Scottish Provincial Silver Spoons

Item Description

A collection of provincial Scottish silver, to include a silver cream ladle by James Erskine, Aberdeen, circa 1795; two 19th-century provincial tea spoons, one by David Grey of Dumfries, and the other by George Sangster of Aberdeen, along with a silver tablespoon by William Jamieson of Aberdeen, circa 1820.

Among the key lots in RWB Auctions' upcoming 20 August 2025 specialist sale is a small yet impressive group of Scottish provincial silver. Together, these pieces illustrate the rich diversity and regional roots of Scotland's silversmithing tradition - qualities that continue to attract strong interest from collectors at auction.

What Is Scottish Provincial Silver?

Scottish provincial silver refers to silver made outside of the official assay centres of Edinburgh (operating from 1457) and Glasgow (1819 to 1964). Legally, all silver was supposed to be sent to these centres for hallmarking. However, for silversmiths in outlying areas, this was expensive and inconvenient, so many chose instead to use their own maker's marks, often incorporating their initials and symbols associated with their hometown.

Though technically in breach of assay laws, local marking was widely tolerated and became common practice. These locally marked Scottish pieces are now prized for their strong connections to regional identity as well as their distinctive aesthetic, typified by clean lines and minimal ornamentation.

More than 30 Scottish towns are recorded as having produced silver. Some, like Aberdeen and Dundee, had well-established silversmithing communities, while others — such as Stonehaven or Forres - were much smaller, making surviving examples from these places especially sought-after.

Aberdeen Provincial Silver

Among Scotland's provincial silversmithing centres, Aberdeen was by far the most prolific. Throughout the 18th and 19th centuries, the city supported a thriving community of makers who worked outside of the formal hallmarking process due to its distance from Edinburgh. Aberdeen silver is known for its practicality and solid craftsmanship, with pieces often stamped with a distinctive three-tower punch inspired by the city's coat of arms or a straightforward 'ABD'.

Three of the four makers featured in this lot — James Erskine, George Sangster, and William Jamieson — were based in Aberdeen, and their work illustrates the continuity and skill of silversmithing in the city across the generations.

James Erskine (active c1792 to 1818): Erskine was one of Aberdeen's most respected late 18th-century silversmiths. His output includes a variety of flatware and small domestic items, punched with over 30 combinations of marks, including the initials 'E' or 'JE'. The cream ladle in this lot, dated circa 1795 and inscribed with a 'W', reflects the understated elegance of the period.

William Jamieson (active c1806 to 1840): Jamieson's long career spanned the late Georgian to early Victorian periods. In addition to producing flatware, he also made small boxes and goblets, stamped with a clear 'WJ' mark, sometimes accompanied by Edinburgh Assay Office marks. The tablespoon by Jamieson in this lot, dated circa 1820, and inscribed with a 'D', is a fine example of provincial Georgian silver at its most refined.

George Sangster (active c1839 to 1881): Working in the mid-19th century, Sangster belongs to a later generation of Aberdeen silversmiths and marked his work 'GS', sometimes with Edinburgh assay marks, sometimes not, as is the case with the teaspoon in this lot. The piece, inscribed with a 'D', typifies Sangster's work, which was largely flatware.

David Grey And Dumfries Silver

While Aberdeen was a silversmithing hub, Dumfries saw fewer active makers, making its silver all the more collectable today. Town marks used on Dumfries silver include a stag head, a unicorn head and an anchor.

David Grey (active c1814 to 1841) is one of the better-known Dumfries silversmiths. Surviving examples of his work remain sought after, with many examples held by museums in South West Scotland. Grey, also spelt 'Gray', is represented in this lot by a fiddle pattern teaspoon featuring his neat 'DG' punch, Dumfries marks, and a 'JE' inscription to the handle.

What Is Fiddle Pattern Cutlery?

The three spoons in this lot are struck in the 'fiddle' pattern: a widely popular design during the late 18th through 19th centuries. Named for the violin-like shape of the handle, fiddle pattern cutlery features a flat stem with a wide, rounded terminal and minimal ornamentation.

The pattern became especially favoured in England and Scotland due to its simplicity, elegance, and ease of manufacture. Fiddle pattern flatware was often produced by provincial silversmiths and remains a mainstay of antique silver collections, with many little-known provincial makers known only from their cutlery. 

Selling Provincial Scottish Silver At Auction

Interest in Scottish provincial silver remains strong, with collectors valuing both its rarity and the insight it offers into Scotland's regional trades and traditions — each piece a distinctive artefact of its place and time.

RWB Auctions' regular specialist sales offer an excellent opportunity for buyers and sellers of Scottish provincial silverware. With a reputation for record-breaking results, high-profile publicity, and low vendor fees, RWB provides an attractive platform for silver collectors.

If you own Scottish provincial silver — from single teaspoons to full canteens, salvers to snuff boxes — now is the ideal time to bring it to market. Contact RWB Auctions Silver Department today for a free valuation or to discuss consigning to an upcoming sale.

Further Reading

Arkell, Roland. 'Scottish Provincial Silver'. Antiques Trade Gazette. 14 March 2017. https://www.antiquestradegazette.com/guides/collecting-guides/scottish-provincial-silver/.

Findlay, Ian. Scottish Gold and Silver Work. Pelican Publishing Company, 1991.

Turner, Richard W. A Directory of Scottish Provincial Silversmiths & Their Marks. William Sessions Limited, 2003.