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





In The Company of "Small Cups"

Click For 'A Catalog Featuring A Few Small British Drinking Cups, c1690-1774'



ree Early Silver Tumbler Cups, c1690-1731


One of the earliest records of tumbler cups is that of Samuel Pepys, on October 24, 1664.
He cites an odd alternate name - "cocking cups"
At that time, in the north-west of England,
these small cups were sometimes given as prizes given in cockfighting contests.

The earliest silver known tumbler cups still in existence date to 1671, at All Souls Oxford.
These early small, plain drinking cups were first popular at 17th century colleges,
(as Oxford) and intended to be emptied in a single draught.


Three Early Silver Tumbler Cups, c1690-1731 (Left to Right) :

George I Silver 'Tumbler Cup', James Goodwin, London, 1723

Early George II Silver 'Tumbler Cup', William Allen I (likely), London, 1731 (SOLD)

James II / William & Mary Small Silver 'Tumbler Cup', Roger Strickland, London, c1690




"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.

Early silver tot cups of any form are scarce, if not rare.


Three Early Georgian Silver Tot Cups (Left to Right) :

Scarce Early George II Silver "Tot Cup", Thomas Parr II, London, 1730

Scarce Early George II Silver 'Tot Cup', William Paradise, London, 1732

Scarce George I Silver 'Tot Cup', 1724, Scratch-Initialled 'AP 1723' (SOLD)




Summer Stories : A Tale of Thimbles

Five Silver Thimbles, dating from 1620 to c1770,

and written to be shared with children.

It also features children's fashion concurrent with the timbles dates.





Yongzheng Famille Rose & Black-Ground Moulded Teapot, Cover & Stand


The moulded teapot and stand with black-ground lotus petals on a famille rose ground,
with spout moulded and painted as overlapping lotus petals,
the base centering a moulded concave open lotus blossom,
centering over a moulded convex blossom on the moulded stand;

the cover of also of lotus form; the turquoise loop handle moulded a lotus stem
Teapot, 4.75" High / 6.5" Wide Spout to Handle / 6" Wide, The Stand



George II Engraved Pan-Topped 'Mercury Twist' Wine, England, c1750 


George II Engraved Pan-Topped 'Mercury Twist' Wine Glass
England, c1750 

The pan-topped bowl having an engraved floral border to the rim,
each side with a 4- and 6-petalled flowers and fern-like foliage (possibly a Scottish rose),
the straight stem with a single series air twist and a pair of corkscrews or "mercury twists",
slightly domed conical foot, snapped pontil
6.25" High



Fine First Period Worcester Sir Joshua Reynolds Scalloped Deep Plate, England, c1770-2


Fine First Period Worcester Sir Joshua Reynolds Scalloped Deep Plate
England, c1770-2
Inspired by 17th century Japanese Kakiemon palette and design,
depicting a colorful long-tailed pheasant perched on a turquoise hollow rock
sided by a blue branch issuing turquoise leaves and flowers,
within a "wet blue" lobed ground,
with quite fine gilding of leaf sprays alternating with trellis diapering
8.5" Diameter


The connection between this pattern and Sir Joshua Reynolds is unclear,
although tradition holds that a set of the pattern belonged to
the well known British 18th century painter, Sir Joshua Reynolds.




Fine Late 17th Century Silver-Mounted Snuff Box

Silver Applique of Charles I, within Silver Pique Border

Interior with a Portrait of the Huntress Diana

The portrait of Charles I with lovelock on left shoulder,

wearing the St. George of the Order of the Garter

suspended on a ribbon from his neck; mother-of-pearl base

3.25" Long


After the January 30th, 1649, execution of Charles I,
he was fondly recalled by great number of the population throughout the British Isles - so much so that
when the Restoration of the Monarchy occurred in 1660, he was the last saint to be canonized by the Church of England.
Thereafter, the date of his death was retained as his saint's day as King Charles the Martyr.
In consequence of this, he had quite a following as a martyr of the Anglican Church.
Pieces such as this snuff box were commissioned to show adherence to his memory.





Costa Scena : A Cruise Along the Southern Coast of Kent
A Cased Strip Panorama, An Aquatint
"Dedicated to His Most Gracious Majesty George IV"

The Scenes Taken from Nature By Robert Havell Jr., Published London, 1823
Consisting of seven conjoined sheets unrolling to depict (from moving viewpoints)
the departure of George IV on his momentous State visit to Scotland, 23 August 1822,

aboard the 'Royal George'.
3 Inches High x 18.25 Feet Long





Rare Pair of French Faience Polychrome Seated Lions

Probably Luneville, c1800

Whimsically painted in shades of black, gray and violets, with black-lined yellow manes,
each face with cobalt blue eyes, and showing teeth and tongue picked out in reds,
the ears laid back and pierced

18" Long x 14" 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




Rare George II Silver Saucer-Form Domed Wine Taster, Joseph Saunders, London, 1738


Rare George II Silver Saucer-Form Domed Wine Taster
Joseph Sanders, London, 1738, In the "Bordeaux" circular saucer form,
having a flared rim and high domed central section, the dome rising above the sides;
fully marked to the outer side;
this form considered by some to be the "only true ear;y English silver wine taster".
4" Diameter / 3.2 oz.




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) SOLD



George II Glass Sweetmeat Dish, c1750, with a William & Mary Silver Sucker Fork, 1691

George II Glass Sweetmeat Dish, c1750,

filled with candied citrus and cranberries,

having a dentelated rim and oversewn foot

Shown with

 A William and Mary Silver Sucket Fork

Adam King, London, 1691



Fine William IV Silver Military Thread Basting Spoon, Paul Storr 1835


Fine William IV Silver Military Thread Basting Spoon

Paul Storr, London, 1835

Crested for the family of Astley

Of heavy gauge silver, as expected with Storr wares,

the rare 'Military' variant of 'Old English Thread',
having a strong threaded 'pip' at the terminal

12.5" Long / 6.1 oz




Very Fine & Large George IV Silver Straining Spoon

William Chawner, London, 1827

The large strainer spoon of heavy gauge silver,

double-struckFiddle-Thread pattern,
the bowl with a single drop heel centering
an arched and threaded strainer having fine scrolled piercing,
the terminal engraved with a contemporary conjoined script monogram, "WMB"
16.25" Long / 11.2 oz.





Pair George II Cast Silver Candlesticks

Arthur Annesley, London, 1759

In high rococo fashion,

each crested to the foot for Leeson, Earl of Russborough, co. Wicklow, Ireland,

with a demi-lion rampant, in paws a sun in splendour, all above a star :

10" High / 41.12 oz.




Fine Pair George III Cast Silver Candlesticks, William Cripps, 1766


Fine Pair of George III Cast Silver Candlesticks
William Cripps, London, 1766
In the rococo manner,
each crested to base and bobeche with an eagle displayed with two heads sable
(family of Hanrott, of the City of London)
11.5" High / 51.3 oz.




George II Airtwist Cordial with Mercury Thread, c1750


George II Airtwist Cordial Glass
England, c1750

A quite heavy glass, having a round funnel bowl with fluted lower half,
over a long stem with multiple threads
around a central thick flattened "mercury" thread encircled by a further single thread,
raised on a conical foot with snapped pontil
6.5" High



Cylindrical 'BEAKERS' date back at least 6000 years - abundant in Biblical times.
These simple tapering vessels, traditionally for alcohol, came into Britain about 2500 BC.
There was even a western European Neolithic culture named "Beaker Folk".
British silver beakers are usually made in three parts :
the sides from a sheet which is hammered into the round, then seamed vertically; 
the base and foot wire applied separately - construction varying little through time.

However, silver beakers are comparatively rare from Queen Anne period :



Queen Anne Britannia Silver Beaker
William Gibson, London, 1702
Of heavy gauge silver in the Charles II form, the tapering circular body with
a part-fluted lower section below a rope-work border sided by punched decoration

3” High  /  3.8 oz.



George II Large Silver Beaker, Humphrey Payne


Of heavy gauge silver with planishing marks showing,

the tapering body with fold-over rim and bold foot,
chased in accord his earlier Queen Anne manner of decoration,
fully marked below the rim
6.5" High / 4.25" Wide at Rim / 12.62 oz.




George III Silver Beaker

Aaron Lestourgen, London, 1774

Of tapering cylindrical form, with gilt interior;

Crested for the family of Kirkby of Northwest England :

Willliam Comber Kirkby (Lancashire and Surrey), or his son William Kirkby (Co. Middlesex)

3.25" High / 4.8 oz.


George III Silver Beaker

Charles Wright, London 1775

With arms for an unmarried daughter of the Browne family, Suffolk and Essex.

(likely either Anna Marie Browne or Charlotte Browne of Suffolk, prior to marriage)

3” High / 2.8 oz.






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.




Very Scarcce Pair George III Silver Nutcrackers, 1810 and Good Pair George V Silver Nutcrackers, Howosn


Very Scarcce Pair George III Silver Nutcrackers

Phipps & Robinson, London,1803

Of heavy gauge silver, the reversible nutcrackers with a central pivot
between ribbed paddles extending into tapering cylindrical and reeded handles
ending in reeded ball finials; fully marked

5.25" Long / 4.4 oz.

with a  

Good Pair George V Silver Nutcrackers

George Howson, London, 1926

The reversible nutcrackers with a central pivot between pierced and incised oval holders,
tapering reeded handles, one engraved with conjoined Gothic initials 'ASI',
each handle fully marked
6.5" Long / 7.8 oz.

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.




Fine & Heavy Pair of Victorian Silver Salad Servers, Kings Pattern


John Lias & Henry John Lias, London 1850 & 5

Of heavy gauge silver, the spoon and shaped 'runcible fork' double-struck in the King's pattern
with a concave shell to the terminals, a raised anthemion to the shaft,

and concave shell to the heels,
each terminal also crested with a boar's head erased
over a contemporary conjoined cypher WMW
12" Long / 14.9 oz.





18th Century Silver-Mounted Coconut Cup and Cover

Unmarked to the Body, Cover Maker's Mark Rubbed, Probably Continental

The silver-lined ovoid bowl having silver mounts with fish-scale diapering & pierced border,

supported by three silver Atlanteans over a knopped pedestal stem

and stepped base, also with scale diapering,

the coconut cover with knopped silver finial and escutcheon

10" High





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



, Persia, c1900

Fine & Rare Antique Bijar Soumak with Full Kelim Endings
Persia, c1900
Very finely woven,all vegetal dyes and wool warp and weft;

Original long kelim endings
4'10" x 3'6"



Louis XV Provincial Silver Wine Taster, Jean-Francois Jouet, 1765-66, Bordeaux, France 


Louis XV Provincial Silver Wine Taster
Jean-Francois Jouet, 1765-66, Bordeaux, France 
The form characteristic of the province of Bordeaux,
having a shallow round circular bowl with tapering sides
and a high domed center rising above the rim, raised on a 'collet foot'
4" Diameter / 2.25 oz




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 Silver Goblet

John Swift, London, 1799

The ovoid body crested for Jolliffe (Somerset) :

a cubit arm erect, vested and cuffed,
the sleeve charged with a pils arg., holding in the hand a scimit
inscribed beneath the foot for a marriage :
H over I * M and 1780;

gilt interior and beaded collar and footrim

6" High / 7 oz.







Narcisse Virgile Diaz de la Peña

'Venus Surrounded by Cherubs'

(French 1808-1876) (Attr.)
Oil on Panel over Pencil
Signed Lower Center N. Diaz and dated 54
Exhibition of the French Masters, 1951, No. 18; Marlborough Fine Art, London





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. (SOLD)



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"



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




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.



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 Silver Wine Taster, Prick-Engraved "1661" & "H over I.A" 


Charles II Silver Wine Taster
Prick-Engraved "1661" & "H over I.A" 

The shallow circular bowl chased with tulip floral and leaf decoration,
the sides with leaves and the center showing the upright bloom sided by leaves.
the sides with clipped twist handles
4.5" wide / 1.52 oz.




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.



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.   





Three George II Silver Escutcheon Bottle Tickets, c1739-50, c1739-50


Three George II Silver Escutcheon Bottle Tickets, c1739-50

'MOUNTAIN' James Slater, London, 1739-50 (SOLD)

'CLARET' Thomas Rush, London c1740

'WHITE.WINE' William Cripps, London, 1743-50

Each Priced Separately


("Mountain" is a fortified dessert wine, sweet and dark, from the Malaga area of Spain.

It was very popular during the whole of the 18th century, but rarely found later.)

"Wine Labels", E.W. Whitworth, p.55




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.






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.




Matched Set of 3 William & Mary / William III Trefid Spoons

Francis Archbold, 1699 ;1692, mark rubbed, poss. Archbold ; 1694, John Cory

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 / 4.5 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 three spoons was assembled in the late 18th or early 19th century, and bears the crest of the collector.  Francis Archbold and John Cory both 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.



Scarce George II One-Piece Silver Apple Corer, England, c1740-50


Scarce George II One-Piece Silver Apple Corer
England, c1740-50
The pre-1750s one-piece form of good gauge silver and usual cylindrical form,
the blade of conforming half-circular shape,
the central girdle and bulbous end with incised concentric lines;
marked to the junction between corer and haft with T (device) H beneath a crown



George I / II Walnut Upholstered Stool, England, c1720-40


George I / II Walnut Upholstered Stool
England, c1720-40
The rectangular shaped seatrail raised on four cabriole legs
having shaped returns and ending in pointed and slightly upturned pad feet,
surmounted by a padded velvet-upholstered seat
16.75" High x 20.5" Wide x 16.5" Deep




A Good George III Cuban Mahogany Candlestand

Probably Scotland, (Francis Brodie), Taymouth Castle & Holyrood, c1765

the base verso bearing the remains of a paper label :



30.25" High; 12.25" Square


Shown With a

Queen Anne / George I Heavy Baluster Small Wine Glass, England, c1710-20

and a

George III Pierced Silver Bougie Box, Edward Aldridge II, London 1768












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The Small and Exquisite : Small Antique Furnishings & Accessories of Fine Quality and Craftsmanship