Being from the South, Silver is a very big part of my life. It doesn't have anything to do with wealth. Although those with more money - old money, tend to have more of it. New money tend not to spend their money on Silver. They do not have the appreciation for the warmth of the metal, the beauty of the patina, the story it tells of the generations past who have used it. A true southern girl comes of age when she chooses her silver pattern, long before she chooses her mate. If she is smart, she chooses that of her mother, grandmother, or favorite great aunt who in their benevolence will pass their silver on to her. It is the pieces in those sets, the pieces on our tables, along with the pieces we find in the corners of the displays in antique stores that prompted me to start this blog. They are beautiful, they are odd, but what are they, and what in the hell do you do with them?
Sugar Shells are one of my favorite pieces in any pattern. They are usually elaborate and a wonderful example of the pattern's design. I have posted on this piece several times before.
Another non fussy pattern by Reed and Barton. Heritage was introduced in 1924. The stem is edged with a stately double line which is wrapped at the terminal with leaves. There is an embellishment at the tip of the terminal and another design half way down the stem.
There is a newer pattern named "Cameo" by Reed and Barton that was introduced in 1959. However, I could not find out much about it. This is Cameo by international that was introduced in 1939. The design is a simple motif of flowers and leaves in the middle of the piece and some decoration at the bottom of the stem. It is not a fussy design, not is it heavy.
An older pattern by Frank Smith, Earle was introduced in 1890. It is a busy pattern with an open shield on the terminal suitable for monograms. An acanthus leaf attached to the bottom of the shield. The stem is neatly wrapped in a design that resembles ribbon.
This is an interesting pattern. From what I can discern (and this is only what I can put together from bits and pieces) Frank Smith introduced his Lion Pattern in 1905. The Frank Company's molds and dies were eventually sold to the The Webster Company which in due time became a division of Reed and Barton. However in addition to the mark of the Frank Smith Company, you may find pieces of this pattern with manufacturing stamps of the Wallace or Towle companies on them. I do not know why. All that said, it is easy to see that the pattern was named for its design of the lion's face on the top of the terminal with his paws grasping a shield that is suitable for monogramming.
Amston introduced Champlain in 1915. The design is age less in both boldness and beauty. The lines of the terminal are similar to those of Gorham's Chantilly, except Champlain's have much more festive tip on the terminal and on the top of the stem.
Although Amston did not introduce Arcadia until 1949, it has the lines of an older more traditional pattern. It was designed by Isadore A. Lipman. The terminal is elongated with a roped edge of leaves. Steak Carving Fork (9 1/4 inches)
Grape by Saart, introduced in 1905, has a lovely etched design of bunches of grapes, leaves, and vines. There is an open medallion on the terminal suitable for engraving. Below that the design of the grape vine full of the fruit and leaves works its way down the stem.
Another pattern by Saart, Number 1 was introduced in 1900. This pattern has a lovely ornate design of layered leaves on the edges of the terminal and a motif on the top of the stem. The end of the stem also has a simple but elegant design. Also this makes for a strong but beautiful pattern. Lettuce Serving Fork (8 3/8 inches)
Rosebud by Saart introduced in 1903 is a simple pattern. The end of the terminal is surrounded by a thin border of minute rose buds with a larger one on the tip. Other than a double line outlining the stem, there is no other adornment to the design. Saart is not a company you see often. Fruit/Orange Spoon (6 inches)