Issued in 1925, it is markedly similar to Towle's popular "Mary Chilton" which was introduced a decade earlier in 1912.
Sharing the same diamond-shaped handle, Watson's iteration is more elaborated than Towle's. Rather than plain, the handle a...
The pattern is clearly rooted in Aesthetic sensibilities, with a marine theme. There are two shell motifs, one in the heel of the central of three tines, and one at the tip of the handle.
Radiating lines fan out from the broad, angular, handle shoulders, and meet a series of ripples that evoke waves, which probably not without coincidence, resemble Tiffany's "Wa...
The defining feature of the line is a cast, in most instances female, "bust" that surmounts the slender, square handle.
A product of the Classical Revival movement of the period, the figure sits atop a pedestal base, much as she might be presented in a museum or salon, or in a wall niche in an athenaeum.
This piece is a 5 7/8" long, not quite 1.0 T. oz., coin ...
Early pieces distinguish themselves from later ones (and fakes) by their exceptionally fine detail and finish. The handle is up-tipped, which is another feature associated with older examples; subsequent issues had flat handle ends.
A mint condition estate item, this small chipped beef fork possesses every quality for which this pa...
Other elements of the design incorporate more typical to Wallace floral elements, including a bold iris that appears in two places on the handle and in the heel of the bowl, along with wild rose and violet blossoms.
This example is a 7 1/8" long, weighty at 1.8 T...
Price per pair. Please ask about individual purchase.
They are marked "Benedict," for Samuel Ward Benedict, a well-known New York City jeweler and watchmaker, working 1818-60.
In his work on marks, John McGrew attributes the "bust, lion, C" pseudo hallmark that also appears on them to the "Gilbert-Cunningham/Cooper Complex."
They are a "Prince Albert" pattern...
Priced as a pair.
Examples of this show up in both coin and sterling silver, and are only occasionally identified as by Durgin. This youth set provide that association, as both pieces are stamped "Wm. B. Durgin" and "Sterling."
The knife measures 7 1/2" long, while the fork is 6". Both pieces combined weigh just...
They produced an extensive line of souvenir spoons, many with a mining theme, as is the case with this 6" long, 1.0 T. oz. example. It features a die cut image of a miner panning for gold in a stream flowing from distant mountains. A stand of evergreen trees forms a backdrop for him and his t...
It is lone coffee pot made imprinted on the underside "S. Kirk & Son," "Sterling," model number "184 A F," and "Hand Decorated."
It is a "Half Chased" Repousse, meaning there is a plain area on the upper and lower portions of the main part of the body.
There is a script "FFM" in the open area at the top of the body, just below the lid.
Identification for this, presumably, retailer is elusive, but other pieces with the same name bear the pseudo hallmark of silversmith Richard Huntington of Utica, so this likely places Le Gross in central New York.
It is a well-formed item, with a broad end, and high, rounded shoulders off the somewhat elongated, pointed tip bowl.
What particularly d...
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...
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...
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 ...
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....