It has a "Tipt" end, rounded and heavily beveled shoulders, and a pointed end bowl.
The backside of the handle has an elegantly rendered, feathered script "TD" monogram.
It is stamped "J.L. [Jared] Moore & Co." (1796-53) for the well-documented jeweler and watchmaker. This particular mark, with the "& Co.,"...
Its defining character is a large, 3" diameter in this instance, pierced, serving bowl.
As is typical of the rose and scroll motif of the pattern, Towle's "Old English," the bowl is highly decorated, showing a dense cluster of raised flowers, a narrow flange edge, and a bright gold finish front and back sides.
This is without a monog...
Price for the pair as a set.
The pattern is "Cantebury" by Towle, issued in 1893. The spoon measures 9" long and weighs 1.2 T. oz., while the fork is slightly shorter at 8 7/8" and lighter at 1.0 T. oz.
Both items have matte finish, gold washed serving ends and are engraved in script "1865-1915" on the handle reverses. There are no monograms or removals on the fronts.
It is an exceptionally large, 12" long, and heavy, nearly 4.5 T. oz., fish slice. At this scale, the shank is thick and the beading high relief.
The blade is elegantly shaped, with a gently curved lower edge, scalloping on the upper end and shoulder, a notched lower corner, and a gent...
Its mid 19th century pattern is a variant of "Tuscan," attributed to New York's Michael Gibney, or a similar design called "Cottage" produced by Joseph Seymour, John Polhamus, William Gale, and possibly other makers.
This example is only identified by the retailer's name, "J.W. Helmer," location unknown, stamped on the backside.
It has a particularly charming script engraving set sideways on the handle. This read...
"Lily" is one of the most impressive of these, and is the pattern on this 4 1/2" long, .7 T. oz. bon bon or nut scoop.
This is a particularly delicate piece, even at this small scale retaining all the fine detail of the leaves, blossoms and stippled background of the intricate pattern.
The scoop is a statement in itself. It is spla...
This example is a 7 1/2" long, 1.5 T. oz., preserve or jelly spoon. It has the plum-shaped bowl with a flange rim and central rib that Whiting used across several pattern lines.
There is a reserve area at the front of the handle which is a natural location for an inscription. On this piece that ...
Price per piece, three available.
In his later years he operated as an optician and spectacle maker, although as this spoon attests, silver was his stock in trade in earlier years.
This is a well-crafted piece, which a broad handle end with a subtly tipt backside, a line drop on the heel, and high, angular shoulders o...
This example is an 8 3/4" long, approximately 1.0 T. oz., lettuce fork. Slender overall and with three elongated tines joined by a crossbar, it was designed to be a delicate implement.
The heel of the tine area is slightly cupped, and is embellished with an elaboration of the pattern on the shoulders.
Never monogrammed, this is in choice estate condition. There is no evident polishing wear and th...
It remained required for less than a century, but continued in limited use subsequent to the reversion to sterling in 1720, enjoying a revival in the late Victorian era.
This muffineer, aka sugar shaker or caster, traces to that period, having an Old English "a" date letter for 1896-97. Other marks are the Britannia figure, and an "e...
It is stamped "Canfield," referencing one of three (later two) brothers, Ira, William and Jared, the majority of whose working years were spent as partners.
The Baltimore Museum of Art reference work, "Maryland Silver," assigns this particular mark to Ira, located in Haddam, Connecticut until c. 1834, and Baltimore after that, where the partnership was situated.
It is also marked "10....
A turn of the 20th century design, it was made by Alvin, whose company emblem and the word "Sterling" is imprinted on the handle backside in fine lettering.
The flowers on this item include an iris set midway on the handle, and roses at the terminus. These are accompanied by intertwined leaves, accent...
Stamped "R. Fisher Jr." for Richard, it also carries his working address, "331 Broadway, N.Y.," and is a scarce example of his individual work.
It is a "French Thread" aka "Fiddle Thread" design with a relatively short and deep shell bowl, with a broad end and a strong taper to the heel. The ...
A "French Thread," aka "Fiddle Thread," design, it was made by New York City's Henry Hebbard, who with his contemporary and sometime partner John Polhamus, was one of Tiffany's major suppliers in the 1850s and 60s.
Hebbard's "star, H, anchor" pseudo hallmark appears on the reverse, along with "Tiffany & Co.," and "Sterling."
It is engraved "EAS" in a delicate sc...
The pattern is "St. Cloud," one of the outstandingly successful designs produced by Antoine Heller in his long and consequential career with Gorham.
It is in very good condition. The dense leaf and shell motif remains well-defined, showing minimal polishing wear. The tines remain straigh...
It has an "Old English" handle, i.e. down turned, round end, with a tipt back, and a long drop on the bowl.
Well-made and without a monogram or inscription, it is in very good condition. The marks are clear, the bowl is free of dents or tip wear, and the finish is soft and even.
This example is 9" long, approximately 1.8 T. oz., (probably berry) serving spoon. The plum-shaped bowl is elongated, relatively narrow, and has a lip edge. It is finished in a satin matte gold wash front and back sides.
The otherwise plain handle has an embellished leaf script "P" monogram.
Stamped "H & M" for the partnership of (Henry) Hebbard & (George) Moore, New York City, it dates 1861-65.
It is also stamped "Sterling," and while coin silver was still the dominant standard in this period, Hebbard retailed much of his output through Tiffany, which required sterling, so he likely produced with this in mind.
The design is singular, but characteristi...