A Cape silver tablespoon in the Fiddle pattern, with pseudo English hallmarks. The spoon bowl is long and elegant, and the spoon is good quality and is pleasing to hold. The hallmarks are very clear (Welz mark 148 in Cape silver) and nicely detailed, even hair is visible on the duty mark, and the flag is visible on the castle. The base of the duty mark is cusped, and the makers mark LT is also clear.

A rare Cape silver berry teaspoon, in the Fiddle pattern, with gilded berried bowl and decorated handle. The spoon must be well travelled in it's early life, as the spoon was made in Cape Town circa 1830, and probably "berried" in London in mid to late Victorian times, when the practice of "berrying" was popular (this practice is unknown in Cape silver). Plain Georgian silver spoons were embossed and chased with fruit and foliate scrolls (Pickford, Silver Flatware, pg 70), and the bowl was gilded to complete the effect. The hallmarks are very clear, makers mark FW and pseudo English hallmarks (leopards head, date letter a, duty mark and lion passant), these are mark 163 (Cape silver by Welz). These are the same punches used earlier by Twentyman, Waldek took over Twentyman's shop and workshop in 1836.

Plain Cape saltspoon in the Fiddle pattern with gilded bowl, and very clear pseudo English hallmarks and makers mark.

An interesting armorial silver spoon, with armorial of Robert Burns, who is widely regarded as the National Poet of Scotland, also "Scotland's Favourite Son", also voted "Greatest Scot of all Time" (Wikipedia). Burns night is celebrated on 25 January, with haggis on the menu, and the singing of "Auld Lang Syne". The armorial features a seeded holly bush, under shepherds pipe and crook, with a woodlark perched on a sprig of bay tree, and "Wood Notes Wild" from Milton's Allegro. The bottom of the shield has the motto "Better a wee bush than nae bield" (a small bush is better than no shelter at all), which Burns used to seal his letters.

A lovely and unusual set of 6 silver teaspoons, with an embossed stylised Fleur-de-Lis on the front, and picture back Fleur-de-Lis surrounded by a branch on the back of the bowl. They have a slight "Fiddle" at the base of the stem. The spoons are a good gauge, and a pleasure to use. Given they were made in 1918 at the end of WW1, perhaps they were intended to celebrate France returning to peace. John Yeomans Cowlishaw was highly regarded for his fruit and dessert knives, the firm existed from 1862 to 1950. Cowlishaw unfortunately committed suicide in 1895, the business was carried on by his son. The hallmarks are clear on all 6 spoons.

Set of 12 Fiddle pattern dessert spoons and forks, made by Hamilton & Co, the "Garrards of India". All 12 have a crest and set of initials (AD), the crest (which are worn but visible) is a dove with an olive branch in its beak, under the motto "Nil Nisi Fidum" (translated "Nothing but Trust"). All are clearly hallmarked with maker mark, elephant, the capital letter A and a variety of tallymarks.

A set of Edwardian replica Apostle spoons, with gilded Apostles and gilded fig shaped bowls, in original felt and silk lined box. The spoons are quite large, suitable for use as serving spoons. The practise of reproducing earlier styles of silver was common at the turn of the century. These spoons are very fine quality. The Apostles appear to be: 1. The Master (Saviour) with orb and cross. 2. St Peter with key. 3. St James the Greater with pilgrims staff. 4. St Matthew with purse. We are not sure of the significance of a boxed set of 4 Apostles, perhaps originally a Christening present. Wakely and Wheeler (originally Lias & Son) were manufacturing silversmiths, who supplied many leading dealers in their day. The hallmarks on all 4 spoons are clear.

Lovely set of twisted stem Apostle spoons, with cast silver Apostle finials, complete with nimbus (halo), signifying a saintly head. The spoons are very good quality, the cast Apostles have good detail, unlike the many sets of Apostle spoons mass produced later in the 20th century. The nimbus is engraved with Saint Esprit (Dove of the Holy Ghost), which signifies the descent of the Holy Ghost on the Apostle. The Esprit nimbus is frequently present in early (16th century) Apostle spoons. The hallmarks are clear on all spoons. Thomas Bradbury & Sons was a well known firm, in existance from 1769 to 1943, who mostly exported to the USA.

A rare arts and crafts silver spoon, possibly a jam spoon, made for the iconic Liberty's department store in London. The spoon is very unusual, with a design and decoration we have not seen before. The spoon is hand made, and has a very heavy gauge, this is a lovely spoon to hold and use. The spoon has a "knob" on the stem, which adds to the attractiveness but which also has a practical use in increasing the grip. The engraved decoration is very simple floral design, the circles have been punched in. The small circles, both on the handle and in the bowl, were used to simulate rivets. The hallmarks are very clear, the L&Co makers mark in diamond punch is clear but slightly worn. The spoon also has it's own unique design number, 2339, perhaps some-one with access to the Liberty archives will be able to do further research. It is also interesting to note that this spoon was made early on during the First World War, before production was diverted to the war effort. Liberty used his shop to showcase the work of le...

A commemorative Irish silver caddy spoon, with the Gleninsheen collar handle and rounded square bowl, made to commemorate Ireland's entry into the E.E.C (European Economic Community). The original Gleninsheen collar is a gorget or neck ornament made from a sheet of pure gold, dating back to approximately 700 BC, it was dicovered by a farmer in 1932 in County Clare near the Gleninsheen wedge tombs, it is now in the National Museum. The collar has also featured on Irish stamps, and has been included in the book "The History of Ireland in 100 Objects" (which we can recommend). The caddy spoon also has the Gleninsheen Collar hallmark, which was only used in 1973. All the hallmarks are are well struck and very clear with no wear. An identical spoon was also part of the John Norie collection (lot 7, Part 1 of John Norie Collection of Caddy Spoons, Woolley & Wallis, April 2004). This spoon also features in the Pearson Silver Collection of post war British silver (www.pearsoncollection.com). Note - This spoon was als...

An interesting Roman silver Ligula (or spatula), used for getting cosmetics (or medicinal products) out of long necked jars (balsamaries). The ligula has a rounded shaft with a slight knob on the end, a baluster decoration on the stem (perhaps to improve grip), and a feather or leaf shaped bowl, the 2 sides joined at a 135 degree angle. The bowl also has 3 curved engraved lines, possibly for decoration. The stem is quite rough to the feel (the opposite of smooth and even), it has a number of knocks, small cracks and holes, and discouloured patches, perhaps the result of a long and rough life, but we feel more likely from impurities in the silver when it was made (we welcome opinions, this is certainly not our area of expertise, thanks)

Plain marrowscoop, by specialist spoonmaker Elizabeth Oldfield. This scoop is very dainty, being smaller than later versions. Oldfield was the widow of silversmith Charles Jackson, and had a previous mark as Elizabeth Jackson. She remarried in 1750, when the mark pictured here was registered. The hallmarks are clear, and the original owners initials "WY" are scratched in small letters next to the makers mark.

A magnificent pair of Pierced Vine (also called Chased & Pierced Vine) pattern gilded dessert spoons, these are spectacular spoons. The pattern has interwoven vines, grapes and leaves, and a vacant cartouche on the back for initials or a family crest. The spoons are hand forged, a good weight and superb quality, as you would expect from Vander. The pattern was first produced by Francis Higgins for the Great Exhibition of 1851, and was intended for dessert. The pattern is described as "one of the most extraordinary silver flatware patterns in the world" by MP Levene, London silver dealers who still produce this pattern today. The hallmarks are clear on both spoons.

A rare Cape silver Basting (or serving) spoon, by the Cape's "Greatest Silversmith" Daniel Heinrich Schmidt, as described by Heller in History of Cape Silver. The spoon is Hanoverian in style, with a very pronounced "turn up" end, almost 90 degrees to the spoon handle, a strong pip and a rib on the front of the handle. The spoon also has a double drop, and the stem changes from rounded to flattened. The spoon is a very good guage, with solid bowl and strong tip, very suitable for use. The hallmarks include makers mark HNS (mark 174 and 175 in Welz, Cape Silver) and a bunch of grapes. This was described as an unknown maker by Welz, but it is now accepted that this is the mark of Daniel Schmidt, with some wear and damage to the punch so the D looks more like an H (see Welz marks 108 and 109). The presence of the bunch of grapes, identical to that used by Schmidt, confirms this. The only other Cape silversmith to use a bunch of grapes was Jan Lotter, his bunch is quite distinctly different. Further confirmation ...

Set of 3 gilt spoons (caddy, sugar sifter and jam) with exquisite decoration in the style of the Aesthetic Movement. This movement flourished in the period 1865 - 1885, after the International Exhibition in London led to a an interest in Japanese decorative arts. The decoration consists of abstract patterns of bamboos, birds and butterflies. Original silk lined box, and very clear hallmarks.

Beautiful set of 6 classic Art Deco teaspoons, made by the highly regarded firm of Elkington. The spoons were made early in the Second World War, before production was halted in favour of the war effort. The hallmarks are clear on all 6 spoons.

A rare Dryad Metal Works Arts & Crafts silver jam spoon, made by Collins & Co, the Art metal workers of Dryad Works, Thornton Lane, Leicester, in 1915. The spoon has a stylized Arts & Crafts tree with 7 leaves on a hand hammered background, and also has a rat-tail, the join of stem and bowl is also quite unusual, but has a lovely shape. The spoon is stamped DRYAD with an interesting font (note capital A), alongside the Birmingham hallmarks for 1915 and makers mark for Collins & Co. Dryad, which is a female wood nymph from Greek mythology, was formed in 1906 by Harry Peach and Benjamin Fletcher (head of Leicester School of Arts), it initially produced cane furniture, but branched out to other Arts & Crafts. Dryad Metal Works was established in 1915 when William Pick (of Collins & Co), and a former pupil, joined Harry Peach in partnership. The Collins and Co. mark was used between 1915 and 1919, although it is unlikely much was produced during the Great War of 1914-1918. We believe this spoon is one of the ear...

A very interesting Norwegian silver Liberation spoon, made to commemorate the liberation of Norway from German occupation at the end of the Second World War. The spoon has a stylised well built male in Art Deco style with arms aloft holding a circular shield, with the Norwegian crown on a radiating 4 leaf clover, the figure has broken the chains of oppression which connect with the bowl. The circular bowl is embossed "NORGE 1945, BRUTT BLEV LENKER BAND OG TVANG", translated "Broken were chains, ties and constraints", a line taken from Ibsen's Peer Gynt. The back of the spoon is plain, and the hallmarks are clear - makers mark NM, 830.S (830 grade silver), goblet (makers symbol), letter N and MADE IN NORWAY. This particular spoon was made in two different sizes, this is the larger (and rarer) version, suitable for use as a serving spoon. Thorvald Marthinsen Solvvarefabrikk was based in Tonsberg. Note - we also have the smaller version of this spoon, S11410.

A Canadian silver Fiddle pattern teaspoon, with an unusual gilded spoon bowl (gilded back and front of bowl), possibly for use as an egg spoon. The spoon has 2 interesting family crests, a raised fist holding a dagger and an envelope between 2 feathered wings, these are both very clear. The hallmarks are excellent, and include makers mark "SAVAGE.LYMAN & Co", pseudo Lion Rampant in circular punch, and pseudo duty mark in rectangular punch with canted corners. Joseph Savage and Theodore Lyman operated from Notre Dame Street, Montreal, between 1868 and 1879 when they were declared bankrupt. Their turnover suffered a major decline from $ 300000 to $ 90000 after the British Imperial forces were withdrawn from Montreal in 1870, so they must have catered to English clients. The firm was founded in 1818 by George Savage, who originally arrived in Canada as a soldier with Royal Welsh Fusiliers (Canadian silversmiths 1700-1900, John Langdon, pg 125, a book we highly recommend). Henry Birks, who founded the prestigious...

A rare Cape silver marrow scoop, in the Fiddle pattern, by Willam Moore, who worked in the Cape between 1840 and 1863. The scoop is the traditional design, with 2 differently sized scoops at either end, used for eating bone marrow, a "popular delicacy at the Cape" (Welz, Cape Silver and Silversmiths, pg 76, where a similar fiddle pattern scoop by Moore is depicted, but in much worse condition than this one.) The scoop is in excellent condition, no dents, scratches or repairs, it does not appear to have seen much use. The Cape hallmarks are very clear, and include makers mark WM and the Cape Stub mark (see article in our articles section) of 4 pseudo English hallmarks struck in a stub (Welz mark 101). A very similar Cape silver marrow scoop by Willam Moore, but with makers mark struck the other way, can be seen on the Steppes Hill website (http://www.steppeshillfarmantiques.com/silver-and-porcelain/d/rare-19th-century-cape-silver-marrow-scoop/98455/216995).