Price for the set.
The only marks are on the spoons, and are the "M in a shield flanked by eagles" emblem for Providence, Rhode Island's Baker Manchester Company. The pattern is unnamed, but neolassical in manner, suggesting a da...
The iconography includes a pair of upraised (presumably eagle) wings that appear to rise out of a crown, which itself sits over a lion rampant on a shield. Lastly, there is a rearing steed projecting out of a castle turret set below the above images.
Based on the 1899 "Wentworth" pattern, it includes an image of a plump, completely baby-like, winged cherub draped in a garland of roses, all set in very high relief that rises off the handle sculptural-like.
The figure is surrounded by beading, below which are more fully developed rose blossoms.
The handle backside is...
It is fully hallmarked for Newcastle, England, 1774-75, sterling silver, and makers William Stalker & John Mitchison.
Typical of the form, it has a tapered shank that goes from 3/8" wide to a pointed tip. This has beveled edges, with feathering on the upper portions front and back. This is also the place where the marks are located on one side and a "WWS" monogram on the other.
The 1 1/8"...
It stands 3 1/4" high, has a top opening of 3", tapers to a a base diameter of 2 1/2", and weighs 3.2 T. oz.
It has a rim bottom and top and is otherwise plain except for two inscriptions.
One of these, "Castlelow 1854," relates to the maker's marks on the underside, which reads, "E. & D. Kinsey," "Prem. B. Co A.S.," "1854."
The word "premium" references t...
Marked for London 1799-1800 and makers George Smith and Thomas Hayter, whom Jackson's Hallmarks describes as "good, general makers," it has a sterling silver blade and shank, and a turned, natural material, handle that is stained a lime green.
It measures 7 7/8" long overall, with a 2 3/4" by 1 5/8", slightly cupped, ro...
This piece is comprised of cast, pierced, pediment affixed to a 5 1/2" by 3/8", 1.6 T. oz., bar, all of which is solid silver. It was originally made to cap a desk calendar or engagement pad.
Produced by Gorham and stamped with the company's "lion, anchor, G," hallmark, "Sterling," model number "519," and a date symbol for "1894," the form is illustrated in the company's 1892 catalogue i...
Stamped with the company "lion, anchor, G", emblem, "Sterling," and model number "456" on the underside, it is actually part of a desk ensemble, namely the underplate, or as labeled, a tray, for a multi-lobed ink bottle.
Original purpose aside, it is attractive in its own right, featuri...
The lower portions of the handle where it joins the bowl suggest an Egyptian Revival influence, while other areas point toward Renaissance Revival inspiration. In addition, the dense floral clusters employ imagery similar to Gorham's "Cluny" pattern that was designed by Antoine Heller, who was highly regarded for his Classical motifs.
It has a 1/2" high sidewall with a scalloped edge and a series of raised scrolls that appear to mimic breaking waves.
The center bottom of the piece has an oval dome that is engraved "HCE" in lined script. Ridges radiate out from this, suggesting a sunburst.
This example is a 9" long, 3.3 T. oz., berry spoon in "Grapevine."
William Hood in Tiffany Silver Flatware notes that this was made with a variety of bowl forms, and the shell or fluted design on this is observationally one of the less common ones. It is finished with a bright gold wash front and backsides.
An early production item, t...
The griffin set against a Moorish style background composition is emblematic of the Renaissance Revival period of the 1870s.
The bowl is plum shaped, with a flange rim and central vee running from the handle to the midpoint of the base. It is finished with a...
It measures 2" tall to the rim, 2 3/4" at the highest point of the arms, has a body that is 3 1/2" wide, 5 1/4" handle tip to handle tip, 2 3/8" across on the bottom, a top opening of 2 3/4", and weighs 4.6 T. oz.
Likely a sugar bowl, it stands on its own.
Elegantly understated in design, the body is cauldron shaped with a sawtooth edge rim, and has...
The pattern is "Passaic," introduced by Unger Brothers in 1900.
Known for its innovative Art Nouveau designs, executed in both flatware and jewelry, the style of this goes in another direction, to the rococo. It employs a variety of scrolls, leaves, and delicate flower blossoms presented i...
This 6 1/8" long, approximately 1.0 T. oz., sauce or cream ladle is an example of this practice. The rarely found pattern is a very close match to Whiting's "Berry," introduced in 1880.
The handle is more slender than Whiting's and also ...
"Lily" is an enduringly popular, Art Nouveau pattern that essentially set the standard for this floral interpretation after its introduction in 1902.
Absent noticeable polishing wear, this pair show the design to full advantage, retaining all the fine flower and leaf elements for which the line is known, as well ...
They are "MKH" and "JAH" in block lettering, "Hand Wrought," and "Sterling."
The piece is compellingly appealing in its simplicity of design, good heft, and the high quality of its workmanship.
In flawless condition, it exhibits precise construction, is perfectly round, and has...
This is also imprinted "J.S. Sanders," for the nearby Schenectady, New York, jeweler who retailed this.
A flat-surfaced piece with a high shouldered, pointed end, handle that angles downward to the broad, 1" ...