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"Metallic"

Knife

The handles are silver and with reeded design. The blades are plated and made by J.R. & S.

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Knife

The handles are silver and with reeded design. The blades are plated and made by J.R. & S.

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Serving spoon

fiddle back pattern, with shoulders. Good weight

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Serving spoon

fiddle back pattern, with shoulders. Good weight

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Serving spoon

Handle of the spoon is decorated with the bright-cut engraving associated with neo-classical design in silver, and includes an example of patera.

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Teaspoon

Fiddle back teaspoon, with shoulders

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Fish slice

Substantial weight. Fiddle back stem with engraved crest: two angel figures either side of a cross. The shaped blade has linear engraved patterns which form a border. The center of the blade has an engraved and pierced fish form.

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Patch box

Hinged box tapering to base; scalloped shell-shaped lid; body of box is line and geometric pattern in circular bands; applied shield on front

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Mug

Baluster shaped mug on spreading foot; repousse chased floral sprays on a matted ground within two scroll patterns; third intervening panel plain; panels linked by scale and scroll chasing; leaf design on body at handle junction; handle has scroll design with applied leaf

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Footed bowl

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Mustard pot

Pierced sides with solid top and reeded handle; pineapple finial on lid

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Ladle

The bowl of the ladle is hammered, the facets and planes marked and used decoratively. The bowl is a generous pear shape and is joined to the high, arched handle by a linear section of design. The handle is slightly bracketed and tapers. It ends by curling under itself, terminating in two leaves with berries interspersed. The form of the ladle is very organic and natural. The quality of workmanship and individuality fits with the Arts and Crafts movement, and the naturalistic elements with the Art Nouveau period - both styles which influenced Jensen. The ladle is fully marked and stamped as follows: 1922, Copenhagen Assay Master C.F. Heise, 925.S. Imported by George Stockwell and reassayed in London in 1933. Also marked is '141' which may refer to pattern number. Further research needed to identify designer. (per Helen Delacretaz, Curator of Decorative Arts)

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Sauce Boat

Made in 1934, the sauce boat raises from a restrained, pedestal base (8 slight brackets with two vertical bands at each joint, surmounted by a bead) to a compressed globular base. The base has diagonal bands of cusped decoration and some flattened beads. From the base swells the boat, comprised of flowing, curved lines. The rim profile is serpentine. The thumbpiece and spout are continuous with the curved form. The upswept thumbpiece terminates in a double scroll handle, each end concluding in leaf details. Like the ladle (#2000-11), the sauce boat is consistent with both the Arts and Crafts and Art Nouveau styles. The hammered surface is less evident on the sauce boat, indicative perhaps of greater mechanical production or over cleaning. The sauce boat is fully marked as follows: 1934, Copenhagen Assay Master J. Sigsgaarde, 925.5. Also marked '177A' which may refer to pattern number. Further research needed to identify designer. (per Helen Delacretaz, Curator of Decorative Arts)

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Pickle jar

Cylindrical shaped jar, with rayed base. Three vertical ribs divide the pattern into sections, each containing a floral spray with stippled ground. The flowers resemble a lily. Borders, above and below the main design are in a fan and bead design. The silver-plated stand, cover and suspended pickle tongs are probably by the Meriden Britannia Co., Hamilton, Ontario, or the Toronto Silver Plate Co. Excavations at the sites of Trenton glassworks in 1964 resulted in the identification of additional Nova Scotia glass from shards. (per Kathleen Campbell, Curator Emerita)

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Tray

Shaped and openwork border

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Spoon

The design is fiddle pattern with shoulders

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Tea and Coffee Service

Four piece silver tea and coffee service consisting of a coffee pot, teapot, cream jug and sugar vase. Produced by industrial techniques, the wares are densely decorated. The shoulders feature festoons with applied cast cherub masks which are interspersed with linear swags/bows with suspended diadems. On either side of each ware are large, oval cartouches, one of which carries a full honorary inscription (coffee pot and teapot) or initials (JH) (cream jug and sugar vase). Bands of beading decorate the upper rims of the vessels and their pedestal feet. Acanthus leaves decorate the hinged dome covers of the pots and the feet of all wares. Cast pineapple finials resting on leaf plaques are screwed through the covers and fastened with a wing bolt. Swan neck spouts terminate in acanthus leaf mounts as do the scroll handles. The vessels follow neo-classical form. The amphora-shaped coffee pot and the helmet-shaped cream jug directly reference classical antiquity. The density of decoration in the Victorian manner, however, overwhelms the simple shapes of the vessels. The service originally included a fifth piece, a serving tray, which has been lost.

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Sugar spoon

Slightly waisted shovel bowl. The handle is created from a loop of wire with a bead soldered at join with bowl. The finish has a faceted appearance to the surface.

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Pickle fork

Two everted prongs. the handle has a corn ear motif. The finish has a faceted appearance to the surface.

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Bonbonnière

From a raised, circular base springs four corn ear motifs which attach to baluster-shaped stem. Above junction of corn motifs to stem, the stem becomes four leaves which attach to organic-shaped bowl. Open handle arcs over top bowl terminating in corn ear motif. The finish has a faceted appearance to the surface.

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Hot Water jug

The hot water jug is in a baluster shape with a cane covered handle and a short spout, simply chased at the base. The Rococo based decoration is chinoiserie showing a man standing near a water source holding a parasol. Also present is a large bird and vegetation is throughout. The lid is chased with flowers and topped with a flower finial. A crest in the form of a rearing stag appears on the central body.

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White Bowl

Thin, white, silver bowl of organic, free-form shape. Surface hammering and effects of heating and acid cleaning remain, leaving the surface a matte, white finish, rather than a brilliant, reflective surface. Only the rim of the bowl has been burnished to show the silver.

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Empress Josephine

Head and shoulders portrait of Empress Josephine in profile

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Stuffing spoon

Georgian Fiddle pattern stuffing spoon with engraved monogram letter "A". Fiddle pattern denotes a pattern used for flatware handles, the shape of which somewhat resembles a violin/fiddle

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Teapot

Small, compressed, globular teapot which is fairly restrained but with some flamboyant flourishes such as the high, upswept double-scroll handle and waved gadroons.

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