1810s Serving Bowls

Edwardian sterling silver bowl. Made by Gorham in Providence in 1912. Plain well and pierced and wavy rim. Strawberries, blackberries, and cherries as well as blossoms applied to rim...

An impressive Antique Solid Silver Coffee Biggin on stand with a burner featuring design elements so iconic in the work of Paul Storr. The Silver Biggin has a magnificent bone handle...

A Flight Barr and Barr Worcester Porcelain Coffee Cans and Saucer c.1815-1820. Finely decorated with a bold Japan pattern. Condition: E...

A Flight Barr and Barr Worcester Porcelain coffee can and Saucer c.1815-1820. Finely decorated with a bold Japan pattern. Condition: ...

Hallmarked in London in 1807 by Paul Storr, this handsome, George III, Antique Sterling Silver Meat dish cover, features a shaped gadroon border and r...

This extraordinarily rare and masterfully crafted tea urn is by the hand of the master Georgian silversmith Paul Storr. Created by Storr while working for Rundell, Bridge and Rundell, Jewelers and Goldsmiths to the King, this magnificent piece truly represents the sophisticated style of the renowned firm and the enormous talents of Paul Storr. Applied and engraved decoration envelop this masterpiece equipped with a carved handle, lion's head spigot and spectacular lion's paw supports. The piece bears the arms of the Neave Baronetcy with those of Digby, for Sir Thomas Neave and his wife Frances Caroline, daughter of the Hon. William Digby, the Dean of Durham. Though he held no formal title, Storr enjoyed patronage from the most important and powerful figures of the period including King George III and the Prince of Wales, the future King George IV. His first major work was a gold font commissioned by the Duke of Portland in 1797, and in 1799 he created the “Battle of the Nile...

This is a good oval shaped serving dish or bowl, made by the Derby factory, hand painted and gilded in a free flowing floral pattern, during the reign of George 111 in the early 19th century, circa 1815.   This is a well potted oval shaped dish or bowl with a vertically fluted and moulded side edge and rim, sitting on a low foot. The piece is beautifully hand decorated in a free flowing manner, in one of Derby's Imari style floral Patterns, with enamels of cobalt blue, burnt orange, pink and yellow, all in varying shades. It has then been hand gilded, with gold detail to some of the flowers, blue leaf, the inner border and the outer rim. The dish has the early Derby...

A superb 12 place silver canteen by Paul Storr. Double struck in the fiddle, thread and shell pattern with diamond and shell heel. London, 1813-1817. Most engraved with Identical cre...

A 6 place silver canteen by Paul Storr. Double struck in the fiddle, thread & shell pattern with diamond and shell heel. Engraved with a crest to the terminals. (see pictures for det...

This is a wonderful English antique William IV sterling silver tray, or salver, by the world famous silversmith Paul Storr. It has clear hallmarks for London 1820 the makers mark of Paul Storr. It is typical of his work with the octafoil shape and the exquisitely detailed reeded rim, and it is raised on four delightful foliate and scroll feet. The centre is engraved with a shield shaped coat of arms which I have had researched. The Marital Arms of Knollis and Hallifax The armorial bearings as engraved upon this George IV Large English Sterling Silver Footed Salver by Paul Storr hallmarked London 1820 are those of the family of Knollis with Hallifax in pretence. These armorial bearings denote the marshalling of a marital coat showing the arms of the husband over the entire surface of the shield, whilst the arms of the wife (as an heraldic heiress) are placed on a small shield (known as an escutcheon of pretence) centrally on the husband’s arms. They may be blazoned as follows: Arms: Quarterly 1st and 4th Azure crusily of cross crosslets a cross moline voided or (for Knollys) 2nd and 3rd Gules on a chevron argent three roses of the field barbed proper (for Knollys) over all an escutcheon of pretence Or on a pile engrailed sable between two fountains barry wavy of six argent and azure three cross crosslets of the first (for Hallifax) Crest: An elephant argent [differenced with a mullet1 ] (for Knollys) Motto: In utrumque paratus [Prepared for either] (for Knollys) These armorial bearings undoubtedly commemorate the marriage of The Honourable and Reverend Francis Knollis2 (baptised 3rd January 1743 died 27th February 1826), 1 The cadency mark for a third son of a family. 2 Francis appears to have preferred this spelling of his family’s surname. It is spelt as it is to be pronounced. of Burford in the County of Oxfordshire and of Eastleach Martin in the County of Gloucestershire and Mary Hallifax (baptised 5th March 1753 buried 18th December 1830). Francis and Mary were married at the Parish Church of St Mary, Ewell in the County of Surrey on the 9th June 1772. Francis was the third son of Charles Knollys (the titular 5th Earl of Banbury) 3 and his wife, Martha Hughes, whilst Mary was the daughter of The Reverend James Hallifax, of Ewell aforesaid and his wife, Elizabeth Chardavoyn. 3 Francis’s father claimed to be the 5th Earl of Banbury. A claim that continued to be pursued by the family until William Knollys, the titular 8th Earl of Banbury (born 1763 died 1834) was forced to discontinue its use by a resolution of the House of Lords which rejected his claim to the earldom in 1813. The crest surmounts a detailed dedication: This piece of plate was presented to the Honourable Rev Knolls by the inhabitants of the town and immediate neighbourhood of Burford on his completing the fiftieth year of his incumbency as the vicar of Burford. In testimony of their high respect 11th April 1821 There is no mistaking its unique quality and design, which is sure to make it a treasured piece by any discerning collector. Condition: In excellent condition with clear hallmarks and no dings, dents or signs of repair. Please see photos for confirmation. Dimensions in cm: Height 3 x Width 36 x Depth 36 Weight 1.52 kg Dimensions in inches: Height 1 inch x Width 1 foot, 2 inches x Depth 1 foot, 2 inches Weight 49 troy oz Paul Storr born in London England in 1771, was to become one of the most talented silversmiths of the nineteenth century. Today his legacy of exceptionally well crafted silver, found worldwide in museums and private collections, leaves one in awe when compared to that of his contemporaries.After having served a seven year apprenticeship from the age of 14, he began his career in 1792 when he went into a brief partnership with William Frisbee. This did not last and in 1793 a new mark, (his initials ‘P S’) was entered. By the beginning of the nineteenth century he had established himself as one of London’s top silversmiths producing, amongst others, commissions for Royalty. In 1801 he married Elizabeth Susanna Beyer with whom he was to have ten children. In 1807 Paul Storr entered into a working relationship with Philip Rundell and by 1811 was a partner, and managing the workshops for Rundell, Bridge & Rundell. During this period he kept his own marks and separate workshop. However it was through Rundell, Bridge & Rundell who were appointed Goldsmith in Ordinary to George III in 1804 that his reputation as a master silversmith grew. His talents lay in being able to transform ideas and designs from Rundell, Bridge & Rundell’s designers, William Theed...

This is a very good antique Side / Desert Plate or Dish, made by the Derby factory, hand painted and gilded in the beautiful Partridge Pattern, during the reign of George 111 in the ...

This is a very good sauce tureen made of ironstone (Spode's Stone China) in the Ship Pattern, No 3067, produced by the English, Spode factory early in the 19th century, George 111rd Period. The piece is well potted with two side handles. The pattern is called the Ship pattern number 3067, the chinoiserie decoration being transfer printed under-glaze, then very carefully hand-painted in bold colored enamels with additional gold gilding over-glaze. As is usual with Spode ware the standard of hand painted detail is very high. A plate in this pattern is shown on page 54 of Steven Smith's book; "Spode and Copeland" published by Schiffer. The pattern is in the Chinese taste as produced by many of the English potteries of the time, to compete directly with the large import of Canton or Chinese Export porcelain from China. The piece has a mid brown edge similar to that often seen on Chinese plates. The piece is fully marked to the base, with the earlier Spode black printed Stone-China mark...