ADAM'S THE LIBRARY COLLECTION 29th April 2025

116 205 A COLLECTION OF FOUR SILVER DECANTER LABELS, ‘LISBON’, ‘MADEIRA’, ‘BUCELLAS’, ‘TENERIFFE’, three stamped with maker’s mark John Teare and one with mark of John Townsend (c.1.9 troy ozs) € 200 - 300 204 A GEORGE III IRISH SILVER SAUCEBOAT, Dublin (lacking date mark and maker’s mark), of helmet form, the body decorated in the rococo taste, and with embossed and chased decoration depicting a shepherd in a rural farm- yard scene, raised on human mask capped legs and shell feet, with applied s-scroll handle (c.9.5 troy ozs). 17cm wide over handle and spout € 400 - 600 203 A PAIR OF ARTS AND CRAFTS SILVER AND ENAMEL DISHES by Omar Ramsden, London 1938, each of shallow circular form with notched rim, enclosing a pierced floral boss filled with red enamelwork, the base inscribed ‘OMAR RAMSDEN ME FECIT’, (7 troy ozs). Each 11.5cm diameter (2) € 1,200 - 1,800 Omar Ramsden was born in Sheffield in 1873. He was the son of silver engraver Benjamin Woolhouse Ramsden and his wife, Norah. He apprenticed at a Sheffield firm of silversmiths, an experience that, combined with early exposure to his father’s craft, laid the foundation for his lifelong dedication to his art. Ramsden went on to study at the Sheffield School of Art, which at the time was considered one of the leading institutions for art and design. It was here that he met Alwyn C. E. Carr, who would become his close friend and business partner. Following their graduation, Ramsden and Carr established St Dunstan’s Studio and workshop in Chelsea in 1898. The part- nership of Ramsden & Carr flourished until the outbreak of the First World War, when Carr enlisted with the ‘Artists’ Rifles’, ef - fectively bringing their collaboration to an end. Ramsden’s work was deeply informed by the ideals of the Arts and Crafts movement, which looked to revive tradition- al craftsmanship and a return to simpler, hand-made forms in reaction to the mass-produced and often excessively ornate silverware of the Victorian era. Drawing inspiration from na- ture, as well as from Renaissance, Gothic, and Celtic styles, the studio developed a distinctive style that combined historical references with a modern simplicity. This pair of dishes exemplifies this approach. The decoration at the centre is a stylised rose, clearly inspired by natural forms and closely resembling a Tudor rose, though not an exact ren- dering. The hammer marks on the surface have been inten- tionally left visible, drawing attention to the hand-worked na- ture of the silver and celebrating the uniqueness of each piece. Ramsden often signed his work with the Latin inscription “OMAR RAMSDEN ME FECIT” (“Omar Ramsden made me”), echoing the practice of Medieval and Renaissance artists and underscoring his commitment to individual craftsmanship. 202 A SILVER CYLINDRICAL CASKET AND LID, Birmingham c.1908, mark of Alfred Edward Jones, with lion finial, the plain ham - mered body with embossed banding and raised on four tab feet, (7.5 troy ozs). 15cm high, 8.5cm diameter € 400 - 600