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10 Barley Mow Passage

Chiswick, London

W4 4PH

United Kingdom

Indian silver comprising famous names of Peter Orr, Cotha Krishniah Chetty and Oomersi Mawji. The sale concludes on a pair of salts by Paul de Lamerie

Oct 14, 2026 11:00 AM BST

Auction currency	GBP
Buyer's premium	26 % (exc. Sales tax)

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London 1674 by Thomas King (free. 1657, d. 1680) A Charles II sterling silver twin handled porringer

481

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5,000 GBP

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5,000 - 8,000 GBP

London 1674 by Thomas King (free. 1657, d. 1680) A Charles II sterling silver twin handled porringer and cover stand Of rounded circular form with scroll twin handles upon a circular foot with applied rope twist, applied cut-card work to the base section. The cover/lid/stand with a rope twist edge, three scroll feet, centred with applied cut-card work rosette form. Engraved underneath foot rim with initials ? * W * in Roman script. Fully marked to the right of handle and to lid.Length - 18.1 cm / 7.05 inchesWeight – 520 grams / 16.72 ozt Provenance:Possibly exhibited or a closely related example in Loan Exhibition of Old English Plate, 25 Park Lane, London 1929, Plate XIII, number 289 “London circa 1676 maker T.F, lent by the Earl of Derby” Notes:Cut card work, a French decorative technique, would have first been introduced to English silversmithing with the Restoration in 1660 and the Franco influence brought to England with the court of Charles II, it remained popular until the early decades of the 18th century. An early example of the technique is a pair of cups and covers of 1667, possibly by Nathaniel Saunderson with cut card work terraces is illustrated Schroder, T. (2009), British and Continental Gold and Silver in the Ashmolean Museum. Oxford: Ashmolean Museum, Volume I, fig. 57, p.154-155.The earliest pieces of fully marked London silver to use cut card work date to the late 1660’s. A pair of cups and covers of 1667, possibly by Nathaniel Saunderson is illustrated Schroder, T. (2009), British and Continental Gold and Silver in the Ashmolean Museum. Oxford: Ashmolean Museum, Volume I, fig. 57, p.154-155. Another is a covered twin handled cup or porringer of 1668 by John Bodendick, illustrated Wark, R. (1978). British Silver in the Huntington Collection, Castle Press, California, p. 11, f. 22. Cut card work, a French decorative technique, would have first been introduced to English silversmithing with the Restoration in 1660 and the Franco influence brought to England with the court of Charles II. Another closely related porringer and cover with cut card work of 1674 by Thomas King, collection of the Borough of Okehampton is illustrated Oman, C. (1970), Caroline Silver. London: Faber and Faber, fig. 17A.A similar porringer and cover with three feet and cut card work of 1674 by IN fish above, illustrated Queen Charlotte's Loan Exhibition, Old Silver, Seaford House, London, 1929, No. 299, plate XLVII (Mrs Georgette Hirsh). Thomas King This mark is given a very strong probable attribution to Thomas King in Mitchell, D., Silversmiths in Elizabethan and Stuart London: their lives and their marks, Woodbridge: Boydell Press, 2017, p.541, as the only plate worker candidate with these initials.King was apprenticed to plateworker William Mouse from 1649, free on 1st Nov 1657. His brother John was apprenticed to spoon maker William Cary and free in 1660 where upon he registered a most similar mark to his brother Thomas. He married in 1662 to Mary where his is listed at St Mary Staining, he is known to have received compensation in 1666 for two tankards made by other makers for being of lower than sterling, he got £10 initially, then a further 12s 3d a year later. In 1662 he had six hearths for the Hearth tax, thus it shows that it was an enterprise of quite some standing, he took on seven apprentices with a further one turned over to him. According to his probate of 22nd February 1681 he lived in a four-storey house with a cellar in Foster Lane consisting of the shop and kitchen on the ground floor at an annual rent of £30 per annum, noted by Mitchel as being much more than many plateworkers at the time at £5 or £10 in comparison.Upon his death in early 1681 his widow Mary continued the business registering her mark in the 1682 mark plate. Given this and the absence of another piece dated 1680 in the list of known items, the date letter of 1680 is the last that a piece by King should be found with.Other Silver by King:A fruit bowl of 1663, together with an identical one of 1656 by William Harrison, sold Christie’s London, 1 Dec 2004, Lot 736 (£47,800, incl. premium)A wine taster of 1663 (Jackson 1989)A wine taster of 1663, sold Bonham’s New Bond Street, 8 July 2009, Lot 221 (£3,120 inc. premium)A sweetmeat dish or wine taster of 1664, sold these rooms, 23 June 2022, lot 691 (£3750 incl. prem)A porringer of 1664, sold Woolley and Wallis, 13 July 2022, lot 673 (£3500 incl. prem)A tankard of 1668 sold Woolley and Wallis, 16 July 2025, lot 875 (£5292 incl. prem)A porringer of 1669, (Christie’s 1946)A wine taster of 1669 (Private Collection)A tankard of 1670 (Christie’s 1930)A communion cup of 1671 (Jackson 1989)A cup and cover of 1672 (Merton College, Oxford)A porringer of 1673 (Christie’s 1942)A helmet shaped ewer of 1674 (Christie’s New York 1981)A tankard of 1674 (1028 grams) sold Sotheby’s Amsterdam, 4/5 Dec 2006, Lot 369 (€7,800 incl. premium)A porringer of 1674, sold John Nicholson’s, 8 Oct 2025, lot 460 (£2000 hammer)A porringer of 1676 (Christie’s 1950)A porringer and cover of 1678 (Christie’s 1924)A tankard of 1678 (Christ’s College, Cambridge)A tankard of 1678 (Christie’s 1908)A single handled porringer or skillet lid of 1678, sold Christie’s New York, 24 Oct 2002, Lot 317 ($3,585 incl. premium)A chinoiserie footed salver of 1679, Sold Christie’s New York, 30 Oct 1991, Lot 300 ($35,200 incl. premium)A tankard of 1680, sold these rooms 23 Oct 2019, lot 330 (£3500 incl. premium)

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Gujarat and English circa 1620 A James I early 17th century silver mounted mother of pearl bowl or c

482

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6,400 GBP

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6,400 GBP

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1,000 - 2,000 GBP

Gujarat and English circa 1620 A James I early 17th century silver mounted mother of pearl bowl or cup section Of rounded circular form composed as twelve staves of mother of pearl (Turbo marmoratus Linnaeus) with an applied unmarked silver rim chased with an ovolo border with textured sections, applied with four openwork scroll sections surmounted by stylised mythical beast’s heads. The underside with a base metal mounting plate, the foot deficient. The mounts unmarked.Diameter - 13.8 cm / 5.35 inchesHeight – 8 cm / 3.1 inches Provenance:Private London Collection Notes:“It should be emphasised that mother-of-pearl was not a material commonly found in the houses of the lesser gentry, but was confined to those of wealth and standing, and items as lavish as a ewer, a basin, or a large bowl were unusual.” For a further discussion of silver mounted mother of pearl objects see Glanville, P., (1990) 'Silver in Tudor and Early Stuart England', London: Victoria and Albert Museum, 1990, pp. 319-320. Museum comparisons: A fully hallmarked silver gilt mounted bowl of 1621-2, also using the lobed decoration to the edge is in the collection of the Victoria and Albert museum (M.17-1968) A Jacobean maker’s mark only bowl and cover is in the collection of the Victoria and Albert museum (M.18&A-1968) The Gilbert collection contains an English silver gilt mounted bowl, loan collection of the Victoria and Albert museum (LOAN:GILBERT.993-2008) An English silver mounted bowl section or cup formed of staved in the collection of the British Museum (AF.3172) An English silver mounted casket of mother of pearl in the collection of the Museum fo Fine Arts Boston (63.1252) The scroll sections applied to this bowl are characteristic of other Jacobean silver work, usual found in the junction between stem and bowl section on goblets and steeple cups, such as the example of 1613 in the Wallace collection (W150), another standing cup of London 1620 by IC in monogram also has such sections (private collection). A silver mounted cup or bowl with English type mounts was sold Dore and Rees, 27 Nov 2024, lot 132 (£6000 hammer) Indo – Portuguese mother of pearl wares The art of decorating objects with mother-of-pearl from the marine snail turbo marmoratus was first recorded in the northwestern Indian state of Gujarat in 1502, when the Portuguese explorer Vasco da Gama was received on the east coast of Africa by the King of Melinde, who presented him with gifts including a bedstead made in Gujarat 'wrought with gold and mother of pearl, a very beautiful thing' (Gaspar Correa, The Three Voyages of Vasco da Gama, London 1869, p.306). Functional objects such as caskets, chargers, candlesticks and drinking vessels were crafted from brass or wooden substrates veneered with a mosaic of mother of pearl affixed with silver pins, creating exotic and luxurious works of art destined for export via European trading companies. Gujarati objects initially came to Europe through the Portuguese, who controlled maritime trade routes in the Arabian Sea throughout the 16th century. Following the naval victory of the English East India Company over Portuguese galleons at the Battle of Swally in 1612, and the 1615-1619 embassy of Sir Thomas Roe (d. 1644) to the Mughal Emperor in Agra, however, England supplanted Portugal as the dominant European power in northwest India and established a trading post at the port of Surat.

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Eardley service - London 1766 by Sebastian and James Crespell, and London circa 1745 probably by Pau

483

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5,000 GBP

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5,000 - 8,000 GBP

Eardley service - London 1766 by Sebastian and James Crespell, and London circa 1745 probably by Paul de Lamerie (Hertogenbosch 1688 - London 1751) A George III sterling silver meat dish and George II mazarine Of shaped-oval form with gadrooned rim, engraved below the rim with an impaled coat of arms with motto ‘Non Nobis Solum’, all surmounted by a Baron’s coronet. The reverse engraved “No 18” and with the scratch weight 61 = 10. Fully marked to reverse. The mazarine of cut down shaped oval form, engraved to the centre with an impaled coat of arms in an asymmetrical C scroll cartouche surrounded by rocaille, the field with engraved shell forms, scroll, and lattice work reserves. Scratch weights to the reverse 62 = 6, crossed through, and 40 = 5 underneath. (2)Length - 46 cm / 18.1 inchesMazarine length – 43.2 cm / 17 inchesWeight - 3080 grams / 99.02 ozt Provenance:Possibly sold Sir Culling Eardley Smith, 3rd Bt (1805-1863) (who assumed the surname Eardley in 1847), Belvedere House, Erith, Kent Sale Sir Digby Neave et al. [section Sir Culling Eardley], London (Christie’s), 6-8 June 1868. Notes:The arms on the meat dish are those of Eardley with an augmentation for a Baronet impaling Wilmot quartering Eardley quartering Marrow of Berkswell quartering another. For Sampson Eardley, 1st Baron Eardley (10th Oct 1744 - 25th Dec 1824), who married on the 6th December 1766, Maria Marrow Wilmot (1743-94), the daughter of Sir John Eardley Wilmot (1709-92), Chief Justice of the Common Pleas. Known as Sir Sampson Gideon from 1759 until 1789. On 17 July 1789 he legally changed his surname to that of Eardley. The arms on the mazarine are those of Gideon impaling the presumed arms of Erwell, for the Jewish banker Sampson Gideon (1699-1762) who married a member of the church of England, an Elizabeth Erwell according to the National Dictionary of Biography, although she was Jane Erwell (1708-1778) daughter of Charles Erwell esq (1675-?) and his wife Margaret (d. 1744) on the 26th April 1733, recorded in the marriage license of the Fleet notebook as "Ye 26th Sampson Gideon & Jane Irmell Ba: Sp merchant of St Margins Ludgate at the Globe." They were perhaps also called Ermell. Evidently the mazarine has been cut down from the original larger oval form that was a known model and form of decoration from de Lamerie, for one in original state with meat dish of 1744 see Brett, V. (1986). The Sotheby’s Directory of Silver 1600-1940. London: Philip Wilson. P.178, fig. 728. It stands to reason that instead of commissioning a new mazarine Sir Sampson Gideon, as he was in 1766, has his late father’s cut down to fit the more updated model as supplied by Crespell, explain the change in scratch weight, the new shape not following any Lamerie model, and the removal of the marks, which presumably would have been on the edge. The altering of 18th century table silver with changing fashions is well documented, including being performed by Lamerie himself as is the case with tureens and meat dishes belonging to Richard, 1st Baron Edgcumbe (1680-1758), see Christie’s New York, 17 May 2012, lot 72, and Timothy Schroder, The Gilbert Collection of Gold and Silver, 1988, pp. 169-174. The arms on the mazarine present a heraldic conundrum, previously in the collection of the late Anthony Phillips (1945-2024), one time head of silver at Christie’s, his discussion with colleague Arthur Grimwade (1913-2002) detailing on the 23rd June 1977: “I have done some further investigations on your mazarine Arms and allowing for a bit of possible heraldic romance I think that they are definitely the Arms of Sampson Gideon who as you will see from the enclosed DNB article was one of the most important financiers of the day and could well have afforded Mr. Lamerie's work. I could not make anything of the original identifications of the female coat regarding marriage to a Gideon, but having discovered that he married Elizabeth Erwell I looked in Burke's General Armory but could find no coat assigned to that family in our edition here. I then went to The Antiquaries for further investigations and looking up in Papworth I found that one version of the eagles on a bend was said to be 'not Erveley' which aroused my suspicions and I then found by cross reference to the Burke's Armory in the Antiquaries Library that it gave Erveley with the eagles on a bend in one or other tincture, precisely which I forget. I am sure in my own mind that Sampson felt his wife must be armigerous and they picked on the nearest name they could find bearing a coat of arms and pretended it was hers. Anyway that is my opinion and I don't believe the heralds will do any better for you!” Upon further reunification with the meat dish this is connection is further strengthened by the mazarine fitting his son’s meat dish. Sampson Snr was granted the right to bear arms in 1747, and in 1745 was living in Stepney, purchasing Belvedere in 1752. Twelve dinner plates from the Eardley service of the same year and maker were sold Christie's, New York, Important Silver 27th October 2005, Lot 430 ($20,400 incl. premium) A salver also of 1766 marked for Thomas Hannam and John Carter (⌀ 42.5 cm) bearing these arms was sold Bearnes, Littlewood, and Hampton, 21 July 2020, lot 120. Sir Sampson Gideon was painted in Rome 1766/67 by Pompeo Batoni, collection of the National Gallery of Victoria (1325-5). Lady Maria Eardley was painted c. 1766 by Thomas Gainsborough in the collection of the National Museum, Stockholm (NM 5893), and another by Reynolds: Christie’s London 9 Dec 2016, Lot 163.

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London 1764 by Frederick Knopfell (reg.11 April 1752) An unusual and rare early George III sterling

484

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2,000 GBP

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2,000 - 3,000 GBP

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London 1739 Paul de Lamerie (Hertogenbosch 1688 - London 1751) An interesting pair of George II ster

485

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4,000 GBP

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4,000 - 6,000 GBP

London 1739 Paul de Lamerie (Hertogenbosch 1688 - London 1751) An interesting pair of George II sterling silver salts Each of lobed compressed circular form with a chased rosette rim, all raised upon three lion paw feet with lion mask junctions. Each engraved to the side with a contemporaneous impaled coat of arms within a Baroque scroll and rocaille cartouche, flanked with a water reed to the dexter side and a laurel to the sinister. Gilt interior. Each fully marked underneath, maker’s mark registered 27th June 1739 (Grimwade 2204). (2)Diameter - 9.2 cm / 3.6 inchesWeight - 471 grams / 15.14 ozt Notes:The arms are for Hasell impaling Musgrave For Edward Hasell (1698-1781) who married Julia Musgrave (d.1778) on the 20th August 1735, with issue. Edward was the son of Sir Edward Hasell of Dalemain, Penrith, Cumbria (1642-1707) and his second wife Dorothy Williams (d. 1729) who were married on the 24 November 1696. Dorothy the daughter of William Williams, who is stated to have been "a Welshman born in Glamorganshire who acquired a good fortune by being Steward to the Howards of Greystock and other eminent families in the county". Sir Edward was knighted in 1699 where these armorial bearings were granted to him: Or on a fess az. betw. three hazel slips ppr. as many crescents arg. Julia the daughter of Sir Christopher Musgrave, 4th Baronet of Edenhall (c.1632-1704) and his first wife Mary Cogan, the daughter of Sir Andrew Cogan, 1st Baronet of Greenwich (c. 1600-c.1660) of East India Company fame. Sir Christopher was Member of Parliament for Carlise firstly in 1661, then again in 1679, 1681, 1685. He was also Mayor of Carlisle in 1672, in 1677 he was governor of Carlisle. Edward became High Sheriff of Carlisle in 1729, and Deputy Lieutenant and Chairman of Grand Jury in Carlisle. He was involved with agricultural improvements and the breeding of new longhorn cattle. In 1740 Edward set about massive improvements of Dalemain, with the façade completed in 1744, but work didn't fully complete until 1780. The stables and barn are dated and inscribed over entrance E &JH 1738. The house remains in the state as directed by Edward. See Country Life 14, 21 and 28 March 1952, pp.736-9, 820-4, 908-11. A portrait of Julia by Alan Ramsey is now in the collection of Abbot Hall, Kirkland (AH 2024/80) Further reading: Wilkins. F. (2003), The Hasells of Dalemain: A Cumberland Family: 1736-1794, Kidderminster: Wyre Forest Press. Paul de Lamerie and the Hasell silver There is a significant group of silver marked for Paul De Lamerie and commissioned by members of the Hasell family in the 1730's. Eight small scalloped dishes (⌀ 6inches) of 1736 (four further 1755 by William Shaw and William Priest), engraved with these arms, sold Sotheby’s New York, 22 April 1998, lot 16, originally sold Major E. W. Hasell, Sotheby's, London, October 25, 1962 lot 176. A pair illustrated Hare, ed. (1990), Paul de Lamerie, The Work of England's Master Goldsmith, cat. no. 77, pp. 122-123. A pair matching larger circular dishes (⌀ 10 inches), also 1736, sold Christie's, New York, October 17 1996, lot 336. A coffee-pot of 1738 also engraved with the Hasell arms impaling those of Williams for Sir Edward and Dorothy, was sold Sotheby's, London, November 30, 1978, lot 185. An oblong salver of 1736 with the above arms sold: Major E.W. Hasell, Sotheby's, London, October 25, 1962, lot 177. “(…) between about 1734 to 1742 he was evidently employing an engraver who design and execution is totally distinctive. (…) He worked on some of de Lamerie’s most important ‘two-dimensional’ commissions over this period, including a number for the Hasell family. Several piece clearly by the ‘Hasell engraver’ are at the Ashmolean (…)” Schroder T. (2006) Evidence without documents: patterns of ornament in rococo and Régence silver, Journal of the Silver Society. Volume 20. P.66-67. The lion masks and feet on these salts differ from those used on many de Lamerie models, with the style on the present lot having a differing countenance, and lacking a tail wrapped around the foot. The presence of a lobed body and the chased rosette rim differ from an established Lamerie ‘lion paw’ salt model available from the 1730’s. These with circular body and gadrooned or rope twist rim, such as an ambassadorial example of circa 1735 in the collection of the Metropolitan Museum of Art (58.7.13–.16), also a later pair of 1742 sold Christie’s London, 3 June 2025, lot 630 (£4000), a set of four of 1743 sold Christie’s London, 29 Nov 2007, lot 562 (£12,500), and a ‘festooned’ set of four of 1750 sold Christie’s 6 June 2007, lot 90 (£15,000). Paul de Lamerie was born in the Netherlands in April 1688. He was the only child of Paul Souchay de la Merie, an officer in the army of William III, and his wife, Constance le Roux. They moved to London in 1689, settling in Berwick Street in Soho. Lamerie began his journey to become one of the greatest goldsmiths working in London in the 18th century in August 1703 with his apprenticeship with Pierre Platel, another member of the growing community of Huguenots living in London at the time. Lamerie registered his first mark as a largeworker on 5 February 1713 and opened a workshop in Windmill Street, near Haymarket.

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