A Gorham Luxembourg cucumber server like this one would be part of an elaborate Victorian table setting, as formal, unique serving utensils for almost every kind of food—oysters, asparagus, bone marrow, crackers, fruit preserves, horseradish, olives—were part of a daily fine-dining experience.

Wealthy Victorians had a formal, unique serving utensil for almost every kind of food—oysters, asparagus, bone marrow, crackers, fruit preserves, horseradish, olives—you name it. Today, in our fast-paced world, we puzzle over many of these decorative (and extraneous) items when we find them in upscale antique stores. There was a time, believe it or not, when servants polished the silver and individual place settings could include up to 10 pieces of flatware. In some homes, fine dining was an elaborate event every night of the week.

These flattened, ornate sterling silver pieces with cutout patterns were specifically designed for scooping thin, round slices of marinated or sauced vegetables. Most notably used for tomatoes and cucumbers, the juices drained through the beautifully scrolled holes and the slices could then accompany meats and delicate aspics with solid flavor instead of a soupy sluice. The larger of these pierced utensils were commonly called tomato servers while the ones with smaller blades (and tined edges) were usually identified as cucumber servers. They could be found in rounded, fanned, scalloped or even shovel shapes. And they adorned many a summer table.

Collectors look for unusual shapes and gravitate toward odd patterns (such as stars, birds, fish or flowers). They often seek high-quality brands and some pieces can sell for as much as $700. Many silver companies still produce these beautiful servers to accompany sterling flatware sets.

A Reed & Barton “Burgundy” pattern tomato server.

A Tiffany & Co. “Kings” pattern tomato server.

Of course, we always want to display our finds. And the best way to showcase these marvelous utensils is to present them with the vintage recipes of their era—the exact same favorites for which they were designed. Luckily, the foods requiring these particular servers are quick and easy to prepare.

I still make both of these delicious vintage recipes and use my silver pierced serving spoon to serve them, even on picnics.

Cucumber à la Crème
From The White House Cook Book, 1887

Peel and cut into slices some fine cucumbers. Boil them until soft. Salt to taste.
Mix together equal parts cream, sugar and vinegar.
Pour over the cucumbers.

Add a few shakes of dill weed and pepper to the cucumbers and this elegant creamed dish is a lovely warm accompaniment to leftover cold pork or beef.

Dressed Tomatoes
From Housekeeping in Old Virginia, 1879

Peel and cut into slices ripe tomatoes.
Put a layer into a salad bowl, sprinkle with salt, pepper and powdered sugar.
Put in another layer, and so on, till all the tomatoes are disposed of.
Pour over the top a teacup of weak vinegar.
Cover the top with ice, and set in the refrigerator 10 minutes before serving.

The thinly sliced, dressed tomatoes were often served with breakfast eggs during the 1800s, but could accompany any meal. They may be made exactly as stated, but the addition of ice is not necessary as long as they are kept chilled. Modern vinegar should be diluted in half with water. Balsamic, tarragon, cider or red wine vinegar can be used per your taste, but be sure the liquid almost covers the tomatoes (a shallow dish is best). Granulated sugar can be substituted if powdered sugar is not available. And a dash or two of celery seed or a bit of finely chopped green onion adds a little zing. For best flavor, the tomatoes should be marinated one to two hours.

Liz Holderman is a Worthologist who specializes in collectible books. “Dining with Antiques” is an ongoing feature in which she highlights usable collectible dinnerware, along with vintage recipes.

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These twist-handle coin silver forks with bright cut engraving clearly show a distinctive Cincinnati style. They were made and sold by Duhme & Co. in the mid-19th century, and brought $287.50 for the group at a May 2005 auction. (Photo courtesy of Cowan’s Auctions, Inc., Cincinnati, Ohio)

When Cincinnati’s first settlers arrived in 1788, they dreamed of establishing a trade center along the water highway of the Ohio River. Their primary concern was continuing hostilities with the Indian tribes who had lost their hunting grounds in Kentucky and were determined not to be pushed further west by new waves of white settlers. Troubles with the Indians were resolved after the signing of the Treaty of Greenville in 1795, and the Ohio territory opened for permanent settlement

With permanent settlement came an influx of silversmiths, jewelers, watchmakers and clockmakers from cities in the East, the British Isles, France and Germany, bringing with them refinements such as jewelry and silver spoons to what would soon be called “The Queen City of the West.” While some accounts circa 1798 claim that Cincinnati’s first silversmith was Celedon Symmes—nephew of John Cleves Symmes—the Torrence Manuscripts in the Cincinnati Historical Society provide a 1793 listing for “John Whitesides, Silversmith,” which indicates he was most likely the city’s earliest silversmith.

The earliest Cincinnati silver examples were primitive spoons and ladles (forks were not seen until early in the 19th century). These followed the Eastern styles with “coffin” shaped ends. Next came the distinctive, small bowl with a “fiddle” handle, a shape that evolved from the 1830s through the 1850s, when an exaggerated hourglass shape terminating in a wide rounded end was seen.

In the 1850s, twist-handled flatware began to appear, made by the Kinseys, Duhme & Co., C. Oskamp and C. Hellebush. First seen in the 17th century, this style became very popular and was made for many years, as evidenced by the large quantity that still exists today. Duhme & Co. made and retailed complete sets of twist-handled flatware, some plain and some with bright cut engraved decoration. These two styles—the exaggerated “fiddle” shape—and the twist handle, are considered by some to be the most easily recognized and distinctive Cincinnati styles. After the Civil War, silver hollow ware appeared with greater frequency, with Duhme & Co. as the largest producer.

The Silversmiths

A W. McCrew Cincinnati coin silver ladle in “Fiddle & Thread” pattern with fluted, squared bowl, could be had for around $230. (Photo courtesy of Cowan’s Auctions, Inc., Cincinnati, Ohio)

Perhaps the most prolific Cincinnati silversmiths of the pre-Civil war period were Edward (1810-1865) and David (1819-1874) Kinsey. Edward Kinsey lived first in Newport, Ky., before moving to Cincinnati and by 1836 had his own silver manufactory, employing many other silversmiths and producing both flatware and hollow ware.

In addition to the many fine silversmiths who worked in Cincinnati during the 19th century, many local jewelers imported their wares from silver companies across the country and marketed them under their own company name. Duhme & Co., which manufactured enormous quantities of silver on premises, also retailed silver from other manufacturers, as did The Loring Andrews Company and The Frank Herschede Company. As an example, silver hollow ware might have a backstamp for the Dominick & Haff Company and a retailer’s stamp for Duhme or Herschede’s. Silver retailed by The Loring Andrews Company is of the highest quality, and has a dedicated following of serious collectors for its distinctive repousse patterns. Although it is not certain, evidence suggests that most of its wares were made by Kirk and other Baltimore-area silversmiths and retailed under the Loring Andrews name.

A Cincinnati coin silver hot water kettle made by E.D. Kinsey, circa 1844-61, engraved with Rococo stylized flowers and scrolling leaves, with center monogrammed reserve, mounted on a footed base with molded ornate rim and center burner. If sold at auction earlier this year for $8,225. (Photo courtesy of Cowan’s Auctions, Inc., Cincinnati, Ohio)

Some other names which figure prominently in the history of early Cincinnati silver include Joseph Beggs (1836-1861); Samuel Best (1802-1818); H. Blakesley (1829-1836); Richard Clayton (1834-1859), who was also a balloonist; Peleg Collins (1820-1850); W. & A. Cooper (1835-1837); Jacob Deterly (1812-1833); Joseph Draper (1832-1856); Herman Duhme (1842-1888); Clemens Hellebush (1866-1893); Edward H. Hill (1839-1873); Abraham Palmer (1834-1859); Thomas (1832-1836) and James (1844-1856) Rhodes (1844-1856); Bushnell Willey (1834-1837); and Enos Woodruff (1813-1834). See Elizabeth D. Beckman’s “Cincinnati Silversmiths, Jewelers, Watch and Clockmakers” for a more complete listing.

Collecting Cincinnati Silver

This matching set of four coin silver goblets, all marked Kinsey, were sold at an October 2005 auction for $2,300. (Photo courtesy of Cowan’s Auctions, Inc., Cincinnati, Ohio)

The best way to begin a collection of Cincinnati silver is the same as beginning any kind of collection. Visit museums, exhibitions or auctions and examine objects “hands on” to become familiar with styles and maker marks. Some fine examples of early Cincinnati silver are on display at the Cincinnati Art Museum and other examples may be available for examination and purchase at local auctions. A great reference on the subject is Beckman’s in-depth study titled “Cincinnati Silversmiths, Jewelers, Watch and Clockmakers,” which was privately published in 1975 but is out of print. It may be available in some libraries, from rare book dealers or on the Internet.

A good place for the beginning collector to start is with simple “fiddle-shape” coin silver spoons. These are be available at very reasonable prices for savvy Internet shoppers, perhaps for as little as $31 for six E&D Kinsey coin silver spoons as seen at auction in 2008. A larger piece such as a soup ladle can be purchased for $200-$400, unless it is by a little known maker. Simple beakers or julep cups may be available for $300-$400 each, largely determined by style, embellishments such as beading or engraving, and scarcity of the maker. Hollow ware pieces such as goblets, teapots and pitchers, are much harder to find and will require a much more serious financial commitment, likely several thousand dollars.

This elaborate repousse sterling silver punch bowl was retailed by The Loring Andrews Company of Cincinnati in the early 20th century, and brought $9,200 in February 2006.

As with any antique purchase, condition is a primary consideration. Silver, which has been in existence (and in use?) for 150-plus years, is expected to show wear, but spoons with no “tips” or edges, ones in which one side of the bowl is worn down (most often seen on the left side due to use by a right handed user), or ones with very thin shanks prone to breakage, should be avoided. Although repairs may be performed by a reputable silver restoration firm, such procedures are costly and many collectors prefer to leave their purchases in “as found” condition.

Dr. Wes Cowan is founder and owner of Cowan’s Auctions, Inc. in Cincinnati, Ohio. An internationally recognized expert in historic Americana, Wes stars in the PBS television series “History Detectives” and is a featured appraiser on “Antiques Roadshow.” He can be reached via email at info [at] historicamericana [dot] com.

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Elegant Opaline glass & silverplated butter keeper, circa 1870, in Classical Taste by Joseph Rogers of Sheffield, England.

Boulsover discovered that when sterling silver is fused to copper the two metals are identically malleable. One could pound out a piece and have the silver and copper retain the same geometric ratio to one another as the metal was worked. This led rather quickly to the development of a very large industry based on the fusing of ingots of sterling silver to one or both sides of ingots of copper. The new merchant class—and down on their luck members of the aristocracy—could now have terrific pieces of hollowware that appeared to be made from sterling silver but were in fact made of thinly veiled copper!

The keys to identifying Sheffield silver are strictly related to the method of its manufacture and the need to disguise the underlying copper. Because the silver, not the labor, was the expensive part of the process, large pieces of Sheffield silver were tinned rather than silvered, on unseen surfaces.

Areas such as the inside of a meat over or the bottom of a large tray, even the bottom of a large tureen, will often be tinned, not plated. When you find such a tinned area on a piece you know for a fact that it is old Sheffield plate, unless it’s a tinned bottom added to electroplate with rolled edges. Than you have a fake Sheffield!

Another major characteristic of Sheffield plate is that all exposed edges must be covered with a rim of silver, otherwise the copper middle layer would show through, giving away the fact that the piece is not sterling silver. This is referred to as a wrapped edge. Either one of two processes were used: the applied silver decorative motif was bent over the edge; or a thin silver band was wrapped and fused around the edge. In both cases you can get a fingernail virtually under this edge. You will also find a seam where the ends of the strip of silver or applied moldings meet.

In the 18th and 19th centuries, most families purchasing large pieces of hollowware had their family crest engraved on the item. If you were to engrave a piece of Sheffield plate, the copper would show because of the thinness of the silver layer, Engraving shields or plaques were therefore inlaid into the side of the piece in the appropriate spot for engraving, If you blow air either at the engraved area or at the appropriate areas on an un-engraved piece, the engraving shield will “jump out” at you. This is caused by the differing rates of condensation on the solid silver plaque versus the plated areas. Any piece with an engraving plaque will invariably turn out to be Sheffield plate.

On any item formed out of a cylinder of metal, such as candlesticks, pots, vases and so on, the metal was joined together by crimping or dovetailing. This left an obvious seam, often with a little copper showing. Originally this was carefully burnished, but with a couple hundred years of wear and tear, you can often spot such seams. The presence of these seams is a guarantee that the items are old Sheffield.

Pair of late 18th century Sheffield Plate Candlesticks engraved with a shaft of wheat and inscribed with the Latin words, “Sapiens Qui Assiduus,” which means “He who is wise is industrious.”

There were many fascinating processes involved in the making of fused plate, well beyond those mentioned here. They do not, however, leave any telltale marks that specifically identify a piece as Sheffield plate as opposed to solid silver or electroplate. You can learn most readily about those processes by reading the major books that details all of the processes involved in the creation of fused plate.

The value determinants of Sheffield silver are similar to those for all antiques, but with some exceptions. Aesthetic factors are identical to those for similar pieces of sterling silver. Provenance and rarity also have an impact on value. The originality of the pieces making up a multi-part piece, such as covered vegetable or entree dish with a separate water reservoir, is crucial to value on Sheffield pieces, as it is to all sterling or electroplated items.

Anything made in multiples and of more than one part had each separate piece numbered in a series. Thus, you would have cover, dish and under tray number one, number two and so on. Because the pieces were not always perfectly compatible, the numbering system allowed servants to get the correct cover on the correct base. If the pieces no longer are three to three, or one to one, but are cover three with base four, then an incestuous relationship has developed, and the value is no more than 75 percent of a completely original piece. Marriages of work by two makers would have even less value, perhaps only 25 percent of the value of a perfect piece.

Approximately 90 percent of Sheffield silver pieces are completely unmarked. In fact, the lack of marks can often make one first think an item might be a piece of Sheffield plate. In the very early days a few makers put on pseudo-hallmarks to suggest the high quality of their goods. The guilds of silversmiths sent up an immediate howl and Parliament quickly established severe penalties for the hallmarking of plated wares. As the companies making Sheffield plate grew stronger, they began to lobby for some allowable marking systems, and the end result was that either the name or a small symbol could be used as an identification device. Because marked pieces are rare, a premium of 25 percent or more adheres to a marked price over an identical unmarked piece.

Regency period (circa 1810-1820) Old Sheffield Plate tea caddy. This pieces shows quite a lot of bleeding (wear to top of lid) where the copper is showing through.

Finally, and of utmost importance to value, is the level of originality of the actual plating. Old Sheffield silver is often in remarkably good condition with little or no bleeding (copper showing through). This is because it is the unique property of Sheffield plate that it is sterling silver over copper (not pure silver, as is the case with both close plate and electroplate). Remember, sterling is an alloy and the point of making an alloy is that it is hundreds of times more durable than pure silver: Whereas as pure silver wears away quickly with regular polishing, sterling wears away very, very slowly.

Related to this condition problem is the question of electroplating old Sheffield plate. Never do it unless the condition is so bad that the piece has no value as an antique. Electroplating adds a process totally foreign to the early piece, and it covers the mellow sterling with the more harshly colored pure silver.

In approximately 1840, the Elkington Company of Birmingham England, began production of electroplated silver. They had cleverly bought up all patent rights related to the experimentation then taking place throughout England in addition to their own work. This far simpler method—by which a completed base metal object is suspended in a vat, a charge introduced, and pure silver fused onto all surfaces—quickly put the old method out of business.

Electroplated wares are coated with a thin layer of pure silver, which, as noted earlier, wears away far more quickly than an alloy would. The base metal also impact on adherence, the preferable based metals being copper, brass or nickel-brass alloy (commonly called nickel silver). Britannia and other similar white metals are inferior because they lose their shape more readily and because they provide a poor base for the silver to adhere to.

Sheffield plate Corinthian column candlesticks, made by Hawksworth & Eyre, Sheffield, England, circa 1870's. This is an example of electroplate.

Electroplated items lack all of the distinctive aspects discussed in the Sheffield section. They are commonly marked by their makers and usually have marks indicating the quality of the plating and the type of base metal. Marks commonly seen include EP (electroplate), EPNS (electroplated nickel silver), EPBM (electroplated Britannia metal), A-1, quadruple plate, triple plate, and so on. As with all silver, value is influenced by age, rarity, desirability of style and type, provenance, condition, and additionally, by base metal used.

Because they were competing with the old Sheffield platters who had earned wonderful reputations for the fine quality, the electroplating companies have often used the word Sheffield in their company names or as a descriptive adjective for their plating. Thus one sees on objects such words and phrases as “Sheffield, England,” “Sheffield Silver on Copper,” “Sheffield plate,” “Sheffield silver,” and so on. In each and every instance the word “Sheffield” on a piece of silver is your absolute, iron clad guarantee that the piece is electroplate, having nothing in common with the magnificent pieces of genuine old Sheffield plate.

— by David Lindquist

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David Lindquist co-owns Whitehall at the Villa Antiques and Fine Arts in Chapel Hill, N.C., and is a nationally recognized lecturer, appraiser, author, editor and broadcaster.

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Archibald Knox Tudric muffin dish

By Sherri Hall-Wilcox

The piece pictured above is a pewter muffin dish (valued, designed by Archibald Knox (British, 1864-1933) for Liberty & Co., circa 1901-05 as part of its “Tudric” line. Like most pieces made during this period, it is in the Art Nouveau style. Knox was born in Cronkbourne Village, Tromode, Isle of Man, on April 9th, 1864.

Knox took a winding path to end up as a designer whose pieces are now sought by collectors.

Knox’s early education took place at Douglas Grammar School and Douglas School of Art between 1878 and 1883. It appears it was here that his first interest in Celtic design took root, and later became his signature design form. Knox taught at the school from 1884-1888. In 1897, Knox moved on to become a teacher at the Redhill School of Art, whose headmaster, A.J. Collister, was a close friend. In 1899 Knox would follow Collister to the Kingston School of Art and later to the Wimbledon Art School in 1906.

It was during this period during the turn of the 19th century that he became involved with the studios of Christopher Dresser, famous for silverware, ceramics and glass and Liberty & Co. of London. Liberty & Co. was one of the leading producers of Art Nouveau decorative arts items, and it while he was here when Knox began designing pieces for which he is most famous: creating items for their Cymric line of silver (1899) and their “Tudric” line of pewter (1902). It is unknown just how many pieces he designed for Liberty, as much of the company’s records were destroyed by fire during World War II.

In 1912 Knox left Britain, seeking employment in the United States, returning to the Isle of Man in 1913, just before the outbreak of World War One. During the war (1914-1918), he worked as a censor in an alien detention camp on the Isle of Man, returning to teaching after the war at a number of schools on the island. He died from sudden heart failure on Feb. 22, 1933 and was buried in Braddan Cemetery.

Mexico’s tradition of magnificent silverwork dates as far back as the 1530s. Mexico has abundant deposits of precious metals, so it was natural that a thriving jewelry and hollowware market would evolve there. But establishing authenticity, purity and age – especially for vintage and antique pieces – can be challenging.

Silver hallmarks stamped on a piece are supposed to signify a certain minimum purity – i.e. .925 and higher – and indicate that taxes and duties had been paid on the materials. Precious metals are linked to the currency reserves in many nations, so it’s imperative that nations keep a running inventory of available resources and an accounting of what’s been used. This process has been followed in Great Britain and France since the 14th century, and hallmarks can be used to accurately date silver pieces from there. However, these standards have not been strictly enforced in Mexico – or in the U.S. for that matter.

Since the 16th Century, this duty mark has been the image of the Mexican eagle. It often was referred to as “El Quinto Real,” or the one-fifth of the value of the silver used in the piece that was paid as taxes.

During the first half of the 20th century, the eagle disappeared. Mexican silver was generically marked with a SILVER or STERLING stamp.

The use of a newly-designed Mexican Eagle silver mark with outstretched wings appeared in 1948. It was meant to strictly represent a minimum of .925 silver content, but this was not always enforced. It also was used in association with specific numbers to indicate a manufacturer. There are numerous lists available online and in reference books to help you trace specific makers.

From 1955-80, the shape of the Mexican Eagle silver mark became more abstract, almost triangular. (See photo.) These marks were also assigned a specific number corresponding to a maker or the location.

Since 1980, the official notation is a registration code. The first letter denotes the location, the second denotes the workshop and the number denotes the actual silversmith. For example, MT-01 would indicate Mexico City, Tane (a famous workshop) and the person who registered it. Many studios also stamp a separate trademark or logo to help establish authenticity.

Alex and Elizabeth are WorthPoint Worthologists.

In general, the term Sterling Silver is meant to distinguish items that are composed of mostly solid silver as opposed to Silver-Plated that have only a thin surface layer of silver. However, there are several other distinctions, some using terms that can be confusing and often lead to a misunderstanding of an item’s composition and hence its value.

One of the most important metallurgical terms that are also used in Antique and Modern Silver are the words ALLOY and PLATED. Alloy refers to a composite metal that consists of two or more distinct pure metals that are fused together so as to make them inseparable by mechanical means. Plated on the other hand, refers to metals that have a layer deposited and adhered to a Base Metal to give it the appearance that the entire item is made of the same material used in its Plating. The base metal for most antique Silver items in today’s market is usually Copper, Nickel Silver, Stainless Steel, Brass, or Bronze.

Sterling Silver is actually an Alloy. Because silver is soft in its purest form, Silversmiths mix silver with copper to make it harder and more durable. Additionally, copper gives the resulting alloy a nicer sheen and is more appealing. This is how the Fineness Hallmarks used on silver have come to have meaning and each country considers certain levels as minimum standards (some changed over time) and are usually enforced when on Jewelry and other Silver items. For example, in the United States the first legal Sterling Silver standard was introduced by Charles Tiffany in 1852 and was soon adopted by the US Federal Government as 0.921 parts of Silver and 0.079 parts of Copper. In the United Kingdom, the Sterling Standard was established much earlier, in 1238 (enforced after 1300), and refers to a minimum of 0.925 parts of Silver and 0.075 parts of Copper. Items made of at least 99% pure silver are usually referred to as Fine Silver. In America, Coin Silver refers to a minimum of 90% silver content.

It is interesting to note that, in spite of its name, Nickel Silver does NOT contain any silver. It is actually an alloy of copper, nickel and zinc in varying proportions, usually 2:1:1 or 3:1:1. It is similar to the Chinese “Paktong” as imported to Europe prior to the 19^th century and until Nickel was more readily available from various Colonies. In the west, it was developed first in Saxe-Meiningen, Germany, in 1824, hence its other name as German Silver. Since then, Nickel Silver is used extensively as a Base Metal on Silver-Plated items hence the common abbreviation EPNS (Electro Plated Nickel Silver) or EPGS (Electro Plated German Silver).

Which brings us to Silver Plating…

A very successful method of Silver Plating was Sheffield Plate, which although already known since antiquity, was formally patented for industrial use by Thomas Bolsover of Sheffield in 1742. The initial name for this method was Copper Rolled Plate, which refers to the basic technique employed at the time of rolling a layer of Silver onto a layer of Copper, sometimes on both sides. This produced a very compact and large silver sheet, usually rolled in ingots, that was still thin enough to be malleable for the Silversmith when forming intricate designs. The term Sheffield Plate became popular ca 1770s and was later referred to as Old Sheffield Plate to distinguish it from other methods developed after 1830s. Initially, the majority of Sheffield plated items had the base metal covered on the external side only (Single Plated) whereas the other side was covered with Tin. However, market demand for Double Plated items, especially on hollowware was soon evident and most specimens surviving today as Antique Sheffield Plate are double plated.

Because of repeated increases of taxation on Solid or Sterling Silver during the period between 1784 to 1815, other promising methods of Silver Plating were soon developed that were less expensive and easier to replicate in industrial quantities. Most of these techniques employed the use of fine and very thin layers of Silver, sometimes referred to as Silver Leaf, that were pressed against the base metal 3-5 layers at a time and then heated and burnished to a smooth finish. Since it took a total of 40 or 60 Silver Leaf layers to get each item ready, this method was still laborious and expensive. This method is now known as French Plating because it was mostly popular amongst French platers during the 18thC. Other similar forms of Silver Plating were also developed around the same time, including Roberts Plate ca 1830, British Plate ca 1835, and Merry Plate in 1936.

However, the most important change in Silver Plating came about with the invention of Electro Plating, a method that simply requires placing the item to be plated along with a small ingot of solid silver in a bath of mild acid and applying electric current. This set-up enabled an evenly uniform deposit of solid silver on the plated item, and varying the current and time during the process, allowed for very precise control in the thickness of the plated silver. Electro Plating was first discovered by John Wright of Birmingham in 1840, but was officially patented by Elkington & Co. around the same time. It has since been in extensive use and has remained the dominant way of Plating Silver to this day. Most Electro-Plated wares have a plating thickness of about 3-30 microns; Flashed or Silver-Wash wares have less then 3 microns.

Silver plated items were not required to have hallmarks by law. However, many companies used their own logos and often included the type of Plating that was used on each piece, usually as initials EPS, EPNS etc. This practice eventually became the norm and now most Silver-Plated items found in the market are marked with their respective maker’s trademarks. Unfortunately, some companies intentionally used marks that were very similar to true Sterling Silver Hallmarks in order to gain market acceptance at the time, but this was only during a very brief early period since authorities and other merchants whose marks were imitated, prosecuted this use.

Finally some other terms related to Silver include:

Standard Silver Plate: The equivalent of using 2 troy ounces of Pure Silver for every 144 Silver spoons being ElectroPlated.

Quadruple Plate: The use of 4 times the Standard electroplating amount of Pure Silver, i.e. 8 oz for every 144 silver spoons

Britannia Silver: A Sterling Silver alloy of 0.9584 Pure Silver Fineness

90g or 90G or G90 or 90 or Hard Plating: Refers to Elctro-Plating of over 30 microns thickness; found mostly on German Cutlery & Utilitarian Flatware ca 1920s onwards.

Alex and Elizabeth are WorthPoint Worthologists.

Saturday, July 19: Silver Flatware
Harlowe-Powell — Gallery Auction

Harlowe-Powell presents an important auction on July 19. This sale is diverse and well represented in all areas of furniture, porcelain, silver and decorative items.

Look in particular at the collection of silver flatware, Lots 1299, 1093 and 1095. They have the English King pattern by Tiffany and the King Pattern made by S. Kirk and Son. Why buy? Summer is a great time to invest in silver as prices tend to get higher as the temperature drops, and the English King and King patterns are always in demand.

There is a portrait that caught my eye, Lot 1111, a late 18th-century, early 19th-century small portrait of a gentleman with no attribution. It has been relined and is in what appears to be its original period frame. It has no particular merit as far as provenance is concerned but does evoke a response. It is what we call a “good work” done in a painterly fashion.

Two pieces of furniture got my attention, Lot 1400 and Lot 1378. Lot 1400 is a late 18th-century, early 19th-century Southern slant-front desk made of walnut with pine as its secondary wood. The interior is well represented with drawers and a cubbyhole. It also appears to have its original hardware, which is unusual. The estimate for this piece is $1,500 to $2,500. Most likely it will exceed this estimate. I would guess, upon examining the construction, that it is probably from the North Carolina Piedmont. Why buy? This, in my opinion, may be a second-level collector’s piece, meaning it does not have all the detailing of one that is more finely executed, but is still considered important because there is a finite number available. Estimate: $1,500-$2,500.

Lot 1378, a fine example of an English Regency armchair, made of beech wood and decorated with ebony and gilt finish, would be, from a decorator’s standpoint, a fine addition to an eclectic interior design. Estimate: a “reel you in” $200-$400.

Thursday—Saturday, July 31-Aug. 2: Tobacco-related Collectibles
Mebane Auction 16th Annual Carolina Country Store Auction

Mebane Antique Auction Gallery presents its 16th Annual Carolina Country Store Auction. This no reserve, no online bidding, live on-site auction in Mebane, N.C., has more than 3,000 lots from the estate of Richard Flynt of Haw, N.C.
Here is possibly one of the most comprehensive collections of tobacco-related collectibles (152 in all); Black Americana; Pepsi Cola collectibles, which include reproduction advertising, signs, bottles, calendars, thermometers, clocks and original one-of-kind advertising artwork. The collection also contains peanut and candy jars, gas station memorabilia and fixtures, vintage milk bottles and 20 lots of whiskey and beer collectibles.

JULY AUCTIONS

July 19: Cowan’s Auctions — Cowan’s Discovery Auction

July 19: Harlowe-Powell — Gallery Auction

July 19: Ivey-Selkirk — July Jackson Rooms Auction

July 31-Aug. 2: Mebane Auction

by Christopher Kent
Director of Evaluations, WorthPoint
– Please send your antiques, art and collectibles news about auctions to news [at] worthpoint [dot] com, and put “Auction News” in the subject line.

Hello:

The Estate has, items in very good condition, with minor distress: H & C Bavaria Plates (90pcs), Crooksville China floral plates (5 pcs), Antique Doernbecher Dbl. Bed set with Lead Mirror/Vanity, Chifforette, Vintage L.A. Furniture 1970s solid wood Dbl. Bed set, Remembrance & Queen Bess Silverware and Silver plated cutlery (50 pcs).

Collectibles: Presitige plates by Style House, 1968 (46 pcs), many 8 track tapes, VHS, Glass/Vinyl Records.

Vintage: 1960-70s electronics, tools, glass and deco items.

Preview at http://www.a-muse9.com/ , 360-750-1868, danielle98661 [at] netzero [dot] net or leave msg. 360-696-4838, sandrachampie [at] msn [dot] com .
Please contact us about possible value of items or purchase of them. Sandra Champie

It measures approximately 9 1/4 inches in diameter, 4 1/2 inches tall, the top rim piece comes off and it has 4 designed feet.

It weighs 2 lbs. 6.2 ounces

On the bottom of the piece:

Quadruple Plate Meriden Connecticut

Wilcox Silver Mfg Corp

Pat’d July 16th, 1895

6310

8

It is also numbered 3900-7 [hand engraved]

If anyone can identify this piece, I’d appreciate your knowledge.

I would like to know the value of the piece and WHAT is it?

Thank you for your time.

~Sharon L.

There are many products out there on the market assuring you that their quick and easy method will not only clean your silver to its original pristine color and condition but will provide testimonials attesting to the efficaciousness of the product supplied by museums, cathedrals and “as seen on TV.” Ultimately, when done, they’ll have you convinced that your piece of silver will be whistling Dixie.

Unfortunately, these products are basically quick and easy dipping compounds or chemically-treated wadding or cloths that with prolonged use may ultimately damage your silver, whether it’s sterling or silver plate. There is a caveat to the use of these products which is, only severely tarnished (Black) silver, or silver that is corroded should be dipped, but once dipped, and thoroughly washed, should then be cleaned with a cream polish to remove any lingering tarnish or chemical residue, and will restore some of the original luster.

”Skinned” silver can’t be restored

In the past compounds, known as jewelers rouge (calcined ferrous sulphate), were liberally and almost exclusively used to clean silver. As a result most 18th and 19th century silver has a surface that is scratched and has a hard brilliant shine instead of a soft lustrous shine. This kind of silver, in collector’s parlance, is known as being “skinned,” and there is virtually no way, short of professional conservation, to regain the original patina.

Some of these cleaning compounds are still on the market and still being used. The process is to liberally apply, let dry, then rub like the dickens to remove the dried-on polish. The results with the kind of rubbing this requires is to remove, in silver plate, by degrees, the thin layer of silver applied to the base metal, and in sterling, to wear down the silver making it thinner by degrees. These products are to be avoided at all cost.

Here’s how to clean silver

Use a cream polish cleaner specially formulated for cleaning silver, never a cream cleaning compound formulated for other metals like brass and copper. I recommend Wrights Silver Cream–this company knows their stuff and has been producing an excellent products since the 19th century.

Liquid cleaners are less effective and more cost-prohibitive, because you use more of it to accomplish the same job, and it can leave a residue especially in silver filigree (ornate open work) designs that can build up and is difficult to remove.

Rinse, do not soak, the item to be cleaned in clear hot water prior to cleaning to remove dust and grime that has accumulated on the surface. Always use a soft cotton cloth when washing or drying silver-this is where the old under shirts come in handy.

Apply the silver cream to the surface with the sponge that is provided. Depending on the degree of tarnish, rinse out the sponge frequently in warm water, reapply a small amount of silver cream and continue the work on the piece until finished.

If you are cleaning filigree silver (open pierced work) use a SOFT toothbrush applied with silver cream and gently work the cream into the design, slowly dry the filigree work so that the cloth does not catch in the pierced open work and therefore damage it.

Do not over-clean silver

By that I mean, if your silver is engraved or an elaborate design is etched into the surface, allow some of the tarnish that has accumulated to remain in the design. This will actually enhance the design.

When item is thoroughly polished rinse in soapy warm water, rinse again in clear warm water, wiping with a soft cloth, then dry thoroughly. If you are drying silver boxes or items with attached lids do not hold the item by the lid as this could damage the hinge. Make sure the interior is completely dried. Once dried, if the piece is to be stored, try not to handle the item too much as the oils and acids in our skin will leave marks.

How to store your silver

Large silver pieces should be stored or displayed in airtight cabinets, as this type of storage will retard the tarnishing process. Specially designed silver storage bags can be used for larger silver pieces not on display.
When it comes to flatware, if you have a silver chest specially designed for storage this is best, otherwise use silver bags that are designed with slots to hold the individual pieces.

Regular use of silver flatware will enhance the patina and the enjoyment garnered from the use is tremendous. Avoid putting silver flatware in the dishwasher as some dishwasher detergents can actually tarnish silver.

Never soak knives that do not have solid handles. Most older or antique knives have a loaded compound like tar or plaster of Paris that holds the steel tang (metal shaft) in place, so soaking these types of knives will cause the filler compound to swell and will eventually split the silver handle.

Pay particular attention to knives with mother-of-pearl handles or ivory handles, these must be cleaned by hand. Some older or antique knives have steel blades, if not properly cleaned and dried will rust. There is an excellent product, Barkeepers Friend that is ideal for cleaning tarnished or rusted steel blades.

Get in the habit of regular silver cleaning

The truth is, most people clean their silver twice a year, whether it needs it or not. Usually this cleaning involves a holiday which is fraught with other time constraints and tension-producing situations, therefore making the silver cleaning arduous and yet one more thing that has to be done. If regularly cleaned, used and enjoyed, however, the psychology of silver cleaning can be altered.

Related Links:

Here are some links to products that will help you in the cleaning and preserving of your silver.

Wrights Silver Cream www.jawright.com
Bar Keepers Friend www.barkeepersfriend.com
Siverguard Storage Bags www.silverguard.com

Tea balls, also known as tea infusers and tea eggs, were most popular around 1890 to 1910. Tea balls are perforated metal ball-shaped containers in which tea leaves are placed. The infuser/tea ball is placed in a cup or pot of hot or boiling water, allowing the tea to brew without loose tea leaves spilling into the pot or cup. A chain is commonly attached to the container of the infuser to make retrieval from the pot or cup easier.

The number and shapes and different styles is quite astounding. A fierce competition between silversmiths produced some of the most beautifully crafted tea balls that are now highly sought after by collectors.

Tea balls were not produced in the United States until after 1880 but quickly became popular in many American homes. Two well-known American makers were Tiffany and Gorham, but many other companies made high quality tea balls as well.

In the early 1900s, New York tea merchant William Sullivan began sell his tea in silk sachets instead of small tins to reduce the cost. With his cost cutting move he unknowingly developed the tea bag. From that point on, tea balls/infusers quickly fell out of favor to the convenience of tea bags.

How to use a tea ball
One of the most common mistakes made when using a tea infuser is to over fill it. When it’s packed too full the tea leaves aren’t able to open up fully and release their flavor. In addition, tea leaves will escape and end up floating around in your tea cup. Only fill the bottom half of the infuser; this can best be done by using the bottom half like a spoon to scoop up the tea leaves, then tapping the infuser lightly to shake out any excess tea. After it’s filled, close the infuser and you’re all ready to make your cup of tea.

What size tea ball should you use?

Use a 1.75″ ball for small cup sizes
Use a 2″ ball for large cup sizes
Use a 2.5″ ball for a small teapot
Use a 3″ ball for a large teapot or iced tea pitcher

Additional information

A great book on tea balls is:
Sterling Tea Balls Date: 1997
Shapiro, Dottie and Seymour. Silver Tea Balls. Great North Coast Tea Company, PO Box 2974, Gary, IN 46403, 1997.

A fabulous website you have to visit,with the largest collection of tea infusers you will ever see in one place : http://www.teainfusers.com

People tend to think that the collectibles market goes only in one direction as things age and that is up. While it’s true that many antiques and collectibles do get more valuable with age, I can assure you it’s not always the case. Remember Beanie Babies? How about canning jars? Old Insulators? Right.

Now I know that a few of you out there can point to some obscure items in each of these categories and say hey, I know someone who just sold a $2000.00 Beanie Baby, there are rare exceptions to every rule, but most collectibles cool of after a hot period, that’s why timing is one of the most important considerations in the market. Sell it while it’s hot! I was with a client today, she’s the executrix of an estate, her and her brothers have a sizable US Silver Coin Collection they asked me to either appraise or sell. Either way I’ll make money on this transaction whether I appraise it or take it on consignment.

My advice to her, don’t even bother to have me appraise it, because the market for coins is so hot right now that they will likely bring more money than they could bring in any other market for a long time. What would be the point of me appraising the collection at let’s say $5000.00 when the value will drop for sure once this frantic market levels off?

Do you remember the 1980s when there was a run on Silver and it peaked at about $27.00 per oz? I can’t remember the exact time line, but somewhere around a month after the peak, it was at $3.50 an oz! Sell it While it’s HOT! What happened to all of the people who refused to sell at $27.00 per oz. and said, “well I’ll just hold on to it a bit longer, the price is sure to climb”? Smart people were carrying bags of silver to jewelry stores and other scrap metal liquidators, and walking out grinning. What was the silver really worth? What would have been an accurate appraisal for those items just before and just after the market crashed?

Please don’t think I’m advocating selling off Grandma’s antique wedding ring for a few quick bucks, but if your in a situation where you HAVE to sell or your precious metals are an investment, don’t wait because a hot market can cool off in a day. Got a horde of Gold or a stash of Silver? Call me crazy, most do, but I’d cash that out in a minute because all good things come to an end. Sell it while it’s hot.

At Auctionwally.com I have hundreds of articles and appraisals free to view with no sign up required, stop by and say hello.

Let me state this again, as I’ve stated it on other blogs as well as articles. This is the time to sell your silver.

With oil going through the roof, silver can’t break out. It peaked at about $20 plus and now has settled in a trough between $16 and $18. This is when the value of silver should be setting the world on fire, but it isn’t. Sell, Sell, Sell ungraded silver. I am betting my reputation on this.

I did gain a different perspective on collectible grade coins while I was there. This movement in the price of metal might have been what the market needed to attract new collectors in the coin market. If this is true, then investment coins may be something worth looking into.

Remember that the rare and unusual coins will be the ones that can make you the money, not the coins that aren’t worth grading. Gold coins with low mintage are the coins I would recommend. If you are able to find them ungraded but in fine condition, there might be the opportunity to profit from the grading. This means sending them of to a company that will grade each coin against one that is in mint or proof condition. This is exactly what our member, Cecil, did and it proved to be the treasure that took him several steps in his race to the million dollars. However, you might remember he incurred the theft at the mall where he was displaying some of his coins, and this was a small set back for him.

Be safe when you are dealing in rare coins, and it is best if you are a little secretive as well. I know that doesn’t sound like me, but in this case, it is better to be safe than sorry.

On another note, I was thinking back just eight months ago to when we were just beginning to formulate the plans for what is becoming one of the most successful clubs around, and I am astonished. Daily, I am getting calls from all across the country, and people are starting to realize just what being a member of the 31 Club can mean to them.

Today one of our members wanted to know how to sell some Indian Katina’s, and while we where talking, he mentioned several other items that he might sell. Hopefully, we can help him and also save him money in the process. Another gentleman wanted to talk about some items that were coming up for bid at auction and about what price would be good to buy them at if he had the opportunity. Another member called wanting to know whether a piece was a print or a painting, and I had the pleasure to explain to her how one could tell the difference.

Your calls bring me great satisfaction. When the idea of the club started, it was about giving back for what God has given me. I believe this is being accomplished, and so does our staff. We are growing, and I am so thankful. It couldn’t have happened without you. Please be patient with the reconstruction of the site, because as I see what Jeremy and Cindy are doing, I know that it is all going to be worth it.

Don’t just follow the daily Blog. Join with like-minded 31 Club Members and put a turbo charge on your treasure hunting skills. Get FREE Mentoring. Learn Inside the Industry Secrets. Learn to make high profits and continue to grow your money buying and selling antiques, fine art, and collectibles. My 220 page book, 31 Steps to Your Millions in Antiques & Collectibles is FREE with your membership. The book is also available on Amazon.com. If you buy the book on Amazon, then the membership is FREE.

Visit our Website at www.31corp.com

Do you know a single napkin ring can bring up to $5,000? But be careful, because there are reproductions. Napkin Rings were fashionable from about 1860 to 1900, and no formal table would have been set without them. Where did the days of the formal table go, now that we are in the disposable age where everything goes into the trash as soon as the meal is completed?

Several years ago at an auction on the far west side of Chicago, I found 25-30 silver plated napkin rings from the late 1800’s. I was new to buying silver then, because my first love had always been pottery, so I was a little reluctant to buy these. But, I did buy half a dozen of them at prices from $75-$100. Soon after this purchase, a man approached me and asked if they were for sale. He was more familiar with silver than I was, so I declined to give him a price, and took them home instead. Then, I listed them on eBay.

My money doubled the first they were listed. You see people back then thought that a snipe was a bird, and they didn’t wait until the last 30 seconds to bid on something they wanted. The best of the bunch closed at over $500, and the rest were not far behind.

You must be sure of what you are looking at because some are still being produced today. The figural rings are usually the most expensive, and in Kovels Price Guide, some of these go up to $4,000. A silver plated 3 ½ “ ring with a Conquistador on top made by the Toronto Silver Plate Co. sold for close to $5,000. I would suggest that any older silver or silver plated napkin ring would fetch at least a hundred or two.

You will find all kinds of of Napkin Rings, and often, they will be round with just a letter engraved on them. Even these simple one can sell for $100 or more. But if you find ones with children, oriental figures, Lads and Lassies, animals or Samurai’s, then you have found a treasure. It might seem strange, but it doesn’t seem to matter if the napkin rings are sterling or plate and the maker seems to be the most as it pertains to price. And although napkin rings are made in many different materials, only the silver ones shine.

Often you will find napkin rings in box lots. Some of the time you really have to look thoroughly through the entire box to find where people have hidden them during the preview, hoping that no one else would know these valuable ones are there. If you locate a set of these in a house and can negotiate a price for them all, you should come out smelling like a rose when they are sold individually. These may not get you to the million, but they are definitely more than pocket changes.

Some of you wrote about yesterday’s blog, and you are right. Cindy did correct me. There doesn’t seem to be any Key Ring Clubs but she did point out to me that Key Rings and Key Chains are the same and there is a Key Chain Club. However, as I studied it, I found they aren’t offering what I had in mind.

Construction Alert: Yes, we are under reconstruction and you might see some glitches for a few days. But, when we are finished, you will be pleased. Thanks for your patience.

Don’t just follow the daily Blog. Join with like-minded 31 Club Members and put a turbo charge on your treasure hunting skills. Learn Inside the Industry Secrets. Learn to make high profits and continue to grow your money buying and selling antiques, fine art, and collectibles. My 220 page book, 31 Steps to Your Millions in Antiques & Collectibles is FREE with your membership. The book is also available on Amazon.com. If you buy the book on Amazon, the membership is FREE.

Visit our Website at www.31corp.com

Today’s Photo: Antique Tiffany Co. sterling silver childrens napkin ring c1890 is offered at OneOfaKindAntiques.com for $900

thanks for any help I can get,
Elizabeth
eschmi25 [at] gmail [dot] com

Here is a cute British sterling vinaigrette circa 1818. It was made by John Shaw under the reign of George IV. How do we know this?

The hallmarks on this piece are the keys to identity.

The man in profile is King George IV who reigned during this time. The anchor mark tells us that it is from Birmingham, England. The rampant lion facing to the left is the telltale sign on all British pieces for sterling. The lower case “u” within a square tells us that it was made in the year 1818. Lastly, the “JS” initials are that of John Shaw; the Shaws were known for making vinaigrettes and snuff boxes.

British sterling all carry such identifying hallmarks. If you have any pieces like this, you can research them in two good references – ” Tardy’s International Hallmarks on Silver” or “Jackson’s Hallmarks: English Scottish and Irish Hallmarks on Silver & Gold From 1300 to Present Day.”

A vinaigrette is a little box that hangs on a chain like a pendant. Beneath the intricately pierced grill is normally found a pad of perfume. A lady of the era would raise the box to her nose and sniff the perfume to offset the odors of the 19th century street. Sometimes, ladies would carry a more piercing smelling salt mixture in their vinaigrette to revive themselves if they suffered from fainting spells.

This vinaigrette is rare by its being in the shape of a wallet or small purse. It also has a fancy “grate” – the reticulated silver square inside the box which was used to hold in the sponge containing vapors. The value of a vinaigrette can be determined by the form and also how fancy the grate is. It is not uncommon to find the best examples priced at more than $2,000. These pieces are getting harder to find and the value can be determined by auction or how much a collector is willing to pay.

We have always created objects in commemeration of those places we love to gather and honor. None can be more prolific than the American sterling souvenir spoon.

Spoons have had a long representation of nourishment and life and such spoons were created over the centuries such as “marriage” spoons in honor of the union of a man and a women. Here we have a selection of mid 19th. century sterling souvenir spoons that celebrate holidays like Christmas and commemorate historical and famous places. For as many towns and landmarks that we have in this country, you can probably find a souvenir spoon. Some are machine produced and others have fine hand etched bowls. Back in the souvenir spoon hay – day of the mid 19th – early 20th centuries, souvenir spoons were mostly owned by the wealthy or middle class. However,such spoons like the ” Walter Baker & Co. Breakfast Cocoa ” were given out as promotional items to valued customers.

I have always appreciated the detail and artfulness of the old souvenir spoons. As with many collectibles today we are in a buyers market. I have seen a slump in prices of these beautiful display pieces and as we know “everything old is new again”. I think now is a great time to find deals on these pieces and they will probably have a resurgence in their value as well. I hope you enjoy the pieces I have listed.

Best Wishes ~~ Edward F. McDonough III

Sterling and Coin Silver Hollowware
Prices paid for sterling and coin silver hollowware- pieces other than flat or table ware – were particularly strong. Large punch bowls, early mugs, and similar pieces fetched handsome prices in 2006, garnering national interest. Look for this trend to continue in 2007. Interest in Southern “coin” silver made between about 1810 to just after the Civil War is exceptionally high since much less of it was produced. Just about any silver hollowware produced by regional silversmiths outside of the northeast is desirable to collectors.

Paintings by Cincinnati Artists
Paintings by Cincinnati artists and other regional American painters also produced record prices in 2006. Marge Schott’s collection of Western paintings was exceptionally well received by the art world. “Saving the Dispatch” by Charles Schreyvogel hammered at $1.3 million, a record for the New Jersey artist. Paintings by Cincinnati’s Henry Farny and Joseph Sharp were strongly bid up, with a Farny selling for nearly $1 million, and numerous Sharp pieces stretching well into the six figures.

While not all of us can afford these kinds of prices, fine examples of paintings by lesser known Cincinnati painters such as John Hauser, Louis Henry Meakin, Charles Meurer, Thomas Corwin Lindsay and others might prove to be more affordable investments. If you’re looking for a solid investment, you simply can’t go wrong by buying good examples of their works.

Weathervanes
Weathervanes are also hot. This was the year that these decorative rooftop adornments- long considered collectible- cracked the multi-million dollar mark for a single vane. Most weathervanes sell for far less, however, and can be purchased for a fraction of the cost. Look for unusual, full-bodied forms that retain as much of the original gilding as possible.

Cut Glass Falling Out of Favor
Not all segments of the antiques market are experiencing this kind of growth or these record prices. Cut glass, for example, has fallen greatly out of favor. If you collected examples of this beautiful glass style during the heyday of its popularity in the 1960’s and ‘70s, you’re likely to be disappointed today. A bowl worth $200-300 in the late 1960’s is lucky to fetch half that amount in today’s market. Hand-painted German and French china has similarly fallen out of favor with collectors. Whether these wonderful antiques will become popular again is difficult to predict. I can emphatically say, however, that if you enjoy these classes of antiques, they are eminently affordable today with many bargains to be found.

As always, collect what you like, learn as much as possible about what you’re interested in, and buy the best examples that you can afford.

About the Author:

Kentucky native Wes Cowan is founder and owner of Cowan’s Auctions, Inc. in Cincinnati, Ohio. An internationally recognized expert in historic Americana, Wes stars in the PBS television series History Detectives and is a featured appraiser on Antiques Roadshow. He can be reached via email at info [at] cowanauctions [dot] com.