M. FORD CREECH ANTIQUES

 

 

The Small & Jewel-Like

 

 

"It must be noted that in all ages, while the public has been fascinated by the large, the imposing,
the grandiose, more often than not the connoisseur has delighted in the miniature, the jewel-like,
and the exquisite"
. The Science of Connoisseurship

    

(Home Page: www.mfordcreech.com)

 

Full Category Links:

 Accessories / Ceramics / Early Asian / Fine Art / Furniture / Glassware / Silver

 

 


 

 

Two James I Engraved Silver Bodkins With Ear Spoons

England, c1620

Each of heavy gauge silver and engraved in the Stuart manner,

each also with owner's intial / one with rare maker's mark

5.75" and 6" Long

 


 

 

Rare Yongzheng Diminutive Blue & White Moulded Teapot
With Outset Applied Scrollwork Base
China, 1723-1735
This form of moulded scrollwork is often seen on the Yongzheng caddies (canisters)
of the early 18th century, in both famille rose and grisaille.
It is quite rare to find the applied scrollwork on a teapot base - especially in blue and white.

The moulding of the body and cover is reminiscent of a closed lotus,

with lotus blooms and lotus scrolls included in the decoration
4.25" High

 


 

 

London Decorated Chinese Teapot & Cover

Kangxi, 1715-20, painted in London c1720-30

at the top a smiling sun to each side (indicative of London painting),

Illustrated :

European Decoration on Oriental Porcelain, Helen Espir; English Ceramics Circle, Transaction , Vol. 19;

The English Decoration of Oriental Porcelain, Errol Manners

SOLD

 


 

 

London Painted Chinese Porcelain Teapot & Cover

"Limehouse Class"

Yongzheng / Qianlong, c1730-40, Painted in London c1746-50

The existing underglaze blue mountain riverscape later painted in bright enamels and gilt with

a merchant in a scarlet coat brandishing a sword

label verso for Helen Espir, no.663

SOLD

 


 

 

Three Fine Silver-Mounted Bottle Stoppers : Left to Right :

 

Fine Victorian Cast Silver Heraldic Bottle Stopper, Murray, Dukes of Atholl (or Athole) and the Earls of Dunmore (Hennell) SOLD

 

Good George IV Silver Bottle Neck Ring and Silver-Mounted Bottle Stopper (Samuel Jackson) SOLD

 

Victorian Cast Silver Heraldic Bottle Stopper Bouchier, Earls of Essex and Ewe, & Barons of Bouchier (William Hunter)

 


 

 

 

Rare West Country Queen Anne Britannia Standard Canon Handle Hash Spoon

John Elston, Exeter, 1709

An exceptionally rare large example, at 17-1/8" long and 7.1 oz.,

fully marked to the center and engraved verso HS over HD;

Longer handled hash or serving spoons with tubular handles were introduced in the late Charles II period.

Produced until about 1725, sizes typically ran between 14" and 16".

Made in sections, the hollow handle was an invention to prevent burning the hands of the user.

Eventually the hollow tube was proven to be impractical because it was easily bent or split.

The 17-1/8" length of this spoon is exceptional, as is the early West Country origin.

These spoons are referred to both as 'basting' and 'serving' spoons, the largest often as 'hash' spoons.

Provincial examples are excessively rare.

SOLD

 

 

 

 

Rare William IV Silver Castletop Vinaigrette

Southwest View of Windsor Castle from the Thames

Edwin Jones, Birmingham, 1836

Provenance : Upon Request

1-5/8” Long x 1-1/8” Deep x ½ ” High / 1 oz.

 

 SOLD

 


 

 

George IV Silver Walnut-Form Vinaigrette

Birmingham, 1825-6, Marker's Mark Scratched from lid closure

 

The exterior fluted and chased with scrolling foliage an shells, opening to a gilt interior

with a hinged floral and foliate pierced grill

 

Most vinaigrettes and nutmeg graters of "fruit" or "walnut" form date from the Victorian period forward. They are quite coveted by collectors.  Although these marks are scratched from a tight closure, they are still recognizable. The regent’s profile is clear, set in an oval punch.   The date letter, by all assessments, appears  to be a Gothic B, which would date this example several years ahead of the William IV and Victorian examples usually seen.

 

1-5/8” Long /  0.9oz.

 


 

 

 

Early Victorian Silver Melon-Form Nutmeg Grater

John Taylor & John Perry, Birmingham, 1844

The interior fitted with a blue steel grater;

Engraved to the cover :

E.L. Porter. From G.W.H and Aug't 27th 1835

1.5" Long / .9 oz

 

As the above vinaigrette, fruit forms (as this melon) date from the Victorian period

and are very sought after by collectors of nutmeg graters

 


 
WILLIAM & MARY SILVER TOT CUP, Ralph Leake, London, 1695

 

 

WILLIAM & MARY SILVER TOT CUP, Ralph Leake, London, 1695, arms

 

William & Mary Silver Tot Cup
Ralph Leeke (Leake), London, 1695

The small girdled cup cup bearing the marriage arms of a Continental Marquis;
marked verso : within a shield, RL a trefoil below, and a lion passant

2-3/8" High / 3 oz. 

 

Tot cups are small drinking vessels, sometimes with a single handle, or handleless, in beaker form.
They are usually footed and dram size (about two inches).
Tot cups are said to be predecessors of the later Georgian "stirrup cups" -
so popular in both silver and ceramic from the mid-18th century forward.
Tot cups, like stirrup cups, were likely handed to riders before or after a hunt,
and meant to be drunk without putting the vessel down.  

 


 

 

Pair George IV Silver Royal Serving Spoons : a Basting & a Straining

For Augustus Frederick,

 Second Eldest Eon of George III, Duke of York & Albany

William Chawner, London, 1825

In the King's Pattern, Each with a Royal crest :

A lion statant gardant on an imperial crown within the Order of the Garter

all below a royal coronet

11.25" Long / 13.1 oz.

 

SOLD

 

  

 


 

 

Good Staffordshire Pearlware Tureen & Cover

England c1815

The naturalistically modeled hooded pigeon with blue-painted feathers,

roosting on a brown and green grassy nest, interwoven with colorful leaves and flora;

a very good example of its kind, with excellent detail and modeling

Ref:  A similar pair illustrated The Earle Collection of Early Staffordshire Pottery,

Major Cyril Earle, p.131, no. 111 &112.

5.75" High x 8" Long x 4" Wide

 


 

Charles II Silver Miniature (Toy) Porringer, M N crescent below within a heart, London, 1671

 

Charles II Silver Miniature ( "Toy") Porringer

London, 1761, M N, a crescent below, within a heart

2" High x 4.5" Wide / 2.2 oz.

 

These small baluster-form cups were popular from c1640 to 1700, are technically called "caudle "cups".  

Recently, the term "porringer", a straight-sided cup, has become the prevalent term for both  forms. 

The miniature, or "toy", version (2" -3" in height), popular in the mid-17th century,

had no lid, and usually simple chased or pounced decoration, with clipped silver wire handles. 

They were used for a warm drink composed of ale, sugar, eggs, bread and spices,

and often given as gifts to the mother of a newborn child.

 

Today these small cups are also often used as wine tasters,

as the chasing offers wells and bubbles for discerning color and clarity.

 


 

Early George III Silver Porringer, William Cripps


Early George III Silver Porringer

William Cripps*, London, 1763

*William Cripps, working from 1738-1767, apprenticed to the well known

Huguenot silversmith David Willaume. 

Of heavy gauge silver, in the traditional 17th century scrolled two-handled form

with gadrooned body and foliate central cartouche engraved M

3.25" High / 5" Over Handles / 3.3 oz

 


 

 

Elizabeth I Provincial Silver-Gilt Apostle Spoon, St. Paul

Probably Norwich or East Anglia, England

 Unascribed, thrice marked with bird, c1570-80,

the bowl verso with a later monogram conjoined ME

The nimbus pricked 'SR' over 'CR'

7.25" Long / 2.1 oz.

 

SOLD

 


 

Queen Anne Britannia Silver Kitchen Caster, Adam, London 1713

 

Queen Anne Britannia Silver "Kitchen" Caster

Charles Adam, London, 1713

scratch engraved verso with initials A over I*H,

the body side with 18th century conjoined script monogram CA with flourishes;
the verso with 2 scratched household inventory numbers

3.25” High / 3.0 oz

 

It is supposed that name "kitchen" caster or pepper pot came about because of the scroll side handle,

which makes the vessel easier to handle. These were used for pepper, sugar and spices.

 

Provenance : Collection of Mr. and Mrs. Winston Guest

 

 SOLD

 


 

 

Bow Scroll Pattern Plate, & Dublin Delft Scroll Pattern Plate, after the Bow

England, c1750-2, & Ireland, c1755-60

The Bow an exact copy of a Chinese export original;

Bow example exhibited English Ceramic Circle 1948, with label and reference number 154;

(The above plate is cited in Bow Porcelain, Geoffrey Freeman, p.57, Pl. 67. as "the Toppin example",

with reference to "E.C.C. Catalog 1948, pl. 34, no. 154");

for further discussion of this plate, see Bow Porcelain, Adams  & Redstone, p.87-8, Pl. 19

Bow influence on Dublin delftwares discussed Irish Delftware (2000), Francis, pp. 105-6

9.25" & 8.75" Diameter

 


 

Three Fine Snuff Boxes Queen Anne Tortoiseshell & Silver Pique Snuff Box French Papier Mache Snuff Box, c1780

 

French Papier Mache CommemorativeSnuff Box, c1790

The cover with domed rock crystal (or glass) insert
over a three dimensional tableau commemorating Federation of 14th July 1790
(First anniversary of Bastille Day)

2.5" Diameter

SOLD

 

Queen Anne Tortoiseshell & Silver Pique Snuff Box, c1708

The oval tortoiseshell box with silver sides and stand-away silver hinge,
the base with script silver piqué inlay: "George Servell" and "1708"

3.25" Long x 2.5" Deep

SOLD

 

18th Century Tortoiseshell Portrait Snuff Box

The round snuff box with a lift-off cover moulded with overlapping portraits of

French King Louis XIV and Marie-Therese below the molded text :

LOUIS XIV . ET MARIE THERESE .

  2.5" Diameter x 1-1/8" High

 


 

Carved Figural Coquilla Nut Snuff Box, France, c1790

 

Carved Figural Coquilla Nut Snuff Box

France, c1790

A most delightful figure with lopsided smile and eyes,

the back opening to reveal snuff storage,

with glass 2-color eyes and bone buttons

3.5" High

 


 

George II Steel & Brass Demi-Lune Fireplace Trivet, c1750

 

George II Brass & Steel Demi-Lune Fireplace Trivet

England, c1750

Having an unusual demi-lune form, the brass top with a shaped pierced handhold
above a steel delicately latticed frieze featuring shells and quatrefoils,
raised on three steel cabriole legs ending in round domed feet
17.5" Wide x 10.75" Deep  

 


 

The second half of the 18th century saw the introduction of a trowel-form pierced server,

used at the time for both fish and pudding. 

The workmanship on the early examples is rather extraordinary -

with intricate foliate-cut designs to the triangular blade, further embellished with bright cutting. 

They are now used for serving a great variety of foods - most particularly pastries. 

These triangular forms are the most sought after of the fish serving pieces.

 

 

George III Pierced Silver Server / Slice

Richard Mills, London, 1770

The curved blade centering three crested Jaybirds among foliage and blossoms

10.75"Long / 4.3 troy oz.

 

 

____________________________________

 

 

 

Rare Early George III Pierced Silver Serving Trowel

Thomas Nash, London 1765

11.5” Long x  4.15” Wide (Blade) / 4.8 oz.

 (The Top Example AVAILABLE / The Lower Example SOLD )

 


 

 

Rare & Fine Old Shefffield Plate Butter Tub & Cover

Tudor & Co., England, c1780

With star cut blue glass liner, the center medallion engraved in script CY,

as well as the cover interior, the cover interior and base also engraved Y over I*S;
star-cut blue glass liner

Literature : Old Sheffield Plate : A History of the 18th Century Plated Trade,

Crosskey, op cit. p.382

6.5" High x 9.25" Over Handles, 4.5" Deep

 


 

George III Scottish Silver Goblet, Masonic Interest, Davie, Edinburgh, 1782

 

George III Scottish Silver Goblet

William Davie, Edinburgh 1782

(Masonic Interest)

The rim at each side engraved with "two hands clasped" -

a Masonic grip, as opposed to a British crest ; inscribed verso with initials;

the verso with an illegible scratch engraved script inscription , shown below
( Appears to read Whit over 7 II 4 II L J (or I) II A D II Y )

6.5” High / 7 oz.

 

George III Scottish Silver Masonic Goblet, Two Hands Clasped

 

SOLD

 


 

Theresa Bernstein, Central Park, 1917

 

Theresa Ferber Bernstein

New York / Massachusetts (1890-2002)

"Sunny Path, Central Park, c1917"

Oil on board / Signed lower right

Image Size : 9" Wide x 11.5" High

 

Exhibited: New York : Empire City. Grand Central Art Galleries, New York, 

bearing affixed paper label verso

 

Boldly painted in directional impasto manner, this small figurative image depicts life in Central Park

in the early 20th century.  The strength of the work is exactly what Ms. Bernstein was so well known for :

"rapid, fluid brushwork, innovative color play, and fresh approach";

"plein-air landscape painting with startling color contrasts and bright accents of light".

The combination of energetic contrasts of light, line, freedom and precision in the work are completely

arresting, as well as the simple examination of life and activities in a more romanticized era gone by -

executed with passion but without sentimentality. 

 

Ms. Bernstein lived to be 111 years old.  A member of the Ash Can School as early as 1910,

she continued to produce "vibrant canvases" for 8 more decades.

We are pleased to offer this exceptional "vibrant canvas".

 


 

 

William & Mary Silver Tumbler Cup, London 1692

IC in a shaped punch, a mullet below

(Jackson's Revised, p.137, as found on 2 tankards, 1685-6, and a toy porringer 1691-2)

Bearing arms for the family of Rogers (Rodgers, Roger)

2-7/8" High, 3-3/8" Wide / 4.8 oz

 


 

Good George III Silver Scissor-Form Wax-Jack & Snuffers, S. C. Young & Co., Sheffield, 1815, crested with a greyhound's head, couped & collared; heavy gauge silver Pair Silver Neoclassical Tapersticks, c1770, Sheffield or Continental, 7.5' High Pair Silver Neoclassical Tapersticks, c1770, Sheffield or Continental, 7.5' High Fine & Rare Pair South Staffordshire Enamel on Copper Tapersticks, unusually well painted, 6.5' High Fine & Rare Pair South Staffordshire Enamel on Copper Tapersticks, unusually well painted, 6.5' High

 

Pair 18th Century Silver Neoclassical Tapersticks

Pair c1760-5

Sheffield England, or possibly Continental

Unmarked to the silver, bird in flight in the nozzle interior; tests as silver

7.5" High

 

Rare & Fine Pair of South Staffordshire Enamel on Copper Tapersticks

England, c1760-65

With exquisite and detailed en camaieu puce
classical vignettes of figures in landscapes with castle towers

6.5" High

 

George III Silver Scissor-Form Wax Jack

S. C. Young & Co., Sheffield, 1815

Of finest quality, marked to body and snuffer

Crested : a greyhound's head, couped & collared (Fairbairn's 61.2)

5.5” High /  6.2 oz.

 


 

Two South Staffordshire Enamel on Copper Scent Flasks with original cut glass stoppered bottles

 

Two South Staffordshire Enamel on Copper Scent Flasks

England, c1775

With Original Cut Glass Stoppered Bottles

2.5 adn 2.25" High

Previously with Manheim NYC

 


 

 

First Period Worcester Moulded Cornucopia Wall Pocket

England, c1755-56, in the Cornucopia Floral Pattern,

verso with 2 painters' marks :mark of 3 parallel lines & a "4"

8.75”High

 

Worcester made cornucopia wall pockets from c1755-60, right after which latter date, they mysteriously seemed to go

out of fashion.  These wall pockets were originally quite expensive, and offered both singly and in pairs (right and left).

They came in both colors (very rare) and blue and white, and two sizes : about 8-9” and 11” –

the prices affected more by color than by size.  All pockets were always very well painted.

 

Ref : See Worcester Porcelain, The Zorensky Collection, Spero & Sandon, p. 409, Pl. 538

 

 


 

Early Bow Porcelain Famille Rose Large Bowl, c1753

 

An Early Bow Porcelain Famille Rose Bowl

England, c1753

A somewhat rare large bowl for this period and

style of painting, enamels in the famille rose palette

A similarly decorated oval footed sauceboat is illustrated Bow Porcelain, Gabszewicz & Freeman, p. 35, Pl, 25.

8.75" Wide

 


 

Carl Wuttke,Park in Tokoyo During the Cherry Blossoms, oil on canvas, 1898

 

Carl Wuttke

German (Munich) 1849 - 1927

Park in Tokyo During The Cherry Blossoms

Oil on canvasboard  / Signed l.l. / Panel size : 7 5/8" x 10 7/8"

Titled l.r. "Tokyo” and dated “26.05.(18)98."

    

 In 1897-99, Carl Wuttke undertook a world tour, during which he visited China and Japan. In Tokyo in 1898, he painted the

above cherry blossoms in bloom.  This small jewel-like painting is in the best of Wuttke's style, executed with spontaneous and

energetic brushwork, and with luminous colors.  There are areas of absolutely brilliant impasto work, uniquely imbuing the Munich

 School with the brushwork of French Impressionism. It is perfection at all levels, and enchanting to view.


 

 

   

Early Victorian Bird's Eye Maple & Rosewood Desk Caddy

England, c1840

with affixed paper label inscribed in pen from

H.R.H. The Princess Royal Christmas 1946

8.25" Long x 6" Wide x 4" High

 

SOLD

 


 

 

Set of 6 George III Silver Private Dye-Stamped Dessert Spoons

John Lampfert, London, 1770

Crested for Elliston

 

In the Old English pattern with down-turned terminals, the terminals beautifully cast with stylised foliate

decoration to each side, the upper surface with a cartouche engraved with a crest : an eagle’s head erased ppr., ducally gorged ar.

 


 

  

Charles II Provincial Silver Wine Taster

England,c1670

Maker's Mark Only (Indistinct), possibly West Country,

  

Although there are several records of wine tasters in English 14th and 15th century manuscripts,

the earliest British silver wine tasters are from the 17th century, with very few being made after

1750.  Most from the 18th and 19th centuries come from France. There were two forms : this

form with the shallow bowl and 2 wire loop handles, and a later form with domed center.

 Interestingly, wine tasters are an outgrowth of small tasters made during the medieval period to

taste contents of bowls, to convince guests that the food was not poisoned.

  

 3.5" Diameter / 2 oz.

 

 SOLD

  

 


 

Pair English Delft in Manganese and Polychrome, Bristol, 1740-50, and a English Delft Woolsack Charger in Manganese and Blue,  Probably Liverpool c1745-55 Pair English Delft in Manganese and Polychrome, Bristol, 1740-50 Pair English Delft in Manganese and Polychrome, Bristol, 1740-50 English Delft Woolsack Charger in Manganese and Blue,  Probably Liverpool c1745-55

 

Pair of Bristol Manganese & Polychrome Plates

England, c1740-50

9-1/8" Diameter

Ref : An identical plate is shown in "Delftware in The Fitzwilliam Museum", Archer

 

Good English Delft Manganese & Blue & White Woolsack Charger

Probably Liverpool, c1745-55

14-1/8" Diameter

Provenance: Garry Atkins, London, March 1993
*"Woolsack" refers to a sack containing wool, as well as the official seat of the Lord Chancellor in the House of Lords.
While some are of a square tufted form, this 6-tufted version is also somewhat reminiscent of lotus reserves on Chinese porcelain.

 


 

 

Robert (Cozad) Henri

American (New York / Pennsylvania) 1865-1929

"Final Touches"
Pencil on Buff Paper

Pencil signed l/c : 'Robert Henri' / Dated Lower Left (beneath mat) : "Dec 25, 1925"
Numbered twice verso : F . 2  . F-05.61

Bearing Title Label Verso : R.H. Love Galleries, Chicago, Illinois.
 

When I first saw this drawing, I was immediately reminded of Berthe Morisot's portrait of Julie Manet

with a cat ("Fillette au Chat") -  the shape and manner of the face and hair of the central figure, and the dark of the bodice, almost echoing the the cat (see below).  The resemblance is probably coincidental, yet still arresting to the imagination.

 

SOLD

 

 


 

George III Pear Form Tea Caddy, England, c1790-1810, retaining original key   George III Apple Form Tea Caddy, England, c17990-1810, with steel escutcheon

 

George III Fruitwood Tea Caddy, in the form of a Pear

Or large size, retaining the original Key

England, c1790-1810

6" High

 

George III Fruitwood Apple-Form Tea Caddy

Of large size, with steel eschucheon

England, c1790-1810

4.5" High

 

Perhaps there is no better symbol for the English Yuletide "wassailing of fruit trees" than the turned fruitwood tea caddy

Introduced in the late 18th century, these fruit-forms are today probably the most sought-after of all caddies

There is conjecture that these caddies were made in imitation of the early 18th century Chinese pears and aubergines. 

English (and German) examples were predominately apples and pears;
however cantaloupes, aubergines, and even strawberries and pineapples have been found. 
Unlike the Chinese caddies, which had contrasting woods and screw-on lids,

the European models were simply polished or varnished, having loosely fitted hinged lids that were lifted by means of a stalk

- many of with have been broken or lost.  The interiors were lined with foil, now softly disintegrated through years of use.

Such is their popularity that many imitations are still made today,.

However these caddies date from the late 18th or early 19th century English Georgian period.

 


 

 

Rare Queen Anne Stained Burr Maple and Kingwood Traveling Bureau

England, c1710

 

The burr maple veneer “stained” in lampblack to resemble tortoiseshell – in the manner of cabinetmakers John Coxed and Thomas Wooster (1690-1736) – banded to the edges and center with kingwood, the surfaces radiant and now softly faded to a glorious color; having a rectangular top above a sloping fall (with original lock and key), and opening to a veneered surface and green morocco-lined recess, the sides with brass carrying handles; the lower section with a pull-out dressing mirror flanked by rectangular lopers, having a shallow drawer fitted for two inkwells to one side, the other side with a vacant deep drawer, the whole raised on a moulded plinth above shallow bracket feet

 

Lampblack “stained” maple or elm is often referred to as “mulberry”.

Most “tortoiseshell-like” surfaces, and likewise the small bureaus, were produced by

John Coxed, and Coxed and Wooster from c1700 through 1720, most c 1705-10.   

 

SOLD

 


 

George II Irish Large Mahogany Brass Bound and Ribbed Peat Bucket

 

George III Irish Large Mahogany Brass-Bound Ribbed Peat Bucket

Ireland, c1790-1810

The arched handle with heavy T-form brass attachments

18.75" High x 15.25" Wide

 

Note :

Most of these buckets range from 14” to 16”. 

One of this size is quite rare and very desirable.

 


 

GEORGE III SILVER KITCHEN

NUTMEG GRATER, Royal Interest

Thomas Phipps, James Phipps II Edward Robinson II, London, 1812; Royal Coronet over AF

Most likely for Prince Augustus Frederick,

Duke of Sussex

  

Of heavy gauge, the mounted curved blue steel body sided by gadrooned uprights and a shell and foliate

handle, the lower end hinged and monogrammed

with a coronet above conjoined initials "AF";

fully marked on body and lid.

 

                                                                                     

4-5/8” High / 3.8 Oz.

 SOLD

                                                                                                                              

 


 

Carved Fruitwood Figural Snuff Box, Crowned Hunchback with Neck Ruff, c1790

 

Carved Fruitwood Figural Snuff Box

France, c1790

As a crouching hunchback with crown and neck ruff

(We believe that he might represent Richard III)

Wonderful carving and expression

Ref : Pinto, Edward H.; Treen & Other Wooden Bygones, 1985;

a similar figure is illustrated, Plate 368 - S

2.75" High

 


 

 

"Paddle Steamer Mark Twain, Mississippi River Eads Bridge at St. Louis"

Signed l.r.  Hayley Lever

Oil on Canvasboard

Inscribed verso "Mark Twain Ha......ta."

Image Size : 10'' H x 14'' W

 

This rare small painting depicts  the St. Louis Paddle-Steamer "Mark Twain",and the historic St. Louis Eads Bridge,

that when built employed such new techniques that an elephant was forced to precede humans on the first crossing in 1874. 

In 1902, the Chicago Tribune documented a rare afternoon on this boat, when, beneath the flags of France and America,

with the descendants of Lafayette and Rochambeau, Mark Twain steered the harbor boat up the Mississippi for his final ride.  The boat subsequently named Mark Twain.

 

The exact dating is not known for this painting.  His visit to St. Louis was perhaps in relation to an exhibition there. 

The signature form seems to indicate the early 40's.  From the 1945 on, Lever was troubled by severe arthritis

 and remained closer to home.  Whenever the visit, it was a rare occasion - and a unique opportunity taken

to document a vital part of both regional and American history.

 

 SOLD

       


 

 

George III Silver Nutmeg Grater

Samuel Pemberton, Birmingham, 1800

 

Quite finely bright cut with scrolling foliate atop delicate vertical lines

Marked to the lid interior

1.5" Wide / .3 oz.

 


 

 

Commonwealth / Charles II Miniature Silver Porringer

IG, London, c1650-68

  

Of bulbous form on a short foot, decorated with four panels of sprays of leaves against a stippled ground,

within punch-bead borders, the base embossed with a flower within punch-bead border, wirework scroll

handles and gilt interior, late 18th century monogram MAK in conjoined script with flourishes;

also scratched verso “Hwd 89”; the mark I.G, a mullet between and a crescent below, within a heart-shaped punch,

twice marked with additional indiscernible adjacent small round punches

 

A cup by this maker is also listed in Goldsmith and the Grape, catalog for Goldsmith Hall’s

exhibition of the  same name, July 1983:  p. 18, #41, 

with the royal cipher C.R  for Charles II (courtesy of the Worshipful Company of Vinters).

 

SOLD

 


 

  

Karl Julius Heinrich Yens

German / American / California, 1868-1945

The Famous Jenisch Park, Elbe Germany, 1931, Oil on Panel, 10" x 13"

Provenance : Laguna Beach Museum of Art, Laguna Beach CA

 

Karl Julius Yens immigrated from Germany to Southern California in 1901,

and was one of the early Laguna plein air  painters. 

This scene, however, was done on a return trip to Hamburg in 1931. 

It was deaccessed from the collection of the Laguna Art Museum,

and bears the historical information from the Laguna Museum verso.

The frame appears to be original.

 


 

 

Assembled Set of 4 William & Mary / William III Trefid Spoons

Francis Archbold, 1698, 1699 (2);1692, mark rubbed, poss. Archbold (1); 1694, John Cory (1)

Each crested en suite : a talbot’s head out of a mural coronet

(Amory - Somerset or Co Clare, Ireland; South Carolina Interest):

7 5/8" Long (3), 7.75" Long (1) /  5.9 oz

   

Trefid spoons are the first form of the modern spoon, the earliest trefid being recorded in 1662.  They became more common in the 1670’s, only being made until c1700.  During the 17th century, even the wealthy usually possessed only one silver spoon, and would carry it about on the person when traveling.  This set of four spoons was assembled in the late 18th or early 19th century, and bears the crest of the collector.  Three are by the same maker - Francis Archbold, with one by John Cory.  Both makers are shown to be working concurrently at the "signe of the Golden Cupp" - Cory from 1697-1722, and Archbold c1700. 

 


 

 

First Period Worcester Dolphin Ewer Creamboat

England, c1775

 

The small shell molded body and a biting lamprey handle, having two entwined dolphins below the lip,

painted in polychrome enamels with floral sprigs in the “Compagnie des Indes” manner,

the footrim with various shell and lambrequin moldings; gilt edged rim

 

Several factories produced versions of the “Dolphin Ewer”, mostly in blue and white.  Worcester examples

 date from the late 1760’s with the molding picked out in bright colors.  Later examples with formal 

enameled flowers are uncommon at Worcester; however, Lowestoft examples are more plentiful.

  3-3/8" High x 4" Long

 


 

 

Jessie Arms Botke

American (Illinois/California) 1883-1971

“Carmel by the Sea, Peacock and Cockatoos”

Oil on Canvasboard

Signed and titled verso: Jessie Arms Botke, Carmel by the Sea Calif.

  Provenance: Gifted to the family from the artist

Panel Size: 6.5" x 12"

   

Jesse Arms Botke discovered the peacock when commissioned by the Herter Looms (NY) to paint murals for Billie Burke's home

at Hastings-on-the-Hudson. She had not seen peacocks before, first discovering them at the New York zoo. "It was love at first

sight and has been ever since," she recalled.  She later stated, concerning her love for birds:

   

“My interest in birds was not sentimental, it was always what sort of pattern they made, and the white peacock was so

appealing because it was a simple, but beautiful white form to be silhouetted against dark background, and the texture

and pattern of the lacy tail broke the harshness of the white mass without losing the simplicity of the pattern.”

  

The work of Jessie Arms Botke is represented in many major collections and museums, including The Art Institute of Chicago,

The Carnegie Art Museum, The Irvine Museum, and The Norton Gallery of Art. Her murals are housed in the University of Chicago

and the Oxnard California Public Library.

 


   
 

Early 17th Century Silver Figural Folding Spoon, c1620

Probably Low Countries or Germany

 5.75" Long / 1 oz.

 

The folding shaft ending in a cast figural stem formed as an armless Egyptian figure with stylized headdress,

the hair cascading down the back, wearing a pleated Shendyt* below a knop finial, the figure emerging from

a leafy tree trunk, the square tapering shaft hinged to a cast foliate short section and plain oval bowl, the back of

the bowl with three early initials (a Roman I & D over an R - the I almost indiscernible), and two later foliate initials H C;  

the entire finial retaining traces of gilding

 

  At this time, a person of means would have traveling eating utensils of silver.  Such a utensil could also have a fork

attached to the back of a spoon, and/or a toothpick emerging from the finial.

 

SOLD

    


 

 

French, 1867-1944

"View of the Notre-Dame and the Pont De L'Archeveche"
Oil on panel, Signed G. Madelain l.r.

Image size: 9” x 10.5"

  

A French painter of landscapes, Madelain was born in Charly, France, in 1867, exhibiting at the at the Salon des Independants

from 1907.  He was known for his street and river views in Rouen, L'Havre and Paris.  This is one of the finest examples

of his work that I have encountered.  The atmospheric effects of the light, the compositional devices, brushwork and coloration,

with blue dominance complemented by strategically placed accents of jewel-like vermillion and yellow, make this an exceptional

small work.  The result is an enigmatic sense of both energy and quiet.

 


 

 

George III Silver "Onslow" Soup Ladle

England, c1765, Marks Cast Over, 13" Long

13.75” Long / 7.3 oz.

SOLD

 

 

George III Silver "Onslow" Basting Spoon

Thomas & William Chawner, London 1768

11-7/8” Long / 3.1 oz

 

The Onslow pattern was made in the mid-18th century, with many 19th century conversions, and is still being copied by modern silversmiths.  The original Onslow is made in a slightly different method: the overscrolled grooved handle, resembling somewhat the turned "paperscroll" decoration on early Georgian chairs, is cast separately and applied with an angled scarf joint to the shaft.  This joint, usually visible when tarnished or breathed upon, is not present on the conversions from other flatware or later copies.  

  

Early true Onslow silver, perhaps named after Arthur Onslow (1691-1768), speaker of the House of Commons, is somewhat rare, quite beautiful, and blends well with the Hanoverian and Old English patterns of silver flatware.

 


 

 

George III Silver Cream Pail

Charles Chesterman, London, 1769

With period blown amethyst glass insert

4” H x 3” D / 2.9 Oz.

   

Silver cream pails are somewhat rare small basket or tub form vessels, some reportedly with an accompanying cream ladle. 

They are also classified with sweetmeat and sugar baskets, and may have served multiple purposes.  This beautifully made pail is

composed of vertical silver staves connected by intricately arranged scrolling foliage, lined with a rich amethyst glass liner that

appears to be original, having adequate wear, bubbling and a snapped pontil. 

 

 

 

Rare Early George III Brass Bound Mahogany Bottle Cooler on Stand

England, c1765-70

21" High x 11" Square

 

Of high quality, the square cooler with  original rococo brass mounts and carved fretwork corner brackets;

containing a conforming brass liner, raised on 4 molded and chamfered legs

 21.5" High x 11.5" Square

 

These small square bottle stands were introduced in the designs of Thomas Chippendale in his 1763 Edition of The Gentleman and Cabinet Maker’s Director (Pl. LV), and also by William Ince and John Mayhew, in Universal System of Household Furniture (1762), where they are under the heading of “Tea Kettle Stands”. 

A similar slightly larger example appears in the Althorp Portfolio (AL16013), and on the cover of Small Antique Furniture, Bernard & Therle Hughes.

 

SOLD

 


 

George III Rosewood & Mahogany Set of Quartetto Tables, England, c1810, in the manner of George Smith

 

Fine George III Rosewood & Mahogany Quartetto Nest of Tables

England, c1810, in the manner of George Smith

This particular version has the identical scrolled and toupie feet as shown in

 the legs raised on carved overscroll bases ending in turned toupie feet,

this particular form with toupee feet shown in George Smith’s 1808 catalog Household Furniture, and

illustrated in MacQuoid & Edwards, Dictionary of English Furniture, Tables, Fig, 22

Quartetto tables were introduced by Thomas Sheraton in

Cabinet Makers’ Dictionary of Design, 1805, suggested for sewing usage.

28.5" High x 19.25" Wide x 11.75" Deep (Nested)

 


 

George III Silver Stilton Cheese Scoop, Eley, Chawner, Fearn,

 

George III Silver Stilton Cheese Scoop

William Eley, William Chawner, William Fearn 1809

The haft, I T in a rectangle, 1808

10" Long / 4.3 oz.

 

 

Victorian Silver Stilton Cheese Scoop

Mappin & Webb, Sheffield, 1878

10.25" Long

   

"Drink a pot of ale, eat of scoop of Stilton, every day, you will make 'old bones'."

- an 18th century English saying regarding the taking of Stilton cheese

   

Stilton cheese scoops appear shortly after 1790, probably resulting from an illegal boxing match in Stilton, England, where the

regional cheese was served, the extraction presumably bending the silver spoon of an attending wealthy gentlemen .  Among the

most desirable of these spoons are the intricately carved handled implements from the Victorian period.  This outstanding

selection is not only well carved, but beautifully chased, and of very heavy gauge silver.

 


 

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Links in the above photographs will take you to detailed online images and information.

Should you have further questions, please email, call, or come to visit.

 

 

 Millicent Ford Creech

  

 901-761-1163 (gallery) /  901-827-4668 (cell)

 

581 S. PERKINS ROAD / LAURELWOOD COLLECTION / MEMPHIS, TN 38117

Hours : Wed.-Sat. 11-6, or by appointment

Private showings available

 

Complimentary Gift Wrap Available Upon Request / We ship worldwide: Shipping Options

mfcreech@bellsouth.net (or) mfordcreech@gmail.com

www.mfordcreech.com

 

 

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