It sits on a knurled edge, pedestal base that is 2 3/4" in diameter, and has a rimmed top that is 1 7/8" wide, with a 1/2" actual opening...
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...
In his benchmark work, "Silver Medallion Flatware," D. Albert Soeffing notes, "This particular medallion shows fine die work," and that is evident on this 4 3/4" long, .4 T. oz., (after dinner) coffee spoon.
The portraiture is of right facing, noble looking, female figure who perhaps represents Juno (Hera)...
Just slightly smaller than a tea or dessert knife, it is a youth size piece.
An "Oval Thread" design, it is stamped "Bigelow Bros. & Kennard" for the prominent Boston firm of the period. It is also marked "Sterling," which is early for this date; coin would be expected.
It is solid silver, with a flat handle, and blunt-end blade...
Made in Boston, it is stamped "H.B. Standwood & Co.," for a firm that eventually became a part of "Shreve, Crump & Low."
The pattern is a scroll design similar to one produced by Farrington & Hunnewell, also of Boston, in the mid 19th century.
The inscription, a large, fancy "S" over "1877," postdates the actual manufacture of the piece by about twenty years...
It has three, relatively wide, tines, the outer two of which are hooked, while the center one has a circular piercing. The shoulders and upper edges are notched.
Its purpose is uncertain, but a beef fork is likely.
The handle is flat, save for a slightly upturned end, and is extensively diamond cut engraved with wriggle work that extends onto the tines...
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 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...
This example is a 6 1/8" long, .8 T. oz., sugar, or perhaps small preserve, spoon with two characteristics that set it apart.
One is the flange rim, elaborately shaped bowl with intricate engraving set against a satin matte, gold wash (front and back sides) ground.
The second feature is that it was retailed by the New Orleans firm of "E. Lilienthal," as stamped o...
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 ...
It is a large, well-proportioned, and handsome item.
Standing 4 1/4" high, it rests on a pedestal base that is 2" in diameter. The maximum span to the end of the handle is approximately 3 1/4" and the weight is just above 4.5 T. oz.