Catalog: Antiques (495)

A beautiful sterling silver berry or casserole spoon in Whiting's desirable 1896 "Dresden" pattern. The handle is decorated on both sides with sprays of roses. The matte gilt bowl is scalloped and decorated with repousse beading and volutes. The spoon is stamped with Whiting's hallmark and has the patent date indicating an early date of manufacture.

Origin: America, ca. 1900. Condition: excellent, original gilding intact, sharp detail, no monogram. Size: 8-3/4" long. Weight: 87.0 grams.

A very nice hammered brass jardiniere from Russia's Imperial era. The vessel is raised on cast lion's paw feet and is flanked by ring handles grasped in cast lion's heads. The jardiniere is constructed in the traditional manner with seamed joints and a rolled lip. The bottom is stamped with the Imperial Romanov double-headed eagle.

Origin: Russia, ca. 1880. Condition: excellent, a few very small dings (difficult to see on the hammered surface). Size: 6-1/4" tall; 6-3/8" diameter.

A very finely-made coin silver pastry or cake server, the handle decorated with a spray of flowers in the Aesthetic style. The blade has ornately shaped sholders and wonderful bright-cut engraving. The back of the handle has a period 3-letter monogram "MSS" and is marked "Pure Coin Pat. App. For". The retailer's mark is "Hutchinson & Connell".

Origin: America, ca. 1860. Condition: excellent, a very slight bend at the very tip of the blade and light surface wear, sharp details, traces of original gilding on blade. Size: 8-7/8" long. Weight: 70.0 grams.

A wonderful sterling silver trout set in Towle's 1884 "Arlington" pattern. The handles are decorated in the repousse style with a profusion of roses and foliage. The decoration lends itself to being mixed with many of the repousse patterns from the Baltimore area. It is the blade of the trout knife, wonderfully decorated with an engraved trout leaping into the air after biting a lure (the entire casting rod in the background), that really sets these servers apart. Complete Victorian services included fish sets, but trout servers are extremely uncommon. They are a bit smaller than regular fish servers and have a slightly different shape. Towle, in particular, seems to have been fond of the form. The backs are stamped with Towle's hallmark and the retailer's mark "H. G. Shupp".

Origin: America, ca. 1890. Condition: excellent, light surface wear, a small bend at the tip of the knife's upper lip. Size: fork, 8-1/8" long; knife, 10-1/4". Weight: 140.5 grams.

A very nice blue and white Chinese export porcelain plate in the Fitzhugh pattern. The central reserve is surrounded by a complimentary design in the four quadrants, all enclosed in a diapered border. The blue color is very intense and the porcelain body has a good, clear white color. The execution of the painted design suggests that the plate dates from the first quarter of the 19th century.

Origin: China, ca. 1810. Condition: excellent, no chips or cracks. Size: 8-5/16” diameter.

A pair of elegant Art Nouveau enameled Bohemian glass bowls with floriform decoration. The petals of a vivid pink flower curl up the sides and are interspersed with green tendrils. The flowers are echoed in the undulating rim decorated with a thin line of gilding. The overall workmanship is superb. This sort of decoration was produced by Theresienthal, Meyr’s Neffe, Lobmeyr or Fritz Heckert, and the quality of these pieces is consistent with any of those makers. Typically, this style is seen in goblets, but other tablewares such as these are more uncommon.

Origin: Bohemia, ca. 1895-1905. Condition: excellent, light wear to gilding at rim, no other enamel wear, no chips or cracks. Size: 3” tall, 4-1/2” diameter.

A very fine Imperial Russian lacquer box by Vishniakov. The lid is decorated with a winter scene showing an empty troika, still tethered to its horse, located just outside a snow-covered log building. The scene is beautifully detailed. The interior is lacquered in the dark rust shade characteristic of Vishniakov.

Origin: Russia, ca. 1880. Condition: the top shows considerably alligatoring, but no paint loss; two of the top corners have flakes (visible in photos); the interior has wear to the finish. Size: 5-3/4" x 3-7/8" x 1-11/16".

A nice coin silver rattail spoon by John Brown, active in Baltimore from 1799, after apprenticing in Philadelphia. The bowl is rather narrow, suggesting it was to be used as a pap spoon. The spoon must have been an early piece from Brown's shop, as the design is quite clearly drawn from late 18th century styles. The three-letter monogram in a bright-cut cartouche is also characteristic of the period. The back is marked with Brown's punch.

Origin: Baltimore, ca. 1800. Condition: a few small to moderate dings in the bowl. Size: 5-5/8". Weight: 11.25 grams.

A magnificent sterling silver claret spoon by Dominick & Haff. This example is strikingly decorated in a pattern representing three different varieties of chrystanthemums. The decoration appears to be loosely based on Dominick & Haff's "#10" pattern, though this is much more ornate. The area around the flowers is intricately pierced in the rococo style. The back bears Dominick & Haff's hallmark and the pattern number "32".

Claret spoons were produced for a short time at the end of the 19th century. Despite being named for the famous red wine, their function really had nothing to do with wine. Small fruits and berries, perhaps soaked in an alcohol or other liquid, were often served from tall, narrow pitchers of cut glass, porcelain or silver. The long claret spoon was used to remove from the fruit from the pitchers. Today, the spoon could be used to serve sangria as well as various desserts based on fresh fruit.

Origin: America, ca. 1980. Condition: nerly mint, period "BBS" monogram. Size: 17" long. Weight: 113.0 grams.

A very fine berry or casserole spoon in John R. Wendt's "Medallion" pattern. The handle features an oval reserve centered with a medallion profile of the Greek goddess Pallas Athena. The elongated bowl is beautifully scalloped. The back of the medallion has a period monogram "A" and the stem is marked with the retailer's mark for Ball, Black & Co. and with "925" for sterling. Wendt did not use his own hallmark in this period.

Origin: America, ca. 1965. Condition: excellent sharp detail. Size: 8-3/4" long. Weight: 63.0 grams.

A very pretty sterling silver berry or casserole spoon by Durgin. The handle is nicely engraved in an ivy pattern, while the gilt bowl is engraved with a flock of butterflies. The back is stamped with Durgin's earliest hallmark.

Origin: America, ca. 1870. Condition: excellent, no monogram, sharp detail, gilding faded to pale lemon. Size: 9" long. Weight: 59.0 grams.

Exceptionally fine Edwardian tortoishell letter box decorated with gold pique. The serpentine front is inlaid in a pattern of floral swags flanking a center wreath. The curved top has a matching wreath and swags as well as songbirds. The gold has a beautiful rose tint that contrasts nicely with the rich golden-brown of the tortoise, and the surfaces are intricately engraved to enhance the appearance. The use of gold for pique work was reserved for only the most expensive and impressive items. The back and sides of the box are covered in burgundy Morocco leather and the interior is covered in red silk moire. The workmanship and overall style of this piece suggests the workshop of William Comyns, though he more frequently worked in silver. Signed boxes by Comyns feature exactly the same lining and side upholstery and similar swag and wreath designs.

Origin: England, ca. 1905. Condition: very good, the front has a few hairlines (no hairlines on top), six of the tiny pins along the edge of the top are lacking, no loss to pique. Size: 10-1/8" x 5-3/4" x 7-1/4" tall.

NOTE: This item cannot be shipped outside the United States.

A very well-cut low bowl in an unidentified pattern. The cutting is deep, sharp and precise. The pattern comprises three panels of star- and diamond-cut cane, divided by elongated loops enclosing flashed fans and strawberry diamond, alternating with hobstars. The blank is heavy and very clear.

Origin: America, ca. 1890. Condition: excellent, a 1/32" fleabite on the inside edge of one tooth. Size: 7-1/4" diameter; 2" high.

A very nice scrambled glass paperweight by the New England Glass Company. The weight is well-packed with a colorful assortment of canes and twists. Visually, the set-up extends all the way to the periphery when viewed directly from the top. The glass is very clear.

Origin: America, ca. 1870. Condition: excellent, no wear to crown, some small flakes all along the edges of the basal ring. Size: 2-1/2" diameter; 1-7/8" high.

An impressive and well-designed antique Bohemian glass paperweight. The bullet-shaped weight encloses a large central red, white and blue lily surrounded by three smaller lilies, all emanating from a speckled glass pot at the base. The area just above the pot has a thin film of green glass to suggest foliage. The weight is ornately faceted into a bullet-shape. The glass is quite heavy and clear. The coloring tends toward grayish-yellow, as is typical of Bohemian weights of the period.

Origin: Bohemia, ca. 1870. Condition: excellent, no chips, no wear to crown. Size: 7" tall; 2-25/32" diameter.

A very rare sterling silver chamber stick in a repousse floral pattern by Shiebler. The overall floral decoration depicts buds and full-blown rose blossoms against a background of leaves. Areas between the leaves are finished with a stippled texture. The knop of the candle socket and the bobeche are plain and make a nice contrast to the elaborate decoration. The thumbpiece is accented with a fan-shaped element that is suggestive of Shiebler’s more Aesthetic-style pieces. The bottom of the bobeche is stamped with Shiebler’s hallmark, the pattern number 1174, and the retailer’s mark “J. E. Caldwell & Co.”

Origin: America, ca. 1890. Condition: excellent, a small rim ding and a couple of pinpoints on the bobeche. Size: 6” diameter; 3-1/2” tall. Weight: 211.0 grams.

An uncommon set of six nut picks, the mother of pearl handles attached to the silverplate picks with sterling silver ferules. The ferules are decorated with ropetwist borders flanking an ornate acanthus leaf pattern. In the Victorian era, fresh nuts would have been served alongside and cheese and fruit as a dessert course. The ferules are marked "Sterling".

Most sterling silver flatware services before 1900 had mother of pearl cutlery instead of knives that matched the rest of the service. Mother of pearl pieces such as a nut picks are considerable less common than knives.

Origin: America, ca. 1890. Condition: excellent, no plating loss. Size: 5-1/4".

A lovely cut glass perfume bottle cut from cranberry to clear. The design incorporates wide miters separated by combinations of fans, strawberry diamond and star motifs. The shoulders of the bottle are panel cut, and the base is finished with a 24-point star. The lapidary-cut stopper is original to the bottle and is engraved with the same number as the inside of the bottle's neck.

Origin: Europe, possibly Val St. Lambert, ca. 1900. Condition: excellent, no chips or cracks. Size: 5-3/4" tall.

A lovely cut glass perfume bottle cut from cranberry to clear. The design is a simple, classic combination of crosshatched diamonds and fans. The shoulders of the bottle are panel cut, and the base is finished with a 24-point star. The lapidary-cut stopper is original to the bottle and is engraved with the same number as the inside of the bottle's neck. Origin: Europe, ca. 1900. Condition: excellent, no chips or cracks. Size: 5-3/4" tall.

A very nice Nanking Chinese export porcelain plate. The blue decoration is finely worked and the body color is excellent.

Origin: China, ca. 1820. Condition: very good, no chips, two tight 1" hairlines visible on the back side at the rim. Size: 8" diameter.

A nice stoneware ewer in an unusual form by Doulton Lambeth. The bulbous body is decorated with raised flowers and foliage against a cobalt blue ground, while the foot and long tapering neck are finished in a simple pattern of incised rings highlighted with chocolate brown borders. The inside of the foot is stamped with the mark used 1891-1902 and also with the artist's mark which appears to be a conjoined "JH", "HL" or possibly just an ornate "H". There is also an assistant's mark, "b".

Origin: England, ca. 1895. Condition: no chips or cracks. Size: 11-5/8" tall.

An oustanding sterling silver centerpiece basket by Gorham. The sides and handle are decorated with extremely ornate bright-cut engraving in a swirling foliate pattern. The motif is repeated to great effect in the gilt feet that raise up the basket. The intersection of the handle and feet is finished with an applied classical lion mask. The surfaces are finished in an acid-finished matte texture. The reeded border and the feet are enhanced with matte gilding, while the interior is finished with highly polished gilding. The centerpiece is an excellent example of Gorham's work for an elite market in the years immediately following the Civil War. The bottom is stamped with Gorham's hallmark, the date mark for 1871, and with Gorham's retail location at Union Square in New York.

Origin: America, 1871. Condition: very good, the interior has some small dings and light wear to the gilding visible in raking light only when the centerpiece is empty. Weight: 737.0 grams. Size: 7-1/4" x 10-1/4" x 8-1/4" tall.

A lovely sterling silver fancy serving fork in an unnamed Art Nouveau pattern by the Baird-North Co. The handle is beautifully decorated with a thorny vine of wild roses. The back is decorated in a simpler design of roses. The splayed tines are ornately pierced. A fork of this shape would probably have been used to serve bacon, but it might also be useful for cold meats. The reverse is marked “Sterling/Pat. 1903”. There is no maker’s mark (maker’s marks were not legally required until 1906), but we’ve had pieces in this pattern that have bear Baird-North’s hallmark.

Origin: America, ca. 1903-1906. Condition: excellent, sharp detail, no monograms. Size: 8” long. Weight: 35.5 grams.

A wonderful French first empire tole ware monteith, the sides hand painted with bouquets of colorful flowers against ivory-colored reserves flanked by gilt grapevine designs. The sides rise to handles cast in the form of swans’ heads--a feature very rarely seen. Verrieres are typically oval in shape, but this example is round. The bowl is unusually raised on four lion’s paw brass feet. As a whole, this is one of the more elegant and interesting early tole verrieres or monteiths we’ve seen.

Elegant glassware was a luxury and even the wealthy didn’t have enough to provide a fresh glass with each different wine course during a formal dinner. The monteith or verriere contained water, and the guests’ glasses could be hung from the notched rim to be rinsed in the communal bath. Sometimes, the vessel was filled with cold water and the glasses were simply hung there to be chilled before the service.

Origin: France, ca. 1800. Condition: excellent original paint with slight loss to one bouquet, the interior shows surface rust as expected; three of the notches seem to have been bent and then straightened out again, but this appears to have happened long ago and without any re-painting. Size: 9-1/4" x 12-5/8" at handles; 4-1/2" high (6-1/4" at handles).

A very fine Victorian silver plated flip-top card case, both sides heavily decorated with nautical themes. The front features a scene of a sloop in roiling waves passing a lighthouse in the background. The scene is surrounded by a border of seashells and seaweed, and a bare-breasted mermaid watches from one of the lower corners. The back of the is decorated in a pattern of waterlilies and foliage. The detail in the design is superb--one can even just make out the stars and stripes of the ship's American flag. The case is fitted with two pairs of loops so is can be worn suspended from a heavy chain.

Origin: America, ca. 1890. Condition: some plating wear along the edge near one of the chain loops and an area of dings on the bottom edge; the design areas are all in excellent condition. Size: 2-2/1" x 3-3/4" x 3/8".

A fine glass cocktail shaker by Hawkes. The glass blank is blown in an optic paneled style and highlighted with gilding at the neck. The body is beautifully enameled with a colorful rooster and the reverse side is engraved with the recipe for a "Bronx" cocktail. The stopper is finished with floral intaglio engraving. The The double-lip form of the shaker is very similar to the shape Hawkes used for oil & vinegar cruets. The base and stopper are signed with Hawkes' acid-etched trefoil mark.

Origin: America, ca. 1920. Condition: excellent, no chips or cracks; a small moon on the lower edge of the stopper. Size: 11" tall.

An elegant Art Nouveau glass vase decorated with enameled poppies. The blossoms are worked in shades of cream, yellow, rose and violet, while the foliage is stained a reddish-purple and highlighted with a complex, lacy pattern of gilding. The upper rim of the vase is decorated with a band of stained and gilt flowers, as well. The vase is blown in pillar form with an optic paneled design. The workmanship is very fine. Unsigned, but almost certainly the product of Mont Joye (also known as Verreries Saint-Denis or Legras).

Origin: France, ca. 1900. Condition: excellent, no cracks, no enamel or gilding wear, a 1/32" flake at the upper rim. Size: 8".

An elegant sterling silver trumpet vase with an opaque glass liner by either Jenkins or Armiger for F. Bucher & Sons. This silver is ornately decorated wthroses, forget-me-nots, wild roses, chamomiles and daises against a stippled background. Bucher was a retailer who stamped wares with his own mark, even though they were actually made by Jenkins, Armiger, Schofield or other leading Baltimore silversmiths of the day. The treatment of the chamomile blossoms and the use of cyma scrolls in the narrow borders are distinctly similar to Jenkins’ work, but the use of ferns amongst the foliage is more often seen in Armiger’s. The liner is opaque white glass with a translucent pink border at the undulating, flaring rim, and appears to be original. The base is marked “F. Bucher & Sons. Sterling”.

Origin: America, ca. 1900. Condition: excellent, sharp detail. Size: 10-3/8” tall. Silver Weight: 161.4 grams.

A very good Classic Period glass paperweight with a pinchbeck design. The scene depicts the "Descent from the Cross" and shows two centurions, Joseph of Arimathea and Nicodemus taking the body from the cross while Mary weeps at Jesus' feet. The pinchbeck insert is finished in a silver tone rather than the more common gold. The crystal dome is of very good quality, with excellent clarity and good optical magnification to highlight the detail of the scene. The bottom of the weight retains its original red and gilt-painted decoration.

Origin: England or Continental Europe, ca. 1850. Condition: excellent, light surface scratching at the top of the crown. Size: 2-5/16" diameter; 1-1/4" high.

A wonderful solid brass humidor, the top embossed with the double eagle insignia of Russia's Imperial Romanov family, and the front embossed with the double lions rampant of the British Empire. The top, front and sides are enhanced with scalloped punchwork borders. The box is raised on claw feet. The interior has a removable tin liner and a perforated platform that was used to keep a moist sponge separated from the surface of the cigars.

England and Russia signed the Anglo-Russian Entente in 1907, and along with the Entente Cordiale (England & France) and the Franco-Russian Alliance (France & Imperial Russia), the three nations formed the Triple Entente that eventually entered into World War I against Germany and the Austro-Hungarian Empire. The Anglo-Russian Entente greatly leveled the balance of power in Continental Europe and was widely celebrated. This box was created in honor of that event and may have been a mid-level diplomatic gift from a British representative to his Russian peer. Although we have not seen it, we understand that the same box exists with the French arms on the lid in place of Romanov double eagle.

Origin: England, ca. 1907. Condition: excellent, sharp detail, all original; it appears that the perforated sponge screen was originally soldered to the inside of the lid, but it is now separated. Size: 10-7/8" x 6-1/2" x 6".

A very good sterling silver wine bottle or decanter coaster by Gorham. The flared lip is heavily decorated with a floral scrolled border in the Rococo style. The repousse decoration is finely done. The bottom of the coaster is fully hallmarked with one of the older Gorham hallmarks, the design copyright date 1889, the pattern number 325 and the date symbol for 1891.

Origin: America, 1891. Condition: excellent, one pinpoint ding visible on very close inspection, no monogram. Size: 6-3/4" diameter. Weight: 135.6 grams.

A phenomenal and extremely rare George III sterling silver footed wine bottle or decanter coaster retaining its original ruby glass liner. Bottle or decanter coasters of the period are typically formed as simple round collars over turned wooden bases, perhaps enhanced with a bit of engraving or a border. This example is much finer than most others, with its ornately hand-sawn pierced gallery and undulating rim, the whole raised on tall volute feet with scrolled terminals and acanthus leaf capitals. Laurel wreath swags complete the design. The stand is finished with a blown ruby glass liner, precisely cut to fit the silver (it aligns with the silver only if placed exactly correctly). The pierced gallery has a small reserve that appears never to have been engraved. The silver is fully hallmarked for London, 1774-75. As was the practice, the hallmarks were applied before the decoration was complete, and when the piercing was performed, the maker's mark and duty mark were obliterated. Only the edges of those two punches are visible amongst the piercing.

Origin: England, 1774-75. Condition: excellent, all original, no repairs, a few tiny fleabites on the rim of the glass liner. Size: 5-3/8" diameter; 4-1/2" high. Silver Weight: 322.0 grams.

A very nice Imperial Russian enameled silver spoon by Gustav Klingert. The bowl is beautifully decorated in five shades of opaque cloisonné enamels and in translucent red and amethyst. The design I modified floral pattern with a Persian-style reserve. The handle is finished in a fish-scale enameled pattern. Exposed areas of silver are stippled and gilt. The interior of the bowl is engraved “Moscow”, indicating that the spoon was sold as a souvenir to an American or English visitor. The handle is fully hallmarked with the city mark for Moscow and Klingert’s maker’s mark. The date mark is obscured, but the assay master Lev Oleks was active only between 1890 and 1896.

Origin: Moscow, 1890-96. Condition: excellent, no enamel damage, gilding intact. Size: 4-7/32” long. Weight: 15.9 grams.

A lovely pair of imperial Russian spoons, the backs of the bowls decorated with finely engraved scenes depicting portions of the Arsenal and the State Historical Museum on Moscow’s Red Square. The handles are finished in the traditional twist motif. The surfaces are gilt, and the engraving is worked through the gilding in some areas and more lightly in others, allowing a nice contrast of colors within the design. Each is fully hallmarked for Moscow, dated 1889 and with the maker’s mark for Ivan Alexeyev (1876-1912).

Origin: Moscow, 1889. Condition: excellent, gilding intact. Size: 5” long. Weight: 27.2 grams (the pair).

A beautiful Victorian sterling silver souvenir spoon from Saratoga Springs, New York. The handle depicts a Native American Chief wearing a feathered war bonnet, his bust surrounded by ears of corn and foliage. The bowl has a design picturing a young Native American man drinking from the natural springs and bears the legend “High Rock Spring Saratoga”. The bowl retains its original gilt surface. The back of the spoon is decorated with a tomahawk, bow and quiver of arrows. The stem is marked sterling and has the hallmark for Howard (1878-1902).

Origin: America, ca. 1890. Condition: near mint. Size: 4-3/16” long. Weight: 11.4 grams.

A very rare set of six sterling silver demitasse spoons in the "Holly & Mistletoe" pattern by Tiffany & Co. This is a more ornate variant of the company's more common "Holly" pattern. The handles are decorated on both sides with holly and mistletoe foliage and mistletoe berries. The elongated bowls have notched shoulders and are parcel-gilt. The spoons are fully hallmarked and have the date letter used 1873-91. The spoons are presented in an old Tiffany flatware bag.

Origin: America, 1873-91. Condition: excellent, sharp detail, original gilding intact. Size: 4-1/8" long. Weight: 86.6 grams.

A finely detailed cast bronze jewel box, the cover decorated with a scene of Don Quixote astride his horse followed by his loyal Sancho Panza on his donkey. The end panels feature bas relief images of Cervantes flanked by cherubs, and the back panel a bas relief of Don Quixote wearing an armored helmet. Cherubs and dolphins decorate the front. The interior is lined in a bright red velvet. The box retains its original key and the lock is in working order. Bronze boxes of this sort were often purchased as souvenirs of the European "Grand Tour". Often, they represent important architectural or artistic monuments or are related to great cultural figures such as Cervantes. The bottom is marked "Made In Spain" to accommodate British import regulations beginning in 1887.

Origin: Spain, ca. 1890. Size: 6-9/16" x 3-11/16" x 2-5/8". Condition: excellent.

An outstanding Restoration period French silver wine taster in the 18th century style typical of Lyon. With the restoration of the Bourbon monarchy, many old styles from the ancien regime once again came into fashion, and this tastevin, building on decorative elements typical of the 1770's, is a perfect example. Tastevins with snake-form handles were particularly popular. Those with a pair of snake heads that somewhat resemble bird's heads flanking a sphere are typical of silver from Lyon. The punchwork decoration of grape clusters surrounded the bowl is also a typical 18th century design. The tastevin is completely handmade and was raised on a lathe in the traditional method, as is evidenced by the pinprick in the middle of the bowl and the remnants of hammer marks. The outer rim is engraved "F. Porcheret-Billard". Stamped with 2nd standard "tete de Minverve" hallmarks.

Origin: France, ca. 1840. Condition: excellent, sharp detail. Size: 3-1/2" diameter, excluding handle. Weight: 113.4 grams.

A finely executive elephant ivory seal paste box from the late Meiji period. The cover features a pair of elephants marching around the edges, while the center medallion is engraved with the face of a screeching monkey. The carvings are lightly heightened with ink or another pigment to bring out the details. The elephant often symbolized intellectual strength, while the monkey was thought to ward off evil spirits and thieves. The lid still fits tightly.

Origin: Japan, ca. 1910. Condition: excellent, both portions have crazing, but no open cracks. Size: 2-9/16” diameter; 1-9/16” high.

A lovely set of six sterling silver demitasse spoons in the "Floral" pattern by Tiffany & Co. This lovely Victorian spoons feature a different old-fashioned flower on each handle. The tip of each handle is the flower blossom, while the neck is fashioned as the plant stem and foliage. The flowers represented are marigold, clover, daisy, iris, violet, and wild rose. The unusual elongated bowls are similar to those on egg spoons, and retain their original matte gilding. The backs are marked "Tiffany & Co. Stg."

Origin: America, ca. 1900. Condition: excellent, sharp detail. Size: 4-1/16" long. Weight: 52.4 gr.

A unusual brass tea caddy from the Imperial Romanov era. These boxes are much more frequently seen as rectangular shapes rather than ovals. The hinged lid is decorated with an ornately detailed appliqué of the imperial Romanov double-headed eagle. The interior is tin-lined in the traditional Russian style. The lid can be locked with a small padlock—a reminder that tea was once an expensive, luxurious commodity that had to be protected from household thieves. The interior is tin-lined as expected in a Russian brass box.

Origin: Russia, ca. 1890. Condition: excellent, no dings, all original. Size: 5-3/16" x 3-7/8" x 2-13/16" high.

Fine Bohemian green-to-clear cut glass Biedermeier footed spa beaker ("spaglas") featuring five panels, each beautifully engraved with Classical symbols. Beakers of this sort originated in the great spa towns of Bohemia, where they were used to take the waters. Wealthy visitors often brought back a goblet as a souvenir of their restorative stay at the spa. This example is packed with finely-engraved symbols of all sorts--an anchor symbolizing hope; a cornucopia symbolizing prosperity; a swan symbolizing erotic love; a lyre symbolizing harmony; and the serpent of Epidaurus drinking from the bowl of Hygeia symbolizing health. The stem is panel cut, while the foot is simply decorated with printies and notches that match the cut vesicas on the sides.

Origin: Bohemia, ca. 1830. Condition: excellent, no chips or cracks. Size: 6-1/4" tall.

A rare enameled beaker made as a souvenir of the 1896 coronation of Imperial Russia’s last monarchs, Czar Nicholas II and Czarina Alexandra Feodorovna. One side of the beaker features the Imperial double-headed eagle and the reverse shows the Imperial cipher. The remainder of the body is decorated with traditional Russian strapwork. The beakers were to be given away to the public on the Khodinka field in Moscow. When the gates were opened, there was a great rush to get to the cups, and hundreds of people were trampled to death. Shortly after, the cup became known as the “Blood Cup” or “Cup of Sorrows”. The incident was thought at the time to be a bad omen for the future of the Imperial couple—an estimation that proved unfortunately correct. These beakers are often in very bad condition, but this one is excellent, with just a small enamel nick on the rim, light rust spots in the interior bottom and light wear to the gilding on the rim.

Origin: Russia, 1896. Size: 4-1/8” tall.

A wonderful late 19th or very early 20th century sheet iron weathervane in the form of a sperm whale silhouette. The vane is hand sawn and retains its old coat of oxidized green paint (may be original, but appears to be a second coat). One side still has its black painted eye. The silhouette is attached to its original copper mounting pole. Found in Maine.

Origin: America, ca. 1900. Condition: very good, old paint, light rust spotting around edges, welding of mounting pole showing some separating. Size: 15” x 8-1/2” (including pole).

A fine mid-19th century French silver tastevin (wine taster), the base inset with an 1810 Italian silver coin from the reign of Emperor Napoleon I as King of Italy. The bottom edge of the bowl is decorated with curved, scalloped "godrons" which were intended to reflect light through white wine to judge clarity. This tastevin does not have the "cupules" ("ovoides") specifically intended to deepen the color of red wines. The sides are decorated with grapevines and clusters of fruit. The handle is formed as a coiled serpent--as style particularly popular in Burgundy. The whole is raised on a circular ropetwist foot. Napoleonic coins are rarely seen in tastevins, and this piece probably dates to the Second Empire when Napoleonic items were viewed with some nostalgia. Fully hallmarked.

Origin: France, ca. 1850. Condition: excellent, sharp detail. Size: 3" diameter excluding handle. Weight: 72.3 grams.

An unusually fine Baccarat pansy glass paperweight from the Dupont era. The blossom is nicely worked with deep purple upper petals and mustardy-yellow lowers. The flower is centered with a complex cane star rods encircling a red and white bull's-eye rod. The flower is accented with ten finely-veined leaves in an unusually bright green color and a well-formed bud. The concave base is finished with a 16-rayed star that visually extends all the way to the periphery when viewed through the dome. The glass has excellent color and clarity from the top; a slightly sugary appearance from the side. Altogether, this is the finest example of a Dupont Baccarat pansy we've seen--on par with a pansy from the Classic period. The dome is quite high and has a couple of moons that are only visible from the side. There is very little scratching on the dome surface (very much less visible than that crossing the purple petals in the photos).

Origin: France, ca. 1930. Condition: see description. Size: 3" diameter.

A rare peacock blue pressed glass Imperial Russian tea box, the lid enhanced with intaglio decoration of Moscow’s elegant Neoclassical Pashkov House. The edges of the hinged lid are pressed in a pattern of diamonds and fans, while the sides are decorated in arched pillars and diamonds. The bottom is impressed with the glassworks’ mark and the date 1911. The edges are mounted in white metal and the box retains its original key. Imperial Russian boxes with architectural scenes on the lids are quite rare.

Origin: Russia, ca. 1911. Condition: very good, minor roughnesses on upper edge, three 1/2” flakes on the underside of the bottom rim. Size: 5-3/4” x 3-1/2” x 3-3/16”.

A handsome chartreuse-cut-to-clear low bowl cut with a ring of printies near the lip and another ring of overlapping printies lower on the sides. Unsigned, but almost certainly Val St. Lambert.

Origin: Belgium, ca. 1920. Condition: no chips or cracks. Size: 9" diameter; 2-3/8" high.

An elegant Art Nouveau glass vase decorated with enameled poppies. The blossoms are worked in shades of cream, yellow, rose and violet, while the foliage is stained a reddish-purple and highlighted with complex lacy gilding. The upper rim is decorated with a band of stained and gilt flowers, as well. The vase is blown in pillar form with an optic paneled design. The workmanship is very fine. Unsigned, but definitely made by Mont Joye (also know as Verreries Saint-Denis and Legras).

Origin: France, ca. 1900. Condition: excellent, no cracks, no enamel or gilding wear. Size: 9-1/4”.

A superb pair of bronze candlesticks from the Jockey Club de Paris. The candlesticks’ trefoil bases are decorated with riding equipment and tackle interspersed with the rosettes awarded to race winners. The edges of the bases are finished with borders that suggest horseshoes. Slender columns rise to a central element featuring three fully three-dimension horseheads capped by a spiraling ribbon engraved “Jockey Club”. Shields bearing coats of arms decorate the candle sockets.

Founded in 1833 ostensibly to promote horse racing, the club was in fact the most exclusive Anglos-French social club in France and among the most prestigious in the world. With the Emperor’s half-brother serving as president, the membership in the 19th century was strictly limited to 297 gentlemen and included the reigning kings of England, Belgium and the Netherlands.

Origin: France, ca. 1880. Condition: excellent, sharp detail. Size: 8-3/4” tall.

A classic George III sterling silver wine coaster, the bombe sides with egg and dart decoration and the rim with gadrooning. The decoration is finely crafted. The turned wood base is centered with a silver escutcheon bearing an unidentified coat of arms (dancetty with three swords points down) impaling that of Ashby (ermine chevron and three leopard’s heads) tied with a ribbon. The coaster is clearly stamped with hallmarks for London and the second George III duty mark (1786-1821). The maker’s mark is rubbed, but consists of two pairs of initials, the lower pair being “CB”. The year mark is also illegible. Stylistically, the coaster most likely dates to slightly before or during the early part of the Regency Period (1811-1921). The bottom retains its original green baize fabric.

Origin: England, ca. 1810. Condition: excellent, no dings or cracking. Size: 6-1/4” diameter; 1-3/4” high.

A fine early 19th century silver tastevin in the 17th century Burgundian style, inset with a Louis XIV silver ecu coin. The coin is surrounded by a “couronne” of 27 perles from which extend elongated “godrons”. These elongated grooves, without any corresponding circular grooves typically meant the tastevin was intended for use only with white wines. The godrons are further enhanced with small bunches of grapes. The handle, in a stylized design of two entwined snakes, with the heads and beaks of ducks, is also typical of 17th century tastevins. The rim is engraved with the name of the original owner, Vincent Nuits. The tastevin was created by the Orfevre Parrod, an important Dijon silver maker founded in 1816, and is hallmarked appropriately.

After the final defeat of Napoleon, the Bourbon monarchy was restored to France, and reminders of the previous reigns appeared everywhere in French decorative arts. This coin, dating to 1652, depicts the boy king Louis XIV surrounded by the Latin inscription translated as “Louis XIV, by grace of God, king of France and Navarre”. The reverse is decorated with the royal crown over a shield of fleurs-de-lys. Though a 17th century tastevin would never have been made with a coin in the bottom, the combination of these two elements was a masterful stroke by Parrod and makes this tastevin a particularly desirable example.

Origin: Dijon, France, ca. 1840. Condition: ecellent, sharp detail. Size: 2-13/16” diameter (excluding handle); 3/4” tall. Weight: 72.7 grams.

A stunning footed cut glass compote in Hawkes’ “Delft Diamond” pattern. While the pattern is not especially ornate, the deep emerald green color of the blank is amazing. The knopped stem has an elongated airtrap bubble that’s difficult to see because the color of the glass is so rich. The plain round foot is acid-stamped with Hawkes’ trefoil signature, which would suggest a relatively early date.

Origin: America, ca. 1920. Condition: excellent, no chips or cracks, normal frosting to bottom of base. Size: 8-1/8” diameter; 6-3/4” high.

A fine first-standard (950/1000 pure) silver tastevin, the bottom inset with a silver 5-franc coin from the reign of Louis Philippe. The coin has good detail, the front showing a bust of the king in profile, while the bottom shows a laurel wreath enclosing the words “5 Francs/1846”. The coin is surrounded by repousse decoration of angled godrons, small convex perles and larger concave cupules. The varying shapes were meant to reflect light through the wine to more accurately judge its color and clarity. The circular cupules and perles were used for red wines and the elongated godrons for white. The handle is in the form of two entwined snakes grasping an apple between their open jaws. The style of handle and the relatively steep sides of the bowl is typical of Burgundian tastevins. The tastevin is marked with the 1st standard “Minerve” hallmark and an illegible maker’s mark.

Origin: France, ca. 1850. Condition: excellent, sharp detail. Size: 3-1/4” diameter (excluding handle); 1” high. Weight: 83.7 grams.

A fine mid-19th century pressed glass paperweight in the form of a recumbent lion resting on an opaque glass base. The lion is beautifully detailed and finished in a frosted surface. This lion is similar to one produced by Gillinder for the 1876 Centennial Exposition, but it is much more finely made. The underside of the black base is impressed “490”.

Origin: probably America, ca. 1870. Condition: excellent; there are a few very minor fleabites along the bottom edge of the base and a couple of small ones (probably from rings) on the lion’s head, where a user would likely pick up the paperweight (these are very difficult to see due to the complexity of the design). Size: 5-3/4” x 3-3/8” x 3-3/4”.

This unusual glass paperweight is filled with a devil’s fire motif worked in vibrant opaque shades of red, white and green. The glass of the design has a chalky texture similar to sulphides, but is randomly swirled and peaked in the typical devil’s fire style. The glass of the dome is particularly clear and bright for South Jersey paperweight. There is an incised ring around the periphery, just above the base, that is often found in Jersey weights. The base is concave and has a nice basal ring. The overall visual is very successful.

Origin: America, ca. 1880-1910. Condition: very good; there are three moons on the periphery, not visible from the top, and one shalllow fleabite that is visible from the top. Size: 2-5/8” diameter; 1-3/4” high.

A stunning cranberry-cut-clear cut glass claret jug with a hammered sterling silver collar and hinged lid with a palmate finial. The Aesthetic-style hammered silver makes are particularly nice counterpoint to the Gothic-inspired design of the cutting which combines tall arches of small diamond cutting divided at the top with elongated triangles of larger diamond cutting. The bottom of the jug is cut with a 36-point star. The applied handle is worked in clear crystal. The silver mounting is fully hallmarked by Martin Hall & Co., with a Birmingham city mark and the date letter for 1904.

Origin: England, 1904. Condition: excellent, no chips or cracks to glass; no dings or monograms to silver. Size: 10-3/4” tall.

A very pretty early 20th century French silver tastevin in the style typical of Dijon in the Burgundy region of France. This style retains the usual convex base surrounded by a wreath of “perles”, but the gadrooning (“godrons”) along the side have been replaced with a decoration of very finely worked grape leaves and clusters of fruit. The handle, also in typical Burgundian style, represents two snakes with the heads of ducks grasping the forbidden apple between their beaks. Although the maker’s mark on the bottom is illegible, the quality of workmanship suggests that this tastevin may be have been made by Orfevres Parrod, one of the most important silversmiths in the region and a house particularly noted for its tastevins.

Origin: France, ca. 1910. Condition: excellent, sharp detail, no dings. Size: 2-5/16” diameter (excluding handle) x 13/16”. Weight: 33.4 grams.

A macabre bronze figural cigar cutter in the form of a guillotine. The perfectly detailed guillotine includes a movable “bascule” and “lunette”. On the full-size models, these were the portions to which the victim was strapped and tilted into the machine and the part with a hole that surrounded the neck to hold the head still. In this case, a cigar is laid on the bascule and the lunette closes around the very tip of the cigar. When the rope is released, the heavy blade drops, lopping off the tip which falls into the bucket underneath. The bronze elements are entirely hand-fashioned and are mounted on a simple mahogany base. Incidentally, cigar cutters, regardless of their shapes, are often called “guillotines” in France.

Origin: France, ca. 1860. Condition: excellent, even the rope appears to be original. Size: 8” tall.

A lovely antique crystal plaque by Baccarat encasing a sulphide or "cameo incrustation" of the "Madonna and Child". This particular sulphide is one of the two known depictions of Mary and Jesus used by Baccarat during the classic period of paperweight production. It is a large version and shows Mary supported by a swirling cloud of angels. The back of the plaque is cut in a waffle pattern and the edges are finished in with curved gadroons. A footed cross with the same sulphide subject and gadrooned cutting can be seen in the collection of the Corning Museum of Glass. The crystal is completely free of inclusions. The plaque retains its original bronze mounting and jump ring.

Origin: France, ca. 1825. Condition: excellent; no chips or cracks; original mountings except the bail has been replaced with a wire (not visible from the front or when hanging). Dimensions: 2-15/16" x 3-11/16" (excluding mountings).