Similar in design and construction to its larger cousin known as the "Louvre Bowl," (see Drucker, p. 188) because it is in the permanent collection of that institution.
One of these days, a more scholarly colleague will reveal the true name of this pattern...
Silver scholar and author D. Albert Soeffing describes this portrait as "a rather plain woman," and though it lacks the sophistication of some Medallions, there is a certain undeniable charm to her face. A great entry level item for the budding silver collector, should such a creature still exist...
These are perfectly plumb, but wide angle distortion has caused one to look a bit akilter, and for this we must apologize, dear reader.
Knives are always tough to find in antique King's and related patterns. These are especially well suited to use, with their stainless blades by Robert F. Mosley of Sheffield which look to have been done in the 1930's. About as close as we get to shabby chic...
One would be hard-pressed indeed to find a better set of dinner forks.
Over the years, we've bought and sold many pieces of Blossom. This one is in exemplary condition, with gentle hammer marks on spoon bowl and fork tines; each petal of the blossom with full detail.
DeMatteo produced objects for Colonial Williamsburg, and often used designs by the 18th century Virginia silversmith James Geddy as his inspiration. These were marked I ˖ G in addition to the usual trademarks (see third photo).
Over the years, we've bought and sold more than a few items by the DeMatteo family. This is unquestionably the best we've had the privilege to offer.
This pattern has always been a personal favorite. Note the expressiveness of the eyes, which you may examine up close in photo number three.
Place pieces are much rarer than servers in this grand old Durgin pattern whose name is a subject of some disagreement, which leads me to believe that not many were produced.
These are particularly choice examples, extra heavy, with excellent detail and die depth. To my eye, this is one of R & B's most attractive designs. For further discussion of what makes a pattern aesthetically successful, see Design New England, November-December 2012, pp. 60-64
There is a file cut (visible from side and reverse only; see fourth photo) which we've pictured in excruciating detail, and some light pitting on the blade which we've mostly polished out and probably will address a bit more, as time allows. Aside from this, the condition is excellent.
This spoon is not monogrammed and does not appear ever to have been, which is most unusual for early American silver.