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...
That said, a third party assessment follows below on the seven symbols, three letters, and engraving that appear on the backside of this 8 3/16" long, heavy at 2.5 T. oz., large place or serving spoon.
What is apparent on the surface of it is that it dates from the 18th century, prior to the French Revolution, and is to a .950 silver standard.
It is a "French Thread" aka "Fiddle Thread" ...
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.
Price for the set of six.
They were made by Watson, whose "crown, W, lion" mark (used 1910 forward) and the word "Sterling" are stamped near the upper ball ends.
Much of this sort of thing was produced by notions manufacturers whose quality does not match these made by a major silver firm.
The bowls are heart-shaped, with the lower portion of the tubes where they are attached angled dow...
Identified in company catalogs of the period (see image 2) as a "bread" fork, it is commonly identified today for toast, all of which is a small distinction.
The piece is hollow, with an elaborate scroll design that is the same on both sides of the handle and three, one straight and two curved, tines.
Without a monogram or r...
The top is silver mounted, fitted with a 2" collar with a hinged lid that rises to a maximum height of 1 3/4".
The cap is chased in an acanthus leaf and floral design and has a large, script "ER" monogram set in the upper center.
The rim is stamped "Sterling," "Black, Starr & Frost" (used 1874-1908) for the renowned New York City firm, and with the company's ...
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...
This example is a 6 1/2" long, 1.2 T. oz. sauce ladle.
The handle is slender and elongated, and is joined to a 2" diameter, round shell bowl with a scalloped rim and a flat bottom. This is finished on both sides with a bright gold wash that extends to the lower of two...
Price for the pair.
This matched pair in Whiting's "Lily of the Valley," introduced in 1885. It immediately established itself as an outstanding pattern, and has remained sought after ever since.
Sculptural in nature, it features a raised stalk of blossoms enveloped by leaves, which form the margins of the handle. The ground behind the blossoms is lined, again rep...