bowl, as may be seen in the illustration, is decorated with typical Queen Anne fluting: the shield bears the crest of a gryphon on a matted ground: an unusual feature being the rather small lions’-masks slightly winged holding the dropring handles.
It might be of interest here to recall that the ʽMonteith ’ bowl is said to take its name from a certain eccentric Scotsman of the latter half of the seventeenth century who wore his coat notched at the bottom; hence the newlyintroduced bowl with notched rim acquired the name ‘Monteith. ’ On these bowls the rim is generally removable, as upon it were hung the glasses, bowl downward, in iced, or hot, water according to the season of the year — summer or winter, as cold or hot punch might be preferred. Thus the bowl was brought to table, the glasses lifted off, the rim removed, and punch-making commenced.
Another item to be specially noted at these interesting Galleries is a boat-shaped dessert-stand
(illustrated here) whose exact purpose is somewhat difficult to assign. It is, however, generally assumed that the centre vase was intended for cream, and the two side ones for soft sugar; on each lid is an opening for the insertion of a ladle. It is fully marked throughout, each piece alike, and shows the London Hall Mark of the year 1775 — Maker’s mark ‘AF’ (probably ʽAnne
Farren’). The stand is 11 inches long, and its height at the centre 8 inches: the complete weight is no less than 42 ozs., being made prior to that period during which silver plate was of lighter weight, hence its appearance of wonderful solidity. The stand itself rests upon four feet shaped somewhat as a fleur-de-lys: the ram’s- heads terminating the canoed ends are boldly designed and cut, and the medallions on each vase are of a similarly fine quality,
Another interesting piece is a square tea caddy in shagreen case, decorated with a key-pattern
border, the centre of each panel bearing a cipher in Chinese character, a late form of Chinese decoration: the knob is of floral design. This piece bears the London Hall Mark of the years 1768-9: its Makers were Louisa Courtauld and George Cowles. A single caddy in a case is decidedly rare, sets of three in cases being far more usual, Messrs. Garrard, for instance, possessing several of great merit.
Attention should be called to the great care with which Messrs. Garrards’ collection of Old English silver has been selected: each piece has been admirably chosen, and not only those examples under review, but other specimens at these Galleries, are remarkable for their fine colour. The keen collector covets fine colour, despising any piece which lacks that ‘ virgin ’ tint acquired alone by passing centuries.
Dessert-Stand. George III, 1775. London Hall Mark. Maker, Anne Farren (? )
At Messrs. Garrards’.
Tea Caddy. George III, 1768-9. London Hall Mark. Makers, Louisa Courtauld and George Cowles.
At Messrs. Garrards’
It might be of interest here to recall that the ʽMonteith ’ bowl is said to take its name from a certain eccentric Scotsman of the latter half of the seventeenth century who wore his coat notched at the bottom; hence the newlyintroduced bowl with notched rim acquired the name ‘Monteith. ’ On these bowls the rim is generally removable, as upon it were hung the glasses, bowl downward, in iced, or hot, water according to the season of the year — summer or winter, as cold or hot punch might be preferred. Thus the bowl was brought to table, the glasses lifted off, the rim removed, and punch-making commenced.
Another item to be specially noted at these interesting Galleries is a boat-shaped dessert-stand
(illustrated here) whose exact purpose is somewhat difficult to assign. It is, however, generally assumed that the centre vase was intended for cream, and the two side ones for soft sugar; on each lid is an opening for the insertion of a ladle. It is fully marked throughout, each piece alike, and shows the London Hall Mark of the year 1775 — Maker’s mark ‘AF’ (probably ʽAnne
Farren’). The stand is 11 inches long, and its height at the centre 8 inches: the complete weight is no less than 42 ozs., being made prior to that period during which silver plate was of lighter weight, hence its appearance of wonderful solidity. The stand itself rests upon four feet shaped somewhat as a fleur-de-lys: the ram’s- heads terminating the canoed ends are boldly designed and cut, and the medallions on each vase are of a similarly fine quality,
Another interesting piece is a square tea caddy in shagreen case, decorated with a key-pattern
border, the centre of each panel bearing a cipher in Chinese character, a late form of Chinese decoration: the knob is of floral design. This piece bears the London Hall Mark of the years 1768-9: its Makers were Louisa Courtauld and George Cowles. A single caddy in a case is decidedly rare, sets of three in cases being far more usual, Messrs. Garrard, for instance, possessing several of great merit.
Attention should be called to the great care with which Messrs. Garrards’ collection of Old English silver has been selected: each piece has been admirably chosen, and not only those examples under review, but other specimens at these Galleries, are remarkable for their fine colour. The keen collector covets fine colour, despising any piece which lacks that ‘ virgin ’ tint acquired alone by passing centuries.
Dessert-Stand. George III, 1775. London Hall Mark. Maker, Anne Farren (? )
At Messrs. Garrards’.
Tea Caddy. George III, 1768-9. London Hall Mark. Makers, Louisa Courtauld and George Cowles.
At Messrs. Garrards’