Catalog

Hammered surfaces were often a mark of hand worked Arts & Crafts period silver work, and this piece is a study in that feature.

A relatively large, 7" tall, 5.17 T. oz., solid silver muffineer, i.e. sugar shaker or caster, every facet of the piece, inside, outside, and underside, shows dense hammering that has a chiseled character to it.

It was made by Redlich & Co., New York City, whose "animal head mark," the word "Sterling," and model number "7470" are stamped on the underside.

The d...

Exceptionally large, this solid silver pie server measures 10 1/4" long, has a blade that is 5" by 2 7/8" at the widest, and weighs 2.9 T. oz.

Marked "Ball, Black," "925" for sterling, and "Patent," the pattern is Arabesque, made by John Wendt, New York City, and issued in 1871. Arabesque is often (mis)identified as Monroe.

A Moorish design, Philadelphia's George Sharp produced a similar unnamed line. Whiting's version of Arabesque was introduced later in the 18...

An estate piece long held in one family, this chamber stick is a significant example of its form. It is stamped for London, 1801-2, sterling, and Robert Sharp, who is identified in Jackson's Hallmarks as an "important maker." Grimwade's London's Goldsmiths affords him a lengthy biographical entry.

It is large, with a base that measures 5 1/2" in diameter, 7" to the end of the solid finger grip, and stands 4" tall.

Solid silver, it weighs 9.4 T. oz.

The base has a raised ed...

In his benchmark work, Tiffany Silver Flatware, William Hood illustrates three pieces in a rarely-found motif that he describes as having "block-form hollow handles" with "ornamentation" (chapter eight, "Not-full-line Patterns").

This 6 1/8" long, nearly 1.3 T. oz., sugar sifter is a fourth example of the pattern. The "ornamentation" in this instance is comprised of an engraved leaf and flower (perhaps wild rose) that extends to all four sides of the rounded edge "block."...

Rooted in Moorish design, Whiting's Arabesque features a standing griffin with widespread wings set against a vine, leaf, and rosette background that are the defining elements of arabesque design.

This example is an 8 7/8" long, 2.4 T. oz., all silver, pie server that was retailed by "Ettenheimer [& Co.]," Rochester, New York, as stamped on the handle backside. Other marks include Whiting's "standing lion with a W" emblem, "Sterling," "Pat. 1875," and the number "6."

The handle fron...

This all silver (not weighted, although it may have been originally) vase stands 10" tall on a 2 5/8" wide, tiered, base and weighs 7.8 T. oz.

It is hallmarked for "sterling silver," "London," "1898," and prominent English maker "William Comyns & Sons, Ltd."

Trumpet form, it has tapered sides that lead to a splayed top that measures 4 1/2" in diameter.

The uppermost 1 1/2" of the body, essentially the splayed area, features open leaf and flower (perhaps thistle) cut...

This large, 11 7/8" long, 3.7 T. oz. total weight, coin silver cake saw connects to multiple mid 19th century New York City silver manufacturers.

It is marked on the solid silver blade front with an "eagle, V, bust" hallmark for James Vancourt. William McGrew in Manufactureres' Marks on American Coin Silver notes this mirrors a mark first used by Albert Coles and he suggests it was in turn reduced from a similar "C&V" mark used by (William L.) Coles & Vancourt in a partnership that las...

Princess was a pattern introduced by John Polhamus and continued in production by George Shiebler, both of whom were prominent 19th Century New York City makers.

This 11" long, heavy at 4.5 T. oz., ladle, (likely an oyster which was one step down in size from a full soup), is an early piece marked "J.P. Pat. 74" and "Sterling."

The design is Moorish in style, with a suggestion of Greek or Egyptian Revival influence.

The handle front features a leaf and berry repeating border surr...

Model number "A9969," as stamped on the underside, along with Gorham's "lion, anchor, G" emblem, the word "Sterling," and the name of the retailer, Boston's "Bigelow, Kennard & Co.," this flat-bottomed, oval tray measures 8 1/4" long by 5 1/2" wide and weighs a relatively heavy 6.8 T. oz.

A highly decorative item, the uplifted and rounded walls have a 5/8" wide banded rim, which has a beaded margin bordering a chased design of repeating urns, rosettes, acanthus leaves and fan...

Illustrated and identified in Gorham's 1888 catalogue as an "olive spoon and fork," this 12" long, 2.0 T. oz., piece embodies the aesthetic sensibilities of the period, evidenced by its naturalistic form.

The full length of the handle is nubby, slightly twisted, and stem like. The bowl is virtually a leaf, with piercings that resemble veins, and a surface that is engraved with additional leaves.

The applied olive and two leaves attached to the stem appear to grow out of it, and appear full...

Marked with the "plumed helmet over S in a shield" emblem introduced by Simpson, Hall, Miller & Co. in 1895 and continued by International after SHM merged into that amalgamation in 1898, this piece dates from the 1895-98 period or shortly thereafter.

It is also marked "Sterling" and model number "C1342."

A medium-to-large sized gravy or sauce boat, it measures 6 1/2" from handle end to tip of spout, is 3 7/8" wide, and stands 4" tall at the highest.

All silver, it weighs a substantial ...

The quality of design and execution evident in this 7 1/2" tall, weighty at 6.8 T. oz., solid silver muffineer aka sugar shaker or castor bespeaks the reputation of its maker and the jeweler who retailed it.

Redlich & Co., whose "lion" emblem appears on the underside, traces to George Shiebler through one of its two cofounders, Adolph Ludwig, who was a designer with the latter firm.

Grogan & Co., also imprinted on the underside, was a carriage trade Pittsburgh jeweler, with it and Redlich ...

An image with roots deep in the history of theater, the harlequin figure has had many evolutionary manifestations.

This representation, a pair of 4 1/2" long, heavy at approximately 1.6 T. oz., tongs was made by Gorham, whose "lion, anchor, G" emblem and "Sterling" are impressed on the inside of one grip. These are illustrated in the company catalogue of 1888 (see above image 2) in a list identified as "sugar, olive, and bon-bon tongs."

Cast, these are highly detailed and portray the check...

Arthur Stone's name holds magisterial standing among American Arts and Crafts silversmiths of the first half of the 20th century. He and the workshop he established bespeak only the finest of hand worked products.

This piece is evidence of the above assertion. It is a 7 1/8" wide, heavy at 6.95 T. oz., plate with a 1" wide raised rim with an applied double lined edge.

It is imprinted with Stone's characteristic "hammer" emblem and "Sterling," along with a "T," for shop assistant Herbert Ta...

One of Gorham's earliest full line patterns, Grecian was produced to a coin silver standard beginning in 1861 and then continued in sterling from 1868 onward.

This example is marked only "Patent 1861" and with Gorham's "lion, anchor, G" emblem absent a sterling designation, thus indicating it is coin.

It is also the largest iteration of a ladle in this line and is for soup. In keeping with mid 19th century practice for this sort of item, it measures a massive 14" long and weighs 6.1...

Inspired by English and European antecedents, porringers were a favored form long produced by American silver and pewter manufacturers.

Consequently there is an ample inventory available in the antique and resale environment, with many offerings largely undistinguished, quite in contrast to this exceptional, solid silver item made by R. Blackinton & Co.

Large, the round bowl has a diameter of 4 7/8", a maximum span of 6 7/8" to the end of the "Chippendale" style handle, stands 1 5/8" high ...

Design number "610" produced by Gorham, this 7 1/4" long, 1.5 T. oz., confection (as identified in an 1892 Gorham catalogue) spoon was a special production item.

The tip of the handle features a rampant, i.e. standing, lion, set atop a columnar handle. The lower section of the handle just above the join with the bowl, portrays a stately looking, classical, female figure draped in flowing robes.

The bowl is fig-shaped, and imprinted in the center with an embossed floral cluster. The lowe...

Introduced in 1889, Coligni stands alongside other enduring Gorham patterns such as Versailles, St. Cloud, and Cluny that originated at the hand of renowned designer Antoine Heller.

Heller was a classicist much of whose work reflects the Beaux Arts style. This mode is very much evident in Coligni which is a multi-motif line that incorporates draped, romantic figures arrayed amid opulent background imagery.

This example is a very large, 9 5/8" long, 4.6 T. oz., serving ...