Safford, Frances Gruber _Colonial Silver

8/14/2019 Safford, Frances Gruber _Colonial Silver

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CUbU1 U 1SILVERI n T h e American W i n g

FRANCESGRUBER AFFORD

THEMETROPOLITANUSEUMOFARTNEWYORK

The Metropolitan Museum of Art

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During hecolonial eriod he silversmith, r gold-smithas he was oftencalled,rankedat the top ofthe hierarchy f craftsmen ndhis workoften re-flected European tyles more quicklyand morecloselythandidthe otherbranches f the decora-tive arts.Muchmoreso than oday, hepossessionof gold andsilver objectswas the prerogative fthe style-conscious litethatwantedarticles n thelatest fashion.As theyhad n Europe,such itemsestablished tatus, and in a societywhere socialstandingwas determined rimarilyy wealthandmaterialossessions hesilversmitharlyon foundpatronage. orthe homehe madevessels for foodanddrinkhatnot only illedpracticalunctions utalso wereprominentlyisplayed s overt symbolsof affluence ndposition.For the dailyuse of indi-viduals fmeans,the silversmith rovidedtems ofadornment countlessgoldandsilverbuttonsandbucklesas well as jewelry.For the more prosper-ous parisheshe fashioned ommunionilver andbaptismal asins.As theybeganto prosper, he colonistscarriedon the OldWorld ractice f convertingheiraccu-mulatedwealth into plate, as solid-silverwareswere thengenerically alled.Thus n 1688 WilliamFitzhughof Virginiawrote his agent in London:"For owmy buildingsinished,myplantations ellsettled. . . & being sufficientlytoredwith goodsof all sorts, I esteem it as well politic s reputable,to furnishmy self withan handsomCupboard fplatewhichgives my selfthe presentuse & Credit,is a surefriendat a deadlift, withoutmuch oss,or is a certain ortion ora Child ftermy decease."Plate continuedo be a strong ndicator f wealthandfamily s well as a convenient ormof invest-ment throughouthe colonial eriod.In 1770JohnWoolmanf Philadelphiaecried "theCustomaryuse of SilverVessels abouthouses"by his prosper-ous Quaker rethren ecause t clearly epresented"Outwardhow and greatness."

1. Cherub'sead rom NewYorkankardmadeabout1700-20byCorneliusKierstede.BequestofEdwardL. Clarkson, 929 29.139)

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Silversmiths layedanimportantole incolonialsocietybeyond he fashioningf luxurytems and,whennecessary, heconversionfsuchobjectsbackintonegotiableilverandgold.Theyalsofunctionedin a sense as bankers,servingthe practicalom-mercial eedsof thecommunity theymight afe-guardmoneyondepositormake oans andsomesilversmiths lso enteredintobusinessventures.Workingn themetalsofcoinage, hey couldassessand, fneedbe, assaythediversecurrency fvary-ingweightsandstandardshatentered hecoloniesthrough rade. Most of the moneyin circulationwasforeign: oinsfromSpanish olonialmintspre-dominated ndmingledwithDutch,French,Por-tuguese,Spanish,and of courseEnglishpieces.The confusion reatedby this varietyof coins,some of whichwere worn,clippedat the edges,or counterfeit, ndthe shortageof hardcurrencypromptedheMassachusettsGeneralCourt o es-tablisha mintin Boston in 1652. New England'sfirstknownworkingilversmiths,ohnHullnpart-nershipwithRobertSanderson,became he mint-masters,and he earliestdatable ilver tem intheMuseum'scollection s a 1652 shilling romthatmint(fig. 2). The firstcoins issued were irregu-larlycircularpieces of silverstampedon the ob-versewithNE for"NewEngland"ndon thereversewithRomannumeralsndicatinghe value.Threedenominationserestruck: welvepence,or shill-ing;sixpence; nd hreepence.Theuneven,undec-orated edges obviouslyinvited the practice ofclipping, r cuttingoff, of minutepieces of silver,andbefore he endof1652 a lawwaspassedorder-ing "that henceforth all peices [sic] of n1onyCojned. . shallhave a doubleRingoneitherside,withthis Inscription Massachusetts,anda treein the Centeron the one side, andNew Englandandthe yeere of our lordon the otherside."Thefirsttree designwas a willow, ollowedbyanoak,and hen a pinetree (fig. 3), ofwhich he greatestnumber f exampleshavesurvived.Allcoinsborethe date 1652no matterwhenissued, except forthe twopencepieces firststruck n 1662.TheMassachusettsmint,whichwasestablishedwithoutanylegalauthorityromEngland, easedoperating bout1682, but the coins, oftenknownatthetime as "NewEnglandmoney," ontinuedncirculationnto the nineteenthcentury.No othercoinswereofficiallytrucknNorthAmerica eforetheRevolution,lthough fewsmithsdidsuccumb

2. This New Englandshilling,the earliest type coinedinMassachusetts, must have been producedbetweenJune 10,1652, when JohnHullandRobertSanderson were appointedmintmasters, andOctober 19 of that year, when anorder waspassed to adopt a tree design. Twopunches, one for theobverse andone for the reverse, seem to havebeen usedrather than dies, and they were struck at opposite ends of theplanchetso that one stamp wouldnot obliteratethe other.Diam. 11/s nches. Bequest of AlphonsoT. Clearwater,1933(33.120.376)

3. Pine-treeshillingswere mintedbetween 1667 and1682,those produced hrough 1674 havinga largerdiameterthanthe latersmaller, hicker,and more commonones. Thisexamplebelongs to the earlier group andwas struckfromdies thought to havebeen amongthe firstof the manyused forshillings nthe pine-tree design. The smallerpine-treede-nominations,suchas the sixpence seen here, show few vari-ations. Massachusetts coins were of the same standardbut oflesser weight than heir Englishequivalents.Diam. 13/16nches;3/4 inches. Bequest of AlphonsoT. Clearwater,1933(33.120.377,380)

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to the temptation f counterfeiting. ilversmithsremainednvolvedwith he monetaryystem, how-ever, even when papercurrencywas introduced:bothJohnConey,who engraved he platesfor thepaper money printed n Massachusetts n 1702(andprobablylsofor he 1690 ssue),andJeremiahDummer,who did those for Connecticutn 1709,were Boston silversmiths.Silverand gold arrivedn the coloniesthroughlegaland llegal rade.Ships romCentralndSouthAmencaadenwithbullion ndcoinsand hose re-turning o EuropearoundAfricawithrichcargoesfrom he East Indieswere the targetsnot onlyofenemyprivateers utalso of pirates,and he latteras wellas the formerhadconnectionswithAmeri-canports. In 1698 Governor ellomont,writingothe Lordsof Trade n London,ndignantlyescribedNew York s "a nest of Pirates."Among hose hesingledoutin his reportsas engagingn the hugelyprofitableommercewith he piratesnMadagascar,a trade hatapparentlyroughto NewYork uanti-ties of "Arabianold" s wellas silver,was CaptainGiles Shelley,whose tankards shown n fig. 29.By traditionhe tankardwas givento him by themerchantswho financed is tripto Madagascarnthe shipNassau,presumablyepresentedon thelid(see inside rontcover).If, as reported,Shelleywas ableto sell a two-shillingallonof rum o thepirates or fifty shillingsor more, the merchantscouldwellafford o presenthimwitha handsomepiece of plate.Coins,whatever heirsource,andout-of-fashionor broken rticles enerally rovidedhe rawmate-rial romwhich he silversmithmadenew objects.Oftenof various tandards,he silverwas melteddownandrefined, f necessary,so that the metalwouldhavethe propercontent.Puresilver s toosoft formost practicalurposes; opperwas there-fore addedto make it harderandmore durable.The proportionf silver o copperdetermines hequality r standard f the metal.TheEnglish ter-lingstandardor coinageandobjectsalikewas setat 925 out of 1000 partssilver.Varyingtandardswere used on the Continent:n Amsterdam, orinstance,more thanone quality f silverwas per-mitted, hefirstbeingabovesterling tandard,hesecondbelow.In Europe he qualityof the metaland of theworlunanshipas supervisedby guilds.Beforeanobjectcouldbe sold, it had to be brought o the

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4. Themark n the dram up n fig. 8 is one of fiveusedbyJohnConeyduring is careerand s found n many f his. .ear.erpleces.

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guildhall to be assayed and marked hence theterm "hallmark."nglish ilverwas usually truckwith a mark ndicatinghe standard, townmark,a date etter denoting he year,and he markof themaker o that both silversmith nd assayercouldbe identified.Guildswere never established n the colonies.Localordinances uch as that passed by a Bostontownmeeting n the 1670s, requiring that arebetakenall ware made of pewter or silver whetherbrought o the countrieor made here. . . be of yejust alloy," laced he burdenof maintainingtan-dardson the silversmiths.The "justalloy" or sil-ver was the English terling tandard f purity, ndit was generally ollowed n the American olonieswithout he supervision f assay offices. Thoughhe was not required o do so by law, the silver-smith usuallystampedhis individualmarkon hisworkto identify t as his and have it serve as hisguaranty f quality. And hereby ertify, hatI willwarrant ll Goldand Silver to be good, which smarkedwiththe following tamp,viz. w H, by Wil-liamHoward," dvertised ne silversmithn Mary-land n 1749.The silversmith'smark n the seventeenthcen-turyusually onsistedof his initialswithin shapedreserve that sometimescontained dditionalmalldevices such as a pellet or a fleur-de-lis fig. 4).In the eighteenth entury nitialswere more oftenset withina rectangleor oval, andby about1725,as silversmithsbecame more numerous,a markwith the fullsurname,with or without irst nitial,came into use (fig. 5). The silversmithcut hisowndie andoften employedmore thanone die ei-ther simultaneously r consecutively duringhisworldngife. The markwas struckby giving ham-mer blowto the die held against he silver.As in Europe,artisanswere trained hrough heapprenticeshipystem, in whicha youngmanusu-ally spent seven years, between the ages of four-teen and twenty-one, eaInillg he technical killsand design traditionsof the craft. The earliestnative-born ilversmithswere taught their tradeby immigrantraftsmen.Thus in Boston, the firstsilversmithing enter to develop, the craft wasfounded y Robert anderson1608-1693)andJohnHull 1624-1683). Sandersonhad been trained nLondon ndso brought o New Englandhe crafts-manship f the English apital.He arnved n Mas-sachusettsBay Colony n 1638 but may not have

5. KnightLeverett truckbotha markwithhis full urnameand irst nitial ndhisshorternitialmark nthecaster n ig.44.6., 7. With ts stylized lowers et within anels, his wo-handled upmade nBostonabout1660-70 by Robert ander-son (1608-1693)andJohnHull 1624-1683) llustratesheearliest ype of chaseddesignsused n New England.t alsoshows he earliestmanner f inscribingnitials:he lettersEC,probablyeferringo theoriginal wner, nd he surroundingcartouche resimply rickednto he surface see detail).Engraved lock nitialswere ntroducedowardhe endof thecentury, nd hose on thiscupmayhavebelongedo a memberof the Mascareneamily,whosecrest s engraved n theunderside. he cup's owstepped oot s nowreinforced y anapplied and.W.withhandles 1/2nches.LentbyMr.andMrs. EricM. WunschL.1979.134)

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practiced is callingntheNewWorldmuch arlierthan1652,whenhe formeda partnership iththeyoungerHull,whosefinalyears of training e hadmost ikely verseen. nthisshopweretaught hreeSanderson ons andseven otherapprentices, n-cluding eremiahDummerandJohnConey,who,withDummer's pprentice dwardWinslow, omi-natedBostonsilversmithingntil he secondquar-ter of the eighteenth entury.NewYork, r NewAmsterdam, s it was calleduntil1664, wasthenextcenter o develop s pros-perity in thatcolonybeganto increaseafter themid-century.nPhiladelphia,ounded nly n 1682,silversmithswere establishedbefore 1700. Al-thoughilversmiths ere soonalsoat workn othertownsupanddown heeastern eaboard,he threeleading ities of Boston,New York,andPhiladel-phia emainedhemajorentersof silverproductionthroughouthe colonial eriod, orthe trade lour-ishedprimarilyn a thriving rban nvironment.Since herewere noguilds,colonialraftsmennalltradesrelied or theirsuccess on a networkoffarnilyndbusinessties. Intermarriageithin hecraftwascommon ndmanyapprenticeswere re-lated to theirmasters. The silversmithingradewas wellregarded, ndapprentices,ecruitedromfamiliesf goodstanding,ncludedhesonsof minis-ters, whoranked igh ncolonialociety.The lead-ingsilversmiths likeHull,whowas active n theAtlanticradeand heldimportant ublicofficeswereoftenprominentmembersof the communitywithclose ties to theaffluentmercantile lass. Thewillingness f manymerchants o patronize ocalsmithsrather hanorder romEuropewascentralto the earlyflowering f this art andattested tothe skillof thecolonialilversmiths nd hequalityof theirwork.The successfulmerchantsn colonialAmerica,in close touchwith Londonandother Europeancities, were intent on keepingup with the latestfashionsromabroad ndemulatinghe lifestyle oftheir European ounterparts.They thereforede-mandedilver hatwasup-to-date.Becausesilveris easilyportable,xamples fthelateststyle couldreach he colonies n a shorttime,andthe silver-smithswereableto supplyobjects hatrivaled heimports.Silverwasthus inthe vanguard f stylis-tictrendsand heearliest fthe art orms o flourishin the colonies.Seventeenth-centuryecords ndicate surpris-

ingrichness ndvariety fsilver nuse in thehouse-holdsof prominentmerchants ndministers romearly on. The wealthof silverbrought o Bostonin 1638by the wife of the Reverend ose Glover,Elizabeth,widowedon her voyagefromEngland,included ewerandbasin, a sugarbox, a chafingdish, plates, andseveralsalts, in addition o as-sorteddrinlingvessels andnumerouspoons, thewhole described as "a faireand fullcubbardofplate. . as mightordinarilye seen in mostgentle-men'shouses in England." uring he secondhalfof the centuryocallymade silver oined hat from

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abroad nd he amount f plate isted n householdinventories f wealthy olonists teadily ncreased.Unfortunately,ne cannotdetermine romprobaterecords ither he rateat which olonial ilversup-planted he European s the craftbecameestab-lishedor the complete angeofformsmadeby theearliestAmerican miths, sinceinventories ardlyever indicatewhetheran articlewas producedo-callyor came fromabroad. Indeed hey often donot itemize ndividualilverobjectsand give onlythe totalweightand value of the plate.)TheAmerican ilverthat has survived rom he

8. Thetwo-handledhallow rinking owlsabove,both romabout1680-1700,represent egional ariations f a popularseventeenth-centuryorm.The plain ram up nfront,madebyJohnConey 1655/56-1722)of Bostonandprobablyrigi-nally wnedby Robert ndSarah toneof Salem, s of a typeproducedmainlyn New England. lightlyarger owlsdividedintosix obeswerefashioned nly nNew York.Theywereoftenchasedwithconventionalizedesigns,as is the one byJacobBoelen about 657-1729)withanthemion ecorationshown nback.The origin f thetumbler-shapedupon therightbyCornelius anderBurch about 653-1699) ssuggestedbythe engraved nottedwreath, motif ound notherNew York ilverof the late 1600s.Front:Diam.3ll/l6inches.GiftofRobertS.Grinnell,970(1970.287.3).Back:Diam.3/8 inches.Bequestof Alphonso . Clearwater,933(33.120.218).Right:Diam.2ll/l6inches.RogersFund,1950(50.225)

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first tylistic enod before1690 presents morerestncted picturethan that given in inventories.The most popular orms in use were spoons anddrinldng essels, and t is the lattercategory, ftenpreserved n churches, hatnowexists in the great-est number. poons,whichwerethe most common,havehada poor urvival ate,and he earliest ypes,of which the Metropolitan as no examples, arerare. Otherkindsof articlesare trulyexceptionalandare also unrepresentedn the collection.Thusthe first style in American ilver s illustrated ereby dr;nking essels.Oneof the early ormswhose popularity idnotlong outlive he seventeenthcenturywas the bul-bous two-handled up, often called a caudle cup(fig. 6). Caudlewas a warm drinkmade usuallyof ale or wine mixed with eggs, bread or gruel,sugar,and spices. Doubtlessthe cups were usedforotherbeverages s well, and n the nonconform-ist churches,whichutilized omestic orms n orderto eschew anything mackingof popishpractice,they often served as communion essels. The ex-ampleshownhere, probably f the 1660s, repre-sents the earliest tyle of New England audle up,which ollows he form and decoration f Englishcupsof the mid-century.With he curveof the sidesslight and the body wider than it is tall, the cupshows he solidproportionsypical f shapesof theperiod, which characteristicallytand low to theground.Although mall n comparisono some ofthe moreambitious upsmade ater n the century,it has a firm, sure presence. As on manyEnglishcups, the lowersection of the body s ornamentedwithchasing,while he upper s left plain.Here, ason other early examples, the decoration onsistsof panelsenclosingconventionalizedlowers;peb-bling,or matting,adds textureto the ground.Onornamented ups from he last two decadesof thecentury he foliatedesignaroundhe base s usuallyfree-flowing ndmore naturalistic,while the bodytends to be more emphaticallyurved.A varietyof othervessels, smalland arge,werein use during he seventeenthcentury.The low,shallowdramcups for the tastingof smallquanti-ties of wine or brandyalso have two handles,or"ears,"and their horizontal mphasis s typicalofseventeenth-centuryorms fig.8, front).The earli-est one known as chaseddecorationn panels im-ilar o that on the caudlecup n fig. 6, but virtuallyall dramcups that have survivedare plain.These

vessels, pnmarilymade in New England,passedout of favorduxinghe earlyeighteenth entury. nNewYork somewhatarger ix-lobed rinlsingowl,often ornamentedwith chaseddesigns, was morecommon fig. 8, back).Seventeenth-centuryxam-ples of the smallcups vvith ounded ottomscalledtumblers urviveonly romNew York fig.8, nght).Among he larger orms designed to hold bever-ages were tall beakers (see fig. 14) and shorterversions,probably alledwine cups or sometimestuns, not shown here. Also unrepresentedn thecollection s the cup on a baluster tem, the ante-cedent of the eighteenth-centuryxample n fig.40. Beakers and wine cups as well as tankardsserved both in the churchand n the home.Popularhroughouthe colonial enod, tankardswere the largestof the drinking essels, and heircapacious odies were filledmost commonly vithgenerous raughts f beer.The seventeenth-centurystyle is illustratedhere by a Boston exampleof1680-1700 that can holda full wo quarts fig. 9).Witha broaddrumas wide at the bottomas it ishighanda majestic urvinghandle hat extends allthe way to the base, the tankard xhibits he im-posing trength f seventeenth-centuryorms.Typi-cal of tankards f this penod are the narrowbasebandand he low,stepped,overhangingid, bothofwhichreinforce he horizontal eightof the mass.Other arly tylistic lementsare he double-cuspedthumbpieceand the plain, shield-shapedhandleterminal.Not vvidely roduced, poutcups are thought ohavebeen used in the feedingof infantsand nva-lids and were made in the coloniesfrom the lateseventeenth to the mid-eighteenth entury. Anexample fig. 10) very likelydates bom the early1700s, but its shape bespeaks a previouspenod.The globular odyvvith traightneck, which n thiscase nscely lares ut, s a seventeenth-centuryorm,probably raceable o sixteenth-centuryGermanstoneware.

9. Made byJohn Coney, probably he most prolificandversatile of Boston's early silversmiths, this handsome tan-kardof 1680-1700 is notable for its robust form and the fineheraldicengravingrepresenting the arms of the Eyre family.On the underside are the initials EK, orJohn Eyre, active inbusiness and n the affairsof the Massachusetts Bay Colony,and his wife Kathenne (Brattle), who were married n 1680.H. 7 inches. Lent by Erving Pruyn (L.40. 36)

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The body of this shapelycup, like that of mostcolonial essels, was made withouta seam fromone piece of silver. It was raised that is, ham-meredup froma diskof silver hathadbeen pre-viously orged roman ingot.On the underside sclearlyvisible the punchmark hat indicated hecenter of the disk and allowed he smithto mea-sure to the edge of the sides with his calipers ocheck hat he formwas beinghammered p evenly(fig. 11). The stepped id wasraised romanotherdisk. Ontheotherhand, he spoutwas made roma sheet ofsilver hatwas cut to size, given ts tubu-lar shape,andsoldered ogetherwhere the edgesjoined.Thewide, hollowhandles f tankardswerefonned imilarlyrom flatouteranda roundednnersectionseamedtogether.The body of a straight-sided objectcouldalso be made by seaming,butthis methodwas the exceptionduring he colonialpenod.Though heets of silvermachine-rolledyflattingmills,whichobviated he need to hammerthemoutfrom ngots, mayhavebeen producednthe coloniesas early as the 1730s, they do notappear o havebeen readily vailable r commonlyused for hollowware ntil he end of the century.More hanone techniquewent intothe fashion-ingof most objects.The handle nd he finial f thespoutcup,for nstance,werecast andsoldered n,as was thethumbpiecef thetankardn fig.9. "Pairsof flasks or casting" isted ninventonesof silver-smiths'oolsandnewspaperdvertisementsorcast-ingsand ndicate he method requently sed in thecolonial enod. The flaskswere filledwith he spe-cial castingsand and a pattern mpressed n thesandby means of a model.The flaskswere thenclampedogetherand hehollow illedwithmoltensilver.Before the cast parts were soldered ntoplace, roughsurfaceswere smoothedand detailssharpened p. On areasthatsometimesremaineduntouched,uchas the inner ideof a castfootnng,the pittingseftby the sandareveryvisible.Anotherprocess equiredor hecompletionf many rticleswas themaking f wireandmoldings n a drawingbench.Wirewas formedbypulling tapered tnpof silver hrough uccessively mallerholes of thedesired hape circular, val,or square.Formold-ings the stnp of silverwas drawnbetweensets ofdies until he proper ontourswere obtained.Thetankard ests on an appliedmoldedbase band:anng madeofa lengthofmolding hathas been sol-dered o the bottomof the piece.

10. MostknownAmericanpoutcupsareof New Englandorigin.ThisrareNew York xample,madebyJacobBoelenprobablyntheearly1700s,has aparticularlyroad nd quatform nd heuncommoneature f acap or he spout hat sattachedo thelidby a chain.As usual, he spout s at a rightangle o thehandle.The initialsWEDnthe other sidehavenot been dentified;he datebelow,1714,maybe byadifferent and.H. 45/8nches.TheAndrew andEthelD.StoutFund, 952(52.91)11. Theunderside f the spoutcup nfig. 10 shows hecenterpointnext to the maker'smark.The cup'sbase withjusta very owstep nthe bodyandnoappliedootbandto reinforcet-has becomebadlydentedat the sides.

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When first completed, a raised form showedstrongevidenceof the countlesshammer trokesthatwent nto he fashioningf its shape.The ham-mer markson the outer surfaceswere thereforesmoothed,or planished,witha flat-faced ammer,and the piece was burnished nd polished.Eventhen some slight irregulanties nd vanationsre-mained o catch he lightandgive the mellow ookassociatedwith old silver. (To this must also beadded he countlessminuscule cratchesandotherblemishes hat have been inflictedby wear.)Thesurface f the spoutcupclearly hows he nppling,shimmering uality haractenstic f early colonialsilver a vibrancy hat mechanicallyroduced il-ver cannotpossess.Surfaces hatwere not left plainwere decoratedin the seventeenthcenturymainlywith engravedor chaseddesigns. Engravingsee fig. 14) is exe-cuted with a sharp-edgedool that cuts and actu-allyremovesmetal.In chasing see fig. 8, back),a

blunt-edged ool tappedagainst he silver with ahammers usedand he line s formed y displacing,not removing,metal. Chasing s thus usually eenin reverse on the inner surface. Repousse, orpushed-out, esignsstandout from he surface ndare hammered romwithinand then given defini-tion rom he outer side, as canbe seen on the su-perblyworkedbowl figs. 12, 13). Ornamentn re-liefwas alsoobtained y moremechanical ethods:the foot bandof the bowl ust mentioned s deco-ratedwith a stnp of silver that has been stampedwith a repeatedpattern; he relief designs on thehandleand bowl of the spoon (figs. 16, 17) weremadeby hammennghe silveragainst swagebear-ing the pattern n intaglio.The designof silverproducedn the colonies ol-lowed or the most partEnglish nterpretationsfEuropeantyles. The seventeenth-centurytyle inAmencan ilverreflects ate Renaissanceraditionsandat timesclearly eveals he distinct nfluence f


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Mannerist rnament.Mannerism, hichoriginatedin Italyandthen spread o NorthernEurope,wasbrought o England y German ndNetherlandishcraftsmen ndadoptedhere by the last quarter fthe sixteenthcentury. t spreadnot onlythroughthemigrationf artisansndobjects utalso hroughpnntedpatternsof ornament.From he 1520son,booksor smaller ets of engravings hat provideddesign deas for the professional raftsmanwereavailablen Europeandbecame mportantehiclesfor he disseminationf stylistic rends.SuchMan-neristprints eatured laborateompositionsf sym-metrical oliage hatcould ncludeurns andotherdevicesandwas populated itha variety fstrangeandhybrid reatures.The caryatid andleson thebowl n fig. 13 arerelatedo these compositeiguresandare of a standardype made n bothNewYork

12., 13. This mpressive iece s the most avishly eco-ratedandone of the largestof the knownix-lobed owlscharacteristicf NewYork. t was madeabout1700-10 byCornelius ierstede1675-1757),anoutstandingarly mithof thatcolony.The bowlwas probablyilled,nthe Dutchcustom,witha beverage f brandy ndraisinshatwas drunkwitha silver poon.The nitials resaid obe those ofTheunisJacobsenuick, baker, ndhiswifeVroutje,whomarriedn 1689.Quick ery ikely wedhis prosperityo theregionalmonopolyn the inspecting, olting, ndexporting fflour eldbyNewYorkCitybetween1678and1694. Diam.10inches.SamuelD. Lee Fund,1938 38.63)

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andNewEngland. opularn northern uropewerepatterns hat also incorporatednterlacing andscalled trapwork, hich anbeseen combined ithfoliageon the beakers(fig. 14). In this case thedesign impulse most likely came directly fromHolland,or the beakersweremade nNew York,where similarDutchbeakerswere availableasmodels; omeDutchbeakershavesurvivedn NewYork hurches,andothers musthavebeen in do-mestic use. Althoughn two known nstances heengraving n New Yorkbeakerscan be traced ospecificprinted ources, the design on these ap-pears to followa standardized utch ormulahatincludes valmedallions ith igures,representinginthis nstanceFaith,Hope,andCharity. allbeak-ers with strapwork ecorationwere produced nLondon,Norwich, andAberdeen, ports whereDutch nfluencewas strong, andthreeexamplesfromBostonare alsoknown.A newerstyle was introducedo the coloniesattheendof theseventeenth entury theBaroque,whichdominated merican ilver romabout1690to 1720.That periodproducedmanyof the moststrikingbjects ncolonial ilver.Formswere mas-sive andmonumentaln concept,if not always nsize, andadiversity fornament,rincipallyn relief,endowed he objectswith the richnessandsenseofmovementhatwerecharacteristicsf Baroquedesign.Styleschangegradually,owever, ndob-jects in theearlierashion r still ncorporatingle-ments from he seventeenth enturycontinued obe made nto the early1700s,particularlyn NewYork. hebowl nfigs.12, 13,madeabout 700-10,displays he horizontalorm,floraldecoration npanels, ndcaryatidandles f thepreviousentury,but ts exuberant pulenceand he regular, hyth-micdisposition f its motifsare inthe spint of theBaroque.Naturalisticepousseornament,when toccurred n that style, was formed nto repetitivegeometricpatterns.Typical f foliagemotifsusedabout 1700 is the symmetrical rrangement facanthuseaves seen on the lidsof the porringer(figs. 18,19)and teapot(fig. 20). The lowerbodyof a vessel was alsosometimesdecoratedwith aseries of acanthus eaves.The mostwidespreadmotifof the Baroquepe-riodwas a whollygeometric ne-gadrooning. Itsalternatingeeds and lutes,repousseandchased,created hythmicatterns fprojectionsndreces-sions andcontrastsof lightandshade;oftena spi-

14. TheNew York eaker n theleft, attributedo JurianBlanck, r. about 645-1714),bearsan nscriptionnDutch,whichranslatedeads:"A okenof devotion nd oyalty o thechurchnKingston, 683." tsmate, atermade o matchbyanotherNew Yorkilversmith, enjaminWynkoop1675-1728), s similarlynscribed utdatedNovember 1, 1711.Thesmooth,highly olishedurface f theinterior f theearlier up s theregrettableesultof modern elining ndbuffing.Dutchraditionsemainedtrong nNew Yorkwellinto heeighteenthentury nd hishandsomeype ofbeaker,which losely ollows eventeenth-centuryutchprototypesinboth orm nddecoration,ontinuedo bemade here ntothe 1730s.H. 71/4nches;73/8nches.Jointly wnedby theReformed rotestantDutchChurch fKingston,New York,andTheMetropolitan useum f Art, 1933(33.120.621,622)15. The detail f theleft-hand eaker howsamedallionwithafigure epresenting harity. he Dutch ype of houseinthebackground, itha steep, steppedgableend hat acedthe street,was alsobuilt n New York.

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ralvariation as used.Suchornament rovidedherich hree-dimensionalffects thatdistinguish a-roquesilver.The ovalsugarbox (fig. 21) with itsbandsof spiraled adrooning,oiledserpent inial,andoutward urving eet is alivewithcircularmo-tion andbold contrastsof surfaceas the stronglyrefractiveadrooningsjuxtaposedo a mattedbor-der andareas of plain, moothsilver.In addition o the contrastof gadrooningwithplain ilver, he decorative ocabularyf the periodincluded varietyofmotifsas wellas diverse ech-niques hatwere oftencombinedo createboldandcomplexcompositions.Ornament n relief waspreferred,be it repousse,cast, stamped,or cut-cardwork. Cut-card esigns consist of a patterncutfrom sheet of silverand oldered o the surfaceof theobject.Engraving as usedprincipallyorar-morials.Thoughbandsofgadrooningrethe mostprominenteatureon the chocolatepot (fig. 23),otherdecorative lements include he cast acornfinial,whichechoes the shape of the highdomedlid, and he hinge,whosecast scrolled humbpiecerecalls the gadrooning.The geometric patternaroundhe upper id and he leafdecoration t thetopandbottom f thespout,bothcut-cardlements,impartvarietyandrichness to a designthat bal-ancesa tall apering ormand he verticalhrustofthegadrooning ithhorizontal ccentsofmoldingsandbandsof plain ilver.

16., 17. The reliefornamentnd he flathandlewithtrifid ndofthisspoonbyJeremiah ummer1645-1718)ofBostonarecharacteristicfspoonsmadeabout1685-1700thatreflect he emerging aroque tyle. Stamped esignswerecommonly sedon the backof the bowlbutonlyrarelyonthe front f the handle s seen here. Inthisperiod poonswereplaced n the table acedown, nd nitialswereengravedonthe backof the handle.L. 7 inches.RogersFund,1940(40.106)18., 19. Of he few coveredporringers nown, oneother sembellished ithgadrooningrthe rich oliage xhibitedhere,which s typical f repousseworkof about1700.Withone exception heycome romNew York,where hisun-markedxamplewas probably ade.The initials re hose ofThomas ndMaryBurroughsf New York,whomarriedn1680.Later nscriptionsn thebowl ecord ubsequentownershipnthe Sylvester ndDering amilies.This ype ofgeometric andle, asedonEnglish rototypes,waspopularinNewEngland utwas used n New York ndPhiladelphiaswell.L.withhandle 1/2nches.GiftofBrigadier-GeneralSylvesterDering,1915 15.98.3)

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20. The uxuriancef thearmorialngraving ith ts cornuco-piasat the bottom, he stamped aseband, nd he meanderwiresallpoint o a New Yorkrigin or hisrichly ecoratedteapot,whichwasmadeabout1700-15 byJacobBoelenandis probablyhe earliestAmericanne known. ts lid sdetachablend ts globularhapecanbe traced o orientalceramiceapots.The armsandcrestare hose ofthe Philipsefamily f NewYork;he teapot aterpassed nto heJay amily.H. 61/2nches.Giftof Mrs. LloydK. Garrison,nmemory fher ather,Pierre ay,1961 61.246)21., 22. Thiselaborate ugarboxof about1710 sattributedto DanielGreenough1685/86-1746),whoworkednNewCastle,NewHampshire,utmaywellhavebeentrainedinBoston,where he eightother uchboxesknown, f asomewhatarlier ate,weremade. t is inscribed ith heinitials fRobert ndSarahEliot,Greenough'sather- ndmother-in-law.efore hedrinkingf tea andcoffeebecamewidespreadn the eighteenthentury, ugar, tillacostlycommoditymportedrom he West ndies,was ndemandosweetennotonly oodsbutalsowinesand iquors.L. 71/2inches.RogersFund,1946 46.61)

Onthe teapot nfig. 20, variations n therhyth-mic patternof the gadrooning reprovided ythestamped eometric ootband nd he appliedmean-der wire at base andrim as wellas the repetitiverepousse andchased leaf designs around he lid.Onone side thisrhythmic ariety s set off bythebroad, nadomeduriSce f thestrong lobularodywhile on the other it is ennchedby lush armorialengravinghatenvelops he whole orm.Such ym-metncalarrangementsfacanthuseavesarechar-acteristicof Baroque artouches.The richnessofthis foliage nd headdition t thebottomofcornu-copias or in othercases swags of fruit)aretypicalof New York ngraving.The most uxurious bjects nthe collectionromthis periodare a pair of candlesticks ndmatch-ing snuffer stand(fig. 26), on which barelyany

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surface s left unadorned.Gadrooning,canthusleaves, pebbling, ndmeanderwires can be seenon numerouspieces of that time, but the chinoi-serie designsof figures,birds,andanimals hasedon the bases of these pieces are highlyunusualin Americanolonial ilverthough hey wereverymuch n vogueon English ilver n the 1670sand1680s. (During he seventeenthcentury objectsfrom the FarEast were increasinglyn demandin Europe,andtheirpopularityromptedhe pro-ductionof locallymade articleswith decorationevocativeof that on orientalwares.) The candle-sticks are impressivenot onlyfor their richandexotic chasingbut also for their mposing ize andarchitectonicrandeur.The silverthat has survived rom he Baroqueperiodgives concreteevidenceof the widevarietyof formsmade n the coloniesby that time andofthe highquality f productionchieved.Among hemore ambitious nd exceptional ieces illustratedhere are forms hatremained are n Americanil-ver even beyond he colonial eriod.Candlestickswere nevercommonand the lavishpair ust dis-cussedare theearliestextantexamples romNewYork.Theyweremadeby thesamesilversmithhocreated he robustand ivelykettle (fig.28), whichis the earliest fjustfour olonialnes known.Mostunusuals theinkstandn fig.38, foronlyone otherhas survived rom he colonial eriod, he exampleat IndependenceHallby PhilipSyng, Jr., of Phila-delphia,commissionedn 1752 by the Assemblyof Pennsylvaniand later used for the sigliingofthe Declarationf Independence.Twoof theobjects hown epresenteventeenth-century ormsthat were produced riefly n NewEngland eforethey went out of style soon after1700. The magnificenttandingalt (fig. 24), oneof only threeknown, s descended rom the latemedieval reat alt,whichmarkedhe placeof honorandwas themost important ieceof tablesilveratthat ime.Thespoolshapewithscroll upportswasthe last usedfor this formandcame nto ashionnEnglandn the 1630s. Herethespoolhas an octag-onal op andbase whose geometricines are uxta-posedwithswirledgadrooningndscrolledknops.Anotherelaborate orm that fell into disuse wasthe sugarboxof ovalcasket shape, fashionablenEngland uringhe secondhalfof the seventeenthcentury.The one in fig. 21, datable o not before1707, when its makerbecameof age and would

23. Among the earliest colonialchocolate pots is this vividBaroqueexample with contrastingplainand brokensurfacesmade inBoston about 1700-10 by EdwardWinslow(1669-1753). The removableacorn finial,attached by a chain o thehandlesocket, alloweda stirringrod to be inserted while thecover was kept closed and the contents remainedwarm.Engravedwith the Hutchinsonarms, the pot is said to havebelongedto Thomas Hutchinson,a prosperous Boston mer-chantand member of the legislaturewhose son was the lastroyalgovernorof Massachusetts. H. 91/8 nches. Bequest ofAlphonsoT. Clearwater,1933 (33.120.221)

24. Boldswirled gadrooningat top and bottom makes thisperhapsthe most imposingof the three knownAmericanstanding alts, all from Boston. FashionedbyJohnAllen(1671/72-1760) andJohnEdwards (1671-1746) during heirbrief partnershiparound1700, the salt bears the initialsofSolomonStoddard,minister at Northampton,Massachusetts,from 1672 to 1729, and his wife Esther. The shallowrecepta-cle at the top is small n relation o the overall size of theobject, reflectingthe costliness of salt at the time the formfirst came into use and the originalceremonial unctionofthese pieces. The knops were designed to supporta dish offruitor nuts served at the end of the meal. H. 57/8 nches. Giftof SarahHaywardDraper, 1972 (1972.204)

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havebeen permitted o workon his own, s consid-ered the latest of the nine extant examples.On the other hand, the Baroque eapot (seefig. 20) andchocolatepot (see fig. 23) presageanincreasinglyargeoutputof articles or the servingof tea, coffee,andchocolate uring ucceeding eri-ods. The growingpopularity f tea and the othernewer hot beverageswas the social changethatmost nfluencedhe formsproduced y silversmithsduring he eighteenth entury.Tea, introducedoEurope rom the Orient n the early 1600s, wasbeingdrunkn London y the 1650sand n the colo-nies at the end of the century at the same timethat offeeand hocolate erealsobecoming nown.The earliestsurviving olonial ots are in the Ba-

25., 26. Probablyhe mostambitious iecesof New Yorksilverof the Baroque eriod nown nd he onlyones withchinoiserie ecorationrethese magnificentandlesticks ithmatchingnuffer tand.The scissorlike nuffers orcuttingand rimmingandlewicksitted erticallyn he openrectangu-larbox. Madeby CorneliusKierstede bout1700-10, thethreeobjects re nscribed ith he initials fJohannes ndElizabeth chuyler f Albany, ew York,whomarriedn 1695.Schuylerwas active n the affairs f his cityandcolony,serving s mayor f Albanyrom1703 o 1706. Possibly heset was ordered t that ime.The detail hows wo of thechased hinoiserie esignson the base of the left-handandle-stick.H. 111/2nches;81/4nches.Right andlestick: iftofRobertL. Cammann,957 57.153).Leftcandlestick: iftofMrs. Clermont . Barnwell, 964 64.83).Snuffer tand:Giftof Mr.andMrs. William . Moore,1923(23.80.21)

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roque tyle andshowthe distinctionmadebythenbetween owervessels for tea andtallerones forcoffee andchocolate.Chocolatepots are identifi-able bythe holein the lid undera removableinialthatpermitted he insertionof a stimng rod.Otherspecializedervingpieces thatbegantoberegularly adewerecasters orsugar nd pices,smallsalts, chafingdishes, andsalvers, as trayswere thencalledandwhich nthisperiodwere cir-cularandstoodon a central, rumpet-shapedoot.Nonetheless,a largepartof the silversmith'sro-ductionontinuedo be spoonsanddrinkingessels.Tankardsrom he Baroque eriodhavesurvivedin goodlynumbersandthe Metropolitan'sollec-tionhas a particularlytrongrepresentationffineNew York xamples.These aredistinctive otonlybecauseoftheirhighdegreeofelaboration utalsobecause hey areof a designunique o suchpiecesfrom hatarea.Drawingn varied ourcesandcom-bininghem nnewways,NewYorkilversmithsatthe timemostlyof Dutchanda few of Huguenotdescent created ankardshatunmistakablyro-claim heir ocalorigin.The shape of the tankardswiththeirstraight,slightlyapering rums, lat,stepped idswithser-rated ips,andwidecurving andless derivedromthe sameEnglishprototypes f the secondhalfoftheseventeenth entury s thecontemporaryewEnglandxamples.New York ankards,however,aredistinguishedytheirbroad tance andstrongproportions ndthe heavygauge of the metal aswellas bytheirdecoration. stampedoliatebaseband,whichoccurs on Dutchbeakers,was oftenused, sometimestogether with a meanderwire,and he tightly piraledorkscrewhumbpiece asinvariably resent(fig.29).Thegreatestelaborationccurred nthe handleand he lid.Engraving as usedmoreextensivelyinNewYork han n the othercoloniesduringheBaroqueperiodand on tankards t was employednotonly nthecoat ofarmsonthe frontbutalso ntheembellishrnentf the lid. At timesthe engrav-ingconsistedonlyof a circularartouchewiththecipher, rmonogram, f the owner.The moreor-natedesignsusuallyollowedwhatappears o be agenerallyaccepted formula hat included oliatescrolls,cherubs'heads,andbirdsaround he cen-tralreserve (figs. 30, 31). The motifsare trace-able to printedpatterns of ornament,especiallythose of northernEurope,butit is probable hat

27., 28. Aremarkableirdlikepoutembellished ithacan-thus eafage istinguisheshisrareand argekettlemade nNewYork bout1710-20 byCorneliusKierstede.Thebroad,flatbottomndicateshe kettlewas probablyesigned o siton a standovera warmer.nitials n thesideandbottomrelate o ahistory fownershipnthe De PeysterandVanCortlandtamilies f NewYork.H.withhandle 0inches.BequestofJamesStevensonVanCortlandt,917 40.145)29. Madeabout1700by GerritOnckelbag1670-1732),thissplendidankard as heampleproportions,oliatebaseband, orkscrewhumbpiece, ndwell-executedngraveddecorationhatcharacterizearlyNewYork xamples f thisform.On hefront rethe Shelleyamily rms,with hreewelk hells,arebus or he name.Thesquare-rigger iththirty-two unson the lid see detail n nside ront over) spurportedlyhe shipNassau, nwhichCaptainGilesShelleysailedoMadagascarn 1698 oranastonishinglyrofitabletradingenturewithpirates,which hispiece s said ocommemorate. . 71/2nches.BequestofAlphonso . Clear-water,1933(33.120.517)

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30. This nterpretationy BenjaminWynkoopf the stan-darddecorativelements acircleof foliation ithwinged-cherubs'eadsand/orbirds thatusuallyomposedheengraved esignonornate idsof New Yorkankardsf theearlyBaroque eriod howsaschematic herubwith argewingsanda rather oose arrangementf scrolled eaves.Inthe center s a double ipher f the initialsD, thoseof thetankard'sriginal wner,whomayhavebeenJonasDouw.Arepair t thefront f the lidhidesa portion f the engravedborder roundhe flange.Giftof Mrs.Abrahamansing, 901(01.3.1)31. Theparticularlyineengravingn thisNew YorkankardbyJacobus anderSpiegel 1668-1708)displays pairofbirds,perhaps hoenixes, midush oliage, nd hepiececanbe accuratelyatedbetween1695and1700.The doublecipher HMon the lidrefers o the originalwners,Robert ndMariaHarris,whoweremarriedn 1695.InApril 701 hewidowedMariamarriedJohnorne.Thatcouple'snitialsIGM,reon the handle,whichhas engravedoliatedecorationat the topandon theterminal. letcherFund,1938 38.83)32. Theapplied rnamenthat mpartednespeciallyichBaroque oteto the handles fNew Yorkankardss a castmaskwith wagsandpendent ruit nd lowers.The exampleillustrateds on a tankard f about1705-25 by SimeonSoumain1685-1750);herethemaskonthe upperhandlewas reused,shornof its pendants, n theterminal.H. 71/8inches.Giftof AnnieClarkson,927 27.85.1)33. This ankardmadeabout1700-20byJacobBoelen sdistinguishedy two types of reliefornamentationypical fNewYorkankardsf the period: coin nserted nto he lidfordecorativeffect in hiscaseanEnglishWilliamIIcrowndated1696)anda castappliquen the upperhandleherealion,one of the motifs avoredor hat ocation).Theactionof the thumbpieceepeatedly itting hehandle aswornaway omeof the reliefanddetail n the frontof thelion.H. (closed)7 inches.Bequestof Alphonso . Clearwater,1933 33.120.512)

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the designs shown here were conventionalizedones thatfound arying nterpretations ithdiffer-ent silversmiths.The depiction f a shipon the lidof GilesShelley's ankards exceptionalsee insidefrontcover).Ciphers,which n this periodwere particularlypopularn New York,hadappearedn specialpubli-cations n England nd he Continentrom he mid-seventeenth entury n. New York mithsno doubtreliedon suchhelpful ooks o devisetheirciphersanddouble iphers. n about1725JosephRichard-son of Philadelphia, ho was beglnning is silver-srnithing pprenticeship ith his father,asked afriend o buy himbooks n England,ncludingpe-cifically analphabetCypherbookto Engraveby."Another manner of decorating ids that wascharacteristicf New York,particularlyuring heBaroqueperiod, was the insertion of coins and

occasionallymedals (fig. 33), a practice hat hadprecedencen northernEuropean ndScandinaviansilver.Coinsprovided rnament n relief, and t iscastreliefdecorationn the handlehatdistinguishesmany New York ankards.Though varyingcastcherubs' eadsandmasksdecorate he handle er-minalsof both New Englandand New York an-kardsof the Baroque eriod, he cast ornament nthe upperhandle s foundonly n New York.Mosttypicals an arrangementf a maskwithswags andpendent fruit and flowers (fig. 32). Ishoughdis-tinctiveof New York ankards, his motif did notoriginatehere. French ronzeornamentsorfurni-ture and bronze appliques n Englishclocks areknown hat are virtually dentical o some of theNew York astings or both upperhandleand tip,though lementswere used selectivelyandsome-times rearranged. t is thereforevery likely thatthese castingswere made from mportedmodels,as was probablylso he lion nfig. 33, whosesourcehas not yet been traced.New Englandankardsf the Baroque eriod avethe same overall hapeas theirNew York ousinsbut hey are generallyess massiveand ess showyand heydiffernmany f theirdecorative lements.Lids,whenornamented, ave cut-cardworkor ga-drooning figs.34,35). The handleoften has a longdropat the upper uncture,and the cast thumb-pieces are distinctive. The typical double-scrollthumbpiecen fig. 35 is easilydistinguishableromthe tightly piraledNew York ariety.SeveralBos-ton silversmiths sed a most curious ype, whoseexact source is not known, that combines twodolphinswith a mask (fig. 34). Otheranimal-formthumbpieces uch as the bird(fig. 36) are excep-tional.Cast animal igures n the roundare rare,though he three-dimensionalffects they createdwere very much n the Baroque pint, and thosefew that are knownfrom the early colonialpe-riodwere made n New England.Primeexampleson a form other than a tankardare the crouch-

34. The cast thumbpieceomposed f a mask upported ydolphins, designof unknown rigin sedby variousNewEnglandmiths n the Baroque eriod, s the eye-catchingfeature f a tankardmadeabout1700-15byJohnNoyes(1674-1749)of Boston.Highly ncommonn the flat-toppedtankardsn style at that ime s the addition f a finial,whichhererecalls he pattern f the gadroonedtep of the lid. Giftof Mrs. GeorgeWalcott, 951 51.88)

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35. Applied ut-cardwork,atype of ornamentationntro-duced o England yHuguenotilversmiths, nriches he lidand owerhandleuncture f thisBoston ankardmadeabout1690-1705byJeremiah ummer. he molded uter aceofthe handle nd he curlnear hebase aredecorative lementsthat, ike he castappliques nNew Yorkankards, rethoughto havealsoserveda practical urpose to facilitatefirm rip.The holesbelow he hingeplatewere causedbywear rom he thumbpiece. . 7 inches.Purchase,Anony-mousGift,1934 34.16)36. Anunusual etail n atankardmadeabout1710-20 bySamuelVernon1683-1737)ofNewport,Rhode sland, sthisstriking ird humbpiece. nly hreeothers ike t areknown, nd heyareon tankards y silversmiths orkingnBoston,whereVernon ossiblyrained.The idon thispiece,havingmore hanone step, ishigh,and t has a finial, wocharacteristicshatwould ecomecommon n New Englandtankards eginning ith hesucceeding tylisticperiod.Giftof Brigadier-GeneralylvesterDering,1915 15.98.4)


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37., 38. Exceptional or the rarityof the form and the use ofanimal igures n the round, this Boston inkstandof 1710-20 isthe work of JohnConey. It includes an inkwell, a sandshaker(the precursorof blottingpaper), and a box to hold thewaferswith which folded etters were sealed. The lid of the waferbox is engravedwith the Belcher familycrest, suggesting thatthe inkstandmay have been made forJonathanBelcher,awealthy Boston merchantactive in politics who becamegovernorof Massachusetts and, later, of NewJersey. Thedetail shows a cast foot in the form of a lion. Greatest w. 73/4inches. Bequest of CharlesAllen Munn, 1924 (24. 109.36)

39. Probably he earliest knownNew England eapot,this exampleof 1710-20 byJohn Coney has a soft, curvilinearpear shape and a discrete oval cartouchethat reflect theQueen Annetaste then being introduced.The piece repre-sents the thirdand ast style espoused by this outstandingBoston silversmith. The arms andcrest are those of theMascarene family; he teapot most likely belonged to Jean-PaulMascarene,who came to Boston in 1709 and aterserved as commander-in-chieff Nova Scotia. H. 7l/2 nches.Bequest of AlphonsoT. Clearwater,1933 (33.120. 526)

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contrastwiththe straight ides ofthe bowland tssomewhatabruptly verted lip. Among he mostelegantand luid ormsof the periodare the sugarbowlsbasedon Chineseporcelainhapes (see fig.47). The complementing erticalcurves of bodyand overcoupledwith he honzontals f the moldedfootandof the lid'snm andhandle chieve beauti-fullyproportionedndbalancedorm.Another spectofthe QueenAnne s seen inthe"eight-square,"r octagonal,pieces that becamefashionablen thisperiod.On these, curves inter-playwith straight ines and the surfacebecomesdivided nto facetsthat exploit he reflectiveprop-erties of the metal.The delicatebaluster-shapedcandlesticks fig. 41) sparklewith their surfacesdivided nto polygonal orms, the highlyfacetedsocketand owerknopcontrastingwith he quieterpatternof the balusterand oot. InNew Yorkdur-ingthisperiod, ut-cardworkwassometimesusedto create effects similar o that of faceting,as onthe lid of the teapot(fig. 42), where the lambre-quinson the coverecho the facesof the octagonalspoutand add a touchof piquancyo the soft, al-most anguid ontours f the form.While n octag-onalobjects he surfacewas brokenup vertically,

40. On hiscommunionup he QueenAnne tyle s mani-fest inthedominant-cunes of the balustertem and heneatsymmetricalurroundf the inscription, hich eads:"Belongs o he Churchn LyndeStreetBoston." t is oneof a pairmadeabout1740by SamuelEdwards 1705-1762)ofBoston,and ts design losely ollows hatof a cupmadeabout1737byhis father, ohnEdwards, or hesamechurch. uchstemmed essels, whichwereproducednthe eighteenthcenturymainlyorchurch se, derived heir orm rom arlierdomesticwinecups.H. 81/8nches.Bequestof Alphonso .Clearwater,933(33.120.230)41. These candlesticks ith heirdelicate acetedbalusterstemsweremade n Bostonabout1715-25by EdwardWinslow ndareamong he oveliestobjectsof the QueenAnneperiod n the Americanilvercollection.Only heengravedHutchinsonrmsdisrupt he sheerbrilliancef themetal.The candlesticks rethought o havebeenfashionedforEdwardHutchinson,he half-brotherfThomas, orwhomWinslows said ohavemade hechocolate ot n fig.23. H.65/16nches.Friends f the AmericanWingFund,1973(1973. 52.1,2)42. Distinguishedy thecut-cardworkon ts lid, his eapotwasmadeabout1715-25 by PeterVanDyck 1684-1751)ofNewYork.There,earlyheraldic onventionsemainedtrongwell nto he eighteenthentury, ndon thisQueenAnnepottheSchuyleramily rms,nowpartiallyffaced,wereen-closed withinan ampleBaroque cartouche. A later inscriptionon the other side identifiesthe first owner as MyndertSchuyler,who was twice mayorof Albany.H. 71/4 nches.RogersFund, 1946 (47. 7)

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43. Eighteenth-centuryasterswereusuallymadenpairsor nsets ofthreewithalarger ontainerorsugarnadditiontothetwoforspices(generallyepper ndmustard). hisrare ompleteet ofabout1725-35,oneofthefewtohavesurvivedntactrom hecolonial eriod,s theworkofAdrianBancker1703-1772)of NewYork.Heproducednearlyversion fthebalusterhapewithmidbandhatwithvaria-tionswould emainhestandardorm orcastersuntilheendofthecentury, utheretainedhe"bayonet"id asteningspopularntheearly1700s.H. 7 inches;55/8nches.Sansbury-MillsFund, 972(1972.233.1-3)44. Avivid xample ftheemphasis iven olineandreflec-tivesurfacesntheQueenAnneperiod, hisoctagonalasterofanaccentuatedalusterormwasmadeabout1730-40byKnight everett 1702/03-1753) fBostonprobablyorHughandElizabethPitts)Hall f thatcity.Itis engravedwith hecrestoftheHallamily ndmaywellbepartoftheset ofcas-ters isted ntheirplatenventoryf1750.H.5inches.RogersFund,1948 48.152)

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on others heexpansesof plain ilverwere dividedhonzontally y midbandswhose moldedcontoursreflected hose of the base, lid, or finial fig.43).Whethern the masterful ompositionf curvere-calling urveof the large wo-handledup (fig.45)or nthe moreangularutlines f anoctagonalaster(fig. 44), silversmithsworkingn the QueenAnnestyle strove o achieveperfectionn ineandpropor-tionwith ittleor no decorationisruptinghepurityof the surfaces.Althoughhe style can be viewedas a reactionagainsthe elaboratenessf the preceding aroque,it also representsthe preference or plain,well-proportionedilver orms hathas existedto somedegree in everyperiod.Silvermadefor churchesduring he eighteenth entury ended o be in theplain tyles; so didmanydomesticpieces, evenintimeswhenhighly rnamentedilverwas in vogue.Newspaper dvertisements f the thirdquarter fthe eighteenthcenturyofferedsilver articlesei-ther "plain r chased," o accommodate ifferenttastes as wellas different ricerequirements. otonlywas the initial ost of the sturdy,plainpiecesmaller,butalso the objectwas less likely o bedamaged r look outmoded ndthereforeneedtobe melteddownandrefashioned.William itzhughhadsuch practicalonsiderationsn mindwhenheordered ilverfromhis London gent n 1688, re-questing hat he plate"bestrong& plain,asbeingless subject o bruise, moreServiceable,& lessout for the fashion."Engravednscriptions,nitials,and farnilyoatsof armswere customarilyheonlydecorationddedto Queen Anne silver. Engravingwas chargedseparately,while the basicprice of a silver objectwas deterrninedy the amount f silverrequired,at the current alue,plus hecharge or ashioning,whichwas usually iguredat so muchper ounce.The goingrate in Pennsylvanian about1698was"betweenHalf Crown ndThreeShiDingsnOunceforworking. . Silver,and or Gold quivalent."nsome pieces the weight of the silver s scratchedor engraved n the underside s an exact account-ing for smithand client (fig. 46). If a customersuppliedmoresilver hanwasused, the creditwasapplied oward he cost; if he did not provide nyor allof the metal,he was charged ccordinglyorthe material.During he QueenAnneperiod, he cartouchesfor the farnilyoats of armswere oval, as already

45. This arge, mposingwo-handledovered up,probablyof about1740, s one of fourknown imilar upsmadebyJacobHurd1702/03-1758), leadingigure n Boston ilver-smithing uringhe secondquarter f the eighteenth entury.Such upswereusually resentation iecesandon ceremonialoccasionsmighthavebeenfilledwith"bishop,"richport-winednnk.The cipher f theoriginal wner s thoughto bethatof William ave,a clergymanf Virginia;heimpaledarmsof theCaveandPetit amilieswereadded ta laterdateon the other ide. H. 103/8 inches.MorrisK. JesupFund,1952 52.170)

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-Xx noted, ora reasonablyight,symmetricalrrange-ment of architectoniccrolls and leaves around1! * shield-shapedeserve (figs.47, 48). By this timev thesurroundssually eliedongeneralornamental* {\ ;;Xt000 designs of the period nsteadof strictly ollowing

; w ::0iVt the heraldic onventions f shield,helmet,crest,0-f;0;-and mantling.On the sugarbowl in fig. 47, for; \ > - XX;V;-;$t-;;-0 instance, he crest is engravedon the lid and the

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ancient imes, thoughsome others do nowclaimarmson slightground f reportbe true,havingnowarrantherefor." ookssuch as Guillim's isplayofHeraldryLondon, ixthedition,1724),a favoritereference,made t possible o simply ook upthefamily ame,andat leastin oneinstance he armsof a nameclose tobutnotidenticalwith hatofthecustomerwere used by the silversmith.ThomasHancock,wealthymerchant fBostonwhosearmsareengraved n the dish n fig. 59, maywellhaveappropriatedhem rom nother ranch fthefamily.Thedesignwasverylikelyprovided y hisLondonagent,sinceHancockwrotehim n 1739askinghimtofind heHancock rms.Inengraving,stablishedpatterns ndicate he heraldic inctures: hus, onthe Hancock rmsthe verticalinesdenotegules,or red, and the plainareasargent, or silver.Onmanyof the arms engravedon American ilver,however, he tinctureswereomitted,or only par-tiallyor inaccuratelyhown.Becauseof family rmsand nscriptionshatre-lateobjects o theirowners,andalsobecausemostpiecesbeara maker'smark, ilver s thebestdocu-mentedofthe colonial ecorative rts. In its time,suchengravingot onlyprovidedrnament nd, nthe case of arms,socialstatus,but it alsoservedtheverypractical urposeof identifyingbjects ncase of theft. The theft of silver was a commonrecorded nme in colonialimesandarms,ciphers,initials, hemaker'smark,and he weightwereallimportantmeansof identifyinghe stolenarticles,whichwere"stopped" ysilversmithsfofferedorpurchase. acob . Lansing fAlbany dvertisedntheNew-YorkMercury f April24, 1758, that"aSilver Tankard,weight34 oz. andsome Penny-weight,markedHLheMaker'sMark.C." wastakenfromhishouse.Block nitialswerecommon n theeighteenthcenturyandin the case of a marriedcouplewere often in a triangular rrangement.Usually, he family nitialwas at the top andthefirst-namenitial fhusband ndwife atthebottom(see fig.13);Lansing'sankard ppears o followthe patternoftenused in Albanywith the wife'sfirst nitial t the apex.It wasdunnghe QueenAnneperiod hatarticlesfor heservingofteabegan o constitute n mpor-tant egmentof thecolonialilversmith'sroduction.At firsta costlyluxury njoyedby few inAmerica,tea was beingdrunkbymoreand morepeople nboth ownandcountrybythemid-eighteenthen-

46. Theunderside f thesugarbowl nfig.47 shows hecarefullyngravedweight f thepiece, given,as wasthecustom, ntroyounces,pennyweights,ndgrains.Thebowl'slid smarkedwith tsseparateweight.Often he weightwasjustscratched ather han ngravednto hesilver.47. Theearliest olonialugarbowls oruseat the teatableweremade n theQueenAnne tyle. Ofcircularr,onoccasion, ctagonalutlines, heyhadagentlycurving hapeanda saucerlikeid hatcouldbeinverted o sene as asmallfooteddish.Thisparticularlyandsome nd argebowlwasmade nBostonabout1740byJacobHurd nd s engravedwith hearmsand rest ofthe Henchmanamily. he finecartouchestypical f the period n tswell-measuredrrange-mentof scrollsandeaveson a scaledground utexceptionalin tsdepiction f abowl.Common tthe time if acrest wasnotshown t thetopof the cartouche was adesignofleavesor scrolls r ashell,a motif hatwasto predominatenthesucceeding eriod.H. 41/2nches.Anonymousoan L.57.12)48. This eacaddy, rcanister,madeabout1725-40bySimeon oumain f New York,snotableor ts well-proportioned,istinctlyeometricorm nhanced ytheheraldicngravingf theBayardamily rms.It is oneof thefew o have urvivedrom hecolonial eriod.Fashionableaccessories or heteatable,caddies or hestoring f driedtea leaveswere ntroducedround 725butneverbecamecommonnAmericanilver.H. 43/8nches.Giftof E. M.Newlin,1964 64.249.5)

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pommel, s in keepingwith the QueenAnne.De-__ rived romEnglish xamplesof about1720, hilts nthisstyle remained opularn the colonies ntothe_ w - I _ Before he practice f givingpresentationwords_ v beganduringheRevolutionnd he trophylikere-_ % ^w _X 8. century,silver that commemoratedmilitaryand_ -SS X_ Bequestof Alphonso . Clearwater,933 33.120. 00)

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AmericanWing s one (fig.55) thatcommemoratesbravery uringhefire hatdestroyedhe New FreeSchoolandpartof the steeple of the adjacent rin-ity Churchn New YorkCityon February3, 1750.The event is recordedby the engraved cene onthe front. One of the men who helpedsave thechurchwas a chairmaker,AndrewGautier,whohad this smallbowlmade out of his share of thefifty-poundeward ivenby the church.A consider-ably argerbowl fig.56) celebratesahorse namedOldTenorwhowon he New York ubscriptionlateraceon October 1 of the following ear.The tradi-tion of silver racingtrophies goes back to theseventeenthcentury n the colonies, for a 1670description f a Long Islandplainused for racingmentions hat theswiftest horse in a yearlyeventwas "rewarded ith a silver cup."The most his-toric colonialbowlof all is one in the Museumof

55. The fire hatbroke ut nthe New FreeSchool nNewYorkCity n the earlyhoursofFebruary 3, 1750,destroyedthatrecently ompleted uilding,ndas depictednthiscommemorativecene the blazewas spread y flying indersto thesteepleof TrinityChurch,wherehappilyt wasextinguished.Theengraved ate s "1749/50" ecause wocalendars ere hen n use. The rewardmoney eceivedbyAndrewGautier, chairmaker, orhis part n saving hechurch pparently ent oward hisbowlmadebyAdrianBanckernd nscribed GEorAndrew ndhis wifeElizabethDiam.7 inches.Anonymousoan L.50.18)

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^/ *e

':f'_,,>t

FineArts in Boston.Madeby PaulRevereII, itmemorializesheninety-twomembersoftheMas-sachusettsHouseof Representatives,whoinJune1768votednottorescindheirprotest oGeorge IIeven houghheirvotemeant hedissolutionftheassembly.All such bowlshavea basically imilargentlycurvingorm hatchangedittlethroughoutthecentury,hough ythetimeReveremade his a-

mousSonsofLiberty owl,anewerprevailingtylewas conspicuousorits moreexuberant hapes.Withthe introductionat mid-centuryof theRococo, he lastof the colonial tyles, silvertookona playful leganceandsurfacedecoration nceagainbecamean mportantlementofdesign.Theterm"Rococo"s thoughtoderive rom heFrenchrocaille ("rockwork"),ndnaturalistic ecoration

44

at n 11C8-, BC()150714X01>


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was a keynote of this style, whichoriginated nFrance ndwastransmittedo the coloniesby wayof England.Among he earliestmanifestationsfthe style werethose inengraved rnamentuchasthaton theteapot figs.57,58). The Rococomotifsofshellsanddiaperingeenaroundhe shoulder fthepot firstappearedn lateQueenAnnesilver nthe type of regular, ontained rrangementf thisborder.Entirely n the spint of the Rococo s thelivelycomposition f thearmorialartouche,whichenunciates ot only the stronglynaturalistic eco-rativevocabulary utalso thetaste forasymmetryandfantasyof this newer style.The basically urvilinearhapes of the QueenAnne were retainedby the Rococo but they be-came ighter ndmore ancifulswellasembellishedby ornament.Suchobjectsas creampots, sauce-boats, andsalts, instead of standingon a singlesolid base, were raisedon smallscrollfeet (figs.60,61).Double-scrollandles ecamemorepopularthan the single scrollandsometimesseemed toperforma bit of acrobatics.On sauceboats uchas the pairby PaulRevere II (see fig. 61) theyreachup intospace, endowing he vessel with atouchof freeandairyasymmetry. heglobular ut-lineof theteapotdiscussedabove,already opularin the 1730s,continuedn use past hemid-century.By the 1760s, however,manypots assumedthe

56. Thehistory f thispunch owlwith ts rareearlyengravingf anAmericanacehorsesrecordedntheinscription,hich eads:"This,PlateWonBy AHorse,Cal,DOLD TenorBelonging oLewisMoris, un,r ctob,re11, 1751."("Oldenor"wasa termappliedoeighteenth-centuryolonialpaper urrencyssuedbefore he late1730s,when"new-tenor" oteswere ntroduced.The trophysunmarkedutmusthavebeenmade nNewYork,where he racewas held,asannouncednSeptember bytheGazetteorWeekly ostBoy,which n October 5dulypublishedhe nameofthewinner. hebowlwas given o theMuseum yone ofMorris'sdescendants.Diam.9l5/l6nches.GiftofMrs. LewisMorris,1950 50.161)57., 58. Fineengraved ecorationistinguisheshis eapotofabout 745-55byJosiah ustin1719-1780) fCharlestown,Massachusetts. he border roundheshoulderxhibits hecarefulymmetry f QueenAnneengraving nd heshells,scrolls,andoval artouchesn a diapered round recharacteristicfthe 1740s.The freer,asymmetricalype ofdesign hat urroundshearmsof theWare amily n the sideshows hechangesntroducedytheRococo tmid-century.H.55/8nches.BequestofCharlesAllenMunn, 924(24.109.7)

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B. Arestained NewEnglandxpression f the Rococostyle, hiscoffeepot nadenBoston bout 750 60 bySamuEdwards ombmes shapelyormwithordy fewdetails omament, otablyhe designof bold lutesand crolls hatenvelops he baseof the castspoutand s recalledn thetighter attetms f thepineappleirlialndof the acanthusthe spout ip.The coffeepot s said o havebelonged oElizabeth mith,whoowned he ladle n fig 62. The esmonogramn the side s a lateraddition.H. 9


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---r

's ^

64.J65. Shellmotifsdeterminethe intncate lobedoutlinesofothhe bases andthe removablebobeches of these tall?elegantandlest}cks.Originally artof a set of four,they weremadeyMyer Myers (1723-1795), New Yorksseadingsilversmithf the RococoperiodJwhofashionedsilverforbothhurchesandsynagogues as weil as formanyprominentindividuals.ccording o the inscriptionon the undersideofeachase, the sticks were a gift to CatharineLivingston fomPeterndSarahVanBrugh,her grandparents.She probablyreceivedhe set in 1759, when she marriedJohnLawrence.H.01/snches.Sansbury-Millsund,1972 (1972.3.1abs2); 977(1977.8)


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panels, while the wavy bandsof repoussebeads,echoing the pattern of the gadrooning,extendbeyond he panels nto the solid bottom,which smonogrammedn a flowery criptbefittinghe graceof the piece. Whilepiercing roduced bjectsof anairyelegance, the richest decorative ffects wereachieved y repousseandchaseddesigns.Patternsof flowersand eaves combinedwithscrollswerethe mostpopular. lsousedwas an rregular,uffled,ribbonlikemotif seen at the top of the lid of thesugarbowl fig. 69), whose bird inials in keepingwith he naturalisticendenciesof thestyle. Elabo-raterepousseworkalsoadorns he gold oy (fig.70),which s as fully expressive of the currentstyleas any ormof the period.Consisting f a whistle,a piece of teethingcoral,andbells, these toys, al-readyknown n the seventeenthcentury,becamepopularn the colonies n the eighteenth ndweremore often madeof silverthangold.Relativelyew colonialtems of goldare known,though heir productions documentedrom theseventeenthentury n. Theywereallsmall rticles:primarilyewelry,buckles,buttons, himbles,andthe like. Particularly opularwere rings;funeralrings,customarilyiven o the minister,allbearers,relatives,andclose friendsof the deceased,weremade n greatnumbers.Ona somewhatarger calewere luxury tems such as the coraland bells aswellas boxes meant o holdsnuffor patchesor, onoccasion, o be officially resentedwith"the ree-domof the city." mallwareswereoftennotmarkedso that little gold has survived hat can be docu-mentedas American.Especiallyrom he mid-centuryn,newspapersadvertised hat quantities f such smallerobjects,both importedand locally made, were for sale.Whether n gold or silver, t was "smallwork" hatconstitutedhe silversmith'segular usiness,alongwith a steady flow of repairs rom polishing ndtakingout "bruises"o replacing andlesand ids.The objects eported tolenout of theshopof Bos-ton silversmithJosephdwards, r., nMarch 765were all on the small ide andrepresent he typesof wares hatmightbe kepton hand n a showcase.The larger temsof silverwere two pepper asters,twelve teaspoonsand two larger poons,a punchladle, and a creampot. These were all describedas beingstampedwithJosephEdwards'smarkandhad hereforebeen made n his shop.If thereweremarks n anyof the othermissing tems oversixty

66. Cast oliate crolls nd hells,embellished y chasing,create he fancifulormof thiselaborate nuffer tandmadeabout 755-70 byPhilip yng,Jr., of Philadelphianden-gravedwith he crestof the Hamiltonamily. scissorlikesnufferwould averestedon the tray, nd he standmighthaveoriginallyccompaniedset of candlesticksimilarothose n fig. 64. L. 73/4nches.Bequestof CharlesAllenMunn, 924(24.109.39)67., 68. A delicate, italRococo reation, hisrareAmeri-canbasket s a superblyntegrated ompositionf piercedpatterns ndcastandchasedornament.Modeled loselyafterits English ontemporaries,t was madeabout1760-70 byMyerMyersof NewYork nd s engravedwith he monogramssc forSamuel ndSusannahMabson)Cornell,wealthypatronsromNew York ndNew Bern,NorthCarolina. heinscriptionn the undersidendicateshe basketdescendedto theirdaughterHannah ponhermarriageo Herman eRoyof NewYorkn 1786.L. 141/2nches.MorrisK. JesupFund,1954 54.167)

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pairsof silver buckles, three goldnecklaces, ivegold rings, and other jewelry, n addition o twosnuffboxes,hree child'swhistles, nda silverpipe- that act s not mentioned, ndmanywereproba-blyimported.Large bjectswere ess likely obe in stocksincetheyrepresented greater nvestment n preciousmetal, andoutstanding ieces of hollowwareuchas manyofthose illustratedn thispublication eremost oftenmade o order.On heotherhand,withthe steadilyncreasingmportationf plateat mid-century ohelp ill he ever greaterdemand, argerarticles uchas tea- andcoffeepots"just mported

fromLondon" ere alsobeingsoldbysilversmiths.These importedwares as well as those ordereddirectly romEnglandby private ndividuals erethe primary ehiclesforstylisticchange.The rareRococo andlesticksn fig. 64, madebyMyerMyers of New York, losely follow he con-temporaryEnglish tyle andan imported iecenodoubt erved as the model or them. The factthatMyerscouldproduceobjects n the latestLondonfashion ndformsnot commonlymadeheremostlikely helped him win the patronageof SamuelCornell, nativeof NewYorkwho moved oNorthCarolinan the 1750sand became"the mostopu-

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lentmerchant"f thatcolony.Thanks o thiswealthyclientMyershad he opportunityo make he Metro-politan'splendid asket see figs. 67,68) andalso,among everalpieces n othercollections, pierceddishringanda pairof openworkoasters,allexcep-tional orms n colonial ilver whose design musthave been based on imported xamples.Immigrant raftsmenalso playedan importantrole in the transmittal f styles. DanielChristianFueter, whose elegant salver is shown (fig. 71),worked n Switzerland nd Londonbeforecomingto New York n 1754. Withhis knowledge f cur-rentEuropean esignhe couldconvincinglydver-tise thathe, "lately rrived. . fromLondon,"ouldmake"all orts of GoldandSilverwork, afterthenewest and neatest Fashion."The very skillfullyengravedarms in the center of the salver couldhavebeen done by Fueter or by a specialist n hisownor another hop. In 1769, actually he yearhereturnedo England, ueteradvertisedhathe hadworkingwithhima chaser romGeneva.Althoughthe master'smarkwas put on objectsproducednhis shop,he didnot necessarily avea hand n mak-ing all of them. A silversmithmighthave one ormoreapprenticeso helpwith he moremenialworkand additionalxperiencedworkers,all of whosecontributions ould emain nonymous. he lattercouldbe locally rainedmen who acked he meansto set up theirownbusinessesor immigrantilver-smithswho were not able o establish hemselves.Shopworkersmight lsobe indenturedervants r,particularlyn the South,black laveswhohadbeentrained s silversmiths. ome of these men mighthave pecial kills uchas jewelry- r watchmaking,or engraving.

Though silversmithsoften performeda widerangeof work, hey were not allequally dept n allbranches nd some reliedon others for particularaspectsof the trade.The Rococo reampot n ig. 60was fashionedby BenjaminBurt of Boston, whois known o havesent his silver o be engraved y afellow raftsman,NathanielHurd 1729/30-1777),who in all probabilityut the coat of arms on thispiece. Hurd s better known oday or his numer-ous heraldic ookplates,whose skillful xecution smirroredn his armorials n silver, han or his lim-itedproductionf plate.The patriotPaulRevere Iwasanother oston ilversmithf the Rococo eriodwhoengraved ilver orothersand, ikeHurd,madecopperplates or papercurrency, radecards,bill-heads,and he like. The best-known olonial mithof versatilealents,Reverenotonlyworkednmetalsanddid he moreroutineprintingobs but also en-graved cenicviews, portraits, ndpolitical rints.The productionf silverunderstandablyeclinedduring he years of the Revolution; o entries forsilversmithingre recorded n Paul Revere'sday-

69. The emphaticcurves of this double-bellied ugar bowland ts rich repousse decorationreflect the extravaganceoffullydeveloped Rococo designs. Here the repousse pattern ofnaturalistic lowers and scrolling eaves is disposed into rathercompactbands, while on other Rococo pieces such ornamentmight be more freely arranged.The bowl was made in NewYorkabout 1760-75 byJacob Boelen II (1733-1786), hisgrandfather's amesake and the thirdgeneration of silver-smiths in the family.H. 5/1/2 nches. Rogers Fund, 1939(39.23)

70. Perhapsa lavish christeninggift, this gold whistle andbells with coral was made by Nicholas Roosevelt about 1755-65 in New York,where the few knowncolonialexamples ingold originated.A loop behind he whistle allowed he toy tobe hung from a chainor ribbon, usually rom the child'swaist.Whatappear o be teeth marks on the whistle would ndicatethat this piece saw active use; six of the original ight bellsremain. L. 61/8 nches. Rogers Fund, 1947 (47. 70) 53


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booksfrom1775 to 1780. The hiatuscreatedbythe Revolution oincidedwith the waningof theRococotaste in silver,so thatwhen the demandforplateresumedafterthe waranother tyle wasemerging.Naturally he changewas gradual ndsomeRococoormsingered n nto he firstyearsofthe newlyindependent ation.The inverted-pearshapeof a coffeepotprobablymade 1780-90 (fig.72), thescroll-and-leafecorationf its spout,anditselaboratelyurvedhandle reallpartofthe Ro-coco vocabularys is the gadrooning n foot andcover,a motif hat wasreintroducedn the 1760s.On heotherhand, heurn inial,he restrained n-graving fribbons ndwreath,and heattenuationof the formallreflect he neoclassical aste of theearlyFederalperiod,whichembraced t the sametime a new formof government nda new style.

71. Made in New Yorkbetween 1754 and 1769 byDanielChristianFueter (1720-1785), this largesalver has a beauti-fullyshaped rim of livelyconjoinedcurves edged with finegadrooning.A delicatecartouche engraved withexceptionalsureness encloses the Provost familyarms. Salvers sup-portedon three or four smallcast feet first became popular nthe second quarterof the eighteenth century, andduring heRococoperiodtheircurvilinearoutlineswere echoed in the"piecrust" dges of contemporary ea tables. Diam. 155/8inches. Bequest of CharlesAllen Munn,1924. (24.109.37)

72. On this splendidRocococoffeepot a highdomed lidcomplements the harmoniouscurves of the body,and thefanciful crolls of the handlebalance he rich ornamentof thespout. Fashionedby EphraimBrasher (1744-1810) of NewYorkabout1780-90, when the early Federal style wasbecomingestablished, the piece has anurn finialandengrav-ing inthe newer neoclassical fashion,which, like the earlierstyles, reliedprimarily n Englishprecedent. The oval re-serve was meant to hold a scriptmonogram. H. 131/4nches.Bequest of AlphonsoT. Clearwater,1933 (33.120.223)

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NOTES FORFURTHER EADINGP:3 Richard ealeDavis,ed., William itzhughndHisChesXeakeWorld,676-1701,TheFitzhughetters ndOtherDocuments.hapelHill, .C., 1963,p. 246.P.3 Woolman: uotednMarthaGandyFales,JosephRichardsonndFamily, hiladelphiailversmiths. iddletown,Ct., 1974,p. 67.P.4 1652 aw:QuotednSylvesterS. Crosby,TheEarlyCoinsofAmerica.Boston,1875,p. 44.P.5 Documents elativeotheColonialHistory ftheStateofNewYork Albany,853-87).Vol.4, ed. byE. B. O'Callaghan,1854,p. 304("anestofpirates"), . 532("Arabianold" ndpriceofrum).P:6 Local rdinance: uotednKathryn .Buhler, mericanSilver.ClevelandndNewYork, 950,p. 9.

Avery,C.Louise.EarlyAmericanilver.NewYork ndLondon, 930.Reprint.NewYork, 968.Buhler,Kathryn .Americanilver.ClevelandndNewYork, 950.Fales,MarthaGandy. arlyAmericanilver.NewYork,1970.Hood,Grahan.Americanilver: Histoty fSWle,650-1900.NewYork, 971.Phillips,ohnMarshall. mericanilver.NewYork, 949.Ward,BarbaraMcLean ndGeraldW.R., eds.SilvernAmerican ife.Exh.cat.,American ederationfArts,NewYork, 979.

P.6 William owarddvertisement:lfredCoxePrime,comp.,TheArts ndCraftsnPhiladelphia,Maryland,ndSouthCarolina, 721-1785,GleaningsromNewspapers.Topsfield,Mass.,1929,p. 70.P.8 ElizabethGlover:QuotednJonathan.Fairbankset al.,NewEnglandBegins:TheSeventeenthentury. xh.cat.,Museum fFineArts,Boston,1982,vol.3, p. 481.P.30 Richardson:uotednFales,p. 54.P.37 Fitzhugh: avis ed.),p. 246.P.37 ". . going ate":QuotednFales,p. 7.Pp.38-39 "Alreadyn1673. . . ":QuotednJohnMarshallPhillips, merican ilver.NewYork, 949,p. 47.P.39 Lansingdvertisement: itaSussweinGottesman,comp.,TheArtsandCraftsinNewYork,1726-1776,Adver-tisementsndNews temsromNewYorkCityNewspapers.NewYork, 938,p. 36.P.43 1670description: uotednPhillips, . 50.Pp.50-52 "Theobjects eportedtolen. . . ":GeorgeFrancisDow,comp.,TheArtsandCraftsinNewEngland,1704-1775,GleaningsromBostonNewspapers.opsfield,Mass.,1927,pp.44-45.P.52 "themostopulentmerchant":escriptionfCornellbyGovernorMartin fNorthCarolinan1775,cited nintroductionoPapersRelating oSamuelCornell,NorthCarolina oyalist.NewYork, 913.P.53 Fueteradvertisement: ottesmancomp.),p. 41.

Insideackcover:Detailofrepoussedesignonbowl ig.13

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Safford, Frances Gruber _Colonial Silver

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Transcript of Safford, Frances Gruber _Colonial Silver