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† GILL STORR; acrylic on canvas, 'Caught in the Moment', signed lower right, 76 x 51cm, framed.

† GILL STORR; oil on canvas, 'Making your Mark', signed lower right, 80 x 80cm, framed.

Johnathan Storr of York - 30 hour longcase clock c1770, in a later mahogany case with a decorative swan neck pediment, carved gilded eagle and fretwork, with a dogtooth moulding, break arch hood door and detached pilasters beneath, trunk with a conforming break arch topped door on a square plinth with raised moulding and bracket feet, brass arched dial with makers name to the arch, plain dial centre and silvered chapter ring with Roman numerals, five minute Arabic's, minute track and matching steel hands, chain driven movement with a countwheel strike on a bell. No Pendulum or weight.Johnathan Storr was an 18rh century York clockmaker, working from Petergate and Minster gates in the city centre.Dimensions: Height: 235cm  Length/Width: 57cm  Depth/Diameter: 26cm

Paul Storr, a William IV silver burner stand, the panelled body decorated with flowers, the sides pierced with anthemion, with central removable burner, all component parts duly hallmarked, London 1834, diameter 16.9cm, weight 444g/14.27ozt approx

Paul Storr, a George III silver punch bowl, the body with dentil border, and gadroon edge rim, atop a spreading, stepped circular form foot, the body later decorated with rococo scrolls, flowers and foliage, ensuite with Armorial and presentation inscription, "Presented by Col.L C. D. W. Sibthorp M. P., commanding the Royal South Lincoln Militia, to Robert Shipman Esq., on the resignation of his commission...Aug 9 1854", hallmarked London 1804, height 20cm, diameter 29cm, weight 2126g/68.35ozt approx

A George III silver entree dish base, of rounded rectangular form, with gadroon edge border, with incised numeral '2', Paul Storr, London c.1805, length 31.3cm, weight 868g/27.90ozt approx

Paul Storr, a George III silver tea urn, of Neoclassical form, with reeded loop handles, the detachable cover with acorn finial, the silver tap with stained ivory spigot, the body later decorated with flowers, foliage and scrolls, ensuite with coat of arms, possibly for Thompson, all component parts with corresponding hallmarks, London 1799, height 37.5cm, weight 1523g/48.96ozt gross all-in approxIvory Declaration Submission Reference Number: AX6F46LV

Paul Storr, a George III Regency silver entree dish and cover, of rectangular form, with gadroon edge border, ensuite with a detachable handle formed as a foliate tendril, the domed cover ensuite with an Armorial, the cover numbered 3, and the base 4, London 1803, length 29.8cm, weight 1739g/55.91ozt approx

Paul Storr, a George III silver four-bottle decanter set, comprising a silver-mounted stand, the quatrefoil base ensuite with a coat of arms, ensuite with four cut glass decanters, Paul Storr, London 1805, height (to top of handle) 26.5cm, height (of decanter) 19.5cm approx

Paul Storr, a set of four George IV cast silver Bacchanalian pattern entree forks, double struck, each engraved with an armorial crest, London 1822, length 17.8cm, combined weight 274g/8.80ozt approx (4)See: Pickford, I. (1983). Silver Flatware. ACC Distribution, p.127-8‌

Paul Storr, A George IV Regency silver-mounted potpourri or soap box, the silver cover pierced with foliate scrolls, with central boss engraved with a cost of arms, with a hallmarked silver gilt pierced liner, all component parts with matching hallmarks, London 1820, height 6.5cm, weight of weighable silver 83g/2.66ozt approx

* JOHN WATLING (BRITISH b. 1943) THE STORR FROM THE QUIRRAING, SKYE watercolour on paper, signed, titled versomounted, framed and under glass image size 31cm x 41cm, overall size 49cm x 58cm Label verso: Hanover Fine Arts, EdinburghNote: John Watling was born in Manchester, England in 1943. He is a graduate of Leeds College of Art. In 1965 John was founder member of Leeds 'Sweet Street Group' - bringing art into industry. He exhibited in the Leeds City Art Gallery (one man show) and The Austin Hayes Gallery in York in 1967 and 1968. After teaching art for two years he left Leeds and moved to Newcastle upon Tyne where he became a freelance illustrator for the Sunday Sun Newspaper. From 1971 he found himself involved with the Entertainment Industry on the management side. This carried him over to Australia where he also exhibited paintings in Sydney between 1972 and 1974. He returned to England and Newcastle upon Tyne where he worked in promoting and organising Arts Festivals and exhibiting locally. In 1984 he returned to teaching art. In 1989 he went on holiday to the West coast of Scotland and the Republic of Ireland. This began a love affair resulting with a period of painting which still continues to this day. He exhibits frequently in Edinburgh and since 2000 in London's West End. John Watling's paintings are landscapes of the West of Scotland and Ireland. The Scottish paintings are mainly of the island of Iona where he finds inspiration for the almost Celtic strata of the rocks against the white sands and the oddly shaped islands off the coast. The paintings have a surreal look about them, which he says reflects his feelings about the island. His paintings of the West Coast of Ireland are mostly of the Aran Islands off the coast of Galway which to him have a timeless feel about them. His main interest is in the dry stonewalls which cover the islands like an enormous maze. His paintings are in oil and watercolour. He paints mainly in his studio from sketches and photographs rather than in 'situ'. This is because of the frequent light changes which can alter by the minute in the areas where he draws inspiration from. He is a prolific painter and has a large number of admirers and investors throughout the British Isles. He has paintings which are in collections in Britain, Ireland, USA, Europe, Australia and Canada.

Exquisite silver teapot-samovar, St. Petersburg, early 20th centuryMasters of the First Silver ArtelAn exquisite teapot-samovar, made in the workshops of the First Silver Artel in St. Petersburg at the beginning of the 20th century, is an exceptional example of Russian classicism. This samovar, which was an invariable attribute of table setting, stands out with its complex relief decoration and three-dimensional pattern, reflecting the highest skill of jewelers of that time.The body of the samovar, made in a hemispherical shape, is installed on a rectangular stand resting on legs made in the form of lion`s paws. These elements emphasize the monumentality of the item and its connection with the traditions of European silver art, especially popular in Russia in the first half of the 19th century.The central part is decorated with a relief palmette and spiral decor, giving the samovar a special decorative richness. The low tap, designed in the form of a lion`s head, emphasizes the richness and symbolism of the product. The shoulder of the samovar, smoothly turning into a hinged lid, is also decorated with a geometric pattern, and its top is a stylized pine cone - a popular motif in the decorative arts of that era. Curved side handles, decorated with sculptural decor in the form of lion heads, enhance the overall monumentality of the composition. The samovar embodies the experiments of the masters of the First Silver Artel with forms and motifs inspired by the famous products of English masters of the 19th century, in particular, the works of the great Paul Storr (London, 1771-1844). This item embodies the fusion of Russian and European styles, which was characteristic of the jewelry traditions of the workshop of Julius Rappoport, and later of the First Silver Artel. Their craftsmen created a wide range of items: from small desk items to vases, candelabra and even large formal decorative elements for dining tables, known as surtout de table.Hallmarks: Hallmark of the Moscow District Assay Office with the initials of the manager Ivan Sergeevich Lebedkin (appointed in 1899); Hallmark with an image of a woman`s head in a kokoshnik, facing left, with the initials IL and the hallmark 84, dating from the period 1899-1908; Hallmark of the First Silver Artel (ICA), active in the early 20th century in St. Petersburg.Dimensions: Height 33 cm. Weight of the item: 2620 grams. Width: 32cm, Height: 33cm, Depth: 32cm, Weight: 2.620kg, Condition: Good, Material: Silver 84, ID: ID-ANTQ-11585

A George III silver fish slice, mark of Paul Storr, London 1816, 'Fiddle' pattern, the scimitar style blade with decorative piercing, 30cm in length, 160g (5ozt)Overall in good condition with no obvious sign of damage or repair. Some light surface scratches as to be expected and commensurate with age and use. No crest or monogram.

Paul Storr - a George III silver Fiddle and Thread pattern dessert spoon, 17cm long, London 1816

Paul Storr - a George III silver half-fluted lamp shaped teapot, flush-hinged cover with knop finial, scroll capped handle, domed foot, fruitwood fittings, 26.5cm long, London 1815, 736g gross

Paul Storr - a pair of George III silver oval meat plates, gadrooned borders, 33cm wide, London 1802, 1506g

Paul Storr - a pair of George IV silver oval sauce tureens and covers, acanthus bud finials, gadrooned borders, cast shell and acanthus scroll feet, 21cm over handles, London 1821, 1330g gross

Paul Storr; a silver desert spoon, London 1815, 43 grams Engraved initials and crest. Approx. length 17.5 cm

A Pair of George III Silver Salt-Cellars, by Paul Storr, London, 1806 each oval and with foliage and scroll heightened gadrooned border, on four cast paw feet, later engraved with a crest10cm wide, 9oz 12dwt, 299gr (2)Each fully marked under border. There is some wear to the marks with some only just visible. This includes the maker's mark on one. There is some overall surface scratching and wear, consistent with age and use. The engraved crest is probably later. Probably originally gilt inside. The gilding is now mostly worn off.

A cased set of six William IV silver-gilt Stag Hunt pattern tablespoons, each terminal with armorial crest of a tower, William Theobalds, London 1837, length (each spoon) 23cm, ensuite with a likely later, fitted presentation case, combined weight (sans case) 741g/23.82ozt approxProvenance: Heirlooms of Wareham, April 2008Note: A Regency pattern designed for Rundell Bridge & Rundell by Stothard and first made by Paul Storr (Pickford, 1983)Reference: Pickford, I. (1983). Silver Flatware. ACC Distribution.

[Books] E. Alfred Jones: The Plate of Magdalen College, Oxford, also of Merton, Queen's and Oriel Colleges; J. E. Nightingale: Church Plate of Dorset; N.M. Penzer; Paul Storr; Philip A. S. Phillips: Paul de Lamerie, and further volumes on silver, jewellery and metalwork. (qty)

A small collection of hallmarked silver cutlery to include a Paul Storr berry spoon, A sterling silver Dutch caddy spoon, 2 Georgian silver shell bowl caddy spoons, A pair of Japanese style silver sugar nips, sterling silver salt spoon. (A)

† GILL STORR; oil on canvas, 'The Fjords and Back', signed lower right, 60.5 x 50.5cm, framed.

BOOKS, MODERN ART. Miro, Juan Munoz, Patrick Heron, Rothlo, The Vorticists, Baselitz (Royal Academy), with STORR, Robert, 'Cage: Six Paintings by Gerhard Richter'. All excellent condition.

A George III 1804 Paul Storr London silver mounted cut glass sweet meat lacking cover, height 115mm

PAUL STORR - a George III cast-silver coffee pot burner stand, London 1792, circular form with cast foliate rim and scrolled shell feet, numbered 106, inside rim 9.5cm, 9.3ozNo damage or repair, body has engraved crest depicting lion, still heavy gauge, hallmarks clear

Hunt & Roskell (late Storr & Mortimer) a pair of finely cast silver gilt figural table comports, London 1859 by Hunt & Roskell, No9820,, each with a spreading bough with hanging grapes above a lady and gentleman one gathering fruit the other skating on a pond, from the series symbolic of the four seasons,both on a moulded tripartite lobed base with fruit and vines, bearing a dated inscription for 1931, 112 ozt combined 29 cm overall height,Both comports are missing their glass tops.The female stand has some slight rubbing to the gilt finish but structurally good.The male figure stand has an old repair in the form of a plate to tension the figure, the boy seems to have had something in his hand.Please see the extra images supplied.

A George III silver Fiddle, Thread and Shell pattern sugar sifting spoon and sugar spoon,by Paul Storr, London 1819 and 1821,the terminal with a crest, approx. weight 3oz. (2)

A George III silver mug, by Paul Storr, London 1819. baluster form with part-fluted decoration, the girdle and rims decorated with leaves flowers and shells, scroll handle decoration with leaves and a flower motif, gilded interior, height 10.9cm, approx. weight 6.3oz.Provenance: The Simon Ward Collection

A matched set of four George III Irish silver Bright-cut Celtic-point star pattern tablespoons,by Jonas Osborne, Dublin 1797, engraved with initials and crests to the cartouches, length 23.4cm, plus a George III Irish silver Celtic-point tablespoon by John Pittar, Dublin 1785, a George IV Irish silver sauce ladle by Christopher Eades, Dublin 1823, and a George III silver tablespoon by Paul Storr, London 1818, total approx. weight 13.4oz. (7)

A George III cruet set by Paul Storr (1771-1844)Comprising of two cruets, a mustard pot, a sprinkler and four faceted crystal jars Silver 950/000 frame, mounts and covers Neoclassical decoration with WEM monogram London city mark for 1807 and goldsmith's mark Paul Storr (regd. 1807) (light wear)29,5x39,5x24 cm1712 g (estrutura)

WW1 Medals War Pte C.A McMurchy 25BnA.I.F Victory A.C Sjt C Storr Lincs R Etc x4

Y&nbspA VICTORIAN SILVER TRAVELLING TEA SERVICE JOHN SAMUEL HUNT, HUNT & ROSKELL, LATE STORR, MORTIMER & HUNT, LONDON 1848 With engraved crowned cyphers and ivory warming bands, comprising: A kettle and lamp stand, a teapot, another teapot, a tea caddy, a sugar bowl, a milk jug, a waste bowl, a small spice box, a rectangular tray and a strainer by Charles Rawlings & William Summers 5929g (190.65 oz) gross In a fitted oak casePlease note: Dreweatts have applied for a de minimis exemption for this lot. Ref: RC5MG11C  Condition Report: Kettle - Marks are clear, splits to the ivory, engraving crisp, cover sits well, stands wellSpirit bottle - Marks clear, engraving crisp, cover screws down well, glass goodLarger tea pot - Marks are clear, splits to the ivory, engraving crisp, cover sits well, stands well, slight play to the hinge and handleSmaller tea pot - Marks are clear, splits to the ivory, engraving crisp, cover sits well, slightly wobbles, play to the hinge, excessive play to the handle, dent to the handleTea caddy - Marks are clear, engraving crisp, hinge tight, cover sits well, no keySugar bowl - Light rubbing to the marks, cover fits tightly, engraving is crisp, stands wellMilk jug - Light rubbing to the marks, engraving is crisp, stands wellWaste bowl - Marks are clear, engraving crisp, knock to the foot rime, wobblesSpice box - Marks are clear, engraving crisp, hinge good, dent to one foot, wobblesTray - Marks are clear, engraving crisp, stands wellBox - Come with keyAll with light scratches and wear commensurate with age and useCondition Report Disclaimer

A George IV silver souffle dish, Paul Storr, London 1822, the gadroon rim above plain polished body and twin handles, with plain polished drop-in liner, 9cm high, 34ozt (2)

Autographs, Royalty, 3 Royalty signed letters, inc. In Memorium sympathy note from Princess Mary, Countess of Harewood, daughter of George V regarding the death of her husband Henry Lascelles (1947), with hand written envelope; a hand written letter from Gloucester House to Lady MacDonald inviting her to lunch signed 'George' (Duke of Cambridge); and a typed signed letter from Robert of Austria to Sir Robert Storr, Robert of Austria was heir presumptive to Archduke Otto, Emperor of Austria (mainly gd)

A RARE VICTORIAN SILVER INK WELL IN THE FORM OF A DONKEY CARRYING BASKET PANNIERS,By John Samuel Hunt, London, 1845, inscribed ‘Hunt & Roskell’, late ‘Storr & Mortimer’, the hinged top fruit filled basket pannier fitted with glass ink pots on a well modelled donkey and naturalistic pose, bearing the title ‘’Gee up Neddy’’ from the popular nursery rhyme, (22.8 troy ozs excluding glass bottles). 13cm high, 15cm long, 12cm wideThe inscription on this ink stand, "Gee Up Neddy” refers to the nursery rhyme "Gee Up Neddy To The Fair: What shall we get when we get there, A penny apple or a penny pear, What shall we get when we get there!".Hunt & Roskell, a prominent firm of jewellers and silversmiths based on Bond Street, London, is well-represented in the Victoria and Albert Museum, which holds 25 of their works. The firm's origins trace back to the celebrated silversmith Paul Storr, who, after departing Rundell, Bridge & Rundell, established his own workshop on Harrison Street near Clerkenwell in 1819.In 1820, Storr formed a partnership with John Mortimer, creating Storr & Mortimer and trading from 13 New Bond Street. The firm gained further strength in 1826 with the addition of John Samuel Hunt, whose £5,000 investment facilitated its growth. By 1838, the firm had moved to 156 New Bond Street, and with Storr’s retirement at the end of that year, the name was changed to Mortimer & Hunt. This name persisted until 1843, when John Mortimer retired, and the firm was renamed Hunt & Roskell.Hunt & Roskell garnered acclaim at the Great Exhibition of 1851, held at the Crystal Palace in London, where their display, valued at approximately £100,000, was noted for its opulence. The firm continued to exhibit its work internationally, including at events in New York in 1853 and Paris in 1867. By the 1860s, Hunt & Roskell employed around 35 people at their Bond Street shop and an additional 80-100 at their Harrison Street factory.  Condition Report: Additional information: crest to the front that of Marquess of Ormond, Kilkenny Castle

Paul Storr. A George III silver fiddle, thread and shell pattern sifter ladle, London, 1815, 13.9cm, a similar Old English pattern table spoon, London, 1818, 21.2cm, 4oz and a dessert knife, London, 1812. Both in generally good order, commensurate with age and some use. Hallmarks clear.PLEASE NOTE:- Prospective buyers are strongly advised to examine personally any goods in which they are interested BEFORE the auction takes place. Whilst every care is taken in the accuracy of condition reports, Gorringes provide no other guarantee to the buyer other than in relation to forgeries. Many items are of an age or nature which precludes their being in perfect condition and some descriptions in the catalogue or given by way of condition report make reference to damage and/or restoration. We provide this information for guidance only and will not be held responsible for oversights concerning defects or restoration, nor does a reference to a particular defect imply the absence of any others. Prospective purchasers must accept these reports as genuine efforts by Gorringes or must take other steps to verify condition of lots. If you are unable to open the image file attached to this report, please let us know as soon as possible and we will re-send your images on a separate e-mail. 

GILL STORR (BRITISH CONTEMPORARY) 'BLUE WATERS', a yacht under sail in choppy waters, signed bottom right, mixed media on canvas, approximate size 59cm x 42cm, frame size 68cm x 50cm, Condition Report: two small holes near the bottom edge, dirty marks to the frame

Gill Storr, 'Sailing in New York', signed, oil on canvas, 91 x 61cm.

A pair of silver Old English pattern tablespoons, by Paul Storr, London 1815, 127g.

† GILL STORR; oil on canvas, 'Steady Sail', signed lower right, 75 x 90cm, framed.

A set of twelve Victorian silver second course plates, by John Samuel Hunt, London 1858-9, also stamped Hunt & Roskell late Storr & Mortimer 9382, each with ribbon and leaf 'French' border, with an engraved crest,26cm diameter227ozt (12)Condition ReportSome marks from use to the centre area of each

A George IV Silver Circular Dish, by Paul Storr, London 1827, with floral and leaf cast rim, the fluted border embossed with shells, flowers and scroll ornament, on moulded footrim, 9.5ins diameter x 3ins high, weight 14ozshttps://www.dropbox.com/scl/fo/e13lbqtf5d3occxzhqijz/h?rlkey=46589ob5ifbsk93mhfo0h3e4v&dl=0

A collection of Royal Tunbridge Wells Ltd silver doll's house miniatures, comprising a selection of classic antique style tea and coffee pots, etc., including Paul Storr design tea tray, condiment pieces, Garrard style ewer, Paul Storr teapot, Queen Anne coffee pot, photo frame, etc., hallmarked, circa 1995-1999, cased, and most with reference cards, 2.4oz all in.

WESTERMANN, H.C. (HORACE CLIFFORD)1922 Los Angeles - 1981 Danbury/USATitel: Artichoke Box. Datierung: 1965. Technik: Artischockenkiste, Tauknoten (silber gefasst), Holzstück, Postkarte.Maße: Kiste: 21 x 28 x 17cm, Knoten: ca. 25 x 7 x 8cm, Holz: 10 x 9,5 x 1cm, Postkarte: 9 x 13,5cm.Bezeichnung: Monogrammiert und datiert (geprägt) auf der rechten Seite der Kiste: HCW SF 65. Provenienz:- Sammlung Kasper König, Berlin (direkt vom Künstler)Ausstellungen:- Museum Ludwig, Köln 2008/09- Lieu d'Art et Action Contemporaine, Dunkerque 2013Literatur:- H.C. Westermann Exhibition Catalogue and Catalogue Raisonné of the Objects, hrsg. von Michael Rooks und Lynne Warren, Museum of Contemporary Art, Chicago, Chicago 2001, WVZ-Nr. MCA 131, S. 280f. Abb.- Ausst.-Kat. Looking for Mushrooms: Beat Poets, Hippies, Funk, Minimal Art - San Francisco 1955-68, Museum Ludwig, Köln, Köln 2008, S. 134 Abb."Der Bildhauer und Grafiker H.C. Westermann schuf häufig Objekte aus Holz, die seine Fähigkeiten im Tischler- und Intarsienhandwerk unter Beweis stellen. Seine Werke stehen in der Tradition von Surrealismus, Dada und Folk Art, verweisen aber in ihrer handwerklich soliden und präzisen Ausführung auch auf die Minimal Art. Der Begriff "Künstler-Künstler" ist in seinem Fall äußerst treffend! Der Kurator und Kunstkritiker Robert Storr bezeichnete ihn als "misfit" in der Nachkriegskunst und setzte ihn in Bezug zu den Kriegserfahrungen seiner Generation. Kasper König scheint als Übersetzung für "misfit" die Bezeichnung "nicht passendes Stück" am treffendsten: "Westermann hat in der Erkenntnis, dass das ,gute' Amerika und seine Werte immer mehr vor die Hunde gingen, alles in die von ihm geschaffenen Objekte gesteckt, sie immer robuster und solider gemacht. Diese Objekte sind aber nie eindeutig, sondern enigmatisch und ambivalent. Letztendlich sind sie heimatlose Kunstwerke, nicht passende Stücke, die weder in der Kunst noch in der Politik oder Geschichte zur Ruhe kommen, wie Geisterschiffe, Irrlichter.Die beiden Arbeiten aus der Schenkung hat König selbst in einem Katalogbeitrag beschrieben:"Untitled (Mallet in Crate) ist ein absurdes Objekt mit tiefer Bedeutung - typisch für Westermann im Sinne einer ,object lesson, vergleichbar einem Zauberer, der seinem Lehrling etwas mitteilen möchte. Würde man den in einer mit dreckiger Schafswolle ausgelegten Kiste deponierten hölzernen Hammer, der an einen Gerichtshammer erinnert, auf konventionelle Weise benutzen, zerbrächen die eingesetzten Spiegelflächen."(Ausst.-Kat. 1000... miles to the edge. Schenkung/Donation Kasper König. Museum Ludwig Köln, 11. November 2023 - 17. März 2024). Voraussichtliche Versandkosten für dieses Los: Deutschland: 36,00 Euro inkl. 5,75 Euro MwSt EU: 55,00 Euro inkl. 8,78 Euro MwSt Weltweit: 110,00 Euro inkl. 17,56 Euro MwSt zzgl. VersandversicherungErläuterungen zum Katalog H.C. (Horace Clifford) Westermann USA Nachkriegskunst Unikate 1960er Objekt Assemblage

THREE VICTORIAN SILVER DINNER PLATES of circular lobed form, engraved with family crests and numbered 8089 and 8136, London 1880/81, Robert Hunt and Robert Roskell, stamped Hunt & Roskell Late Storr & Mortimer, 62oz grossProvenance: private collection Conwy

of octagonal baluster form, crested, each piece with the retailers mark of "HUNT & ROSKELL LTD LATE STORR & MORTIMER", London 1921/22; the coffee pot 9" (22.8cm) high; 63.6ozt (5). *CR All pieces with wear, a bit bright & polished, minor knocks and blemishes, the tea pot with a slightly larger dent on the body near the base of the spout. Otherwise OK. Please contact Connor for further information connor.swanwick@lawrences.co.uk.

William 1V silver marrow scoop, with shell back and engraved crest, by Paul Storr London 1821, L23cm

A pair of possibly Paul Storr ornate silver napkin rings, London 1829. 4.5 cm diameter. 47.3 grammes.

A William IV Silver Teapot, by Paul Storr, London, 1832 compressed circular and on slightly stepped collet-foot, with ivory-insulated leaf-capped handle, the slightly domed cover with disc finial, engraved on one side with a coat-of-arms and on the other with a crest25cm wide over handle, gross weight 17oz, 528grWith non-transferable standard ivory exemption declaration number AC8A14LC.Fully marked underneath and further part marked on handle and inside cover. The base further stamped 'Storr & Mortimer' and numbered '58'. The marks are generally clear. There is some overall surface scratching and wear, consistent with age and use. The wear is noticeable as a softening to the engraving. There is some cracking and discolouration to the ivory insulators which show no signs of having been added or altered in any way.

A George IV Silver Entrée-Dish and Cover, by Paul Storr, London, 1825 circular and with gadrooned borders, the cover with detachable foliage and reeded handle, the cover engraved on one side with a coat-of-arms and the other with a crest, later engraved inside the base and cover with a differing crest25cm diameter, 39oz 14dwt, 1,234grThe arms 'three piles, two issuant from the chief and one from the base, gu., each charged with an antique crown, or.', are those of Grant, as borne by Edward Fitzherbert Grant, Esq., captain of the Royal Horse Artillery and son of Thomas Grant.Fully marked on base and cover and further part marked under handle. There is some wear to the marks on the cover and base but each is still legible. There is some overall surface scratching and wear, consistent with age and use. There is some minor pitting inside and a few small pin dents.

A hallmarked silver circular slaver with engraved central crest within a rope twist borders, weight 15oz, diameter 22cm, raised on three scroll feet, London 1824, Paul Storr.

A Pair of George III Silver Entrée-Dishes, Covers and Associated Handles, The Bases by Benjamin and James Smith, London, 1808, The Covers by Benjamin Smith, London, 1809, The Handles by Paul Storr each oblong and with shell and foliage heightened gadrooned borders, later engraved on each side with the arms of Lister quartering those of Cunliffe and above a motto and within foliage, the bases later engraved on each side with the crests of Cunliffe and Lister within foliage, the detachable handles each cast with two lion masks, foliage-capped and reeded and with plain plinth29.5cm wide, 135oz 4dwt, 4,205gr (2)The coat-of-arms are those of Lister quartering Cunliffe and the crests are those of Cunliffe and Lister, almost certainly for Samuel Cunliffe-Lister, later 1st Baron Masham (1815-1906). He was elevated to the peerage in 1891, taking his title from the market town of Masham which was near Swinton Park, the country seat he purchased in 1888.The dishes and covers each fully marked on side. There is some wear to the marks, though each is still legible. The handles part marked with maker's mark, lion passant and duty mark. There is some overall surface scratching and wear, consistent with age and use. The wear is noticeable as a softening to the high points and the engraving to a lesser degree. There is some bruising and misshaping to the edges of the handles. There are some bruises overall. One dish, cover and handle are each numbered '1' and the other numbered '4'on the base, '3' oh cover and un-numbered on the handle. The handles are associated and somewhat ill-fitting.

A Victorian Silver Butter-Dish, Cover and Stand, by John Samuel Hunt, London, 1854 circular, the fluted sides engraved with alternating bands of strapwork, with drop-ring handles, the detachable cover with cast cow finial, engraved with the crests of Cunliffe and Lister, with an associated frosted glass linerthe stand 19cm diameter, weight of silver 21oz 1dwt, 654grThe crests are almost certainly those of Samuel Cunliffe-Lister, later 1st Baron Masham (1815-1906). He was elevated to the peerage in 1891, taking his title from the market town of Masham which was near Swinton Park, the country seat he purchased in 1888.Fully marked under base and stand as well as inside cover. Further part marked on finial, drop ring handles and fixing bold. The base and stand 'Hunt & Roskell Late Storr & Mortimer' and numbered '7233'. The marks are generally clear. There is some overall surface scratching and wear, consistent with age and use. The wear is noticeable as a softening to the high points. There are splits to a number of the flutes on the stand. The glass liner is associated and the cover does not fit properly with the glass bowl inside.

By or Studio of Edward Hodges Baily RA (1788-1867) - Portrait Bust of George Gordon Byron, 6th Baron Byron, FRS (1788-1824), statuary marble on marble socle, the latter inscribed in black script: LORD BYRON, 76cm h  Provenance: Bought by the present vendor from a Nottingham collection in the mid-20th c, and as such unseen and fresh to the open market.  Edward Hodges Baily began his long and distinguished career modelling portraits in wax and working in the studio of Flaxman, going on to win the Society of Arts silver medal in 1808, entering the Royal Academy Schools in the following year, and later designing and modelling for the distinguished silversmith Paul Storr and the royal goldsmiths Rundell, Bridge and Rundell.   Baily's work soon became part of the national artistic canon and collective memory: his best-known public sculptures include the figure of Nelson surmounting his memorial column in Trafalgar Square, statues and friezes for the National Gallery, bas-reliefs on Marble Arch in Hyde Park, some of which were later removed and installed on the facade of Buckingham Palace, where he also designed figures for the pediment.  The original marble version of this posthumous bust of Byron was exhibited by Baily at the RA in 1826. It's believed that the original model was presented in 1863 to Harrow, the poet-peer's alma mater. In 1827 Baily exhibited two further Byron busts at the Royal Society of British Artists, one of which is possibly the example on display in the British Embassy in Athens, Greece; another might be the one at Byron's ancestral home, Newstead Abbey, Nottinghamshire. Either way it turns a quote from Hobhouse, Byron's close friend, into an axiom: "My dear Byron, nobody thinks of or looks at anything but your head." Much settled dust and dirt, untouched and undisturbed condition.

A sterling silver basting spoon, marked for Paul Storr. With engraved T to the handle. Hallmarked for London 1811, with George III duty mark. Approximate weight 136 grams.

THE DUKE AND DUCHESS OF SUTHERLAND WILLIAM IV SEAL SET SILVER-GILT CHARGER PAUL STORR, LONDON 1834 Of stylised octofoil outline, with embossed foliate scroll decoration throughout, set with nine various seals 34cm diameter, 35.5oz (gross weight) George Granville Leveson-Gower, 2nd Duke of Sutherland K.F. (1786-1892), thence by descent Christie's, London,  13th November 2018, lot 384, sold for £10,000 The Matrix Collection   At one point, one of the wealthiest families in Great Britain, the marriage alliance of the Leveson-Gower family and the Sutherland family found its success in the landed nobility of the Sutherland family combined with the affluence of the Leveson-Gower family.  This charger commemorates this union and the accomplishments of the family. Most likely commissioned by George Granville Leveson-Gower, the 2nd Duke of Sutherland (1786 – 1861), the date suggests that it was in memoriam of his father George Granville Leveson-Gower the first Duke of Sutherland (1758-1833). The Dukedom was only confirmed in 1833, months before the death of the first duke and would therefore be a celebration of this inauguration and achievement. Each seal acknowledges the important family members and the contribution to their rise. There are also marital arms recognising the marriage in 1785 between George Granville Leveson-Gower, 1st Duke of Sutherland and Elizabeth Sutherland (1765- 1839), which fortified the union and created the dynasty still in existence to this day.  The Leveson-Gower family had previously ascended politically, but it was the inheritance through a maternal uncle, Francis Egerton, 3rd Duke of Bridgewater in 1803, that really propelled the family. The inheritance included the Bridgewater Canal and a major art collection. They also owned estates in Staffordshire, Yorkshire, and Shropshire which all contributed to their rising status in British society.  The Sutherland family, on the other hand, had been admitted into the Scottish landed nobility since the 13th century. The family in the 18th century made their money from slave plantations in Jamaica but did not have the same magnitude of wealth as the Leveson-Gower family. When Elizabeth’s father, the 18th Earl (1735–1766) passed away, due to primogeniture, it was not guaranteed that Elizabeth would inherit but was only confirmed by the House of Lords in 1771. This confirmation made her an enticing match for the well-to-do Leveson-Gower who she married in 1785. Together, Elizabeth and George Granville known as Lord and Lady Stafford set about making Dunrobin in the Scottish Highlands a profitable estate and are most known for the controversial Highland clearances. Dunrobin is still the main seat of the family under the current 7th Duke. As one of the wealthiest families in the UK, it is unsurprising that they chose Paul Storr, deemed one of the most prolific and successful British silversmiths for the commission of this family relic. At a time that has often been considered the period that saw the greatest demand in the production and trading of silver wares, Storr always ensured that exceptional craftsmanship was maintained at the highest level.Following Storr’s early personal success, the company 'Rundell Bridge and Rundell' (who had been appointed Jewellers, Goldsmiths and Silversmiths to the Crown, and had also attained the Royal Warrant from HRH The Prince of Wales and The Duke of York) scouted Storr and he joined the company in 1807.Due to the volume of production at Rundell Bridge and Rundell, Storr’s role became almost supervisory, interacting with the existing staff to convey his work practices. A plate bearing Storr’s mark may not have been worked by his hands, but the hallmark was his and acted as a guarantee of the quality.Perhaps due to the lack of opportunity to be 'hands-on', in 1819 Storr opened his own shop, and in 1822, formed the company Storr & Mortimer.From working directly with prestigious companies with royal warrants to personal commissions, Paul Storr is remembered for fine examples of masterful craftsmanship predominantly in the Neo-Classical design.  It is interesting to note that this charger does not immediately appear in any of the annals of Paul Storr and is clear to see that it is a bespoke commission from the family. A true one-off piece for both the family and the silversmith. HeraldryThe arms on the central seal are those of Leveson impaling Granville and on the obverse Leveson quartering Gower, Gower of Stanesby and another, all impaling Granville, for William Leveson-Gower, later 4th Bt. (d.1691) and his wife Lady Mary Granville (1653-1696), daughter of John, 1st Earl of Bath (1628-1701), whom she married in 1668.William was born with the family name Gower, but changed it to Leveson-Gower on succeeding to the estates of his great uncle Sir Richard Leveson Kt. (1598–1661), of Trentham. The quarterings and the absence of the baronet's badge dates the seals to between 1661, and 1689, when William became the 4th baronet on the death of his elder brother's son, Sir Thomas Gower 3rd Bt.The further seals in clockwise order from one o'clock:1) Gower quartering Leveson within the Garter motto and beneath a duke's coronet for a Duke of Sutherland, on carnelian matrix.2) Gower quartering Leveson beneath an earl's coronet with Sutherland in pretence beneath a countess' coronet, for George Granville Leveson-Gower, as Earl Gower, later created 1st Duke of Sutherland (1758-1833) and his wife Elizabeth (1765-1839), Countess of Sutherland in her own right, daughter and heir of William, 18th Earl of Sutherland (1735-1766), whom he married in 1785, on silver-gilt matrix,3) Gower quartering Leveson impaling Egerton with viscount's coronet above, for Granville Leveson-Gower as Viscount Trentham of Trentham, later 2nd Earl Gower and 1st Marquess of Stafford (1721-1803) and his second wife Lady Louisa Egerton (1723-1761), daughter and eventual co-heir of Scroop Egerton, 1st Duke of Bridgewater (1681-1744), on carnelian matrix.4) Gower quartering Leveson beneath a duke's coronet with Sutherland in pretence beneath a countess' coronet, for George Granville Leveson-Gower, as 1st Duke of Sutherland (1758-1833) and his wife Elizabeth (1765-1839), Countess of Sutherland in her own right, daughter and heir of William, 18th Earl of Sutherland (1735-1766), whom he married in 1785, on carnelian matrix.5) Gower quartering Leveson beneath an earl's coronet with Sutherland in pretence beneath a countess' coronet, for George Granville Leveson-Gower, as Earl Gower, later created 1st Duke of Sutherland (1758-1833) and his wife Elizabeth (1765-1839), Countess of Sutherland in her own right, daughter and heir of William, 18th Earl of Sutherland (1735-1766), whom he married in 1785, on bloodstone matrix.6) Gower quartering Leveson beneath a marquess' coronet with Sutherland in pretence beneath a countess' coronet, for George Granville Leveson-Gower, as 2nd Marquess of Stafford, later created 1st Duke of Sutherland (1758-1833) and his wife Elizabeth (1765-1839), Countess of Sutherland in her own right, daughter and heir of William, 18th Earl of Sutherland (1735-1766), whom he married in 1785, on milky chalcedony matrix.7) Gower quartering Leveson beneath a marquess' coronet within the motto of the Order of the Garter, for either Granville Leveson-Gower, 1st Marquess of Stafford (1721-1803), or his son George Granville Leveson-Gower, as 2nd Marquess of Stafford, later created 1st Duke of Sutherland (1758-1833), on carnelian matrix.8) Gower quartering Leveson with viscount's coronet above, for Granville Leveson-Gower as Viscount Trentham of Trentham, later 2nd Earl Gower and 1st Marquess of Stafford (1721-1803), on gold matrix.    

A Victorian silver covered vegetable dish, mark of John Hunt & Robert Roskell, London 1869, the dish of circular scalloped form, rim with foliate, reed and tie border and engraved with the crest of ASELOCK, marked to the underside HUNT & ROSKELL LATE STORR & MORTIMER 5145, 26cm diameter, the fully marked high domed cover with foliate accents and foliate capped reed and tie handle, similarly crested, 18cm overall height, 1626g (52.2ozt) grossOverall in good condition with no obvious sign of repair. Some surface scratches, minor dents and dings all over and scuffing to the underside as to be expected. Dish numbered '1' cover numbered '2', so the cover not a perfect fit, though the hallmarks match. Some staining to the cover, which would benefit from professional cleaning. Engravings and hallmarks a little worn but still clear and readable.

A Victorian silver vegetable dish, mark of John Samuel Hunt, London 1844, of circular scalloped form, rim with foliate, reed and tie border engraved with the crest of OAKLEY, marked to the underside HUNT & ROSKELL LATE STORR MORTIMER & HUNT 1816, 33cm diameter over the decorative border, 4cm high, 1082g (34.8ozt)