It is a high style item made by Gorham and dates from 1890 according to marks on the underside, which also include the word "Sterling" and the model number "3436."
The main portion of the body is heavily hand chased with a repeating upward and downward facing leaf pattern, bottom and top respectively. The surface between these borders is filled wit...
Priced as a set of six.
An enduring motif, it was brought forward into the realm of manufactured silver, as evidenced by these six, matching, 7 1/16" long, 6.5 T. oz. the lot, place forks made by Gorham. This size could have been used for tea, dessert or lunch.
They were produced to ...
Dating circa 1880, it has a slightly upturned, round end handle and a large, 5" by 3 1/16" at the widest, teardrop shaped serving end.
The entire front surface is extensively bright cut with wriggle work and hatched detailing. The theme of this is vegetative, expressed with an Aesthetic sensibility.
The imagery on the handle is largely leaves with two sma...
Priced as a set of eight.
The overall length of each one is 7 5/8". The blunt-end, slightly curved, blades measure 4 1/8". The group weigh 11.1 T. oz., which includes the fill in the handles.
The handles are hollow and are in a "Leaf" pattern somewhat similar to "Olive." It appears on both the front and back s...
They are both products of the c. 1870 Egyptian Revival movement and are patterns that have never lost appeal.
This example is a 6 3/8" long, just over .7 T. oz., sugar spoon. It has an elongated, scallop shell form bowl that retains scant traces of an...
Priced as a set. Inquiries invited.
The primary pieces were made by one of New York City's premier early 19th century silversmiths, Frederick Marquand. He spent some years working in Savannah, Georgia, generally thought beginning about 1819, and returning to New York abo...
The pattern is "Cherub," by Watson, Newell & Co. It takes its name from the winged figure that appears at the tip of the extensively embellished handle. Employing acanthus leaf detailing, and with an irregularly shaped margin, the design embraces rococo sensibilities.
The figure is portrayed in two versions through the pattern line, one with upward facing, and one with downward facing, wings. T...
This example of his work is fully marked with his maker's "H.H," a date letter for 1858-59, London, sterling, and a queen's head.
It is a large mustard pot with a clear glass liner. It stands 2 1/8" tall, has a body that is 2 1/8" wide, a maximum span of 3 1/2" to the end of the handle, and the silver ...
The pattern is the fancy version of "Baltimore Rose," with a patterned rather than plain back. The design dates from 1905.
It is a fully original item, that is, not made up or customized.
It is without a monogram or removal (which would appear in the reserve area on the back) and in choice condition. The pattern detail remains well defined, showi...
It has a double provenance in that it was made by John C. Moore, the New York City silversmith who came to play a transformative role in the saga of the company. His mark, "J.C.M" and the number "2" also appear on the underside. ...
The 1901 pattern is "Federal Cotillion" by Frank Smith. It is a handsome design reminiscent of an English "King," save the shell motifs of that pattern are replaced with acanthus leaves on this. It is nearly indistinguishable from Whiting's "King E...
Priced as a Pair.
They are a "Pointed Antique" design with engraved fronts, a slightly tipt backside, and exposed drops on the bowls. There are reserve areas that are without monograms or inscriptions.
Marks are a harp for Ireland, Hibernia for sterling silver, and a distinct, script "JO" for John Osborne, working in Dublin 1784-1809.
They are in good condition, noting some wear...
Catherine Hollan offers extensive biographical material about Whartenby in her comprehensive work "Philadelphia Silversmiths," recording that he was born in Delaware in 1788, apprenticed in Philadelphia in 1802-09, established in his own shop in 1811, and ended his working years as "T.Whartenby & Co.," 1847-52.
She notes that examples of his work are held by the Philadelphia A...
Elegant in its simplicity, the pattern shows spectacularly so at the scale of this 12 1/2" long, heavy at 6.2 T. oz., soup ladle.
The bowl is large, 3 3/4" across and 1 1/2" deep. It has a central vee in ...
Priced as a Pair.
According to the identifications offered in the "Encylopedia of American Silver Manufacturers," the style of the "S. Kirk & Son" mark, along with the word "Sterling," was used 1925-32, indicating these have considerable age.
The footed, open salt stands 1 13/16" tall on a base that is 1 3/4" in diameter, and has a top opening that measures 2 5/8" across....
Priced as a Pair.
Made of coin silver and dating from about 1860, they are marked on the blades with a "bust" and "JS & Co" for Joseph Seymour of Syracuse, New York.
These are a matched pair in all aspects, except for the inscriptions on them. One is engraved "Marion." in Old English lettering, while the other reads "Daniel" in script on one side, and "F.D.G." in a fancy ...
Priced as a set.
It was made by Gorham, whose "lion, anchor, G" emblem and the word "Sterling" are stamped on the underside of each piece. The pot also includes the name of the retailer, "Starr and Marcus" of New York City. This was a firm which enjoyed a special marketing relationship with Gorham.
The marks tell a further story. The pot is imprinted with an "NTP," which suggests it may have been a sp...
Other marks include the company name and "lion, anchor, G" emblem, "Sterling," and the model number "60."
While fitting in the "mid century modern" period, and having the clean lines of that category, it is more truly Chippendale in style. It has a repeating rib design that appears beaded on the rim.
In excellent condition, i...