ISSN X Volume 15/06 Where Sold 7.50 July/August 2005

Transcription

1 The Finial ISSN X Volume 15/06 Where Sold 7.50 July/August 2005

2 The Silver Spoon Club OF GREAT BRITAIN 26 Burlington Arcade, Mayfair, London. W1J 0PU Tel: Fax: V.A.T. No Hon. President: Anthony Dove F.R.S.A. Editor: Daniel Bexfield. Volume 15/06 Photography: Michael Golding. July/August 2005 CONTENTS Introduction 3 An early duty or exportation punch? By Anthony Dove 3 Cape Silver by David Whitbread 4 Brab Hallowes mark identification? 6 Newcastle s duty head coupe by Mark Nevard 7 John Round The third apprentice of Patrick Brue by Piers Percival 8 Regional fashion in bright-cut teaspoons by Paul Holmes 11 Early Trefid Spoons by David Orfeur 12 George Jamieson of Aberdeen mark variation 14 A Tale of two TS s by Roland Kirk 15 Maurice Freeman silversmith by Cathy Chivers 16 Mr & Mrs Sodero hot water spoon? 17 Date for your diary by Mr M 17 The Higgins Workshop 1930 s hand forging picture 18 Feedback 19 Review Christie s South Kensington 6 th June 2005 by Tim Kent 22 Results for the Club Postal Auction for 8 th July The Club Postal Auction 25 Postal auction information 51 The next postal auction 28 th October First Tuesday 52 Contributions 52 Back copies 52 Yearly subscriptions 52 COVER: A 17 th century silver & cowrie shell bowled spice/sugar spoon, circa See Lot 127, page

3 Introduction For those that have not heard the news, Michael, the worlds best photographer of hallmarks for the Finial, has got itchy feet, and has decided that he needs to travel the world (grown-up gappers!!!), and therefore has given his notice and will be leaving on 15 th October. Now that I have come to terms with this devastating news, I have to say that I am very happy for him and am sure that he will have many exciting adventures on his journey. I know many of you and myself will wish to thank Michael for all his hard work over the last three years and to say farewell, so I have decided to hold a champagne and canapé Bon Voyage party, here in the Burlington Arcade, on Saturday 8 th October, from 6.00pm to 8.30pm. You are all invited, but please R.S.V.P. This issue s postal auction is the largest to date and clearly has become very popular with members and includes some very interesting and rare pieces, such as, Lot 111, the last un-recorded York date letter X for 1858; Lots 60,123 & 124, three very good marrow scoop spoons; Lot 155, a Cannon handled basting spoon by Mary Lofthouse, London 1731 and a pair of Paul Storr dessert forks, Lot 99, plus the usual array of fascinating and appealing pieces. Daniel. An Early Duty Or Exportation Punch? By Anthony Dove F.R.S.A. Fol1owing my article in The Finial, Jan/Feb 05, pages Do any early Bradburys still exist on the reclaiming of duty, my attention was drawn to an interesting mark on a spoon offered for sale on the internet. Made by Richard Scarlett, it has Britannia hallmarks and the date letter E for In addition there is a punch consisting of the letters TAX next to the maker. I have not seen the actual spoon so cannot be certain whether the TAX mark is contemporary, but I have no reason to doubt this. It is quite conceivable that such a punch was made to show either that the duty had been paid or that it had been refunded on export. The fact that the marks are Britannia standard in the first year in which it became optional could support this theory if it was an experimental punch by an assay office that was discontinued after a short period. Even so it is strange that this would appear to be the only example that has so far come to light. This could even have been some form of import mark used in the former Colonies or elsewhere. It has also been pointed out that the mark may have nothing to do with tax at all but simply that of a retailer whose name could have been Theodore Alexander Xerxes! I would be very interested to know whether any members have seen similar examples of this curious mark or any other theories as to its purpose..3.

4 Cape Silver By David Whitbread I do not specifically collect silver from the Cape of Good Hope but, as I spent a year or two of my childhood in the Cape and later was fortunate enough to marry a South African, I have enjoyed acquiring the very occasional item. The latest arrival, a humble salt spoon, only brings the total to three pieces. It is the marks on the salt spoon that are interesting: the unmistakable AS conjoined attributed as his only mark to August Christoffel Schlosser in Stefan Welz s Cape Silver and Silversmiths, plus the delightful and equally unmistakable device or workshop mark of a hammer that Welz illustrates as one of the marks of Godfried Fredrik Schmitzdorff but not for any other maker (see Figure 1). Fig. 1, Salt spoon. Schlosser/Schmitzdorff, circa For comparison, Schlosser s mark as illustrated by Welz. and Schmitzdorff s mark. The most obvious inference seems to be that the spoon was retailed by Schlosser but came from Schmitzdorff s workshop. If this assumption is correct, it means that the spoon was made prior Schmitzdorff s death in 1808, and that Schlosser was active prior to 1811, the first year that Welz has him firmly recorded as a silversmith not surprising since we are told that he married in Schmitzdorff ( ) is identified as a silversmith and the owner of the GFS mark by virtue of leaving silversmith s tools in his will. Schlosser is recorded as a silversmith in Cape Town between 1811 and Moving on, or back, the first Cape item I acquired a good few years ago was a sugar or jam spoon of circa 1830 with a tiny set of marks for Lawrence Twentyman (Figure 2). I do not know what relationship, if any, there might be to the William Henry Twentyman of Calcutta. The marks on the spoon are illustrated (enlarged) alongside the most nearly similar of the nineteen different sets of marks that Welz attributes to Twentyman. Some of the punches used for the pseudo hallmarks on my spoon are clearly different so I have a twentieth version. Doubtless there are yet more versions out there. Lawrence Holme Twentyman ( ) arrived in the Cape in 1818 having completed an apprenticeship in England as a watch and clockmaker. He is recorded as a watchmaker and silversmith in Cape Town from 1818 to 1832 when he left South Africa, only returning for short visits. Though his firm continued trading thereafter, as merchants there is apparently no mention of silversmithing activity after Twentyman in person will have been a retailer of silver rather than a maker himself, though it seems clear he established a workshop early in his business employing his own staff as makers. However it also seems clear that he had his mark placed on.4.

5 items that he acquired for retail from the workshops of other silversmiths as well, so I cannot be confident about the workshop where the spoon was actually made (although as far as I know this combination of marks is unique to Twentyman). Fig. 2 Sugar/Lam spoon, Lawrence Holme Twentyman, c.1830 My final Cape item is not a spoon but a small mug (Figure 3). I hope Finial readers will bear with me here, as it is relevant to a question I have. Fig. 3, Mug, John Townsend, c.1835/40. Marks from Welz shown for comparison: John Townsend, Thomas Stephenson & Lodewyk Beck. Please go to our Order Form to purchase a complete copy of this Finial.5. Continued overleaf

6 In any event, the number and variety of marks attributed to some of the Cape silversmiths such as Twentyman seem greater than can be simply explained by the need to replace worn punches or identify individual journeymen and might suggest that items were being made and marked for them in different workshops. And while, for most of the Cape marks that Welz illustrates, the workshop devices or pseudo hallmarks seem different for each silversmith, there are several instances where identical or very similar devices are found accompanying the initials of various different silversmiths as in the Townsend example above. Indeed, Welz singles out one such instance (involving five silversmiths including Twentyman) for comment as an example of a supplier to the trade marking items for several different retailers. My impression is that other examples of the marking of Cape silver support the view that the practice was widespread, which should not be surprising, and my question is, how likely is it that a retailer might equally have had his mark put on an imported piece as opposed to one from another Cape workshop? I am confident that the salt spoon in Figure 1 was made at the Cape. But could the pseudo hallmarks on the other spoon or on the mug actually be on imported items? I would not have been surprised to find identical pieces with English marks. We know the Cape silversmiths were importing Sheffield plate in the early 19 th century, and Welz makes the point that unmarked silver may on occasion have been imported as well with marks then added at the Cape. However, the range and variety of marks attributed to some such as Twentyman lead me to wonder whether Cape marks might actually have been applied before the items were exported. It would after all be normal to punch marks before a piece was finished. We know manufacturing silversmiths in England would mark items for sponsors when sending them to assay, but would they avoid assay and go so far as to mark them with pseudo hallmarks for an overseas sponsor? I would be interested to know what the more expert think. Perhaps it is opening a can of worms to question whether all Cape silver was actually made in the Cape. Doubtless most of it was and maybe it should not matter as long as the item is interesting or attractive, was made for the Cape and was sold for use in the colony. It will, in that sense, be Cape silver. After all, the Cape in the 19 th century was following English styles of silver, and English silver of the same period will itself only rarely have actually been made by the individual whose initials appear in the marks, but that does not stop me wondering about the origins of my items. Acknowledgements Vic Bowman, the kind provider of the salt spoon and of my copy of the Welz text. Stefan Welz s excellent book 1, the source of my information and of the marks I have reproduced. Notes 1. Cape Silver & Silversmiths, pub A A Balkema, Cape Town & Rotterdam, Brab Hallowes enquires: I am hoping that the readership can identify the maker of the Caddy spoon whose photographs are below. It was made in Birmingham I have tried to show the complete item, a close up and a blown up picture of the makers mark FH&F in a rectangle. It is a maker that Norie was unable to identify and none of my reference works can shed any light on..6.

7 Newcastle's Duty Head Coupe By Mark Nevard On the recent acquisition of a set of six Newcastle teaspoons by Dorothy Langlands I noticed that the Duty head was cut off above the base on a slanting line rising from left to right, as shown in figure 1. On a single specimen one would assume it to be a mis-struck punch but these are clearly identical and the edge of the punch clearly defined. Fig. 1 Fig. 2 Since then I have noticed the same duty mark on a pair of salt spoons by Ann Robertson, see figure 2 and on a pair of sugar tongs by Thomas Watson, from The Finial postal auction, Lot 64, Dec/Jan/Feb 2003/4, see figure 3. In none of these cases is there a date letter. Fig. 3 The mark by Dorothy Langlands is her first, recorded on the Assay Office plate in 1804; that of Ann Robertson on the plate in Thomas Watson s career lasted over a long period starting in 1795 so is of little use in dating the mark, but the latest mention of Langlands is 1814 and of Robertson 1811.This would appear to place the date of assay between 1804 and 1811, the items themselves pointing towards the earlier date. Please go to our Order Form to purchase a complete copy of this Finial.7.

8 John Round - The Third Apprentice of Patrick Brue By Piers Percival Of the apprentices with Patrick Brue - William Cawdell, John Lovejoy, John Round, Stephen Blanke, Daniel Carey and Richard Mather - all (save Stephen Blanke) were known to make spoons and, as we know from the numbers extant today, Cawdell and Carey were the most prolific of their generation. John Round, apprenticed in 1589, was made free 13 October The Goldsmiths Company Court books show intermittent entries for him stretching over the ensuing 50 years and indicate a mixture of fortune. No other John Rounds have been recorded in the Apprentice Register and one may assume that the entries all pertain to the same person. We know he was making spoons in 1599 as eight of his were broken in October that year and a further twelve the following January. This may have been in conjunction with his ex-master or with another master. However by 1606 he began taking apprentices, which confirms a more definite business of his own. Simon Panchard was presented in 1606, Richard Round (probably a nephew or cousin) in 1608 and free in 1616, Walter Stonard in 1611, Peter Eagle in 1612 and free in 1619, Henry Good in 1619 and free in 1628, Richard Good in 1624 and free in 1634, and finally Hugh Marchant in If these dates are anything to go by, they indicate a steady business, which probably peaked in the period On the other hand, there were periods when times were hard. In March 1620 he was in receipt of 50/- and a new gown from the Richard Rogers bequest, being one of the most ancient of the poor decaied workmen of this company. This most ancient list included spoonmakers older than he, Robert Rase, John Jermyn, Thomas Benbowe, Thomas Lawrence and Barnabas Turville (Court book P pp439/440). There were also others including the spoonmakers William Limpany and Richard Mather, who received lesser amounts. But unlike some of his colleagues, Round was only rarely fined for bad workmanship: the chief culprits for substandard spoons in the Jacobean period were William Cawdell, John Jermyn, Martin Cottrell (while he lived), William Limpany, James Cluatt and John Saunders who over and over again were being fined repeatedly. John Round, in later years, was fined for bad spoons (1632 and 1633) and in 1637 was in receipt of 20/- charity. In 1639 he was in prison for debt at Ludgate and requested charity for his release. At first the Wardens considered this an abuse of company money but they later relented and granted 30s (Court book V ff23, 50). In 1646 he received 2-12s from the Sir Hugh Middleton gift (twice as much as any other) and ultimately in 1647, his age then being at least 73, he was given a pension of 2/- per week (book X ff73, 147). For a mark, there is apart from an IR with mullet and pellets recorded for 1617/18 by Gerald Taylor and an IR with a bow below on a communion cup for 1615/16 recorded by Jackson, a dearth of IR s for his entire period and it is most probable that he used a device. The only Jacobean device marks that occur with any frequency on spoons alone are the crescent enclosing a mullet (which from 1615 I believe belongs to William Lovejoy), the saltire in a heart punch (see later) and the pair of compasses. But of greater interest is this: both round and compass have the same meaning, a circle. Fig.1, Drawing of a pair of compasses. Fig. 2, Poorly struck pair of compasses on a spoon dated London 1606/07..8.

9 A pair of compasses is used to make a round and it is not beyond the stretch of the imagination to believe that John Round would have chosen this device for his mark. It has been recorded on a moor s head spoon for 1606/07 (Fig. 2), on seal tops at Phillips for 1607/08 and Bonhams for 1611/12, and in Jackson s Revised p108 for a seal top of 1610/11 and a maidenhead of 1612/13. There seems to have been a variety of punch outlines, suggesting a number of punches in use, and there may have been other occurrences but without a recognisable profile. John Lovejoy, the second apprentice of Patrick Brue Consideration of other possibilities for unassigned late Elizabethan / early Jacobean device marks on spoons brings me to a reappraisal of my suggested mark for John Lovejoy. Of the assignations suggested in Elizabethan London Specialist Spoonmakers (The Finial, July 2004, pp14-19), the one for John Lovejoy (a pierced mullet within a crescent) is the weakest. There is no rebus and the chief reason was that he seemed to be part of the Bartholomew / Cawdell net as after his death, his son William was known later to be working under the avuncular eye of William Cawdell at the Woolsack, the parish of St Vedast. Goldsmiths tended to work at or near their homes and there is no evidence that John worked at the Woolsack; he was in the parish of St Mary Woolnoth, where his children were christened and his apprentice Henry Battell was buried. The Brues, we may remember, were also of St Mary Woolnoth (Mrs Brue incidentally was born a Battell), and when they both died in January 1612/3, their estates were administered by George Samwell who had married John Lovejoy s sister. One must always be ready for reappraisal and the second of the unassigned marks above mentioned is a more likely alternative for John Lovejoy. Just as John Jermyn is thought to have used the saltire within a crescent for JJ, John Lovejoy may have considered the saltire within a heart. Thus I - heart I would stand for John love Joy. This has been described on an apostle spoon for 1602/03 (Phillips and ). However it has also been recorded on a gourd shaped standing cup of 1590/91 (Jackson s Revised p102) and on the mounts of an Ostrich egg cup for 1584/85 (Glanville in Silver in Tudor and Early Stuart England, p324), which is well before Lovejoy s period. John was born in January 1565/6, apprenticed in 1582, and was probably not free till after 1589 i.e. after reaching the regulatory age of 24. Nevertheless he may have considered the design, and if unavailable, chosen two I s in saltire in a heart punch to mean the same thing. Fig. 3, Examples of capital I s in saltire in a heart punch from London spoons, both dated 1610/11. This is merely a suggestion, but I believe a reasonable one. The saltire is usually described as clubs but from the examples shown, capital I s would seem to be more likely. The mark has been recorded on spoons bearing apostles for 1605/06, 1610/11, 1611/12, as well as the master 1610/11, 1611/12, seal tops 1606/07, 1609/10 and a slip top for 1610/11. Two examples are at The Museum of Fine Art, Boston. John Lovejoy s apprentices were Henry Battell, presented in 1596 but died in 1602, Thomas Hampton (1605) and his son William. Another known servant was Elizabeth Boulton (d. 1603). William would have been born in 1592 or 1593 (before his next sibling christened and well after his father s marriage ), so would have been in training from about 1605 onwards and, if responsible for a major output of spoons under the offices of William Cawdell (the dates of the later crescent enclosing a mullet in a shaped punch), this might explain a higher quantity of spoons from John in the period. John died in August 1612 and was buried at St Mary, Woolnoth. The following year the Company provided his widow with an annual pension (book P p131). She died in Continued overleaf

10 Thomas Benbowe, the twelfth and last apprentice of Nicholas Bartholomew The above suggestions and explanations leave a vacancy for the pierced mullet within a crescent. And as it seems likely that the crescent enclosing a mullet that originated with Nicholas Bartholomew in 1551 later became a workshop motif and was used by goldsmiths within the Bartholomew / Cawdell net, it now seems highly likely that Thomas Benbowe was its next proprietor, particularly as there is another rebus awaiting us. Thomas Benbowe was apprenticed to Nicholas Bartholomew /9 and would have been made free about eight years later, so easily available for the mark, which has been recorded on many spoons with dates He had no apprentices of his own so may have been an assistant working after freedom with his own mark, first with his master and later with William Cawdell. Fig. 4, Crescent enclosing a pierced mullet in a round outline from an Apostle spoon, London 1593/94. Changing to a round outline, Thomas would bend his bow to pierce his master s mullet. At least 26 examples have been recorded between 1589 and 1596 suggesting a period of great activity. Thereafter there appears to have been a dwindling of activity, which fits with the freedom of Cawdell s first apprentice John Jermyn, in Jermyn was known to be an associate of Cawdell and may have taken some of the commissions that previously went to Benbowe. Please go to our Order Form to purchase a complete copy of this Finial Conclusion.10.

11 Regional Fashion In Bright-Cut Teaspoons By Paul Holmes A response to Richard Jonas, The Finial, May/June 2005, page 6&7. I have only recently been collecting these bright-cut teaspoons as a less expensive way of specialising in Old English flatware, all of mine being by London silversmiths. Even on the few that I have already, there appear to be some similarities to the Irish specimens described on page 6: The space above the cartouche is decorated rather than left blank Floral symbols are commonly used the daisy with six petals, a bi-pinnate leaf shape The cartouche border is continued below as a simple swag, or further floral decoration, before moving down the margin of the stem. There appear to be interesting variations: The London stem-ends are all rounded, unlike the Irish pointed ends The cartouche is shield shape as often as rounded. The shield shape also occurs on a bright-cut tablespoon. Other geometric shapes appear, apparently unrelated to the floral or classical patterns. The bowls are less pointed and more gently rounded. Several have no space above the cartouche for decoration, the rounded cartouche following the rounded stem-end precisely. A Victorian decorated Georgian OE teaspoon also has no space above the cartouche. Might these be variations that are peculiar to London spoons? Given that bright-cutting was especially popular between 1790 and the decoration and cartouche shape reflect the predominance of the Adam style the motifs are restricted to known classical details, such as paterae, elliptical medallions, swags of drapery and the ever-recurrent acanthus leaves, husks, bellflowers and honey-suckle flowers. The shield-shape perhaps reflects the Hepplewhite shield-back chair as published in his Guide of It would be interesting to know if any members have examples of Birmingham spoons, given that bright-cutting was a speciality of the Birmingham silversmiths 2. How much do they vary in shape and decoration and is there a Birmingham style? My examples used are from left to right George Burrows, London 1820; George Wintle, London 1792; Peter, Anne & William Bateman, London 1801; John Lambe, London 1787; John Lambe, London 1784; William Sumner, London 1784; Samuel Godbehere & Edward Wigan. London 1790 References 1. Three Centuries of English Domestic Silver, : Bernard & Therle Hughes, English Domestic Silver : C C Oman,

12 Early Trefid Spoons By David Orfeur I was prompted by David Whitbread s very interesting article in the last issue of the Finial, to re examine my notes upon early Trefids, and to compare examples that I have. As David states, the two examples that he illustrates of 1666 and 1669 are very different as regards their trefid ends, although close in date. The 1666 spoon is quite unusual in shape for a London example. From left to right: 1680 by Robert King, 1679 by Lawrence Coles, 1672, 1668 & 1664 by John King I believe that there were two types extant during the middle years of the 1660 s, one type represented by the pseudo trefids of the provinces, including Norwich and York, where the development from the Puritan design is clearly seen, with the cutting of the typical Puritan end, providing the characteristic ears or cleats, retaining the broad, now central lobe, the other being the more typical London broader shaped terminal. This latter type is shown in the earliest known Trefid of 1662, whereabouts presently unknown, as illustrated by the Hows, and the examples that I illustrate of 1664, 1668, and 1672, and of course, David s spoon of These show the prominent central semi circular lobe, which represents in width, a larger proportion of the stem end than later examples, such as those shown of 1679 and 1680, and the outside lines of the cleats are continuous to the line of the swollen shape of the terminal. In both types, the stem ends are usually quite prominently upward lifting, although occasionally they are flattened by use, careless or otherwise. A similar spoon is known, that bears the maker s mark only of IC above a cockerel, but with a pricked date of 1663, and which Tim Kent considers is made by John Cockus, the mark being a rebus of his name. This one was included in the Bourdon Smith s marvellous exhibition in 1981and was made in London. Another Trefid is known, being made in Dublin in 1663, where the date letter is struck between the Hibernia mark and the maker s mark, this having a broad central lobe with small cut cleats..12.

13 Please go to our Order Form to purchase a complete copy of this Finial York 1664 by Marmaduke Best Please go to our Order Form to purchase a complete copy of this Finial Norwich c.1669 by Arthur Hazelwood II Please go to our Order Form to purchase a complete copy of this Finial The next Club Postal Auction will take place on Friday 21 st October 2005 Members are invited to submit their Lot(s) for the next postal auction by posting or delivering by hand up until the 22 nd August. 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. Also please clearly state your name, address and telephone number. Never intentionally submit repaired, damaged, burnished or mediocre items as such will not sell..13.

14 George Jamieson Of Aberdeen - Mark Variations By Edward Daw In the Feb/March 2002 edition of The Finial, page 117, I wrote about the three generations of the Jamieson family. George Jamieson ( ) was the most prolific of the three silversmiths and, as Dr James noted (Goldsmiths of Aberdeen, page 123), he sold plate:- 1. Made in his workshop and sold direct to customers. 2. Made in his workshop, sent to Edinburgh or London for assay. 3. Made by others, bought new or second-hand, to which he added his marks (plate made by S. Haynes & D. Cater, Henry Holland, T.W and I.R.H has been seen with George Jamieson s marks added). Fig. 1 Fig. 2 Maker s Marks Four different marks appear to have been used: GJ and G.J, prior to 1847 (examples are shown in Dr James s book). GJ.ABD N in 1847 (Figs. 1 & 2) and after1847 G.J (Figs. 3 & 4). Fig. 3 Fig. 4 Town Mark The two illustrations in Dr James s book show ABDN, as his town mark, I assume from early in his working life as I have only seen his mark with ABD N (i.e. small N ) on items dated from 1839 to George s father William used an ABD punch, except for one piece seen with ABD N, dated George s son, William George, used both ABD and ABD N punches. George Jamieson and Son This company, registered in 1879, was a conundrum! Dr. James reported this registration, four years after George s retirement and five years after William George started sending items to London for assay, and marking other makers items as his. Fig. 5 Fig. 6 Mr C. Fraser has drawn my attention to a set of fish knives recently auctioned in New Zealand. They show two variations of a G.J.& S mark (Fig. 5 & 6). Four were supplied by Elkington & Co. having been made in 1873 in Birmingham by F.E. The other two knives were supplied by Walker Hall & Co., having been made in Sheffield in 1877 by W.W.& J.H (note how all these dates tie in with those of George Jamieson and Son!)..14.

15 A Tale of Two TS s By Roland Kirk In the mid 1970 s we lived outside Edinburgh. I had been collecting Scottish Provincial Silver for a few years, had got to know other collectors and was slowly building up my collection. One Friday evening I was rung up by a part-time dealer who offered me a Forres fiddle pattern toddy ladle with Edinburgh marks by the silversmith TS, Thomas Stewart, who at that time was known to have worked in several towns and was believed to be a tinkersmith. Not having a piece of Forres silver I was keen to buy the ladle even though it had Edinburgh marks half a loaf is better than no loaf at all and one dull winter afternoon behind Lyon and Turnbull premises in George Street I handed over a cheque and went home eager to examine my purchase. Pleasure quickly turned to anger when I discovered on close examination that what I had bought was a ladle by Forrests of Edinburgh. The Forrests had been modified with a sharp pointed tool, making a new indentation, i.e. FORRES TS. I stopped the cheque, rang the dealer and returned the ladle. My second TS was totally different. I was offered a set of six fiddle dinner forks, as illustrated, by a fellow collector who very kindly reduced the price because we had the same interests. They are top-marked and this short article is in response to the previous one in The Finial July/August 04. One small aspect: the projecting shoulders at the bottom of the stem are very pointed and looking through my collection I have only found this on a set of teaspoons by Thomas Stewart, again with Elgin marks but this time in the usual place. Any comments from other collectors?.15.

16 Maurice Freeman - Silversmith By Cathy Chivers On a recent visit to Spitalfields Antique market I bought a set of four silver teaspoons. They are Apostle spoons, dated 1903, 9.5cm long, with a M.F and Birmingham hallmarks stamped on the back of the bowl. I was delighted with them and a bargain at 2 each, and I took them home for a clean. Four days later I was hunting around Covent Garden Antique Market and to my amazement I found and bought the remaining two teaspoons completing my set of six. In a minor way I could appreciate how a serious collector must feel at making such a discovery. I looked up the word Apostle in the Collins English Dictionary, Gr apostle - one sent forth, a person sent out on a special mission. Specif. - any of the twelve disciples sent out by Jesus to teach the Gospel. I wondered if earlier spoon makers had used this image to educate people about the Disciples and was curious to know why it was still popular in the 20 th century. From early 17 th century the finials sometimes deteriorated in quality and the emblems are more difficult to recognise. With the more modern ones it is often impossible to identify which Apostle is stamped out. According to Spoons, a collectors guide to spoons of the world by Rainwater & Felger, the earliest written record of Apostle spoons was in the year when..xii cocliaria cum Apostolis super corum fines, are mentioned in a will in the York registry. However I have also found Apostle spoons mentioned in the will of Sir John Fastolf (d 1459). During Tudor times the Apostle spoon was most popular, having been introduced from Europe in the 1450 s. They retained their popularity for approx 200 years, being used for christenings. Then the Protestants prejudice against images caused them not to be in favour. Returning to my set of teaspoons, I have discovered they were made by Maurice Freeman who died before They have a 3cm twisted stem, a 1.5cm small figure above the bowl, the finial a full standing 3cm figure with what looks to me like a shield and cloak. I logged on to the internet to find out all I could about Maurice Freeman and to my surprise the first site that came up was The Finial! In the October/November 03 edition there was an Edwardian Britannia silver Hanoverian Rattail pattern teaspoon for sale, lot 86 by M.F, in the auction. It s a small world. I was unable to find any biographical details and this will need further research, but I did find out that tea was introduced to England during the 1660 s and that the making of teaspoons occurred after that, as small spoons sized in proportion to the teacups of that period were needed. By the middle of the 18 th century they were commonplace, as they still are today. My set having survived world wars and movement through generations, dealers and markets has given me great pleasure. The men of culture are the true apostles of equality Culture & Anarchy

17 Mr & Mrs Sodero from Canada questions: Following interests in spoons and in old Sheffield dining vessels utilizing hot water to keep the contents warm (argyles, toasted cheese dishes, soufflé dishes, etc.), the illustrated item was purchased at Portobello Road in This spoon is silver plate, 14.5 overall and weighs 195 grams. The stem unscrews from a 4 bowl which holds a small amount of hot water. It is marked Registered 30 Dec Someone suggested that this is a confection spoon. Although it is not silver it seems somewhat elaborate for utilitarian use in the candy making process. I know that one of your readers will be able to confirm or correct this opinion. Date for your Diary Mr M reminds members: As intimated in the last edition of The Finial, Bonhams are holding their three-day The Scottish Sale from Wednesday to Friday the 24 th to 26 th August at their Edinburgh salerooms. Members I am sure will be interested to note that there are approximately a hundred lots of Scottish Provincial silver on offer, both hollow and flatware, the silver being the first part of the sale, on the morning of the 24 th August. Along with the items listed in the last edition there are many other offerings of rare and good quality flatware. The well illustrated catalogue can be viewed on their website For further information, to order a copy of the printed catalogue or request a condition report please contact Fiona Hamilton on or by fionahamilton@bonhams.com.17.

18 The Higgins Workshop 1930 s Hand Forging Jack Don & Jack Sewell Picture courtesy of Alan Kelsey..18.

19 Feedback Simon Moore responds: Feedback for Michael Baggott s Tale of two cities and more confusing fruit knife jiggery-pokery! Thank you Michael for having the knowledge of foresight and nerve to take the blade out of that otherwise slightly tired fruit knife! I was fascinated to see a shared fruit knife as early as 1794; even more that Birmingham was also sharing marks with Sheffield and within the same year! Joseph Taylor seems to be the main maker of early Brum fruit knives whereas other small-ware makers Joseph Willmore, Matthew Linwood (rarely) and Joseph Taylor tended to make all silver sliding fruit knives in the early 1800 s. Fruit knife makers tended to be even more incestuous than spoon-smiths buying already-marked blades or hafts to make up orders it suggests how popular these items must have been. They also tended to register marks in the larger assay offices as well. Sheffield makers registered in London, Birmingham and sometimes Chester (and vice-versa!), often over-stamping each other s sponsor marks. To date I have not yet seen a Chester (only) sponsor s mark on a fruit knife. The reason for most of this appears to be supply and demand. The interesting point about Michael s knife is that the blade was originally made by John Law and assayed in Sheffield. Joseph Taylor just added his sponsor mark alongside the Sheffield Sterling Lion with its straight-sided rectangular cartouche and the Birmingham Assay Office added their anchor and a w date letter for the same year, as Michael surmised, without questioning the presence of the duty and sterling marks. This begs the question of the knife being mixed in with a parcel of plate for assay? The practice, however, was to submit the blade only for assay rather than the whole knife in which case the Sheffield tang marks and IL may have caused some concern to the Birmingham assay master. At least the Sheffield blade marks are similar and he would have charged Taylor for the marking anyway. Another question is who added the haft, Law or Taylor? The two vertical engraved lines on the lower edge of the tang refer to the knife s other components: the webs (copper linings) should also be marked II and the side of the spring, even the inner sides of the nacre scales. Pocket knives are assembled in groups and the components are tailor-made to fit each individual knife. If the other components have a different Roman numeral engraved on them, it suggests that the haft was produced in Taylor s workshop. The earliest Birmingham, only, pocket fruit knife (PFK) that I have ever seen was assayed in If anyone can better this (like the earliest known Trefid spoon competition) I would be interested in seeing a photograph of it, also I have not yet seen a pistol-grip PFK bearing Birmingham hallmarks. So thank you to Michael for this information, also, I am writing a book about French and English PFK s and trying to sort out these hallmarking conundrums. If anyone knows of a possible publisher for such a specialised opus, I would be delighted to hear. Jack O Hare writes: I notice the spoon that I bought, Lot 80 in January s Postal Auction, is still being talked about in The Finial! I believe that David Whitbread has provided the solution, as the illustration on page 20 (The Finial, May/Jun 05) is almost identical with mine. If you do get an opportunity please convey my sincere thanks to him for taking so much trouble. I have had a lot of fun and enjoyment with the interest the spoon aroused..19.

20 Peter Ticher replies: Walter Brown asks (in the May/Jun 05 issue, page 18) whether I can throw any light on the suggestion that one can tell by looking at the star frequently found on Irish spoons made between 1780 and 1800, whether they were made in Cork or elsewhere. Sadly I cannot, but it might have been instructive to look at the 150 or so such spoons that passed through my father s hands at various times. Alas, they are now dispersed, many to the National Museum of Ireland. Whether or not spoons with the star-cartouche-arrows pattern were made outside Ireland I do not know, but in view of Walter s query I shall certainly start looking at English and Scottish spoons from now on to see if I can find any. Another source of information would be my late father's photographic records which are held in the National Archive in Dublin, and I may look at them next time I am in Dublin - although the last time I asked to see these records, after a longish wait two men appeared each wheeling a large double-deck trolley, making my time and enthusiasm for such an exercise somewhat questionable! David McKinley writes: My very good friend Tony Dove has drawn my attention to an error, which I made in my article on Exemptions from Hallmarking in the May/Jun 05 issue of The Finial and, because I feel that the integrity of this publication must be preserved, I cannot leave the matter unresolved. Our journal is both stimulating and informative and makes an important contribution to the advancement of our knowledge of antique plate in general and of spoons in particular. I always try to make my contributions to it informative and therefore feel obliged, however embarrassed, to set the matter right here. The list of specifically non exempt items which I quoted in my article and attributed to The Plate Offences Act of 1738 did, in fact, not appear on the statute book until the 1790 act. The list, which does apply, appears in the act of 1720, which Tony has researched and kindly supplied to me, and is as follows: hafts, spoons, thimbles, buckles, clasps or buttons. This act took effect from the first day of July one thousand seven hundred and twenty one. It was therefore from this date that a silversmith could no longer decide for himself that teaspoons were in respect of their smallness not capable of receiving a mark. It is interesting to note that the weight of items, which were exempt, in this act was 3dwt, so that teaspoons would not have been exempt anyway even if spoons had not appeared in the above list. The part played by the act of 1738 was to reinforce this by the introduction of a statutory charge (not exceeding three pence three farthings per dozen * ) for marking them. I hope that my fellow members will forgive me this misunderstanding and accept my apology for misleading them. In order to clarify things I have drawn up a table of events in date order as follows: 1. Late 17 th Century: imposition of 3d. for assay on all items however large or small and the belief by some silversmiths that if they had not registered their mark at Goldsmiths Hall they need not submit their work for hallmarking : ambiguity in the wording of the act allowing silversmiths to decide for themselves that such items as teaspoons were too small to receive a mark : directive issued by the Goldsmiths Company that all silversmiths round London must register their marks and have their wares hallmarked : teaspoons and other small spoons specifically not exempt from hallmarking by legislation : introduction of a statutory charge not exceeding three pence three farthings per dozen for assaying teaspoons. * J.P. de Castro. Law And Practice Of Hall-Marking Gold And Silver Wares. p

21 Ronald Grant s regarding the Introduction in the previous issue: Thank you for the information and illustration, clearly indicating that my interpretation was incorrect. Thinking of a better one now becomes much more difficult! Going back to my original article, it still seems probable that the Sta, with a tilde over the a, must be a town mark. I take it that the tilde indicates a contraction, but of what? When I last spoke to the Davidson s about Chester marks, they expressed the opinion that the PH was certainly not Peter Hopwood. Kirkpatrick Dobie replies and comments on items in the May/June Finial: Confusing Hallmarks (page 9): WO with pseudo marks is for WING ON, working in Hong Kong in the first half of 20 th century. My reference is the catalogue of Chinese Export Silver at John Sparks, December A.R and sunburst (page 14): The first mention I could find was in Phillip s Edinburgh sale, May 1982, where under Dingwall lot 124 a good teaspoon has the same marks. Lot 125 has the same; but with an incuse Bird in Flight. The late Derek Graham who was in charge of the silver department at Phillips ascribed the mark to Dingwall because a Sun in Splendour appears in the town coat of arms. However since at least eight Scottish Burghs also have a sun in splendour as part of their coat of arms, the odds are not good. What I have deduced is that due to the number of pieces of flatware in existence in Scotland, they are not likely to be colonial. Lot 53 in the latest auction is Alexander Spence not Alexander Zeigler. Kindest regards. Bill Gillham notes: Graham Bliss s caddy spoon, page 7 in The Finial, Jun/Jul 05,is a well-known fake of which there are a large number in circulation all with identical marks. See the Finial, page 204, Jun/Jul 2001 where an identical spoon is shown and the story told. The spoon in question had appeared in the Silver Spoon Club s March 2001 auction. Jolyon Warwick James corresponds from Australia: At last a contribution to The Finial, re the spoons with P on them (The Finial, May/Jun 05, page 17). I too have a Hanoverian pattern tablespoon bearing the letter P. The spoon is of noticeably good quality and condition, initialled on the stem E * S. The hallmarks are Britannia Standard for William Scarlett, London What is interesting is that the P is on the front of the spoon stem close to the bowl. Many years ago I sold this spoon to a client who returned it fearing it was fake. He was suspicious of the almost unused condition, and the presence of the letter P which coincidentally linked up to the name of a person who at that time who was involved with (and convicted of) of hallmarking offences on spoons. I therefore submitted the spoon to the Antique Plate Committee at Goldsmiths Hall. It was returned to me as passing scrutiny and with the case number 5800 stuck on it. The spoon remains in my collection, still proudly bearing its number. Alas the client involved and to whom I refunded the purchase price, has since died. However he enjoyed the exercise and even tried to re-buy the spoon from me. I could try and take a photo of the spoon but if I did, of what bit? The Hallmarks, the P or the whole spoon showing the position of the P. Ps on their own are hardly riveting! I do not think the initials on the spoon relate to Eric Smith, but I could be wrong!.21.

22 Review - Christie s South Kensington 6 th June 2005 Some Comments by Tim Kent, F.S.A. This sale included (Lots ) some spoons The property of a European Collector and a further trio (Lots ) submitted by the Trustees of the Knole Second Trust Fund. Most of these spoons were not of a quality calling for detailed comment, but a number, though not of major significance, were of collectors interest. Lot 632, which realised 2,200 hammer price, was a good and interesting seal-top dated (probably) 1615, though probably later in date in which case it is likely to refer back to a marriage in this year. The maker, whose mark T over M is found on many spoons, has not yet been identified, but from the finial construction and incuse-punch decoration must have worked somewhere in the Salisbury catchment area. Fig. 1 Fig. 2 Fig. 1 shows Lot 632 flanked by a pair dated 1664 (private collection), while Fig 2 shows another, smaller spoon dated 1635 and featuring a pronounced Salisbury Group B finial, the cap with underside decoration, typical of Robert Tyte s workshop. This spoon has a particularly clear maker s mark in its bowl (Fig 3). A mystery to be unravelled. Fig. 3 Fig. 4 Fig. 5 Lot 640 was a sturdy West Country Apostle (St Philip), the Saint s visage somewhat occluded, perhaps in the original casting, bearing excellent London Forgery Group marks (Fig 4), almost certainly pertaining to Samuel Cawley I, the Exeter Royalist goldsmith and operator of that City s mint under Sir Richard Vyvyan. The marks are, of course, in no way forgeries but informal provincial marks of the period, though the London Goldsmiths Company would have disapproved of the do-it-yourself lion. Besides spoons, they feature on Church plate at Atherington, between Exeter and Barnstaple. This spoon, which made 2,200 hammer price, is a fine example with excellent marks. Lot 643, probably St Matthew with money-bag, can have nothing to do with William Ramsay, Carlisle as the catalogue suggests, the plain circular disc nimbus being typically West Country. The pricked date 1661 is original, and the very clear maker s mark WR conjoined (Fig 5) may well pertain to William Ring of Shaftesbury, who used Salisbury seals of both types. It is interesting to compare the finial of this spoon with another, dated 1628 and somewhat cruder in casting, struck in bowl and on stem with the acorn mark (possibly Bristol) noted on a seal-top spoon from the Charlynch Hoard (No. 13, see Spoones and Gobletts Taunton Museum publication)..22.

23 Fig. 6 Fig. 7 Fig 6 shows (L) the castings on Lot 643 (which realised 1,300 hammer) and (R) the acorn spoon, which is dated William Ring (if it be he) also used Bath castings, usually St Matthias with integral cast-in axe, as on many spoons bearing the marks of Spencer and George Reeve. Fig 7 shows (L) a fine silver-gilt apostle spoon with pricked date 1664 and WR mark in bowl and thrice on stem, and (R) a very similar casting by Spencer Reeve of Bath (both spoons from a private collection). The latter spoon bears the unique Bath town-mark (West front of Bath Abbey). Fig. 8 Fig. 9 Lot 645 was a charming little seal-top spoon, with crisp seal and attractive patination, probably circa It bears one mark, in its bowl, lightly struck, a barbed rose in circular punch (Fig 8 and 9). It is well established that during the Restoration period such a mark was used as a town-mark at Warminster by Thomas Cory, William Clare, and John Elderton (see my Warminster Silver, Silver Society Journal, autumn 1998). All these makers use the mark in a distinctive circular punch. Fig. 10 During the 1630 s Richard Lyle quitted Southampton (where his family were well-established as spoonmakers) in order to settle at Warminster. In 1638 a marriage licence issued for Richard Lysle (sic) of Warminster, goldsmith, and Dennise Bull of the same place, widow. It is tempting to think that Lyle introduced the circular rose mark to Warminster, and that Cory, Clare and Elderton took it over. But why should Lyle have chosen this mark? Fig 10 may provide the answer. It is not capable of proof, but what would be more natural than for Lyle to choose a mark linked to his place of origin. In any event, this nice little spoon proved popular at 1,100 hammer price..23.

24 Results for the Club Postal Auction for 8 th July 2005 Please note that the results price does not include the 10% buyer s premium. Lot Reserve Bids received Result Lot Reserve Bids received Result ; 15; ; 15; ; 11; ; 11; ; ; 11; ; 8; ; 11; ; 11; ; ; 11; ; 11; ; 11; ; ; ; 30; 45; 53; ; 32; ; 36; 41; ; 32; 38; 40; ; ; ; ; ; ; 24; ; ; 18; ; 14; ; 23; 30; ; ; 35; ; ; 27; 29; 32; ; ; 87; 100; 108; ; 26; ; 21; ; 28; 36; ; ; ; 82; 95; ; 20; ; 15; 17; 20; ; 225; ; ; 45; ; ; ; 16; 16; ; ; 22; 25; 26; ; 24; 24; 33; ; 15; 15; ; ; 27; 30; 31; 33; 35; 37; ; 295; ; ; ; 23; ; ; ; 20; ; 57; ; 22; 27; ; ; 35; 37; 39; ; 60; ; ; ; ; ; 22; 23; 26; 32; ; ; ; 12;

25 The Silver Spoon Club OF GREAT BRITAIN 26 Burlington Arcade, Mayfair, London. W1J 0PU Tel: Fax: POSTAL AUCTION (For members and subscribers only) To take place on Friday 26 th August 2005 Y our written, or faxed bids are invited for the following lots bids to be with us, please, by no later than 12.00pm, on the day of sale. Please note that purchase prices are subject to a 10% buyers premium, plus VAT on the premium and 5.00 for postage & packing per consignment. See page 59 for details. Members are welcome to come and view the lots on offer at 26 Burlington Arcade. Lot 1 Lot 2 Lot 3 Lot 4 Lot 5 Lot 6 * Please note: due to the weight of some books the postage, packin g & insurance has been individually priced as opposed to the normal single cost of 5.00 per parcel, or as always, they can be collected from Burlington Arcade. (Postage shown is within the UK, for overseas we can arrange separately). Lot Description Reserve 1. Boo k: A Guide To Collecting Silver by Elizabeth De Castres. Hardba ck, DJ, 1980, pp (Post 6). Est Book: Bottle Tickets (V & A museum) by Jane Stancliffe, edited by Philippa Glanville 5 Hardback, pp 48. Est Book: Understanding Antique Silver Plate by Stephen J Helliwell. Hardback, DJ, 1997, pp 230. (Post 8). Est Book: Sporting Glory, The Courage Exhibition of National Trophies at the Victoria & Albert Museum. Paperback, 1992, pp 336. (Post 10). Est Book: Paul de Lamerie, The Work of England s Master Silversmith ( ) by Goldsmiths Hall. Paperback, 1990, pp 181. (Post 8). Est Book: Catalogue Of Scandinavian and Baltic Silver (Victoria & Albert Museum) by R.W. Lightbown. Paperback, 1975, pp 255. (Post 7.00). Est Book: Collectors Guide to Antique American Silver by Marvin D. Schwartz. Hardback, DJ, 1975, pp 174. (Post 5.00). Est Book: Early West Country Spoons, from the Corfield Collection by Tim Kent. Paperback, pp 32. Est Book: Exeter and West Country Silver (Exeter Museum), forward by Simon Hunt. Paperback, 1978, pp 74. Est Lot 7 Lot 8 Lot 9 Lot 10 Lot 11 Lot

26 Lot 13 Lot 14 Lot 15 Lot Description Reserve 10. Book: Devon Festival 1957, Exeter Silversmiths, Domestic Silver of the 16 th to 18 th Centuries. Paperback, 1957, pp 11. Est Book: Investing In Silver by Eric Delieb. Hardback, DJ, 1970, pp 158. (Post 10). Est Catalogue: Fine Silver, the Property of Various Owners, 23 rd July 1981 by Sotheby s. Paperback, pp 57. Est Book: The Training Of The Silversmith by British Institute of Industrial Art. Paperback, 1928, pp 15. Est Book: Silver On View at the Grosvenor Museum, An Exhibition of Silver for the Chester Festival 1973, forward by D.F. Petch. Paperback, 1973, pp 55. Est Book: Catalogue of the Historic Plate of the City of London, Exhibited at Goldsmiths Hall 1951, introduction by Charles Oman. Paperback, 1951, pp 86. (Post 5.00). Est Silver S.G.C. medal 1925 teaspoon with golf club and ball handle, Birmingham 1929 by J.F. L-14.1cm; W-23g. ~ reasonable marks and condition. Est Silver golf club teaspoon with clubs and balls handle and golfer finial, Birmingham 1965 by Alexander, Clark & Co. L-11.8cm; W-17g. ~ in reasonable condition. Est Victorian silver-gilt small sugar tongs, London 1880 by Robert Harper over-struck by I.S.T? L-9cm; W-21g. ~ lovely little tongs, in good condition. Est Victorian cast silver shamrock leaves teaspoon, Birmingham 1891 by Levi & Salaman. L- 9.7cm; W-17g. ~ in good condition, an unusual and pleasing spoon. Est Russian silver-gilt teaspoon with town scene on back of bowl, Moscow 1889 with Romanian import mark. L-13.3cm; W-12g. ~ dent to bowl, reasonable condition. Est

27 Lot Description Reserve 21. Victorian silver dessert fork of unknown pattern, London 1846 by Francis Higgins. L- 15.4cm; W-37g. ~ minor wear to tines, otherwise in good condition. Est Georgian silver shell-back & double shell-front teaspoon, circa L-11.5cm; W-14g. ~ old scarp joint repair to stem, makers mark worn, otherwise a pleasing spoon. Est Exeter silver Fiddle pattern sugar spoon, 1856 by James & Josiah Williams. L-15cm; W-25g. ~ slightly larger than normal, good marks and condition. Est Victorian silver sardine fork, Birmingham 1898 by William Devenport. L-13.3cm; W-15g. ~ a sweet little fork, good marks and condition. Est Exeter silver Old English pattern tablespoon, 1800, by Richard Ferris. L-12.3cm; W-59g. ~ bowl tip worn and slightly re-shaped, otherwise reasonable spoon. Est Elgin silver-plated Old English pattern mustard spoon, circa 1900 by MacKay. L-12.8cm. ~ heavy gauge and good plating. Est Shetland silver St. Ninians Isle tea caddy spoon with Edinburgh marks for 1956 by SS. L- 5.6cm; W-7g. ~ light in weight but in good condition. Est Irish silver & enamel Ireland teaspoon, Dublin 1966 by N.C.C. Ltd with a commemorative mark (The sword of light) for the 50 th anniversary of the 1916 rebellion, also stamped Made In Irish Republic. L-9.6cm; W-12g. ~ good marks and condition, needs a clean. Est

28 Lot Description Reserve 29. Edwardian silver & enamel Glasgow teaspoon with city view in bowl, Birmingham 1901 by J.M, retailed by Edward of Glasgow. L-11.6cm; W-19g. ~ an excellent spoon. Est Irish silver Fiddle pattern teaspoon, Dublin 1825 by Christopher Eades, retailed by M. West. L-13.3cm; W-15g. ~ bowl worn, good marks. Est Maltese silver Fiddle pattern basting spoon, circa L-31cm; W-146g. ~ in excellent condition, good gauge and marks. Est Maltese silver Fiddle pattern soup ladle, circa 1862 by Pace. L-31.5cm; W-192g. ~ in excellent condition, good gauge and marks. Est Pair of Exeter silver Fiddle pattern tablespoons, 1837 by Robert Williams. L-23.1cm; W- 152g. ~ very minor wear to bowl tips, otherwise good marks and condition. Est George III silver Old English feather-edge pattern salt spoon, London c.1780 by Hester Bateman. L-10.4cm; W-11g. ~ wear to feather-edge and marks. Est

29 Lot Description Reserve 35. George III silver Old English pattern salt spoon with scallop shell bowl, circa 1770, unmarked. L-9.1cm; W-8g. ~ wear to feather-edge otherwise a pleasing spoon. Est Pair of George III silver Old English Thread pattern teaspoons, London 1793 by G. Smith & W. Fearn. L-13.1cm; W-34g. ~ minor wear to bowl tips, good marks and condition. Est Jersey silver shell-back Old English pattern teaspoon, circa 1780 by George Hamon. L-13cm; W-11g. ~ wear to shell and bowl & soft knocks, good mark. Est Jersey silver shell-back Hanoverian pattern teaspoon, circa 1780 by George Hamon. L- 11.6cm; W-9g. ~ old repair to handle, good shell and mark. Est Irish silver Fiddle pattern teaspoon, Dublin c.1795 by Michael Keating. L-13.2cm; W-17g. ~ minor wear to bowl tip, otherwise good marks and condition. Est Pair of Georgian silver shell-back Hanoverian pattern teaspoons, circa 1760 by Ebenezer Coker. L-11.3cm; W-19g. ~ old repair to one handle, otherwise reasonable. Est George II silver Hanoverian Rattail pattern teaspoon, London c.1730 by Samuel Griffin. L- 10.5cm; W-6g. ~ minor wear to bowl, otherwise reasonable condition. Est Silver Worshipful Company of Ceilers & Joiners dessert size spoon, Sheffield 1930 by Harry Atkins. L-17.3cm; W-62g. ~ excellent condition and weight. Est

30 Lot Description Reserve 43. Silver Worshipful Company of Ceilers & Joiners dessert size spoon, Birmingham 1929 by H&H. L-17.1cm; W-55g. ~ excellent condition and weight. Est William IV silver Queen s pattern dessert spoon, London 1830 by William Eaton. L-18.4cm; W-62g. ~ good weight, marks and condition. Est Pair of William IV silver Queen s pattern dessert spoons, London 1831 by William Eaton. L- 17.2cm; W-123g. ~ good weight, marks and condition. Est George III silver Hanoverian pattern dessert spoon, London 1776 by Walter Tweedie. L- 17.8cm; W-40g. ~ good gauge, marks and condition. Est George III silver Old English pattern tablespoon, London c.1770 by Thomas & William Chawner. L-21.1cm; W-61g. ~ wear to marks and bowl, good gauge. Est Set of six silver-gilt & blue, green and white enamel coffee spoons, cased, Birm by T&S. L-9.2cm; W-50g. ~ some minor chips to enamel, a very pretty set. Est Newcastle set of six George III silver Old English pattern teaspoons, circa 1804 by Dorothy Langlands I. L-12.3cm; W-58g. ~ good marks and condition, see page 7. Est George III silver bright-cut sugar tongs, London c by George Baskerville, made in 5 parts?. L-14.7cm; W-32g. ~ there are solder joints above each bowl and below the marks on each arm, the bright-cutting certainly was done over the joints, which one presume makes them original, however there is also a repair to one arm. Est

31 Lot Description Reserve 51. George III silver bright-cut sugar tongs, London c.1782 by John Lambe. L-13.1cm; W-37g. ~ old crude repairs on one arm, lovely bowls. Est George III silver bright-cut sugar tongs, London c.1784 by Thomas Northcote. L-14cm; W- 34g. ~ split and repair to arch, good gauge, pretty decoration. Est George III silver sugar tongs with thread decoration, London c.1784/5 (incuse duty mark) by William Brockwell. L-12.6cm; W-27g. ~ one bowl repaired, good marks. Est George III silver bright-cut sugar tongs, London c.1786 by Stephen Adams. L-14cm; W-33g. ~ removed initials and repair to arch, good marks. Est Pair of Newcastle George III silver Old English pattern tablespoons, circa 1790 by Robert Pinkney?. L-21.9cm; W-118g. ~ good marks and condition. Est Newcastle silver Old English pattern tablespoon, circa 1790 by Langlands & Robertson. L- 13cm; W-66g. ~ good marks and condition. Est George II silver & steel travelling knife and fork, circa 1730, not marked. L-16cm (knife). ~ the knife and fork should un-screw but I do not want to force them, maybe a little penetrating oil would help ease them open, otherwise in good condition. Est

32 Lot Description Reserve 58. Georgian silver pistol grip knife and fork with steel blade and tines, circa 1750 by T. Law. L-15.7cm. ~ worn holes on both handles, makers mark only. Est Charles II silver Lace-back & front Trefid spoon, London 1681, makers mark unreadable, initialled IW over MM over L-19.8cm; W-49g. ~ bowl tip worn, very nice decoration on bowl and handle, very good marks except maker s, good colour, a pleasing spoon. Est George I Britannia silver rattail marrow scoop spoon, London 1723 by William Scarlett with his P mark. L-23cm; W-55g. ~ later Georgian crest in bowl, this is the first marrow spoon I have seen with the scoop hollow on the underside the handle, however I have no doubts about this spoon, good colour, gauge, marks and condition, a great example. Est Exeter, set of 6 Victorian silver Old English pattern table forks, 1870 by Thomas Stone. L- 20.1cm; W-421g. ~ good gauge, marks and condition. Est Set of 3 Britannia silver lace-back and front Trefid teaspoons, London 1912 by Mappin & webb. L-10.8cm; W-38g. ~ good gauge, marks and condition. Est Russian silver salt cellar with gilt interior, Moscow D-6cm; W-44g. ~ reasonable marks, good condition, nicely engraved. Est

33 Lot Description Reserve 64. Pair of Russian silver salt cellars on three ball feet, Moscow D-5cm; W-68g. ~ a useful pair of salts, some staining inside, good marks and condition. Est Pair of George III silver bright-cut Old English pattern teaspoons, London 1783 by Richard Crossley. L-11.5cm; W-30g. ~ excellent marks, decoration and condition. Est Georgian silver & ivory dessert fork, London c.1825 by Charles Shipway. L-15.5cm. ~ silver & ivory in good condition. Est Georgian silver & tortoiseshell folding fruit fork, circa L-13.5cm. ~ in very good condition, has a good feel. Est Set of 3 George III silver Old English pattern teaspoons, London 1802 b y George Smith & Thomas Hayter. L-13cm; W-43g. ~ minor wear to bowl tip, in reasonable condition. Est Dundee silver Fiddle pattern sifter spoon by Cameron with Newcastle marks for L- 16cm; W-32g. ~ good marks and condition. Est Victorian silver Fiddle Thread & Shell pattern sugar tongs with a die-struck 22 nd Cheshire Regiment crest on each arm, London 1855 by John Samuel Hunt. L-14.6cm; W-63g. ~ typical wear of regimental silver, reasonable condition, good gauge and marks. Est Glasgow silver Hanoverian pattern tablespoon, circa 1776 by Milne & Campbell. L-11.3cm; W-64g. ~ minor wear to bowl tip, town mark worn, otherwise good condition. Est

34 Lot Description Reserve 72. Silver St Andrew apostle spoon, Birmingham 1978 by A.E. Jones. L-14.4cm; W-34g. ~ good gauge, marks and condition with a detailed St. Andrew. Est Silver notched-end puritan rattail pattern teaspoon, London 1959 by William Worthington. L-13cm; W-20g. ~ good gauge, marks and condition. Est George III silver apple corer with stained green ivory handle, London 1801 by Timothy Renou. L-12cm. ~ age cracks to ivory, marks a bit worn, but a lovely piece. Est Pair of George III silver Old English pattern salt spoon, London 1796 by Thomas Wallis. L- 10cm; W-18g. ~ wear to some marks, otherwise good gauge and condition. Est George II silver Whiplash pattern salt spoon with shell bowl, circa 1750, not marked. L-9cm; W-8g. ~ in good condition, a little rarity. Est Chester silver Fiddle pattern tablespoon, 1843 by John Sutter. L-22.5cm; W-89g. ~ very minor wear to bowl tip, good gauge, marks & condition reasonable. Est Pair of George III silver feather-edge pattern sugar tongs, circa 1780 by James Harmer. L- 14.2cm; W-34. ~ good marks and condition. Est Colonial? Silver Fiddle pattern tablespoon, by L.&C. L-20.3cm; W-53g. ~ wear to bowl tip, good marks reasonable condition. Est

35 Lot Description Reserve 80. Scottish silver Old English pattern tablespoon, Edinburgh 1749 by Ker & Dempster and Assayers mark of Hugh Gordon. L-20.2cm; W-65g. ~ good gauge, marks & cond. Est Aberdeen silver Fiddle pattern tablespoon, circa 1820 by George Booth. L-21.6cm; W-84g. ~ very good gauge, bowl, marks and condition, a good spoon. Est Scottish silver Hanoverian pattern tablespoon, Edinburgh 1770 by Patrick Robertson. L- 21.8cm; W-70g. ~ good gauge, bowl, marks and condition. Est Irish silver Rattail Hanoverian pattern tablespoon, Dublin c.1715 by R?. L-20.4cm; W-80g. ~ wear to bowl tip, good gauge and condition, date letter worn, pleasing spoon. Est Scottish silver Old English pattern teaspoon, Edinburgh 1808 by Ziegler family. L-13.6cm; W-12g. ~ good marks and condition. Est Scottish silver Fiddle pattern teaspoon, Edinburgh 1816 by Mitchell & Russell of Glasgow. L- 14.6cm; W-19g. ~ good marks and condition. Est Exeter silver bright-cut sugar tongs, 1820 by Joseph Hicks. L-14cm; W-31g. ~ a few soft kinks to arms, otherwise good marks and condition. Est George II silver Hanoverian pattern tablespoon, London c.1729 by John Wrenn. L-19.9cm; W-57g. ~ minor wear to bowl tip, good makers mark, a useful spoon. Est

36 Lot Description Reserve 88. George III silver Old English bright-cut pattern salt spoon with shell bowl, London 1787 by John Lambe. L-10cm; W-7g. ~ Old repair to handle, otherwise a nice spoon. Est George III silver marrow scoop, London 1782 by John Lambe. L-21.1cm; W-45g. ~ good gauge, marks and condition, a pleasing scoop. Est Canadian silver Fiddle pattern butter knife, circa 1870 by Michael Septimus Brown. L-19cm; W-34g. ~ good marks and condition. Est Maltese silver Fiddle pattern teaspoon, circa 1841 by Emidio Critien. L-14.3cm; W-26g. ~ good gauge, marks and condition. Est Irish silver Celtic-point pattern teaspoon, circa 1780 by Michael Keating. L-13.1cm; W-13g. ~ wear to bowl tip, otherwise good gauge, marks and condition. Est Victorian silver Fiddle & Thread pattern salt spoon, London 1870 by George Adams. L- 11.3cm; W-21g. ~ good gauge, marks and condition. Est Scottish silver Kings pattern sugar tongs with shell bowls, Glasgow 1837 by J & W Mitchell. L-15.1cm; W-61g. ~ good gauge, marks and condition. Est Scottish silver Fiddle pattern sugar tongs with shell bowls, Edinburgh 1874 by J. McKay. L- 15.1cm; W-50g. ~ good marks and condition. Est

37 Lot Description Reserve 96. Georgian silver mote spoon, circa 1760, no makers mark. L-13.3cm; W-8g. ~ piercing in good condition, handle a little wonky. Est Edwardian silver fruit straining spoon with gilt bowl, Birmingham 1909 by Elkington & Co. L-21.2cm; W-72g. ~ very good gauge, marks and condition. Est Pair of George III silver Old English pattern sauce ladles, London 1776 by George Smith. L- 18.1cm; W-97g. ~ good marks and condition, useful ladles. Est Pair of George III silver Kings Double Shell & Laurel pattern dessert forks, London 1819 by Paul Storr. L16.9cm; W-128g. ~ minor wear to tines, excellent weight and condition with good marks, a hard to find pattern with a very reasonable reserve. Est George III silver meat skewer, London 1802 by William Eaton. L-22cm; W-27g. ~ reasonable marks and condition. Est George II silver Hanoverian Rattail pattern unusual large teaspoon for the period or a very small dessert spoon, London 1722, makers mark unreadable. L-13.9cm; W-18g. ~ later initial on front, otherwise in very good condition. Est Scottish silver Fiddle pattern sugar tongs with shell bowls, Glasgow 1828 by Daniel Robertson. L-14.7cm; W-46g. ~ very good condition and marks. Est Victorian silver Fiddle pattern sauce ladle, London 1855 by George Adams. L-18cm; W-62g. ~ good marks and condition. Est

38 Lot Description Reserve 104. Edwardian silver pierced Thistle napkin ring, Chester 1904 by Trevitt & Sons. D-4.5cm; W-18g. ~ good marks and condition. Est Victorian silver Beaded caddy spoon with shell bowl, Sheffield 1873 by Richard Martin & Ebenezer Hall. L-8cm; W-15g. ~ good marks and condition. Est George II silver marrow scoop, London 1727 by Paul Hanet. L-21.7cm; W-48g. ~ there is an additional French import mark, good gauge, marks, maker and condition. Est William III silver Beaded Rattail Trefid spoon, London 1699 by Stephen Coleman, initialled R.S. L-18.9cm; W-58g ~ wear to bowl, otherwise very good gauge & condition with excellent marks. Est Scottish silver Hanoverian pattern tablespoon, Glasgow c.1785 by James McEwan. L-22.1cm; W-70g. ~ signs of removed initials, otherwise reasonable marks & condition. Est George III silver Old English bright-cut pattern tablespoon, London 1783 by Hester Bateman. L-21.5cm; W-60g. ~ very good marks and condition, however I have doubts about the originality of the decoration, it is a little too sharp and basic and not neat enough, I have seen this decoration a few times before and had doubts! Est

39 Lot Description Reserve 110. Scottish silver Hanoverian pattern with shoulders pattern tablespoon, Edinburgh 1766 by MK conjoined. L-21.8cm; W-76g. ~ bowl a little polished inside, otherwise excellent gauge, condition with good marks and feel, crest of a cherub climbing a tree. Est Please go to our Order Form to purchase a complete copy of this Finial 111. An extremely rare York silver marrow scoop, circa 1858 by John Bell. L-17.8cm; W-25g. ~ The date letter X is believed to be the last un-recorded date letter of the York assay office. The only other illustrated example of this mark is in York Assay Office & Silversmiths by Martin Gubbins, page 44, which is similar, the only difference is that our set of marks has a slightly smaller lion passant. Martin s scoop was sold by Bonhams (New Bond St) in the Gubbins Collection, (18 th July 2002) Lot 184 for % commission. ~ The thinner scoop has a few soft kinks (from use in a knuckle), the lion passant is half worn, otherwise good marks and condition, with a low reserve but will probably do very well (a pension fund piece!). Est George III silver Old English pattern tablespoon, Lon by Hester Bateman. L-21.5cm; W-58g. ~ wear to bowl tip & makers mark, otherwise good marks & condition. Est Victorian silver Leaf Scroll Albert pattern teaspoon, Sheffield 1839 by Ashford & Harthorn. L-14.9cm; W-32g. ~ from the kitchen draw!, bowl edge worn. Est Georgian silver bird flying over a tree within a circle of leaves picture-back Hanoverian pattern teaspoon, London c.1760 by I.W. L-11.7cm; W-12g. ~ condition of spoon is good, however the picture back is extremely faint, but detail can be made out. Est George III silver Old English Bead pattern teaspoon, circa L-12.2cm; W14g. ~ good shaped spoon, wear to top of handle, makers mark looks like CCC? Est

40 Lot Description Reserve pieces of Indian Colonial silver Queens pattern cutlery, Madras c.1825 by Grostate & Co., comprising of 6 tablespoons, 6 table forks, 6 dessert spoons, 6 dessert forks, 6 teaspoons & 2 salt spoons. L-21.8cm (tablespoon); W-2322g (74.65 troy oz). ~ Fantastic weight, marks and condition, looks as it has never been used, a wash and it is ready for the table! Est Victorian silver Queens pattern basting spoon, London 1871 by George Adams. L-30.4cm; W-197g. ~ excellent weight, marks and condition. Est Pair of William IV silver Kings Honeysuckle pattern sauce ladles, London 1832 by William Chawner. L-17cm; W-164g. ~ heavy gauge, good marks and condition. Est Victorian silver Queens pattern condiment ladle with gilt bowl, London 1843 by John & Henry Lias. L-13cm; W-35g. ~ heavy gauge, good marks and condition. Est , Pair of Exeter George III silver Old English pattern salt spoons, 1815 by Joseph Hicks. L- 10.2cm; W-15g. ~ good marks and condition. Est Victorian silver Gothic style sifter spoon, London 1882 by George Adams. L-14.3cm; W-36g. ~ remains of gilding, good gauge, marks and condition. Est George III silver Fiddle & Thread pattern sifter spoon with royal crest, London 1817 by W. Eley & W. Fearn. L-15.5cm; W-42g. ~ lovely piercing, good marks & condition. Est

41 Lot Description Reserve 123. George II silver scroll-back marrow scoop spoon, London 1751 by Ebenezer Coker. L- 11.8cm; W-54g. ~ very crisp scroll, excellent marks, colour and condition. Est Queen Anne Britannia silver Rattail marrow scoop spoon, London 1713 by John Holland I. L-21.8cm; W-52g. ~ interestingly the O of the HO makers mark has been over struck by a plain punch, which must have been done, either by the Assay office or the silversmith as it has been reshaped with the other marks (due to heavy punching at the assay office) ~ great marks and condition, a lovely spoon. Est George III silver pierced sugar tongs with cast arms & bright-cut decoration, London c.1780 by William Stephenson. L-12.9cm; W-47g. ~ in fantastic condition with no signs of repair, good gauge and marks. Est Victorian silver fruit knife with engraved decoration, Birmingham 1845 by George Unite. L- 11.6cm (open); W-20g. ~ good marks and condition. Est th century silver and cowrie shell bowled spice or sugar spoon with shell handle, circa 1680, not marked. L-13.3cm. ~ the silver mounts holding the handle have a lace type decoration and the bowl is held in place by stylised shell mounts with a rattail. The back of the bowl has a lovely speckled brown colour and the handle is a dark cream. ~ Amazingly the condition is outstanding, nether shell has any damage and nor does the silver; the best way I can describe this piece is as museum quality with a sensible reserve. Est

42 Lot Description Reserve 128. Arts & crafts silver and blue & green enamel spoon, Birmingham 1935 by Liberty & Co. L- 12.6cm; W-18g. ~ enamel, silver &marks in excellent condition. Est George II silver shell & leaves-back Hanoverian pattern teaspoon, London c.1750 by James Wilks. L-10cm; W-6g. ~ very minor wear to bowl tip & leaves, a sweet spoon. Est George III silver shell-back Hanoverian teaspoon, London c.1765 by T & W Chawner. L- 10.3cm; W-8g. ~ wear to bowl tip and slight wear to shell, a reasonable spoon. Est George II silver shell-back Hanoverian pattern teaspoon, London c.1750 by Ebenezer Coker. L-11.4cm; W-11g. ~ handle has been bashed about, bowl & shell excellent. Est Georgian silver shell-back Hanoverian pattern teaspoon, London c.1760 by Thomas Wallis. L- 12.4cm; W-14g. ~ very unusual shell, which I have not seen before, very minor wear to bowl tip, otherwise excellent shell and condition. Est Set of 6 silver Asian teaspoons with a stylised god as the finial, circa 1930 s, not marked. L- 11.6cm; W-35g. ~ a tourists present!, in good condition. Est Set of 12 silver Royal Horticultural Society Flower Spoons teaspoons, cased, Sheffield 1974 by John Pinches. L-12.9cm; W-298g. ~ each spoon has a different flower (rose, freesia, daffodil, anemone, dahlia, gladiolus, iris, chrysanthemum, gentian, tulip, columbine & viola) in cameo as the finial. ~ with a letter from the president of the RHS. ~ one hinge broken on case, silver in good condition as are marks. (post 10.00) Est Continental.800 silver very small sugar tongs, circa ~ reasonable cond. Est

43 Lot Description Reserve 136. Scottish horn teaspoon with silver mounts, circa L-15cm. ~ stem of thistle missing, otherwise in good condition George II silver shell-back Hanoverian pattern teaspoon, London c.1755 by BC. L-7g. ~ minor wear to bowl tip, bowl lip a little wonky, good shell, wear to marks. Est Aberdeen silver bottom marked Old English pattern tablespoon, circa 1760 by J. Gordon. L- 20.6cm; W-59g. ~ soft kink to bowl lip, otherwise good marks and condition. Est Scottish silver Scottish Fiddle pattern dessert spoon, bottom marked, circa L-15.4cm; W-25g. ~ mark very worn, otherwise in reasonable condition. Est George III silver Dognose pattern 3-pronged table fork, London 1769 by T & W Chawner, L- 19.8cm; W-57g. ~ minor wear to tines, good gauge and condition. Est George III silver Prince of Wales Feathers picture-back Hanoverian teaspoon, circa L-11.7cm; W-11g. ~ old repair to stem, marks totally worn, clear picture. Est George II silver marrow scoop, London 1751 by Ebenezer Coker. L-21cm; W-37g. ~ good gauge and condition, reasonable condition. Est Pair of George III silver Old English pattern tablespoons, London 1778 by George Smith. L- 21.5cm; W-116g. ~ makers mark half struck, good condition. Est

44 Lot Description Reserve 144. George IV silver-gilt Kings variant (half honeysuckle, half laurel) pattern teaspoon, London 1821 by William Chawner. L-14.6cm; W-39g. ~ in very good condition. Est George II shell & scroll-back and Greek god picture-front Hanoverian teaspoon, Lon. c.1755 by Elizabeth Oldfield. L-11.6cm; W-15g. ~ good details, marks and condition. Est Sterling silver H.M.S. Blake steamship teaspoon with the handle formed by a broom, whip & crown, circa 1895 by J. Cornelius. L-11.4cm; W-13g. ~ good detail & condition. Est Victorian silver regimental spoon with engraved royal crown as the finial, London 1869 by George Adams. L-14.2cm; W-25g. ~ excellent condition. Est Victorian silver-gilt Vintner s Company Commemorative Spoon for Queen Victoria s 1897 Diamond Jubilee serving spoon, Birmingham 1896 by Elkington & Co. L-22.5cm; W- 111g. ~ fantastically die-struck decoration including the Vintner s Arms, grapes, horse & rider and a crown. ~ heavy gauge and perfect condition, low reserve. Est Chester silver Fiddle pattern dessert spoon, 1846 by Patrick Leonard of Salford, Manchester. L-17.2cm; W-35g. ~ good marks and condition. Est Victorian silver Kings pattern mustard spoon, London 1873 by George Adams. L-14.2cm; W- 31g. ~ heavy gauge, excellent condition. Est Newcastle silver Old English pattern teaspoon, circa 1800 by Robert Wilson. L-12.6cm; W- 13g. ~ minor wear to bowl tip, otherwise good marks and condition. Est

45 Lot Description Reserve 152. Irish silver bottom marked bright-cut Celtic-point pattern tablespoon, Dublin 1768 by John Osbourne. L-14cm; W-69g. ~ lovely crest and decoration, good marks & cond. Est Scottish silver Hanoverian pattern tablespoon, Glasgow c.1760 by Milne & Campbell. L- 21.1cm; W-70g. ~ good weight and condition, marks slightly worn. Est Pair of Victorian silver Aesthetic teaspoons, London 1880 by Charles Edwards. L-10.2cm; W-23g. ~ signs of badly removed and flooded initials, otherwise nice spoons. Est Please go to our Order Form to purchase a complete copy of this Finial 155. George II silver Cannon handle large basting spoon, London 1731 by Mary Lofthouse, with contemporary initialled M over TM on the back of the bowl L-44.2cm; W-204g. ~For a similar example see Silver Flatware by Ian Pickford page 312, item 312. ~ the marks are excellent especially considering that they are inside the bowl, the handle does have with a few very minor tiny knocks but is also in great condition again considering that it is hollow, there is an extremely small split (2mm) on the bowl lip near the handle but does not go through on both sides and has clearly been there for a very long time, wonderful colour. Est George III silver Old English pattern tablespoon, London 1804 by Peter & William Bateman. L-21.7cm; W-61g. ~ excellent condition, makers mark a little worn. Est William IV silver Old English pattern tablespoon, London 1835 by Mary Chawner. L-22.3cm; W-73g. ~ in very good condition, lovely crest. Est

46 Lot Description Reserve 158. George II silver Hanoverian pattern tablespoon, London 1751 by Elizabeth Oldfield. L- 22cm; W-64g. ~ very good condition with marks. Est George II silver Hanoverian pattern tablespoon with cypher initials, London 1751 by Elizabeth Oldfield. L-22.1cm; W-63g. ~ excellent condition, good marks. Est William IV silver Old English pattern table fork, London 1835 by Mary Chawner. L-19.8cm; W-74g. ~ in good condition, makers mark a little worn. Est George III silver Old English pattern teaspoon, London c by Elizabeth Tookey. L- 12.5cm; W-15g. ~ excellent marks and condition, a good example. Est George II silver Hanoverian pattern tablespoon, London L-21.1cm; W-70g. ~ maker mark un-readable, otherwise good weight, marks and condition. Est George III silver Old English pattern tablespoon, London 1772 by John Lampfert. L-21.1cm; W-61g. ~ good marks and condition. Est George III silver Old English pattern tablespoon, Lon by George Smith III. L-21.6cm; W-64g. ~ couple of soft knocks to bowl, otherwise good marks and condition. Est Pair of George III silver Feather-edge & Cartouche Old English teaspoons, London c by script IH. L-13cm; W-28g. ~ unusual, feather-edging on both sides and runs around on the back of the bowl, makers mark worn, otherwise in good condition, nice spoons. Est

47 Lot Description Reserve 166. Pair of George III silver Feather-edge & Cartouche Old English teaspoons, London c by script IH. L-13cm; W-28g. ~ unusual, feather-edging on both sides and runs around on the back of the bowl, makers mark worn, otherwise in good condition, nice spoons. Est Georgian silver Shell & Scroll-back and shaped winged putto picture-front teaspoon, Lon. c by RR or RB. L-12.4cm; W-15g. ~ detail very good, bowl with dents & split George II silver rococo teaspoon, London c.1745 by Thomas Jackson I. L-12.1cm; W-15g. ~ very minor wear to bowl tip and mark, a wonderful spoon, I would love a set. Est George III silver Old English with shoulders pattern teaspoon, London c.1770 by T & W Chawner. L-12.4cm; W-15g. ~ marks worn, couple of knocks to bowl, good cond. Est Pair of George III silver bottom marked bright-cut Old English teaspoons, London c.1780 by G. Smith. L-13.2cm; W-32g. ~ marks worn, otherwise very good condition. Est Pair of George III silver Spiral stemmed Old English pattern teaspoons, London c L- 12.2cm; W-25g. ~ marks worn, couple soft knocks to bowl, otherwise good cond. Est George III silver Coffin-End pattern teaspoon, London 1807 by Thomas Wallis II. L-13.2cm; W-17g. ~ good gauge, marks and condition. Est Victorian silver bottom marked Albert pattern salt spoon with gilt bowl, London 1843 by S. Hayne & D. Cater. L-11.4cm; W-28g. ~ a lovely quality spoon in good condition. Est

48 Lot Description Reserve 174. George III silver Old English dessert spoon with Ladies engraved on the back, London 1784, by George Smith. L-17cm; W-34g. ~ bowl tip worn, otherwise good. Est Continental.800 silver-gilt & enamel Grindelwald teaspoon with bear finial, circa 1900 by SM. L-10.6cm; W-15g. ~ lovely bear and condition. Est Scottish silver single struck Queens pattern teaspoon, Glasgow 1860 by Buchanan. L-14.3cm; W-17g. ~ good marks and condition. Est Scottish silver Fiddle pattern teaspoon, Glasgow 1826 by Dobbie. L-12.8cm; W-10g. ~ good marks and condition. Est Pair of Russian silver Fiddle pattern teaspoons, Petrograd 1887 by KP. L-15.2cm; W-77g. ~ good weight, marks and condition. Est York silver Fiddle pattern teaspoon, 1843 by J. Barber, G. Cattle & W. North, L-13.7cm; W- 21g. ~ very good marks and condition. Est William IV silver Fiddle pattern egg spoon, lightly engraved J. Frank in script, London 1836 by Williiam Eaton. L-12.2cm; W-15g. ~ good marks and condition. Est Scottish silver Fiddle pattern teaspoon, Glasgow 1828 by Thomas Kelly. L-13.1cm; W-13g. ~ good marks and reasonable condition. Est

49 Lot Description Reserve 182. Irish? silver Old English pattern teaspoon, circa 1790 by Joseph Jackson?. L-13.4cm; W-11g. ~ slight kink to top of handle, otherwise good marks and condition. Est Channel Island silver Old English pattern teaspoon, circa 1800 by CQ. L-12.8cm; W-10g. ~ bowl worn on tip and side, otherwise reasonable. Est Scottish silver single struck Queens pattern dessert spoon, Glasgow 1855 by possibly David Dow. L-16.9cm; W-35g. ~ slight wear to bowl tip, otherwise reasonable. Est Irish silver bright-cut Celtic-point pattern teaspoon, Dublin 1780 by John Pittar. L-14cm; W- 14g. ~ soft dents & wear to bowl, otherwise reasonable. Est Paisley silver single struck Queens pattern condiment ladle by William Hannay with Glasgow marks for L-14.2cm; W-18g. ~ good marks and condition. Est Scottish silver shell bowled sugar tongs, circa 1785 by Milne & Campbell of Glasgow. L- 14.4cm; W-48g. ~ lovely tongs, excellent condition. Est Scottish silver plain sugar tongs with shell bowls, Edinburgh 804 by Mitchell & Russell. L- 14.6cm; W-33g. ~ unusually marked near bowls, good marks and condition. Est Dumfries silver Fiddle pattern tablespoon, circa 1820 by David Gray. L-12.7cm; W-68g. ~ excellent marks and condition, a good example. Est

50 Lot Description Reserve 190. Set of 3 Scottish silver Hanoverian tablespoons, Edinburgh 1763 by William Gilchrist. L- 21.7cm; W-229g. ~ minor knocks & wear to bowl, good weight, marks & cond. Est George II silver Hanoverian tablespoon with later decoration, London 1749 by Elizabeth Jackson. L-20.3cm; W-65g. ~ excellent marks and condition. Est Victorian silver Hanoverian pattern dessert spoon with embossed decoration to the bowl, matching the above Lot, Lon by George Adams, good marks and decoration. Est Victorian silver Hanoverian pattern teaspoon, London 1865 by George Adams, similar the above Lot, good marks and condition. Est Edwardian silver Angels crest finial teaspoon, Birmingham 1903 by John Greenwood & Sons. L-11.2cm; W-13g. ~ good gauge, marks and condition. Est Newcastle silver Fiddle pattern dessert spoon, 1852 by George & Clement Gowland. L-18cm; W-48g. ~ good marks and condition. Est George III silver Old English dessert spoon, London 1795 by William Eley I. L-17.8cm; W- 34g. ~ unusual makers mark, very minor wear to bowl tip, otherwise good. Est George III silver Old English pattern dessert spoon, London 1799 by Richard Crossley. L- 17.3cm; W-33g. ~ couple of soft dents to bowl, otherwise a reasonable spoon. Est