A Magnificent Selection of Finely Crafted Silver and Gold Snuff Boxes and Objects of Vertu

A German parcel-gilt silver cannister, Hans Petrus III, Augsburg, 1665-70
Estimate £12,000–18,000

This fine parcel-gilt silver cannister by the eminent Augsburg silversmith Hans Petrus III opens the sale and heads a group of decorative arts from a distinguished German family. It is finely chased with the biblical scene The Finding of Moses and it last appeared at auction with Sotheby’s (Geneva) over 20 years ago.

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A silver-gilt snuff box with mother of pearl, gold and silver lid, probably Johann Melchior Dinglinger, Dresden, circa 1720
Estimate £80,000–120,000

Attributed to the Saxon court jeweller Johann Melchior Dinglinger, the lid of this wonderful snuff box is applied with whimsical finely chased metalwork in silver and gold after Jean Bérain.

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A jewelled four-colour gold snuff box with integrated timepiece, probably Hanau, circa 1775
Estimate £60,000–80,000

This elaborately chased multicolour gold snuff box was made in Hanau, Germany, in 1775, and contains an unusual watch movement within exuberant scrollwork by Marchand & Fils, another example of which can be found in the Rijksmuseum. This intriguing box is a wonderful witness for the cultural transfer between the important centres of bijouterie in the 18th century.

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A gold royal presentation snuff box, Jean Ducrollay, Paris, 1739
Estimate £60,000–80,000

Given by Frederick Prince of Wales (1707-1751) to Sir Thomas Bootle in 1749 and mentioned in 1st Earl of Lathom’s will in 1897, this snuffbox has both an impeccable provenance and demonstrates the highest level of craftmanship, despite its first deceptively simple appearance, which is typical for the famous gold box maker Jean Ducrollay.

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A three-colour gold and enamel snuff box, Jean-Joseph Barrière, Paris, 1771
Estimate £30,000–50,000

Lost in the early 1940’s, this box from the famous Eugen Gutmann collection was recently discovered again, and enchants with its combination of faux marble enamel, grisaille painting and simulated turquoise beads, for which Jean-Joseph Barrière was most renowned in the early 1770s.

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A large German silver-gilt, enamel and gem-set casket applied with embossed silver plaques, Peter Winter, Augsburg, circa 1673-77
Estimate £50,000–80,000

This monumental casket is one of only eight gem-set German examples known. The many expertly chased plaques combine mythological and Old testament stories attesting to the wide education of its princely recipient. Made in Augsburg around 1675 the body is adorned with enamels and jewels, perhaps mirroring its intended contents. In 1997 it was exhibited in Madrid in Plateria Europa en Espana (1300-1700) when it was owned by a member of the eminent March family.

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A George II silver table epergne, Elizabeth Godfrey, London, 1755
Estimate £25,000–35,000

This fine George II epergne or table centre bears the mark of one of London’s few 18th century female silversmiths, Elizabeth Godfrey. She is widely considered the most outstanding female silversmith of her generation with her many noble patrons including The Duke of Cumberland. Epergnes of this quality and style are not common and make a stunning focus to a dining table when suitably adorned with fruits and flowers.

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A Staffordshire creamware model of a dovecote, circa 1755
Estimate £4,000–6,000

This is a Staffordshire pottery model of a dovecote made in the style of Thomas Wheildon whose name is associate with the strongly coloured tortoiseshell glazes used on ornamental and useful wares and who is also noted for an early business partner of Josiah Wedgwood. It is a rare model of which the few recorded are in Museum collections. In the 18th century this would have not been aimed the aristocratic elite but more for a merchant class of society. These wares are unique to British potters and have been enthusiastically collected on both sides of the Atlantic for over a century.

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The Royal London Yacht Club Jubilee Cup. A Victorian silver trophy vase and cover after designs and models by Raffael Monti and Owen Jones, Hancocks & Co., London, 1882/1887
Estimate £18,000–25,000

This extremely large parcel-gilt silver presentation cup and cover was made by the firm of Charles Frederick Hancock after the designs and models of Raffael Monti and Owen Jones. It was presented by the Royal London Yacht Club (Cowes) in August 1887 to the winner of the Jubilee Cup, ‘Neptune’, owned by W.T. Birchall. Another version of this cover was Exhibited by Hancocks at the International Exhibition, London, in 1871.

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Aqua-Poesy IV. An Elizabeth II silver vase, Hiroshi Suzuki, London, 2003
Estimate £8,000–12,000

Hiroshi Sukuki is widely considered to be one of the UK’s leading contemporary silversmiths. His work is featured in over thirty major public collections including The Victoria & Albert Museum in London and the Museum of Arts and Design in New York. This vase, titled Aqua-Poesy IV, is inspired by Suzuki’s fluent expression and aim to create ‘imperfection’ in the silver. Although Suzuki is still active, his work is highly prized, with the market showing signs of significant growth in this area.

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