S.J. Shrubsole: 2023 Silver Catalog

The reverse side of the water jug

On the cover:

An American Mixed-Metals Water Jug New York, c. 1880 by Tiffany & Co. Height: 7 1⁄ 2"; Weight: 26 oz. 16 dwt.

Engraved on the underside with script monogram LHY, XMAS 1880, marked and numbered 3077-1929/785.

This is one of the rarest, and in our opinion, probably the best of the many

different decorative programs Tiffany used on this now-classic form. This particular example is perfectly preserved, with no discernible wear. It also lays permanently to rest the bourgeois notion that Xmas is only for tacky people and pagans: this jug just isn’t tacky, and no pagan would spend this kind of money on an Xmas present.

VOLUME XXIX 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 2023 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 GHP Photography by Steven Tucker

Antique English and American Silver Antique Jewelry Old Sheffield Plate Antique Glass

Home sweet home: 26 East 81st Street

Shrubsole, Catalog XXIX, in which our Heroeƒ belatedly Jump on the Band-wagon.

As I write, the controversy over Jann Wenner — namely how he (founder of Rolling Stone magazine) didn’t include any women or people of color in his book on his seven favorite “masters” of rock and roll, and how clumsily he managed the utterly predictable “backlash” — is raging away, online, of course.

The ruckus affords me a half-decent and blissfully non-controversial way to introduce this catalog, which is sort of lightly dedicated to all the great female silversmiths that worked in London in the seventeenth, eighteenth, and nineteenth centuries.

We sold earlier this year one of the two greatest pieces of silver ever made by a

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woman in England. We have the other one stashed in the basement. So we thought it would be smart — not to say commercially savvy and certainly not to say opportunistic — to include here several of the very fine pieces we have in stock by some of the approximately 160 (!) women silversmiths who worked in England prior to 1850, a few of whom would be in contention for a short list of “masters” in their respective idioms and time periods.

I may or may not be more open-minded than Jann Wenner, but I am in the lucky position to be able to include these objects on merit. I am sure you will agree.

— Tim Martin

A Henry VIII Apostle Spoon: The Chichester Master London, 1514; Maker’s Mark: A Gate Length: 7 1⁄4"; Weight: 2 oz. 1 dwt.

This very fine and very early Master spoon is Illustrated and described in G. E. P. How, Silver Spoons and PreElizabethan Hall-Marks on English Plate, London, 1953, vol. 2, p. 278–81.

There, How explains that an apparently identical spoon was once in the great Staniforth collection. It went thence into the astonishing (think, Liberty Bowl) collection of Marsden Perry. At Perry’s sale it went to Howard Eric, and then, at his sale at Parke-Bernet in 1949 it went to the Boston MFA. Drumroll please.

At no point in any of those transactions did anyone notice that that spoon is fake, a cast copy of this spoon which had all along been in the collection of Major Charles Chichester, of Hall, Bishop’s Tawton (near Barnstaple) in Devon. How describes his correspondence with Edwin J. Hipkiss of the MFA, and their joint conclusion that the MFA spoon is fake. If any confirmation were needed (which it weren’t), I went and had a look myself.

None of that odd and somewhat bemusing history should distract from the fact that this spoon is a killer. At 1514 it is the second earliest Master spoon known (and the earliest has a replaced bowl).

It weighs over two ounces, has great provenance, and, in further exaltation, a pair to it, the Apostle John, is at the V&A, purchased by the museum from the Ellis collection in 1921.

Provenance: Major Charles Chichester (1871–1925) and by descent.

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A Henry VIII Apostle Spoon, St. Simon (Left) London, 1531 by William Simpson Length: 7 1⁄ 8" Weight: 1 oz. 18 dwt.

This spoon, off the market in the Chichester collection for over 100 years, is the most perfect Henry VIII apostle spoon I have ever seen, yet Commander How chose not to give it one of his classic full-page write-ups; he illustrates only the marks, in Volume III. I am a huge admirer of Commander How, so what follows should not be taken as a put-down of the great man, it’s a hat-tip from one dealer to another.

I advance, in explanation of this spoon’s exclusion, a story about another book on antiques: The Fine Points of Furniture, by Albert Sack. That book became famous amongst collectors as “the Good, Better, Best” book, but Albert told me once, with a twinkle in his eye, that it really should have been “Good, Better, and In-Stock.”

A Henry VIII Apostle Spoon, St. Andrew (Right) London, 1542 Maker’s Mark: A Feather Length: 6 7⁄ 8 "; Weight: 1 oz. 17 dwt.

An old collector’s label on the back of the bowl gives an incorrect date of 1522.

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An Elizabethan West Country Tigerware Jug C. 1570, unmarked Height: 8 5⁄ 8" Accompanied by a visiting card and a letter noting that the jug has been in the possession of W. S. Bennett Esquire of Castlefield, Calne and has been in his family for many generations. The initials on the handle, HB, seem to confirm this.

In a handsome late eighteenth- or early nineteenth-century baize-lined box.

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An Elizabethan Apostle Spoon, St. James the Less London, 1578 by Nicholas Bartholomew Length: 7"; Weight: 2 oz.

Another fine early spoon, here St. James the Less, with his fuller’s bat. James was thrown from the roof of the temple, and stoned and beaten until, according to the Golden Legend of Jacopo de Voragine, “a man in that company took a fuller’s staff and smote him on the head, that his brains fell all abroad.”

An Elizabethan Communion Cup C. 1575, unmarked Height: 6 1⁄4"; Weight: 7 oz. 6 dwt.

Because most wine cups of this period either are, or until recently were, in churches, we silver dealers often call them communion cups. But Michael Clayton, in his Collector’s Dictionary, discusses the advent of wine cups for domestic use during the Elizabethan era. There is no other form of wine cup in English silver at this time (i.e., one

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not seen in churches), so in the absence of a paten and/or any church engraving, it is hard to say definitively that this cup was intended for religious rather than secular use.

Examples from this early period are rare. This cup, while unmarked, shows characteristic features of Elizabethan silver, including stamped moldings around the stem and a band of stylized foliage engraved on the bowl. It also has one of the most appealing surfaces you could find.

A James I Wine Cup London, 1605 by Anthony Bennett Height: 7"; Weight: 6 oz. 2 dwt.

A comparison of decorated wine cups from this period shows the delightful range of tulip, lily, bellflower, and grape motifs on the bowls. This one has a sort of eastern look (maybe Iznik?) that I find particularly beautiful.

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The Frewen Tankard: A Charles I Tankard London, 1626; Maker’s Mark: RB Height: 5 3⁄4"; Weight: 18 oz. 10 dwt.

The arms are those of Frewen for the Reverend Accepted Frewen (1588– 1664), later Archbishop of York.

The inscription on this beautiful and extremely rare tankard, “Diluculo bibere saluberimum est”, translates roughly as “the early drink is the healthiest” or, “it is healthiest to drink early.”

How exactly this squares with the man in the picture above is unclear.

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Provenance: The Reverend Accepted Frewen, perhaps on his appointment as President of Magdalen College, Oxford, subsequent provenance unknown until: Sotheby’s, Monaco, 1 December 1975, lot 334 Alastair Dickenson, London, 1993 David Little, his sale, Christie’s, London, 3 December 2019 Private Collection Literature: T. Schroder, English Silver Before the Civil War, The David Little Collection, Cambridge, 2015, pp. 52, 53, 107, 154, cat. no. 24

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A Pair of Commonwealth Stump-Top Spoons London, 1657–58

by Stephen Venables Length: 7 1⁄ 8"; Weight: 3 oz. 6 dwt.

The reverse of the oval bowls with a crest and an old collection label.

Though somewhat worn at the tips of the bowls, these spoons are just beautiful to handle. Often confused with the more common slip-tops, stump-tops are one of the rarest types of spoon you can find.

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A Charles II Wine Cup London, 1663; Maker’s Mark: DR Height: 6 3⁄4 "; Weight: 12 oz. 16 dwt.

Heavy, with crisp marks and great color. Prick engraved D / B A.

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A Charles II Beaker (Above left) London, 1665; Maker’s Mark: RM Height: 3 5⁄ 8"; Weight: 4 oz. 8 dwt.

Engraved with initials GS on the base Literature: The Albert Collection: Five Hundred Years of British and European Silver, Robin Butler, 2004, p. 110

A Charles II Beaker (Above right) London, 1669 Possibly by Richard Dransfield Height: 3 1⁄ 2"; Weight: 3 oz. 18 dwt.

With faint prick dotting S.P.A.K. and the date 1670.

For the maker’s mark and a similar example in the collection of the Worshipful Company of Goldsmiths, see David Mitchell’s Silversmiths in Elizabethan and Stuart London, The Boydell Press, 2017, pages 448–449.

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A Charles II Beaker (Opposite page, bottom right)

A Charles II Porringer (At top)

A Charles II Porringer (At bottom)

London, 1679 by John Duck Height: 4"; Weight: 4 oz. 8 dwt.

London, 1673 by Katherine Stevens Height: 3"; Weight: 8 oz. 6 dwt.

London, 1675 by Katherine Stevens Height: 3 3⁄ 8"; Weight: 7 oz.

Prick initialed E/AT 1680, (the AT conjoined).

A superb porringer by an early female silversmith. The cut-card decoration and the rope gadrooning are features found on the very best pieces of the period. This piece has lovely weight and excellent marks.

Another fine example by Stevens, again in excellent condition. Engraved under base with initials RB/ME.

Provenance: Wartski, 28 March 1960

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A Set of Three James II Casters London, 1685; Maker’s Mark: IL Heights: 7" and 5 1⁄ 2" Weight: 18 oz. 11 dwt.

The maker’s mark is possibly that of John Leach. The arms are those of Bankes, probably for one of the sons of Sir John Bankes of Kingston Lacy.

This is one of the earliest known sets of casters in English silver.

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A Pair of William III Wall-Lights London, c. 1700 by John Barnard Height: 10 1⁄ 2" Weight: 26 oz. 16 dwt.

The relatively thin sheet metal from which wall-lights were made has, in nearly all cases, been torn, bent, dented or otherwise damaged; one can thus see from the front the losses of detail, and on the back the blocks of supporting metal and solder that have built up over years of use and repair. This is the only pair we have seen with absolutely no such damage, and with very little wear from polishing.

Literature: H. H. Mulliner, The Decorative Arts in England, 1600 –1780, London, 1922, p. 138, fig. 81

Provenance: Sir Banastre Maynard (c.1642–1718), later 3rd Baron Maynard of Estaines and Wicklow Colonel Herbert Hall Mulliner (1861– 1924), of The Albany, Piccadilly and Clifton Court, Rugby, collector, coach builder and scientific instrument manufacturer Christie’s, London, 9 July 1924: The Choice Collection of Old English Silver and Silver-Gilt Plate of the 17th and 18th Centuries, formed by Colonel H. H. Mulliner (lot 14) Asprey & Co., London, 1997 Robert Smith, Arlington, Va. Christie’s, New York, 26 Jan. 2023, lot 11

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A Queen Anne Silver-Gilt Covered Beaker London, 1702 by Andrew Raven Height: 6 1⁄ 8"; Weight: 12 oz. 7 dwt.

Engraved with a coat of arms and engraved under base A/DC NO. 8, and later FOR ANNE. Marked on base and cover.

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This very unusual object was a mystery to us when we bought it, but we now believe it is most likely a chocolate cup, the basis for this view being that there are two surviving gold cups of very similar form and size, one of which has a cover and the other of which has likely lost a cover. Those two, which

written records describe as chocolate cups, were given by the Levant company to the wives of their ambassadors to Turkey. One of them dates to 1686 and the other, nearly identical, to 1697.

Both are relatively recent acquisitions by the British Museum, and they have only just been published online.

A Set of Four Queen Anne Candlesticks London, 1707–08 by Thomas Merry Height: 6 3⁄ 8"; Weight: 36 oz. 8 dwt.

A beautiful, delicate set of candlesticks.

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A George I Tankard London, 1721 by Philip Rollos Height: 6 3⁄4"; Weight: 31 oz. 7 dwt.

A great big bulbous tankard with commensurately zaftig handle and thumbpiece. The maker, Philip Rollos, like his father (also Philip), was one of the leading goldsmiths in London, both father and son being Subordinate

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Goldsmiths to Queen Anne and George I. The Rolloses were long thought to be French Huguenots, but much to the surprise of many a lover of Huguenot silver, they recently were discovered to have been Lutherans, from Berlin. Nicely engraved on the front with a mirror cypher.

A George I Punch Bowl London, 1725 by William Darker Diameter: 10 3⁄4"; Weight: 54 oz.

Engraved under base: O[Z] 54.1/2 MAKE & SILVER AT 7S 4D. The engraving under the base is a bit of a curiosity. Ordinarily, silversmiths noted the costs of objects as “to silver at X-shillings an ounce” and the “fashioning” separately. But on this bowl

either the patron or the silversmith made a note of its cost underneath, paying for the make and the silver together at a per-ounce rate: “54-1/2 o. make & silver at 7s 4d”. 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 Pair of William III SilverGilt Tazzas London, c. 1700 by George Garthorne Diameter: 11 7⁄ 8 "; Weight: 83 oz.

An extraordinary pair of tazzas, with exceptional weight, perfect color and condition, and a provenance that is tough to beat.

The arms are those of Montagu, for Charles Montagu, Lord Halifax.

He founded the Bank of England in 1694 and was Chancellor of the Exchequer from 1694 to 1699. He was a noted poet of the time, mourned by Addison and Pope, the latter in his

amusingly frank “Farewell to London in 1715.” He was also a lifelong patron of his fellow student at Trinity College Cambridge, Sir Isaac Newton. It was thanks to Montague that Newton was appointed Warden, and then Master, of the Royal Mint.

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A Pair of George II Mugs London, 1730 by Edward Vincent Height: 4 3⁄4"; Weight: 30 oz. 3 dwt.

The arms are those of Moyer, as borne

by Sir Samuel Moyer, who is described in contemporary documents as “an opulent Turkey merchant.” Moyer died in 1716, so the mugs were probably made for one of his children.

Provenance: Sotheby’s, London, 21 February 1952, lot 138 (£175 to Jessop)

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A George II Salver London, 1732 by Augustine Courtauld Diameter: 19"; Weight: 98 oz.

Book of English Domestic Silver, by Timothy Schroder.

The engraving on this salver has long been noted for its remarkable quality and exceptional condition. It is illustrated on page 8 of the National Trust

The arms are those of Lethieullier impaling Salkeld for William Lethieullier and his second wife Mary Salkeld, whom he married in 1719.

William’s son, Colonel William Lethieullier, F.A.S., was celebrated as an Egyptian traveler and collector of curiosities. On his death in 1755, he bequeathed to the British Museum “a very perfect mummy,” and a curious collection of antiquities.

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A George II Soup Tureen London, 1752 by Elizabeth Godfrey Length: 15"; Weight: 99 oz. 10 dwt.

A handsome tureen from one of the greatest and most prolific of the Huguenot shops in eighteenth-century London. Abraham Buteux, probably an apprentice to Simon Pantin, had the good sense to marry the boss’s daughter, Elizabeth. He died soon after, so Elizabeth entered her own mark, as Elizabeth

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Buteux, and carried on the business.

She then again, as Yeats put it, “chose a bandy-legged smith for man,” and married Benjamin Godfrey, who was either her journeyman or her apprentice. As was the custom, goods from the shop bore his mark until he too predeceased her, and she again entered her own mark, this time as Elizabeth Godfrey. Her shop was one of the busiest in London. She produced some truly fantastic pieces, and became, in

the fullness of time, “Goldsmith, Silversmith, and Jeweler to His Grace the Duke of Cumberland.” This appointment, because of the Duke’s great popularity and status as the hero of the battle of Culloden, probably drove business her way.

Provenance: The Lipton Tea Company Collection

A George II Epergne London, 1755 by Elizabeth Godfrey Length: 20"; Weight: 137 oz.

The arms are those of Smith for James Smith of Craigend (1707–1786) in Stirlingshire, Scotland. It descended through the family of his son Archibald “of Jordanhill” until sold in the fifties.

Curiously, a more ambitious epergne was owned by the Earl of Hopetoun, not too far away from Craigend. It was made two years earlier, also by Elizabeth Godfrey. We know of instances in which

the silversmith’s account books have notes like “Lord So-and-So wants a pair of candelabra like Lord Thus-andSuch’s,” and I wonder whether Smith saw Lord Hopetoun’s epergne and ordered something similar.

Provenance: Christie’s, London, 2 May 1956, lot 160, to S. J. Shrubsole Lipton Tea Company, resold to S.J. Shrubsole, 1976 Private Collection

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A Pair of George II Tea Caddies London, 1755 by Jean Jacob Height: 6 1⁄4"; Weight: 24 oz. 11 dwt.

Jean Jacob married Ann Courtauld, the eldest daughter of Augustin, and sister of Samuel. Although items bearing his mark are rare, it appears he earned the respect of one of the most exacting customers of the era, the Earl of Warrington, whose obsessive chronicling of his silver has made him a well-known

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figure in collecting circles ever since.

Until relatively recently the set included a sugar vase — where it went, we do not know.

Provenance: The Lipton Tea Company, Hoboken, N. J. Exhibitions: An Exhibition of the Lipton Collection of Antique English Silver, Henry Huntington Library and Art

Gallery, San Marino, Cal., Jan.–Feb. 1956, no. 52, p. 29 (not illustrated).

The Lipton Collection: Antique English Silver Designed for the Serving of Tea, The Dayton Art Institute, Oct. 1958, no. 49 The Lipton Collection, The Portland Museum of Art, Feb.–March, 1954, no. 45

A George III Coffee Pot London, 1764 by Louisa Courtauld Height: 10 5⁄ 8"; Weight: 31 oz. 10 dwt.

Louisa was Samuel Courtauld’s wife, thus Jean Jacob’s (see opposite) sister-

in-law. She carried on the business after Samuel’s death in 1765. This very good coffee pot is fairly typical of her output, with high quality and fine proportions.

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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

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upon succeeding to the Earldom in 1730. He served as Comptroller of the Royal Household from 1725–30, First Lord of the Admiralty from 1742–44, and Lord President from 1765–66.

He was made a Knight of the Garter in 1752, and was one of the founders and governors of London’s Foundling Hospital.

A Set of Four George II Figural Candlesticks London, 1748 by Frederick Kandler Height: 10 3⁄4"; Weight: 94 oz. 12 dwt.

Provenance: Property of a Gentleman, Sotheby’s, London, 7 February 1957, lot 44. Oddly, Sotheby’s described the coat of arms as “? Burroughs impaling Offley.” Sixty-six years later the question mark still stands; our in-house herald can’t make sense of the arms.

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A George III Wager or Wedding Cup London, 1775 Probably by Augustin Le Sage Height: 7 3⁄ 8"; Weight: 8 oz. 19 dwt.

Wager cups, or as they are sometimes called, wedding cups, appear in English silver in the seventeenth century, most likely inspired by similar German vessels. They were used in drinking games, or in wedding ceremonies wherein the groom would drain the larger cup (formed by the woman’s skirt) and the bride the freely swinging smaller cup (held aloft above the woman’s head).

A series of reproductions were commissioned by the Goldsmiths’ Company in 1827, and the form was widely copied throughout the twentieth century.

Seventeenth- and eighteenth-century examples are rare.

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A Pair of Royal George III Candelabra London, 1774 by Thomas Heming Height: 14 1⁄4" ; Weight: 118 oz. 4 dwt.

These candelabra were a gift from George III to the son and heir of the Earl of Jersey on his christening in 1774.

They are recorded in the Jewel Office Delivery Book, 1732–1796, as follows: June 14th [1774] Delivered to the right honourable the Earl of Jersey as a Gift from His Majesty at the Christening of his Child. Impris one pair of Candlesticks and Bran-

ches gilt wt. 119-7 Itm one pair of snuffers and Pan gilt wt. 11. John Webb for The Earl of Jersey

You will notice they are no longer gilt, and we presume the gilding was removed either by the Earl of Jersey himself or by a subsequent owner — miraculously not leaving a trace.

The design is based on a French model by the famous silversmith Robert Auguste, a pair of which are in the collection of the Metropolitan Museum of Art.

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A George III Royal Tea Urn London, 1790 by Edward Fernell Height: 23"; Weight: 117 oz.

In 1790, Queen Charlotte gave this fine tea urn to her daughter’s French and needlepoint tutor, a young Swiss lady named Julie de Montmollin. We can’t know why the urn was presented; perhaps out of gratitude for excellent teaching in important subjects. The importance of learning French at court hardly needs stating, but needlework was also considered an important part of a woman’s education, and Queen Charlotte took it very seriously. In fact, Charlotte funded a school of needle-

work from 1772 until her death in 1818, and many of the women in her inner circle at court were members of the Blue Stockings Society — a group of intellectual women (and occasionally men: Garrick; Burke; Johnson) who gathered to discuss literature and art while doing needlework. Finally, it’s possible, given the date of the gift, that it was simply presented out of friendship and gratitude: when George was first struck ill in 1788 his wife and daughters went to Kew in an effort to lure him to a more restful place. Julie accompanied them there, and perhaps was supportive and helpful in what was for Charlotte, separated from George but

aware that he was acting both mad and violent, a terrifying time.

Provenance: The Lipton Tea Company, Hoboken, N.J., since the early 1950s Exhibitions: The Lipton Collection, The Portland Museum of Art, Feb.– March, 1954, no. 74 An Exhibition of the Lipton Collection of Antique English Silver, Henry Huntington Library and Art Gallery, San Marino, Cal., Jan.–Feb. 1956, no. 43, p. 21 The Lipton Collection: Antique English Silver Designed for the Serving of Tea, The Dayton Art Institute, Oct. 1958, no. 83

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A William IV Wine Cooler London, 1830 by Paul Storr Height: 11" to top of handle Weight: 40 oz.

The arms are those of Grant of Dalvey.

This is a pristine piece of late Storr, following a model that has been popular since the 1770s.

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A Pair of George III Candelabra London, 1797–98 by Paul Storr Height: 23"; Weight: 412 oz.

The original design drawing for these candelabra is by Jean Guillaume Moitte.

The Met has both a copy of the drawing, and a pair of very similar candelabra made in Paris by Henri Auguste which were formerly in the collection of the Duke of York. A pair identical to ours are in the collection of Emmanuel College Cambridge — one by Paul Storr, and one marked by the retailer Francis Magniac.

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FINE ENGLISH CLARET JUGS

TIFFANY SILVER

(Opposite, top left)

(Opposite, bottom left)

London, 1845

by John S. Hunt

London, 1837

by Reilly & Storer

An Enameled Table Bell (Top left)

(Opposite, top right)

(Opposite, bottom right)

New York, c. 1883

London, 1839

by Robert Hennell (magnum size)

London, 1847

by Reilly & Storer

A Scent Flask (Top right)

A Pair of Grape Shears (Bottom left) New York, c. 1879

A Spirit Flask (Bottom right) New York, c. 1876

New York, c. 1880

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An Early American Porringer (Above)

An Early American Porringer (Opposite page, top)

Provenance: S. Franklin, by 1745 Mrs. Robert C. Terry, by 1951

Philadelphia, c. 1740

by Francis Richardson, Jr.

Boston, c. 1720 by John Edwards Length: 8"; Weight: 10 oz. 12 dwt.

Length: 8 1⁄4"; Weight: 9 oz. 4 dwt.

An early, beautiful, and delightfully weighty porringer with a comparatively rare geometric style of handle.

The engraved initials and date (1745) are slightly later.

Literature: Patricia E. Kane, Colonial Massachusetts Silversmiths and Jewelers, New Haven, 1998, p. 416. Kathryn C. Buhler, “John Edwards, Goldsmith, and his Progeny,” The Magazine Antiques, vol. LIX, no. 4, April 1951, pp. 289–290, fig. 5

Engraved with initials H/W*I, marked three times on back of handle. A rare item, in perfect condition. We are trying to find possibilities for the initials.

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An Early American Teapot (Below) Philadelphia, c. 1795

by Samuel Richards Length: 9 1⁄ 2"; Weight: 25 oz. 2 dwt.

A heavy and capacious late eighteenthcentury Philadelphia teapot in excellent condition and with fine old color.

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TIFFANY MIXED METALS

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A Creamer (Top left)

An Inkwell (Bottom left)

New York, c. 1878

New York, c. 1880

A Cigar Lighter (Top right)

A Cigar Lighter (Bottom right)

New York, c. 1880

New York, c. 1905

Above and on the back cover:

A George III Mazarine London, 1763 by William Tuite Length: 16 1⁄ 8"; Weight: 29 oz.

Mazarines were made for straining the water from boiled fish. They rested over the recessed center of a meat dish.

In general, they are fairly dull — a flat oval with holes, or sometimes simple patterns, pierced through them. This one is different. It bears comparison to the

famous fish slices Lamerie made for the Earl of Mountrath and Admiral Anson.

The only comparably elaborate mazarines we are aware of is a pair by George Hunter in the Royal Collection, whereon the fish are actually in a net — the rope edge of which is engraved round the edge of the dish. The great dealer Hugh Jessop had a fine Georgian style mahogany tray made, to simultaneously frame the piece and allow it to be used.