On the cover:
A William III Silver-Gilt Casket A full description and additional views can be found on pages 12 and 13.
VoLuME XXVI S. J. Shrubsole 26 East 81st Street New York, NY 10028 Tel: (212) 753-8920 Fax: (212) 754-5192 E-mail: inquiries@shrubsole.com www.shrubsole.com Regular Hours: Monday to Friday, 10:00 A.M. to 5:30 P.M. Saturdays, 10:00 A.M. to 5:00 P.M. Summer Hours: (Memorial Day to Labor Day) Monday to Friday, 10: 00 A.M. to 5:00 P.M.
Š Copyright 2020 S. J. Shrubsole, Corp. All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted in any form or by any means, electronic, mechanical, or otherwise, without the prior permission of the publisher. Edited by James McConnaughy and Tim Martin, with contributions by Ben Miller Designed by Mark Schnapper Graphic Design Printed by Dell Graphics Photography by Steven Tucker
Antique English and American Silver Antique Jewelry Old SheďŹƒeld Plate Antique Glass
Home sweet home: 26 East 81st Street
I’ve long been told, without ever caring to look into it, that silver has an “antiseptic property.” In the last months, as I ordered sanitizer, wipes, bleach, and all the other necessary but joyless prophylactics of this dismal plague, the phrase came to mind repeatedly — probably because I was trying to be sure the shop itself was an antiseptic property. Eventually, having wondered once too often what, exactly, the antiseptic property of silver is, I looked it up on the internet and found the following cheerful fact: “The effectiveness of silver compounds as an antiseptic is based on the ability of the biologically active silver ion (Ag+) to irreversibly damage key enzyme systems in the cell membranes of pathogens.” So, now you can come to our antiseptic property on East 81st Street and leave with a little antiseptic property of your own. Alternatively, you can call or write. We would love to hear from you. — Tim Martin
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A Mary I Silver-Gilt Tigerware Jug London, 1556 Maker’s Mark: a fleur-de-lis Height: 8 ½" one of a small group of exceptional tigerware jugs on which the silversmith
has mounted not only the foot and rim, but the entire handle. The nearest comparable is a very similar example, by the same maker, in the Ashmolean Museum.
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(Left to right, from bottom left)
An Elizabeth I Seal-Top Spoon
A Charles I Seal-Top Spoon
London, 1597 by William Cawdell Length: 6 3⁄4"
Salisbury, c. 1630 by Thomas Senior Length: 6 3⁄4"
A Charles I Seal-Top Spoon Marlborough, c. 1630 by William Gould Length: 7 1⁄4"
Provenance: Charles oman (1901– 1982), Keeper of Metalwork at the Victoria and Albert Museum
A Charles II Silver-Gilt Seal-Top Spoon London, 1678 by Peter Longmaker Length: 7 1⁄4"
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Literature: David Constable, The Silver Spoons of Britain, 1200–1710, Vol. 1, pp. 484–5, no. 94
A Charles II Seal-Top Spoon Taunton, c. 1680 by John Smith Length: 6 3⁄4"
A Charles I Counter Box with 26 Counters London, c. 1630; Maker’s Mark: PS Diameter of Each Counter: 1" Gaming counters were (and are) used to keep track of wins and losses in gambling. This set was made by the Van de Passe school of London. Simon Van de Passe (1595–1647) was one of the greatest engravers of the early seventeenth
century. He was Regius Sculptor to King Christian IV of Denmark, and is best known today for his portrait of Pocahontas. He worked in London from 1616 to 1622, establishing an eponymous “school” of engraving which, after his return to Copenhagen, was carried on by his brother Willem.
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A Charles II Puritan Spoon
A Commonwealth Wine Taster
A Charles I Sweetmeat Dish
London, 1670 by John King Length: 7 3⁄8 "
London, 1654; Maker’s Mark: SR Length: 5 1⁄ 8"; Weight: 2 oz. 4 dwt.
London, 1632 by William Maddox Length: 8 1⁄ 8"; Weight: 3 oz. 16 dwt. Provenance: S. J. Shrubsole, New York, 1997 Fred & Anne Vogel, Milwaukee
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A Pair of Charles II Chinoiserie Boxes London, 1683 by Benjamin Traherne Diameter: 3 3⁄8 "; Weight: 10 oz. Provenance: Sir William Carrington G.C.V.o., C.B. Christie’s, London, 31 July 1918, lot 55 Spink & Co., London
A Charles II Wine Cup London, 1662; Maker’s Mark: TR Height: 4 1⁄4"; Weight: 3 oz. 16 dwt. In the Charles II period, ladies were given small drinking vessels while the men had significantly larger examples of the same form. Apparently those gallants had not yet discovered the beautiful and useful truth so well expressed by ogden Nash: “Candy is dandy, but liquor is quicker.”
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A Pair of Charles II Chinoiserie Candlesticks London, 1682 by Isaac Dighton Height: 6 1â „ 2"; Weight: 27 oz. 9 dwt. Provenance: Frank Partridge & Sons Ltd., London, 1966
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A Charles II Chinoiserie Tankard London, 1683 by John Sutton Height: 6 1⁄ 8"; Weight: 22 oz. 4 dwt. Provenance: Sotheby’s, London, 1986, lot 110 Spink & Co., London
A small tankard by Charles II standards, though not small enough to qualify as a lady’s tankard. The handle is prickengraved B over IE. The body and cover are flat-chased with beautiful and perfectly preserved Chinoiserie scenes.
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A Charles II Puritan Spoon
A Charles II Bleeding Bowl
London, 1662 by Jeremy Johnson Length: 7 1⁄ 2"
London, 1674 by Edward Gladwin Length: 5 3⁄8 "; Weight: 8 oz. 6 dwt.
Provenance: Christie’s, London, 14 october 1987, lot 115
Provenance: How of Edinburgh, London, 1990 Fred & Anne Vogel, Milwaukee
The inscription reads: WILLIAM TAuNToN BoRNE GooD FRIDAY THE 13TH APRIL 1655 BAPTISED THE 24TH oF THE SAME MoNTH 1655.
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A Large James II Porringer London, 1688 by Hugh Roberts Width: 11 1â „4"; Weight: 33 oz. 18 dwt. The arms are those of the Carey family.
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A William III Silver-Gilt Casket London, 1695 by Pierre Harache Length: 10 1⁄ 2"; Weight: 92 oz. Engraved with a cypher within a lozenge-shaped cartouche and with coronet above. Provenance: Acquired by Elizabeth, Dowager Marchioness of Exeter, at some point prior to 1815 Brownlow Cecil, 2nd Marquis of Exeter, Burghley House
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William Cecil, 3rd Marquis of Exeter The Marquis of Exeter; Christie’s, 7 June 1888 to Garrard & Co. Probably bought by Archibald Primrose, 5th Earl of Rosebery, thence by bequest to his granddaughter, Ruth, Countess of Halifax The Rt. Hon. Countess of Halifax, Christie’s, London, 22 June 1960, lot 135 (£8,000 to How)
There is a great deal that can be written — and has been written — about this massive casket and the almost mythical toilet service it comes from. We are happy to share it all with you. But here we will just say that it is one of the finest pieces of silver to survive from the period. It perfectly represents the dawn of a golden age of English silversmithing, when the brilliant Huguenot silversmiths, driven out of France by Louis XIV, found favor at the Anglo-Dutch Court of William and Mary.
Above, the engraving on the lid of the casket
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A Queen Anne Coffee Pot London, 1703 by Samuel Wastell Height: 10"; Weight: 26 oz. 9 dwt.
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A Queen Anne Chocolate Pot Chester, 1703 by Peter Pemberton Height: 7 3⁄4"; Weight: 18 oz. 3 dwt. Provenance: Mrs. Aimee Brand Sotheby’s, London, 13 November 1958, lot 148 (£1,200) Spink & Son, London
Chocolate had arrived in Europe through Spain in the middle of the seventeenth century, and by 1657 the first chocolate factory had opened in England. The earliest known English silver chocolate pot is from 1685 and is of the same form as this: a Chinese
ginger jar with a spout and handle. Very few of these jar-form pots survive, as the shape was quickly replaced by the much more common lighthouse form. This is an especially fine example, in superb condition, without any later engraving or alterations.
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A George II Tea Caddy London, 1728 by Jonathan Newton Height: 4 7⁄ 8"; Weight: 5 oz. 18 dwt.
A Pair of Queen Anne Candlesticks London, 1708 by Nathaniel Lock Height: 7 1⁄ 8"; Weight: 20 oz. 10 dwt. The bell-shaped bases are very unusual.
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A Chinese Famille Rose Porcelain Jug with French or Flemish Silver Mounts c. 1730Â Height: 8"
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A Pair of Queen Anne Candlesticks London, 1702 by Joseph Bird Height: 6"; Weight: 26 oz. 9 dwt. Engraved in the well with a crest below an Earl’s coronet and under the base with scratch weights 13-10 and 13-12. The crest is that of Finch, presumably either for Daniel Finch, 2nd Earl of Nottingham and 7th Earl of Winchilsea (1647–1730), or his younger brother Heneage Finch, 1st Earl of Aylesford (c. 1649–1719).
A Pair of George I Porringers London, 1721 by Joseph Clare Height: 3 3⁄4"; Weight: 21 oz. 5 dwt. Provenance: Mrs. B. C. Jago Christie’s, London, 5 March 1958, lot 164 (£190) Thomas Lumley, Works of Art, Ltd., London
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A George I Teapot London, 1714 by Paul de Lamerie Length: 7 1⁄ 2"; Weight: 13 oz. 7 dwt. Provenance: Christie’s, London, 7 April 1976, lot 167, plate 6 Phillips, London, 23 February 1979, lot 174 S. J. Shrubsole, New York, 1979 Swiss Private Collection A very fine example of Lamerie’s early work, and one of the two earliest bullet teapots known. Note the low molded foot, and the delicate engraving on the spout and around the handle sockets. The pot is heavy, and beautifully hallmarked. It has lovely color and patina.
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A Rare George II Soap Box London, 1729 by Anne Tanqueray Height: 3 1⠄ 8"; Weight: 8 oz. 5 dwt. The arms are those of Tollemache for Lionel Tollemache, 4th Earl of Dysart. In 1727, at age 19, he inherited the Earldom, along with five properties: Ham House in Surrey, Helmingham Hall in Suolk, Harrington and Bentley in Northamptonshire, and 20,000 acres in Cheshire.
A George II Chamberstick London, 1735 by Paul de Lamerie Diameter: 5"; Weight: 8 oz.
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A Pair of George II Candlesticks London, 1739 by Paul de Lamerie Height: 8 3⠄4"; Weight: 42 oz. 10 dwt. Provenance: Sotheby’s, London, 24 June 1965, lot 70 These lovely candlesticks are unlike any others known by de Lamerie. The auricular, stylized masks at the
corners and the strange, coral-like protrusions on the knops show the influence, though probably not the hand, of the modeler and chaser of such masterpieces as the Maynard sideboard dish, the Ely ewer, and the Marlborough inkstand.
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A George II Irish Coffee Pot Dublin, c. 1730 Height: 8 1⁄ 2"; Weight: 32 oz. Provenance: S. J. Shrubsole, New York, 1985
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A George I Punch Bowl London, 1725 by William Darker Diameter: 10 3⁄4"; Weight: 54 oz. With simple shape, beautiful rich color, and clearly visible planishing marks in concentric rings, this is an exceptionally well-preserved bowl, which, for the collector, has a slightly arcane source of interest. ordinarily, silversmiths noted the costs of objects as “to silver at X-shillings an ounce” and “to the
fashioning” but, on this bowl, either the patron or the silversmith made a note of its cost underneath, paying for the make and the silver at a per-ounce rate: 54-1/2 o. MAKE AND SILVER AT 7S 6D. In addition to the curiosity value, the engraved weight puts a number to the wonderful condition of the bowl: despite its very large surface area, in 295 years it has lost only half an ounce.
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A George II Basket London, 1740 by Robert Brown Length: 11 3⁄8"; Weight: 49 oz. The arms are those of Read impaling Truman for Henry Read of Crowoode (1722–1786) and his wife, Frances (1726–1801). She was the daughter of Sir Benjamin Truman, who developed the Black Eagle Brewery in Spitalfields. Truman became fantastically rich and
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was a leading member of that powerful group of wealthy commoners (Worthingtons and Guinesses and Basses) known collectively at the time as “the beerage.” Through the 1970s Truman — or a cartoon version making fun of his peg-leg — was used in advertisements with the caption: “More hops in Ben Truman!”
A George II Cream Boat London, c. 1760 by Edward Jay Length: 5 1⁄4"; Weight: 5 oz. 9 dwt. A rare creamer that seems to anticipate the work of Tiffany and Gorham in the 1880s.
A George III Coffee Jug London, 1771 by John Parker & Edward Wakelin Height: 11 1⁄4"; Weight: 30 oz. 15 dwt. An unusual piece with masterfully chased coffee leaves and beans.
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A Pair of George III Tea Caddies (Opposite page, top) London, 1766 by John Lawford & William Vincent Diameter: 4 1⁄4"; Weight: 26 oz.
A Pair of George III Wine Coolers (Opposite page, bottom) London, 1787 by John Wakelin & William Taylor Height: 6 1⁄4"; Weight: 51 oz. 12 dwt.
A Pair of George III Entree Dishes London, 1799 by Robert Sharp Diameter: 9"; Weight: 73 oz. 18 dwt. The later triple crests are those of Bartlett-Burdett-Coutts for William Bartlett (1851–1921) and his wife Baroness Angela Burdett-Coutts (1814–1906). Born in New Jersey, William AshmeadBartlett moved to England as a child and eventually became secretary to Baroness Angela Burdett-Coutts. She was the wealthiest woman in England — an heiress to the Coutts banking fortune. She was a close friend of both
the Duke of Wellington and Charles Dickens. Inspired by the latter, she became the most generous philanthropist in nineteenth-century England. So when, in 1881, aged 67, she married Bartlett, 29, no one knew where to look. Disraeli said, “the element of the ridiculous has now so deeply entered her career that even her best friends can hardly avoid a smile by a sigh!” Queen Victoria set Victorian language aside: “Lady Burdett,” she said, “really must be crazy.” Who’s to say? The marriage only ended with the Baroness’s death in 1906.
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A George III Epergne Birmingham, 1793 by Matthew Boulton Length: 22"; Weight: 75 oz. A fine wirework epergne by the great Matthew Boulton — the only comparable example we know is a fourbasket epergne in the collection of the Birmingham Assay oďŹƒce Museum.
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A Pair of George III Candelabra London, 1785 by John Wakelin & William Taylor Height: 15 5â „8"; Weight: 82 oz. 14 dwt.
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A William IV Sideboard Dish London, 1831 by Edward Barnard Diameter: 17 7⁄ 8"; Weight: 68 oz. A wonderful decorative dish in perfect condition. The arms are those of Bowles for either Henry Carington Bowles, Senior (1763 –1830) or Junior
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(1801–1852). Four generations of the family produced some of the most famous prints of portraits, political cartoons, London landscapes and world maps of the period.
A George III Silver-Gilt Mounted Japanese Porcelain Bowl London, 1812 by John Robins Diameter: 4 3⁄4"
The Collection of the late Harry oppenheimer
Provenance: Almost certainly William Beckford, Fonthill Abbey Later provenance unknown until sold by Asprey & Co., London, 1991 Partridge Fine Arts, London
William Beckford’s collection included dozens of Chinese and Japanese porcelain bowls. For many of them, Beckford designed finely detailed silver or silvergilt mounts, which were made, more
often than not, by John Robins. Although the present example lacks the heraldic symbols Beckford sometimes incorporated into these designs, the maker’s mark, as well as the quality, rarity, and finish of the piece all indicate a Beckford provenance.
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A Large Pair of George III Tea Trays London, 1814 by Paul Storr Length: 28 1⁄ 2"; Weight: 339 oz. Engraved with the arms of Robarts quartering Wildey with a martin of cadency for a fourth son. There are two candidates for these arms: Abraham Robarts (1745–1816) or his fourth son William Tierney Robarts (1786– 1820). Abraham was a wealthy banker, MP, and Director of the East India
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Company. William was also an MP and a Director of the Bank of England. Either could have owned this splendid, and splendidly engraved, pair of trays. Provenance: Sotheby’s, 2 February 1956, from the estate of the diplomat Herman Cameron Norman, Esq. Parke-Bernet, 13 october 1970, the estate of Consuelo u. Ford, 911 Park Avenue, New York
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A George IV Silver-Gilt Claret Jug London, 1835 by John Tapley Height: 11 3â „4 "; Weight: 39 oz. 8 dwt.
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A George III Cup & Cover London, 1809 by Paul Storr Height: 15 5⁄8"; Weight: 139 oz. 4 dwt. The presentation inscription on the back reads: THIS TRIBuTE oF RESPECT AND FRIENDSHIP ENJoYED DuRING A
SERIES oF FouRTEEN YEARS WAS PRESENTED To EDWARD WIGAN ESQuIRE LATER LIEuTENANT CoLoNEL oF THE RoYAL WEST REGIMENT oF LoNDoN MILITIA BY THE oFFICERS oF THAT REGIMENT 1810. This cup
is of truly exceptional quality, perhaps because the recipient, Edward Wigan, in addition to commanding the Royal West regiment, was a lifelong silversmith who almost certainly knew Paul Storr.
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An American Mixed-Metals “Saracenic” Coffee Pot New York, c. 1882 by Tiffany & Co. Height: 9 3⁄4"; Weight: 22 oz. 12 dwt. The development of Edward C. Moore’s orientalist or, as he called it, “Saracenic” style, although begun before 1867, ran more or less parallel to the Japanesque. The style would not, however, reach its
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full height until the time of the Paris Exposition of 1889, when it would again merit Tiffany & Co. the grand prize for silverware and see Moore’s genius recognized by the French, who made him a Chevalier of the Legion of Honor. — John Loring, Magnificent Tiffany Silver, 2001, p. 38
An American Mixed-Metals Tray New York, c. 1879 by Tiffany & Co. Length: 16 1⁄4"; Weight: 36 oz. 3 dwt. Stamped: PATENT APPLIED FoR Provenance: The Jerome Rapoport Collection of American Aesthetic Silver
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An American Mixed-Metals Centerpiece New York, c. 1880 by Tiffany & Co. Length: 19 1⁄ 2"; Weight: 134 oz. A tour de force of art nouveau and Japonisme, this “slipper dish”
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(Tiffany’s term) is the finest of only four known to survive. It was made for one of Tiffany’s greatest clients in the 1870s and ’80s, Mary Jane Morgan.
At left, a detail of the dish’s exquisite applied ornamentation; above, the monogram engraved on the dish’s underside.
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A Group of American MixedMetals Pieces New York, c. 1880 by Tiffany & Co. Diameter of Sugar Bowl: 3 1⁄ 2" Height of Inkwell: 2 1⁄ 2" Height of Caster: 5"
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An American Mixed-Metals Jug New York, c. 1880 by Tiffany & Co. Height: 9 1⁄4 "; Weight: 27 oz. 2 dwt. of all Tiffany’s mixed-metals work of the 1870s and ’80s, jugs of this type were probably the most popular. The addition of a shaped and decorated cover makes this example especially interesting and uncommon — presumably the cover was added so the jug could be used for beer. On the back cover:
An American Rhyton Providence, Rhode Island, 1884 by Gorham Mfg. Co. Length: 9 3⁄8 "; Weight: 25 oz. 6 dwt.
S.J. Shrubsole 26 East 81st Street New York, NY 10028 Tel: (212) 753-8920 Fax: (212) 754-5192 www.shrubsole.com