Antique Sterling Silver or Equivalent
Sterling Silver Sauce Boat with Ebony Handle
Design 290 B circa 1919 B by Georg Jensen. Made in Jensen’s Danish workshop between 1933 to 1945. Total weight 315 g; circa 18 cm long over handle.
Sterling Silver Sauce Boat with Ebony Handle: handle
Design 290 B circa 1919 B by Georg Jensen. Made in Jensen’s Danish workshop between 1933 to 1945. Total weight 315 g; circa 18 cm long over handle.
Sterling Silver Sauce Boat with Ebony Handle: detail
Design 290 B circa 1919 B by Georg Jensen. Made in Jensen’s Danish workshop between 1933 to 1945. Total weight 315 g; circa 18 cm long over handle.
Sterling Silver Sauce Boat with Ebony Handle: markings
Design 290 B circa 1919 B by Georg Jensen. Made in Jensen’s Danish workshop between 1933 to 1945. Total weight 315 g; circa 18 cm long over handle.
Glass Hip Flask with Patented Bayonet Twist Lock: Hallmarks
Glass Hip Flask with patented Sterling Silver bayonet twist lock to top and corresponding Sterling Silver slip cup to lower. The remainder of the glass covered with Crocodile leather incorporating a pair of elongated “portholes” to check the level of the contents. Hallmarks for G & J W Hawksley, Sheffield, 1906. 14.5 cm high.
Glass Hip Flask with Patented Bayonet Twist Lock
Glass Hip Flask with patented Sterling Silver bayonet twist lock to top and corresponding Sterling Silver slip cup to lower. The remainder of the glass covered with Crocodile leather incorporating a pair of elongated “portholes” to check the level of the contents. Hallmarks for G & J W Hawksley, Sheffield, 1906. 14.5 cm high.
Glass Hip Flask with Patented Bayonet Twist Lock
Glass Hip Flask with patented Sterling Silver bayonet twist lock to top and corresponding Sterling Silver slip cup to lower. The remainder of the glass covered with Crocodile leather incorporating a pair of elongated “portholes” to check the level of the contents. Hallmarks for G & J W Hawksley, Sheffield, 1906. 14.5 cm high.
Glass Hip Flask with Patented Bayonet Twist Lock
Glass Hip Flask with patented Sterling Silver bayonet twist lock to top and corresponding Sterling Silver slip cup to lower. The remainder of the glass covered with Crocodile leather incorporating a pair of elongated “portholes” to check the level of the contents. Hallmarks for G & J W Hawksley, Sheffield, 1906. 14.5 cm high.
Russian Silver Dining Fork: front
A humble Russian silver dining fork bearing a rather nicely engraved monogram “C O” entwined. About 205 mm long, 75g / 2.41 oz Troy in what, if it was English, would be Fiddle Pattern.Showing the TROINIK (Triple) marks in use since 1882.The AK mark for Assay Master Antip Kuzmichev, Moscow, working 1856-1897; this item assayed in 1882.The finesse mark of 84 Zolotniki equivalent to .875 Silver. The town mark for Moscow.
In addition (and this is nice) the Eagle mark of the Imperial double headed eagle in a circle compulsory for Silver wares for the Kremlin over the maker’s mark for Mikhail Ovchinikov, Moscow, working 1835-1882, purveyors to the Tsar. The Tsar in 1882 was Alexander III, father of the ill-fated Nicholas II. By definition a kremlin is a “fortress inside a city” and the kremlin site in Moscow has been inhabited since C2nd AD. In the C15th, Grand Prince Ivan III organised the reconstruction of the buildings at the site.
Inside the complex is the Grand Kremlin Palace, built in the mid C19th and formerly the Moscow residence of the Tsars.
Russian Silver Dining Fork: back
A humble Russian silver dining fork bearing a rather nicely engraved monogram “C O” entwined. About 205 mm long, 75g / 2.41 oz Troy in what, if it was English, would be Fiddle Pattern.Showing the TROINIK (Triple) marks in use since 1882.The AK mark for Assay Master Antip Kuzmichev, Moscow, working 1856-1897; this item assayed in 1882.The finesse mark of 84 Zolotniki equivalent to .875 Silver. The town mark for Moscow.
In addition (and this is nice) the Eagle mark of the Imperial double headed eagle in a circle compulsory for Silver wares for the Kremlin over the maker’s mark for Mikhail Ovchinikov, Moscow, working 1835-1882, purveyors to the Tsar. The Tsar in 1882 was Alexander III, father of the ill-fated Nicholas II. By definition a kremlin is a “fortress inside a city” and the kremlin site in Moscow has been inhabited since C2nd AD. In the C15th, Grand Prince Ivan III organised the reconstruction of the buildings at the site.
Inside the complex is the Grand Kremlin Palace, built in the mid C19th and formerly the Moscow residence of the Tsars.
Russian Silver Dining Fork: marking
A humble Russian silver dining fork bearing a rather nicely engraved monogram “C O” entwined. About 205 mm long, 75g / 2.41 oz Troy in what, if it was English, would be Fiddle Pattern.Showing the TROINIK (Triple) marks in use since 1882.The AK mark for Assay Master Antip Kuzmichev, Moscow, working 1856-1897; this item assayed in 1882.The finesse mark of 84 Zolotniki equivalent to .875 Silver. The town mark for Moscow.
In addition (and this is nice) the Eagle mark of the Imperial double headed eagle in a circle compulsory for Silver wares for the Kremlin over the maker’s mark for Mikhail Ovchinikov, Moscow, working 1835-1882, purveyors to the Tsar. The Tsar in 1882 was Alexander III, father of the ill-fated Nicholas II. By definition a kremlin is a “fortress inside a city” and the kremlin site in Moscow has been inhabited since C2nd AD. In the C15th, Grand Prince Ivan III organised the reconstruction of the buildings at the site.
Inside the complex is the Grand Kremlin Palace, built in the mid C19th and formerly the Moscow residence of the Tsars.
Russian Silver Dining Fork: monogram
A humble Russian silver dining fork bearing a rather nicely engraved monogram “C O” entwined. About 205 mm long, 75g / 2.41 oz Troy in what, if it was English, would be Fiddle Pattern.Showing the TROINIK (Triple) marks in use since 1882.The AK mark for Assay Master Antip Kuzmichev, Moscow, working 1856-1897; this item assayed in 1882.The finesse mark of 84 Zolotniki equivalent to .875 Silver. The town mark for Moscow.
In addition (and this is nice) the Eagle mark of the Imperial double headed eagle in a circle compulsory for Silver wares for the Kremlin over the maker’s mark for Mikhail Ovchinikov, Moscow, working 1835-1882, purveyors to the Tsar. The Tsar in 1882 was Alexander III, father of the ill-fated Nicholas II. By definition a kremlin is a “fortress inside a city” and the kremlin site in Moscow has been inhabited since C2nd AD. In the C15th, Grand Prince Ivan III organised the reconstruction of the buildings at the site.
Inside the complex is the Grand Kremlin Palace, built in the mid C19th and formerly the Moscow residence of the Tsars.
Sterling Silver Fiddle Thread Husk Flatware Setting: spoon backs
A composed English Sterling Silver Cutlery set for twelve persons with place settings of seven pieces mostly by the superb London makers William Eaton (born 1788, free 1810, died 1856)and George Adams, a specialist spoon maker circa 1840’s – 1886 and working for Chawner & Co when they were at their peak.
This set was assembled early post WWII with the knives commissioned from the renowned London Silversmith Richard Comyns in 1960 as none to match could be found. The pattern, the scarce Fiddle, Thread (Shell) and Husk, is a much more elaborately decorated variant of England’s favourite in the C18th and C19th - the simple Fiddle pattern. Typical for the period of good weight and excellent make.
Eighty-four (84) items with a total weight of 4285 grams (ca. 138 oz troy) excluding the knifes.
Sterling Silver Fiddle Thread Husk Flatware Setting: markings
A composed English Sterling Silver Cutlery set for twelve persons with place settings of seven pieces mostly by the superb London makers William Eaton (born 1788, free 1810, died 1856)and George Adams, a specialist spoon maker circa 1840’s – 1886 and working for Chawner & Co when they were at their peak.
This set was assembled early post WWII with the knives commissioned from the renowned London Silversmith Richard Comyns in 1960 as none to match could be found. The pattern, the scarce Fiddle, Thread (Shell) and Husk, is a much more elaborately decorated variant of England’s favourite in the C18th and C19th - the simple Fiddle pattern. Typical for the period of good weight and excellent make.
Eighty-four (84) items with a total weight of 4285 grams (ca. 138 oz troy) excluding the knifes.
Sterling Silver Fiddle Thread Husk Flatware Setting: 7 piece setting
A composed English Sterling Silver Cutlery set for twelve persons with place settings of seven pieces mostly by the superb London makers William Eaton (born 1788, free 1810, died 1856)and George Adams, a specialist spoon maker circa 1840’s – 1886 and working for Chawner & Co when they were at their peak.
This set was assembled early post WWII with the knives commissioned from the renowned London Silversmith Richard Comyns in 1960 as none to match could be found. The pattern, the scarce Fiddle, Thread (Shell) and Husk, is a much more elaborately decorated variant of England’s favourite in the C18th and C19th - the simple Fiddle pattern. Typical for the period of good weight and excellent make.
Eighty-four (84) items with a total weight of 4285 grams (ca. 138 oz troy) excluding the knifes.
Ernst Fries Marking
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.
Vase 635g 7cm ø 18cm tall
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 Silver Vessels: Rose Bowl with 5 Taper Holders
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.
Vase 635g 7cm ø 18cm tall
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 Silver Vessels: Jug
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.
Vase 635g 7cm ø 18cm tall
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 Silver Vessels: Vase
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.
Vase 635g 7cm ø 18cm tall
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.
Sterling Silver Art Nouveau Specimen Vase
Hallmarked Sterling Silver, Art Nouveau Specimen Vase, decorated with Bearded iris; marked for William Comyns & Sons Ltd. London 1909/10; retailed by Hardy Bros, Sydney; 160 mm tall.
Russian Silver Gilt Spoon
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.
Russian Silver Gilt Spoon: top detail
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.
Russian Silver Gilt Spoon: mark detail
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.
Russian Silver Gilt Spoon: underside detail
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.
Sterling Silver Posy Holder Thistle Brooch
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.
Sterling Silver Torque by Walraven Van Heeckeren
Torque formed to reflect the features of a Central Australian pebble by Walraven Van Heeckeren, born Holland 1944, studied USA, working in Australia since 1968 as a Gold & Silver Smith; works held by the NGA, Powerhouse Museum, Craft Australia.
Matching Pair of Sweetmeat Baskets with Pierced Sides: Detail
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.
Matching Pair of Sweetmeat Baskets with Pierced Sides
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
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.
Austro Hungarian Silver marks: knives
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”.
Austro Hungarian Silver marks: forks
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”.
Austro Hungarian Fruit Set
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”.
Korean Haetae Figure Box: front
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.
Korean Haetae Figure Box: behind
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.
Danish Modernist Ewer
High grade Silver (tested) by Jan F Torp Sørensen, Holbæk, 1988-1990; 350g.
Chinese Export Silver Cruet
Circa 1850-70, Chinese, high grade Export Silver three piece Cruet marked for Wang Hing of Hong Kong.
Consisting of salt cellar, mustard pot and pepperette in naturalistic, tree trunk forms with applied decorations of blossoming Prunus tree, the branches forming feet.
Additional granulated silver decoration symbolising hidden groves.
Original handmade glass inserts.