Sterling Silver Argyll (Argyle) hallmarked for London makers William & Aaron Lestourgeon who registered their mark in 1767/68; date letter rubbed but appears to be 1774.
An Argyll is a “hot gravy pot” and this example has an outer sleeve for hot water and an inner vessel for gravy. Click to read more

Sterling Silver Argyll (Argyle) hallmarked for London makers William & Aaron Lestourgeon who registered their mark in 1767/68; date letter rubbed but appears to be 1774.
An Argyll is a “hot gravy pot” and this example has an outer sleeve for hot water and an inner vessel for gravy. Click to read more

Sterling Silver Argyll (Argyle) hallmarked for London makers William & Aaron Lestourgeon who registered their mark in 1767/68; date letter rubbed but appears to be 1774.
An Argyll is a “hot gravy pot” and this example has an outer sleeve for hot water and an inner vessel for gravy. Click to read more

Sterling Silver Argyll (Argyle) hallmarked for London makers William & Aaron Lestourgeon who registered their mark in 1767/68; date letter rubbed but appears to be 1774.
An Argyll is a “hot gravy pot” and this example has an outer sleeve for hot water and an inner vessel for gravy. Click to read more

Ernst Fries three high grade silver vessels all with a unique heavily textured surface achieved by melting a silver alloy of a lower melting point with a welding torch and working it onto the high grade silver item.
Jug 470g 16cm tall
Vase 635g 7cm ø 18cm tall
Rose Bowl with 5 taper Holders
765g 18cm ø 8.5cm tall
Ernst was born in Würzburg, Germany in 1934. From 1953 he lived and studied silver-smithing in Switzerland then in 1959 he immigrated to Australia. Initially he worked as a full time silversmith utilizing vitreous enamel to create individually designed jewellery and hollow ware for churches. A leaning towards sculpture was recognised as early as 1965 by art critic Donald Brook, in his exhibition review in the Canberra Times. Early sculptures were figurative bronzes but Ernst soon changed to creating more abstract work using steel. He has had many solo exhibitions in public and commercial galleries and has participated in many important group exhibitions such as “The Emigrants” in the National Gallery of Australia in Canberra and “Treasures from Australian Churches” in the National Gallery of Victoria.

Ernst Fries three high grade silver vessels all with a unique heavily textured surface achieved by melting a silver alloy of a lower melting point with a welding torch and working it onto the high grade silver item.
Jug 470g 16cm tall
Vase 635g 7cm ø 18cm tall
Rose Bowl with 5 taper Holders
765g 18cm ø 8.5cm tall
Ernst was born in Würzburg, Germany in 1934. From 1953 he lived and studied silver-smithing in Switzerland then in 1959 he immigrated to Australia. Initially he worked as a full time silversmith utilizing vitreous enamel to create individually designed jewellery and hollow ware for churches. A leaning towards sculpture was recognised as early as 1965 by art critic Donald Brook, in his exhibition review in the Canberra Times. Early sculptures were figurative bronzes but Ernst soon changed to creating more abstract work using steel. He has had many solo exhibitions in public and commercial galleries and has participated in many important group exhibitions such as “The Emigrants” in the National Gallery of Australia in Canberra and “Treasures from Australian Churches” in the National Gallery of Victoria.

Ernst Fries three high grade silver vessels all with a unique heavily textured surface achieved by melting a silver alloy of a lower melting point with a welding torch and working it onto the high grade silver item.
Jug 470g 16cm tall
Vase 635g 7cm ø 18cm tall
Rose Bowl with 5 taper Holders
765g 18cm ø 8.5cm tall
Ernst was born in Würzburg, Germany in 1934. From 1953 he lived and studied silver-smithing in Switzerland then in 1959 he immigrated to Australia. Initially he worked as a full time silversmith utilizing vitreous enamel to create individually designed jewellery and hollow ware for churches. A leaning towards sculpture was recognised as early as 1965 by art critic Donald Brook, in his exhibition review in the Canberra Times. Early sculptures were figurative bronzes but Ernst soon changed to creating more abstract work using steel. He has had many solo exhibitions in public and commercial galleries and has participated in many important group exhibitions such as “The Emigrants” in the National Gallery of Australia in Canberra and “Treasures from Australian Churches” in the National Gallery of Victoria.

Circa 1890s, Russian Silver Gilt Spoon with Plique-à-jour decoration to the bowl. Marked for Moscow, maker Pavel Ovchinnikov who worked in Moscow from 1853-1916. The 88 standard silver assayed in 1894 by Anatoly Apollonovich Artsybashev. Plique-à-jour is French for “letting in daylight” and is a vitreous enamelling technique where the enamel is applied in cells, similar to cloisonné, but with no backing in the final product, so light can shine through the transparent or translucent enamel. There is a decorative central twist and termination to the handle. The whole is 14 cm or 5 ½ inches long.

Circa 1890s, Russian Silver Gilt Spoon with Plique-à-jour decoration to the bowl. Marked for Moscow, maker Pavel Ovchinnikov who worked in Moscow from 1853-1916. The 88 standard silver assayed in 1894 by Anatoly Apollonovich Artsybashev. Plique-à-jour is French for “letting in daylight” and is a vitreous enamelling technique where the enamel is applied in cells, similar to cloisonné, but with no backing in the final product, so light can shine through the transparent or translucent enamel. There is a decorative central twist and termination to the handle. The whole is 14 cm or 5 ½ inches long.

Circa 1890s, Russian Silver Gilt Spoon with Plique-à-jour decoration to the bowl. Marked for Moscow, maker Pavel Ovchinnikov who worked in Moscow from 1853-1916. The 88 standard silver assayed in 1894 by Anatoly Apollonovich Artsybashev. Plique-à-jour is French for “letting in daylight” and is a vitreous enamelling technique where the enamel is applied in cells, similar to cloisonné, but with no backing in the final product, so light can shine through the transparent or translucent enamel. There is a decorative central twist and termination to the handle. The whole is 14 cm or 5 ½ inches long.

Scottish Sterling Silver posy holder as a brooch in the form of a thistle. Hallmarked for Edinburgh 1881. Bearing the Queen Victoria duty mark and a registration lozenge. Maker L & A; Lewis and Alexander, registered 1873. Length 6 cm. 

Cast & applied rim to top, raised on a stepped circular foot with solid Oak plug. Maker Edward Souter Barnsley & Co, established Birmingham 1887, these made in 1913. In original fitted presentation box by the highly regarded [established 1869 and still in business] Irish retailer Weir & Sons of Dublin & Belfast.

Prayer Book for a Chatelaine in a hallmarked Sterling Silver case made in London in 1890 by Cornelius Saunders and Frank Shepherd. It is approximately 9 cm long, 3.3 cm wide and 1.8 cm thick over the hinge for the attachment to the belt, the cover itself is 1.2cm thick.

A composed set of six fruit knives and forks with marked silver blades and tines for Vienna & Prest, 1813 and 1815, makers not identified so far. Possibly Herend polychrome decorated ceramic handles, one “as found”. 

A composed set of six fruit knives and forks with marked silver blades and tines for Vienna & Prest, 1813 and 1815, makers not identified so far. Possibly Herend polychrome decorated ceramic handles, one “as found”. 

Late 1800s, possibly Korean, Haetae figure box. High grade silver [tested] 110g.7.5cm high. Haetae are “Lion Dogs” – mythological creatures that are master of fire and guardians against this element. Their powers include time travel and the waning of the moon or even an eclipse. Haetae are often in front or inside Korean houses or used as containers as a protection against destructive natural elements. 

High grade Silver (tested) by Jan F Torp Sørensen, Holbæk, 1988-1990; 350g.

Circa 1900, Chinese, high grade Export Silver Cruet in tree trunk shaped forms with applied decorations of blossoming Prunus tree. Additional granulated silver decoration symbolising hidden groves. Original handmade glass inserts.

1950s, five piece sterling silver & rosewood tea and coffee set by Gebrüder Deyhle, Schwäbisch Gmünd, Germany. Established circa 1820

Hobnail cut base to square, clear crystal inkwell fitted with a sterling silver lift up top, affording access via a twist of lid to a Goliath size pocket watch with stem wind and set; white enamel dial with Roman numerals; small seconds sub dial at six.
Crystal cube 110mm high over the lid x 100 x 100; diameter of Goliath watch 66.2mm, diameter of standard pocket watch 50mm.
Hallmarked J G & S for John Grinsell & Sons [1871 – 1905], Birmingham 1903; J.G & S a business established in Birmingham before 1864 as Grinsell & Bourne. When the partnership was dissolved in 1871 John Grinsell started a new business with his sons at Victoria Works, 57 Tower Street, St. George’s, Birmingham. The firm had showrooms at 13 Charterhouse Street, Holborn Circus, London and 73 West Nile Street, Glasgow. In about 1905 the firm was converted into a limited company and operated until about 1920 when it was taken over by Baker Ellis & Co Ltd. All this time J G & S specialized in the making of silver mounted glass and stoneware items as the object presented here.

Hobnail cut base to square, clear crystal inkwell fitted with a sterling silver lift up top, affording access via a twist of lid to a Goliath size pocket watch with stem wind and set; white enamel dial with Roman numerals; small seconds sub dial at six.
Crystal cube 110mm high over the lid x 100 x 100; diameter of Goliath watch 66.2mm, diameter of standard pocket watch 50mm.
Hallmarked J G & S for John Grinsell & Sons [1871 – 1905], Birmingham 1903; J.G & S a business established in Birmingham before 1864 as Grinsell & Bourne. When the partnership was dissolved in 1871 John Grinsell started a new business with his sons at Victoria Works, 57 Tower Street, St. George’s, Birmingham. The firm had showrooms at 13 Charterhouse Street, Holborn Circus, London and 73 West Nile Street, Glasgow. In about 1905 the firm was converted into a limited company and operated until about 1920 when it was taken over by Baker Ellis & Co Ltd. All this time J G & S specialized in the making of silver mounted glass and stoneware items as the object presented here.

Hobnail cut base to square, clear crystal inkwell fitted with a sterling silver lift up top, affording access via a twist of lid to a Goliath size pocket watch with stem wind and set; white enamel dial with Roman numerals; small seconds sub dial at six.
Crystal cube 110mm high over the lid x 100 x 100; diameter of Goliath watch 66.2mm, diameter of standard pocket watch 50mm.
Hallmarked J G & S for John Grinsell & Sons [1871 – 1905], Birmingham 1903; J.G & S a business established in Birmingham before 1864 as Grinsell & Bourne. When the partnership was dissolved in 1871 John Grinsell started a new business with his sons at Victoria Works, 57 Tower Street, St. George’s, Birmingham. The firm had showrooms at 13 Charterhouse Street, Holborn Circus, London and 73 West Nile Street, Glasgow. In about 1905 the firm was converted into a limited company and operated until about 1920 when it was taken over by Baker Ellis & Co Ltd. All this time J G & S specialized in the making of silver mounted glass and stoneware items as the object presented here.