François Louis Lanfant de Metz (French 1814-1892), *Of These Three The Most Blessed Is Charity*, Oil on panel, Signed lower right "Lanfant de Metz", Provenance: Purchased from the Wanamaker Estate, former property of George Barr McCutcheon, Size in inches: 15.5 h x 12 w (with frame: 22.5 h x 19.5 w)

Welcome to the third week of Advent, the joyful Scandinavian Christmas tradition. We are enjoying your visits to the gallery and your wonderful comments on the 2023 calendar and Christmas Calendar Exhibition. With a nod to our Nordic history and an eye to quality, we have put together another selection of treasures for our third Advent Gift Guide. This week we are showcasing a fabulous selection of table décor and serveware for your holiday gatherings and celebrations, along with a few seasonally inspired paintings. Enjoy!

Antique Georgian monumental sterling silver and gilt figural centerpiece, the shaped base on three cast and chased shell and foliate feet, supporting an openwork stem of three large and finely modelled classical female figures (the Dancer by Antonio Canova 1757-1822) and a removable chased circular basket. Hallmarked English sterling silver (925), London, the year 1825 (k), duty/monarch's head for King George IV, and maker's mark W for William Elliott, Size in inches: 14 h x 11.25 d

Pair of 18th century Dutch brass adjustable candelabra, on tripod feet with a helical form central post, Size in inches: 17.75 h

Stunning large sterling silver centerpiece bowl designed by Alphonse La Paglia for International Sterling in the late 1940s/early 1950s, stamped with design #139 35-1, Size in inches: 6 x 10 ⅛

Fine blue and white canted rectangular porcelain platter, with underglaze hand painted decoration of a pagoda with figures in the courtyard and river landscape contained within an elaborately decorated floral scroll border, Chinese 18th/19th century, Size in inches: 16 h x 12.75 w x 1.5 d

Large brass circular alms dish having an ornate rim with hand tooled decoration and dish center with raised flower decoration, Size in inches: 17 d

18th century English Scottish pewter charger by John Gardner, inscribed on back with initials "D.L." and with touch marks for "J. Gardner, Edinburgh", circa 1770, Size in inches: 1 h x 15 w x 15 d

*The Repentant Saint Peter*, Oil on lined canvas, 17th or early 18th century Italian School, possibly School of Spanish artist Jusepe de Ribera (1591-1652), known as Lo Spagnoletto, who followed Carravaggio's style in 17th century Italy after moving from Spain at the early age of fourteen or fifteen, Size in inches: 40.5 h x 50.25 w (with frame: 47.5 h x 57.75 w)
SOLD

Irish cut glass comport with lid, 19th century, minor chips, Size in inches: 13 h

Sterling cruet frame with two cut glass bottles (one with small chip), London 1761-2, maker John Delmester, Size in inches: 6.75 h x 7.75 w x 4 d

Fine French silver Boin-Taburet hot chocolate set in fitted leather box stamped "Boin-Taburet Paris", comprising silver chocolate pot with detachable bone handle, pair of silver and porcelain cups with matching silver saucers, pair of silver teaspoons and pair of sugar tongs, all marked with hallmarks "Boin-Taburet A Paris", early 20th century

Sterling silver pitcher, the rounded body decorated with high relief chased repoussé decoration depicting birds, flowering and fruiting branches with a ribboned cartouche, marked for London 1947 and London Assay Office, Size in inches: 5.5 h x 5.5 w x 3.5 d
SOLD

Wine has long been a part of special occasions, and is indispensable in celebrations and situations when a pledge or oath is offered. Originally, wine bottles and wine glasses (which began very small in size) were kept away from the table, brought by a footman who would also refill the glass after the contents were consumed. Not until the late 18th century did the wine bottle, and subsequently the glass, move to the table.

Mahogany sarcophagus shaped wine cellaret with platform base, English circa 1830, with key, Size in inches: 25 h x 31.5 w x 20 d
SOLD

Pair of silver plate wine coasters, with openwork decoration and wooden bases, stamped EPGS, Size in inches: 2.75 h x 5.75 d

Unusual and rare pair of late 18th century Georgian mahogany circular bottle carriers, English circa 1790, the shaped sides would give additional help when displaying bottles, Size in inches: 13.25 h

Pair of sterling silver toddy ladles, with turned handles, Edinburgh, circa 1800, maker John Ziegler, Size in inches: 6 h x 1.5 w

Rare 17th century Lignum Vitae treen wassail bowl with silver rim engraved "His Most Gracious Majesty King William's Punch Bowl, the gift of the Duke of Cumberland, to Cap. John Bury, 1764"; Provenance: Oliver family, Vancouver; Exhibited: Canadian Craft Museum "Festive Treasures: Silver" Exhibition November 26-January 23, 1999; Size: 6 ½” h x 10 ¼” d

*The Virgin Mary Presenting A Child To Christ With The Holy Ghost*, Oil on canvas, Unsigned, Late 18th century, Size in inches: 29.5 h x 24.5 w

English opaque twist stemmed glass, circa 1800, Size in inches: 4.25 h

The wine glass as we know it today originated in Venice circa 1400. Venetians learned how to purify their alkaline source to make ‘cristallo’, a clear glass which was much in demand. These first examples were very fragile, which the English solved when they moved toward sea-coal (instead of oak) to fuel their fires which produced a stronger glass and bottle. Interestingly the stronger bottle played a crucial role in the birth of champagne. The English were also to add lead oxide and flint to make glass stronger still. Today there is an organization (ISO) which regulates international specifications for wine-tasting glasses. Wine glasses have been made from clay, copper, pewter, timber, horn, leather, silver and glass. The shape began as a goblet or tumbler, growing taller with the addition of the stem, and becoming more sophisticated with twists and knops and decoration. The stem, while making the glass more sophisticated, also kept the warmth of the hand away and therefore the temperature of the wine at its optimum temperature. By the seventeenth century, it was believed that precious metals promoted better health. The demand for silver goblets increased, but remained exclusively for the wealthy until the price of silver became more affordable. Georgian glasses were a fraction of the size that glasses are today. There are several reasons for this, including the tax on wine which continued until the mid 19th century. Originally the measure was defined as ⅛ of a pint, or 2 ounces (2 ½ ounces in the Imperial System). Prior to 1800 it was 1½ fluid ounces. With the industrial revolution glasses could be mass produced and more standard in size and shape. In the 18th century, glass blowers would add spiral patterns in the stem in the form of bubbles (airtwist) or white or coloured threads (opaque twist).

Sterling silver wine goblet, marked for Sheffield 1883-1884, possibly Fenton brothers, inscribed “Polo Pony Tandem Race, 1885, won by C.E. Newland”, gilt interior, Size in inches: 7.75 h x 3.75 w

Fine German silver 18/19th century loving or wedding/marriage cup with intricate decoration and gilt interior, stamped with Augsburg mark, Size in inches: 10.25 h x 5 w x 4 d

Loving, wedding, marriage or “Jungfraubecher” cups originated in Nuremberg, Germany in the 16th century. The double drinking cup is crafted in the form of a female, and rarely a male, in costume with a tight bodice and wide voluminous skirt which forms the bottom cup. The outstretched arms hold a foliate openwork support from which a small swivel cup is suspended. Used during the wedding banquet, the large skirt shaped cup for the groom and the smaller swivel cup for the bride, the couple is to drink the contents at the same time ensuring not to spill a drop. The 16th century legend has it that a wealthy nobleman disapproved of his daughter’s suitor, a goldsmith, and banished him to the dungeon. However after his daughter fell gravely ill with lovesickness, in desperation her father agreed to a test - if the goldsmith could produce a cup or chalice that two people could drink from at the same time without spilling then the pair could be reunited. The goldsmith created a chalice known as the swiveling cup and the couple were wed, creating a romantic tradition which continues to today. Popular in the 19th century, the style was also used for wager cups toward the end of the century, and hence are also sometimes called “wager cups”.

George II sterling silver tankard of baluster form, with molded girdle, stepped domed cover with scrollwork thumbpiece the double scroll handle engraved with initials MH and with heart-shaped terminal, tuck-in base and spreading circular foot, marked on base and cover, minor cover and foot repairs, London 1740, with maker's mark for Jonathan Fossy, Size in inches: 7.75 h x 7 w x 4.5 d

For wine and liquor enthusiasts, decanters are both practical and a beautiful way to display liquids. The shape of the decanter is designed to expand the surface area of the liquid, allowing it to interact with the air to develop its flavour profile. Decanting also helps to rid wine of any sediment formed in the ageing process, which is less of a problem with modern wines but can still occur. In 19th century upper class society, it was expected that wines and spirits were served at different times and for different events, and each was expected to have its own decanter. Then, as now, crystal decanters were prized due to the clarity and sparkle of the glass, which allows the true colour and characteristics of the liquor or wine to be enhanced.

Pair of English cut glass decanters with stoppers, circa 1840, minor chips, Size in inches: 10.75h

Vintage English sterling silver decanter label for vodka with chain, Birmingham 20th century, maker C.R.&S.

Sterling silver decanter label for port with chain, marked 925

Edwardian sterling silver claret jug, Birmingham 1902, maker WD, sterling silver collar, spout and hinged lid with foliate decoration, cut glass base, Size in inches: 11.25 h

William IV Rosewood basket form card tray, complete with swing handle, scalloped edges, sitting on scroll feet, circa 1840, Size in inches: 1.75 h x 8.75 w x 5.25 d

Through the Georgian, Regency and Victorian eras, the etiquette of ‘calling’ was an essential part of invitations, introductions and visits. Calling cards became an indispensable accessory for any upper-class lady or gentleman of society to announce their presence in town, or call upon a friend. Upon arriving at a residence, the visitor, or their groom, would present the calling card on a tray to the butler or maid, who would in turn transport the card to their mistress. The card would either be returned with regrets, or accepted, whereupon the guest would be admitted. How a card was presented or folded was complex and layered in meaning, and books on manners in the 19th century contained entire chapters devoted to nothing but the correct use of calling cards. Ladies cards were larger than gentlemen’s, who carried them in their breast pocket, and elaborate calling card cases and card trays became popular and a sign of status. The book “Our Deportment or the Manners, Conduct and Dress of the Most Refined Society” by John H. Young published in 1881 has this to say on the calling card:

“To the unrefined or underbred, the visiting card is but a trifling and insignificant bit of paper; but to the cultured disciple of social law, it conveys a subtle and unmistakable intelligence. Its texture, style of engraving, and even the hour of leaving it combine to place the stranger, whose name it bears, in a pleasant or a disagreeable attitude, even before his manners, conversation and face have been able to explain his social position. The higher the civilization of a community, the more careful it is to preserve the elegance of its social forms. It is quite as easy to express a perfect breeding in the fashionable formalities of cards, as by any other method, and perhaps, indeed, it is the safest herald of an introduction for a stranger. Its texture should be fine, its engraving a plain script, its size neither too small, so that its recipients shall say to themselves, ‘A whimsical person,’ nor too large to suggest ostentation. Refinement seldom touches extremes in anything.”

N.P. Mols (Danish 1859-1921), *Puppy Daschunds On Carpet*, Oil on canvas, Signed and dated upper left "N.P.M. 13", Size in inches: 11.75 h x 15.25 w (with frame: 20 h x 23.5 w)

Fine Georgian sterling silver swing handle cake basket of navette shape with engraved floral swags, the basket edge and handle are reeded, as is the rim of the raised base. Monogramed with initials "EC", stamped London 1806, maker Peter and Anne Bateman, Size in inches: 10 h x 13 ½ w x 10 ¼ d

English George III sifter spoon in the Old English pattern, with circular ornately pierced bowl, London 1795, maker Thomas Northcote and George Bourne, Size in inches: 7 h x 1.5 w x 2.1 d

Sifter spoons were a popular Georgian utensil useful at the table for shaking sugar onto berries, puddings or cakes. As sugar became refined and more accessible to a larger section of the population in the 19th century, these spoons became more common place and affordable.

Pair of small sterling silver nut or candy dishes, decorated with blackberries possibly after the Tiffany blackberry pattern, stamped on base 'Sterling', likely American, first half of the 20th century, Size in inches: 0.625 h x 3.5 w x 3.5 d

Charles E. de Belle (Canadian 1873-1939), *Five Young Girls*, Pastel on paper, signed with monogram lower right, Size in inches: 20 h x 24 w (with frame: 36 h x 38 w)
SOLD

Sterling silver coronation set in fitted box, London 1909, Carrington & Co, containing two anointing spoons 9.25" long and one miniature 4.25" long, fitted box (1.5" x 11" x 6") inscribed "Carrington & Co To His Majesty The King and Her Majesty Queen Alexandra 130 Regent St. W."
SOLD

This set of coronation spoons are copies of the spoon used during the most sacred part of the British Monarchy’s coronations. During this ceremony, the Archbishop pours holy oil from an ampulla into the spoon and anoints the new sovereigns on the hands, chest and head. Anointing was one of the medieval holy sacraments and suggests the spiritual status of the new sovereign. As the sovereign was considered at one time to be directly appointed by God, the ceremony of anointing was seen as confirmation. Today it instead confirms the new Monarch as the Head of the Church of England.

The original coronation spoon is thought to be from as early as the 12th century. It was first recorded in the records of St Edward's Regalia at Westminster Abbey in 1349, described as being of 'antique forme'. It is known from records that the spoon has been used for anointing every sovereign since James I in 1603. Prior to that it may have had a different use during the coronation.

As most silver from this early period has been lost or melted, the anointing spoon is a remarkable survival of early English silver design. In fact, the spoon was saved in 1649 from being melted when it was purchased for 16 shillings by a Mr. Kynnersley, the Yeoman of Charles I's Wardrobe. Kynnersley returned the spoon to Charles II for his coronation in 1661 when small seed pearls were added to its decoration.

This boxed set of spoons is a modern copy, produced without the additional seed pearls, with the same oval bowl, divided into two lobes and engraved with acanthus scrolls. The bowl is joined to the stem by a stylised monster's head, behind which the stem flattens into a roundel, and a band of interlaced scrolling, with another monster's head. The end of the tapering stem is spirally twisted and terminates in a flattened knop as the original.

Sterling silver gravy spoon, hallmarked London, 1817, maker possibly Richard Britton, strainer possibly a later addition by the same silversmith and also hallmarked ‘RB’, Size in inches: 12 h x 2 ½ w x 1 d

Georgian sterling silver straining spoon in Old English pattern, with a rare hinged strainer and bright cut decoration, handle engraved with coat of arms, hallmarked London 1778, maker George Smith III, Size in inches: 12 h x 2 w x 1 d

English George III sterling silver stuffing spoon in the Old English pattern, London 1802, maker William Eley & William Fearn, Size in inches: 12 h x 2.1 w x 1.5 d

Sterling silver marrow scoop, London 1800, maker Joseph Barnard, Size in inches: 8 ⅜ h

Georgian Sterling Silver Meat Skewer, London 1807, maker's mark T.J. (Thomas James), Size in inches: 12 l

Featured Work

Aurelio Tiratelli (Italian 1842-1900), *Roman Campagna*, Oil on canvas, signed and inscribed lower left "A. Tiratelli Roma", Size in inches: 15.25 h x 29.1 w (with frame: 27 h x 41 w)

Aurelio Tiratelli was born in Rome in 1842. He trained at the Accademia di San Luca in Rome in both painting and sculpture, and was originally recognized as a sculptor. He studied drawing under Tommaso Minardi, design and painting under Alessandro Capalti, and painting under Francesco Podesti. For sculpture he was apprenticed by both Giulio Tadolini and Pietro Tenerani.

Early in his career Tiratelli chose the direction of landscape painting and by the 1870’s was frequently visiting the Roman countryside. He painted in a studio on the Via Margutta in Rome which he shared with Pio Joris, a well regard painter in his own right who became Aurelio’s brother in-law. From the 1870 to his death in 1900, Tiratelli exhibited frequently, including internationally at the Paris salon in 1878, 1880 and 1886. The painting he exhibited at the Paris salon of 1886, Fight of Bulls, was purchased for the National Gallery of Modern Art, Rome. He exhibited at the 1889 Universal Exposition in Paris and he was knighted and an officer of the Order of the Crown of Italy. One of his most famous works A Cattle Herd at Ostia was acquired by King Vittorio Emanuele of Italy. Aurelio Tiratelli died at the height of his career in 1900 at the age of 58. His son, Cesare Tiratelli (Italian, 1864-1933), became a highly regarded landscape and genre painter in his own right.