Egg cruets. Yes, the Victorians had specialized tableware for everything imaginable. But still. . . much prettier than those ceramic bluebird looking things in Walmart.

Four egg cruet. Basket weave with a shaped base that has a beaded rim with coordinating folding handle. Four removable egg cups and four egg spoons. ca. 1890-1910. English, made in London. Silver plate. G. R. Collis and Company. maker. Maker’s marks: fully marked on the underside for G. R. Collis and Company. Image ©, Inc. 2021. Fair use license. via
.”Cooking Tripod” novelty egg cruet in the form of a lashed cooking tripod, with a silver rope fastening the egg cups in place and a spoon attached to each leg. 1894. Victorian. English, made in Sheffield. Sterling silver. Maker mark’s: Hallmarked in Sheffield in 1894 by John Round and Son, Ltd. Image ©, Inc. 2021. Fair use license. via
Sterling silver egg cruet with silver gilt egg cups that stand on a hexagonal star point frame with floral engraving throughout. The frame having decorative scroll feet and a heart shaped handle. 1845. Gothic Revival. Victorian. Made in London, England. Sterling silver and silver gilt. Joseph Angell and Son, maker. Maker’s marks: hallmarked in London in 1845 for Joseph Angell and Son. Image ©, Inc. 2021. Fair use license. via

Sterling silver bowls, all of them on the big end of things. British. Edward Barnard and Sons, maker. Not around anymore but they created the the Lily font that was commissioned by Queen Victoria for the christening of her first born in 1840 that has been used by the royal family ever since.

Lily font. Christening font with a bowl in the form of an expanded flower with a border of water-lilies and leaves; stem formed of leaves, flanked at the base by three seated cherubs playing lyres upon a circular plinth with coats of arms and supporters.1840-1841. English. Silver-gilt. Commissioned by Queen Victoria. Image © Royal Collection Trust. Fair use license. via
Two-handled bowl with cylindrical ivory handles, the rim with applied notched border. 1937. Art Deco. English. Silver. Retail stamp for Harrods. Sold by Bonham’s on 2018. Image .© Purely Silver 2006 – 2020. Fair use license. via
Bowl with decorations applied by a very precise hand. 1873. English. Silver. Provided with a multitude of hallmarks. Image © 2021 Catawiki. Fair use license. via

Desk sets to make your library look a million times fancier. Ormolu and malachite, all antique.

Ormolu and malachite and cabochon mounted desk set. Each piece decorated overall with engraved scrolling foliage. Encrier mounted with putti and inset with malachite and garnet cabochons, hinged writing pad inset to the cover with an oval veneered malachite panel, pen rest mounted with an oval cabochon, and a hinged letter holder with cream silk lined interior and three divided compartments. 1850-1875. French. Maker not known. Image © Christie’s 2021. Fair use license, via
Malachite and ormolu nine piece desk set with combination tray, blotting pad, inkwell, candlestick, paper knife, vesta, stamp tray, blotter, desk tray and a seal. The tray with a decorative ropetwist border. ca. 1880. Maker not known. Image  © 2008-21 Regent Antiques Limited. Fair use license. via
Ormolu desk set with malachite cabochons with a pen tray, desk tidy and candlestick. 19th c. Maker not known. Image © 2021, The Antique Guild. Fair use license. via

Crystal and ormolu centerpieces. Tableware to live up to instead of the other way around. On the other hand, should the empress come to dinner you’ll be all set.

Crystal and cast ormolu epergne with a sphinx supporting each corner, reflecting the fascination with things Ancient Egyptian brought about by the Napoleonic campaigns there. Scrolling foliate arms that raise four antique cranberry glass dishes. 1805. Regency. Made in England. Crafted after a design by architect Charles Heathcote Tatham with a motif originally created in 1801 for Tatham’s major patron, the 5th Earl of Carlisle with the design for the base used as an illustration in “Design for Ornamental Plate” with the captioning “A Piece of Plate designed and executed in Silver for the Earl of Carlisle in the year 1801.” Maker not known. Image via ©, Inc. 2021. Fair use license. via
French Empire epergne with ormolu and green crystal cut glass. Mid 19th c. French. Maker not known. Image © Canonbury Antiques – Redwell Hill Farm. Fair use license. via—Ormolu-Louis-XV-Crystal-1567586936/
Ormolu mounted floral epergne. Raised leopard paw feet supporting the main ring. Flat diamond cut glass posy vases with scalloped rims, the center supporting a larger vase cut in the same manner. 1870-1879. British. F & C Osler, maker. Maker’s marks: metalwork stamped “OSLER”. Image via ©, Inc. Fair use license. via

Ormolu and cut crystal four-piece table garniture, comprising two centerpieces and a pair of candle holders. Each centerpiece surmounted by a figure of Minerva, flanked by a pair of female busts and central Apollo mask, above two pheasants flaked to each side with a circular dish raised on lion monopodia. The candle-holders being en sute. 1875-1900. Made in Paris, France. Baccarat, maker. Maker’s marks: stamped with a Baccarat cachet under the removable crystal dishes. Image © Christie’s 2021. Fair use license. via

Pieces in wonderful enameled colors. Guttorm Gagnes of Norway, designer. Gagnes designed for David Andersen from 1927 to 1952 and then did freelance design work.

Vase. 1923-1935. Norwegian. Enameled silver. ID#NMK.2005.0488, Cc0 License 4.0. Collections of the Nasjonalmuseet, Oslo. via
Spoon. 20th c. Norwegian. Gold-plated silver with guilloche and mirror enamel. ID# NMK.2014.0430. Designed by Gagnes for David Andersen. Cc0 Licence 4.0. via

Gilt-bronze candelabra by French masters of the art. All from around 1800

Pair of gilt and patinated bronze figural three light candelabra, one with the figure of cupid and the other with a nymph, both seated on naturalistic rock-work bases, the elaborate acanthus and scrolling rosette candle arms with Egyptian head terminals. The arms with foliate and lotus tapering nozzles and flared palmette and leafy beady swept collars and issuing from central naturalistic acanthus wheatsheaf and flowering lily naturalistic finials. Bow fronted plinths with applied frolicking putti friezes in the manner of Clodio and milled side panels above fruiting laurel garlanded pendant mounts on acanthus and beaded bases. ca. 1785. French. Gilt and patinated bronze with rouge griotte marble bases. Gilt bronze mounts attributed to Francois Réymond. After models by Etienne-Maurice Falconet (1716-1791). Image
© Bonhams 2001-2021. Fair use license. via

Pair of gilt bronze figural candelabra, each being styled with two nymphs covered with floral swags raising three candle sconces formed of buds and open flowers of carnations ‘tied’ at the base with drapes. Standing on oval bases with olive branch border mounts and acanthus leaves, on corresponding reeded toupie feet. ca. 1820. French. In the manner of Étienne-Maurice Falconet after a design by Gabriel de Saint-Aubin. Image © 2019 Lyon & Turnbull. Fair use license. via

Letter openers from the old days. So much prettier than an email account.

Gilt-metal and agate letter opener, with a shaped blade pierced with masks and foliate motifs below a cast dragon and a tapering handle inset with agates below gilt-metal beasts. ca. 1880. Scottish. Attributed to Hamilton, Crichton and Company of Edinburgh. Image © 2020 Sotheby’s. Fair use license. via
Silver-gilt and jeweled letter opener in the motif of a dagger in a decorative sheath. Silver-gilt mounts, teal guilloché enamel in the sheath. Large agate beads, seed pearls a turquoise color cabochon on the top of the hilt with applied scrolling decorations, engraving and tiny bits of nephrite or green glass. Antique. No marks found. Image © Aspire Auctions. Fair use license. via!/catalog/340/1665/lot/66074
Guilloché enamel and silver letter opener. Agate blade with the horse head shaped top having pearl, ruby and gilt highlights. Before 1917. Russian. Maker’s marks: “MHI” and “88”. Image © 1986-2020 Invaluable, LLC and Concept Art Gallery, Pittsburgh. Fair use license. via

Toothpick cases in gold and enamel to carry your toothpicks in when you go out to dinner. So much nicer than picking your teeth with a knife. All of these from the 18th century, more or less.

Rectangular toothpick case with cut corners, the lid painted en-plein with a staghunt, probably by Jean-Louis Richter. Taille d’épargne lozenge border set with rose diamonds and the sides and base enameled in translucent blue over striped engine-turning. Red leather case. ca. 1800. Made in Geneva, Switzerland. Gold, jewels and enamel. Maker’s marks: unmarked apart from French hibou control. Image © 2020 Sotheby’s. Fair use license. via
Toothpick case in an unusual shape with a lid painted en-plein with a view of a river and the bottom and borders enameled in opaque black and pale blue. ca. 1800. Probably made in Hanau, Germany. Gold and enamel. Maker’s marks: “GW” between two cartwheels. Image © 2020 Sotheby’s. Fair use license. via

Toothpick case with a rectangular narrow box with rounded ends. Cover, sides, and base set with panels of translucent lime-green enamel on an engine turned ground stamped at intervals with pellets, within white enamel bead and chevron borders. The interior of the cover set with a mirror, 1780-1781.Louis XVI. Made in Paris, France. Gold and enamel. The flange engraved “Du Petit Dunkerke.” Joseph Etienne Blerzy maker (fl. 1768-1808). Maker’s marks: charge and discharge marks of Henri Clavel for 1780-1782. Struck with inventory number 974. Image © CHRISTIE’S 2020. Fair use license. via

Egyptian Revival neckwear. From different points in the 20th century but all fun. Egyptian Revival is one of the ones that never really goes away.

Scarab motif pendant necklace modeled as a pair of mirrored stylized lotus leaves, their stems intertwining underneath, sandwiching a scarab enameled in shades of blue, ochre, and green. Suspended on two short lengths of chain from a pair of side attachments embellished with plique-à-jour enamel. Early 1900s. Possibly German. Jugendstil with an Egyptian Revival flavor. Clearly marked on the back with a dragonfly. Image © 2016 Nouveau Deco Arts. Fair use license. via
Egyptian Revival pendant modeled as a seated pharaoh. 1960s. American. Kenneth J. Lane, maker. Maker’s marks: © mark for Kenneth Lane on the reverse. © 2020 Poshmark, Inc. Fair use license. via
Pendant modeled as the god Horus with a figure in the center. ca. 1920. Art déco. Enamel. Maker not known. Image © 2020 – WorthPoint Corporation. Fair use license. via

Decorative boxes in gold. 18th century, made in Sweden. Two of these by Stockholm goldworker Frantz Bergs who was born in around 1697 and died in 1787.

Gold box with a decorated cover. A gift from Swedish King Karl XIV Johan (1763-1844) to cavalry captain Johan Gustaf Wertmüller. 1761 Gold. Frantz Bergs, goldsmith. Maker’s marks: Mark of Frantz Bergs, Stockholm 1761. Image  © 2008-2020 Bukowski Auktioner AB. Fair use license. via

Gold and enamel rectangular snuff-box, with the cover, sides and base each centered with an oval cartouche decorated en plein. Cover decorated with putti riding in a shell being drawn by dolphins. Sides and base with rural and riverside scenes surrounded by scrolls and foliage in translucent green basse taille enamel with borders chased with flowers and foliage with a slightly raised floral thumbpiece. ca. 1780. Swedish, probably made in Stockholm. Later struck with two French import marks. Image © CHRISTIE’S 2020. Fair use license. via
Vinaigrette. 1756. Gold and enamel. Frantz Bergs, designer and maker. Image  © National Museum, Stockholm. Fair use license. via;jsessionid=711AE9C77C501D5041DB6F0F93C0A17D.node1?service=direct/1/ResultDetailView/result.inline.list.t1.collection_list.$