Albert Coles (1815-1885) must have attended one of the early concerts given by Jenny Lind upon her arrival in New York, where Coles worked, in 1850; his pattern is generally placed in that year. Known as the “Swedish Nightingale,” Jenny Lind won an immediate place in the hearts of Americans, not only for her voice but also for her philanthropy for which was deemed virtuous. Many places and objects were named after her...

Most pieces in this pattern, introduced ca. 1870, are unmarked as to maker, and this is no exception. Because, however, I have seen pieces with Whiting's mark, I will make that tentative attribution. The stylized leaves and berries are arranged on a textured ground and encased by a defining geometric edge. The blade is engraved with leaves inside a zig-zag outline. It is single-die cut. The condition is fine, with no bends or burrs, and only age-expected wear to the engraving...

One outgrowth of the “Josephine” pattern is the S.D. Brower variant of this design, and it probably emerged soon after 1855. A full acanthus leaf hangs from the top of the threaded handle, and smaller leaf portions emerge to form a center medallion space, inside which is engraved the name Ball in period script. The motif is repeated on the underside, terminating in an acanthus on the bowl. Condition of form, bowl and design is very good, with no spots, dents, bends or burrs...

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...

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...

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...

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...

“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.

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. Please note: This pa...

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.

“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. The length is 5.4 inches, the bowl is 1-15/16 inches and weighs 18 gra...