Cincinnati's Duhme & Co. offered a line of "Medallion" silver that featured a cast and applied head of "Mercury with his traveling hat (petasos) adorned with wings." (Soeffing, "Silver Medallion Flatware" p. 36) Dating c. 1863, it was produced in both twisted and non-twisted stem versions, with the twisted stem examples such as this 6 1/16" long, .8 T. oz. youth, or possibly tea, spoon less commonly found...

Gorham's "Imperial" is a mid 19th century, twisted handle design that incorporates a notched end handle with leafy elements that are reminiscent of "Olive." Wood & Hughes had a counterpart pattern. The patterns so closely parallel each other that they are nearly indistinguishable unless set alongside one another. Gorham's examples are rarely marked, while Wood & Hughes' almost always are, and this can be another way of distinguishing them...

Well-known and enduring names among 19th century Philadelphia silversmiths, Robert and William Wilson were in a partnership dating c. 1825-50. This goblet stamped "R&W.W." is of a scale and design that it could serve as a chalice. It stands 5" high, has a top diameter of 3 1/4", and sits on a footed base that is 2 3/4" across. It weighs a substantial 7.9 T. oz...

Measuring 11" long and weighing 4.3 T. oz., this size coin silver ladle is often described as an oyster versus a soup, which is generally longer and can run to 14". It is stamped on the reverse with the three part mark of New York's Albert Coles and is an especially fine example of his work and mid 19th century American silver crafting in general. The shank is a solid square tube with faceted edges. The upper end of the handle is broad and flat with shaped margins and a "fan" top...

This 8 5/8" long, 2.7 T. oz., coin silver berry or serving spoon was produced by New York's Albert Coles, whose three part hallmark appears on the backside of the handle. Dating from c. 1860, it reflects the strong period interest in Classicism. The end of the handle portrays a highly articulated, multidimensional warrior bust set atop a pediment base. This has a flat backside, and although hollow, of substantial thickness. The central part of the shank is tubular and faceted...

In her work, "Silversmiths of Lancaster, Pennsylvannia, 1730-1850," Vivian Gerstell describes Charles Hall (1742-1783) as a "prominent citizen as well as silversmith." She further remarks that he "played a prominent role in Lancaster during the Revolution. In 1774, he was a member of the Committee of Correspondence and of the Committee of Observation." This modest, and rather primitive looking, small spoon bears his identified "C...

An alternative to a spoon shaped bowl, this shovel form met with some popularity in mid 19th America. The flat surface and open end may have been purposeful, i.e. adapted for a specific function. This example is a lengthy 6 3/4", .8 T. oz., coin silver sugar stamped "J.C. Blackman & Co." and "Bridgeport" (Connecticut) flanked on either end by an American eagle. The item has a refined look...

Measuring about 7 5/8" long and weighing 1.2 T. oz., this coin silver item is the length of a tea or dessert knife. That it is engraved "William" in script on the handle, however, suggests it might originally have been a youth knife. In any case, it is an especially appealing example of mid 19th century silver, offered by a well known New York City maker, Albert Coles, whose three part pseudo hallmark is stamped on the backside of the blade...

Classified as a "Medallion" pattern, Albert Coles' "Kenilworth" drew its imagery from English literature rather than classicism. That said, the portraiture of the male figure is interpreted in a manner that is consistent with the numerous mythological characters produced by other makers of the same 1860's period. This example is a 7 5/8" long, weighty, nearly 1.4 T. oz., master butter knife. The handle and blade are set at right angles to each other. The blade has a scalloped upper edge and ...

Dating from 1866 according to the inscription on the sidewall, which is inscribed below the name "C.E. Mathews.", this coin silver mustard pot was made by Gorham. That company's standing lion, anchor, G mark appears on the underside of the base, along with the model number "510." 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 4.5+...

Marked "Patent 1866" and with two lions flanking an "S," for Philadelphia's George Sharp, and Bailey, for the Philadelphia retailer, this pair of tongs measure 5 3/4" long and weigh 1.4+ T. oz. The pattern is referred to as "Ball End," for which Sharp is strongly identified. The form, however, is unusual in that the screw-in ball is attached to a three dimensional, 1" diameter by 1/4" thick, disk. This whole assembly comes apart. This is engraved with a star motif on one side and has a borde...

Not formally named, the pattern on these three pieces is an "Oak and Acorn" motif that was produced by Boston's Farrington & Hunnewell. It dates c. 1865. It is an engaging, double die struck (meaning it appears on both sides of the handle) design, singular for its time, and considerably more detailed (and less common) than the common patterns of the period, such as "Olive" and its variants. It was produced over a period of time that straddled the switch from a coin to a sterling silver standa...