1820s Serveware, Ceramics, Silver and Glass

The fine suite of glasses cut with eight point star foot slice cut stem with diamond cut knop this supporting a flared bucket bowl with deep spiral cutting at the base engraved with ...

An exceptional example of a Henry Clay English hand painted lacquered papier mache scalloped edge tray on an emerald green field with birds, butterflies, and foliage, signed on under...

A set of sixteen green Bristol green roemers with raspberry prunts on the stems.

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...

A plate with white melted snow border on a periwinkle ground with tiny gilt stars, with a beautifully painted flower bouquet in the centre There are several other items available in...

A solitaire tea set consisting of a teapot with cover, a milk jug and a small cup and saucer, in “melted snow” shape, the cup with double drop handle, with deep cobalt blue ground, r...

Description George IV sterling silver presentoire, John Bridge, London 1826. Oval shape, gadroon edges and stylized shells. Heraldic coat of arms on both sides. Motto: Deo est Patrie...

Heading : Nantgarw porcelain teacup and saucer Date : 1818-20 Period :Regency Origin : Nantgarw, Wales. Probably London decorated Colour : Polychrome Pattern : Three garden flower pa...

This is a beautiful garniture of five vases made by an unknown English maker in about 1820-1825. The garniture consists of one campana vase and four differently sized spill vases. Th...

Antique Royal Copenhagen Blue Fluted butter dish. Rare butter dish from around 1820. Marked with three blue waves. Model number 7. In very good condition with a minor insignificant c...

Pair of English porcelain Bengal tiger pattern fruit coolers, liners and covers, chamberlain Worcester, circa 1820.

This is a stunning George III Old Sheffield Plate swing handled cake/fruit basket bearing the sunburst makers marks of the world renowned silversmith Matthew Boulton, circa 1820 in d...

A very fine antique cut glass jar and matching cover dating from around 1825. The jar stands on a thick square star cut based foot with a narrow slice cut stem and round bulbous body...

This is a beautiful one-handled dessert serving dish or "shell" dish made by Derby between about 1820 and 1825 in the Regency era and decorated by Moses Webster. These dishes were to...

This is a very attractive set of 4 of antique George III Old Sheffield plate wine bottle coasters, circa 1820 in date. The set are of circular form with a beaded edge decorated w...

What a lovely service with so many pieces. Made by the re known English factory, Spode and hand written species detailed in script to the back of each piece. This set features a rais...

Pair of English Spode porcelain botanical shell-shape dishes, circa 1820. Specimens are titled on the reverse.

An exceptional, fine and impressive, antique George IV English sterling silver egg cruet set for three persons; part of our dining silverware collection. This exceptional antique George IV sterling silver egg cruet set consists of three egg cups and three associated spoons, displayed on a functional original purpose-made stand. The original hallmarked egg cups have a bell shaped form onto a circular spreading pedestal foot. These silver egg cups are embellished with cast and applied floral and foliate decorated borders to the upper portions, in addition to a band of leaf decoration to the each foot. The three associated hallmarked English sterling silver spoons have a plain tapering form with leaf ornamentation to the terminals. This silver cruet set is supported and displayed on the original and impressive cast sterling silver circular rounded stand, ornamented with foliate decoration. The surface of the stand bears three circular receivers enabling the egg cups to stand securely in situ; these supports alternate with integrated receivers for the three egg spoons. The receivers surmount an exceptional pedestal constructed of three putto figures stood with their arms elevated, bracing scrolling supports to the plain circular boss. The original antique stand features a central carrying handle modelled in the form of a foliate wreath. Each antique egg cup and egg spoon retains the original gilt interior. The initials displayed within the maker's marks, in addition to the standardization of the surround could pertain to a multitude of antique silversmiths; these silversmiths include William Eaton, Ellerby, Esterbrook and Eley II. In art and culture, a putto (plural: putti) is a chubby male child, usually nude and occasionally bearing wings. Condition These antique sterling silver egg cruet...

This is an extremely rare and beautiful coffee cup and saucer made by H&R Daniel some time between 1825 and 1830. The set is potted in the "plain" shape and bears pattern no. 4652 wi...

Rare pair of early 19th century porcelain wine glass coolers, circa 1820. Decorated with two medallions of miniature portraits of illustrious women o...

An extremely rare wave edge vase on a round foot with superb continuous landscape painting of a river scene with ruins and two figures, rich gilding on the upper edge, ball and foot....

With a racing scene in high relief. Marked: London, 1825, Makers: Emes and Barnard.

This is an exquisite and rare antique pair of English silver plated entree dishes, bearing the cross arrow mark of T & J Cresswick, Porter S...

Depicting an array of colorful flowers and fruit.

Embossed and engraved silver plaque La Madonna del lago (The Madonna of the Lake) Probably Milan, post 1824 Brass frame It measures 16.14 in x 13.85 in (41 x 35.2 cm) and it weighs 10.357 pounds (4.698 g): silver 1.31 pounds (598 g) + brass 9.03 pounds (4.100 g) State of conservation: some abrasions on the bottom. The frame is old, but not original. The plaque is made up of a sheet of embossed and engraved silver, and held in a solid brass frame. It depicts the “Madonna del lago” – “Madonna of the Lake” - (the Madonna with Child and San Giovannino) by Marco d'Oggiono (Oggiono, 1474 circa - Milan, 1524 circa), while changing only the background landscape. Almost certainly the subject reproduced in the plaque was taken from a famous engraving by Giuseppe Longhi (Monza, 1766 - Milan, 1831), one of the greatest engravers of his era. The silver is unmarked, probably because originally the Madonna was due to be exposed in a church: sometimes precious metals destined for worship and liturgical use would be exempted from payment and were, therefore, not marked. It is very likely that the plaque was made in Milan because in this city in 1824 the engraving by Giuseppe Longhi was made and printed. In addition, in Milan, the alleged lost painting by Leonardo da Vinci in his Milanese period (1482-1500) would be produced; this is the painting from which Marco d'Oggiono took his version. The painting Marco d?Oggiono was one of Leonardo da Vinci's most brilliant students and collaborators (D. Sedini, Marco d’Oggiono, tradizione e rinnovamento in Lombardia tra Quattrocento e Cinquecento, Roma 1989, pp. 151-153, n. 56; p. 225, n. 124, with previous bibliography). His style reflects in every way that of the Tuscan Maestro, so much so that he was the one who executed some copies of da Vinci's paintings. The execution of the “Madonna del Lago” probably draws inspiration from a lost painting by the Maestro, created while he was living in Milan (1482-1500). There are many similarities with other works by Leonardo such as the “Vergine delle rocce” or the “Vergine con il Bambino e San Giovannino, Sant’Anna e l’Agnello”. The painting, from which the drawing and then the famous engraving were taken, is found today at the M&G Museum of Bob Jones University in Greenville, South Carolina, where it came to rest after the sale of the Harrington Collection in London in 1917. The work appears in the inventories of the collection of Napoleon and Joséphine Bonaparte at the castle of Malmaison, before 1809. The Malmaison building was born and developed in the 17th and 18th centuries. In the 18th century it belonged to Jacques-Jean Le Coulteux du Molay, a wealthy banker. Later, during the Directory, Joséphine Bonaparte de Beauharnais bought it on April 21st, 1799, but settled at the castle definitively only after her husband separated from her in 1809. She remained there until 1814, the year of her death. When Joséphine died, the estate passed to her son Eugène de Beauharnais, who moved to Munich with his whole family in 1815, bringing with him the collection of paintings he inherited from his mother. Eugène died in 1824 and his wife Augusta of Bavaria (von Bayern), unable to keep it, in 1828 sold the Malmaison to the Swedish banker Jonas-Philip Hagerman. It is likely that in this period Augusta also sold part of the paintings inherited from her husband, including the “Madonna del Lago”. This painting then came into the possession of Leicester Stanhope, fifth Earl of Harrington (1784 - 1862) and then was passed down to his descendants. In 1917, at the death of Charles, eighth Earl of Harrington, his brother Dudley inherited the title and properties and he put up a part of his collections for sale. Among these, precisely, the painting by Marco d'Oggiono was to be found. On the occasion of that auction the painting was presented as a work by Cesare da Sesto, by virtue of a handwritten note by the Countess of Harrington on the back of the table. However, already in 1857, the German critic Gustav Waagen had identified Marco d'Oggiono as the author of the painting, then exhibited in the dining room of Harrington House in London (Treasures of Art in Great Britain, in 4 volumes, London, 1854 and 1857). The engraving Giuseppe Longhi was one of the most renowned engravers in Italy between the end of the 18th century and the first quarter of the 19th century. In 1824 Giuseppe Longhi, based on a design by Paolo Caronni, made a famous engraving of the painting of Marco d?Oggiono. The activity of Longhi was then at the peak of his notoriety, enough to earn him very substantial commissions; it is not risky to suppose that some of his successful engravings were also reproduced using other means: in our case in silver. (A. Crespi, a cura di, Giuseppe Longhi 1766–1831 e Raffaello Morghen...

English porcelain gold-ground botanical patch box with Irish references, "Forget Not Erin" Motto, Attributed to Coalport, Circa 1820 This spectacular English porcelain box is of cir...

Heading : Nantgarw porcelain teacup and saucer Date : 1818-20 Period :Regency Origin : Nantgarw, Wales. Possibly London decorated Colour : Polychrome Pattern : Three garden flower pa...

Commemorative Staffordshire pitcher celebrating the coronation of the Prince Regent as George IV. The pitcher has a patterned field surface decoration centering on a cobalt blue circ...

Offered here for your consideration is, A fine antique topographical porcelain cup & saucer. By Doccia porcelain manufactory circa 1820. ...

Gilt bronze cabaret decorated with water-leaf friezes, rows of pearls, the laurel-wreath grip surmounting a fluted shaft with palmettes and three bottle mounts. Resting on three mask...

Exceptional pair of swirl cut Regency decanters with swirl cut stoppers.

A teacup and saucer with milk jug in the “melted snow” shape with double drop handles, pale yellow ground with rich gilt and cobalt blue acanthus pattern and finely painted flower re...

This is an extensive and exquisite 19th century dessert service made by Rihouet, Paris, circa 1820s. Each piece is superbly hand painted w...

An exceptional, fine and impressive pair of antique George IV English sterling silver gilt grape shears - boxed; an addition to our silver flatware collection This exceptional pair of antique sterling silver gilt grape shears has a hinged scissor action. The handles of these grape scissors are embellished with intertwining fruiting vine ornamentation, accented with grape clusters and foliage. The fingerpieces are ornamented with details reproducing the features of the natural vine. The circular hinged portion is surmounted with a foliate rosette design, accented with a matte background. The grape shears are fitted with plain and unembellished blades, with a rounded, incurved shaped outer edge. These exceptional examples of 19th century silverware retain the original gilding. These impressive sterling silver grape shears are fitted to the original hinged leatherette presentation box, with a velvet and satin lined interior and secures with two hinged catches. These exceptional antique George IV grape shears are the finest of their type you could hope to acquire. Condition These antique silver grape...

Painted in grisaille on a marbleized peach ground.

Tea solitaire set of six pieces made of porcelain with a white background and elaborate overglaze painting and gold decoration. Quatrefoil presenter with a teapot, milk jug, sugar bo...

Hallmarked in London in 1829 by Samuel Whitford II, this handsome, Antique, George IV period, Sterling Silver Toast Rack, stands on 4 ball feet and will hold 6 pieces of toast. The t...

This is a very striking and rare square dessert serving dish made by Samuel Alcock, circa 1822. The dish has a hand painted flower landscape in an unusual style. The dish has provena...

Exceptional vermeil tureen with its lobed tray. The circular terrine is decorated with a border of chiselled foliage.The grip lid is decorated with foliage patterns. The soup tureen ...

Drageoir in silver and crystal blown and carved. The drageoir is decorated on both sides with finely chiselled motifs representing children in gardener...

A large cut glass Regency Celery vase, Circa 1820. A large goblet-shaped celery vase cut with a diamond and peacock feather pattern. A large goblet-sha...

A rare and impressive antique Staffordshire pottery bull-baiting figure group by Obadiah Sherratt and dating from around 1820. The pottery group stands raised on a rectangular shaped...

An antique pair of English Regency Sheffield plate candlesticks. The candlesticks are unmarked as many English Sheffield plate pieces are, they date from the first quarter of the 19t...

A teacup and saucer in the “half orange” shape, white with simple gilt rim and beautiful hand painted flower sprays Pattern unknown but similar to 1082 Year: ca 1823 Size: cup diameter 10cm (4”), saucer diameter 14.2cm (5.5”) Condition: excellent, some rubbing to gilt There are several items available in this design, please see group image and ask for more info if interested. The Samuel Alcock factory was operative in Staffordshire between 1822 and 1856, after which it was bought by Sir James Duke and Nephews. The factory started as a partnership between the young Samuel Alcock and the older Ralph Stevenson, who provided the factory and capital. Alcock quickly took the factory to great heights, building one of the biggest factories of its time. Alcock jumped on the new Rococo Revival fashion and served a huge new middle class market. The reason we now don't hear much about Samuel Alcock porcelain...

Hallmarked in London in 1829 by William Ker Reid, this incredible, George IV period, Antique Sterling Silver Dining Table Suite of Soup & Sauce Tureens, is ornate in design, with hig...

An exceptional, fine and impressive, antique George IV English sterling silver mustard pot; an addition to our 19th century silverware collection. ...

Royal Copenhagen. Antique and rare cup in hand painted porcelain. Museum quality. Dated 1820-1850. Measures: 7 x 4.5 cm. In good condition with a small chip. Stamped.    

Paris porcelain set: tea or coffee service, composed of several decorated pieces: - A coffee or tea pot with gilded lid and carved spout. - A milk jug with open spout and elegant han...

Antique George 1V Provincial Silver Toddy Ladle Rettie & Son Aberdeen Circa 1820 This ladle was used to serve Hot Toddy( Hot water, whiskey,lemon, honey and spices) into the drinking...

Two elegant, simple early Biedermeier silver candle holders on a round stand with a slightly curved, smooth shaft, chased decoration on the edge of the foot, on the narrow bulge rings and on the upper edge of the slightly flared vase-shaped spout. Branded by the Wheel mark, Viennese official hallmark: 13 Lot silver, dated 1827 Master's stamp: 'LK' in oval - Leopold Kuhn, Worked as master 1818-1828 Bibliography: 'Old Vienna' dictionary for Austrian and southern German arts and crafts...

These are a beautiful pair of hand cut and hand blown lead crystal decanter’s with beautiful finials. They are about 1820 to 1830 and probably...

Consisting of pot, covered sugar, creamer and two cups and saucers.

An exquisite example of early 19th-century English silverware, this sterling silver sauce boat was hallmarked in London in 1823 and crafted by the highly regarded silversmith William...

Description George IV sterling silver coffee pot, Paul Storr, London, 1823. Rare coffee pot by silversmith Paul Storr. The body shape follows a neoclassical style, with a convex prof...

An unglazed caneware teapot of depressed oval shape, with arabesque decoration and a spaniel finial. Wedgwood caneware is a type of pottery that w...

A Pair of Early 19th Century French Ormolu Mounted Regence Chinese Celadon Crackle Centerpieces/Bowls. This pair of early 19th-century French ormolu-mounted centerpieces features fi...

English Sheffield three tiered taza with a bronze ornamental spread wing eagle grasping arrows in claws, turned bulbous column, three hand chased pewter plates, and resting on a deco...

Large English porcelain serving tray, Worcester, circa 1815.

A very fine early 19th century French Restauration period tripod brazier or hand warmer handcrafted of walnut by skilled artisans in Lyon, circa 1820s. This elegant round table featu...

A fine pair of Georgian silver-mounted oak wine bottle coasters .T circular in form with cast foliate borders, central engraved cartouche crest depicting boar's head between 2 fea...