S.J. Shrubsole: 2021 Silver Catalog by SJShrubsole

The Warwick Vase coolers, a detail of which is shown on the cover On the cover:

A Pair of George IV Warwick Vase Wine Coolers London, 1821 by Paul Storr Height: 7 7⁄ 8"; Weight: 216 oz. The Warwick vase is a very large (5' 10" high) vase found in a lake at Hadrian’s villa in Tivoli in 1770. Initially bought by Sir William and Lady Hamilton (the famous Emma, Lord Nelson’s mistress), it soon was sold to their nephew, the Earl of Warwick, who installed it on the grounds of Warwick castle. It became a huge tourist attraction, and inspired replicas in every imaginable medium. Rundell, Bridge and Rundell, the Royal Goldsmiths, were commissioned by Lord Lonsdale to make a full-size replica in silver, but the plan, sadly, was

abandoned — the molds were sent to Paris where two bronze models were made. But Rundells were happy to have had the opportunity to measure the model, and they began making scaleddown silver copies, for use as wine coolers and soup tureens, around 1810. Very fine pairs such as this are rare, and this particular pair is quite unusual. The liners, which usually sit in a ring, here screw down to the base. They are also unusually small — small enough to sit comfortably on the table. This small scale combined with their great weight makes them wonderful to handle. Last, but most important, they are in pristine condition, apparently untouched since the day they were made.

VOLUME XXVII 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.

© Copyright 2021 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 Sheffield Plate Antique Glass

Home sweet home: 26 East 81st Street

I recently sent some photographs off to a customer — something I thought he might like. He called me to discuss it, and I said, “the easiest thing would be for me to put it in a box and send it to you.” “Oh no no don’t do that,” he exclaimed, “every time you send me anything in a box I always end up buying it!” Then he paused and added: “Things are so much better in real life.” After a year and a half of an overly virtual life, hear hear. We had our first in-person show in August in Nantucket, and by the time the catalog goes out we’ll have done Delaware and will be gearing up for the Winter Show. For me, and the rest of the gregarious crew at 26 East 81st Street, it’s not a moment too soon. Please have a look through the catalog bearing in mind that indeed, everything is better in real life, and that we’d love to see you here, or send you something to try chez vous. — Tim Martin

A Rare Provincial Queen Anne Porringer Newcastle, 1707 by John Younghusband Length: 5"; Weight: 2 oz. 12 dwt. A rare early piece from Newcastle, with wonderfully crisp fluting and of unusually thick gauge at the rim. John Younghusband was apprenticed to John Ramsay. Ramsay died in 1702 and Younghusband continued the apprenticeship under Ramsay’s widow, Elizabeth. But before the apprenticeship was up, he married her and took over the business. He thus became, simultaneously, a master silversmith and a prime specimen of “nominative determinism,” up there with the piano teacher Patience Scales.

A Charles II Beaker London, 1665; Maker’s Mark: RM Height: 3 5⁄8"; Weight: 4 oz. 8 dwt. Literature: The Albert Collection: Five Hundred Years of British and European Silver, Robin Butler, p. 110

A Charles II Beaker London, 1679 by John Duck Height: 4"; Weight: 4 oz. 8 dwt. Provenance: Wartski, London, 28 March 1960

(Left to right)

A Charles I Sweetmeat Dish

A Charles II Wine Taster

London, 1632 by William Maddox Length: 8 1⁄ 8"; Weight: 3 oz. 16 dwt.

London, 1675 by Simon Romney Diameter: 3 7⁄ 8"; Weight: 2 oz. 16 dwt.

A Commonwealth Wine Taster

Engraved slightly later: WILLIAM BUSSELL 1687.

London, 1654; Maker’s Mark: SR Length: 5"; Weight: 2 oz. 4 dwt.

Provenance: Anonymous sale [Spink & Sons] Christie’s, London, 22 March 1906, lot 76 (£52 to Crichton)

A Charles II Wine Taster

London, 1661 Maker’s Mark: HB Conjoined Length: 3 7⁄ 8"; Weight: 1 oz. 1 dwt.

A Very Fine and Rare Provincial Charles I Beaker Norwich, 1637 by Timothy Skottowe Height: 6 5⁄8"; Weight: 11 oz. 15 dwt. Provenance: New Meeting Chapel, Great Yarmouth, Norfolk, until around 1880. Sold privately, with other beakers, to J.P. Morgan, presumably via one of Morgan’s London dealers.

Literature: William Minet, MA, FSA, “Notes on the Communion Cups of the Dutch Church at Norwich”, in Proceedings of the Huguenot Society of London, 1896 E. Alfred Jones, Illustrated Catalogue of Old Plate of J. Pierpont Morgan, Esquire, p. 14, pl. XIII

In addition to the magnificent size and heft of this beaker, a collector of early silver can enjoy its exceptionally well documented history, and its connection to the most important and politically active Puritan congregation in England during the tumultuous years before the outbreak of the Civil War.

A William & Mary Chinoiserie Mug London, 1689; Maker’s Mark: IA (possibly John Austin) Height: 3 3⁄8 "; Weight: 6 oz. 18 dwt. The Arms are those of Hayne of Fryer Wadon, Dorset, originally granted on 4th September 1607 to Thomas Hayne. The W. ANDREW stamp on the base was put on by a nineteenth-century collector.

A Rare Provincial Charles II Mug Chester, c. 1682 by Peter Pemberton Height: 3 ½"; Weight: 10 oz. A great, chunky mug with wonderful color and patination.

A Rare Provincial Charles II Tankard Norwich, c. 1670 by Arthur Haselwood Height: 6 3⁄ 8 "; Weight: 23 oz. 2 dwt. Literature: Illustrated in East Anglian Silver 1550 –1750, John Adamson, ed. Christopher Hartop, pp 52–53, no. 19, pl. 19

There are only three tankards recorded by Arthur Hazelwood, Norwich’s leading goldsmith during the reign of Charles II. This one is in pristine condition, slightly smaller than usual, with a subtle faceting to the underside of the handle, the top of which is prickengraved T over IM.

A Charles II Spout Cup London, c. 1675 Maker’s Mark: G crowned Diameter: 3 ¼"; Weight: 5 oz. 12 dwt. The arms (shown below) are those of Elizabeth, widow of Sir James Phelps of Barrington, Somerset.

A Charles II Bleeding Bowl London, 1674 by Edward Gladwin Length: 5 3⁄8 "; Weight: 8 oz. 6 dwt. Provenance: How of Edinburgh, London, 1990 Fred & Anne Vogel, Milwaukee

A Pair of Chinese Blanc de Chine Porcelain Silver-Gilt Mounted Candlesticks London, c. 1695 by Francis Garthorne Height: 8 3⁄4" Provenance: Harry Oppenheimer

A porcelain taper holder similar to those mounted here, dated c. 1675– 1725, is illustrated in Blanc de Chine: the Porcelain of Tehua in Fukien, by P. J. Donnelly, London, 1969.

A Set of Ten George I Dinner Plates London, 1715 by Benjamin Pyne (7) & Richard Bayley (3) 5

Diameter: 9 ⁄8"; Weight: 189 oz. 2 dwt. The arms are those of Tripp of Tripham, Kent, impaling Cooke quartering Warren.

Provenance: Jayne Wrightsman Four plates from this set are displayed opposite the window of the marvelous French shopfront of Etienne Séjournant in the Wrightsman Galleries at the Metropolitan Museum of Art.

A William III Cup & Cover London, 1702 by David Willaume Height: 8"; Weight: 33 oz. 2 dwt. A superb piece of silver: heavy, beautifully patinated, with fine cut-card work and gadrooning, and in excellent condition.

A Pair of Octagonal Queen Anne Candlesticks London, 1708 by Thomas Merry Height: 6 ½"; Weight: 20 oz. 10 dwt. Provenance: Hancock’s, London, 1999

A George I Scottish Tazza Edinburgh, 1719 by James Mitchellsone Diameter: 6 7⁄ 8"; Weight: 14 oz. 18 dwt. The arms and motto THINK ON are those of MacLellan of Barclay. A nearly identical example is illustrated in Scottish Gold and Silver Work, by Ian Finlay, plate 59.

A Pair of George I DoubleLipped Sauce Boats London, 1724/5 by Francis Nelme, overstriking John Chartier Length: 9"; Weight: 39 oz. 10 dwt. Engraved underneath: MAE C. PLANT Provenance: Mrs. John E. Rovensky (formerly Mrs. Morton F. Plant), Parke-Bernet Galleries, New York, 19 January 1957, lot 900 S.J. Shrubsole, 1973 Harry Hahn, sale, Christie’s, New York, 1999 Mae C. Plant was a collector of fine jewelry and silver, and items from her collection, engraved with her name,

can be found in a number of museum collections, including the Brooklyn Museum and the Museum of Fine Arts, Boston. In the jewelry world, she is something of a legend, on account of what turned out to be a lopsided trade made in 1917. The story is apocryphal, and runs roughly thus: the young and comely Mrs. Plant had fallen in love with an exceptional pair of pearl necklaces at Cartier. She came to see them nearly every day, but when asked at last by Pierre Cartier why she didn’t buy them, she said, “I can’t afford to pay $1,500,000 for a pair of necklaces.” Cartier knew the Plants were moving

from their house at 635 5th Avenue. The area had become too commercial, most of their neighbors had moved uptown, and construction was underway for a new house at 86th and 5th — so Cartier proposed to swap their old house — which was perfect for his shop, and which was estimated to be worth $950,000, for the necklaces. Sadly for the Plants, the price of pearls fell precipitously following the introduction of cultured pearls, while Fifth Avenue became one of the world’s premier retail locations. Cartier still resides there; a portrait of Mae can be seen in the showroom.

A Large George II Tankard London, 1748 by Richard Bayley Height: 9 ¼"; Weight: 46 oz. 1 dwt. The arms are those of Colonel William Bastard (1727–1782) of Kitley House in Devon. Kitley house and the Bastard family have connections to many famous names. For instance, the writer Dr. Samuel Johnson stayed at the house

during a sojourn in 1762 with his friend, the renowned portrait artist Sir Joshua Reynolds, who had painted a portrait of Anne Bastard about five years earlier. The family member Sarah Martin is said to have written her famous poem “The Comic Adventures of Old Mother Hubbard and Her Dog” in order to entertain the children at Kitley. It’s thought that the character of Old

Mother Hubbard is based on Kitley’s resident housekeeper at the time, whose cupboard was in her sitting room (now the basement). This piece is in exceptional condition and is a real whopper for size and weight. It holds nine cups; a standard tankard of this design holds four.

A Set of Six George II Tumbler Cups London, 1745 by Edward Feline Height: 1 ¾"; Weight: 16 oz. 16 dwt. This is the only set of six tumbler cups of the George II period we have ever had — pairs are rare, fours unheard of, six, well, there are times when the English language fails us.

An Unusual George II Beaker London, 1738 by Benjamin Godfrey Height: 5 5⁄8"; Weight: 10 oz. The arms are possibly those of Dylan with Snappe, of Stanlake, Oxfordshire in pretense. The ball feet are something more often seen on Scandinavian tankards. The object has a lovely heft and fine marks and engraving.

A Pair of George III Irish Candlesticks Dublin, c. 1760 by Richard Williams Height: 9 1⁄ 8"; Weight: 37 oz. 17 dwt.

A George III Irish Dish Ring Dublin, 1769 by William Townsend Diameter: 8 ½"; Weight: 15 oz. 9 dwt.

ample, which is worth comparing with this one, is at the Art Institute of Chicago, and can be seen on their website.

This remarkable dish ring is one of only two that we know of whereon the piercing takes the form of a trellis, and the un-pierced parts are fantastical beasts and scenery laid on to it. The other ex-

A Set of Four George II Candlesticks London, 1756 by Edward Wakelin Height: 11"; Weight: 135 oz. Engraved on base and bobeche with an Earl’s coronet, Garter motto and griffin passant crest for Daniel Finch (1689– 1769), 8th Earl of Winchelsea and 3rd Earl of Nottingham. Elected a Member of Parliament at 21,

Finch moved to the House of Lords upon succeeding to the Earldom in 1730. He served as Comptroller of the Royal Household from 1725–30, First Lord of the Admiralty from 1742–4, and Lord President from 1765–6. He was made a Knight of the Garter in 1752, and was one of the founders and governors of London’s Foundling Hospital.

A Remarkable and Large George II Cup & Cover London, 1755 by John Swift Height: 15 3⁄4"; Weight: 108 oz. The arms are those of Baker. Provenance: Christie’s London, 27 May 1953, lot 141

An Exceptional George III Tea & Coffee Service London, 1804/5 by Digby Scott & Benjamin Smith Height of Urn: 14 ½"; Weight: 369 oz. 16 dwt. Probably the finest surviving tea and coffee service from the George III period, rivalled, according to that

venerable judge Eric Shrubsole, only by the Jamaica Service in the Royal Collection, which is nearly identical. This service is in mint condition. The crest and coronet are for the Duke of Buckingham and Chandos, of Stowe House, Buckinghamshire.

A Queen Anne Mug London, 1713 by Paul de Lamerie Height: 4 ¼"; Weight: 13 oz. 17 dwt. The arms are those of Orfeur of High Close and Plumbland Hall, Cumberland. Provenance: Christie’s, London, 27 April 1938, lot 29, purchased by How of Edinburgh Sotheby’s, London, 20 November 1986, lot 82 This is a wonderful example of Lamerie’s earliest work, showing how even at the start of his career he was able to create objects which, through subtle but immediately noticeable variations of form, proportion, and ornament, are unquestionably superior to even the best work of his contemporaries.

A Rare George II Antique English Silver Mug London, 1749 by Paul de Lamerie Height: 4 ½"; Weight: 12 oz. Engraved underneath: THIS MUG WAS MANUFACTURED 1729 BY PAUL DE LAMERIE GOLDSMITH TO QUEEN ANNE GEORGE I AND GEORGE II. The engraving — which was clearly done in the nineteenth century, perhaps as early as 1840 — testifies to the enduring power of the Lamerie name. Famous when he died, famous now, famous in the centuries between. Provenance: S. J. Shrubsole Mrs. Pamela Woolworth Combemale

A Fine George II Kettle London, 1734 by Edward Vincent Height: 13 ½"; Weight: 81 oz. The arms, which include three turbots, are those of Turbott impaling Babington for Richard Turbott, Esq. of

Doncaster (c. 1689 –1758). Provenance: Thomas Lumley, Works of Art, Ltd. George S. Heyer, Jr., Austin, Texas

A Pair of Georgian Crystal Ship’s Decanters

A Set of Four George III Wine Coasters

Circa 1815 Height: 9 5⁄8"

London, 1796 by Robert & David Hennell

A very fine pair from the Regency period.

Diameter: 4 ¼"

The crest is possibly that of Capell, Earl of Essex.

Provenance: Jayne Wrightsman It is unusual to find these smaller coasters, which were originally intended for use with half-size decanters, but which also are a slightly better fit for a wine bottle. For those who don’t, can’t, and won’t decant.

An Extremely Large George III Punch Bowl London, 1770 by Thomas Heming Diameter: 13 ½"; Weight: 153 oz. 10 dwt. The arms are those of Greville for George, 2nd Earl of Warwick, of Warwick Castle (1746 –1816).

is possibly the largest such bowl known. It is recorded in an 1806 inventory of Warwick Castle, now held at the Warwickshire County Record Office, as: “Large Silver Bowl 155 = 0”.

This remarkably large punch bowl, by the Royal Goldsmith Thomas Heming,

It is in exceptional condition, having only lost an ounce and a half since then.

A Pair of George IV Silver-Gilt Tea Caddies London, 1820 by William Elliott Height: 5 5⁄8"; Weight: 33 oz. 18 dwt. These Chinese-style tea caddies, of extraordinary weight, were crafted by William Elliott, one of the great unsung silversmiths of the Regency period. He supplied a wide range of silver to members of the Royal family, often through the retailer Thomas Hamlet, Goldsmith to the King.

A Pair of Regency Silver-Gilt Wine Coasters London, 1812 by Paul Storr Diameter: 5 ¾"; Weight: 55 oz. 12 dwt. The arms are the Royal arms of Scotland quartering Stewart and Randolph impaling those of Ainslie, for Francis Stuart (1771–1848), 10th Earl of Moray, and his wife Margaret, daughter of Sir Philip Ainslie of Pilton.

A superb pair of wine coasters, made by Paul Storr for the Royal Goldsmiths, Rundell, Bridge, and Rundell. Exceptionally heavy and beautifully decorated, they are the only ones we know of this particular design.

A Pair of George III Candelabra London, 1797/8 by Paul Storr Height: 23"; Weight: 412 oz. These beautiful and somewhat mysterious candelabra follow a design drawing by Jean-Guillaume Moitte at the Metropolitan Museum of Art (above). It is one of the many designs Moitte supplied to the great Parisian silversmith Henri Auguste. Auguste was making candelabra of this model as early as 1789 — a gilt pair of this date, possibly made for William Beckford, sold from the Safra Collection at Sotheby’s in 2010, and a set of twelve, also of 1789, was made for the Duke of York

(one pair is now in the Metropolitan Museum, another pair is in the Fine Arts Museums of San Francisco). These candelabra bear the mark of Paul Storr, but curiously they are also struck with Britannia Standard hallmarks. The use of the higher .958 standard was uncommon in England at the time, but it was the standard for French silver. Either Storr (or his exacting client) wanted his pieces to match French examples down to the subtlest difference of finish, and so used the higher standard — or these candelabra are in fact of French manufacture and were simply sent by Storr to the Gold-

smiths Hall to be marked. It is impossible to know which is the case and difficult to know which is the better story: an obsessive Francophile client demanding the purest copy of a French piece, or a fantastic pair of French candelabra being smuggled out of Paris around the time of the Reign of Terror. Unfortunately, the crest engraved on them does nothing to answer the question, and the only identical pair, which are part of the amazing collection of silver at Corpus Christi College, Cambridge, are marked on one by Storr, and on the other by a retailer named Francis Magniac.

A Set of Four George IV Silver-Gilt Goblets in Renaissance Style London, 1827 by John Bridge Height: 3 ½"; Weight: 34 oz. 12 dwt. Provenance: Sold as “Property of a descendant of William Beckford & The Dukes of Hamilton”, they were in the Hamilton Collection before 1888, and passed by descent to Lady Mary Louise (1884–1957), only child and principal heir of William Alexander DouglasHamilton, 12th Duke of Hamilton. She married James Graham (1878 – 1954), Marquis of Graham, who in

1925 succeeded his father as 6th Duke of Montrose. These beakers, in the style of late sixteenth-century German munzbeckers, appear to be copies of a set of “foreign cyder cups” purchased by John Bridge at the auction of the property of the Duke of York in 1827. Whilst it is impossible to know for sure, it would seem that the “cyder cups” are either those by Eustachius Hohman, Nuremberg, circa 1590, formerly in the Pringsheim Collection, or those by Gallus Wernlein, Nuremberg, 1592–94, in the Kremlin Armory at the Moscow State Museum.

A Set of George IV Dinner & Soup Plates London, 1826 by Robert Garrard Diameter: 10 1⁄ 8"; Weight: 629 oz. 12 Dinner plates and 12 Soup plates engraved with a coat of arms and Earl’s coronet. The arms are those of Stanhope for

George, the 6th Earl of Chesterfield (1805–1866), who succeeded to the Earldom at age ten, and like his forbears grew into a man of fashion and extravagance, commissioning an extensive silver service (including these plates) for his twenty-first birthday in 1826.

This service matched the earlier silver commissioned by his grandfather, the 4th Earl, from David Willaume in 1726/7, which in turn had been made to augment the magnificent ambassadorial service the Earl had received from the Jewel House that same year.

An Early American Coffee Pot Philadelphia, c. 1800 by Joseph Richardson, Jr. Height: 14 ½"; Weight: 36 oz. 8 dwt. This is a fine example of the elegant fluted tea and coffee items that Richardson made in the 1790s. Martha G. Fales illustrates several such items, including a tea and coffee service with a coffee pot nearly identical to this, in Joseph Richardson and Family, figs. 172, 171 and 169.

An Early American Octagonal Bowl New York, c. 1810 by William Thomson Diameter: 6 ¼"; Weight: 12 oz. 18 dwt.

A Set of Six Early American Tablespoons Boston, c. 1790 by Paul Revere, Jr. Length: 8 ½"; Weight: 11 oz. 16 dwt. Provenance: Donald G. Partrick

An Early American Teapot New York, c. 1765 by Otto Paul de Parisien Height: 6 ¾"; Weight: 19 oz. 10 dwt.

An Early American Salver New York, c. 1750 by Myer Myers Diameter: 6 ½"; Weight: 10 oz. 10 dwt. Provenance: Jonathan Trace, February 2000

An Early American Tankard Boston, c. 1780 by Stephen Emery Height: 9 5⁄8"; Weight: 32 oz. 10 dwt. Provenance: Jonathan Trace, September 1979 Roy & Ruth Nutt Collection, Sotheby’s, New York, 24 January 2015, lot 494

Literature: Patricia Kane, Colonial Massachusetts Silversmiths and Jewelers, 1998, p. 475 A fine early American tankard in mint condition.

An American Japonisme Mixed-Metals Tea Caddy Providence, Rhode Island, 1883 by Gorham Mfg. Co. Length: 4 ¼"; Weight: 14 oz. In 1881 Gorham introduced a special Japanese-inspired line of objects crafted of copper with silver appliqués. These are finished with all the care of the finest silverwares, and the copper has polished surfaces ranging in color from warm reds to tans and deep chocolate browns. An article from The Jewelers’ Circular and Horological Review of January 1882 mentions “tea caddies… barred with thin silver cords, a lizard on the lid”. This line was only made from 1881–1885 and the production was relatively small. Charles Carpenter in Gorham Silver 1831–1981 discusses this line extensively. Of the glossy finish he states, “The surfaces of Gorham’s copper pieces made in the 1880s can be described as lacquerlike glazes. However, they are chemically more like ceramic glazes than organic lacquers. It is not known what process Gorham used…” (p. 114).

An American Water Jug Providence, Rhode Island, 1880 by Gorham Mfg. Co. Height: 7"; Weight: 24 oz. 4 dwt.

A Pair of American Mixed-Metals Pitchers New York, c. 1880 by Tiffany & Co. Height: 9 ¾"; Weight: 50 oz. By far the most popular, perhaps because the most charming, of Tiffany’s many different models of mixed-metal water pitchers. It is unusual to find an exact pair.

A Set of Six American Silver & Patinated Copper Liqueur Cups

An American Enameled Table Bell

An American Parcel-Gilt Cigar Lighter

New York, c. 1879 by Tiffany & Co. Height: 1 ½"; Weight: 6 oz. 18 dwt.

New York, c. 1883 by Tiffany & Co. Height: 4"; Weight: 3 oz.

New York, c. 1880 by Tiffany & Co. Length: 4 ¼"; Weight: 4 oz. 1 dwt.

A Large American Silver & Mokume Bowl New York, c. 1879 by Tiffany & Co. Diameter: 11"; Weight: 56 oz. Mokume, a Japanese metalworking term referring to wood grain, is the process of repeatedly folding a stack of thin

sheets of various alloys, then slicing the resulting slab to create a mesmerizing and intricate pattern. Tiffany silversmiths learned this advanced technique from Japanese smiths, and it’s even speculated that some Japanese metalworkers

may have been employed in Tiffany’s New York studios. The two mokume elements on this bowl are among the largest specimens we know of on any work by Tiffany.

An American Ice Bucket & Cover New York, by Tiffany & Co. Height: 7 3⁄ 8 " A stylish bar accessory. An identical example sold at Sotheby’s in 2020.

On the back cover:

An American Enameled Oriental Style Teapot New York, c. 1889 by Tiffany & Co. Height: 5 ¾"; Weight: 12 oz. 8 dwt. Designed by Edward C. Moore Literature: John Loring, Magnificent Tiffany Silver, Harry N. Abrams, Inc., New York, 2001, p.67 In the final years of Edward C. Moore’s influential tenure at Tiffany, he worked closely with the young designer Charles T. Curran to perfect the application of matte enamels onto Eastern-inspired silver vessels. This teapot is probably the result of that collaboration. Curran would go on to create some of Tiffany & Co.’s most famous pieces, like the Magnolia Vase at the Metropolitan Museum of Art.

A Tiffany & Co. working sketch (an early iteration) of the rosette on the teapot

The finished rosette on the teapot

S. J. Shrubsole 26 East 81st Street New York, NY 10028 Tel: (212) 753-8920 Fax: (212) 754-5192 www.shrubsole.com