement Chiswick Auctions 4 A sun in its splendour indisputably Dingwall? part 1 by Kenneth Reid 5 William Trewin of Launceston? By David Whitbread 9 Every picture (bowl) tells a story by Graham Thurston & Kathleen Yorik 10 Feedback 14 Results for the Club Postal Auction 5 th January The Club Postal Auction 19 The next postal auction 43 Postal auction information 43 -o-o-o-o-o-o- COVER George I Silver Sucket Fork with Ribbed Rattail Circa 1725 See: The Postal Auction, page 34, Lot 134 -o-o-o-o-o-o- Yearly Subscription to The Finial UK ; Europe ; N. America ; Australia In PDF format by (with hardcopy 15.00) -o-o-o-o-o-o- The Finial is the illustrated journal of The Silver Spoon Club of Great Britain Published by Daniel Bexfield 5 Cecil Court, Covent Garden, London, WC2N 4EZ. Tel: silverspoonclub@bexfield.co.uk All views expressed are those of the authors and not necessarily those of The Finial..2.

3 Introduction I m sure New Year s Eve feels far off now; however it is the first issue of the year, so a very Happy New Year to you. I ve received an from Louis Crooks and Chris Bell, who are thinking about organising another Spoon Club meeting in Swindon later on in the year possibly in October. These meetings have always been very popular and enjoyed by all those that attended, but before they go ahead and book the venue they would like to have a good idea of numbers. If you are interested could you please either drop me an or give me a quick call to let me know, and I ll pass it on. Congratulations to John Rogers, who has recently been made head of the silver department at Chiswick Auctions. For those that do not know him yet he has interest in all aspects of silver, and amongst this he has a particular a passion for 17 th century bodkins. At the moment he is putting together a sale of silver by women silversmiths, which he says was inspired by Philippa Glanville. His contact details are overleaf. As alluded to in the last issue, I have now looked into postage & packing costs for the postal auction. As we know these costs have increased over the years, and the post office is increasing its prices again in April, so unfortunately postage & packing is to increase by 1.00 for UK parcels and 2.00 for overseas. With good wishes, Daniel. -o-o-o-o-o-o- Thomas Burridge s Master By Laurence Joyce On checking Thomas Burridge s apprenticeship Indenture in the Freedom of the City of London records I discovered that his master was Thomas Allen and not Peter Downeham, as stated in Grimwade. Thomas Allen and Thomas Burridge were both specialist spoonmakers. Thomas Allen was also the master of that other specialist spoonmaker, Isaac Davenport..3.

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5 A Sun in its Splendour - Indisputably Dingwall Part I By Kenneth J Reid There is overwhelming documentary evidence that Alexander Stewart worked in Inverness and in Tain. Pieces can also be found which identify the silversmith s presence unequivocally in each town (figs. 1 & 2). His marks are well documented 1 to 5 and images have also been added to the online database of the Incorporation of Goldsmiths of the City of Edinburgh 6. Fig. 1 Fig. 2 One set of marks of particular interest, on a fiddle pattern jam spoon housed in the Tain and District Museum, comprises the maker s mark AS, a sunburst (sun in its splendour) with central, asymmetrical pellets, a partial upper case A (from the maker s punch being struck at an angle) and the Tain retailer s mark of William McKenzie, a watchmaker (figs. 3 & 4). The presence of the retailer s mark indicates an unambiguous association with the town, but can it be assumed with any degree of certainty that the item was also made in Tain? As the coat of arms of Tain is St Duthac holding in his right hand a staff with ivy and an open book in his left hand, the sunburst on the jam spoon patently does not represent a Tain town mark. Therefore could one be on shaky ground at this point to assume that the presence of a sunburst mark suggests a Tain origin? It probably should be noted that a recent auction included one Lot, comprising a pair of Hanoverian serving spoons by Hugh Ross of Tain circa 1730, which had engraved crests of a sun in splendour; this is the crest of the Mackenzie family (fig. 5). Fig. 3 Fig. 4 Fig. 5 To purchase a complete copy of this January/February 2017 (Vol. 27/03) issue for 7.50 please click here.5. Continued overleaf

6 In the Tain and District Museum catalogue Estelle Quick suggests that Alexander Stewart may have had a connection with William Innes and Richard Maxwell Wilkie who had moved to the town from Glasgow. They may have taken over Stewart s premises or acquired some of his tools (and presumably his sunburst punch). Examples exist of Innes s maker s mark W.I. TAIN in a single punch, a thistle and a sunburst (fig. 6); and Wilkie s mark RW with TAIN, a thistle and the same sunburst (fig. 7). Without any doubt then, these marks by Innes and Wilkie allow their silver items bearing sunburst marks to be ascribed to Tain with confidence, not primarily because of the sunburst, but by the presence of the town name. Apart from the published example of a sunburst on an Inverness toddy ladle, it might have been thought reasonable to ascribe silver with this precise sunburst mark as originating in Tain. Fig. 6 Fig. 7 This assumption may now be challenged in the light of the recent acquisition of a teaspoon. It is of Fiddle pattern design with a drop-heel and with shoulders (lugs) that are somewhat restrained (fig. 8). On the back of the Fiddle is a sequence of marks comprising AS, DWL and a sun in its splendour (fig. 9). Fig. 8 Fig. 9 To purchase a complete copy of this January/February 2017 (Vol. 27/03) issue for 7.50 please click here Fig. 10 Fig. 11 Fig. 12 Fig. 13 However Dingwall is not alone in having a sun in its splendour as a component of its blazon so one must be cautious. At present no silver is known to have originated in Dingwall and the assertion that flatware with AR-sunburst marks comes from this town will be addressed in Part II of this article. It has already been noted that Alexander Stewart worked both in Inverness and Tain, having moved from the former to the latter in December 1812; Dingwall is en route. The principal challenge to accepting the teaspoon as originating in either Inverness or Tain comes from the presence of the.6.

7 To purchase a complete copy of this January/February 2017 (Vol. 27/03) issue for 7.50 please click here Another proposition suggested to me was that the AS and sunburst marks were struck at the same time with a gap between to accommodate a later retailer s mark. I find this untenable. If the DWL mark were accepted as a town mark, its traditional position would be to the right of the maker s mark. Comparison with the museum s jam spoon (fig. 3) where no town name appears, shows the sunburst immediately to the right of the AS mark and the retailer s mark is on the extreme right hand end; the position of the DWL between the AS and the sunburst on the teaspoon makes the likelihood of DWL being an unknown retailer improbable. It may be entirely coincidental, but nonetheless tantalizing, to note that the engraved script initials on the teaspoon are AS. None of the contemporary examples illustrated in the Tain and District Museum catalogue bears this combination of letters. Tain Museum has compiled a list of Tain silver held by other museums including National Museums of Scotland and Inverness Museum and Art Gallery; none of their Tain silver by Alexander Stewart is engraved with AS. To date I have been unable to find any contemporaneous Tain silver with these initials. The absence of such items cannot be conclusive, but might add weight to the thought that the original owner did not live in the vicinity of Tain. A helpful contribution would be made if members who possess items of Tain silver could examine those with engraved script letters and communicate through Feedback if any comprise AS..7. Continued overleaf

8 To purchase a complete copy of this January/February 2017 (Vol. 27/03) issue for 7.50 please click here It is evident that the AS marks on the jam spoon and the teaspoon are not the same. However if detailed photographic comparison of the sunburst marks were to show them to be identical, Dingwall might offer itself as the possible town of origin for the jam spoon. Perhaps then there may be a case for the description of the jam spoon to be revised: A Dingwall fiddle pattern jam spoon, made by Alexander Stewart, retailed by William McKenzie of Tain. My hope is that the sun in its splendour has shone a little light on one aspect of Scottish burgh silver. I wish to acknowledge the help offered me by the following people, the provision of digital images and the permission granted to use them in this article: Sheila Munro, Tain and District Museum. Permission by the Tain and District Museum Trust to use images 3 and 4 Elspeth Morrison, Incorporation of Goldsmiths of the City of Edinburgh, for providing images 3 and 4. Colin T Fraser, R L Christie Works of Art. To Lyon and Turnbull for providing image 5. Rupert Slingsby and Lucy Chalmers, Woolley and Wallis, for providing images 6 and 7. Estelle Quick, formerly of Tain and District Museum. Jonathan McColl, Dingwall Museum Trustee. Lyndsay McGill, National Museums Scotland. Kari Moodie, Inverness Museum & Art Gallery. Lesley Taylor, NMS Publishing for permission to quote from GP Moss & AD Roe Notes 1. Jackson s Silver and Gold Marks of England, Scotland and Ireland, edited by Ian Pickford, 3 rd edition, A Ballance of Silver: The Story of the Silversmiths of Tain, Estelle Quick, Highland Gold & Silversmiths, GP Moss & AD Roe, The Tain Silver Collection in Tain and District Museum, Estelle Quick, Illustrated Dictionary of Scottish Provincial Silversmiths & Their Marks, Richard W Turner,

9 William Trewin of Launceston? By David Whitbread A few years ago I picked up a puritan spoon that had suffered a great deal of the pitting that can result from burial. To be honest, given its condition, I am not now sure why I bought it. Perhaps I was intrigued by its attribution to William Trewin of Launceston or perhaps it was just relatively inexpensive not the best reason for a purchase. Anyhow, William Trewin doesn t appear in Tim Kent s book on West Country Silver Spoons. The auction house at which the spoon had surfaced could only say that the previous owner had made this attribution. The spoon is marked with a leopard s head in the bowl and again on the stem as well as a WT mark with an anchor between the two letters, struck twice. Jackson shows versions of a leopard s head mark being used by the Launceston makers Francis Glanville and Richard Ashe. This would explain the suggestion of Launceston for the spoon but where did the name William Trewin come from? A bit of desultory searching got me nowhere, so I gave up and put the spoon away. A few days ago I picked up my copy of John Luddington s Starting to Collect Silver, a book I hadn t looked at for years. Suddenly my eye was caught by the photograph of a spoon. It was this puritan, the very spoon, not just a similar example. The caption read: The back of a Puritan spoon, c. 1655, pitted by reason of burial, thought to be by a William Trewin of Launceston. Members of the Trewin family still live in Launceston. Courtesy the Professor John Browning Collection, Canada. I think the implication is that the Trewin family knew, or believed, that they had a silversmith ancestor, hence the attribution. The point of sharing this is simply to ask whether anybody has seen these marks on other items or can shed more light on the possible existence of William Trewin. -o-o-o-o-o-o-.9.

10 Every Picture (Bowl) Tells A Story By Graham Thurston with Kathleen Yorik When, for the Millennium, the United States Mint produced a specially designed 25-cent piece for each of the 50 States it was continuing a long tradition of cheap collectables, which echoed an earlier collecting fad for souvenir spoons that started around 1890 with the Salem Witch spoon. Within 18 months some 2,200 different designs had become available for purchase and a whole new collecting industry began with the bulk of the collectable spoons created between 1891 and The designs covered every aspect of American life from local civic pride, fraternal societies, famous landmarks, international expositions, black and Native American history, et al. I started my own collection in 1982, employing these criteria: they should be found and purchased in the U.K., be made of sterling silver, relate only to the U.S.A. and cost 10 or less, since increased to 18. Fig. 1a Fig. 1b A recent addition to the collection is a 1909 Hudson-Fulton Celebration commemorative (Fig. 1a). It was sold as a souvenir spoon and features enamel portraits of Henry Hudson and Robert Fulton (Fig. 1b). The New York City festivities marked the 300 th anniversary of the discovery of the Hudson River and the 100 th anniversary of the success of Fulton s paddle steamer. There were parades and marches, fireworks, Wilbur Wright flew around the Statue of Liberty; and sailing vessels and ships, including Lusitania, participated. Special medallions were struck, a two-cent postage stamp was issued, and of course there had to be keepsake spoons. Interestingly this spoon is marked G.SILVER German silver? plate? sterling? More research needed! Fig, 2a Fig. 2b Fig. 2c Expositions and World Fairs have long proved inspirational for souvenir production. The Columbian Exposition held in Chicago in 1893 coincided with the spoon collection mania, with over 300 different varieties commemorating this one Fair 2. I have a spoon marking the Jamestown Exposition, 1907, 300 years after the founding of America s first English colony in Virginia. It was made by C.L. Watson & Fred A. Newell of Attleboro,.10.

11 Massachusetts, a firm noted as one of the largest producers of souvenir spoons in the country 3. The spoon s finial has a portrait of Capt. John Smith (Fig. 2a) and the bowl depicts the scene he described as his dramatic rescue from execution by Pocahontas, the tribal chief s daughter (Fig. 2b). Smith claimed that as he was about to be clubbed to death the girl intervened. In fact the likely intention was to initiate him into the tribe, not to kill him. The spoon s reverse shows a tiny scene of a triumphant colonist with sword and lance standing on the body of a prostrate Native American, very non-p.c., but historically accurate; and a more peaceful scene of an Indian paddling a canoe with three ships in the distance (Fig. 2c). Fig. 3a Fig. 4a Fig. 5a Which brings us to a beautifully made spoon commemorating three ships: the Susan Constant, Godspeed and Discovery (Fig. 3b). These ships sailed from London in December 1606 for the four-month trans-atlantic voyage to the colony of Jamestown in Virginia. They carried 144 passengers and crew, and modern recreations of all three vessels are now a tourist attraction moored at Jamestown settlement s pier. The spoon s handle is a finely detailed figure of a woman in a feather headdress, fringed dress and belt, and beaded necklaces and bracelets (Fig. 3a). The reverse is her equally crafted back view, down to the moccasins on her feet. The spoon is marked Sterling with no other information and the figure is not identified but I have seen an identical model on a Canon City Colorado souvenir spoon 4, so it is likely she is a stock image for spoons with a Western American connection. Native American figurals are much sought after and often have relatively high monetary values. Fig. 3b Fig. 4b Fig. 5b.11. Continued overleaf

12 We know the Pocahontas/John Smith story was a fictional account involving real people but I have an advertising spoon featuring a wholly made-up character. Philo D Beckwith opened his department store in 1871, selling cookers and heating equipment. A Round Oak stove is depicted in the bowl (Fig. 4b), inscribed Estate of P.D Beckwith, Dowagiac, Mich., which was the name of the firm after its founder died in The item s reverse advertises Round Oak Stoves, Ranges & Furnaces. The handle has the full-length figure of a Native American male (Fig. 4a), labelled Doe-Wah-Jack, who was invented as the company mascot, his name a phonetic representation of the shop s Michigan location. This aid to pronunciation was intended to help potential customers when the new-fangled telephone operator system began to grow. The company folded in The spoon is stamped for S.D. Childs & Co., a firm of stationers, printers and engravers established in Cowboy themes were also very popular and two miniature stories, On the Range and Coming to Town, are told on a souvenir spoon for New Mexico. Another Watson & Newell Co. spoon with minute detailing: a cowboy on horseback gallops toward you, sixshooter in hand (Fig. 5a), while three riders are shown on the reverse (Fig. 5b). The detail is striking, from the cowboys chaps and neckerchiefs to the smoking chimney and picket fence of the hotel. The bowl is inscribed Pueblo of Laguna, New Mexico, land occupied by ancestral Indians since before A.D and now home to the Lagunas. Fig. 6a Fig. 6b Fig, 6c Fig. 6d Civic and personal pride figures in a spoon for Dallas, Texas. A handsome Longhorn steer head, Pride of Texas, features in the bowl (Fig. 6a), the Confederate Monument (1896) reaches up the handle, the words Dallas, a cotton bale King of the South (Fig. 6b) and the State-seal at the top. The reverse pictures the Dallas Public Library (Fig. 6c) and the Linz Building (Fig. 6d) and the spoon is marked Jos. Linz & Bros. The brothers Joseph, Simon, Ben & Albert, opened their fine jewellery store in 1899, which appears to have been in business, though not at the same Dallas location, until a few years ago. Interestingly, in 1904 Joseph Linz commissioned from Germany a pewter beaker with similar decoration to that on my spoon so perhaps the spoon was his own unique design. Fig. 7a Fig. 7b Fig. 7c.12.

13 A straightforward commemorative for the City of Brooklyn is next. Marked for Gorham and the retailer C.C. Adams & Co. (Caleb Cushing Adams founded his retail jewellery business in Brooklyn, N.Y. in ). The handle depicts an image of the famous Bridge (Fig. 7a) and its opening date, The bowl is engraved with The Brooklyn Church 1776 (Fig. 7b), the first church erected in the City of Churches 6. The reverse of the spoon goes further back in history; Fulton Ferry 1746 (Fig. 7c) and Breuckelen 1667, the original name of the Dutch colony. The ferryboat landing was obviously of huge importance before the bridge opened in 1883, when Brooklyn was an independent municipality and American s third largest city. It did not become a New York City borough until I purchased this spoon through The Finial auction in January 2016 (Lot 185) and to my surprise found it included in a list of American souvenir spoons published by Jewelers Weekly in October Fig. 8a Fig. 8b My final example is a hand-painted enamelled demitasse spoon (Fig. 8a). The bowl has a filigree pattern framing an enamel portrayal of the Brooklyn Bridge (Fig. 8b) and the handle similarly frames a carefully hand-lettered Brooklyn N.Y. These colourful souvenirs were desirable items. Photographs of pages from old catalogues list sterling souvenir spoon prices averaging between $1.50 to $3.00 each 9 while the Watson & Newell Co. catalogue c illustrates just 24 painted spoons priced from $2.00 to $ My spoon is marked Sterling but I have not been able to ascertain the maker. I leave the last word to the Jewelers Circular, 1891, who asked Why should a spoon be chosen in preference to all other articles?... The very love of the spoon, which is innate in all hearts, may account for the selection. The desire for its possession is the unconscious production of a healthy mind. Notes 1. Bednersh, Wayne. Collectible Souvenir Spoons Identification & Values. Collector Books, 1998, p Bednersh, p Rainwater, Dorothy T. & Felger, Donna H. American Spoons Souvenir and Historical. Felger-Schiffer Publishing Ltd., 1990, p Bednersh, p Rainwater, Dorothy T. Encyclopaedia of American Silver Manufacturers. Schiffer Publishing Ltd. 1986, p Rainwater & Felger, p Jackson, Kenneth T., editor. The Encyclopaedia of New York City. Yale University Press, 1995, p Rainwater & Felger, p Rainwater & Felger, pp Bednersh, pp. 314, Bednersh, p o-o-o-o-o-o-.13.

14 Feedback David Orfeur writes: It was the most extraordinary coincidence when, within days of my acquiring a pair of early poultry skewers by a maker that I had not encountered before in any form, Jean Jacob, David McKinley's informative article concerning that very Huguenot silversmith should appear in the Finial! (Nov/Dec 2016, pages 6 & 7). The heavy and tapering skewers, as shewn, which are 20cm long, bear Jacob s mark as well as the London date letter for 1749/50. The blades are of square section terminating in a three-dimensional cast form of a fleur-de lys, the crest of Newdigate of Harefield Co. Middx, and Arbury Co. Warwick. The original owner was Sir Roger Newdigate MP, the 5 th Baron, who died in November They were eventually to be sold by his descendant, Humphrey Fitzroy-Newdigate at Christies, London, in June I find David s theory concerning the possibility of two silversmiths working in London around the middle of the eighteenth century, bearing the name of Jean Jacob, most interesting and convincing and accept that the skewers were made by Jean Jacob I who entered his marks in 1734 and 1739, and who, in 1749, the date of the skewers, had premises in Hemings Row, St Martin s Lane. He died in The date of 1749 is probably just prior to the making free of Jean Jacob II in c1750. Helen Clifford, lists Jean Jacob in her book, Silver in London, as a supplier to Parker and Wakelin. We are aware that Sir Roger Newdigate was a customer of this eminent firm so it is interesting to contemplate as to whether Sir Roger ordered the skewers from their predecessors, the Royal Goldsmiths, George Wickes, who were working at the time that the skewers were made. There were other fascinating connections in that, as David states, Jean Jacob married Augustine Courtauld s daughter Anne in 1738, his second marriage. It would also appear that his and Anne s daughter Judith married George Cowles who, at one time held a partnership with Louisa Courtauld, so strengthening a close relationship between Jacob and the Courtauld business, if only familial. A record has not been discovered as to whom Jacob was originally apprenticed, but there is the possibility that it was Augustine Courtauld. It would certainly appear, as David surmises, that the Jacob family around this period in the eighteenth century, was complex and intertwined, with Jean Jacob II emanating from a different branch than did Jean Jacob I. Furthermore, the earliest mention of a shagreen case maker in the Apprentices Tax Record, is a Charles Hill, son of Catherine of St Martins in the Fields, he having been apprenticed to a Jean Jacob of St. Bride s, London, who is described as Chagreen Case Maker of Rolls Buildings, St. Dunstan s in the West. He died in

15 Michael Clayton, in his admirable Collectors Dictionary of the Silver and Gold of Great Britain, states that Few hallmarked skewers appear to have survived prior to 1745 and the earlier examples are tapering and rectangular in section, generally of considerable weight with a finial designed for ease of purchase when withdrawing from a joint. By 1790, the sharp edged skewer becomes most common. The smallest size skewers were only very rarely fully marked. I have endeavoured to find mention of other pieces made by Jean Jacob I, and find that Cripps, in his Old English Plate, records a large mace in Stratford-Upon-Avon dated 1757 (noted as entered in 1739), and Jackson includes mention of a waiter and tea caddies dated A final coincidence is that I have discovered that the Huguenot Museum in Rochester Kent, recently acquired portraits of Jean Jacob I and his wife Anne. It would be of great interest if other pieces made by either of the Jean Jacobs come to light. I would thank Wynyard Wilkinson for his support in my preparation of this article. -o-o-o-o-o-o- Ian Pickford s: I thought that the following comments may be of interest, reference the feedback by Tony Lewis (The Finial, Nov/Dec 16, page 12). 1. The spoon may not have been marked in London. It is important to remember that the Leopard s Head introduced in 1200 was to be used throughout the realm. 2. Leopard s Heads within a beaded circle probably date from 1363 onward. Those without the beading probably date between 1200 & The mid 15 th century Leopard s head marks with letters of the alphabet are of interest. The idea that these were date letters has been convincingly ruled out, as, has the suggestion that they indicated provincial Assay Offices (B for Bristol, N for Norwich etc.) The most probable explanation is that they were punch cutters identification symbols. We know from the records of this period that if a suspect mark were found the punch cutter would be called in to confirm its authenticity. I hope that the above may be of some help. -o-o-o-o-o-o- Anne Graham notes: I have often wondered after whom the Napier pattern was named and one answer was given to me recently in that font of all knowledge The Big Issue as General Sir Charles Napier ( ), Commander in Chief of the British Army in India. The plinth of his statue in Trafalgar Square bears the words Erected by public subscription the most numerous contributions being private soldiers. But there is also another Sir Charles Napier ( ) a distinguished British Admiral. In view of all the rope-work in the pattern, I think the Admiral - but what do others think? -o-o-o-o-o-o-.15.

16 David Whitbread sends feedback: Congratulations to Granville Gregg on his measurements of spoon volumes (The Finial, Jul/Aug 16, pages 8 to 11 & Nov/Dec 16, pages 8 to 11). When I tried something like this years ago, not quite the same exercise as Granville s, I was trying to compare bowl capacities across a group of small Roman spoons. I spilled a lot of water and got nowhere near a credible result. I will now know better should I ever want to tackle something like that again. I thought his results were interesting. I wonder how closely the bowl capacity relates to the length of the spoon. If, as I suspect, there is a close correlation, some of the variations for teaspoons and tablespoons might be resolved by recognising that both groups should be sub-divided into large and small, at least from the mid-victorian period onwards. In support of this suggestion, the following table is extracted from the manuscript workbook of a traditional spoonmaker. It shows the standard finished weights for sets of 12 spoons in fiddle, plain and rib and rattail patterns from one workshop in the early 20 th century by which time it was well established practice to offer two sizes for these spoons. I am grateful to Alan Kelsey for a photocopy of the original. Troy ozs per dozen Troy ozs per dozen Tablespoons, Large 30 Teaspoons, Large 10 Tablespoons, Small 28 Teaspoons, Small 9 Round bowled Soup sps 28 Egg Spoons 9 Dessertspoons 20 Coffee Spoons 8 The list also included Gravy Spoons at 4 oz each rather than per dozen as well as various forks, ladles etc, but I have extracted only what seems relevant to Granville s exercise. Of course, there was variation in the size of 17 th and 18 th century spoons too but I am not aware of any evidence that it was codified in the same way. There may be room for debate about where to draw the line between large and small, but Granville s figures on volumes could help clarify that. If I may also address the comments on my small round-bowled soup spoons, a spoon of a given size can have many uses, whatever name we choose to give it. Only the other day I saw some new stainless steel spoons labelled as dessert, soup and cereal spoons. In my childhood my family didn t have any round-bowled spoons. We used our dessert spoons for all three purposes and our tablespoons simply as serving spoons. I am, therefore, not surprised that what was sold to me as a soup spoon was sold to David McKinley as a cereal spoon. Was David offered larger spoons for soup at the same time or was he left to choose between a dessert spoon and a cereal spoon for his soup, I wonder? However, I think of round bowled fruit spoons as smaller than dessert spoons, see Lot 86 in the January postal auction for examples, but I suppose the term could also have been used for the dessert size spoons. In any event, my contention is that post WW2, whatever its other uses, the dessert size of soup spoon became more normal, appearing as the new standard size in mass produced silver-plated services as well as being chosen more often for silver services. Of course, if you are buying hand forged flatware, you can choose your size, my silver soup spoons are closer to tablespoon size, for example. But if you are buying new plated or silver flatware off the peg, I see plenty of evidence to suggest that for the past 60 years or so your soup spoons will normally have been of dessert size. -o-o-o-o-o-o- Contributions A little reminder that The Finial is your forum. If you are thinking of writing an article, can answer a query, need help identifying a hallmark or have a question or comment, please send it in. -o-o-o-o-o-o-.16.

17 Results for the Club Postal Auction 5 th January 2017 Please note that the results price does not include the 12.5% buyer s premium. Lot Reserve Bids received Result ; 38; ; 10; 11; 12; ; 50; ; ; 46; ; 23; 23; ; ; 17; ; ; ; ; 18; ; 26; 27; ; 46; ; 38; ; 35; ; 18; ; 40; 41; ; 40; 41; 42; 60; ; ; 40; 46; 56; ; ; ; 41; ; 26; ; 77; ; ; Lot Reserve Bids received Result ; 145; ; 25; ; 48; ; ; ; 50; 56; ; 50; 56; ; 50; ; ; 50; 56; ; 80; 100; 112; ; 222; ; ; ; 70; ; ; 125; ; ; ; ; ; ; ; 149; 171; ; 31; 41; ; ; 55; 65; Continued overleaf

18 Results for the Club Postal Auction (Continued) Lot Reserve Bids received Result ; ; ; 25; 31; 40; ; 53; ; 80; 110; 123; 126; 130; 140; 151; 167; 173; ; 85; 158; ; ; ; 500; ; 82; 96; 100; 110; 133; ; 100; 110; 133; 150; 180; ; 26; ; ; ; ; ; 40; ; ; ; 380; ; 56; 58; o-o-o-o-o-o- First Tuesdays Lot Reserve Bids received Result ; 25; ; ; 40; ; ; ; 56; ; ; 75; ; 110; ; 17; ; 80; ; 65; ; 65; ; ; ; 47; ; 53; 60; 65; ; ; 486; ; 425; ; ; ; ; ; ; 75; 90; ; 600; On the first Tuesday of every month, members are welcome to join us for tea & coffee at 5 Cecil Court from 3.00pm to 6.00pm. Come and meet other members and discuss the latest topics in The Finial and any news you may have. Some bring along recent acquisitions to show and tell as well as ask for opinions..18.

19 The Silver Spoon Club OF GREAT BRITAIN 5 Cecil Court, Covent Garden, London WC2N 4EZ Tel: silverspoonclub@bexfield.co.uk V.A.T. No POSTAL AUCTION (For members and subscribers only) To take place on Thursday 23 rd February 2017 Your written, ed or telephoned bids are invited for the following Lots bids to be with us by no later than 12.00pm, on the day of sale. Please note that purchase prices are subject to a 12.5% buyer s premium, plus VAT on the premium and 8.50 for U.K. postage & packing per consignment, see page 43 for details. Lot 1 Lot 2 Lot 3 Lot 4 Lot 5 Please note: due to the weight of some books the postage, packing & insurance has been individually priced as opposed to the normal single cost of 7.50 per parcel, or, as always, they can be collected from the shop. (Postage shown is for Royal Mail Special Delivery within the UK; for overseas we can arrange separately). 1. Book: Christian IV s Royal Plate by Mogens Bencard. Hardback, DJ, 1988, pp 140. ~ (Post 7.50). Est Book: Silver in Tudor and Early Stuart England by Philippa Glanville. Hardback, DJ & outer box, 1990, pp 528. ~ had a look on Google, the cheapest copy of this book was priced at (Post 18.50) Book: English Silver in the Museum of Fine Arts, Boston, Volume II, Silver From 1697 including Irish and Scottish Silver by Ellenor M. Alcorn. Hardback, DJ, 2000, pp 384. ~ (Post 12.50). Est Books: Nineteenth Century Australian Silver, Volumes One & Two by J.B. Hawkins. Hardback, DJ, 1990, pp 342 & 373. ~ (Post 25.00). Est Book: Treasures of Silver At Corpus Christi College, Cambridge by Oliver Rackham. Hardback, DJ, 2002, pp 303. ~ (Post 10.00). Est Lot 6 Lot 7 Lot 8 Lot 9 Lot 10 Lot Book: Hallmark, A History of the London Assay Office by J.S. Forbes. Hardback, DJ, 1998, pp 367. ~ (Post 8.50). Est Book: The History Of Silver by Claude Blair. Hardback, DJ, 1987, pp 256. ~ (Post 10.00). Est Book: The Price Guide to Antique Silver by Peter Waldron. Hardback, DJ, 1982, pp 365. ~ (Post 13) Book: Antique Sheffield Plate by G. Bernard Hughes. Hardback, DJ, 1970, pp 303. ~ (Post 10.00) Book: Old English Plate by W.J. Cripps, Hardback, 1914, pp 538. ~ (Post 8.50). Est Book: Silver Marks Of The Word by Jan Divis. Hardback, DJ, 1976, pp 246. ~ (Post 7). Est

20 12. Victorian silver Christening spoon, cased, Sheffield 1899 by Henry Wigfull. L-15.4cm; W-32g. ~ nice case, good marks and condition. Est George III silver Shell & Scroll-back Onslow pattern teaspoon, circa 1755 by James Wilks. L-11.6cm; W- 12g. ~ old repair to stem, otherwise good shell & scroll, maker s mark and condition. Est Silver sprung claw-grip sugar tongs, Chester 1911 by W.J. Myatt & Co. L-9.6cm; W-14g. ~ good spring, marks and condition. Est Victorian silver Samurai teaspoon with lotus flowers bowl, by Liberty & Co, import marks for London L-13.3cm; W-21g. ~ well made, good detail, marks and condition Edwardian silver art-nouveau teaspoon, Sheffield 1902 by John & William Deakin. L-11.2cm; W-11g. ~ good marks and condition. Est Cast silver tea caddy spoon with boy with bow & arrow protecting younger sister scene, by Berthold Muller, London import marks for L-10.5cm; W-24g. ~ good marks and condition. Est Silver Crossed Rifles teaspoon, engraved R.N.R.R.C., won by, J.E. Hayes, Birmingham 1912 by James Fenton. L-11.5cm; W-12g. ~ good marks and condition. Est American silver Wave Edge pattern dessert spoon, circa 1890 by Tiffany & Co. L-18cm; W-47g. ~ reasonable marks and condition. Est Scottish Provincial silver Kings pattern teaspoons, circa 1820 by RS. L-14.2cm; W-35g. ~ good marks and condition

21 21. George III silver Bright-cut pattern sugar tongs, London c.1790 by George Wintle. L-13.9cm; W-26g. ~ good decoration, marks and condition. Est York silver Fiddle pattern sugar tongs, circa 1820 by James Barber & William Whitwell. L-15.7cm; W- reasonable marks and condition. Est Cork silver Bright-cut Celtic-point pattern dessert spoon, circa 1780 by reasonable condition, good marks. Est Newcastle, George I Ribbed Hanoverian Rattail pattern tablespoon, 1725, by Francis Batty II. L-19.8cm; W- 54g. ~ wear to marks and bowl, otherwise good condition. Est George II silver Hanoverian pattern tablespoon, London 1733 by William Reeve. L-20cm; W-71g. ~ date letter slightly worn, otherwise good bowl, marks and condition. Est George II silver Ribbed Hanoverian pattern tablespoon, London 1734 by John Gorham. L-21.2cm; W-77g. ~ slight wear to marks, otherwise good bowl and condition. Est George IV silver condiment ladle, Birmingham 1822 by Joseph Taylor. L-13.5cm; W-8g. ~ bowl a bit out of shape and well used, otherwise good marks and condition. Est Perth silver Kings pattern dessert fork, by Robert Keay, with Edinburgh marks for L-16.7cm; W-42g. ~ good tines, marks and condition. Est Dumfries silver Kings pattern table fork, by Joseph Hinchsliffe, with Glasgow marks for L-20cm; W- 75g. ~ reasonable marks, good condition. Est

22 30. Perth silver Kings pattern table fork, by Robert Keay, with Edinburgh marks for L-20.5cm; W-72g. ~ good marks and condition. Est Perth silver Kings pattern dessert spoon, by Robert Keay with Edinburgh marks for L-16.9cm; W-39g. ~ good bowl, marks and condition. Est George III silver Bright-cut pocket fruit fork, Birmingham L-15.5cm (open); W-9g. ~ old repair to fork, otherwise good decoration and condition. Est Victorian silver Leaf mustard spoon, Birmingham 1838 by Joseph Willmore. L-9.8cm; W-13g. ~ good gauge, marks and condition. Est Victorian silver Whiplash mustard spoon, Birmingham 1849 by David Pettifer. L-11.5cm; W-14g. ~ good gauge, marks and condition. Est Scottish silver Scottish Fiddle pattern teaspoon, Edinburgh c.1780 by Peter Mathie. L-12.3cm; W-13g. ~ good bowl, marks and condition. Est Irish silver Fiddle Rattail pattern tablespoon, Dublin 1833 by Peter Walsh, retailed by Grays. L-22.5cm; W- 79g. ~ reasonable marks, good bowl and condition. Est Exeter silver Fiddle pattern tablespoon, 1820, by Joseph Hicks. L-22.5cm; W-65g. ~ good bowl, marks and condition. Est Exeter, pair of silver Old English pattern tablespoon, 1801, by Joseph Hicks. L-21.4cm; W-120g. ~ reasonable marks, good bowls and condition. Est

23 39. Plymouth silver Fiddle pattern teaspoon, by William Henry Lamport. L-14.3cm; W-25g. ~ soft knocks to bowl, otherwise good marks and condition. Est Exeter, set of 6 silver Fiddle pattern teaspoons, 1825, by Isaac Parkin. L-14.3cm; W-143g. ~ good gauge, marks and condition. Est Greenock silver Celtic-point pattern teaspoon, circa 1790 by Alexander Campbell. L-14.2cm; W-14g. ~ good bowl, marks and condition. Est Perth silver Fiddle pattern dessert spoon, circa 1820 by Charles Murray. L-17.6cm; W-28g. ~ small dent to bowl, otherwise good bowl, marks and condition. Est Georgian silver British Heart & Oak-leaves picture-back Hanoverian pattern teaspoon, circa 1760 by W.L. L-12.5cm; W-11g. ~ picture-back faint, otherwise good bowl, marks and condition. Est Silver parcel-gilt T.B.G.C crossed golf clubs teaspoon, Birmingham 1923 by Vaughton & Sons. L-13cm; W- 20g. ~ excellent marks and condition. Est Pair of Golf Club coffee spoons, Sheffield 1932 by Mappin & Webb. L-8.8cm; W-11g. ~ good marks and condition. Est Silver & enamel Wounded Serviceman teaspoon, Birmingham 1915 by Liberty & Co. L-11.7cm; W-10g. ~ good marks and condition. Est Silver Wishbone sugar tongs, Birmingham 1949 by James Swan & Sons. L-7.8cm; W-8g. ~ good tight spring, marks and condition. Est

24 48. George III silver Old English pattern salt shovel, London 1793 by Peter & Ann Bateman. L-9.6cm; W-7g. ~ makers mark slightly worn, otherwise good bowl, marks and condition. Est George III silver Basket of Flowers-back Hanoverian pattern coffee spoon, circa 1760 by?.w. L-9.9cm; W-5g. ~ unusually small spoon for a picture-back, good bowl, picture and condition. Est Scottish Provincial silver Fiddle pattern teaspoon, circa 1820 by R.N. L-14cm; W-18g. ~ excellent bowl, marks and condition. Est Aberdeen silver Fiddle pattern teaspoon, circa 1830 by George Booth. L-13.5cm; W-14g. ~ bowl re-shaped, otherwise good marks and condition. Est Victorian silver Scott Monument, Edinburgh teaspoon, Birmingham 1899 by James Fenton. L-12.1cm; W- 9g. ~ good marks and condition. Est Silver & yellow enamel Diver crossed golf clubs teaspoon, Birmingham 1936 by J.R. Gaunt & Son. L- 12.7cm; W-13g. ~ good marks and condition. Est George IV silver single-struck Kings-shape variant Thread & Shell pattern teaspoon, London 1824 by George Piercy. L-14cm; W-24g. ~ good bowl, marks and condition. Est George III silver Bright-cut pattern salt spoon, London 1788 by Hester Bateman. L-9.8cm; W-8g. ~ good bowl, marks and condition. Est Irish, pair of Fiddle pattern salt spoons, Dublin 1837 by Peter Walsh, retailed by Grays. L-10cm; W-23g. ~ good bowls, marks and condition. Est

25 57. Victorian silver Albert pattern sauce ladle, London 1843 by William Eley. L-18.2cm; W-100g. ~ good gauge, bowl, marks and condition. Est Victorian silver Wellington Variant pattern tablespoon, London 1894 by Alfred & Arthur Henry Benson (directors of Hunt & Roskell Ltd). L-21.9cm; W-100g ~ good gauge, bowl, marks and condition. Est Victorian silver Wellington Variant pattern table fork, London 1894 by Alfred & Arthur Henry Benson (directors of Hunt & Roskell Ltd). L-21.4cm; W-103g. ~ good gauge, tines, marks and condition. Est Silver Wellington Variant pattern dessert fork, London 1910 by Hunt & Roskell Ltd. L-18cm; W-64g. ~ good gauge, tines, marks and condition. Est Victorian silver Unknown pattern fruit/dessert knife, London 1849 by Francis Higgins. L-21.3cm; W-44g. ~ good marks and condition. Est Victorian silver Neptune pattern table fork, London 1897 by William Gibson & John Langman. L-19.8cm; W- 69g. ~ good detail, tines, marks and condition. Est Scottish, pair of Bastard Kings pattern table forks, Edinburgh 1813 by Robert Gray & Son. L-21cm; W- 165g. ~ good gauge, marks and condition. Est Scottish silver Hanoverian pattern tablespoon, Edinburgh 1741 by Edward Lothian. L-20.8cm; W-71g. ~ bowl worn, otherwise reasonable marks, good condition. Est Scottish silver Fiddle pattern dessert spoon, Glasgow 1819 by Robert Gray & Son. L-17.8cm; W-38g. ~ small dent to bowl, otherwise good marks and condition. Est

26 66. Birmingham, George III silver Fiddle pattern dessert spoon, 1818, by Edward Thomason. L-18cm; W-48g. ~ good bowl, marks and condition. Est Newcastle silver Fiddle & Shell pattern teaspoon, 1824 by John Walton. L-14.2cm; W-19g. ~ maker s mark worn, otherwise reasonable marks and condition. Est Scottish silver Queens pattern dessert spoon, Glasgow 1830 by Peter Aitken. L-17.8cm; W-37g. ~ good bowl, marks and condition. Est Exeter silver Fiddle pattern salt spoon, 1839, by John Osment. L-9.8cm; W-7g. ~ good bowl, marks and condition. Est Newcastle silver Old English pattern teaspoon, circa 1800 by John Langlands. L-12.8cm; W-11g. ~ reasonable marks and condition. Est Queen Anne Britannia silver Dognose Rattail pattern tablespoon, engraved EW over 1710 London 1710 by Thomas Burridge. L-20.2cm; W-52g. ~ wear to bowl & marks but readable, otherwise good cond George II silver Hanoverian pattern tablespoon, London 1745 by Jeremiah King. L-20.3cm; W-71g. ~ wear to marks but readable, otherwise good bowl and condition. Est George III silver Old English with Shoulders pattern tablespoon, London 1762 by Thomas & William Chawner. L-21.8cm; W-67g. ~ good bowl, marks and condition. Est

27 74. Scottish silver Hanoverian silver tablespoon, Edinburgh 1772 by William Davie. L-21.1cm; W-61g. ~ good bowl, marks and condition. Est Aberdeen silver Old English pattern tablespoon, circa 1800 by Nathaniel Gillet. L-12.3cm; W-70g. ~ excellent bowl, good marks and condition. Est Pair of George III silver Fiddle pattern table forks, London 1817 by Solomon Hougham, Solomon Royes & John East Dix. L-20.1cm; W-150g. ~ good marks and condition. Est George III silver Fiddle pattern table fork, London 1814 by Paul Storr. L-20.4cm; W-73g. ~ wear to tines, otherwise good marks and condition. Est William IV silver Fiddle pattern basting spoon, engraved Lesley Stephenson, London 1835 by Charles Boyton. L-31cm; W-122g. ~ good bowl, marks and condition. Est George IV silver Fiddle pattern dessert spoon, London 1825 by William Schofield. L-17.2cm; W-41g. ~ good bowl, marks and condition. Est Chinese Export silver Fiddle pattern dessert spoon, circa L-17.8cm; W-40g. ~ known pseudo hallmarks; good marks and condition. Est George III silver Bright-cut pattern teaspoon, London 1789 by Hester Bateman. L-12.1cm; W-11g. ~ marks worn, otherwise reasonable condition. Est Set of 6 silver coffee spoon, Sheffield 1936 by Henry Hobson & Sons. L-10.1cm; W-54g. ~ good bowls, marks and condition. Est

28 83. Silver & red enamel Town Crest coffee spoon, Birmingham 1935 by Barker Brothers Silver Ltd. L-9.5cm; W-11g. ~ good marks and condition. Est Silver & enamel Town Crest coffee spoon, Birmingham 1935 by Barker Brothers Silver Ltd. L-9.6cm; W- 10g. ~ good marks and condition. Est silver Menorah teaspoon with leaf bowl, circa L-11.5cm; W-16g. ~ good mark & cond George IV silver Fiddle, Thread & Shell pattern dessert spoon, London 1827 by John, Henry & Charles Lias. L-17.7cm; W-68g. ~ good marks and condition. Est Victorian silver Rococo pattern dessert spoon, London 1839 by Mary Chawner. L-016.7cm; W-52g. ~ good marks and condition. Est William IV silver Scroll Rosette pattern dessert spoon, London 1832 by William Eaton. L-17.7cm; W-54g. ~ good marks and condition. Est George I silver Hanoverian Rattail pattern tablespoon, London 1723 by Hugh Arnett & Edward Pocock. L- 20.2cm; W-68g. ~ wear to marks, otherwise good condition. Est Set of 4 George I silver Hanoverian Rattail pattern tablespoons, London 1726 by James Wilks. L-19.5cm; W- 289g. ~ good bowls, marks and condition. Est George I silver Hanoverian Rattail pattern tablespoons, London 1726 by James Wilks. L- 1x19.5cm, 3x 20.4cm; W-272g. ~ reasonable marks, good bowls and condition. Est

29 92. George III silver Scroll-back Hanoverian pattern tablespoon, London 1768 by W.T. L-21.1cm; W-56g. ~ good scroll, bowl, marks and condition. Est George I silver Hanoverian Rattail pattern tablespoon, London 1725 by William Toone. L-20.2cm; W-67g. ~ good marks and condition. Est George I silver Hanoverian Rattail pattern tablespoon, London 1725 by James Wilks. L-20cm; W-69g. ~ back of bowl pitted, otherwise good marks and condition. Est Newcastle silver Fiddle pattern sugar tongs, 1839, by John Walton. L-15.1cm; W-50g. ~ good marks and condition. Est Bristol silver Bright-cut Fiddle pattern sugar tongs, by James & Josiah Williams, with Exeter marks for L-14.7cm; W-46g. ~ good marks and condition. Est George III silver Bright-cut pattern sugar tongs, London c.1790 by George Burrows. L-14.5cm; W-31g. ~ good marks, reasonable condition. Est George III silver Old English pattern teaspoon, London c.1805 by Alice & George Burrows. L-14cm; W-13g. ~ makers mark only; good bowl, mark and condition. Est American silver City of Chicago, Incorporated 4 th March 1837 teaspoon, Massachusetts c.1937, by Watson Company. L-15.3cm; W-18g. ~ good marks and condition. Est Silver Crossed Rifles teaspoon, Birmingham 1931 by William James Dingley. L-12cm; W-18g. ~ good marks and condition. Est

30 101. Edwardian silver & enamel Teignmouth teaspoon, Sheffield 1906 by Thomas Bradbury & Sons. L-11.5cm; W-14g. ~ good marks and condition. Est Silver & enamel Alnwick teaspoon, Birmingham 1937 by William J. Holmes. L-11.8cm; W-14g. ~ good marks and condition. Est Edwardian silver Gt. Yarmouth teaspoon, Chester 1904 by Stokes & Ireland Ltd. L-10.8cm; W-11g. ~ good marks and condition. Est Set of 6 British Hall Marks coffee spoons, cased, London, Birmingham, Sheffield, Chester, Edinburgh & Glasgow 1953 by Mappin & Webb. L-10.3cm; W-69g. ~ good marks and condition. Est Georgian silver mote spoon, London c.1780 by John Lambe. L-13.1cm; W-9g. ~ reasonable marks, good condition. Est Scottish silver Hanoverian pattern tablespoon, Glasgow c.1745 by James Glen. L-21cm; W-72g. ~ good gauge, bowl, marks and condition. Est Irish silver Hanoverian pattern tablespoon, Dublin 1752 by Jonathan Pasley. L-20.6cm; W-74g. ~ marks worn but readable, otherwise good condition. Est George I Britannia silver Hanoverian Rattail pattern tablespoon, London 1719 by Lewis Mettayer. L- 19.7cm; W-61g. ~ marks very worn but good maker s mark, reasonable condition. Est Late 17 th century silver Ribbed Rattail Engraved Trefid tea/sweetmeat spoon, circa 1690 by I.H?. L- 11.1cm; W-7g. ~ reasonable maker s mark, good bowl and condition. Est

31 110. Exeter silver Ribbed Rattail Trefid spoon, prick-dot E.P over N.B over 1719, circa 1719, by Thomas Salter. L-19.9cm; W-44g. ~ see page 130, West Country Silver Spoons by T. Kent; bowl slightly reshaped, otherwise excellent marks and good condition Exeter silver Ribbed Rattail Trefid spoon, engraved I over HD, circa 1690 by John Elston. L-19.8cm; W- 60g. ~ see page 87, West Country Silver Spoons by T. Kent; bowl slightly reshaped otherwise good excellent mark and good condition. Est Cork silver Ribbed Hanoverian Rattail pattern tablespoon, circa 1715 by Robert Goble. L-20g. L-57g. ~ bowl slightly reshaped, otherwise excellent maker s mark, good condition. Est Cork silver Bright-cut Celtic-point pattern tablespoon, circa 1800 by John & Nicholas Nicholson. L-23.3cm; W-61g. ~ good marks and condition. Est Late 17 th century silver Engraved Trefid sweetmeat fork, circa 1665 by D.S. L-10.7cm; W-6g. ~ see page 515 of Jackson s for maker s mark; good tines, mark and condition. Est Elgin silver Scottish Fiddle pattern teaspoon, circa 1820 by MP. L-12.8cm; W-9g. ~ reasonable marks and condition. Est

32 116. George II silver Shell-back Hanoverian pattern tablespoon, London 1749 by Richard Hussey. L-20.6cm; W- 66g. ~ minor wear to bowl tip, otherwise good shell, marks and condition. Est Chester, George III silver Old English pattern tablespoon, 1784 (incuse duty), by Richard Richardson. L- 22.1cm; W-64g. ~ good bowl, marks and condition. Est Victorian cast silver Fairies? fruit serving spoon, London 1889 by Robert Stebbings. L-19.4cm; W-63g. ~ good marks and condition. Est Pair of Victorian silver Whiplash pattern salt spoons, London 1879 by Henry John Lias & James Wakely. L-8.6cm; W-12g. ~ good bowls, marks and condition. Est George III silver & mother of pearl folding fruit fork, Sheffield c.1797 (double duty marks). L-14cm (open); W-18g. ~ no maker s mark, good marks and condition. Est Silver George V spoon, Birmingham 1910 by James Fenton. L-15.6cm; W-26g ~ good marks & cond Silver & enamel Shakespeare & Ann Hathaway s Cottage teaspoon, Birmingham 1919 by Robert Chandler. L-12.2cm; W-14g. ~ good enamelling, marks and condition. Est Edwardian silver & enamel Manchester teaspoon, Birmingham 1904 by Liberty & Co, Cymric. L-11.2cm; W-14g. ~ good bowl, marks and condition. Est Pair of Irish silver Old English pattern dessert spoons, Dublin 1798 by Thomas Townsend. L-16.5cm; W-55g. ~ good marks and condition. Est

33 125. George I silver Ribbed Hanoverian Rattail pattern small tablespoon, London 1720 by Benjamin Watts. L- 187g; W-36g. ~ thinly made, marks very squashed otherwise good condition. Est William IV silver Dolphin pattern dessert spoon, London 1834 by Mary Chawner. L-17.7cm; W-62g. ~ very slight wear to bowl tip, otherwise good detail, marks and condition. Est Victorian silver Bacchanalian tea caddy/sugar spoon with shell bowl, London 1873 by Henry & Henry Lias. L-13cm; W-32g. ~ old repair to stem/bowl, makers mark worn otherwise good gauge & condition. Est Aberdeen silver Fiddle pattern table fork, by Rettie & Son, with Edinburgh marks for L-20.7cm; W- 76g. ~ good weight, marks and condition. Est Irish silver Fiddle pattern table fork, Dublin 1833 by James Brady. L-20.8cm; W-76g. ~ reasonable marks, good weight, tines and condition. Est Scottish silver Bright-cut Celtic-point pattern masking spoon, Edinburgh c.1709 by Alexander Zeigler. L- 17.5cm; W-19g. ~ small bruise to bowl, otherwise good marks and condition. Est Newcastle silver Fiddle pattern tea caddy spoon, 1859, by David Reid. L-8cm; W-9g. ~ good marks and condition. Est Victorian silver & agate God Speed Greenock teaspoon with agate Celtic Cross, Birmingham 1898 by James Fenton. L-11.6cm; W-10g. ~ good marks and condition. Est Set of 6 George III silver Old English pattern teaspoons, London 1793 by Samuel Godbehere & Edward Wigan. L-12cm; W-66g. ~ a few mall bruises to bowls, otherwise reasonable marks and condition. Est

34 134. George I silver Sucket fork with Ribbed Rattail, circa L-18.1cm; W-19g. ~ maker s mark worn, otherwise good colour, bowl, tines and excellent condition. Est Dundee, pair of Fiddle pattern toddy ladles, circa 1820 by Alexander Cameron. L-16cm; W-62g. ~ good bowls, marks and condition. Est Perth silver Fiddle pattern toddy ladle, by Robert Keay, with Edinburgh marks for L-16.2cm; W-44g. ~ good gauge, bowl, marks and condition. Est Scottish silver Fiddle pattern toddy ladle, Edinburgh 1835 by Elder & Co., retailed by James Howden & Co. L-15.5cm; W-33g. ~ good bowl, marks and condition. Est Georgian silver & baleen toddy ladle, bowl made from silver coin and embossed with pair of swans, a dog and hare in country scene, set with a small 1747 gold coin, circa L-32cm; W-44g. ~ possibly Irish; good detail and condition George III silver Scroll-back Hanoverian pattern tablespoon, London 1766 by Thomas & William Chawner. L-20.5cm; W-72g. ~ scroll very worn, bowl slightly reshaped, otherwise good marks and condition. Est George III silver Hanoverian pattern tablespoon, London L-20.5cm; W-68g. ~ maker s mark too worn to read, otherwise good marks and condition. Est

35 141. George II silver Ribbed Hanoverian pattern tablespoon, London 1729 by Jeremiah Lee. L-19.7cm; W-60g. ~ bowl slightly reshaped, wear to marks, otherwise good condition. Est Pair of Georgian silver Hanoverian pattern tablespoon, London c L-20.4cm; W-133g. ~later gilding to bowls, wear to marks, otherwise reasonable condition. Est Pair of Georgian silver Hanoverian pattern tablespoons, London c.1760 by Ebenezer Coker. L-20.6cm; W- 137g. ~ later gilding to bowls, marks very worn, otherwise reasonable condition. Est Set of 6 George II silver Hanoverian pattern tablespoons, London 1758 by James Tookey. L-20.4cm; W- 422g. ~ good gauge, marks and condition. Est George III silver Shell & Scroll-back Hanoverian pattern tablespoon, London 1768 by William Tant. L- 20.6cm; W-45g. ~ good condition, excellent shell & scroll and marks. Est George III silver Ewer of Flowers-back Hanoverian pattern tablespoon, London 1770 by Thomas & William Chawner. ~ very rare picture-back; wear to bowl, picture & marks, otherwise good condition. Est George II silver Urn of Flowers-back Hanoverian pattern tablespoon, London 1758 by Thomas Devonshire & William Watkins. L-20.1cm; W-60g. ~ slight wear to back, otherwise good bowl, marks & condition George III silver Fleur de Lys-back Hanoverian pattern tablespoon, London 1761 by Robert Burton. L- 20.7cm; W-57g. ~ probably to commemorate George Augustus Frederick (King George IV) becoming Prince of Wales in 1762; a rare picture-back; good picture, bowl, marks and condition. Est Set of 6 Georgian silver Clam-shell & Scroll-back Hanoverian pattern teaspoons, London c.1765 by Thomas Evans & George Smith. L-12.2cm; W-70g. ~ good picture-backs, bowls, marks & condition. Est

36 150. Set of 6 Georgian silver Shell & Scroll-back Hanoverian pattern teaspoons, London c.1765 by William Chatterton. L-12.6cm; W-71g. ~ good backs, bowl, marks and condition. Est Georgian silver sugar nips, circa 1740, not marked. L-11.4cm; W-24g. ~ old repairs, reasonable cond George I silver Hanoverian Rattail pattern small spoon, circa 1730 by RP. L-10.2cm; W-5g. ~ possibly slim teaspoon or condiment spoon or from an etui; reasonable mark and condition. Est Georgian silver small marrow spoon, circa 1760, not marked. L-11.5cm; W-8g. ~ probably from a campaign set; good condition. Est Silver cocktail or knickerbocker glory spoon, circa 1960s?, not marked. L-21.1cm; W-38g. ~ possibly Scandinavian; good bowl, marks and condition. Est Newcastle silver Old English pattern tablespoon, 1785 (incuse duty), by John Langlands & John Robertson. L- 20.8cm; W-63g. ~ good marks and condition. Est Exeter silver Bright-cut pattern teaspoon, circa 1797 by Richard Ferris. L-12.6cm; W-11g. ~ cut-away double duty mark, see The Finial, Vols. 13/04 & 13/05; good bowl, marks and condition. Est York silver Oar pattern teaspoon, 1817 by James Barber & William Whitwell. L-13.8cm; W-18g. ~ good bowl, marks and condition. Est York silver Old English pattern table fork, 1804 by Prince & Cattles. L-20.4cm; W-62g. ~ reasonable marks, good gauge & condition. Est

37 159. Aberdeen silver Fiddle pattern teaspoon, circa 1800 by Peter Gill & Son. L-14.5cn; W-15g. ~ some small dents to bowl, otherwise reasonable marks and condition. Est Paisley silver Fiddle pattern teaspoon, William Hannay with Edinburgh marks for L-14cm; W-12g. ~ a couple of small dents to bowl, otherwise good marks and condition. Est American silver Fiddle pattern teaspoon, Boston c.1840 by Josiah Gooding. L-15.2cm; W-14g. ~ wear to mark but readable, otherwise good bowl and condition. Est American silver Fiddle pattern teaspoon, Boston c.1809 by William S. Willis. L-14.7cm; W-12g. ~ wear to maker s mark, otherwise good condition American silver Oar pattern teaspoon, Poughkeepsie, NY circa 1820 by Hayes & Adriance. L-15.2cm; W-15g. ~ good bowl, marks and condition. Est American silver Scottish Fiddle pattern teaspoon, circa 1863 by M.A. Lewis & Co. L-15.6cm; W-14g. ~ makers mark faint but readable, otherwise good bowl and condition. Est American silver Fiddle pattern teaspoon, Poughkeepsie, NY circa 1830 by Peter P. Hayes. L-14.7cm; W-14g. ~ reasonable condition, good marks. Est Pair of North American silver Fiddle pattern teaspoons, circa 1820 by J.A.. L-15.5cm; W-37g. ~ good marks and condition. Est Chinese Export silver Oar pattern mustard spoon, Canton c.1820 by Cumshing. L-12.6cm; W-14g. ~ old scarf-joint repair, otherwise good bowl, marks and condition. Est

38 168. Russian silver Oar pattern teaspoon, Vilnius c L-15.4cm; W-32g. ~ good gauge, bowl, marks and condition. Est George III silver Fiddle pattern teaspoon, London 1810 by Solomon Hougham. L-14.2cm; W-22g. ~ small soft knocks to bowl, otherwise good marks and condition. Est George IV silver Fiddle pattern teaspoon, London 1821 by William Chawner. L-13.9cm; W-20g. ~ good marks and condition. Est Edwardian silver Fiddle pattern teaspoon, Birmingham 1903 by Elkington & Co. L-14.6cm; W-25g. ~ good bowl, marks and condition. Est Plymouth silver Fiddle pattern egg spoon, by William Pope with Exeter marks for L-12.1cm; W-13g. ~ good bowl, marks and condition. Est Bristol, pair of Victorian Fiddle pattern teaspoons by James & Josiah Williams, with Exeter marks for L-14cm; W-40g. ~ good bowls, marks and condition. Est Newcastle, George IV silver Oar pattern teaspoon, 1820, by Thomas Wheatley. L-13.1cm; W-12g. ~ reasonable marks and condition. Est Newcastle, William IV silver Fiddle pattern teaspoon, 1832 by John Walton. L-14.2cm; W-19g. ~ reasonable marks and condition. Est Scottish silver Fiddle pattern teaspoon, Edinburgh 1816 by Mitchell & Russell. L-14.6cm; W-19g. ~ little knock to bowl, otherwise good bowl, marks and condition. Est

39 177. Irish silver Fiddle pattern teaspoon, Dublin c.1800 by Michael Keating. L-13.2cm; W-16g. ~ minor wear to bowl tip, reasonable condition, good marks. Est Jersey silver Fiddle pattern teaspoon, circa 1825 by C.W. Quesnel. L-14cm; W-12g. ~ minor nibbling to bowl edge, otherwise good mark and condition. Est Malta silver Fiddle pattern teaspoon, circa 1841 by Emilio Critien. L-14.3cm; W-26g. ~ good bowl, marks and condition. Est Scottish silver Fiddle pattern teaspoon, Glasgow 1827 by Andrew Allison. L-14.2cm; W-16g. ~ good marks and condition. Est George IV silver Fiddle & Thread pattern egg spoon, London 1829 by William Traies. L-11.8cm; W-19g. ~ good gauge, marks and condition. Est American silver Fiddle pattern teaspoon, New York c.1830 by William S Morgan. L-15.7cm; W-18g. ~ little nick to fiddle edge, otherwise good bowl, marks and condition. Est Edwardian silver Albany pattern butter knife, London 1907 by Goldsmiths & Silversmiths Co. L-14.5cm; W- 21g. ~ good marks and condition. Est Victorian silver Grecian pattern butter knife, London 1859 by George Adams. L-20cm; W-66g. ~ good gauge, marks and condition. Est Pair of Victorian silver engraved Fiddle pattern butter knives, London 1854 by George Adams. L-19.5cm; W- 124g. ~ good marks and condition. Est

40 186. James I silver Seal Top spoon, initialled AC over AP, London 1614 by William Limpanny. L-15.8cm; W- 29g. ~ V joint, good colour, bowl, marks and condition, a nice spoon. Est Aberdeen silver Celtic-point pattern tablespoon, circa 1798 by James Erskine. L-22.8cm; W-65g. ~ engraved with the Caithness Legion crest, see The Finial Jul/Aug 16, pages 6 & 7, for article on the Caithness Legion; good bowl, marks and condition. Est Dumfries silver Fiddle pattern tablespoon, circa 1810 by Joseph Pearson. L-23.3cm; W-64g. ~ reasonable marks, good bowl and condition. Est Dundee silver Fiddle pattern toddy ladle, circa 1820 by Thomas Dahl. L-15.5cm; W-34g. ~ a scarce maker; good bowl, marks and condition. Est Set of 4 William IV silver Kings pattern salt spoons, London 1832 by William Traies. L-11cm; W-96g. ~ good marks, excellent bowls and condition. Est Victorian silver mustard spoon, London 1872 by John, Edward, Walter & John Barnard. L-8.2cm; W-10g. ~ good bowl, marks and condition. Est

41 192. George III silver Old English pattern condiment ladle, London 1786 by Richard Crossley. L-9.6cm; W-12g. ~ reasonable marks and condition. Est Irish silver Fiddle pattern mustard spoon, Dublin 1818 by Samuel Neville. L-10.3cm; W-8g. ~ reasonable marks and condition. Est Pair of Edwardian silver Trefid pattern salt spoons, London L-7.1cm; W-12g. ~ makers mark overstriking another and difficult to read, otherwise good marks and condition. Est Set of 6 Scottish silver Oar & Shell pattern egg spoons, Edinburgh 1818 by Andrew Wilkie, retailed by Morton. L-11.7cm; W-91g. ~ gilded bowls, good bowls, marks and condition. Est Scottish silver Oar & Shell pattern egg spoon, Edinburgh 1818 by Andrew Wilkie, retailed by Morton. L- 11.7cm; W-14g. ~ gilded bowl, good bowl, marks and condition. Est Gibraltar silver Old English pattern tablespoon, circa 1790 by H. Cowper. L-21.5cm; W-58g. ~ crest for O Brien, crest faint, otherwise good bowl, marks and condition. Est Aberdeen silver Old English pattern teaspoon, circa 1810 by James Begg. L-13.5cm; W-15g. ~ wear to thistle mark, otherwise good maker s mark and condition. Est Aberdeen silver Fiddle pattern teaspoon, circa 1830 by John Stewart. L-14cm; W-17g. ~ wear to maker s mark, otherwise good bowl, marks and condition. Est Banff silver Old English pattern teaspoon, circa 1790 by John Argo. L-12.3cm; W-11g. ~ good bowl, mark and condition. Est

42 201. Pair of Inverness silver Old English pattern sauce ladles, c.1790 by Charles Jamieson. L-18.7cm; W-96g. ~ crest of Captain Arthur Forbes of Culloden House, Inverness; good crest, bowls, marks and condition Set of 6 George IV silver Queens pattern teaspoons, London 1825 by William Eaton. L-14.5cm; W-220g. ~ good weight, bowls, marks and condition. Est Set of 6 George III silver Old English pattern dessert spoons, London 1788 by Hester Bateman. L-16.7cm; W-189g. ~ wear to marks, a few bruises to bowls, but overall reasonable and good to use. Est Irish silver marrow scoop, Dublin 1781 by Michael Keating. L-24cm; W-48g. ~ Ducal crest, good bowls, marks and condition. Est Arts & Crafts silver tea caddy spoon, London 1965 by William Henry Warmington. L-7.1cm; W-18g. ~ Warmington revived Camden School of Arts & Crafts with George Hart. Good marks & condition Victorian silver Star & Cornucopia pattern dessert spoon, London 1857 by Charles Boyton. L-17.9cm; W- 64g. ~ kangaroo crest; couple of small knocks to bowl, otherwise good gauge, marks and condition. Est Soviet Union silver parcel-gilt & niello tablespoon, circa ~ good gilding, niello, bowl, marks and condition. Est German/Austrian silver Celtic-point pattern tablespoon, circa 1800 by C.L.H? L-21.3cm; W-58g. ~ good bowl, marks and condition. Est

43 The next Club Postal Auction will take place on Thursday 27 th April 2017 Members are invited to submit their Lots (max. 10 & No Job Lots ) for the next postal auction by posting or delivering by hand up until the 23 rd February. Please provide clearly a full and comprehensive description, if possible, of your various lots, remembering to note all relevant facts such as makers, dates and interesting features etc. and reserve. Please also clearly state your Name, address and telephone number. Please never intentionally submit repaired, damaged, burnished or mediocre items, as such will not sell. -o-o-o-o-o-o- POSTAL AUCTION INFORMATION Your written, or telephoned bids should be with us, please, by no later than 12.00pm, on the day of the sale. Please note that purchase prices are subject to a 12.5% buyers premium (plus VAT on the commission) and 8.50 for postage & packing per consignment. Members are welcome to come to view the Lots on offer, but please phone or first. Bidding The Lot is offered to the top bidder on approval, at a figure that is 50% the difference between that bid and the under bid. Or where only one bid is received, at 50% the difference between that figure and the reserve. Should two or more members submit an identical top bid the Lot is offered to the member whose bid was received first, at that price. The Lot will be sent to you for approval where you can decide to either purchase or return the Lot. When submitting your bid(s) please make sure you clearly state the Lot number, a brief description, your bid (excluding premium), name & address and a telephone number. If you are successful we will telephone you on the day of the sale from 6pm to confirm your purchase(s) and at what price. Also to confirm that someone will be at home the following Thursday morning, to receive the lot(s), sent by guaranteed special delivery. We request payment within 48 hours of your receiving the lot(s), or their immediate return (together with a refund of the postal and packaging charges ( 8.50) incurred in the failed transaction) should you decide not to take up your option to purchase. Overseas Based Bidders If successful, we will notify you by fax or . Please note that Lots are not dispatched until payment in Sterling has been received, also that postage/packing is charged at per package regardless of weight or destination, unless stated otherwise. Although every assistance will be provided to trace missing packages, but please note that our responsibility ends once a package leaves the United Kingdom. Vendors All members are invited to enter Lots (max. 10 & NO job Lots ) for the Silver Spoon Club Postal Auction. Commission is charged at 12.5% (minimum 3.00), or 3.00 per unsold Lot, plus VAT. Vendors are paid when we have received payment; please note that there may be a delay in settlement where lots have been purchased by overseas members, or where a lot has been rejected by a U.K. member thus necessitating a further offer to an under bidder. Items for which no bids have been received will be posted back to you, and charged 8.50 for postage & packaging. General Information The Auction results will be printed in the next Finial. All measurements are approximate. The Silver Spoon Club holds no responsibility for description. All purchasers must satisfy themselves on their Lot(s) prior to payment. Members participating in the auction are deemed to have accepted that we are not to be held personally responsible for any losses incurred by members, for whatsoever reason. -o-o-o-o-o-o-.43.

44 Daniel Bexfield Antiques Fine Antique Silver & Objects of Vertu A Pair of George III Silver & Fruitwood Wine Coasters Made by Samuel & Charles Young & Co Sheffield 1819 Diameter 6.25" (15.9cm) Price 1, Cecil Court, Covent Garden, London. WC2N 4EZ Tel: antiques@bexfield.co.uk