Northern California's silver industry was a natural outgrown of the discovery of silver there in 1849, and several jewelers and silversmiths emigrated to San Francisco to contribute to the new economic wealth that was California's. Several businesses emerged, many making or selling the same patterns in silver...

Typical of Martin Hall (Sheffield), these 2 berry spoons are very well made, with close attention to detail. They are silver plate, 8 in. long, and date from ca. 1875. The bowls are scalloped; the upper – twisted – half of the handles spring from skeletal figures and are topped with plinths supporting St. Peter. The whole is acid-etched, and both bowls and apostles have light gold-washed finishes...

“Louis XIV” mustard spoon / ladle by Henry Hebbard is marked with the patent date of 1847 and with the retailer J. Rudd & Co. The pattern is double-struck, and is in fine condition. There are no bends, and the bowl has an excellent finish. There is a lovely period script monogram MEM. The length is 5.25 inches, the bowl 7/8 inches, and the weight is 20 grams.

The Chrysanthemum pattern was introduced by Gorham in 1885, together with many other bright-cuts that were emerging at that time. The bright-cut pieces were hand-engraved – no two are exactly alike, and were labor intensive. The bowl of this attractive sauce ladle has chrysanthemums engraved in the acid-etched bowl as well. There are no monograms or removals, scratches or bends or dings. The length is just under 6 inches (hard to measure!) and the weight is 34 grams...

Nice example of Gorham's multi-motif pattern introduced in 1890. The French style implied by the pattern's name has Rococo elements that go well with the heart-shaped bowl which has a repousse “rat tail” extending nearly to its tip. There is a very, very faint remnant of a monogram D, but it's so shallow and worn (not removed) as to be almost indiscernible. Marked simply with the Gorham logo and the word “sterling.” The condition is excellent...

Introduced in 1888, the D&H Louis XIV pattern incorporates rococo elements found in patterns of the same period by other major makers in the US and Europe, though more restrained in its display of gently curving tendrils and suggestions of shells. The pattern is double-struck. This dessert spoon is in excellent condition, with no dents, nicks, or bends. The finish is excellent. A script monogram of EJM is lightly inscribed on the front of the spoon...

Ricco / Ricci Argentieri is a very old Italian silver manufacturer that claims to use 10 times the normal amount of silver in the plating process. The “Bernini” pattern displays light classic elements – volute, acanthus, thread, shell – on the handle, and the serving blade echoes the shape of the handle. This handsome, solid piece is well-finished and has not been used, showing only the scratches that came from storage drawer in the store. It is 10.5 in. long...

This ice? spoon or straining server could be used for many things – poached eggs, peas, quenelles... It was manufactured in Brussels by Orfevrerie Bruno Wiskemann (established 1869), in the 'Fiddle Thread' pattern, adaptable to many tables. It is in excellent condition – no missing plating, discoloration or heel wear, and with no monograms – wonderful condition. Marked with the old Wiskemann mark. The length is 9.5 in. long.

'Plymouth' was introduced in 1911, at the time when tastes were turning from ornamental styles to Colonial Revival; it was a very popular pattern. Multiple threads outline the handle which terminates with a boss. The fork is in excellent condition – hardly, if ever – used, with no monogram or removal. It is 6-3/16 in. and weighs 32 g. It has the Gorham mark and 'sterling' on the reverse.

“Bead” is one of those early coin patterns that was made by several makers, although the earliest association is with John Polhemus / Polhamus, ca. 1850. This design appears on the underside as well as the top and is marked simply Jones, Ball & Poor, a Boston maker / retailer, as well as a small and faint script monogram, Cheever. The condition is quite good, with light age-related wear – no bends or dents or pits...

Durgin's 'Bead' is a full-line pattern introduced in 1893 – a very substantial pattern having a tipt end and outlined with fine beads. This is a fine example, with long tines giving the fork a sense of elegance. Condition is excellent, and there is no monogram. Marked with the Durgin logo, its length is 4-7/8 in., and it weighs 12 grams.