Catalog: Silver: Sterling: Flatware

An elegant Rococo pattern dating from 1885, Wood & Hughes' "Louvre" shows to advantage at the large scale of this pair of 5 3/4" long, 1.4 T. oz., tongs.

A multi-motif design that incorporates scrolling, rosettes, and acanthus leaf detailing, the pattern is markedly elaborated.

This particular pair have added engraving on the upper portions of the arms. The leaf form grips are highly articulated and finished in a satin gold wash...

Patented in 1881, as stamped on the handle backside, along with Gorham's "lion, anchor, G" emblem and "Sterling," this piece is a 6 1/2" long, 1.3 T. oz., sugar sifter.

The pattern is "Domestic," which employs a variety of design elements, the primary one of which is an intricate and finely rendered array of ivy leaves and vines, accented by a rosette midway on the handle and an anthemion at the tip.

This has a strikingly attractive bowl with fluted walls and a pierced interior...

Weighty at 2.8 T. oz., and lengthy at 8", this cheese scoop is a fully original, i.e. not "made up" or "custom" as some items in this form are, example in Gorham's Newcastle.

Introduced in 1895, the pattern has beaded margins, with progressively larger beads toward the tipt end of the handle.

The scoop itself has a low cut, cupped, heel, with a rounded end with high, beveled, walls.

Never monogrammed, this is without wear or damage and has a bright finish...

A late 19th century pattern, Dominick & Haff's Pointed Antique was issued in a number of variations, with the one on this 7 1/8" long, heavy at 2.1 T. oz., sugar sifter being No. 2.

A strikingly clean design, D&H's interpretation of this classic design has a slightly downturned handle with chamfered edges and a midrib backside. No. 2 adds a diamond cut border to the front, which is a motif common to English Georgian period silver...

An oval soup or dessert spoon in American usage, this English place piece measures 6 5/8" long and weighs 1.1 T. oz.

It is fully hallmarked for London, 1796-97, sterling silver, and makers Peter and Ann Bateman, who were members of the renowned Bateman dynasty.

It has a rounded end with tipt back, Old English, handle, narrow shank and thumb drop on the bowl reverse.

The bowl is well-shaped, evenly formed, and comes to a gentle point...

Shiebler's late 19th century Flora series was largely offered in teaspoons, but also less commonly issued in other forms, such as this pair of 4 5/8" long, .9 T. oz., sugar tongs.

The pattern is Forget-Me-Not, which is set in high relief and clear detail on each arm.

The arch is crimped for strength, while the grips are highly articulated, hairy talon style.

In superb condition and never monogrammed, these are without wear or damage and show a bright, even, finish...

Measuring 7 1/2" long and weighing approximately 1.3 T. oz., this item is a preserve or jelly spoon.

The pattern is Whiting's Arabesque, which is rooted in Moorish design and was produced during the Renaissance Revival period of the 1870s. The primary feature is a standing griffin with widespread wings surrounded by traditional arabesque detailing.

There is a disk-shaped reserve area on the handle front, which in this instance has never been monogrammed...

Dating from 1872, Gorham's Corinthian embodies the Classical Revival and Moorish sensibilities of its period. The handle incorporates a raised anthemion leaf surmounted by leafy tracery.

This example is a 6", approximately 1.1 T. oz., solid silver, cream ladle...

Measuring 5 3/4" long each, and weighing 4.6 T. oz. the group, these solid silver oyster aka shrimp or seafood cocktail forks are all stamped with Gorham's "anchor, lion, G" emblem and "Sterling."

The pattern is Antique, issued in 1875. Akin to Old English, it has a rounded end with a tipt backside attached to a narrow shank.

There are three tines on each of these pieces, the lower one of which is hooked and wider than the other two.

In choice estate condition and never mo...

Stephen Adams I was a well-recognized London silversmith of his period, roughly the full span of the second half of the 18th century.

Grimwade's foundational London Silversmiths notes his parentage is undiscovered, but that he entered his first mark with William Jury c. 1758, with another mark for both 29 October 1759. Although he also registered marks as a buckle maker, Grimwade states "it is clear that he was principally a spoonmaker."

This 8 3/8" long, 1.86 T. oz., table or servi...

Measuring 7 3/4" long overall, with a 2 1/4" diameter by 1" deep bowl, and weighing 2.06 T. oz., this is a generously proportioned, solid silver, gravy ladle.

The pattern is Union, made by John Wendt, and in this case retailed by "Starr & Marcus," New York, as stamped on the handle backside, along with "Sterling" and "Patent."

Introduced in 1862, Union is a period design that is similar enough to Gibney by F.H. Gibney, later Whiting, and also dating 1862, that the two ...

Issued in 1891, Dominick & Haff's "Cupid" features a raised relief, winged cherub's face on the handle, with variation in the portraiture from piece to piece.

Rococo in manner, the pattern also incorporates a series of scrolls and leafy elements that are complementary to the main figure.

This example is a 5 13/16" long, .9 T. oz., four tine sardine fork. The heel area is cupped and has raised scroll detailing on the shoulders.

There is a delicately engraved, fancy script "CLA" monogram...

One of Gorham's earliest full line patterns, Rosette reflects the Greek Revival style popular in the 1860s period when it was issued.

Having a double lined border, the handle end incorporates an anthemion flanked by scrolls, while there is a rosette placed midway up the shank, hence the pattern name.

This example is a 6" long, 1.3 T. oz., sugar sifter with a 2" diameter, round, pierced bowl with scalloped edges and coffered sides. The bowl is finished in a bright gold wash front and...

Dating from the reign of George III, this 5 1/2" long, just over 1.0 T. oz. (32 grams) pair of English tongs are fully hallmarked for sterling silver, London, 1802-03, and makers Peter, Ann and William Bateman of the legendary family of silversmiths associated with Hester.

A period piece, this has shaped arms, a broad arch, and cupped, aka acorn, grips.

All the exterior surfaces are bright cut and wriggle work engraved.

The arch has a reserve area that appears never to have been monogra...

An early line pattern, Gorham's Louis XIV, is Greek Revival in style in spite of carrying a French name.

The main feature is an anthemion leaf, with additional detailing reminiscent of Gorham's also Greek Revival Corinthian design of the same period.

This example is a lengthy 5 1/4", .9 T. oz., pair of sugar tongs with gold washed claw or talon grips and columnar legs.

In superb condition, this pair have never been monogrammed on either the reserve shields on the ar...

Gorham's numbered series were specially designed and produced items made to a higher standard than typical line pieces.

This late 19th century example of such work is No. 412, which is a 5" long, weighty at 1.5 T. oz., bon bon spoon.

The handle is cast, which technique enables a level of detail not achievable in a typical die struck item. Casting also produces a unique finish, which in this instance is softly grained.

The pattern on 412 incorporates flowers and acanthus le...

Measuring 7 1/4" long, weighing 2.3 T. oz., and having a 2 1/2" diameter by 1" deep bowl, this is a substantially-sized gravy ladle.

The pattern is Whiting's Heraldic, which apropos of the pattern name, features the image of a medieval helmet prominently set at the top of the handle. The remainder of the design incorporates a dense array of high relief, scrolling acanthus leaves.

The bowl on this is the fancier of two that Whiting used for this line. It has a scalloped rim and rai...

While a pattern in general production, but without a documented name or maker, the design on this 8 3/4" long, 1.83 T. oz., sterling silver berry or other serving spoon incorporates a dense array of Greek Revival and Moorish design elements.

Likely dating from the 1870s, one private researcher has postulated Fessenden of Providence, Rhode Island, as a maker. Seymour of Syracuse produced some similar work, as did San Francisco sources, so no true solid attribution is at hand. What is incontrov...