It is stamped "H. Porter & Co.," for Henry Chester Porter, New York City, who used this mark after 1830.
The backside heel of the spoon has a shell design; this combination of basket of flowers with shell back appears on other examples of Porter's work...
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...
"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...
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...
The pattern, "Oriental," was originated by John Polhamus of New York City, with references dating it 1860 although this is imprinted "Patent 1855" on the blade, pushing that back by five years.
The retailer's stamp is "Owen" without any other modifiers...
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...
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...
He produced work that is broadly reminiscent of that city's Georg Jensen, as evidenced by this large, 10" long, weighty at 3.4 T. oz., pie server.
Marked "G. Gleerup" in script, "Handsmedet," and with the "three tower 55" Copenhagen standard mark for .830 silver and 1955, it features an ovoid blade that has a hand hammered upper surface with beveled edges...
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...
The pattern name is "Unique."
The scalloped edge blade with fancy engraving is set at a right angle to the handle and is joined to it with a ...
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 ...
The pattern is "Acorn," which is one of Georg Jensen's defining designs.
Emblematic of the Danish Modern mode, it features a stylized acorn set at the tip of the columnar handle.
This is an exquisite example, showing no wear whatsoever, with even, pointed tines, and a brilliant finish.
Marks are "Georg Jensen" set within a circle of dots, used since 1945, "Sterling,"...
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.