Marked only "Coin," without a maker's or retailer's identification, the rounded handle with notched tip essentially matches Gorham's early, 1865, "Italian" pattern, and the quality of manufacture suggests such a significant maker.
This is bordered by fine wriggle work engraving and has an elegant period "EC" feathered script monogram set in the center of the plain area of the surface...
Price for the set of six.
Each one is stamped "John B. Scott" for the New York City retailer, who is documented working circa 1820, with no ending date available.
The pattern is a "Beaded Olive" that appears to be a near match for manufacturer John Westervelt's pattern of the same name...
In that regard, while marked only "Coin," the style of this piece rather conclusively suggests a Philadelphia source such as James Watts or one of his contemporaries.
It has a robust, twisted shank with a broad, scalloped edge, terminal...
It is stamped "E.S. & D.R. Burr" and "coin," for the jewelers located in the small, central Wisconsin town of Berlin. An entry in a 1919 "Jewelers' Circular," notes the death of Daniel Riley Burr at age 85, still resident in Berlin.
There is also a right-facing, bust that McGrew in his work on pseudo hallmarks identifies as an unknown Chicago maker...
While "Tipt" end examples of their work, which this is, are readily found, this 6 3/8" long cream ladle stands apart for several reasons.
One feature is its heavy weight, 1.7 T oz., and consequent solid composition. A second feature is its perfectly round, hemispherical, bowl, which is 1 5/8" in diameter and 1/2" deep...
It is stamped "S.N. Story" for the Worcester, Massachusetts silversmith and jeweler. Also marked "Pure Coin," which was a regional term, this was likely made in Boston.
The pattern is "Olive," which was a very popular design in the period.
What sets this apart from other examples is its intermediate size, shell bowl, solid weight, quality manufacture, and good condition...
It is marked "S[amuel]. Hoyt & Co" and "266 Pearl St" for the well-documented New York City maker who worked by himself as well as in numerous partnerships. This location dates 1836-50.
An "Oval Thread" pattern, it is without a monogram or removal and is in especially fine condition.
The hand polished only finish is bright and even...
Just slightly smaller than a tea or dessert knife, it is a youth size piece...
Price per piece, five available.
This 5 1/2" long, relatively heavy at .9 T. oz., egg spoon is such an example.
It is a "Bead" pattern, with the design appearing on both sides of the handle. The reverse has a fancy script "CBD" monogram.
The oval bowl is generously sized at 1 3/4" long and 1" across at the widest. It retains an original, bright gold wash front and back surfaces.
It is in excellen...
It bears a Baltimore assay mark of a "Maryland shield and the letter C" that was used 1825-30, along with "S. Kirk" in script.
The assay standard for this time was established by law at 11 parts out of 12, or 91.7% silver (vs. 92.5% for sterling and 90% for coin), commentary in the Baltimore Museum of Art volume "Mary...
It also incorporates a raised rib that breaks and separates into two parts that carry onto the surface of the tine area. This adds dimension and interest to this 6" long, approximately .8 T. oz., youth fork.
It has a feathered script "CCH" set sideways on t...
Price for the pair.
The style of this suggests the earlier end of that date range.
They have rounded ends, with very slight beveling on the backsides. The fronts are engraved in a fancy script monogra...
The partnership only lasted two years as Shaver contracted typhoid fever and sold out to Brown, whose interest he bought back in 1863 after recovering from his illness. All this history indicates the "Brown & Sh...
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 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...
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...
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....
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 ...