Catalog

Engraved patterns were immensely popular in the late 19th century and consequently many manufacturers produced them in an array of designs, especially florals.

One particular pattern that was widely embraced was the Lily, which is actually a lily of the valley engraved on this 8 3/4" long, 2.6 T. oz., berry or other serving spoon by Whiting.

Introduced in 1882, the naturalistic floral and leaf elements are represented in an Aesthetic manner, set on a rounded end, Antique

Hanau encompasses a broad category of silver produced in the late 19th to early 20 centuries in and around the German city of this name.

Stylistically it often mirrors silver from other countries, particularly France, and from earlier periods.

Marking is idiosyncratic, often even obscure, employing pseudo hallmarks that are generally challenging to identify.

This example is a 6" long, 1.1 T. oz. piece known as a "monkey spoon," which characteristically has a handle with a hooked...

One of two identical place, i.e. lunch size, forks this piece measures 7 1/16" long and weighs a robust 1.7 T. oz.

Dating from the late 19th century, it is a quality item stamped "Hennegan, Bates Co." for the prominent Baltimore firm, and "Sterling."

The pattern is an engraved Lily, which is more accurately lily of the valley, and is one of several variations of the same theme made by numerous manufacturers of the period.

The bright cut work is set against an enhancing ...

This 8 1/8" long, 1.77 T. oz., coin silver piece stands apart for several reasons.

One distinguishing aspect is the combination of maker and retailer.

It is stamped with the "eagle, thistle, harp" mark of Philadelphia's Taylor & Lawrie." Catherine Hollan in Philadelphia Silver notes "they [T&L] advertised they had manufactured for Bailey & Kitchen then for Bailey & Co. for twenty years . . . (1857 adv)."

This is stamped "M.W. Galt & Bro.," for the Washington, D.C. firm establishe...

Measuring 7 1/4" long, weighing 2.3 T. oz., and having a 2 1/2" diameter by 1" deep bowl, this is a substantially-sized gravy ladle.

The pattern is Whiting's Heraldic, which apropos of the pattern name, features the image of a medieval helmet prominently set at the top of the handle. The remainder of the design incorporates a dense array of high relief, scrolling acanthus leaves.

The bowl on this is the fancier of two that Whiting used for this line. It has a scalloped rim and rai...

The larger of at least two sizes of model number 393 dishes made by Wallace, this piece measures 6 1/4" by 4 1/8" and stands 1 1/4" tall at the highest. Solid silver, it weighs a substantial 2.96 T. oz.

Shell form dishes were produced by many makers throughout the 20th century, and they were typically based on scallops . This one, however, is modeled after a large, hard shell clam, specifically known as a quahoag in New England, Rhode Island in particular.

This substantially sized, 10" long, weighty at 2.8 T. oz., piece has a double Philadelphia provenance in that it is marked "lion, K, crown" for maker Peter L. Krider, along with the name of retailer "Robbins, Clark, & Biddle." It is also stamped "Sterling."

These four, Krider, Robbins, Clark and Biddle, were all well-known and well-regarded names associated with the manufacturing and marketing of silver, and they had intertwining histories. This particular configuration suggests an 1875-78 da...

This 8 3/8" long, .45 T. oz., item is an example of American silver design following after a much older English form, namely a mote, aka skimming, spoon.

As this does, motes spoons typically have a pierced bowl on one end and a pointed or spear tip on the other.

Most commentary about their purpose indicates mote spoons were originally tea related, used for filtering loose leaves, with the point serving to clear a spout of clogs.

This 8 3/8" example was made by FS Gilbert, North Attlebor...

An Indo-Persian pattern, Gorham's Hindostanee was issued in 1878, as indicated by the "Pat. 78" along with Gorham's "lion, anchor, G" emblem and "Sterling" stamped on the backside of this 5 1/2" long, 1.1 T. oz. cream ladle.

The finely rendered design incorporates a series of repetitive scrolls and palmettes on a slightly upturned, rounded end, handle, and includes a shield reserve, which in this instance has never been monogrammed.

As a line, Hindostanee had an individualist...

As documented by Flynt & Fales in The Heritage Foundation Collection of Silver, Eleazer Wyer, born in Boston in 1786, learned goldsmithing from his father (of the same name), and his sister married silversmith Timothy Keith, so the trade was clearly a family tradition.

Eleazer relocated to Portland, Maine about 1806, and from 1814-18 was in partnership there with Charles Farley.

Four of these six, essentially matched, coffee or tea spoons are marked "Wyer & Farley" along with an "ea...

At 6" long and weighing 1.0 T. oz., this example of Gorham's Versailles pattern is an early issue, old style, ice cream spoon, marked "Copyrighted," "lion, anchor, G," and "Sterling" on the backside.

Its distinguishing feature is the shell bowl with scalloped edges and a ribbed interior. This is finished in a matte gold on the front except for the heel, which along with the entire backside, has a bright gold surface.

The figure on this multi-motif line is a cherub hold...

A rarely found piece in Gorham's Old Medici pattern, this sardine fork measures 5 3/4" long and weighs .8 T. oz.

It has four, relatively broad, pointed tines that are joined to a deep-shouldered, wavy-edged, heel that is engraved with an acanthus leaf design surface.

The tines retain a portion of an original gold wash on the upper sides.

Most references date the pattern to 1880, although Charles Carpenter in his benchmark Gorham Silver places it about 1883. This is ...

This Reverse Tipt teaspoon measures 5 1/2" long and weighs .74 T. oz.

It is clearly stamped with pseudo hallmarks that include a "lion passant," a "leopard face," "YS," and a "bust."

Intentionally mirroring late Georgian English style and period hallmarks, this is an example of Chinese Export silver, produced in this instance in Canton by the maker Yatshing aka Yat Shing.

As export silver, it would likely have been made to a sterling standard and is well crafted.

An original, early production, piece, this regular length, 6 3/8" long, .64 T. oz. olive spoon in the Fairfax pattern is marked with Durgin's "D" emblem, "Sterling," "Pat'd," and "A. Stowell & Co.," a once prominent Boston jeweler.

Introduced in 1910 by Durgin, this colonial revival design proved immensely popular and was continued in production by Gorham after it absorbed Durgin in the early decades of the 20th century.

The slender and relatively deep, pointed end, bowl is especial...

Reed & Barton held a commanding position within the realm of Art Nouveau silver producers at the turn of the 20th century, with designs such as Love Disarmed an unexcelled figural offering and Les Six Fleurs a benchmark among florals.

La Parisenne, the pattern on this 6 3/4" long, weighty at 2.12 T. oz., gravy is another expressive Reed & Barton design from this period.

A multi-motif floral line, the image on this is a water or pond lily (whether by inten...

The dominant silver house in Cincinnati from the mid 19th century onward, Duhme's first line pattern, No. 1, followed after the broad, fiddle shaped, handle design characteristic of the Ohio River Valley of the period.

The pattern had variants or close parallels, of which this 9 1/8" long, 1.9 T. oz., coin silver table serving spoon is one.

It has a plain, chamfered edge, shank (vs. twist handle on other versions), a knob end, and very high, pointed and beveled edge, shoulder...

One of the earliest names attached to California silver, Vanderslice & Co., dates to the late 1850s. Unlike many subsequent San Francisco firms which sourced much or most of their goods from Eastern manufacturers, Vanderslice was a primary source from its founding in 1857/58.

As recounted in Silver in the Golden State, Vanderslice & Co. became "the longest lived of the nineteenth-century San Francisco manufacturing firms."

This piece is a 9 1/4" long, 2.54 T. oz., coin silver berry ...

Although primarily a New York City Silversmith, Louise Belden in Marks of American Silversmiths and other sources note that William Grigg spent some years in other locations, namely Albany 1770-78, and Halifax, Canada, 1782-89.

He was a freeman worker in 1765, dating this group of six, matched, 5 1/2" long, just over 3.0 T. oz. (95 grams) the lot, to the decades between then and Grigg's death in 1797.

They are all stamped "W.Grigg" in a serrated cartouche, which is one of four marks...