Catalog: Silver

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...

Born in 1802, Albert Comstock Benedict was a prominent New York City silversmith during the first half of the 19th century and beyond. He worked in partnership with Egbert Scudder from 1828-36.

His mark, which appears on all four of these lengthy, 6 1/4", 2.3 T. oz. the group, matching teaspoons is distinct. It reads, "A.C. Benedict" over "28 Bowery, N.Y."

The handles are Fiddle shaped with Tipt backsides...

A popular mid 19th century motif, the (acanthus) Leaf pattern of this c. 1865, 7 1/4" long, 1.3 T. oz., coin silver master butter knife was produced by a number of makers, including Albert Coles, whose "eagle, AC, bust" emblem appears on the handle backside.

It is of additional interest given it was marketed by Joseph Werne of Louisville, Kentucky, whose name is also stamped on the blade back, alongside Coles' hallmark. Werne was a one time partner of John Kitts (also with S.W...

Standing 4 1/2" tall overall on a splayed, 2 1/2" high, pedestal foot that is 3" across on the bottom, and with a bowl measuring 4 1/2" across, this solid silver footed bowl or small compote weighs 7.2 T. oz.

Designed and executed in an Arts & Crafts manner, and likely dating from the early 20th century, it appears to be hand formed, showing, for example, distinct hammering marks on the underside of the foot that carry through very subtly to the exterior surface...

This 8 7/8" long, relatively weighty 2.8 T. oz., berry or other serving spoon has a rounded "Old English" handle with a tipt backside.

A highly refined piece, it has an overall matte finish and is finely engraved in what appears to be a wild rose or dogwood floral design on the handle, and a detailed butterfly set amidst bamboo or similar leaves in the bowl.

These motifs are very much in the Aesthetic style of its circa 1880 period...

A 7 1/8" long, just over .9 T. oz., this item is emblematic of its c. 1880 period.

Marked only "Sterling" and "27" on the otherwise plain backside, the maker is unidentified and neither the shape of the blade and handle, nor the particular engraving is definitive as they are singular.

Decidedly "Aesthetic," i.e. "Eastlake," in mode, the bright cut and wriggle work engraving portrays ferns, grasses, flowers, along with non-representational detailing...

Generously scaled at 9 1/2" long, and weighing 2.44 T. oz., this serving spoon has a particularly large, 4" long by 2 5/8" at the widest, bowl.

It could have been intended for berries, but the size suggests another use such as vegetables, or in Southern usage, rice.

The handle is a Pointed Antique shape and is convex...

Likely a preserve, although possibly a large sugar, spoon, this piece measures 6 13/16" long and weighs approximately 1.1 T. oz.

An "Olive" pattern, it was made by Farrington & Hunnewell, whose multi-part emblem appears on the handle back but is over stamped by the name of the retailer, "A.F. Burbank," Boston, 1853-67, and Worcester, 1867-80, Massachusetts.

It is also marked "Pure-Coin," which is a characteristically New England term for the silver standard...

Stamped with Albert Coles' three part "eagle/AC/bust" emblem, this 6" long, weighty feeling 1.3 T. oz., coin silver sauce or cream ladle dates from the mid 19th century.

The pattern, Jenny Lind, originated with Coles but was produced by innumerable other manufacturers of the time and was apparently well-received given the variety of inventory that remains extant...

Designed and introduced by silversmith Albert Coles, New York City, in the mid 19th century, the flatware pattern Jenny Lind met with success in the marketplace and was in time produced by other manufacturers in addition to Coles.

This 8" long, approximately 1.6 T. oz., coin silver place spoon (tablespoon in today's usage) is an early example, stamped with Coles' three part emblem and the name of Rochester, New York retailer "[Elias S. and Jacob] Ettenheimer."

It is also engraved in...

Taking its name from the novel by Sir Walter Scott, "Kenilworth" originated with Albert Coles in the 1860s and was later continued in production by George Shiebler.

This 7 1/2" long, 1.2 T. oz., tea aka breakfast aka dessert knife is an early solid coin silver example marked with Coles' three part "eagle," "A/C," "bust" emblem.

Classified as a "Medallion" pattern by D. Albert Soeffing in his foundational work on this design genre, he cites a May 8, 1895 article in the Jewlers' Circular ...

A popular motif in mid 19th century silver design, the (acanthus) Leaf design of this 6 7/8" long, 1.2 T. oz., coin silver preserve spoon was produced by a number of makers, including Albert Coles, whose "eagle, AC, bust" emblem appears on the handle backside .

Gorham was another company which produced a leaf design. That line, named Josephine, was nearly identical to Coles', and patented in 1855, which is the approximate date of this piece.

It has a shell form bowl with scal...

A mid 19th century piece, this 6 3/8" long, .9 T. oz., jelly or large sugar spoon is marked with Albert Coles', New York City, "eagle, AC, bust" emblem.

Coin silver, it is a decorative item, with several design details typical of its period.

It has a twisted stem that leads to a broad, shaped end that is bright cut engraved in a design reminiscent of leaves, bellflowers, and fruit, with a diamond border on the front and wriggle work edging on the back.

There is a fancy, feathered script...

Issued in 1900, Alvin's Majestic is a multi floral pattern that features one of eight different flowers on each piece.

This example is the larger of two sizes of sugar tongs available in the line. It measures 5" long and weighs a robust 1.3 T. oz.

The flower is iris, which appears at the top and mid portions of the handle, and impressively, on the talon form grips.

The margins of the handle and lower section show trailing, sinuous, leaves, all in keeping with the Art Nouve...

An original, early production item made by Alvin in one of the benchmark Art Nouveau floral patterns of the early 20th century, Alvin's Bridal Rose features a raised, sculptural in manner, portraiture of rose blossoms, leaves, and thorny stems stem on a handle with a slightly upturned end.

This 5 5/8" long, relatively weighty at 1.3 T. oz., cream or sauce ladle, is an early production example marked on the backside with the company emblem, along with the words "Patent" and "Sterling," ...

This 5 1/4" long, .8 T. oz., bon bon (or petit fours server) was made by Alvin whose "A" flanked by an "eagle and a sword" emblem and "Sterling" is imprinted on the handle backside.

An unnamed pattern, its scrolling, asymmetrical margins are suggestive of Whiting's Louis XV, although this version is more elaborate than Whiting's.

The dominant feature of the piece is its large, 2 7/8" by 2 3/4", pierced and embossed, bowl with a piecrust front edge and flange rim. It is finished in a...

An impressively designed line of Art Nouveau flatware issued at the turn of the 20th century, Alvin's Majestic features a variety of floral imagery.

The portraiture on this 6" long, just over .8 T. oz., olive spoon is iris. It is offered in high relief, with multiple blossoms situated at the handle end, and one midway, on the front. The backside portrays sinuous, flowing leaves.

The bowl is set at an angle to the handle, has scalloped edges, a vee-shaped heel, and circular pi...

The larger of two cold meat forks that Alvin offered in its Majestic line of flatware introduced in 1900, this piece measures 8 5/8" long and weighs a robust 2.4 T. oz.

A multi-motif floral, the portraiture on this is "peony."

Producer of such touchstone Art Nouveau designs as Raphael and Old Orange Blossom, Majestic reflects the same sensitivity to the subtle, flowing sensibilities of the mode, all expressed inprecise, intricate detail.

The serving end of th...