A magnificent Bacchanalian pattern silevr dessert spoon, with fluted bowl. This is one of the rarest English silver flatware patterns, it was originally produced by Paul Storr. The spoon shows Bacchus, the Roman God of wine, riding a lion, whilst a topless Diana looks on, with another figure asleep at her feet. The back of the spoon is also beautifully decorated, with a masque over a theatre curtain, and tilted amphora of wine. Bunches of grapes and vine leaves complete the decoration. The spoon is extremely good quality, quite heavy to hold, sturdy enough to use as a serving spoon, and the hallmarks are clear. Bacchanalian pattern is shown in "Silver Flatware" by Pickford (pg. 127), where an identical dessert service made by Wakely and Wheeler is depicted. The pattern was originally designed by Thomas Stothard, the famous painter and designer, for Rundell, Bridge & Rundell, the Royal silversmiths, in 1812, the first service was used by King George III. The other rare patterns in the same series include Boar...

Matching set of 5 Fiddle pattern Cape teaspoons, with engraved initials MIH. Very clear pseudo English hallmarks.

Beautiful, elegant, early Old English pattern sauce ladles, with a long drop and engraved initials JIL. Smith and Fearn were leading spoonmakers, and the hallmarks are very clear.

Plain Cape Fiddle pattern Tablespoon, with very clear English Pseudo hallmarks. No makers mark is present, but the letter M is impressed twice, this has only been recorded on silver by Beck. Beck worked from Shortmarket Street and Greenmarket Square.

A Cape silver dessert spoon in the Fiddle pattern. The spoon has pseudo English hallmarks, all individually struck, all the hallmarks are very clear. They include duty mark, bird, castle and date letter e, with makers mark LT. This is makers mark 131 (Cape Silver by Welz), although they are struck in a different order, which is quite common. It appears the Cape silversmiths were not too scrupulous about how hallmarks were struck.

Fiddle pattern Cape teaspoon, with clear hallmarks (Welz no 27) including initials, 2 ladder device in ball, 2 shell device.

Cape Silver teaspoon in the Old English pattern, with very clear hallmarks, IC and shell. Combrink worked from Dorp Street.

Cape Silver Fiddle pattern teaspoon with very clear hallmarks (mark 11 in Welz).

Cape Silver Fiddle pattern tablespoon, with very clear pseudo English hallmarks, including dutymark, bird, castle and date letter B. No makers mark is present, but as only Lawrence Twentyman used this sequence of marks we can be sure of its origin.

Pleasant set of 4 Cape Silver Fiddle pattern teaspoons. Very clear hallmarks showing makers initials between device.

A Cape silver tablespoon in the Fiddle pattern, with engraved owners initials "de C", so probably a Huguenot. The spoon bowl is quite wide and the top of the handle has a very provincial rib and turn. The hallmarks are very clear, and include makers mark LT, and pseudo-English hallmarks (leopards head, date letter a, duty mark and lion passant). This is mark 135 in "Cape Silver" by Welz.

Cape Fiddle pattern dessert spoon with an interesting crest, crudely engraved, of a raised arm holding an axe. Hallmarks are clear, DB repeated twice between two stars.

Early Cape tablespoon of Hanoverian pattern, with the end of the spoon turning up.

A lovely Victorian silver Christening spoon of very good quality in original leather case, reproducing the earlier 17th century Dognose pattern (as was popular in late Victorian times). The hallmarks are clear, including journeymans mark (the journeyman was the silversmith who made the spoon in the George Adams' workshop). George Adams was highly regarded, and was the leading spoonmaker of Victorian England

Plain Cape tablespoon with very clear hallmarks, showing makers initials between two Fleur de Lys.

An early Georgian silver rat-tail Hanoverian tablespoon, with a pronounced rib on the front of the stem, and oval bowl, as is usual for early Hanoverians. The spoon also has two lovely family crests (correctly engraved on the back of the stem), the first is a snake twisting around a pillar, the second a raised fist holding wheatsheaves, with crosses in the background. The rat-tail pattern first appeared in 1710, the rat-tail disappeared from Hanoverians in 1730. The spoon also has very clear bottom marked hallmarks, including a very clear makers mark (RO under stags head) for Nathaniel Roe. This is a rare mark, it is not recorded in Jackson, and the mark in Grimwade (mark 2396) was a poor impression, largely conjectural, and was undated by Grimwade. The mark is recorded by Wyler (pg 148). Roe was a largeworker who worked in London between 1710 and 1717, when his newly born son died aged 4 days. He then left London for Norwich, where he continued work as a silversmith. He became Sherriff of Norwich in 1737.

Rare Russian tablespoon by Kordes, one of the very few silversmith's who were commissioned to work for the Imperial Family. The Assay Master is A. Mitin, who worked from 1842 - 1877. The town mark for St. Petersburg is the crossed anchors and scepter, and is in a square shield with corners, indicating the date of 1873. The 84 standard mark and makers mark are also clear. The assay master mark is clear, but the date letter is worn.

A lovely early Cape tablespoon in the Hanoverian pattern, with turn-up end. This spoon only has the makers hallmark, which is very worn but still faintly visible. Lotter generally only struck his makers mark, as is the case on this spoon. Lotter, who was part of a large family of silversmiths working in the Cape, was an extremely competent silversmith who made the Cape Town Lutheran Church chalice to match one made in Amsterdam in 1765.

Typically late Victorian sugar sifter with ornate cast handle depicting flowers and foliage, and gilded bowl. Hallmarks very clear.

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