George Adams spoon pattern

[AccentDesigns]

Does anyone know the name of this pattern on this sifter spoon ?
Its marks indicate that it is .925 silver and was made in London, Victorian era, (1865) by George Adams.
The grapes and leaves are very similar to a later pattern named "Bright Vine", in which the the pattern is not cut out like this one.
The piece is quite heavy for its size: 2.17 oz (61.6 gram) 7" (180mm) long, the gilded pierced bowl is 2.25" (55mm)



http://www.rockmypics.com/view.php?filename=967IMG_2020.jpg



http://www.rockmypics.com/view.php?filename=647IMG_2019.jpg

[dognose]

Hi,

Welcome to the Forum.

I fixed your images the best that I could. You may well be better off using http://www.tinypic.com

Trev.

[agphile]

Wakeley and Wheeler have inherited and still use many 19th century dies. A catalogue of theirs describes a similar variant of the Bright Vine pattern simply as "Chased and Pierced Vine". The catalogue says it was first produced by Francis Higgins fo the 1851 Great Exhibition. However, the examples illustrated in the catalogue are not identical to your piece.

[agphile]

Wakely and Wheeler's Chased and Pierced Vine

[AccentDesigns]

Thank you Dognose, for helping with the photos: I will certainly try "tinypics" for additional pics. I was not pleased with the other site.
Thank you Agphile, for the photos and info about the Wakely & Wheelers "chased and pierced" patterns. I too have located other similar patterns, one by Tiffany, with strawberries in 1875 is pierced and chased in the same style, but nothing yet is identical to this piece. I am an obvious novice but so very willing and anxious to learn; I do appreciate all of your experience.

[agphile]

Perhaps I should have added that your piece seems to me to be a rare variant of a relatively rare pattern. I'd be surprised if you found a specific name recorded for it unless you turn up a relevant catalogue from the right date. Even then, you might find it shares a name with other versions by other silversmiths. You might have to settle for calling it "pierced vine variant".

[AccentDesigns]

On closer examination, I place the date on this George Adams piece at 1848. There is a small scratch on the cartouche near the date letter "n", which made it look like a "k". It appears as if someone tried to scrape away the tarnish, rather than clean it properly.
This date opens up the possibility that my piece was an earlier "trial" for the later "chased and pierced vine" pattern which Agphile advised of; one that Francis Higgens produced for the great exhibition of 1851.
Being a novice collector, I wonder if being a rare variation, of a somewhat rare pattern, increases or decreases the collectability factor of a piece. It is such an interesting pattern that, for myself, I simply enjoy looking at it.

[agphile]

From my reference books, rather than my own direct knowledge, the trailing vine pattern had appeared in England by the 1830s while pierced vine was a pattern of the mid 19th century. Different makers probably had their own particular versions of the pattern and a date of 1848 suggests that yours might indeed be an early version of pierced vine.

As regards what is desirable to collectors, it will of course depend on their particular interests. However, if you find something attractive and interesting, the chances are that others will as well. Rarity is indeed a factor for many, but not all, e.g. the flatware collector who is trying to put together a matching set rather than gather individual pieces. For me, important considerations are attractiveness, interest (where age and rarity come into play), condition and craftsmanship (e.g. all the extra chasing and piercing in this case).