The 1 3/4" by 1 1/4" by 3/8" deep bowl has slightly crimped shoulders and three raised ribs in the base.
Without a monogram or inscription, it is in excellent condition. The fruit, floral, and acanthus leave detailing of the design all remain well-def...
He produced work that is broadly reminiscent of that city's Georg Jensen, as evidenced by this large, 10" long, weighty at 3.4 T. oz., pie server.
Marked "G. Gleerup" in script, "Handsmedet," and with the "three tower 55" Copenhagen standard mark for .830 silver and 1955, it features an ovoid blade that has a hand hammered upper surface with beveled edges.
The handle is a solid square ...
This example is an 8 3/4" long, approximately 1.0 T. oz., lettuce fork. Slender overall and with three elongated tines joined by a crossbar, it was designed to be a delicate implement.
The heel of the tine area is slightly cupped, and is embellished with an elaboration of the pattern on the shoulders.
Never monogrammed, this is in choice estate condition. There is no evident polishing wear and th...
It remained required for less than a century, but continued in limited use subsequent to the reversion to sterling in 1720, enjoying a revival in the late Victorian era.
This muffineer, aka sugar shaker or caster, traces to that period, having an Old English "a" date letter for 1896-97. Other marks are the Britannia figure, and an "e...
This example is American in origin, stamped "Sterling 925 Fine" flanked by matching maker's marks. These are circles with an uncertain emblem inside.
The piece measure 3 1/4" by 5/8" and weighs approximately .6 T. oz.
It has two parts, a larger lower one, and what is essentially a cap. Both these have reticulated open...
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....
A turn of the 20th century design, it was made by Alvin, whose company emblem and the word "Sterling" is imprinted on the handle backside in fine lettering.
The flowers on this item include an iris set midway on the handle, and roses at the terminus. These are accompanied by intertwined leaves, accent...
The date is consistent with the style of the piece, which reflects the Colonial Revival/Adamesque sensibilities that came into their own during the first decades of the 20th century.
The approximately 2.0 T. oz., sterling silver body is oval, with reticulated sides that have beaded band margins and solid, cee scroll handles. It sits on two ball feet...
The pattern name is "Unique."
The scalloped edge blade with fancy engraving is set at a right angle to the handle and is joined to it with a ...
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 ...
The pattern is "Acorn," which is one of Georg Jensen's defining designs.
Emblematic of the Danish Modern mode, it features a stylized acorn set at the tip of the columnar handle.
This is an exquisite example, showing no wear whatsoever, with even, pointed tines, and a brilliant finish.
Marks are "Georg Jensen" set within a circle of dots, used since 1945, "Sterling,"...
A "French Thread," aka "Fiddle Thread," design, it was made by New York City's Henry Hebbard, who with his contemporary and sometime partner John Polhamus, was one of Tiffany's major suppliers in the 1850s and 60s.
Hebbard's "star, H, anchor" pseudo hallmark appears on the reverse, along with "Tiffany & Co.," and "Sterling."
It is engraved "EAS" in a delicate sc...
The pattern is "St. Cloud," one of the outstandingly successful designs produced by Antoine Heller in his long and consequential career with Gorham.
It is in very good condition. The dense leaf and shell motif remains well-defined, showing minimal polishing wear. The tines remain straigh...
It has an "Old English" handle, i.e. down turned, round end, with a tipt back, and a long drop on the bowl.
Well-made and without a monogram or inscription, it is in very good condition. The marks are clear, the bowl is free of dents or tip wear, and the finish is soft and even.
This premier San Francisco firm was known for its Arts & Crafts designs, and this essentially falls within that category.
It has a solid, four sided handle that is joined by a ball at the lower end to the two tine fork.
The tines are lengthy at 2", slender, and finished in a gold wash.
Apart from a slight bit of waviness in one tine, there is no visibl...
This example is 9" long, approximately 1.8 T. oz., (probably berry) serving spoon. The plum-shaped bowl is elongated, relatively narrow, and has a lip edge. It is finished in a satin matte gold wash front and back sides.
The otherwise plain handle has an embellished leaf script "P" monogram.
Price per piece, two available.
It was made by Unger Brothers whose entwined "UB" surrounded by "Sterling" and "925 Fine" mark appears on the backside.
The pattern is "Secret of the Flowers," dating from 1904. It is one of Unger's several near legendary, female figure, Art Nouveau designs issued in the one year.
It is without a monogram or removal and in excellent condition. Pattern detail remains well-defined, without polishing wear. The b...
Price for the set of six.
They were made by Watson, whose "crown, W, lion" mark (used 1910 forward) and the word "Sterling" are stamped near the upper ball ends.
Much of this sort of thing was produced by notions manufacturers whose quality does not match these made by a major silver firm.
The bowls are heart-shaped, with the lower portion of the tubes where they are attached angled dow...