The urn-shaped coffee pot is particularly characteristic of the Philadelphia taste for elegant, attenuated forms, ornamented with restrained, bright-cut borders. The fluted sides of the lower body add strength to the rolled sheet silver (available in Philadelphia as early as the 1760s), as well as providing a decorative play of light and shadow. The fluted, pedestal plinth, and fluted or faceted urn finial, are exceptional refinements. Coffee pots were the most conservative form of neoclassical silver and retained rococo elements in their cast shell handle sockets and curved, shell-ornamented spouts.

None of the pieces of the set have the narrow bands of minute beading so common on Philadelphia neoclassical tea and coffee pieces of the 1780s and early 1790s. Instead, repetitive bright-cut engraved borders incorporating a half-daisy motif surround the top and bottom of each body, presaging the milled borders used after 1800. The fluted, pedestal-based slop bowl is typical of the neoclassical style in its relatively large size and wide, spreading form. Rather than large, ornamental script initials, the simple conjoined CC on each piece is contained within a rather small, squarish, shield reserve. The initials CC represent the fashionable Cornelius and Catherine Comegys of Philadelphia and Chestertown, Maryland, who married in 1794. The set may have been a wedding gift and is thought to be similar to one made for President James Madison by LeTellier which was lost when the British burned the White House in 1814.

John LeTellier, the creator of these masterpieces, is listed in numerous books as also working outside of Philadelphia. He may simply have solicited work in Chester County, Pennsylvania, and Wilmington, Delaware, during the 1790s rather than actually operating a shop in those locations. It is likely that he maintained his business in Philadelphia where his obvious talents could reach a large and fashionable clientele. LeTellier had a son, also named John, who may have used the same marks.