Table Accessories

Formal Dinnerware Formal Stemware Casual Dinnerware Casual Stemware Stemware Under $100 Flatware Barware Table Accessories Table Linens Spring Table Setting

Sterling Silver and Enameled Jug with Grapes Made exclusively by hand with sterling silver 925 and imported from Italy. Each piece is produced with the utmost care in every detail.

The silversmiths work together tirelessly with interior designers and rely on the expert hands of experienced craftsmen, who to this day emboss, chisel and engrave silver sheets as they did in the Renaissance workshops of sixteenth-century Florence.

Sterling Silver and Enameled Jug with Grapes (15322)
$1,718

$William Yeoward Serena Jug William Yeoward Crystal came into existence in 1995, the result of a remarkable collaboration between Timothy Jenkins and William Yeoward. William Yeoward, already a noted designer working in the field of furniture and interiors, with a store on London\'s fashionable Kings Road, was an avid collector of antique crystal, but felt that there was little contemporary crystal that was truly beautiful. Timothy Jenkins, third generation in the family owned crystal business John Jenkins (founded in 1901) and a past president of The Guild of Glass Engravers, had an intimate knowledge of the European crystal industry and for some years had been making reproductions of antique pieces. A chance meeting in 1993 brought Yeoward and Jenkins together and they quickly found that they shared a passion for the beautiful crystal of the 18th and 19th centuries and both wished that these wonderful pieces could once again be created and preserved for posterity. Wanting to turn this dream into reality they decided to pool their diverse talents, planning a collection of 70-80 pieces of tableware and decorative pieces, to be shown to the interior design world in the fall of 1995. Yeoward\'s reputation in the design world gained him access to some of the best private collections in both England and the United States, and many wonderful pieces were found in the great country houses of England and Ireland. Jenkins\' family collection revealed many treasures, and others were acquired at auction and from specialist antique dealers. Slowly the collection of antique originals came together and the decision was made that the new line should include as many unusual pieces as possible, shapes and decorations some of which had not been made for more than 150 years. Antique drinking glasses were found with square feet, the rare lemon squeezer foot, with hollow stems, glasses with polished cutting combined with copper wheel engraving; rare and lovely shapes, some simple and some ornate. All these pieces had to satisfy Yeoward\'s sense of design and his desire that they should be beautiful in themselves, that they should be functional and that they make elegant and wonderful table settings. The collection received numerous accolades in the press and in September 1996 William Yeoward Crystal received from British House and Garden magazine the prestigious Award for Best Merchandise at the London interior design show Decorex. Today, William Yeoward Crystal continues to grow, not only in crystal, but in sterling silver, porcelain, linens, and William Yeoward Country glass, a fabulous new line of casual glassware. Crystal, glass, porcelain and linen enthusiasts the world over can truly embrace a lifestyle that is William Yeoward Crystal; beautiful, elegant, and versatile.$

William Yeoward Serena Jug (706)
$490

William Yeoward 2 Pint Country Pitcher William Yeoward Crystal came into existence in 1995, the result of a remarkable collaboration between Timothy Jenkins and William Yeoward.

William Yeoward, already a noted designer working in the field of furniture and interiors, with a store on LondonÃ¢â‚¬â„¢s fashionable Kings Road, was an avid collector of antique crystal, but felt that there was little contemporary crystal that was truly beautiful. Timothy Jenkins, third generation in the family owned crystal business John Jenkins (founded in 1901) and a past president of The Guild of Glass Engravers, had an intimate knowledge of the European crystal industry and for some years had been making reproductions of antique pieces.

A chance meeting in 1993 brought Yeoward and Jenkins together and they quickly found that they shared a passion for the beautiful crystal of the 18th and 19th centuries and both wished that these wonderful pieces could once again be created and preserved for posterity. Wanting to turn this dream into reality they decided to pool their diverse talents, planning a collection of 70-80 pieces of tableware and decorative pieces, to be shown to the interior design world in the fall of 1995.

YeowardÃ¢â‚¬â„¢s reputation in the design world gained him access to some of the best private collections in both England and the United States, and many wonderful pieces were found in the great country houses of England and Ireland. JenkinsÃ¢â‚¬â„¢ family collection revealed many treasures, and others were acquired at auction and from specialist antique dealers. Slowly the collection of antique originals came together and the decision was made that the new line should include as many unusual pieces as possible, shapes and decorations some of which had not been made for more than 150 years. Antique drinking glasses were found with square feet, the rare Ã¢â‚¬Å“lemon squeezerÃ¢â‚¬Â foot, with hollow stems, glasses with polished cutting combined with copper wheel engravingÃ¢â‚¬Â¦rare and lovely shapes, some simple and some ornate. All these pieces had to satisfy YeowardÃ¢â‚¬â„¢s sense of design and his desire that they should be beautiful in themselves, that they should be functional and that they make elegant and wonderful table settings.

The collection received numerous accolades in the press and in September 1996 William Yeoward Crystal received from British House and Garden magazine the prestigious Award for Best Merchandise at the London interior design show Decorex.

Today, William Yeoward Crystal continues to grow, not only in crystal, but in sterling silver, porcelain, linens, and William Yeoward Country glass, a fabulous new line of casual glassware. Crystal, glass, porcelain and linen enthusiasts the world over can truly embrace a lifestyle that is William Yeoward CrystalÃ¢â‚¬Â¦beautiful, elegant, and versatile.

William Yeoward 2 Pint Country Pitcher (79921)
$101

$William Yeoward Country 4 pt Pitcher William Yeoward Crystal came into existence in 1995, the result of a remarkable collaboration between Timothy Jenkins and William Yeoward. William Yeoward, already a noted designer working in the field of furniture and interiors, with a store on London\'s fashionable Kings Road, was an avid collector of antique crystal, but felt that there was little contemporary crystal that was truly beautiful. Timothy Jenkins, third generation in the family owned crystal business John Jenkins (founded in 1901) and a past president of The Guild of Glass Engravers, had an intimate knowledge of the European crystal industry and for some years had been making reproductions of antique pieces. A chance meeting in 1993 brought Yeoward and Jenkins together and they quickly found that they shared a passion for the beautiful crystal of the 18th and 19th centuries and both wished that these wonderful pieces could once again be created and preserved for posterity. Wanting to turn this dream into reality they decided to pool their diverse talents, planning a collection of 70-80 pieces of tableware and decorative pieces, to be shown to the interior design world in the fall of 1995. Yeoward\'s reputation in the design world gained him access to some of the best private collections in both England and the United States, and many wonderful pieces were found in the great country houses of England and Ireland. Jenkins\' family collection revealed many treasures, and others were acquired at auction and from specialist antique dealers. Slowly the collection of antique originals came together and the decision was made that the new line should include as many unusual pieces as possible, shapes and decorations some of which had not been made for more than 150 years. Antique drinking glasses were found with square feet, the rare lemon squeezer foot, with hollow stems, glasses with polished cutting combined with copper wheel engraving rare and lovely shapes, some simple and some ornate. All these pieces had to satisfy Yeoward\'s sense of design and his desire that they should be beautiful in themselves, that they should be functional and that they make elegant and wonderful table settings. The collection received numerous accolades in the press and in September 1996 William Yeoward Crystal received from British House and Garden magazine the prestigious Award for Best Merchandise at the London interior design show Decorex. Today, William Yeoward Crystal continues to grow, not only in crystal, but in sterling silver, porcelain, linens, and William Yeoward Country glass, a fabulous new line of casual glassware. Crystal, glass, porcelain and linen enthusiasts the world over can truly embrace a lifestyle that is William Yeoward Crystal; beautiful, elegant, and versatile.$

William Yeoward Country 4 pt Pitcher (79922)
$135

Saint-Louis Grand-Lieu Water Jug The rich natural resources of the Alsace-Lorraine region of France provide the necessary materials for glassmaking. This was evident as early as 1586, when a glassworks was established at Munzthal, the actual site of the Cristal Saint Louis manufactory today. Two centuries later, in 1767, King Louis XV bestowed the honor of becoming the Royal Glassworks on the small Munzthal factory. Saint Louis, the patron saint of the King, became the patron saint of the glassworks, and thus, Cristal Saint Louis was born.

Soon after that, in 1781, the factory perfected the composition of lead crystal (the addition of lead oxide to the recipe of white sand and potash gives crystal its weight, clarity, and light reflecting properties), and the glassworks became the first designated Cristallerie in continental Europe. The 19th century brought with it years rich in innovation. The Cristallerie became specialists in cased crystal, which is clear crystal blown into a of colored crystal and then cut away to reveal the clear in a beautiful design. Legend has it that the color was introduced as a way of hiding the sediments found in the wines of the region! Saint Louis also developed the technique of acid engraving, whereby the design is etched into the crystal in an acid bath. This permitted the highly refined decorations for which Saint Louis became known. The workers also mastered the art of hand painted gild ornamentation on the crystal, still one of the hallmarks of Saint Louis today. All of these innovations found great success with the rising middle class, or bourgeois. A new fashion evolved of setting the table with a suite of glasses, one for each purpose, and that tradition remains today.

In 1999, the Cristallerie was granted the French standard of Haute Cristallerie certification label, which guarantees the authenticity of products manufactured using traditional techniques of mouth blowing and hand decoration. Cristal Saint Louis has always maintained a level of excellence that distinguishes it from other crystal houses. To own a piece is to own a true work of art.

Saint-Louis Grand-Lieu Water Jug (18553)
$690

Baccarat Mille Nuits Bottle Stand (124)
$115

Mother of Pearl Caviar Plate (94327)
$113

$Royal Copenhagen Blue Fluted Half Lace Oblong Accent Dish Hard paste porcelain had been all the rage among the rich and powerful of Europe since its introduction from Japan and China in the 1700\'s. It was known as “white gold\ because of its exorbitant cost, and every European court wanted its own hard paste porcelain manufactory to not only stem the flow monies from its coffers, but also for the prestige of boasting their own most beautiful opulent pieces. Denmark was not immune to this obsession. The Royal Copenhagen Porcelain Manufactory was founded in 1775 by the chemist Frantz Heinrich Muller under the Patronage of Queen Juliene Marie. It had taken Muller years of trial and error to master the production of making hard paste porcelain. Nevertheless, the manufactory was beset by difficulties stemming from poor raw materials, lack of experience and unsuccessful firings during its early years, which were eventually overcome. In 1779 the absolute monarch King Christian VII assumed financial responsibility of this extremely expensive and very prestigious project, thus guaranteeing the future of the manufactory.$

Royal Copenhagen Blue Fluted Half Lace Oblong Accent Dish (3501)
$315

Royal Copenhagen Blue Fluted Half Lace Oblong Accent Dish (3502)
$290

$Meissen Lobster Box The history of porcelain manufacturing in Europe begins in Meissen, Germany near Dresden, the cradle of European porcelain. Apart from the short-lived production of the Medici factory in Florence in the 1560\'s, Meissen was the first successful producer of hard-paste porcelain - or true porcelain - in Europe. Meissen\'s products, and those of its imitators, who came later, destroyed the supremacy of the oriental porcelain that had held a virtual monopoly in the world since Marco Polo opened the china trade in 1295. In the 17th and 18th centuries porcelain was viewed as a great luxury in Europe. Court society longed for everything rare, which porcelain was. It became the fashion for northern European rulers to install a porcelain room where every inch was covered by porcelain. Just as in our time, the ownership of such precious things demonstrated wealth, luxury, and culture. Before Meissen discovered how to produce it, porcelain was being imported from China by the East Indian Company (thus, the term chinaware). The European countries\' desire for porcelain was so great it was causing them troubling trade gaps. To arrest this disastrous outflow of monies, European rulers were frantically trying to find out how to make this chinaware themselves. Nowhere was this search more intense than in Saxony in eastern Germany. Augustus the Strong, Elector of Saxony and King of Poland (who reigned from about 1693 to 1733), was obsessed with a passion for porcelain. He had heard of a young alchemist, Johann Frederick Bottger, who had worked for Frederick I of Prussia, having boasted that he could turn base metal into gold. Proving unsuccessful in this process, Bottger fled Berlin to Saxony (he was only about 20 years old at this time), where he was immediately imprisoned by Augustus. Augustus felt if Bottger could produce gold, he could also produce porcelain-or \white gold\ as it was called then. In 1709, aided by the discovery of deposits of Kaolin (china clay) nearby, Bottger informed Augustus that he had discovered the arcanum-the secret ingredients of porcelain. In 1710 Augustus decreed the founding of his manufactory and transferred Bottger and his helpers to the royal summer palace in Meissen. Augustus continued to hold them prisoners in the palace in order to protect the Arcanum. Meissen was able to protect this secret for years before workmen escaped with their knowledge of porcelain making, and wholesale copying of Meissen across the western world began. Bottger died in 1719, and a year later Johann Gregorius Horoldt began work at Meissen, which he took to a whole new level when he invented and manufactured many brilliant Meissen paint colors, as well as introducing many of the decorations typical of Meissen. In 1730, influenced greatly by the East Indian wares, Meissen created its first Red Dragon pattern. Augustus commissioned the first complete dinner service for his court dining room, thus giving this pattern its name of \court dragon\. This pattern remained in the sole preserve of the Saxon royal family until 1918, when the first world war ended Saxon royalty. By 1739, under Horoldt\'s direction, the mastering of cobalt blue underglaze color was such that the blue-white decorations (such as Blue Onion) could be manufactured. In 1730, Horoldt was joined by a 24 year old court sculptor, Johann Joachim Kaendler. Augustus, impressed by his work, had ordered Kaendler to join the Meissen manufactory. Augustus proved himself to have a good eye, for J.J. Kandler turned out to be, perhaps, the greatest porcelain modeler of all time. One of his greatest works, the Swan Service, was commissioned by the Saxon Prime Minister, Heinrich Count Von Bruhl, and was produced between 1735 and 1741. It consisted of over 2000 pieces, and was the most extensive service ever made. Many of these pieces will never be produced again, as the occupying forces used the moulds for target practice during the Second World War. Nevertheless, Meissen continues to create a number of these extraordinary pieces today. Meissen is as famous for its figurines as for its table services. The members of the royal court used figurines for table decorations, much as people do today. Kaendler\'s talent is known to every connoisseur of porcelain today. In 1734, Kaendler produced the now famous pug dog. These dogs happened to be Prime Minister Count Bruhl\'s favorite dogs, and Kaendler captured their charm with great skill. Indeed, centuries later, the Duchess of Windsor collected these pieces. Kaendler also created the Italian Comedy, composed of a wide variety of humorous, sad and sympathetic characters. The most frequently depicted and most endearing character is Harlequin. The poses in which Kaendler imagined this one character alone would suffice to establish his greatness as a modeler. In 1753 Kaendler created 21 charmingly amusing Monkey Musicians, which composed the famous Monkey Orchestra. The story is that Kaendler modeled them after members of the Saxon court, though this cannot be documented. As every piece of Meissen is handpainted by Meissen artisans, each monkey has its own unique touch. The monkey band is one of the most famous of the Meissen figurine collections, and is extremely popular among today\'s collectors. Kaendler and Hoeroldt both died in 1775, a great loss for the manufactory and the world, but Meissen\'s creativity continued. In 1814 Heinrich Gootlob Kuehn became the managing director, and, three years after his arrival, developed the color chromium-oxide green, resulting in the much loved \Vine Leaves\ pattern being produced. Ten years later, in 1827, Kuehn developed the bright gold, which we take so much for granted today. Fast forward to1889, when Julius Conrad Hentschel began attending Meissen drawing school. His enormous talent did not go unnoticed, and by 1897, after much training, Hentschel became a Meissen designer. Hentschel designed during the Art Nouveau period, and this movement influenced the sculptor in the production of his most famous work, \Hentschel\'s Children,\ fourteen porcelain children created between1904 - 1907. Hentschel captured the changing attitude toward children in the early 1900s. Children were no longer viewed as little adults, but rather as individuals in their own right. Figures of children became more true to life. Cuteness was replaced by everyday childhood realities. Hentschel died quite unexpectedly in 1907, leaving behind his detailed, loving observations of children\'s activities. The Second World War and its aftermath were difficult years for Meissen. Molds were destroyed and pieces were broken or disappeared. Meissen was instructed to produce wares representing the new meaning of life in a socialist society. This proved nearly impossible for the Meissen manufactory, as designers attempted to conform to these orders, and no one was interested in the objects created under such restrictions. During this period, Meissen had to confront the question as to whether or not it should remain a manufactory, where everything was made by hand and every piece would remain unique with no two pieces exactly alike, or become a factory, where machines mass produced the large numbers required of a factory. It was not until 1969, when the new Director, Karl Peterman, took the helm and returned the freedom to create to the designers, that the original course of Meissen as manufactory again reigned. Once again, Meissen was able to preserve the old traditions, and maintain the high standards of its workers and artists. In 1960 Professor Heinz Werner (porcelain designer and pattern painter), Ludwig Zepner (designer and modeler), and Peter Strang (sculpturer) became founding members of Meissen\'s new Artistic Development group. Professor Werner\'s best known creations are \Arabian Nights,\ shown in the March, 2005 edition of Elle, and \Blue Orchid.\ Ludwig Zepner designed two new table services \Grosse Ausschnitt\ and \Grosse Ausschnitt Relief\ the most successful Meissen services of the second half of the 20th century. Peter Strang opened a new chapter in the history of Meissen sculpture. His work dominates contemporary Meissen sculpture. Much of Strang\'s work is based on the theater and on circus figures-his clown musicians are loved the world over. Sabine Wachs arrived at Meissen in 1986, and, between1993-1996, created the newest Meissen tableware. This service, called \Waves\ and \Waves Relief,\ is shown in many patterns, one as beautiful as the next. In 2000, Meissen visited L. V. Harkness & Company in Lexington, Kentucky. They became enchanted with the Bluegrass region, its legends and its stories, and not long after their visit, created a new pattern, called \Bluegrass\ on the Waves form. This they dedicated to L. V. Harkness to commemorate their visit. It is understandable that we are very proud of such an incredible honor. L.V. Harkness is also proud to have Meissen create \Jockey Birds\ in honor of Kentucky\'s rich racing heritage. a very unique gift from the rolling hills of Kentucky. Meissen continues to be one of the finest porcelain manufactories in the world today, and we urge you to view Meissen on our website.$

Meissen Lobster Box (83164)
$4,992

Lidded Caviar Bowl (102228)
$407

Cheese Board with Knife & Spreader (99332)
$100

Bamboo/Nickel Plated Cheese Utensil Set (90499)
$56

Cocktail Spreaders Bamboo/Nickel Plated (90500)
$38

Bamboo 3-Section Server (100769)
$138

Sterling Silver and Enameled Shell with Oyster Shell Spoons Made exclusively by hand with sterling silver 925 and imported from Italy. Each piece is produced with the utmost care in every detail.

The silversmiths work together tirelessly with interior designers and rely on the expert hands of experienced craftsmen, who to this day emboss, chisel and engrave silver sheets as they did in the Renaissance workshops of sixteenth-century Florence.

Sterling Silver and Enameled Shell with Oyster Shell Spoons (15296)
$184

$Sandra Jordan Folding Spoon Reproduced from a vintage physician\'s spoon, once used for administering measured doses of liquid remedies, this beautifully designed example in silverplate has two bowls, joined to the central pierced handle by hinges. Today, it makes an unusual serving or tasting spoon.$

Sandra Jordan Folding Spoon (84701)
$60

Sandra Jordan Horn Collection Cavier Spoon-4 pc. Set These delicate spoons made from prized hand-carved horn are the traditional utensils with which to serve caviar. The smoothly polished material does not modify flavor, and is thus sure to be appreciated by epicureans.

Sandra Jordan Horn Collection Cavier Spoon-4 pc. Set (80667)
$50

Buccellati Triple Hazelnut Centerpiece (86859)
$2,900

Buccellati Le Forme Centerpiece (35523)
$2,150

Buccellati Cabbage (79957)
$16,250

Buccellati Vine Leaf (83313)
$1,495

$Buccellati Large Gold and Silver Serving Spoon The Buccellati family of internationally acclaimed Milanese goldsmiths and silversmiths has kept the spirit of the Italian Renaissance period alive. The House of Buccellati produces its intricate jewelry and silver objet d\'arts with traditional hand-crafting and pre-industrial techniques. Each piece, even today, is designed by a Buccellati family member, and it passes through the skilled hands of numerous specialist artisans in order to become a reality.$

Buccellati Large Gold and Silver Serving Spoon (83317)
$650

Buccellati Gold Leaf Spoon (94336)
$250

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