Engraving on Philadelphia silver is first-rate, and this spoon is no exception. The handle uses an engine-turned field enclosed by threads to set off a shield with 'Heritage' engraved in lovely period script. The bowl of the spoon is fluted with a dart and egg edge. James Watts, whose mark together with the word 'coin' appears on the undecorated reverse of the handle, was both a maker and a retailer, ca. 1840-1880, and I would guess that this spoon was probably made ca. 1860. It is 8.7 in...

Typical of the tension between form and design that evolved in Europe around 1900, the traditional pointed antique form of this cake knife and its sculptural, floral decoration combine in a pleasing silver handle which is complemented by an elegantly simpler gold-washed blade with light engraving. The handle is marked only with a small stamp '800' which doesn't conform to most Continental guarantee marks other than, perhaps, Italy...

The Engraved Lily pattern was a somewhat standard bright-cut pattern – that is, it was made by several makers and was very popular ca. 1885. The lily blossoms follow the curvature of the handle, punctuated with diamond cuts. This youth set is marked with Sterling and the name of Harris & Schafer, a respected Washington DC retailer, which is unlikely to have been the maker. The set has been used but not abused...

Christofle is perhaps France's most prestigious silver maker, dating from about 1840. 'Marly' is its oldest pattern, still in production. In addition to its innovative designs, Christofle also took the early lead on advancing the plating process which it had licensed from Elkington to make wares which were more heavily plated than their competitors and attractive to prestigious customers from all over the world...

Improvements in the silver manufacturing process by 1870 made possible new design implementations, and Gorham probably led the field with a spate of innovative patterns, among them “Lily” (1870). It is also known as “No. 88.” The delicacy of the single die is representative of what was now possible. The youth knife and spoon were well cared for...

The Fiddle Thread pattern is one of the most representative of the coin period. These spoons are completely unmarked but are doubtless (guaranteed) coin silver. They're in fabulous condition – no dents, burrs, not even age-expected surface scratches – surprising for their 150+ years. There are two sets of monograms, an Old English M on the front and a script FH on the back of the handles. Length of the spoons is 5.6 in. and their weight is 98 g.

Gorham introduced 'Old Baronial' in 1998, during the tenure of William Codman as chief of design at Gorham. Codman's background in restoration of medieval objects is evident in this pattern which invokes the revival of the Gothic period in Baronial Europe – in this case, the blending of a lion's head with foliate, scroll and floral motifs. The spoon is in very fine condition with no problems whatever, a touch over 8.5 in. long and it weighs 80 grams...

Despite only a “sterling” marking, the design elements of this spoon are clearly Philadelphian. The stem is Old English with multi-field outlining, leaving an area for a monogram, JIS. The bowl is pointed with a slight flange that is described by a zigzag element, and the bowl has a geometric, aesthetic center which is both bright-cut and engraved. The condition is excellent – no bends or dents, and no wear to the surface. Lots of reflectivity! Length is 7.8 in. and weight is 42 g.

The pleasing use of acid etching to define the floral surface of 'Clematis' (introduced in 1885) combines with delicate engraving of leaves and vine to give new life to a standard Old English pattern. The bowl is elongated with a suggestion of honeysuckle in the repousse treatment, and terminates in a soft point. It might have been used for pudding, but certainly shouldn't be limited to that! There are remains of gold wash in the bowl...

Nordic silver of the 20th Century is in a class of its own – attempts to copy it seem to fall short. This spoon embodies the the frequent simplicity of plain and flat surfaces relieved by something organic and sculptural often encountered in modern Danish patterns. The handle's length and width are emphasized by a sharp, straight line down the center, terminating with a curved, bowl of flowers. The shape of the bowl echoes the curves of the flower bowl, which could be sitting atop a column...

Long admired for innovative design, Denmark's silver makers have produced admirable silver, often associated with abstract organic interpretations. This serving fork is such a piece. The two tines and lower handle are flat and mirror-like but terminate in an abbreviated openwork of reeds and berries enclosed in a frame of blossoms. Three irregular lines suggesting water separate the two areas and provide an interesting contrast in the single-die construction. The length is 8-5/16 in...

This was probably a place spoon – larger than English or American counterparts at 9-1/8 inches. The type – a 'reverse tipt' – spoon was made in virtually every silver-producing country in the 19th Century, and fits easily with the city mark for Kronstadt – modern Brasov – for 1850. Kronstadt was part of the Austro-Hungarian Empire in 1850, but is now in Romania...