We found 2146 price guide item(s) matching your search

A George III silver meat platter London 1801, maker Paul Storr, of octagonal and oval form, with gadrooned border and plain shallow well, weight 103oz 22.5 x 15.5in (57 x 39.5cm).

A George III Fiddle, Thread and Shell pattern fish slice, shaped and pierced blade, 30.5cm long, Paul Storr, London 1818

A Hunt & Roskell late Storr Mortimer and Hunt christening mug, repousse with fruiting vine decoration, with vacant shield and naturalistic loop handle, London mark 1840.

A Longcase Clock with steel and brass arched dial, inscribed "J Storr, York" with date ring and 30 hour movement in oak case, with swans neck pediment and eagle finial, fluted turned pilasters and bracket feet. 7` 3" (221cms) high.

A pair of George III silver Kings pattern ladles by Paul Storr, London 1817, weight 134gms, bearing monogram

Richard Ernst Eurich R.A., N.E.A.C. (1903-1992). Fishing Boats entering Whitby Harbour with Figures on the Quayside. Signed and dated 1933, inscribed with the artist`s name on the stretcher verso, oil on canvas, 63.5cm by 76.5cm, The scene depicts the Whitby boat Pilot Me, owned by the Storr family of Whitby, entering harbour in 1933. On deck is a blue-fin tunny fish, caught by Mr Mitchell Hendry: at 851lbs it was the largest tunny ever caught in the North Sea, a record which still stands., Born in Bradford, he studied at the Bradford School of Art 1920-24 and Slade School of Art until 1926. During World War II appointed official war artist to the Admiralty. He painted numerous records of the war at sea including Withdrawal from Dunkirk, June 1940, HMS Revenge Leaving Portsmouth After a Raid and Midget Submarine Attack on the Tirpitz, All are in the National Maritime Museum, London. From 1949 taught at the Camberwell School of Art and elected Royal Academician in 1953.. See illustration

† A pair of Regency dinner plates Paul Storr, London 1818, of shaped circular form with gadrooned border, with engraved crest of dragons head facing left above a crown (2) 25cm diameter

A Victorian hallmarked silver serving dish of raised scallop design, having cast open shell and foliate decoration, impressed to the base 3102, made by Hunt & Boskeli, Late Storr Mortimer & Hunt, London 1867/68, approx weight 26oz

A MATCHED SET OF KINGS PATTERN SILVER FLATWARE, six knives, forks and table spoons, two ladles and two salad servers by Paul Storr, Mary Chawner, Eley and Fearn and others (22).

A Victorian silver mug by John Samuel Hunt, London 1848, retailed by `Hunt & Roskill, Late Storr, Mortimer & Hunt 3465`, straight-tapered with a stock handle, overall chased with hops on a matted ground, the interior gilt, a shield engraved with a cypher, 8.3cm (3.25in) high, 202g (6.5 oz) (footrim dents). Visit www.dnfa.com for condition reports.

A Victorian Salver, of circular form with chased repetitive geometric design, to a plain polished centre (repaired), and raised on three cast and applied bracket feet, diameter 9 ¼", London 1863, Maker`s Mark John Samuel Hunt, with further retailer`s stamp for Hunt and Roskell, Late Storr and Mortimer

A late Victorian silver hot water jug and cover, with wooden scroll handle, on a circular base, Hunt and Roskell, Storr and Mortimer, engraved also on base, London, 1884, 22.5cm h

A William IV silver beaker, Paul Storr, London 1836, of plain tapering cylindrical shape with everted lip, engraved with coronet and cipher, 9.5cm high, 8.5cm diameter, 5.25oz

A large George IV silver venison dish, Paul Storr, London 1827, of oval shape embossed with gravy tree, strainer and well within a shaped reeded edge and with two upturned shell handles, all standing on four everted scroll feet, 57cm wide, 104oz

A George IV silver cup, Paul Storr, London 1821, of tapering cylindrical shape over an acanthus foot, the body allover embossed with fruiting vines, the handle modelled as a vine, initialled EJC to the underside, 7cm high, 7.5cm diameter, 5oz

A FINE AND UNUSUAL WILLIAM IV SILVER GILT CLOAK CLASP BY PAUL STORR, cast as the head of a bacchante, 8cm w, overall, maker's mark, London 1830, 1oz 10dws Illustrated: de Castres (E), A Guide to Collecting Silver, 1980, p148. ++In fine condition

Literature: a small quantity of literature including Penzer, NM: Paul Storr, The Orice Guide to antique silver, Rosenberg, and Bradburys hallmarks. (lot)

By Paul Storr: a set of eight George III fiddle and thread pattern dessert forks, crested, London 1817, 14oz. (8)

A set of six William IV silvergilt thread and shell pattern dessert knives, crested (steel blades by Storr and Mortimer), by W. Chawner, London 1830 and a similar matched set of six knives, crested (steel blades by Garrard), by two makers, James Trender and Robert Peppin, London 1806/1819. (12)

Royal Association: a set of eleven George III silvergilt dessert spoons, fiddle and thread pattern by George Smith and William Fearn, London 1787 (and another later to match by Paul Storr, London 1821), all engraved with the Royal Crown, crest and motto, 18.5oz. (12)

By Paul Storr: a set of six George III fiddle thread and shell egg spoons, crested, gilt bowls, London 1819, 4.25in. (6)

By Paul Storr: a set of five George III Old English pattern tableforks, London 1812, 9.5oz. (5)

A Group of Six Dress Miniatures; Queens South Africa Medal, four clasps, South Africa 1902, Transvaal, Orange Free State, Cape Colony; 1914 Star; War and Victory Medal, M.I.D. oakleaves; Coronation 1911; Belgium, Order of the Crown, mounted for wearing, in leather case of issue, A&N.C.S. Ltd., Medallists, 105, Victoria Street, Westminster. A Pair of Dress Miniatures; India Medal, two clasps Punjab Frontier 1897-8, Tirah 1897-8; East and West Africa Medal, one clasp Sierra Leone 1898-99, mounted for wearing, red case of issue 'Hunt & Roskell Ld., late Storr & Mortimer, London. Visit www.dnfa.com for condition reports.

A George III silver teapot of half fluted circular form with cast gadrooned bands and acanthus decorated handle, by Paul Storr, London 1781, 27 ozs.

A GEORGE III SILVER BREAD BASKET BY PAUL STORR having swing handle cast with husk framed cartouche engraved with a plumed coronet, reeded and with cast foliate sides extending from the hinges, the rectangular body with gadroon edging, shell and foliate corners and with semi fluted decoration, the inside of the base engraved with a well detailed family coat of arms with crest of a phoenix rising from flames, on low pedestal rectangular base, London 1815, 32.5cms wide max, 40oz

A Victorian Dinner Plate, Hunt & Roskell, London 1880, of bracketed circular shape with acanthus leaf punctuated reeded rim, engraved with an armorial with unicorn supporters, the underside stamped Hunt & Roskell late Storr & Mortimer, 8089, 28.5cm diameter, 614g, 19½oz

A Pair of George III Silver Asparagus Servers, by Paul Storr, with Kings pattern handles, London 1819, 9 ozs. See illustration

A silver sucrier, by Hunt & Roskell Late Storr & Mortimer, with loop handle and with applied figure to the body, raised on a circular rope work foot, London mark 1881.

A William IV parcel gilt pudding plate, by Paul Storr, London 1836, circular with shaped gadrooned border, 24cm diameter, 16.5oz

A George III silver hour glass pattern basting spoon by Paul Storr, London, 1817, 12in, 7 oz.

FOUR GEORGE III SILVER SERVING SPOONS by Paul Storr of London with fiddle pattern handles and London marks for 1812, approximately 291 grams

Phillips (Philip A.S.). Paul de Lamerie, Citizen and Goldsmith of London, 1968, folio, Holland Press, dust wrapper; Penzer (N.M.), Paul Storr, Silversmith and Goldsmith, 1971, 4to., dust wrapper (2)

A George III bowl, by Paul Storr London 1817 of shaped circular outline with gadrooned border, with a later engraved lattice work and flower head border, the centre later finely embossed with a display of exotic fruit and foliage, also with later added twin scroll handles hallmarked for London 1884, contained within a Victorian fitted case with gilt tooling, 25.5oz 26cm diameter of plate, 33cm wide across handles

A William IV silver bottle stopper cast in the form of a Unicorn surmounting a crown, 4.25ins high, by Paul Storr, London 1835 (weight 7ozs)

A pair of heavy silver-gilt chamber candlesticks, after a model by Paul Storr, C S G & Co. London 1985, the large leaf clasped sconce onto a bowl with shaped leaves to the base, the rim and handle modelled as a coiled snake, 17cm wide, 9cm high, 57oz

Pair of antique gilt filigree bracelets with domed oval links, each 7.5" long, within a Hunt & Roskell, Late Storr & Mortimer fitted case (2)

A pair of Victorian silver figural salts, John S. Hunt, London 1864. modelled as a standing boy and girl dressed in country dress, both with wicker baskets, he with a bunch of grapes, she with a rose, both standing on a naturalistic base of serpentine outline, with cast vine leaves and grapes, cartouche with a crest and on circular disc feet. engraved to foot rim ‘Hunt & Roskell late Storr and Mortimer’ and numbered 2776 (2), 18.5cm high, 44oz

An early Victorian silver-gilt bottle stand with an associated green glass hock bottle and stopper, Paul Storr, London, 1837-38. the stand of waisted cylindrical form and on three pierced scroll supports, the matt body finely chased with pierced panels of trellis-work and quatrefoils alternating with bands of flowering foliage, applied with a scrolling cartouche with mirrored cipher ‘H de G’ below a coronet, the bottle decanter with everted rim and tear drop stopper, engraved with the initial H on each side, The stand, 13.4cm high, bottle 32.4cm high. 11oz, weighable silver. Heraldry: The monogram and coronet are those of Henrietta Frances, Countess de Grey (1784- 1848), fifth daughter of William, 1st Earl of Enniskillen. In 1805 she married Thomas Philip, 2nd Earl de Grey of Wrest Park, who served as Lord Lieutenant of Bedfordshire, first Lord of the Admiralty from 1834-35 and Yeomanry Aide-de-camp to William IV from 1831 to 1837 and to Queen Victoria from 1837-59. Provenance: The Collection of Alan and Simone Hartman, Christie’s New York, 20th October 1999, lot 209. Important English, Irish and Continental Silver, Sotheby’s, New York, April 16, 1996, lot 234. Literature: John Culme, Nineteenth Century Silver, London 1977, p.144, where the bottle stand is described as a pastille burner, The monogram and coronet are those of Henrietta Frances, Countess de Grey (1784-1848), fifth daughter of William, 1st Earl of Enniskillen. In 1805 she married Thomas Philip, 2nd Earl de Grey of Wrest Park, who served as Lord Lieutenant of Bedfordshire, first Lord of the Admiralty from 1834-35 and Yeomanry Aide-de-camp to William IV from 1831 to 1837 and to Queen Victoria from 1837-59. . Provenance: Countess de Grey (1784-1848), Sotheby's, New York, April 16, 1996, lot 234. The Collection of Alan and Simone Hartman, Christie's New York, 20th October 1999, lot 209. Literature: John Culme, Nineteenth Century Silver, London 1977, p.144

A William IV silver ewer,, Paul Storr, London 1835-36. of ascos form, on moulded rim foot, the matted body applied with two scrolls and fruiting vine scroll handle, the rim applied with two crest finials, in a modern fitted case, 22.2cm high, 32ozs./r, Note: The ascos jug follows an ancient Greek prototype used as a receptacle for the oil burnt in lamps. Its unusual form is derived form early examples which were fashioned from leather. A number of examples by Paul Storr are known (see M. Clayton, The Christie’s Pictorial History of English and American Silver, Oxford, 1985, p.256, fig.3). The ascos jug follows an ancient Greek prototype used as a receptacle for the oil burnt in lamps. Its unusual form is derived form early examples which were fashioned from leather. A number of examples by Paul Storr are known (see M. Clayton, The Christie's Pictorial History of English and American Silver, Oxford, 1985, p.256, fig.3).

A George IV three-piece silver-gilt tea service, Paul Storr, London 1828-29. additionally stamped ‘Storr & Mortimer’, comprising: a teapot, a milk jug, a twin-handled sugar bowl, the bellied bodies with embossed and chased borders of shell and fluting, with scalloped everted shell detailed rims, the lower border of rushes, the central vacant border engraved with scroll-form cartouche with stag’s head facing with shell surmounting, the teapot with domed fluted shell detailed cover with conch shell finial, the S-scroll handles formed as serpents rising from rushes (3), teapot 18cm high, combined weight 56oz

An impressive George IV silver dessert bowl, Philip Rundell for Rundell, Bridge and Rundell, London 1821-22. the large well-modelled clam shell supported by three hippocamps in a wild sea setting and supported by three groups of clam shells and turtles, engraved with the crest and monogram of Harriet Duchess of St. Albans, 27cm high, 40cm wide, 39cm deep, weight 298oz/rNote: A similar set of four silver-gilt dessert bowls with covers were made for the Royal Collection by John Bridge 1826-27. Literature: Jones, Windsor, p.160, pl. LXXXI; Bury, ‘Rundell’s’, I, p.152 (one of a set), Exhibited: Royal Goldsmiths: The Art of Rundell & Bridge 1797-1843, Christopher Hartrop, exhibition by Messrs Koopman Rare Art Ltd. 2005. Heraldry: The monogram AGBC is for Angela Georgina Burdett -Coutts, granddaughter of the banker Thomas Coutts and heiress to Harriet, Duchess of St Albans. Literature: J. B. Hawkins, The Al-Tajir Collection of Silver and Gold, London 1983, vol.1, p.164-65. Note: Similar set of eight exhibited Christie’s,’ The Glory of the Goldsmith: Magnificent Gold and Silver from the Al-Tajir Collection’, London, 1989, no.151. The design for these salt cellars is attributed to the painted and sculptor William Theed (1764- 1817), on the basis of its close similarity to the artist’s bronze ‘Thetis returning form Vulcan with Arms for Achilles,’ in the Royal Collection and exhibited in the Royal Academy of Arts Bicentenary Exhibition, fig. 171, p.50. Theed supplied designs and worked as the chief modeller for Rundell, Bridge & Rundell, and a design drawing for these salt cellars from an album belonging to Rundell’s is now in the Victoria and Albert Museum (see A. Phillips and J. Sloane, Antiquity Revisited: English and French silver-gilt from the Collection of Audrey Love, 1997, pp.48-49), There are at least three variations of this model, each with a differing base: A set of twenty four with oval bases by Paul Storr of 1810 is in the Royal George IVs Palace, 1991, cat. No.95, p.133; a set of four salt cellars with oval base, by William Pitts of 1813, is illustrated in Antiquity Revisited, cat. No.6, p.47;, A set of four, each on rectangular plinth with chased vitruvian scroll border, by Paul Storr from 1812, sold from the collection of Charles and Fay Plohn, Sotheby’s, New York, July 16, 1970, lot. 138. A set of four salt cellars, each with a base similar to the present lot, was produced by John Samuel Hunt in 1855 and sold at Christie’s, London, March 17, 1999, lot.50. As a successor to Paul Storr, Hunt evidently retained and continued to use the moulds.

A pair of late George III silver chambersticks, Paul Storr, London 1819-20. the shaped circular bases with cast leaf and gadrooned border, shell and moulded handle, the lobed centre engraved with a crest and with an urn-shaped sconce with reeded and gadrooned edge (2), 10cm high, 14.5cm diameter, 26oz, Heraldry: The arms of Cherry impaling another

A George IV silver seal box, Paul Storr, London 1817. of typical circular form, the hinged cover chased with the Royal arms, the border with an oak leaf and acorn border, 17.1cm diameter, 20oz, Heraldry: The full achievement of the Royal Arms of the UK. 1801-16. Literature: Delieb, ERic. (1979) Silver Boxes. Ferndale Edition, P. 22

A fine pair of George III cruet frames, Paul Storr, London 1816-17. the bases of shaped oval outline with heavy cast foliate and shell border with integral twin foliate scroll handles, raised on four large foliate bracket feet with shell detail to centre, raised above a concave fluted sweeping border with chased rose head and fruiting foliate alternate border, the cruet frame with four finely-formed foliate bracket supports with ovolo border and simple ring housings for bottles, the central loop handle with reeded and acanthus caps and terminals, the crystal bottles with diamond-cut upper panels and faceted lower section, the oil bottle with hinged covered spout with Greek foliate design and acanthus capped S-scroll handle, with large mustard pot with rose head and fruiting foliate alternate border and pull-off cover with rose head cap and flowering bud finial (6), 31cm high, stands 70oz & 74oz each

A George III silver coffee and tea service, Paul Storr, London 1816-17. comprising: a large spirit samovar, a coffee pot, a teapot and a twin-handled sugar bowl, each of circular form with scrolling floral and rosette border with flower head details to rim and gadrooned fluting to lower section, raised on simple circular foot with gadrooned and chased upper rim, the coffee and teapot with raised upper rims with ovolo border and slightly domed hinged cover with oak leaf and acorn finial with wooden knops, the handles of all with classical mask socket mounts and curved scroll handles; together with a matched hot milk jug in a similar style (unmarked) (5), Coffee pot 27cm high, combined weight of service 262oz

A George III Warwick vase and stand, Paul Storr, London 1815-16. the twin-handled vase of shallow kantharos form on a short circular stem onto a spreading square base, the body chased with a calyx of acanthus banding to the blower half and with typical masks, lion pelts, clubs and spears, the handles formed as intertwined vine leaves, raised on simple square foot, the stand of canted square section with shamrock leaf border above an acanthus leaf frieze, the sides with four plain panels with matching borders, raised on four claw and pad feet with acanthus caps, Overall height 51cm high, width 41cm (across handles), combined weight 352oz, Note: For a similar vase and stand see Christie’s London, 4th November 1998, lot 52. For a similar vase and stand see Christie's London, 4th November 1998, lot 52

THE HUNTLY TESTIMONIAL, A Regency silver ten-light candelabrum centrepiece, Paul Storr for Rundell, Bridge & Rundell, London, 1814-15. the triform base on four massive lion’s leg supports linked by openwork foliage, inscribed in English and Gaelic below a band of palm and acanthus, applied with three couchant deerhounds on whose backs rests an upper plinth applied on each side with arms and coronets, mounted with three standing kilted Highlanders surrounding a palm-trunk stem rising to a canopy of openwork leaves from which spread three tiers of foliate scroll reeded branches, detachable nozzles, fully marked, and stamped with London signature of Rundell, Bridge and Rundell, 101cm high, 56.5cm wide, 847oz all in, Heraldry: The coronet of a Marquess above a shield quartered 1. GORDON, 2. BADENOCH, 3. SETON, 4. FRASER for George, Marquess of Huntly. Provenance: Sotheby’s, New York, 14th April 1999 lot 216. Note: General George Gordon, GCB (1820), Col. Royal Scots Fusiliers and Governor of the Castle of Edinburgh, eldest son of the 4th Duke of Gordon was summoned to Parliament as Lord Gordon of Huntly with the courtesy title of Marquess of Huntly. Born in 1770 and married in 1813 to Elizabeth Brodie, Lord Huntly succeeded as 5th Duke of Gordon in 1827 but died without issue in 1836 when the dukedom became extinct and the Marquessate devolved upon a kinsman. There is a strong similarity to the design by Flaxman for the candelabrum presented to The Marquess of Salisbury. The classical figures replacing the Highlanders, the stags replacing the deerhounds which are part of the crest, The coronet of a Marquess above a shield quartered 1. GORDON, 2. BADENOCH, 3. SETON, 4. FRASER for George, Marquess of Huntly. . Provenance: ;, Sotheby's New York 14th April 1999,, General George Gordon, GCB (1820), Col. Royal Scots Fusiliers and Governor of the Castle of Edinburgh, eldest son of the 4th Duke of Gordon was summoned to Parliament as Lord Gordon of Huntly with the courtesy title of Marquess of Huntly. Born in 1770 and married in 1813 to Elizabeth Brodie, Lord Huntly succeeded as 5th Duke of Gordon in 1827 but died without issue in 1836 when the dukedom became extinct and the Marquessate devolved upon a kinsman.

A set of four George III silver table candlesticks, Paul Storr, London 1815-16. the circular base with a C-scroll and acanthus clasped border, with four grotesque masks each with a rose above and trailing down from the knopped stem with further clasping to the upper knop, leaf clasped sconce and each with a removable drip pan, each engraved with a crest (4), 26cm high, 112oz

THE COOTE CANDELABRA, A pair of important Regency silver-gilt seven light candelabra, Benjamin Smith, London 1812-13. the incurved triangular plinths raised on winged paw feet, the triple caryatid female figural stem rising from a leaf decorated platform resting on three winged sphinxes, the stem with applied armorials, each with six scrolling foliate and lion mask decorated branches with fluted waxpans rising from twin leafy vases below the similar central light, detachable nozzles and engraved with armorials, crests and initials (2), 91cm high, 932oz. Provenance: Possibly the pair sold Christie’s October 17th 1962 lot 103. Heraldry: The arms are those of Coote, for Sir Charles Henry Coote, 9th Bt whose great great great grandfather was the younger brother of Sir Charles Coote, 2nd Bt and created Earl of Mountrath in 1660. Sir Charles Henry succeeded to the Baronetcy in 1802 on the death of Charles Henry, 6th and last Earl of Mountrath. He was a Colonel of the Queen’s County Militia and an MP for Queens County 1821-47 and 1852-69. He married Caroline, daughter of John Whaley of Whaley Abbey, Co. Wicklow in 1814 and died at 5 Connaught Place, Paddington on 8 October, 1864. Note: These magnificent candelabra match the set of four in the Royal collection (Jones pl. LXIV) supplied by Rundell, Bridge and Rundell, Paul Storr, London, 1808 and weighing 1963oz. The attribution to Boileau (Young, pp. 334-337) is based on comparisons of details to a volume of drawings held at the Victoria & Albert Museum and in particular designs for a wine cooler with sphinx supports and centre pieces incorporating fleshy patera in the branches. Boileau arrived in England on the advice of Henry Holland in 1787 to work on the decoration of Carlton House. It has been suggested that the couchant-sphinx support owe their inspiration to Piranesi’s engraving of an antique marble candelabrum on couchant-lions, published in Rome, 1778 in Vasi, candelabri, cippi, sarcofagi, tripodi, lucerne ed ornamenti antichi, Schroder, pp. 356-7, figure 79. The candelabrum was not a complete piece but a composition of excavated fragments, restored under Piranesi’s supervision and sold in 1775 to Sir Roger Newdigate. It seems more likely, however, that the source for these candelabra was originally an engraving of one of pair of antique examples from the Farnese Collection in the Museo Nazionale at Naples, originally in the Royal Palace at Capodimonte. Such sphinxes can be found in other of Boileau’s designs including, for example, the magnificent group of four soup tureens, Paul Storr, 1802/3, in the Royal Collection. A single candelabrum of similar size and design, Scott & Smith, 1804/05/07 from the collection of the Duke of Sussex and sold Sotheby’s London, 18 March, 1982 is now in the Al Tajir Collection (Truman, p156) and four-light examples were previously in the collection of the Lord Barnard and are now in the Gilbert Collection (Schroder, pp354-357), Literature: Jones, E A: The Gold and Silver of Windsor Castle, London, 1911. Young, Hilary: A further Note on J J Boileau ‘a Forgotten designer of Silver’, Apollo, October 1986. Truman, Charles: The Glory of the Goldsmith, Magnificent Gold and Silver from the Al-Tajir Collection, London, 1989. Schroder, Timothy: The Gilbert Collection of Gold and Silver, Los Angeles, 1988. Udy, David, Neo-Classical Works of Art, Grosvenor House Exhibition Catalogue, 1966, no 7. See also Christie’s New York, April 11th 1995, lot 234. for other candelabra with the Coote crest/r159. CHECK DETAILS NOT LIFTED FROM A SIMILAR PAIR SEE END CHRISTIES The arms are those of Coote, for Sir Charles Henry Coote, 9th Bt whose great great great grandfather was the younger brother of Sir Charles Coote, 2nd Bt and created Earl of Mountrath in 1660. Sir Charles Henry succeeded to the Baronetcy in 1802 on the death of Charles Henry, 6th and last Earl of Mountrath. He was a Colonel of the Queen's County Militia and an MP for Queens County 1821-47 and 1852-69. He married Caroline, daughter of John Whaley of Whaley Abbey, co. Wicklow in 1814 and died at 5 Connaught Place, Paddington on 8 October, 1864. . Provenance: Sir Charles Henry Coote 9th Bt (1792-1864), An Important American Private Collection, Christie's London, 17 October, 1962, lot 103. Simon Kaye Ltd, Garrards, Grand Duke Vladimir Kirillovich, These magnificent candelabra match the set of four in the Royal collection (Jones pl LXIV) supplied by Rundell, Bridge and Rundell, Paul Storr, London, 1808 and weighing 1963oz. The attribution to Boileau (Young, pp334-337) is based on comparisons of details to a volume of drawings held at the Victoria & Albert Museum and in particular designs for a wine cooler with sphinx supports and centrepieces incorporating fleshy patera in the branches. Boileau arrived in England on the advice of Henry Holland in 1787 to work on the decoration of Carlton House. It has been suggested that the couchant- sphinx support owe their inspiration to Piranesi's engraving of an antique marble candelabrum on couchant-lions, published in Rome, 1778 in Vasi, candelabri, cippi, sarcofagi, tripodi, lucerne ed ornamenti antichi, Schroder, p356-7, figure 79. The candelabrum was not a complete piece but a composition of excavated fragments, restored under Piranesi's supervision and sold in 1775 to Sir Roger Newdigate. It seems more likely, however, that the source for these candelabra was originally an engraving of one of pair of antique examples from the Farnese Collection in the Museo Nazionale at Naples, originally in the Royal Palace at Capodimonte. Such sphinxes can be found in other of Boileau's designs including, for example, the magnificent group of four soup tureens, Paul Storr, 1802/3, in the Royal Collection. A single candelabrum of similar size and design, Scott & Smith, 1804/05/07 from the collection of the Duke of Sussex and sold Sotheby's London, 18 March, 1982 is now in the Al Tajir Collection (Truman, p156) and four light examples were previously in the collection of the Lord Barnard and are now in the Gilbert Collection (Schroder, pp354-357), Literature: Jones, E A: The Gold and Silver of Windsor Castle, London, 1911. Young, Hilary: A further Note on J J Boileau 'a Forgotten designer of Silver', Apollo, October 1986. Truman, Charles: The Glory of the Goldsmith, Magnificent Gold and Silver from the Al-Tajir Collection, London, 1989. Schroder, Timothy: The Gilbert Collection of Gold and Silver, Los Angeles, 1988. Udy, David, Neo -Classical Works of Art, Grosvenor House Exhibition Catalogue, 1966, no 7. See also Christie's New York, April 11th 1995, lot 234

A set of four exceptional George III silver-gilt candlesticks, Paul Storr, London 1811-12, one nozzle 1812-13. each on serpentine square base, elaborately cast with shells, scrolls and four masks, each representing the seasons: Neptune amid rocaille and shells, Flora amid flowers, Pomona amid fruit, Bacchus amid grapevines, the square tapering stem with pendant husks and stylised ornament under a border of acanthus, rising to a circular fluted socket with similar band, the removable nozzle engraved with a crest (4), 22.8cm high, 118oz (4), Heraldry: Engraved with the Ducal coronet above a crest within the Garter for Lt. Col. Sir William Lowther, 1st Earl of Lonsdale. Provenance: Christie’s New York, 20th October 1999 lot 181 The collection of Simone and Alan Hartman. Sotheby Parke-Bernet, New York, June 10, 1980, lot 273 (set of 4). Christie’s, London February 19-20, 1947, lot 151 (set of 12). Then by descent of Lancelot Edward, 6th Earl of Lonsdale, O.B.E. (1867-1953), William Viscount and Baron Lowther, 1st Earl of Lonsdale (1757-1844). Literature: Penzer N. Paul Storr, p. 174, illus 175, for an identical pair from the Victoria and Albert Museum, from the Duke of Cumberland’s collection, given by Mr. L A Crichton. Note: Another set of four sold Christie’s New York, 16th April 1999, Important English silver from a New England Collection, lot 192. Engraved with the Ducal coronet above a crest within the Garter for Lt. Col. Sir William Lowther, 1st Earl of Lonsdale, KG. . Provenance: Christie's New York, 20th October 1999 lot 181, The collection of Simone and Alan Hartman, Sotheby Parke-Bernet, New York, June 10, 1980, lot 273 (set of 4), Christie's, London February 19-20, 1947, lot 151 (set of 12), Then by descent of Lancelot Edward, 6th Earl of Lonsdale, O.B.E. (1867-1953),, William Viscount and Baron Lowther, 1st Earl of Lonsdale (1757-1844), Ref Penzer N M Paul Storr, p174 - illus 175 for an identical pair from the Victoria and Albert Museum, from the Duke of Cumberland's collection, given by Mr L A Crichton, Another set of four sold Christies New York, 16th April 1999, Important English silver from a New England Collection, lot 192

A fine pair of George III soup tureens, covers, liners and stands, Paul Storr, London 1807-08. the oval tureens with gadrooned border with acanthus and shell details and two reeded loops handles with shell points, the interior liners with scroll handles and engraved crest, the plain section of body with applied reeded girdle, the lower section with convex fluted section, raised on four scroll feet with acanthus terminals, and fluted shell feet, on an integral shaped oval stand, gadrooned inner border and semi-spiralled gadroon detail to the outer edge with large scroll acanthus twin handles, the upper level of stand with engraved crest of a squirrel within foliage, each with domed pull off cover with gadrooned border and foliate finial with reeded loop handle with lion mask terminals (2), 2cm high, 44cm wide (across handle of stands), 406oz, Note: A similar tureen, cover and stand sold Christie’s, London, 4th March 1992, lot 156. A similar tureen, cover and stand sold Christies, London, 4th March 1992, lot 156

A George III Royal silver-gilt cream pail and ladle, Paul Storr, London 1795-96. the pail of coopered form, simple loop handle, engraved with a coronet and monogram, also with an engraved initial in an oval to the underside, the ladle modelled as a smaller pail, similarly coopered and with an upright handle of shaped form (2), Pail 12cm high maximum, ladle 5.5cm high maximum, 7oz, Heraldry: The cipher and crown of Queen Charlotte, born in 1744 at Mecklenberg-Strelitz, married George III 1761 at St James’s Palace, died at Kew 1818.

A pair of early Victorian silver dinner plates by Paul Storr, London 1838, shaped circular with reeded and foliate borders, 27.5cm (10.75in) diameter, 1143g (36.5 oz). With accompanying note, case no. 8724, from the Antique Plate Committee of The Goldsmiths Company stating that these plates comply with the Hallmarking Act of 1973

A George III sugar sifter spoon by Paul Storr, London 1813, of Hourglass pattern, engraved family crest, 12.5cm long

By Paul Storr: a set of twelve George III Hourglass pattern table knives, with steel fingerpoint blades by 'Makepeace', crested, London 1815 (date letters not clear). (12)

By Paul Storr: a set of six George III Hourglass pattern tableknives, crested, London 1820 together with a pair of Victorian knives to match, by Francis Higgins, London 1844 (polished steel, finger point blades). (8)

Royal Assocation: eight various dessert forks (King's and King's Honeysuckle pattern), engraved with the Royal garter cartouche, one by Paul Storr and seven by William Chawner, 16oz, London 1821-1827. (8)

By Paul Storr: a matched set of fourteen George III Hourglass pattern tableforks, London 1814-1816, and another similar, crested, same maker. London 1819, 44oz. (15)

By Paul Storr: a set of three George III Fiddle, Thread and Shell pattern egg spoons, initialled 'PWF', London 1817, 2.5oz. (3)

By Paul Storr: a matched set of six George III Hourglass pattern tablespoons, crested, London 1813/15, 19oz. (6)