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One of the remarkable and delightful facts about antique English flatware is that fine examples of eighteenth and nineteenth century sterling silver flatware can still be acquired by today's collector at prices that are often no more expensive than, or even less than, modern flatware. This article is not intended to be a discussion of pieces that can only be seen in museums; it is, instead, about antique sterling silver flatware that is available to individuals at affordable prices. More and more people are finding a new dimension in entertaining and decorating by using antique sterling flatware in their homes.

Perhaps a short historical setting is in order. The spoon may have been the first form of table silver specifically designed for use in eating. While the earliest examples of man-made spoons were made from wood, bone, or ivory, the more enduring spoons were metal. Metal spoons became much more prevalent in Roman times and some splendid examples, dating from the fourth century, have been found in the north of England. Forks made from silver and intended solely for use at the dining table are a comparatively modern invention in that they are not found until the early seventeenth century during the reign of James I. The earliest English flatware "pattern" - that is, a design in which the stems of both the spoon and the fork were made to match, is called the "trifid", (Illustration 1). The trifid spoon is usually engraved with initials or, less often, with a foliate design. The trifid had a comparatively short life as a pattern in that it originated about 1660 and was popular only until the early eighteenth century. The forks had two, three or four tines, depending on the taste of the buyer or the maker.

Beginning about 1700 the "wavy-end" or "dog-nose" pattern came into use, (Illustration 2). The stem of the dog-nose spoon or fork usually has an engraved crest. The crest is a heraldic badge used when the full coat of arms was impractical because of size or cost. (Illustration 3 shows the crest of King George III).

The custom of the period was that travelers carried their own spoon, knife, and fork with them since neither inns nor country houses were generally outfitted with silver tableware for guests. For this reason sets of trifid or dog-nose tablespoons and tableforks by the same maker and of the same date are extremely rare and almost never found for sale.

The "Hanoverian" pattern is first seen about 1710 and is characterized by the turned-up stem and by a rib which runs from the base of the stem down about one-third of its length, (Illustration 4).

The forks always contain only three tines and, until about 1730, the spoon bowl contained a "rat-tail", (Illustration 5). The earlier examples of the rat-tail are plain, but later pieces may contain "beading."

A "straight set" of Hanoverian flatware (a set in which all pieces were made by the same silversmith during the same year) containing twelve of each of the basic pieces of English table silver cannot be found outside of major museum collections. However, since the Hanoverian pattern is found over a comparatively long period (1710-1780), it provides the patient collector with an opportunity to assemble an early set of flatware that is well matched. These sets are highly prized and therefore may be comparatively expensive to accumulate, but the final result is well worth the trouble. Fakes are relatively rare, but an individual is always well-advised to purchase any early flatware from a reputable dealer since alterations to the forks or spoon bowls are sometimes seen.

From 1780 the Hanoverian pattern begins to disappear, and is replaced by the "Old English" pattern, (Illustration 6).

The Old English pattern is similar to the Hanoverian, but the end of the stem is rounded and the stem turns down on the spoons and turns up on the forks. The rib, common to the Hanoverian, is lost and the forks almost always have four tines. This pattern, like the Hanoverian, is generally lighter in weight than the patterns which became popular in the early nineteenth century. The Old English pattern has been made continuously in England since 1770 and has been copied by many American manufacturers. The most prolific silversmiths of the period producing Old English flatware included George Smith and William Fearn, Hester Bateman, and the partnership of Eley, Fearn and Chawner.

The Old English pattern, along with the other patterns to be described later, may occasionally be found in "straight-sets". These are sometimes referred to as "canteens" and contain twelve each of the five basic pieces of English flatware: table fork, dessert fork, tablespoon, dessert spoon and teaspoon. The dessert fork and spoon are similar in size to the luncheon fork in modem American flatware. Many flatware services appear for sale without the teaspoon. The explanation for this is that until relatively late the teaspoon was not used at the English table. Tea and coffee were served at different times and therefore, at least until 1830, teaspoons were generally not associated with a table setting. It was not until the nineteenth century that highly specialized table silver such as grapefruit spoons, ice cream spoons, fish forks, and the like began to appear. This occurred when silver bullion was in greater abundance and flatware services were available to a larger segment of the population. The great prosperity in England in the nineteenth century led to grander entertainment, more lavish meals, and more elaborate table settings. At this time flatware patterns also became heavier and more elaborate.

The "fiddle" pattern had its origins in France about 1675, but is not found in English silver until a century later, (Illustration 7). This pattern, which is also very common in American coin silver of the nineteenth century, is characterized by the shape at the end of the stem and almost always contains "shoulders," the small protrusions near the spoon bowl or the tines of the forks, (Illustration 7). The fiddle pattern was immensely popular in the early part of the nineteenth century and generally replaced the Old English as the most popular pattern.

Two variations of the fiddle pattern were first made in the early nineteenth century and both also became very popular. First was the "fiddle-thread," so-called because of the ridge (usually called reeding) that runs along the outside of the stem of the flatware, (Illustration 7). The other variation is "fiddle-thread and shell" which adds the shell decoration to the end of the stem, (Illustration 7). With, these patterns the term "double-struck" is first used. This term, when applied to flatware, indicates that the added decoration, the thread or thread and shell appears on both the front and back of the piece. A piece that is double-struck is almost always heavier than one that is single-struck. Scottish silver, perhaps because of the traditional frugality of the Scots, is usually single-struck.

In the early nineteenth century the "King's" and "Queen's" patterns were first introduced, (Illustration 8).

The stems of these patterns have a wavy outline and the stem of each is decorated with a shell, though the shells differ slightly in design. There is also a slight difference in the remaining decoration. These patterns were made both single and double-struck. The King's pattern has undoubtedly been the most popular over the past one-hundred-and-fifty years and has been copied by most important American manufacturers, including Tiffany.

This article has deliberately not discussed the knife as an integral part of a flatware pattern. This is because, until the Old English pattern became popular, knives were not made to match the other flatware pieces. Some of the earliest knives were "pistol-handled," (Illustration 9).

These were used with the Hanoverian, Old English and Fiddle patterns. Good sets of knives were very difficult to procure because they were made from thin sheets of silver, seamed at the bottom and filled with a resin-like material. Because of this scarcity many dealers attempt to substitute modern knives for antique ones. While this is a matter of preference, we believe that a major part of the value of a set of flatware depends on whether or not antique knives are included. The color of the modern knife will be substantially different from the color of the antique. Since this color difference will be noticeable when the modern knife is placed next to antique forks and spoons, it will detract from the compatibility of the set.

The blades of most early knives were made of carbon steel, but because of rusting or tarnishing most original blades have been replaced. To the individual who is purchasing antique knives for general use we highly recommend that carbon steel blades be replaced with stainless steel blades in a style compatible with the piece. It was not until the fiddle-thread and shell and King's patterns became popular that knives were made to match a flatware pattern. It is interesting to note, however, that even though the knives were made to match a pattern, they were usually not made by the same silversmith who made the forks and spoons. Knives were made by cutlers, an entirely different specialty.

Since the year 1300 English law has required that all pieces of sterling silver offered for sale be hallmarked to show their sterling quality. A reading of the hallmarks will disclose the date of the piece, its maker and the city in which it was assayed. Some of the very small pieces and knife handles often do not contain a full set of hallmarks. Flatware made in the seventeenth and early eighteenth century is usually hallmarked on the back side at the bottom of the stem, near the bowl of the spoon or the tines of the fork, (Illustration 5); from about 1770 the hallmarks were struck at the top of the stem.

The earliest serving pieces made in English silver were basting spoons (often called stuffing spoons), soup ladles and sauce ladles. These three serving pieces may generally be found to match all flatware patterns from Hanoverian (circa 1770) through King's (circa 1830). The early basting spoons were quite large and are often called "hash" spoons; later in the eighteenth century the length became fixed at about twelve inches. The term basting spoon is a misnomer in the sense that they were probably not used in general cooking but instead were used most often for serving. Most people find basting spoons very useful at buffets since their size allows the serving of a generous helping in one spoonful and the spoon cannot slide into a half-empty casserole dish!

Fish slices are first seen about 1760. The fish slice has a large flat blade which is pierced to allow for drainage. In addition to their original intended use in the serving of fish, these pieces are useful in serving cakes, pies, or quiche. Fish slices were made to match flatware patterns from the Old English pattern forward. The piercing in the blade varies widely in design and style.

Asparagus tongs begin to appear about 1770. The earliest examples were made with two long, thin, solid blades; in the early nineteenth century the blades became wider and usually were pierced. These utensils are a must for serving asparagus at a dinner or buffet; their usefulness, however, is not limited to asparagus for they can be used in the serving of salad or other items..

Other examples of eighteenth century sterling serving utensils include meat skewers (used to hold the roast in place for carving), marrow scoops (used to extract marrow from the bone) and tea service items such as caddy spoons and mote spoons. In the nineteenth century, serving pieces, like flatware, became heavier and more specialized.

Many people who collect antiques have found that antique flatware adds another dimension to their collections. Like fine antique furniture, antique flatware has an intrinsic value which will appreciate in value while it is being used and enjoyed. Assembling a set of antique flatware over a number of years can be a great pleasure, and people who have acquired a complete set at one time enjoy adding serving pieces and additional items from time to time. Of course, assembling a set for a child or grandchild is a thoughtful gift and a practical investment - and the donor may enjoy the use of the set until the child is ready to own it!

MR. AND MRS. FOSTER are owners of their own antique silver proprietorship named "The Leopard's Head" which is located in San Francisco, California. The Leopard's Head shares a shop at 472 Jackson Street with Argentum Antiques, Ltd. This shop specializes in American, English and Continental silver. Argentum and The Leopard's Head exhibit together at leading antique shows throughout the United States.