{"title":"Museum Acquisitions","description":"The wonderful pieces listed here were either purchased directly by museums or were gifted to museums by the collectors who bought them.","products":[{"product_id":"extremely-rare-and-fine-gorham-thurber-coin-silver-presentation-water-pitcher-c-1851-of-rhode-island-historical-interest","title":"Gorham \u0026 Thurber Extremely Rare and Fine Coin Silver Presentation Water Pitcher, c. 1851, of Rhode Island Historical Interest","description":"Of inverted pear shape, this exceptional piece features all the details of the rococo revival popular around 1850. Bold repoussé work of c-scrolls intertwined with foliage and flowers center a scrolling foliate cartouche. The stepped foot has a ring of entre-lac above a lower band of repousséd flowers which rest on a die rolled band of acanthus leaf decoration. The same die rolled band is repeated at the neck of the pitcher. Above the neck are more repousséd flowers and foliage, then a cast and applied edge of scrolling foliage and flowers is applied at the rim. The cast and applied handle also displays cast foliage along with chased flowers and foliage.\u003cbr\u003e\u003cbr\u003eGorham and Thurber went all out on this piece. The addition of such details as the band of entre-lac, the casting and chasing work on the handle, the heavy applied border at the rim and the exuberant repoussé work make it evident that this was a trophy piece. \u003cbr\u003e\u003cbr\u003eThis is a very early piece of holloware from Gorham, they had only just started making holloware in 1850 with a total of 14 employees. Clearly, these former spoon makers set very high standards for themselves and the rest is history. This is the earliest piece of Gorham holloware we have ever seen on the market.\u003cbr\u003e\u003cbr\u003eThe cartouche is beautifully engraved: \u003cbr\u003e\n\u003cblockquote\u003e\n\u003cdiv style=\"text-align: center;\"\u003e'Presented\u003c\/div\u003e\n\u003cdiv style=\"text-align: center;\"\u003eBY LADIES OF\u003c\/div\u003e\n\u003cdiv style=\"text-align: center;\"\u003eTHE FIRST UNIVERSALIST\u003c\/div\u003e\n\u003cdiv style=\"text-align: center;\"\u003eSOCIETY\u003c\/div\u003e\n\u003cdiv style=\"text-align: center;\"\u003eTO\u003c\/div\u003e\n\u003cdiv style=\"text-align: center;\"\u003eRev. Henry \u0026amp; Mrs Eliza Ann Bacon,\u003c\/div\u003e\n\u003cdiv style=\"text-align: center;\"\u003ePROVIDENCE, R.I. SEPTR 4TH 1851.\u003c\/div\u003e\n\u003cdiv style=\"text-align: center;\"\u003e\"Your memory will be to us a joy for ever.\"'\u003c\/div\u003e\n\u003c\/blockquote\u003e\n\u003cp\u003e\u003cbr\u003ein a variety of wonderful styles inside fluidly engraved scrolling lines similar to pen work calligraphy of the period. It is signed, 'Engvd by Babcock'. If I could engrave this well, I would sign my work too!\u003cbr\u003e\u003cbr\u003eReverend Henry Bacon is known for the active role he played as a peacemaker during Dorrs Rebellion in 1841-2 and the ensuing constitutional crisis in Rhode Island. (This was a movement in support of expanding male suffrage in Rhode Island. In the process, two state governments were elected, there was an armed uprising, etc.) \u003cbr\u003e\u003cbr\u003eAccording to the 1844 Providence Directory, Reverend Bacon lived at 95 Friendship Street. Listed at 86 Friendship Street almost across the street from Bacon, and working at 72 Westminster, is George Babcock, watchmaker and engraver. \u003cbr\u003e\u003cbr\u003eThis water pitcher is marked underneath with 'GORHAM \u0026amp; THURBER', 'PROVIDENCE, RI' and 'PURE COIN'. It measures 12.75 inches high, weighs 27.05 troy ounces and is in very good antique condition.\u003c\/p\u003e","brand":"Spencer Marks Ltd","offers":[{"title":"Default Title","offer_id":26313776261,"sku":"A310","price":0.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1850\/5637\/products\/A310b_pi.jpg?v=1489682340"},{"product_id":"wood-hughes-antique-coin-silver-presentation-hot-milk-jug-new-york-city-c-1862","title":"Wood \u0026 Hughes Antique Coin Silver Presentation Hot Milk Jug, New York City, c. 1862","description":"This wonderful piece of silver was made by the New York company of Wood \u0026amp; Hughes. With a flaring shell spout and anchor finial, this beautiful piece was presented to the Reverend George B. Cheever, a well known clergyman, author and abolitionist. It is inscribed on the front: \u003cbr\u003e\n\u003cblockquote\u003e\n\u003cdiv style=\"text-align: center;\"\u003ePresented\u003c\/div\u003e\n\u003cdiv style=\"text-align: center;\"\u003eto\u003c\/div\u003e\n\u003cdiv style=\"text-align: center;\"\u003eGeo. B. Cheever, D.D.\u003c\/div\u003e\n\u003cdiv style=\"text-align: center;\"\u003eby\u003c\/div\u003e\n\u003cdiv style=\"text-align: center;\"\u003eHIS COLORED FRIENDS\u003c\/div\u003e\n\u003cdiv style=\"text-align: center;\"\u003eAs a small token of their high\u003c\/div\u003e\n\u003cdiv style=\"text-align: center;\"\u003eregard for him as a faithful\u003c\/div\u003e\n\u003cdiv style=\"text-align: center;\"\u003eMinister of the Gospel, and\u003c\/div\u003e\n\u003cdiv style=\"text-align: center;\"\u003ethe fearless Advocate of Liberty\u003c\/div\u003e\n\u003cdiv style=\"text-align: center;\"\u003eto the oppressed Slave.\u003c\/div\u003e\n\u003cdiv style=\"text-align: center;\"\u003eNew York, Jan. 1862\u003c\/div\u003e\n\u003c\/blockquote\u003e\n\u003cdiv style=\"text-align: center;\"\u003e\u003c\/div\u003e","brand":"Spencer Marks Ltd","offers":[{"title":"Default Title","offer_id":26316670597,"sku":"A363","price":0.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1850\/5637\/products\/a363_pi.jpg?v=1489685575"},{"product_id":"gale-willis-antique-sterling-silver-coffee-and-tea-service-new-york-city-1859","title":"Gale \u0026 Willis Antique Sterling Silver Coffee and Tea Service, New York City, 1859","description":"\u003cp\u003eThis is a spectacular and rare coffee set by the great NYC partnership of Gale \u0026amp; Willis. It consists of a creamer, covered sugar bowl, waste bowl, teapot and coffee pot with their rare original stands and a pair of sugar tongs. \u003cbr\u003e\u003cbr\u003eVery Neoclassical in style, the bodies are formed with horizontal, undulating and flat panel sides. The domed covers of the tall coffee pot, tea pot and covered two-handled sugar bowl are surmounted with urn-shaped finials.\u003cbr\u003e\u003cbr\u003eExquisite engraving decorate the pieces including the spouts and handles. This ornate but refined hand-engraving is executed with foliate and floral scenes bordered by classical roundel and foliate decorations. \u003cbr\u003e\u003cbr\u003eIncorporated into the design are engraved shields on each of the sides. One side is engraved 'C.A.D.B.' while the other has never been engraved. \u003cbr\u003e\u003cbr\u003eThe tongs, which are unmarked, are engraved in the same manner and have the same original monogram. They have twist handles and talon grips for cubed sugar.\u003cbr\u003e\u003cbr\u003eWilliam Gale started his successful business in New York City in 1822. The name was changed to Gale \u0026amp; Willis when he partnered with his son-in-law John R. Willis from 1859-1862. The company later went on to become Dominick \u0026amp; Haff who, in 1928, were purchased by Reed \u0026amp; Barton.(1)\u003cbr\u003e\u003cbr\u003eA near identical nine piece service attributed to Gale, North \u0026amp; Dominick, made circa 1869, is in the collection of the Dallas Museum of Art. The coffee pot and stand are illustrated in Charles Venable's \u003cem\u003eSilver in America\u003c\/em\u003e, p. 53, fig 3.5. \u003cbr\u003e\u003cbr\u003eIt is an art historically important pattern being one of the first colonial style tea and coffee services made in this country. Most of the earliest colonial revival objects were inspired by the Philadelphia Centennial Exposition in 1876. This service predates that fair by 17 years and is one of the earliest examples of this rare pattern that we have seen.\u003cbr\u003e\u003cbr\u003eThis rare and stunning set is marked underneath 'GALE \u0026amp; WILLIS\/ NEW YORK\/ 925 STERLING' and with the 1859 date within a diamond. The coffee pot measures 10 inches tall by 8 inches across the handle and spout. The service weighs a combined 96.75 troy ounces and is in excellent antique condition.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eEndnote:\u003c\/strong\u003e\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eDorothy T. Rainwater and Judy Redfield, \u003cem\u003eEncyclopedia of American Silver Manufacturers, 4th ed.\u003c\/em\u003e (Schiffer Publishing Company, 1998), p.118.\u003c\/li\u003e\n\u003c\/ol\u003e","brand":"Spencer Marks Ltd","offers":[{"title":"Default Title","offer_id":26317093317,"sku":"A423","price":0.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1850\/5637\/products\/a423_pi.jpg?v=1489686454"},{"product_id":"the-baring-family-english-sterling-silver-hot-water-jug-or-turkey-coffee-pot-by-robert-garrard-london-c-1822-23-bearing-the-arms-of-baring-as-borne-by-sir-francis-thornhill-baring","title":"Robert Garrard -The Baring Family English Sterling Silver Hot Water Jug or 'Turkey Coffee Pot', London, c. 1822\/23, bearing the arms of Baring as borne by Sir Francis-Thornhill Baring","description":"An exceptional model, this wonderful jug features classical ornamental banding of intermittent shell and lotus bud design above a lower body of boldly repousséd acanthus leaves. Fine lobing decorates the section above the banding and also the pedestal foot. The plain neck is embellished with cast and applied leaf banding with a large acanthus leaf under the spout. An attached lid is beautifully shaped and also decorated with boldly cast foliate decoration and an acanthus flower finial. The original carved wood handle with silver mounts is exceptional. It is in the form of a serpent with a split tail on one end and terminates at the top of the neck with the head of the serpent among a backdrop of spread wings. This Egyptian-influenced design is a striking representation of power. \u003cbr\u003e\u003cbr\u003eWhile this form is referred to today as a 'hot water jug', when first introduced c. 1750 it was referred to in inventories as a 'Turkey coffee pott'.(1) Clearly these pieces were multifunctional and were used for coffee as well as topping off strong tea.\u003cbr\u003e\u003cbr\u003eRobert Garrard (II) succeeded his father of the same name in 1818 and was one of the most important silversmiths of his era. Tracing the firms roots back to 1721, they had served as the silversmith to several members of the royal family. Ultimately becoming the crown jeweler in 1843, they were one of the most significant 19th century silversmithing firms in the world and their silver graced the tables and palaces of many European noble families. \u003cbr\u003e\u003cbr\u003eOn one side of the neck is the wonderfully engraved coat of arms of Baring quartering Herring and Sealy as borne by Sir Francis-Thornhill Baring, 3rd Baronet and first Baron Northbrook before inheriting and earning his titles. The Baron's coronet was added at the time of his elevation. His London residence was at 21 Devonshire Place and his country seat was Stratton Park, Micheldever, just north of Winchester.\u003cbr\u003e\u003cbr\u003eLord Northbrook was the great grandson of John Baring, founder of Barings Bank, and the creator of 'merchant banking' - giving credit to the 'yankee traders' of the 18th century. Barings Bank was so important and influential that it helped finance the United States purchase of the 'Louisiana Purchase' from France in 1802, while Britain was at war with France! This is the same Barings Bank that was the personal bank of Her Majesty Queen Elizabeth II and brought down by 'rogue trader' Nick Leeson in 1995. (For more information see: here.)\u003cbr\u003e\u003cbr\u003eNorthbrook was an important Victorian politician. After a double first major at Christ Church, Oxford, he entered the bar in 1823 (the date of this piece), served as a Member of Parliament from 1826-65, Lord of the Treasury (1830-34), Secretary to the Treasury (1834-39), Chancellor of the Exchequer (1839-41) and First Lord of the Admiralty (1849-52). He was elevated to the rank of Baron as 1st Baron Northbrook in 1866.\u003cbr\u003e\u003cbr\u003eStratton Park was an important country house on an estate of thousands of acres including the village of Micheldever and 'Micheldever Woods', reputedly 1000 acres the finest oak trees to be found in early 19th century England.\n\u003cp\u003eThis classical regency mansion was designed by George Dance the Younger in 1803, with grounds by Henry Repton later updated by Gertrude Jekyll c. 1900 (see: \u003ca href=\"\/\/en.wikipedia.org\/wiki\/Barings_Bank\" target=\"_blank\" rel=\"noopener noreferrer\"\u003ehere\u003c\/a\u003e). Today, only the imposing Doric portico remains. \u003cbr\u003e\u003cbr\u003eThis rare sterling silver coffee jug is fully hallmarked on the neck and the cover is marked with the maker's mark, 'g' year mark and lion passant. It measures 9 inches high to the top of the handle, weighs 33.85 troy ounces and is in very good antique condition with light wear to the highlights and expert restoration to the original fruitwood handle.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eEndnote:\u003c\/strong\u003e\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eMichael Clayton, \u003cem\u003eA Collectors Dictionary of the Silver and Gold of Great Britain and North America\u003c\/em\u003e, (New York: World Publishing Group Limited, 1971), p. 171.\u003c\/li\u003e\n\u003c\/ol\u003e","brand":"Spencer Marks Ltd","offers":[{"title":"Default Title","offer_id":26359227845,"sku":"A720","price":0.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1850\/5637\/products\/A720_pi.jpg?v=1489780270"},{"product_id":"peer-smed-sterling-silver-sauce-boat-with-ladle-c-1934","title":"Peer Smed Sterling Silver Sauce Boat with Ladle, c. 1934","description":"This extremely rare example of arts \u0026amp; crafts silver is from the New York shop of Peer Smed. Wonderful proportions, graceful lines and refined ornamentation make this unique item a work of art. \u003cbr\u003e\u003cbr\u003eA helmet-shaped bowl has an attached c-scroll handle intricately executed with vine-like tendrils attaching to the body from the top and intertwining on the inside for a comfortable grip. Organic elements, which prevailed in great arts \u0026amp; crafts design, can be seen in the floral bud leading from the body to the attached base. \u003cbr\u003e\u003cbr\u003eThe off-center, yet balanced, placement of the support cantilevers the body, reflecting the modern architecture which would soon become popular in the United States. The decorated oval stand has a raised edge and domed interior.\u003cbr\u003e\u003cbr\u003eThe ladle is a stunning server made by Peer Smed's daughter, Lona. Resembling a small punch ladle, it incorporates pouring lips on both sides and a graceful curve. The decorative element at the top is actually the family's 'N' initial (Nelkin) beautifully incorporated into the design.\u003cbr\u003e\u003cbr\u003eBoth of these pieces are stunning and sparkle from the fluid, overall hammering.\u003cbr\u003e\u003cbr\u003eThe ladle is stamped on the back 'STERLING' and 'LPS' for Lona P. Schaffer. It measures 8.25 inches long and weighs 3.60 troy ounces.\u003cbr\u003e\u003cbr\u003eThe sauce boat with attached stand is marked underneath 'PEER SMED\/ STERLING\/ 1934'. It measures 8 inches long by 6 inches high and weighs 17.70 troy ounces. Both items are in excellent condition.\u003cbr\u003e\u003cbr\u003e\u003cstrong\u003eProvenance:\u003c\/strong\u003e Custom made for the Nelkin family of New York in 1934. Primarily by descent in the family.","brand":"Spencer Marks Ltd","offers":[{"title":"Default Title","offer_id":26360452101,"sku":"A724","price":0.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1850\/5637\/products\/A724_pi.jpg?v=1489783084"},{"product_id":"marcus-co-sterling-and-amethyst-condiment-dishes-2-c-1905","title":"Marcus \u0026 Co Sterling and Amethyst Condiment Dishes - 2, New York City, c. 1905","description":"These extremely rare dishes are wonderfully designed with a circular bowl bordered with a band of cast and applied beading. The interior and exterior surfaces exhibit beautiful hammering. The unusual, long loop handles consist of two silver wires which are hammered at their ends and attached to the bodies. A cabochon amethyst surrounded by a ring of beading adorns the front top of each handle. \u003cbr\u003e\u003cbr\u003eBased on a c. 1900 design by Charles Robert Ashbee, these iconic dishes are marked by the New York firm of Marcus \u0026amp; Company. The successor firm to Starr \u0026amp; Marcus, Marcus \u0026amp; Co. made a small amount of hand wrought silver in the arts and crafts style. This design of bowl by Marcus is very rare.\u003cbr\u003e\u003cbr\u003eThe bowls are outstanding examples of arts and crafts design. The hammered surface of the bowls clearly breaks from the machine finished pieces popular at the time. The long attenuated 'loop' handles makes a strong, clean and pure aesthetic statement which contrasts to much of the highly decorated silver being produced at the turn of the century. \u003cbr\u003e\u003cbr\u003eThis design has become an icon of the arts \u0026amp; crafts movement. An example of this dish by Ashbee can be found in the Victoria and Albert Museum in London. A similar dish by Marcus \u0026amp; Co. with two loop handles is in the collection of the Metropolitan Museum of art - displayed on the balcony in the American Wing in the display case of late 19th\/ early 20th century silver. \u003cbr\u003e\u003cbr\u003eThese extremely rare cups are true masterpieces of the arts and crafts movement. While commonly called 'loop handled cups', they were originally intended as condiment dishes. Guild of the Handicraft catalogs refer to them as 'jam or butter' dishes.(1)\u003cbr\u003e\u003cbr\u003eC. R. Ashbee was one of the most important leaders of the arts and crafts movement. In London in 1889, he started the Guild of the Handicraft. In part a communally based workshop, in part a return to ancient craft guilds, the Guild was based on a rejection of the machine-made that embraced the hand-crafted: a return to 'honest' craftsmanship. \u003cbr\u003e\u003cbr\u003eAshbee's influence cannot be overstated. After he toured the U. S. in 1895 talking and lecturing about the arts \u0026amp; crafts movement, arts \u0026amp; crafts societies were begun in Boston and Chicago in 1896. When he moved the Guild of the Handicraft to the idyllic rural Cotwsold setting of Chipping Camden, the Boston Society of Arts \u0026amp; Crafts moved its Handicraft Shop to Wellesley Hills.\n\u003cp\u003e\u003ca href=\"http:\/\/themagazineantiques.com\/article\/arts-and-crafts-silver\/\" target=\"_blank\" rel=\"noopener noreferrer\"\u003eRead a great article on Arts \u0026amp; Crafts silver including these dishes in The Magazine Antiques\u003c\/a\u003e.\u003cbr\u003e\u003cbr\u003eThese lovely sterling silver dishes are marked underneath 'MARCUS \u0026amp; CO\/ STERLING'. They measure 4.25 inches in diameter by 1.5 inches high. The length across the dish and handle is 8.5 inches. They weigh 5.5 troy ounces each and are in very good antique condition. Each is monogrammed 'S.L.H.' in an artistic arts and crafts style.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eEndnotes:\u003c\/strong\u003e\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eAnnette Carruthers, \u003cem\u003eAshbee to Wilson\u003c\/em\u003e (Cheltenham: Cheltenham Art Gallery and Museum, 1986), p. 8.\u003c\/li\u003e\n\u003c\/ol\u003e","brand":"Spencer Marks Ltd","offers":[{"title":"Default Title","offer_id":26375881477,"sku":"B62","price":0.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1850\/5637\/products\/B62_pi.jpg?v=1489849365"},{"product_id":"dominick-amp-haff-antique-sterling-silver-aesthetic-movement-covered-tureen-new-york-1881","title":"Dominick \u0026 Haff Antique Sterling Silver Aesthetic Movement Covered Tureen, New York - 1881","description":"This is one of the finest examples of Dominick \u0026amp; Haff japonesque silver we have ever seen. The condition of the surface along with the design and execution are extraordinary. \u003cbr\u003e\u003cbr\u003eA raised oval body, domed foot and detachable cover have an irregular honeycomb hammered surface with a matte finish creating a lustrous sparkle. \u003cbr\u003e\u003cbr\u003eUnusual organic handles with fine hammering terminate at the bowl in spreading root-like tendrils. A circular ring handle on the cover compliments this style. \u003cbr\u003e\u003cbr\u003eThe decoration to the body is an amazing work of art. Using special chasing tools, the silversmith is able to mold and fold the silver to create incredible three dimensional scenes against the hammered background. Detailed chasing provides stunning details. \u003cbr\u003e\u003cbr\u003eExotic elements incorporated into the body include various foliage and flowers flowing upwards from the base. A large beetle and a spider waiting in its web are also displayed. The domed cover is decorated with a beetle, a bee, a dragonfly and the scene of a full moon emerging amongst clouds.\u003cbr\u003e\u003cbr\u003eAnother fascinating element is the use of parcel gilding. Gold is selectively used on certain blades of grass, parts of leaves where they have been folded over, flower petals, insect wings and the moon.\n\u003cp\u003e\u003cbr\u003eThis creativity adds immensely to the beauty. The degree of difficulty on so many levels, whether it be the the chasing, the gilding or the design motifs is exceptional. Although there is some wear to the gilding, this is the best preserved surface we have ever seen on this style of silver. \u003cbr\u003e\u003cbr\u003eThis rare covered tureen is marked underneath with Dominick \u0026amp; Haff's trademark with an 1881 date, 'STERLING\/ 82' and by the venerable Boston retailer 'SHREVE, CRUMP \u0026amp; LOW'. It measures 12 inches across the handles by 7.5 inches deep by 8 inches high, weighs 55.45 troy ounces and is in excellent condition.\u003c\/p\u003e","brand":"Spencer Marks Ltd","offers":[{"title":"Default Title","offer_id":26376354565,"sku":"B112","price":0.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1850\/5637\/products\/B112_reverse_pi.jpg?v=1489852784"},{"product_id":"erik-magnussen-for-gorham-sterling-art-deco-bon-bon-dish-1929","title":"Erik Magnussen for Gorham Sterling Art Deco Bon Bon Dish, 1929","description":"This sterling dish is an exquisite example of the bold and sculptural designs of the Art Deco movement. A flat circular ring comprises the base. Three cast deer, with their heads turned backwards peering into the bowl, stand upon lobe-carved carnelians attached to the base. These cast whimsical animals can also be seen used as a motif in a Magnussen sculpture called 'Ornament' illustrated in \u003cem\u003eGorham Silver\u003c\/em\u003e by Carpenter (ill. 280, p. 211). The bowl is divided into 6 sections by hand raised lines coming together at a central circle.\u003cbr\u003e\u003cbr\u003eThis bon bon dish features two prominent traits of late 1920's Art Deco design. First, the element of 'static motion'- the deer are full of movement at the same time they are not actually moving. Second, the bowl is designed with the strong low horizontal emphasis that is such an important part of late 20's design.\u003cbr\u003e\u003cbr\u003eIn 1925, in a daring and forward-looking move, Gorham hired the famous Danish silversmith Erik Magnussen to develop a line of 'modern' silver. Magnussen designed the most important pieces of American Art Deco silver while he worked at Gorham. He often incorporated in his silver jewelry and holloware the use of semiprecious stones to enhance their beauty. \u003cbr\u003e\u003cbr\u003eAmerican Art Deco silver is extremely rare. The American market was not ready for it and Gorham had a great deal of trouble selling Magnussen designed silver. As the great depression took hold, Gorham reduced retail prices and still did not sell much of Magnussen's silver. It is generally believed that much of Magnussen's silver was eventually destroyed by Gorham.\u003cbr\u003e\u003cbr\u003eUnderneath, the base is marked with Gorham's trademark, 'GORHAM\/STERLIN G', the model number '14017' and with Erik Magnussen's famous 'E.M' signature mark. The base measures 5.5 inches in diameter and the height to the top of the deer's heads is 2.5 inches. It weighs 10.7 troy ounces (carnelians included).\u003cbr\u003e\u003cbr\u003eAccording to a report by Sam Hough derived from costing records at the Gorham archives, this dish was one of 12 made c. 1929. Each dish retailed for $55.00. It's also fun to note on the report that by January 1931 the dishes were being offered for $15.00, three quarters of their production cost, and that 'Gorham couldn't give them away'.","brand":"Spencer Marks Ltd","offers":[{"title":"Default Title","offer_id":26377877125,"sku":"B328","price":0.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1850\/5637\/products\/B328_pi.jpg?v=1489858866"},{"product_id":"gorham-special-order-sterling-and-mixed-metals-yacht-commemorative-fancy-waiter-or-tray-providence-ri-1889-record-of-the-sachem","title":"Gorham Special Order Sterling and Mixed Metals Yacht Commemorative 'Fancy Waiter' or Tray, Providence, RI, 1889 - Record of the Sachem","description":"\u003cp\u003eGorham Special Order Sterling and Mixed Metals Yacht Commemorative 'Fancy Waiter' or Tray, Providence, RI, 1889 - Record of the Sachem owned by Jesse Metcalf\u003cbr\u003e\u003cbr\u003eThis is a large and exquisite tray documenting the accomplishments of the famous schooner Sachem. The interior is sterling and the frame is bronze. The interior exhibits exceptional engraving. A stunning engraving of the schooner is below the title 'Record of the Sachem'. The fineness of the engraved sails and rigging are a true portrait of the vessel.\u003cbr\u003e\u003cbr\u003eThree years of ownership are represented on this tray starting with 1886, the year she was finished being built. In her initial race for the coveted Goelet Cup on August 7th of that year she came in third, the only race during this ownership she did not win. She won her next race on Oct 7th racing from Brenton's Reef to Block Island.\u003cbr\u003e\u003cbr\u003eThe area underneath the schooner is engraved '1887' and lists her numerous winnings that year including The New York Yacht Club Regatta, Eastern Yacht Club Regatta, Morgan Cup Race, Newport Citizen's Cup, etc.\u003cbr\u003e\u003cbr\u003eThe last engraved section is for '1888'. The list of winnings for that year include Squadron Cruise Trophies, Goelet Cup, Martha's Vineyard Cup and Newport Citizens Cup. The full text of the engravings can be read at the bottom of the page.\u003cbr\u003e\u003cbr\u003eThis is a fascinating and beautiful testament to one of America's favorite sports and most famous and successful schooners.\u003cbr\u003e\u003cbr\u003eThe bronze frame is remarkable. Gorham's foundry produced some of the greatest bronzes of the period and the detail and work on this frame is amazing. The top has two winged putti leaning against a round shield that has never been engraved. It actually looks like a bulls-eye mirror. A beautiful backdrop of classical ornamentation including scroll devices, shells and foliage is lovely. \u003cbr\u003e\u003cbr\u003eThe exterior of the frame is a gadrooned edge and the interior is a border of bound reeds. Forty seven bolts attach the sterling interior to the frame. All the nuts are original, although one is missing. There is a hanger on the back which also appears old - most likely it was hung on a wall for most of these years accounting for it's spectacular condition.\u003cbr\u003e\u003cbr\u003eDesigned by Edward Burgess and built by Lawley \u0026amp; Sons, Sachem helped Burgess cement his reputation as America's leading yacht designer. After her initial ownership by F.T. Adams, Sachem was owned jointly by Jesse Metcalf of Rhode Island and Charles Owen, who sold the yacht to Charles H. Smith of New York in December of 1888.(1) Metcalf commissioned Gorham to make this 'fancy waiter' to celebrate his ownership of this historic yacht.\u003cbr\u003e\u003cbr\u003eGorham's records indicate the 'fancy waiter' ordered by Jesse Metcalf was completed in July of 1889. It took 82 hours to assemble ('making'), 50 hours to engrave the center and another 23 hours to cast and hand chase the border. It had a net factory cost of $250.00, likely translating into a $400.00 retail price - a significant sum at the time. Gorham felt the 'fancy waiter' so special that the costing record was placed in cost book 'H', where records for the very best objects were kept. The 'fancy waiter' was entered near pieces sent to the 1889 Paris Exposition.(2)\u003cbr\u003e\u003cbr\u003eThis rare waiter is marked on the reverse with Gorham's trademark along with 'STERLING', the year mark for 1889 and the special order code '782'. It measures 29 inches wide by 21 inches tall. Out of the frame, the sterling insert weighs 90.4 troy ounces. Both the bronze frame and sterling insert are in excellent condition. The bronze frame, when we acquired it, had been stripped of its patina and we had it professionally repatinated.\u003c\/p\u003e\n\u003cstrong\u003eEndnotes:\u003c\/strong\u003e\n\u003col\u003e\n\u003cli\u003e\"THE YACHT SACHEM SOLD\" in The New York Times, 29 December 1888.\u003c\/li\u003e\n\u003cli\u003eGorham Archives, Cost Book Vol. 'H', p. 13.\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003ch2\u003eText from the Gorham 'Fancy Waiter' - Record of the Sachem:\u003c\/h2\u003e\n\u003cdiv style=\"text-align: left;\"\u003e1886\u003c\/div\u003e\n\u003cdiv style=\"text-align: left;\"\u003eThe Sachem's first race was for the Goelet Cup at Newport Aug 7th, when out of the builder's hands two weeks, and her crew were not accustomed to her, she came in third, however, in a fleet of eleven schooners.\u003c\/div\u003e\n\u003cdiv style=\"text-align: left;\"\u003eOct 1 she sailed a match race with the English schooner Miranda, twenty miles to windward, from Brenton's Reef to Block Island, beat Miranda 8 min 44 sec.\u003c\/div\u003e\n\u003cdiv style=\"text-align: left;\"\u003e\u003c\/div\u003e\n\u003cdiv style=\"text-align: left;\"\u003e\u003c\/div\u003e\n\u003cdiv style=\"text-align: left;\"\u003e1887\u003c\/div\u003e\n\u003cdiv style=\"text-align: left;\"\u003eNew York Yacht Club Regatta June 5, won first prize, beat the Montauk 9 min.\u003c\/div\u003e\n\u003cdiv style=\"text-align: left;\"\u003eEastern Yacht Club Regatta June 23, first prize, beat the Iroquois 6 min 40 sec.\u003c\/div\u003e\n\u003cdiv style=\"text-align: left;\"\u003eMorgan Cup Race Vineyard Haven to Marblehead, Aug 8, beat Iroquois 40 min 44 sec.\u003c\/div\u003e\n\u003cdiv style=\"text-align: left;\"\u003eEastern Yacht Club Regatta, August 11, beat Iroquois 3 min 44 sec.\u003c\/div\u003e\n\u003cdiv style=\"text-align: left;\"\u003eProvidence City Cup race, East Chop to Brenton's Reef, Aug 15, Beat Magic 11 min 40 sec giving double time allowance.\u003c\/div\u003e\n\u003cdiv style=\"text-align: left;\"\u003eNewport Citizens Cup race, Aug 16, beat Magic, 2 min 20 sec giving double time allowance, and by private arrangement, the Magic received the Cup.\u003c\/div\u003e\n\u003cdiv style=\"text-align: left;\"\u003e\u003c\/div\u003e\n\u003cdiv style=\"text-align: left;\"\u003e\u003c\/div\u003e\n\u003cdiv style=\"text-align: left;\"\u003e1888\u003c\/div\u003e\n\u003cdiv style=\"text-align: left;\"\u003eSquadron Cruise Trophies, New London to Newport, Aug 9, beat Sea Fox 4 min 28 sec.\u003c\/div\u003e\n\u003cdiv style=\"text-align: left;\"\u003eGoelet Cup races, Aug 10, beat Grayling 12 min 29 sec.\u003c\/div\u003e\n\u003cdiv style=\"text-align: left;\"\u003eMartha's Vineyard Cup race, Aug 11, beat Sea Fox 4 min 55 sec.\u003c\/div\u003e\n\u003cdiv style=\"text-align: left;\"\u003eSquadron Cruise Trophies, New Bedford to Newport, Aug 17, beat Miranda, 8 min 3 sec.\u003c\/div\u003e\n\u003cdiv style=\"text-align: left;\"\u003eNewport Citizens Cup race, Aug 20, beat Iroquois, 51 min, giving double time allowance.\u003c\/div\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003col\u003e\u003c\/ol\u003e","brand":"Spencer Marks Ltd","offers":[{"title":"Default Title","offer_id":26380310085,"sku":"B633","price":0.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1850\/5637\/products\/b633_pi.jpg?v=1489867451"},{"product_id":"arthur-j-stone-and-herbert-taylor-the-pomfret-chapel-altar-vases-pair-of-american-sterling-silver-and-gold-altar-vases-gardner-ma-1915","title":"Arthur Stone and Herbert Taylor, The Pomfret Chapel Altar Vases, Pair of American Sterling Silver and Gold Altar Vases, Gardner, MA, 1915","description":"\u003cp\u003eThe Pomfret Chapel Altar Vases: Pair of American Sterling Silver and Gold Altar Vases, Arthur J. Stone and Herbert Taylor, Gardner, MA, 1915\u003cbr\u003e\u003cbr\u003eHexagonally paneled with gold inlay and onlay, these gothic and medieval inspired vases are probably the finest silver ever created by Arthur Stone's shop. \u003cbr\u003e\u003cbr\u003eWith gold onlay backgrounds, the necks are chased in stylized relief 'COME BEFORE HIS PRESENCE WITH A SONG' on one and 'ENTER INTO HIS GATES WITH THANKSGIVING' on the other. (Both are from 100th psalm in the traditional Episcopalian Book of Common Prayer.) \u003cbr\u003e\u003cbr\u003eOn the shoulders, panels of deeply chased silver with gold inlay form designs of trefoils, grape bunches, vines and leaves. The grapes flow over the panel borders with a stimulating trompe l'oeil effect.\u003cbr\u003e\u003cbr\u003eUnder this, a horizontal band features interspersed trefoils and ivy leaves all on a gold onlay background. The side panels are finished with line chased borders and a chased ivy leaf and berries, once again on gold onlay backgrounds, at the upper corners. A fine stepped foot completes the vases. \u003cbr\u003e\u003cbr\u003eThese stunning and important vases measure 9.875 inches high by 8.25 inches in diameter at the shoulder and weigh a combined 124 troy ounces. They are marked underneath with Stone's trademark, 'STERLING', 'T' for craftsman Herbert Taylor and engraved 'Pomfret School Chapel, 1915'. They are in very good antique condition with minor losses to the gold.\u003cbr\u003e\u003cbr\u003eArthur J. Stone ran the preeminent arts \u0026amp; crafts silver shop in New England, possibly the country. Items were hand made using traditional silversmithing techniques. An innovator, Stone let the other masters who worked for him sign the items they made. These vases were raised by Herbert Taylor, Stone's 'right hand man' and possibly the most accomplished silversmith who worked for Stone. Taylor was one of only eight silversmiths to win the award of 'Medalist', the highest honor for craft bestowed by the Society of Arts \u0026amp; Crafts, Boston. (Stone was the first silversmith to win the award.)\u003cbr\u003e\u003cbr\u003eThe decoration was executed by Arthur Stone himself. One of the most talented chasers of his era, Stone gained the reputation of the 'dean of silversmiths'. The rarest and very best silver from his shop included gold. The techniques of gold inlay and onlay are highly difficult to accomplish successfully; Stone did as little work with gold as he could and charged highly for it when he did. These vases include more applied gold decoration than any other pieces his shop ever produced. \u003cbr\u003e\u003cbr\u003eStone's most important commissioned work was ecclesiastical (including silver for Christ Church in Cranbrook (MI), Trinity Church, Kings Chapel and the Church of the Advent, all in Boston). Unlike most of these ecclesiastical pieces which were designed by chapel architects and others, the extraordinary Pomfret Chapel Vases were designed by Stone himself. For that reason alone they may be the most important objects ever created by his shop.\u003cbr\u003e\u003cbr\u003eThe design process is documented in the Arthur J. Stone Workshop Papers in the Archives of American Art at the Smithsonian Institution. Including a pencil sketch of the Pomfret altar with design ideas(1) and a photograph of the only known wax model by Stone's shop(2), the design evolves into the current form. Also preserved in the archives are some of Stone's original templates for the chased work.(3) Stone did design work for candlesticks for the chapel, but they were never executed.(4)\u003cbr\u003e\u003cbr\u003eThe Clark family of Philadelphia owned the important investment banking and stock brokerage firm, E. W. Clark \u0026amp; Co., among other ventures that included real estate and railroads. They were one of the founding families of the Pomfret School in Pomfret, CT. \u003cbr\u003e\u003cbr\u003eAfter the 1906 death of Pomfret alumni George Newhall Clark, his parents Edward \u0026amp; Lydia Clark donated $135 ,000.00 to build a chapel at the school in his memory.(5) Based on English 'Norman' design, it was made entirely of stone from a local farm.(6) The Clarks commissioned these vases from Stone for the altar in 1914.(7)\u003cbr\u003e\u003cbr\u003eFamous for his yachting pursuits, Edward Clark was a member of the New York Yacht Club and the Corinthian Yacht Club of Philadelphia (where he served as commodore for a period).(8)\u003cbr\u003e\u003cbr\u003eHe purchased the sloop Resolute after its America's Cup victory in 1920.(9) In 1913 and 1914, the commodores of the Eastern Yacht Club of Marblehead, MA, commissioned important yachting trophies from Stone(10) and it is likely that the Clarks knew of Stone and his work through these connections.(11)\u003cbr\u003e\u003cbr\u003eMasterpieces of this quality by Arthur J. Stone have never been on the market. Aside from the abundance of gold onlay, there are nearly 1400 individual pieces of inlaid gold. These extraordinary sterling and gold vases represent the highest caliber of design and execution by Arthur Stone and the finest items from his shop ever offered for sale.\u003c\/p\u003e\n\u003cp\u003eThe Metropolitan Museum of Art recently featured these on their Instagram account: \u003c\/p\u003e\n\u003cblockquote class=\"instagram-media\" data-instgrm-captioned=\"\" data-instgrm-version=\"7\" style=\"background: #FFF; border: 0; border-radius: 3px; box-shadow: 0 0 1px 0 rgba(0,0,0,0.5),0 1px 10px 0 rgba(0,0,0,0.15); margin: 1px; max-width: 658px; padding: 0; width: calc(100% - 2px);\"\u003e\n\u003cdiv style=\"padding: 8px;\"\u003e\n\u003cdiv style=\"background: #F8F8F8; line-height: 0; margin-top: 40px; padding: 50% 0; text-align: center; width: 100%;\"\u003e\n\u003cdiv style=\"background: url(data:image\/png; base64,ivborw0kggoaaaansuheugaaacwaaaascamaaaapwqozaaaabgdbtueaalgpc\/xhbqaaaafzukdcak7ohokaaaamuexurczmzpf399fx1+bm5mzy9amaaadisurbvdjlvzxbesmgces5\/p8\/t9furvcrmu73jwlzosgsiizurcjo\/ad+eqjjb4hv8bft+idpqocx1wjosbfhh2xssxeiyn3uli\/6mnree07uiwjev8ueowds88ly97kqytlijkktuybbruayvh5wohixmpi5we58ek028czwyuqdlkpg1bkb4nnm+veanfhqn1k4+gpt6ugqcvu2h2ovuif\/gwufyy8owepdyzsa3avcqpvovvzzz2vtnn2wu8qzvjddeto90gsy9mvlqtgysy231mxry6i2ggqjrty0l8fxcxfcbbhwrsyyaaaaaelftksuqmcc); display: block; height: 44px; margin: 0 auto -44px; position: relative; top: -22px; width: 44px;\"\u003e\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cp style=\"margin: 8px 0 0 0; padding: 0 4px;\"\u003e\u003ca href=\"https:\/\/www.instagram.com\/p\/BX7-odKjKpy\/\" style=\"color: #000; font-family: Arial,sans-serif; font-size: 14px; font-style: normal; font-weight: normal; line-height: 17px; text-decoration: none; word-wrap: break-word;\" target=\"_blank\"\u003eThis exquisite altar vase, one of a pair, is among the finest known examples of American Arts and Crafts silver. They were designed by the silversmith Arthur J. Stone, who trained and worked in England and Scotland before immigrating to the United States in 1884. Refined and opulent, the vases display Stone's rich ornamental vocabulary as well as his exceptional technical skills. The bold hexagonal bodies were hand-raised to Stone's design by his workshop's leading craftsman, Herbert Taylor, and then painstakingly chased and gilded by Stone himself. On the neck of each vase a verse from the Book of Common Prayer is chased in Gothic lettering against a sumptuous gold ground. Made for use on the altar of the chapel at Pomfret School in Pomfret, Connecticut, the vases were commissioned by Lydia Clark of Philadelphia in memory of her son, George Newhall Clark, an alumnus of the school. Altar vase, one of a pair, by Arthur J. Stone and Herbert Taylor, 1915 (2011.348). On view in Gallery 706.#metamericanwing #themet #silver #artsandcrafts\u003c\/a\u003e\u003c\/p\u003e\n\u003cp style=\"color: #c9c8cd; font-family: Arial,sans-serif; font-size: 14px; line-height: 17px; margin-bottom: 0; margin-top: 8px; overflow: hidden; padding: 8px 0 7px; text-align: center; text-overflow: ellipsis; white-space: nowrap;\"\u003eA post shared by The American Wing of The Met (@metamericanwing) on \u003ctime style=\"font-family: Arial,sans-serif; font-size: 14px; line-height: 17px;\" datetime=\"2017-08-18T13:40:47+00:00\"\u003eAug 18, 2017 at 6:40am PDT\u003c\/time\u003e\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c\/blockquote\u003e\n\u003cscript src=\"\/\/platform.instagram.com\/en_US\/embeds.js\" defer async=\"\"\u003e\u003c\/script\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eExhibitions:\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e\"Arthur J. Stone 1847-1938: Designer and Silversmith\", Cat. No. 108.\u003cbr\u003e\u003cbr\u003e\"Inspiring Reform: Boston's Arts and Crafts Movement\", Cat. No. 51.\u003cbr\u003e\u003cbr\u003e\u003cstrong\u003eLiterature:\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003eElenita C. Chickering, \u003cem\u003eArthur J. Stone 1847-1938: Designer and Silversmith\u003c\/em\u003e, (Boston: the Boston Athenaeum, 1994), pp. 86 \u0026amp; 108.\u003cbr\u003e\u003cbr\u003eMarilee B. Meyer,\u003cem\u003e Inspiring Reform: Boston's Arts and Crafts Movement\u003c\/em\u003e, (Wellesley: the Davis Museum and Cultural Center, 1997), pp. 79, 176-77.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eEndnotes:\u003c\/strong\u003e\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003e\n\u003cem\u003eArthur J. Stone Workshop Papers\u003c\/em\u003e in the Archives of American Art, Smithsonian Institution, (henceforth referred to as 'Stone Papers'), Box 11, 'Altar Vase Drawing' folder.\u003c\/li\u003e\n\u003cli\u003eStone Papers, Box 1, 'Photos of Small Work' folder and 'Large Photo Album' folder.\u003c\/li\u003e\n\u003cli\u003eStone Papers, Box 8, 'Lettering and Inscriptions' folder and 'Church Inscriptions' folder.\u003c\/li\u003e\n\u003cli\u003eStone Papers, Box 12.\u003c\/li\u003e\n\u003cli\u003eBrad Pearson, \u003cem\u003eThe Spirit That is Pomfret\u003c\/em\u003e, (Pomfret: the Pomfret Alumni Association, 1993), p. 47.\u003c\/li\u003e\n\u003cli\u003eIbid.\u003c\/li\u003e\n\u003cli\u003eStone Papers, Box 11, 'Altar Vase Drawing' folder.\u003c\/li\u003e\n\u003cli\u003e\"E. W. Clark, Banker and Yachtsman, 88\" in \u003cem\u003eThe New York Times\u003c\/em\u003e, 5 April 1946, p. 24.\u003c\/li\u003e\n\u003cli\u003eIbid.\u003c\/li\u003e\n\u003cli\u003eElenita C. Chickering, \u003cem\u003eArthur J. Stone 1847-1938: Designer and Silversmith\u003c\/em\u003e, (Boston: the Boston Athenaeum, 1994), pp. 124-27.\u003c\/li\u003e\n\u003cli\u003eStone Papers, Box 11, 'Altar Vase Drawing' folder. It is interesting to note that the envelope containing these drawings is addressed to Stone in Gardner with a return address of the Clark Bank in Philadelphia, but postmarked from Marblehead, MA. We speculate he may have had a summer home there.\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003e \u003c\/p\u003e","brand":"Spencer Marks Ltd","offers":[{"title":"Default Title","offer_id":26381852421,"sku":"B710","price":0.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1850\/5637\/products\/b710_pi.jpg?v=1489873198"},{"product_id":"william-seal-american-federal-coin-silver-water-pitcher-philadelphia-c-1810-22-ex-collection-sam-wagstaff","title":"William Seal American Federal Coin Silver Water Pitcher, Philadelphia, c. 1810-22, ex. collection: Sam Wagstaff","description":"Of classical vasiform shape, this rare pitcher was made in Philadelphia by William Seal, working c. 1810-22. The body is entirely hand raised, with a drawn and applied band making the ring foot and a drawn and applied band of fine gadrooning along the rim. The strongly geometric handle features raised linear decoration on the outside (see detail image). Seal's work is rare and does not survive in great numbers today; it is clear from this piece that he was an accomplished artisan.\u003cbr\u003e\u003cbr\u003eThe stunning design of this pitcher is based on strong underlying forms. Remove the gadrooned rim, and this piece could easily be from the Art Deco period of the 1920's. No wonder Sam Wagstaff purchased it. A curator by profession, Wagstaff assembled the first and most important collection of American 19th century silver ever collected. His eye was keen and his mind creative. While more money has been used to develop collections since his, Wagstaff's creative sensibilities made his the vanguard collection of our era. \u003cbr\u003e\u003cbr\u003eAmerican water pitchers do not appear much earlier than this. The earliest ones were made in Newburyport and Boston as early as 1800-10, only a decade or so before this one was made. These pitchers, also known as jugs, seem to have been made for ice water here in the United States (Clayton, Michael; \u003cem\u003eThe Collector's Dictionary of the Silver and Gold of Great Britain and North America\u003c\/em\u003e; (London: Hamlyn Publishing, 1971); p. 163). Other places, they were used for beer, punch and other concoctions - most likely they were for multiple purposes here too.\u003cbr\u003e\u003cbr\u003eWhile silver forms usually precede ceramic forms, this is a rare case of the reverse being true. Early American water pitchers seem to follow the form of 'Liverpool' jugs of the period. This form of pitcher can be found in Liverpool-type jugs from as early as 1801-2. In this example, the curvaceous scroll handle of the pottery jug has been replaced with a strongly rectilinear handle that became stylish in American silver around 1810-15, and was never popular in ceramics of the period.\u003cbr\u003e\u003cbr\u003eThe form continued to be made in American ceramics, being closely related to pitchers made by William Ellis Tucker in Philadelphia (working as Tucker \u0026amp; Hulme and Tucker \u0026amp; Hemphill from 1826-38). The first American to make porcelain, Tucker's pieces included pitchers of similar form with scroll handles.\u003cbr\u003e\u003cbr\u003eThis pitcher is marked underneath 'W. Seal', 'Philadelphia', and with an eagle head pseudo hallmark. It retains two paper labels, one from Christie's, 'Lot 5\/ Wagstaff', the other unknown. It measures 8 inches high and weighs a hefty 35.95 troy ounces.\u003cbr\u003e\u003cbr\u003e\u003cstrong\u003eProvenance:\u003c\/strong\u003e Sam Wagstaff. Christie's sale number 6748, January 20, 1989, lot number 5.\u003cbr\u003e\u003cbr\u003eCondition: Very good antique condition with typical wear. A monogram has been removed (this is not noticeable) and there are very slight separations in the handle (apparently from normal use).","brand":"Spencer Marks Ltd","offers":[{"title":"Default Title","offer_id":26474843141,"sku":"C336","price":0.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1850\/5637\/products\/C336_pi.jpg?v=1490216352"},{"product_id":"samuel-kirk-silver-gilmor-type-massive-ewer-baltimore-c-1840","title":"Samuel Kirk Silver 'Gilmor' Type Massive Ewer, Baltimore, c. 1840","description":"This important piece of early Baltimore silver features bold classical repoussé work and a cast figural handle. Of renaissance ewer form it has wonderful repoussé details of classical acanthus leaves around the base and floral and foliate decoration around the mid section and top. The extraordinary handle is cast with a bird eating berries and a hound on top. This handle is identical to a handle used on a ewer now in the collection of the High Museum in Atlanta. The spout is detailed with an exceptional classical mask. \u003cbr\u003e\u003cbr\u003eMeasuring 17.5 inches high and weighing 57.5 troy ounces, this ewer is in excellent antique condition. \u003cbr\u003e\u003cbr\u003eThe Gilmors were an important Baltimore family, noted for accumulating one of the finest collections of renaissance objects during the early years of the United States. Samuel Kirk's shop had a practice of naming objects after the family that first ordered them and it is believed that a Gilmor was the first to order a ewer in this form. \u003cbr\u003e\u003cbr\u003eJennifer Goldsborough, in \u003cem\u003eClassical Maryland\u003c\/em\u003e, speculates that possibly the form was based on a piece in the Gilmor's collection of renaissance items. Noted Baltimore silver scholar Mark Letzer believes that only 10 or 15 ewers in this 'Gilmor' style were ever produced by the Kirk shop. \u003cbr\u003e\u003cbr\u003eSamuel Kirk was an entrepreneurial silversmith working in Baltimore from the early 19th century. He built a successful business by being a stylistic innovator while keeping an eye on production cost and profit. This style of repoussé work had been out of fashion since the mid 18th century until he reintroduced it about the time this ewer was made. He made the repoussé style so popular that by the end of the 19th century it was commonly referred to as 'Maryland' silver.\u003cbr\u003e\u003cbr\u003eProvenance: By descent in the family of Douglas Thomas, noted Baltimore industrialist.","brand":"Spencer Marks Ltd","offers":[{"title":"Default Title","offer_id":26475109765,"sku":"C512","price":0.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1850\/5637\/products\/C512_pi.jpg?v=1490217322"},{"product_id":"tiffany-co-antique-sterling-silver-and-glass-cheroot-case-c-1882","title":"Tiffany \u0026 Co. Antique Sterling Silver and Glass Cheroot Case, c. 1882","description":"\u003c!-- split --\u003eTiffany \u0026amp; Co. Antique Sterling Silver and Glass Cheroot Case, c. 1882\u003cbr\u003e\u003cbr\u003eThe thick, heavy rock crystal cut glass has wonderful beaded spiral designs (also referred to as pearling) typical of designs by Charles Osborne, Tiffany's chief designer from 1879-1887. The sterling hinged mount, with a fairly airtight seal, has a wavy design along its upper and bottom edge. The inside rim is engraved 'LTP'.\u003cbr\u003e\u003cbr\u003eRock crystal cut glass objects with Tiffany \u0026amp; Co. sterling mounts are extremely rare. In all our literature, we have yet to find an object identical to this. We speculate that it is a cheroot case, although it may have had another function.\u003cbr\u003e\u003cbr\u003eAccording to \u003cem\u003eMagnificent Tiffany Silver\u003c\/em\u003e by John Loring, 'In this period (beginning in 1882) there is a collaboration between Tiffany \u0026amp; Co. and the leading English glasshouse of Thomas Webb and Sons.' Loring further states 'This began a successful design and business relationship between Webb's and Tiffany's, which would continue through the 1880's'. (See page 157.)\u003cbr\u003e\u003cbr\u003eAlthough the glass is not signed, it is almost certainly Webb glass. Webb developed the rock crystal cutting style after winning their numerous awards at the 1878 World's Fair (where Tiffany \u0026amp; Co. also won their share of prizes). This appears to be a very early example of their collaboration.\u003cbr\u003e\u003cbr\u003eThis highly unusual case is marked on the inside rim 'TIFFANY \u0026amp; CO\/ m\/ STERLING' with the pattern\/model numbers '6969\/6060'. It measures 4.5 inches long by 2.5 inches wide by 2 inches deep and is in excellent condition.","brand":"Spencer Marks Ltd","offers":[{"title":"Default Title","offer_id":26504905285,"sku":"C514","price":0.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1850\/5637\/products\/C514_a_pi.jpg?v=1490290837"},{"product_id":"alfred-ivory-pair-of-english-sterling-wine-ewers-or-claret-jugs-london-c-1860s","title":"Alfred Ivory Pair of English Sterling Wine Ewers or Claret Jugs, London, c. 1860's","description":"Exceptional design and casting make this rare pair of ewers quite remarkable. Based on renaissance designs, these ewers are highly ornamented with arabesques, animals and masks. \u003cbr\u003e\u003cbr\u003eThey were presentation pieces to Lord Walsingham for his 'exhibition of fat cattle and sheep', one in 1864 the other in 1866. \u003cbr\u003e\u003cbr\u003e'Walsingham' sheep were very famous in the 19th century and some were exported to the United States.","brand":"Spencer Marks Ltd","offers":[{"title":"Default Title","offer_id":26643391749,"sku":"D210","price":0.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1850\/5637\/products\/d210_pi.jpg?v=1490535577"},{"product_id":"the-kalo-shops-pair-of-arts-crafts-sterling-silver-covered-entree-or-vegetable-servers-chicago-il-1912-16","title":"The Kalo Shops Pair of Arts \u0026 Crafts Sterling Silver Covered Entrée or Vegetable Servers, Chicago, IL, 1912-16","description":"\u003cp\u003eThis spectacular pair of covered serving dishes is very rare. The oval bodies have an attached stepped spreading foot. Unusual rims are attached to the bowls. They are wide, flat surface with a rolled edge border. These rims emphasize the strong horizontal aspect of the design, an important component of the 'Prairie' school of architecture, popular in Chicago at the time.\u003cbr\u003e\u003cbr\u003eShaped handles with triangular ends are attached to the fitted domed covers. A lovely 'V' monogram is applied to the covers. (I say it is for vegetables.) Lovely hammering covers all the surface areas.\u003cbr\u003e\u003cbr\u003eThe Kalo Shop is known for its hammered surfaces and creative, forward looking arts \u0026amp; crafts designs. It was started by Clara Barck Welles who was 'known for her fair employment practices and for giving opportunities to women to become metalsmiths'.1\u003cbr\u003e\u003cbr\u003eThese stunning serving dishes are marked 'STERLING\/ HAND WROUGHT\/ AT\/ THE KALO SHOPS\/ CHICAGO\/ AND\/ NEW YORK\/ 393\/ M'. They measures 12 inches long by 8.25 inches deep by 6.5 inches high, weigh a combined 81.65 troy ounces and are in excellent antique condition.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eEndnote:\u003c\/strong\u003e\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eSharon S. Darling, \u003cem\u003eChicago Metalsmiths\u003c\/em\u003e, (Chicago: Chicago Historical Society, 1977), p. 48.\u003c\/li\u003e\n\u003c\/ol\u003e","brand":"Spencer Marks Ltd","offers":[{"title":"Default Title","offer_id":26643697861,"sku":"D238","price":0.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1850\/5637\/products\/D238_pi.jpg?v=1490536104"},{"product_id":"thomas-heming-english-sterling-tea-caddy-and-sugar-box-in-the-original-shagreen-box-london-c-1753","title":"Thomas Heming English Sterling Tea Caddy and Sugar Box in the Original Shagreen Box, London c. 1753","description":"These extremely rare and exceptional fine English sterling tea caddies retain their original, fitted shagreen box with silver mounts. The sugar box has a hinged lid that flips open and the tea caddy lid slides open - a trick lid to keep prying servants away from valuable tea! \u003cbr\u003e\u003cbr\u003eExecuted in the 'Tea Picker' pattern, first popularized by Paul de Lamerie in the 1740's these fine examples were made by Thomas Heming who would become the royal silversmith to His Majesty George III in 1760.","brand":"Spencer Marks Ltd","offers":[{"title":"Default Title","offer_id":26651868997,"sku":"E13","price":0.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1850\/5637\/products\/e13_pi.jpg?v=1490549543"},{"product_id":"james-thomson-the-mckeon-vase-monumental-american-silver-covered-presentation-vase-designed-by-sculptor-robert-ball-hughes-new-york-ny-1837","title":"James Thomson - The McKeon Vase: Monumental American Silver Covered Presentation Vase Designed by Sculptor Robert Ball Hughes, New York, NY, 1837","description":"Of classical vase form, this exceptional piece is boldly embellished with cast, repousséd and chased details. The lid is surmounted by a three-dimensional cast figure of a Native American woman dressed traditionally holding a corn stalk and American shield. Below her on the lid are rings of acanthus leaves, 13 stars and laurel. \u003cbr\u003e\u003cbr\u003eThe body is flanked by two large cast and applied handles of fully figured eagles perched on flowing foliate scrolls that attach to the body. \u003cbr\u003e\u003cbr\u003eEach side features a cartouche of fluid foliate design incorporating roses, thistle and shamrocks. One side features the coat of arms of New York State repousséd into the reserve.\u003cbr\u003e\u003cbr\u003eThe other cartouche is inscribed:\u003cbr\u003e\n\u003cblockquote\u003e\n\u003cdiv style=\"text-align: center;\"\u003ePresented to\u003c\/div\u003e\n\u003cdiv style=\"text-align: center;\"\u003eJohn McKeon\u003c\/div\u003e\n\u003cdiv style=\"text-align: center;\"\u003eBy his Fellow Citizens of the\u003c\/div\u003e\n\u003cdiv style=\"text-align: center;\"\u003eCITY OF NEW YORK\u003c\/div\u003e\n\u003cdiv style=\"text-align: center;\"\u003ein testimony of the high sense\u003c\/div\u003e\n\u003cdiv style=\"text-align: center;\"\u003ethey entertain of his\u003c\/div\u003e\n\u003cdiv style=\"text-align: center;\"\u003euniform support of the Principles of\u003c\/div\u003e\n\u003cdiv style=\"text-align: center;\"\u003eCivil \u0026amp; Religious Liberty\u003c\/div\u003e\n\u003cdiv style=\"text-align: center;\"\u003e\u0026amp; of their Gratitude for his\u003c\/div\u003e\n\u003cdiv style=\"text-align: center;\"\u003ePUBLIC SERVICES.\u003c\/div\u003e\n\u003cdiv style=\"text-align: center;\"\u003e1838.\u003c\/div\u003e\n\u003c\/blockquote\u003e\n\u003cp\u003eBelow, a band of flowing acanthus leaves interspersed with lilies emerge from the foot.\u003cbr\u003e\u003cbr\u003eThe pedestal foot has a band of laurel wreath below realistic acanthus leaves which incorporate shamrock and hickory leaves supporting a three-dimensional cast Harp of Erin which rests against the pedestal.\u003cbr\u003e\u003cbr\u003eOn Saturday February 10, 1838, \u003cem\u003eThe (New York) Evening Post\u003c\/em\u003e recorded the presentation to McKeon and noted:\u003c\/p\u003e\n\u003cblockquote\u003e\n\u003cp\u003eThe Vase is of the most exquisite design — by Ball Hughes, Esq. and manufactured by Thompson, of William Street. It is of the Etruscan order(1) — upon the top of the cover is seated an Indian girl with a buffalo skin thrown over her shoulders, with one hand resting upon a shield, and holding in the other a stalk of Indian corn. The upper circle of the cover is adorned with thirteen stars, and underneath a wreath of laurel, both executed in the richest style of workmanship. The handles are formed by two eagles, with expanded wings, weighing together about seven pounds, very massive, beautifully wrought. On one side in bass relief are the arms of the State of New York, and on the other, surrounding the inscription a wreath composed of the lily - the shamrock - the fleur de lis and thistle….The Vase rises from a pedestal amid a foliage of hickory leaves, and is supported by the harp of Erin, highly finished, and richly ornamented. It is a fine specimen of art.(2)\u003c\/p\u003e\n\u003c\/blockquote\u003e\n\u003cp\u003eThis monumental piece is marked under the finial 'Jas. Thomson', 'NEW YORK' and '1837'. It measures 24 inches high and weighs 311 troy ounces. It is in excellent antique condition except for some restoration to the foot.\u003cbr\u003e\u003cbr\u003e\u003cstrong\u003eJohn McKeon (1808-83)\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003eJohn McKeon was a lawyer who served as a US Congressman, New York State Assemblyman and US District Attorney. \u003cbr\u003e\u003cbr\u003eBorn in Albany in 1808, he was the son of Irish immigrant James McKeon who fought with Wolfe Tone in the rising of 1798.(3) After fleeing Ireland, McKeon Sr also fought for his new country during the war of 1812. He served with distinction at the battle of Niagara and retired at the end of the war as the commander of the 4th US Artillery. (4)\u003cbr\u003e\u003cbr\u003eThe McKeon family moved to New York City when John was young. John graduated from Columbia College and was admitted to the bar. An outspoken proponent of free trade and religious freedom, McKeon soon found his way into politics and was elected to the NY State Assembly as a Democrat in 1832. \u003cbr\u003e\u003cbr\u003eRunning as a Jacksonian Democrat, McKeon was elected to the US Congress in 1834 and again in 1840. He fiercely advocated for free enterprise, free trade, religious freedom and strong defense. One bill he sponsored opened the port of New York to pilots from New Jersey, breaking a restrictive monopoly on the port by New York pilots. Another successful bill was for the relief of New York City merchants after the Great Fire of 1835.(5)\u003cbr\u003e\u003cbr\u003eLater he served as US District Attorney, helping to seize a slave-trading ship and forcing the end to British recruitment of US citizens as soldiers to fight in the Crimean War.(6) Throughout his life, he ran a successful private legal practice.(7) A friend to the New York Archdiocese, he advised church leaders, including Cardinal McLoskey(8) and was buried in Old St. Patrick's Cathedral. (9)\u003cbr\u003e\u003cbr\u003e\u003cstrong\u003eRobert Ball Hughes (1804-68)\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003eSculptor Robert Ball Hughes played an important role in the development of sculpture in the United States during the mid 19th century. His 1835 sculpture of Alexander Hamilton in the New York Merchant's Exchange was the first life-size marble sculpture created in this country. In 1847, his bronze monument of Nathaniel Bowditch for Mt. Auburn Cemetery in Cambridge, MA, was the first life-sized bronze cast in the United States. \u003cbr\u003e\u003cbr\u003eBorn in London, the son of a coach maker, Ball Hughes showed an early aptitude for art. He apprenticed under the important sculptor Edward Hodges Baily, exhibited extensively at and won a gold medal at the Royal Academy, and immigrated with his new wife to the United States in 1829.(10) A friend of John Trumbull, Ball Hughes was named an honorary member of the National Academy in 1830.\u003cbr\u003e\u003cbr\u003eWorking with silver was a theme throughout Ball Hughes's career. His master, Edward Hodges Baily was a principal modeler to the royal goldsmiths and jewelers, Rundell, Bridge and Rundell, from 1815-33. At the same time, he kept an independent studio.(11) As Baily's apprentice, Ball Hughes worked both places and became an experienced silver modeler – at least one of his early sculptures was cast in silver.(12) In 1840, Ball Hughes redesigned the obverse of the U.S. seated liberty coins with a bas relief strikingly similar to the finial of this vase. There is evidence that later in life while living in Dorchester, he may have collaborated as a modeler with Roswell Gleason, the pewter and silver plate entrepreneur. (13)\u003cbr\u003e\u003cbr\u003eThis is the only known extant example of silver designed by Ball Hughes and one of only a very few pieces of American silver from this period whose designer is known. \u003cbr\u003e\u003cbr\u003e\u003cstrong\u003eThe Great Fire of 1835\u003c\/strong\u003e destroyed a large section of lower Manhattan, devastating the area between Broad \u0026amp; Wall Streets then crowded with warehouses and stores. While estimates of losses ranged from 10 to 40 million dollars, congress used an estimate of $17,115,692.00 for the relief measure.(14) Although many merchants were insured, fire insurance companies were undercapitalized and 23 of 26 were forced to declare bankruptcy.(15)\u003c\/p\u003e\n\u003ch6 style=\"text-align: center;\"\u003e\n\u003cimg alt=\"The Great Fire of 1835\" src=\"\/\/cdn.shopify.com\/s\/files\/1\/1850\/5637\/files\/Great_fire_of_NY_1835_use_from_LC.jpg?v=1490713374\" style=\"float: none;\"\u003e\u003cbr\u003eThe Merchants Exchange and cupola engulfed in flames during the \u003cbr\u003eGreat Fire of New York, 1835\u003c\/h6\u003e\n\u003cp style=\"text-align: left;\"\u003e\u003cbr\u003e\u003cbr\u003eDestroyed during the Great Conflagration was the Merchants Exchange, the classical marble building that served as the hub of mercantile activity in the area. Firemen heroically raced into the burning structure in an attempt to save the newly installed statue of Alexander Hamilton by Robert Ball Hughes. The great cupola of the exchange collapsed on the statue before it could be rescued – fortunately, the firefighters had fled in time.\u003cbr\u003e\u003cbr\u003eCongressman John McKeon, Jacksonian Democrat, free trader and closely aligned to the merchants of the city, quickly and successfully fought for a \"sufferer's\" relief bill in congress. His success at this relief bill, the breaking of the port monopoly and defense appropriations ensured his re-nomination for Congress on the Democratic ticket in 1836, but he was defeated by Ogden Hoffman in a wave of anti-Jackson Democrat and nativist (anti-Catholic) voting.\u003cbr\u003e\u003cbr\u003e\u003cstrong\u003ePatriotic symbols\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003ePatriotic symbols of unity are found throughout the decoration on the vase. Ball Hughes, trained as a classical sculptor, would have had a keen understanding of the meaning of these devices – as would the classically educated populace that traveled in McKeon's circle.\u003cbr\u003e\u003cbr\u003eThe cartouches are embellished with the traditional symbols of British union – the rose of England, the thistle of Scotland and the shamrock of Ireland. \u003cbr\u003e\u003cbr\u003eHowever, Ball Hughes has moved significantly beyond this. The finial, a Native American bearing the gift of corn and holding an American shield, seems a respectful tribute to that culture and a reminder of the natural bounty of the young republic.\u003cbr\u003e\u003cbr\u003eIncluding the 'fleur-de-lis' is highly significant. The fleur-de-lis is a lily or iris and need not be represented in the traditionally stylized heraldic manner but can be displayed as a natural lily as these are. As a natural lily, the fleur-de-lis is traditionally associated with the Virgin Mary and is found in renaissance paintings of the annunciation. These lilies represent the inclusion of the Catholic faith into this new union.\u003cbr\u003e\u003cbr\u003eHowever, it is the inclusion of the hickory leaves in the base which is the most original symbol. Andrew Jackson was known as 'Old Hickory' for his strength and resilience. The hickory leaves are supporting the Harp of Erin at the base – clearly indicating the support and union of Jackson Democrats and Irish immigrants. This union of the Irish Catholics and the Democratic Party was to last nearly 150 years and be one of the most defining and enduring of all American political alliances.\u003cbr\u003e\u003cbr\u003eStriking handles of boldly cast and beautifully finished figural American bald eagles perched on scrolls with slightly spreading wings appear about to take flight. The thirteen stars representing the original states, the classical laurel representing victory, the arms of the State of New York and the eagle handles complete the theme of patriotic unity.\u003cbr\u003e\u003cbr\u003e\u003cstrong\u003eJames Thomson\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003eSuccessive members of the Thomson family of silversmiths worked in lower Manhattan only a few blocks from The Great Conflagration. William, the father, ran a successful business until his death in 1831 when his son James succeeded him. A brother, another William, took control of the shop around 1840 and the business was sold to Zalmon Bostwick by 1845.(16) William Thomson silver is found in many of the finest museum collections, including the Metropolitan Museum of Art (see \u003ca href=\"https:\/\/www.metmuseum.org\/art\/collection\/search\/1330\"\u003ehere\u003c\/a\u003e).\u003cbr\u003e\u003cbr\u003eJames Thomson's silver is very rarely seen, even though he produced important pieces of silver and won medals from the American Institute during this exciting period. When he won a silver medal at the 1835 American Institute Fair(17) the Mechanics Magazine noted his display 'produced the most agreeable astonishment'.(18) He won other medals at the fairs including a gold medal in 1838 for best 'chasing on a vase'(19) and, most importantly for us, a silver medal in 1837.(20) His success was not limited to New York; he received a certificate of honorable mention from the Franklin Institute in Philadelphia 1839.(21)\u003cbr\u003e\u003cbr\u003e\u003cstrong\u003eThe American Institute of New York City\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003eThe American Institute of New York City was a national organization that promoted American agriculture, industry and art. Every year in October, it held a fair and awarded prizes, or premiums, in many categories. The best silversmiths would bring 10-12 of their finest pieces to display and premiums were highly valued. The esteem and publicity associated with premiums were important to promoting a successful business. Fairs such as these were transformed into the 'World's Fairs' later in the century when the promotional nature of the event became even more important.\u003cbr\u003e\u003cbr\u003e\u003cem\u003eThe Evening Post\u003c\/em\u003e recorded the premiums awarded by the American Institute at their fair in October of 1837 and noted the silver medal awarded to silversmith James Thomson, 'for a silver vase, goblet, and claret jugs.'(22) In a later article, \u003cem\u003eThe Evening Post\u003c\/em\u003e states of the McKeon presentation piece: 'The present is a handsome specimen of work, as many are able to testify who saw it at the Fair of the American Institute last fall.'(23) It is inconceivable that the judges were talking about any other vase in Thomson's display.\u003cbr\u003e\u003cbr\u003eOccasionally medals and other premiums awarded by the American Institute appear on the market. This is only the second known extant unique object that actually was mentioned in a prize at the American Institute fairs.\u003c\/p\u003e\n\u003cp style=\"text-align: left;\"\u003e\u003cstrong\u003eEndnotes:\u003c\/strong\u003e\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eIn private conversation, Baltimore silver scholar Patrick Duggan, has told us that the term 'Etruscan' was used by Samuel Kirk's firm in the 1830's and 40's to indicate classical vasiform shape – not 'castle' style decoration as is commonly thought today. The use of 'Etruscan' in this article supports his thesis and makes us think that term 'Etruscan' was commonly understood as such at the time.\u003c\/li\u003e\n\u003cli\u003e'Mr. McKeon's Testimonial', \u003cem\u003eThe Evening Post\u003c\/em\u003e [New York], 10 February 1838, n.p.\u003c\/li\u003e\n\u003cli\u003e\n\u003cem\u003eThe National Cyclopaedia of American Biography\u003c\/em\u003e, (New York: James T. White \u0026amp; Co., 1896), Vol. VI, p. 220.\u003c\/li\u003e\n\u003cli\u003e'John M'Keon's Work Done', \u003cem\u003eThe New York Times\u003c\/em\u003e, 23 November 1883.\u003c\/li\u003e\n\u003cli\u003e'Sufferers by New York Fire: Remarks of Hon. John McKeon, of New York, In the House of Representatives, January 14, 1836', in \u003cem\u003eAppendix to the Congressional Globe\u003c\/em\u003e, (Washington: U.S. Govt., January 14, 1836), pp. 20-22.\u003c\/li\u003e\n\u003cli\u003e'John M'Keon's Work Done'\u003c\/li\u003e\n\u003cli\u003eRegina Marie McEntee, \u003cem\u003eJohn McKeon: Catholic leader and congressman from New York, 1808-1883\u003c\/em\u003e, MA Thesis (Washington, D.C.: Catholic University of America, 1947), n.p.\u003c\/li\u003e\n\u003cli\u003e 'John M'Keon's Work Done'\u003c\/li\u003e\n\u003cli\u003e McEntee, n.p.\u003c\/li\u003e\n\u003cli\u003eRobert Ball Hughes website: see here. Last accessed 13 December 2010.\u003c\/li\u003e\n\u003cli\u003e Christopher Hartop, \u003cem\u003eRoyal Goldsmiths: The Art of Rundell \u0026amp; Bridge 1797-1843,\u003c\/em\u003e (Cambridge: John Adamson, 2005), p. 103.\u003c\/li\u003e\n\u003cli\u003eRobert Ball Hughes web site, \"Biography\" page: see here. Last accessed 13 December 2010.\u003c\/li\u003e\n\u003cli\u003eRobert Ball Hughes web site, \"Georgina Ball Hughes\" page: see here. Last accessed 13 December 2010.\u003c\/li\u003e\n\u003cli\u003e'Sufferers by New York Fire: Remarks of Hon. John McKeon…', p.21\u003c\/li\u003e\n\u003cli\u003eVirtual NY web site: see here. Last accessed 13 December 2010.\u003c\/li\u003e\n\u003cli\u003eDeborah Dependahl Waters, \u003cem\u003eElegant Plate: Three Centuries of Precious Metals in New York City\u003c\/em\u003e, (New York: The Museum of the City of New York, 2000), pp. 408-409\u003c\/li\u003e\n\u003cli\u003eand private conversations with D. Albert Soeffing.\u003c\/li\u003e\n\u003cli\u003e'Premiums' in the \u003cem\u003eJournal of the American Institute\u003c\/em\u003e, (New York: T. B. Wakeman, Vol. 3, No. 1, October 1835, p. 27\u003c\/li\u003e\n\u003cli\u003e'Fair of the American Institute', in \u003cem\u003eMechanics' Magazine\u003c\/em\u003e, (New York: D.K. Minor, 1835, Vol. VI), p. 270.\u003c\/li\u003e\n\u003cli\u003e'Premiums' in the \u003cem\u003eJournal of the American Institute\u003c\/em\u003e, (New York: T. B. Wakeman, Vol. 6, No. 1, October 1838), p. 42\u003c\/li\u003e\n\u003cli\u003e'Premiums' in the \u003cem\u003eJournal of the American Institute\u003c\/em\u003e, (New York: T. B. Wakeman, Vol. 6, No. 1, October 1837), p. 42\u003c\/li\u003e\n\u003cli\u003e'Report of the Committee on Premiums and Exhibitions' in the \u003cem\u003eJournal of the Franklin Institute\u003c\/em\u003e, (Philadelphia: The Franklin Institute, 1893, New Series Vol. 23, May), p. 304.\u003c\/li\u003e\n\u003cli\u003e'Premiums' in the \u003cem\u003eJournal of the American Institute\u003c\/em\u003e, (New York: T. B. Wakeman, Vol. 6, No. 1, October 1837), p. 42 . Also reported in 'Premiums', \u003cem\u003eThe Evening Post\u003c\/em\u003e [New York], 2 December 1837, n.p.\u003c\/li\u003e\n\u003cli\u003e'We learn…', \u003cem\u003eThe Evening Post\u003c\/em\u003e [New York], 18 January 1839, n.p. Although they incorrectly report the piece is a 'pitcher', the intent is clear.\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003eWe would like to thank Deborah Waters and D. Albert Soeffing for their help in focusing this research. \u003c\/p\u003e","brand":"Spencer Marks Ltd","offers":[{"title":"Default Title","offer_id":26658027845,"sku":"E076","price":0.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1850\/5637\/products\/E076_pi.jpg?v=1490560288"},{"product_id":"hans-christensen-modern-sterling-silver-presentation-compote-rochester-new-york-c-1976","title":"Hans Christensen Modern Sterling Silver Presentation Compote, Rochester, New York, c. 1976","description":"\u003cp\u003eHans Jorgen Thorvald Christensen was one of the great and accomplished modern silversmiths. This stunning presentation bow is beautifully designed with great imagination. The surface sparkles with brilliant hammering reflecting its surroundings. \u003cbr\u003e\u003cbr\u003eThe oval bowl has is gracefully curved and has an upper edge turned outwards. the front is engraved with the following inscription:\u003c\/p\u003e\n\u003cblockquote\u003e\n\u003cdiv style=\"text-align: center;\"\u003eROCHESTER INSTITUTE OF TECHNOLOGY\u003c\/div\u003e\n\u003cdiv style=\"text-align: center;\"\u003eSCHOOL FOR AMERICAN CRAFTSMEN\u003c\/div\u003e\n\u003cdiv style=\"text-align: center;\"\u003eIN APPRECIATION OF\u003c\/div\u003e\n\u003cdiv style=\"text-align: center;\"\u003eTHE CHARLOTTE FREDERICKS MOWRIS\u003c\/div\u003e\n\u003cdiv style=\"text-align: center;\"\u003ePROFESSORSHIP IN CONTEMPORARY CRAFTS\u003c\/div\u003e\n\u003cdiv style=\"text-align: center;\"\u003eFIRST CONFERRED ON HANS CHRISTENSEN\u003c\/div\u003e\n\u003cdiv style=\"text-align: center;\"\u003e1976\u003c\/div\u003e\n\u003c\/blockquote\u003e\n\u003cp\u003eThe base is a striking visual contrast to the hammered bowl which relies on its form and textured surface for its beauty. The base is that of a tree trunk. It is textured with various vertical striations giving the wonderful appearance of tree bark.\u003cbr\u003e\u003cbr\u003eThe appliques are figures representing the various crafts. Here they are seen creating pottery, furniture, metal wares, etc. Even one figure is working at an anvil. \u003cbr\u003e\u003cbr\u003eHans Christensen was born in Copenhagen, Denmark in 1924 and at age 15 apprenticed at the famous firm of Jensen during the day and attended academic classes at night. At the age of 20 he was awarded two prizes, one for design and one for execution of a teapot and warmer. He was awarded his silversmiths certificate in 1944. Christensen became lead silversmith of the prototype shop at Jensen in 1952. This department 'transformed into actual three dimensional objects by the highest skill level silversmiths at the Jensen Works'.\u003cbr\u003e\u003cbr\u003eIn 1954, Christensen accepted a teaching position at the School of American Craftsmen in Rochester, New York. During his teaching profession instructing students in the art of design and silversmithing, Christensen continued to create his style of silver. His first private commission in 1956 was to create a trophy for the North American Figure Skating Association. It was so well received he continued to make smaller copies for the Association for the next 25 years.\u003cbr\u003e\u003cbr\u003eOther notable achievements are the Eastman Kodak Company bowl, two objects in the Vatican Museum of Contemporary Art, the first acquisition representing contemporary design at the Garvan Collection at Yale University etc. 'His work is in the permanent collections of individuals, institutions, presidents, and royal families of England, Denmark, Norway, Iran, and Sweden'.(1)\u003cbr\u003e\u003cbr\u003eThis rare work of art is marked underneath \"HC' below a silversmith's hammer along with 'STERLING\/ HANDMADE'. It measures 7.75 inches wide by 6.5 inches high, weighs 22.55 troy ounces and is in excellent condition.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eEndnote:\u003c\/strong\u003e\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003e\"The Life, Times and Work of Hans Jorgen Thorvald Christensen\" by Thomas M. Sandretto, (http:\/\/gold-silver-casting.com\/HansChristensen-Life-Times-Work.htm), last accessed 6\/9\/2016.\u003c\/li\u003e\n\u003c\/ol\u003e","brand":"Spencer Marks Ltd","offers":[{"title":"Default Title","offer_id":26853322437,"sku":"E659","price":0.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1850\/5637\/products\/e659_pi.jpg?v=1490883237"},{"product_id":"james-t-woolley-arts-crafts-sterling-silver-covered-tankard-boston-early-20th-century","title":"James T. Woolley Arts \u0026 Crafts Sterling Silver Covered Tankard, Boston, early 20th century","description":"\u003cp\u003eThis stunning tankard is beautifully executed and of very high quality. Made from heavy gauge silver, the tapered body has a plain surface with an applied band at the mid section. \u003cbr\u003e\u003cbr\u003eThe molded base matches the applied border around the top of the body. A stepped dome cover has a beautifully shaped thumb piece and hinge with a drop at the top of the handle. The bold s-scroll handle is engraved under the drop 'T' over 'A*M' and terminates at the base with a convex disc.\u003cbr\u003e\u003cbr\u003eJames Woolley's handmade silver is rarely seen on the market today. A highly talented silversmith, Woolley is one of only eight silversmiths to win the 'Medalist' designation, the highest honor bestowed by the Boston Society of Arts \u0026amp; Crafts. His work was featured in the Society's 1907 exhibition.(1)\u003cbr\u003e\u003cbr\u003eTrained at Gorham, Woolley was an early convert to the movement and worked as a silversmith and jeweler. Early in his career, he shared bench space with the important arts and crafts silversmith George J. Hunt and set up his own shop in 1908.(2) Many of his best pieces are adaptations of colonial models.\u003cbr\u003e\u003cbr\u003eIn 1906, the Boston Museum of Fine Arts held the first ever exhibition of colonial American silver. The handmade pieces in this exhibit inspired many of the arts and crafts makers in Boston, including Woolley. In fact, this tankard bears a striking resemblance to the circa 1740 Saltonstall family tankard by Jacob Hurd, catalog number 160.(3) In the past we have had arts and crafts silver copied directly from pieces in this exhibit. While we have no evidence of that close a tie here, the inspiration is clear.\u003cbr\u003e\u003cbr\u003eThis rare arts \u0026amp; crafts tankard is marked underneath with Woolley's trademark 'JW' and 'STERLING\/ WOOLLEY'. It measures 6.5 inches across the handle by 8 inches high, weighs an impressive 27.45 troy ounces and is in excellent antique condition.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eEndnotes:\u003c\/strong\u003e\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eKaren Evans Ulehla, \u003cem\u003eSociety of Arts and Crafts, Boston Exhibition Record 1897-1927\u003c\/em\u003e, (Boston: Boston Public Library, 1981).\u003c\/li\u003e\n\u003cli\u003eAllen H. Eaton, \u003cem\u003eHandicrafts of New England\u003c\/em\u003e, (New York: Harper \u0026amp; Brothers, 1949), p.241.\u003c\/li\u003e\n\u003cli\u003eJ. H. Buck, \u003cem\u003eAmerican Silver: The Work of Seventeenth and Eighteenth Century Silversmiths\u003c\/em\u003e, (Concord: Joslin Hall, 1990 – facsimile reprint of the 1906 edition), p. 69 and plates VIII \u0026amp; XIV.\u003c\/li\u003e\n\u003c\/ol\u003e","brand":"Spencer Marks Ltd","offers":[{"title":"Default Title","offer_id":26942448901,"sku":"F122","price":0.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1850\/5637\/products\/F122_angle_a_pi.jpg?v=1490970030"},{"product_id":"karl-leinonen-mary-knight-sterling-fruit-or-punch-bowl-boston-c-1907","title":"Karl Leinonen\/ Mary Knight Sterling Fruit or Punch Bowl, Boston, c. 1907","description":"Of demi-spherical form, this wonderful bowl features outstanding chased decoration around the bowl and on the spreading stepped foot. A repeating pattern of scrolling foliate cartouches centering a flower with vines and berries alternate with flowing vertical floral motifs. Clearly designed by Mary Knight, this ambitious decorative scheme appears to retain original oxidation from the Handicraft Shop.\u003cbr\u003e\u003cbr\u003eThe Handicraft Shop of Wellesley Hills, Massachusetts, was an early outgrowth of Boston's Society for Arts and Crafts. Mary Knight came from Gorham's design department and supervised the shop, having several of the artisans there execute her designs. She worked along side many of them, letting them raise the vessels and applying the decoration herself.\u003cbr\u003e\u003cbr\u003eHer work is unique. Partly inspired by designs found on colonial silver (the scrolling foliate cartouches here resemble those of heraldic devices on colonial silver), her decoration is always current with Arts and Crafts design of her period (such as the flowers and leaves on this bowl). Her chased decoration is highly unusual in that it is comprised of strikes from small leather working tools, rather than the traditional chasing tools of the silver trade. (See \u003cem\u003eThe Art that is Life\u003c\/em\u003e, Ed. Wendy Kaplan, p. 272-3)\u003cbr\u003e\u003cbr\u003eIn 1906, Boston's Museum of Fine Arts held the first exhibition of American colonial silver. This seminal exhibition had a major influence on the Arts and Crafts movement in Boston. The form of this bowl bears a striking resemblance to a c. 1753 bowl by Peter Van Dyck of New York in the exhibition (object number 321) and now in the Garvan Collection at Yale. Knight's decoration is somewhat similar, but updated. (We have had another Leinonen executed piece that was a direct copy of a cann by Edward Winslow that was in the exhibition, no. 331.)\u003cbr\u003e\u003cbr\u003eThis bowl was raised by Karl Leinonen, a Finnish immigrant silversmith, who ultimately would receive the Society of Arts and Crafts highest award for his craft, the designation of 'Medalist', one of only seven silversmiths to be so honored.\u003cbr\u003e\u003cbr\u003eThe decoration, possibly the entire bowl, was indisputably designed by Knight. It is quite possible, but not certain, that she did the chasing work on the bowl herself. Leinonen did not like decorating his later pieces, and may not have liked decorating this either. Knight often used others to raise the forms that she decorated and signed herself, she decorated pieces marked by others also. The Handicraft Shop espoused a cooperative spirit, and this bowl is certainly a cooperative effort.\u003cbr\u003e\u003cbr\u003eWhile pieces marked by female silversmiths are not uncommon, we have never had an item which so wonderfully illuminates the close partnering of skills between female and male silversmiths. This is a very rare, and possibly unique, piece. It was illustrated in 'The Society of Arts and Crafts of Boston and its Master Silversmiths' by Rosalie Berberian in the \u003cem\u003eArts \u0026amp; Crafts Quarterly Magazine\u003c\/em\u003e, Vol. IV, No. 1 (Pg. 17, fig. 2).\u003cbr\u003e\u003cbr\u003eThis beautiful sterling bowl measures 9 inches in diameter and 5 inches high. It weighs 28.2 troy ounces and is in very good condition (some scratches from use). One side between floral drops is inscribed, \"W.B.B.\/ 1883 from 1908\/ CTC\" in the block letters popular during the period. It is marked with the Handicraft Shop trademark (double struck), 'STERLING', 'L' for Leinonen, and dated '1907'.","brand":"Spencer Marks Ltd","offers":[{"title":"Default Title","offer_id":26952660293,"sku":"F323","price":0.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1850\/5637\/products\/F323_pi.jpg?v=1490978115"},{"product_id":"gale-hayden-important-silver-presentation-cream-or-milk-pitcher-of-southern-interest-c-1846-retailed-by-gregg-hayden-charleston-south-carolina","title":"Gale \u0026 Hayden Important Silver Presentation Cream or Milk Pitcher of Southern interest, c. 1846, retailed by Gregg \u0026 Hayden, Charleston, South Carolina","description":"Inscribed:\u003cbr\u003e\n\u003cblockquote\u003e\n\u003cdiv style=\"text-align: center;\"\u003ePresented to\u003c\/div\u003e\n\u003cdiv style=\"text-align: center;\"\u003eG. Monteith\u003c\/div\u003e\n\u003cdiv style=\"text-align: center;\"\u003eby the\u003c\/div\u003e\n\u003cdiv style=\"text-align: center;\"\u003eAetna Insurance\u003c\/div\u003e\n\u003cdiv style=\"text-align: center;\"\u003eCompany\u003c\/div\u003e\n\u003cdiv style=\"text-align: center;\"\u003ein grateful remembrance\u003c\/div\u003e\n\u003cdiv style=\"text-align: center;\"\u003eof his praiseworthy services\u003c\/div\u003e\n\u003cdiv style=\"text-align: center;\"\u003eat the fire in Columbia\u003c\/div\u003e\n\u003cdiv style=\"text-align: center;\"\u003e22d Sept. 1846.\u003c\/div\u003e\n\u003c\/blockquote\u003e\nOf octagonal baluster form with a conforming drawn molded foot and scrolled handle, this superbly engraved pitcher is indicative of the best silver of the 1840's. The fine engraving on each panel is in a scrolling foliate and floral rococo revival style popular in the mid nineteenth century. In the foliate cartouche with the inscription is a wonderful engraved scene of firefighters engaged in battle. \u003cbr\u003e\u003cbr\u003eThis pitcher measures 6 inches high and weighs an impressive 15 troy ounces. It is in very good condition with the minor abrasions and dings one expects with its 150 years of age.\u003cbr\u003e\u003cbr\u003eNathaniel Hayden was a prominent jeweler in Charleston, South Carolina in partnership with William Gregg from 1838-43. He then left for New York to become a partner of the important silversmith, William Gale from 1846-50. His brother, H. Sidney Hayden, replaced him in partnership with William Gregg in Charleston from 1846-52 where they kept shop at 232 King Street. This presentation pitcher was made by Gale and Hayden in New York to be sold by Gregg and (brother) Hayden in Charleston to the Aetna Insurance Company for presentation to G. Monteith, who - if we are to judge by the hefty weight - was an important hero fighting the Columbia, SC, fire of 1846.\u003cbr\u003e\u003cbr\u003eGale and Hayden silver is in many important public and private collections including that of the Winterthur Museum in Wilmington, Delaware. The Gale \u0026amp; Hayden presentation ewer owned by Winterthur was won by Henry F. Du Pont's grandfather as an agricultural award in 1849. It is interesting to note that while the Du Pont piece is 6 inches taller, it weighs only five ounces more than this presentation pitcher. \u003cbr\u003e\u003cbr\u003eFor more information see:\u003cbr\u003e\u003cbr\u003e\u003cem\u003eAmerican Silver at Winterthur\u003c\/em\u003e by Ian Quimby, South Carolina Silversmiths by E. Milby Burton and Warren Ripley and Don Soeffing in Charles \u003cem\u003eVenable's Silver In America.\u003c\/em\u003e","brand":"Spencer Marks Ltd","offers":[{"title":"Default Title","offer_id":27073128261,"sku":"G87","price":0.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1850\/5637\/products\/g87_pi.jpg?v=1491143218"},{"product_id":"gorham-japanese-work-antique-sterling-silver-and-enamel-sample-tea-set-providence-ri-1897-98","title":"Gorham 'Japanese Work' Antique Sterling Silver and Enamel 'Sample' Tea Set, Providence, RI, 1897-98","description":"\u003cp\u003eThis tea set exhibits some of the finest cloisonne enamel decoration we have ever seen. It is exceptional in craftsmanship and beauty.\u003cbr\u003e\u003cbr\u003eThe shapes of the creamer, sugar bowl and tea pot are unusual in that they have a series of vertical creases defining areas of lobes and shallow fluting. The handles are cast and applied as is the spout.\u003cbr\u003e\u003cbr\u003eWe have never seen such fine enameling executed with such precision and degree of difficulty. The work is incredibly fine, intricate and absolutely stunning. \u003cbr\u003e\u003cbr\u003eAll three pieces are decorated with similar scenes with one side displaying a symbolic bat and the other a phoenix. The themes are on all the pieces but the actual figures are executed differently and with differently colored enamels.\u003cbr\u003e\u003cbr\u003eThe remarkable decoration is achieved by soldering fine wire to the vessels defining the ornamentation. Some of the wire is even decorative, being twisted to resemble rope. Various colored enamels are then added within the wire-defined spaces and then fired so the enamel melts and adheres to the surface. Enamel is a very difficult process and controlling the colors while firing is extremely tricky. Various colors throughout the spectrum are incorporated into these lovely objects. As one can see, various colors are even blended together for greater artistic expression.\u003cbr\u003e\u003cbr\u003eOn each of the sides are birds or butterflies in the corners, once again all a little different and of different colors.\u003cbr\u003e\u003cbr\u003eThe domed cover to the teapot is hinged and fits beautifully into the body. Pinned through the top with a bolt and nut is a lovely silver moth finial with stunning enameled wings. \u003cbr\u003e\u003cbr\u003eIn the picture above are four various winged birds or butterflies that also appear as decorative elements on the bodies.\u003cbr\u003e\u003cbr\u003eInterestingly, we have the original Gorham costing slip for this set. According to the documentation, the costing was recorded on December 12, 1898. What is fascinating is that all three pieces bear the trident date mark of 1897. \u003cbr\u003e\u003cbr\u003eAccording to an 1898 article in \u003cem\u003eThe New York Times\u003c\/em\u003e '...designs from almost every country are produced here (in America), except Japan. The Japanese have their own original ways of doing their silver, which is a combination of chasing and applied work, and shows the characteristics of the country. So when an American manufacturer wishes Japanese designs made from his own silver he sends it to Japan'.(1) This accounts for the 1897 date mark on the silver and the December, 1898 date on the costing slip.\u003cbr\u003e\u003cbr\u003eThis rare set is marked underneath with Gorham's trademark along with the Sample Code '8768' and 'STERLING. It is also monogrammed MCW. The teapot measures 7.5 inches across the handle and spout by 3.75 inches high. \u003cbr\u003e\u003cbr\u003eThe set weighs a total of 24.80 troy ounces and is in excellent condition with one wing beautifully restored.\u003cbr\u003e\u003cbr\u003e\u003cstrong\u003eEndnotes:\u003c\/strong\u003e\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003e\"Silver For American Tables\" in \u003cem\u003eThe New York Times\u003c\/em\u003e, 11 December 1898, p. 20.\u003c\/li\u003e\n\u003c\/ol\u003e","brand":"Spencer Marks Ltd","offers":[{"title":"Default Title","offer_id":27077142661,"sku":"G560","price":0.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1850\/5637\/products\/g560_a_pi.jpg?v=1491150696"},{"product_id":"american-aesthetic-movement-sterling-and-glass-canoe-form-butter-dish-c-1880s","title":"American Aesthetic Movement Sterling and Glass Canoe Form Butter Dish, c. 1880s","description":"This is an exceptionally rare butter dish in the form of a birch-bark canoe. It is complete with its removable pierced liner and butter pick in the form of a paddle. Decorating the blade of the spear-shaped paddle are arrow heads and a star. The blown glass body is hand-cut with horizontal lines simulating a birch bark design. The sterling mounts on the ends (one with two feathers) are designed with irregular horizontal lines also depicting birch bark. \u003cbr\u003e\u003cbr\u003eThe only other known example that retains its original liner was sold at Sotheby's Jan 20, 1998 as part of the MASCO collection, lot no. 58. \u003cbr\u003e\u003cbr\u003eThis wonderful dish is only marked with the model number '50A' and 'STERLING'. It measures 10 inches long and is in great antique condition with 3 slight flakes to the edge of the glass where the insert rests.","brand":"Spencer Marks Ltd","offers":[{"title":"Default Title","offer_id":27078759365,"sku":"G919","price":0.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1850\/5637\/products\/G919_with_butter_a_pi.jpg?v=1491153579"},{"product_id":"jones-ball-co-coin-silver-large-covered-soup-tureen-boston-1853-55","title":"Jones, Ball \u0026 Co Coin Silver Large Covered Soup Tureen, Boston, 1853-55","description":"One of the finest tureens we have had the privilege to offer, this striking example is decorated with naturalistic oak branches with leaves and acorns. Bold, ball beading is applied around the edges of the tureen and foot. The large, oval body is wonderfully executed with dramatic repoussé acanthus leaves coming up from the pedestal base.\u003cbr\u003e\u003cbr\u003eStunning cast and applied branch handles terminate with clusters of acorns and oak leaves from which repoussé and engraved branches and leaves stretch around the body, encircling a cartouche on each side - one of which is monogrammed 'MSB'. \u003cbr\u003e\u003cbr\u003eThe detachable lid is surmounted by an amazing 3-dimensional cast handle with a branch, oak leaves and an acorn. The fineness and detail of the chasing throughout the tureen is exceptional. This tureen has been fitted with a removable silver plate liner to protect its interior. \u003cbr\u003e\u003cbr\u003eJones, Ball \u0026amp; Co. was a Boston firm that made some outstanding silver; they were a predecessor firm to the venerable Shreve, Crump \u0026amp; Low. According to Don Soeffing in \u003cem\u003eSilver in America\u003c\/em\u003e by Charles Venable, 'Jones, Ball \u0026amp; Co. was among the silver makers which exhibited at the 1853 New York Crystal Palace Exhibition, where its wares were described as \"remarkable for their chaste style and for substantial workmanship\" ' (p. 320).\u003cbr\u003e\u003cbr\u003eThis stunning and rare tureen is marked 'JONES, BALL \u0026amp; CO\/ BOSTON\/PURE COIN'. It measures 15 inches long across the handles by 9.5 inches wide by 12 inches high. It weighs 99.25 troy ounces and is in excellent condition.","brand":"Spencer Marks Ltd","offers":[{"title":"Default Title","offer_id":27291929285,"sku":"H74","price":0.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1850\/5637\/products\/H74_pi.jpg?v=1491407132"},{"product_id":"wood-hughes-the-pamela-and-arthur-hopkins-coin-silver-covered-ewer-retailed-by-james-conning-mobile-alabama-1845-52","title":"Wood \u0026 Hughes - The Pamela and Arthur Hopkins Coin Silver Covered Ewer, Retailed by James Conning, Mobile, Alabama, 1845-52","description":"Covered ewers are a very rare and this is a stunning achievement in American coin silver. The hinged domed lid is surmounted with a cast and applied foliate finial and the graceful scroll handle has an applied leaf thumb-piece. Fine beading ornaments the edges of the lid and upper body. \u003cbr\u003e\u003cbr\u003eA hooded pouring spout is centered above a large cartouche engraved 'PH' for Pamela Hopkins. Applied around the base are pierced shell and scroll feet. Exceptional all over repoussé work decorates the piece. Fluidly incorporating robust floral, foliate and scroll designs, this rare covered ewer is a tour-de-force from the Wood \u0026amp; Hughes shop. \u003cbr\u003e\u003cbr\u003eThe underside is engraved '\u003cem\u003ePamela Moseley Rice\/ from her grandmother\/ Ellnora R. Rice\/ 1956\u003c\/em\u003e'.\u003cbr\u003e\u003cbr\u003ePamela Moseley married Arthur Francis Hopkins, one of the most prominent lawyers of his time who would become the fifth Chief Justice of Alabama's Supreme Court. After their 1815 marriage, they moved to Huntsville, Alabama. Arthur Hopkins helped write the Alabama state constitution and served in the state senate. He was elected by the Legislature to be one of the Judges on the Alabama Supreme Court and served as the fifth Chief Justice of the Alabama Supreme Court. Eventually resigning, he returned to his private legal practice in Huntsville, moving to Mobile in 1845. This rare covered pitcher dates from 1845 to 1852, when his wife Pamela (PH monogram), died.\u003cbr\u003e\u003cbr\u003eJames Conning was Mobile's preeminent jeweler, watchmaker and retailer of silver during the antebellum years. He also sold military goods and guns. Many of the pieces are only marked by Conning, but this wonderful ewer is also marked by the maker, Wood \u0026amp; Hughes, fully documenting its history. \u003cbr\u003e\u003cbr\u003e\u003cstrong\u003eProvenance:\u003c\/strong\u003e primarily by descent in the family.\u003cbr\u003e\u003cbr\u003eThis masterpiece is stamped twice 'W\u0026amp;H'. It is also marked 'J. CONNING\/ MOBILE' and engraved as noted above. It measure 12 inches high by 9 inches across handle and spout, weighs an impressive 40.2 troy ounces and is in excellent antique condition with a wonderful crisp surface.","brand":"Spencer Marks Ltd","offers":[{"title":"Default Title","offer_id":27292605957,"sku":"H89","price":0.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1850\/5637\/products\/H89_pi.jpg?v=1491407795"},{"product_id":"eoff-shepard-coin-silver-tankard-form-hot-beverage-jug-or-pitcher-bearing-the-pumpelly-family-arms-new-york-city-1852-retailed-by-ball-tompkins-and-black","title":"Eoff \u0026 Shepard Coin Silver Tankard-form Hot Beverage Jug or Pitcher bearing the Pumpelly family arms, New York City, 1852, retailed by Ball, Tompkins and Black","description":"With a tapered cylindrical body, this jug features a bold design based on New York tankards of a century (or more) earlier. The flat, stepped lid has a shaped front above the spout. A corkscrew style thumb piece attaches to a five knuckle hinge which continues into long beaded rattail decoration along the handle. The scroll handle retains two original ebony insulators and the terminus features a wonderful applied cherub's head.\u003cbr\u003e\u003cbr\u003eOn the flat top, the coat of arms of the Pumpelly family is wonderfully engraved. \u003cbr\u003e\u003cbr\u003eUnder the spout, the name 'Pumpelly' is engraved in a cursive script.\u003cbr\u003e\u003cbr\u003eThis exceptional pitcher displays our very earliest interest in colonial and historical designs that would be popularized 24 years later at the Philadelphia Centennial Exposition in 1876. Many 18th century tankards were modified with the addition of spouts, and sometimes, insulators. They were re-purposed to serve the function for which this jug was originally intended. In this case, this jug used the tankard form as the basis of its design.\u003cbr\u003e\u003cbr\u003eThe interplay of backward looking design and forward looking function is at the center of much of 19th century decorative art. As hygiene became better understood, smaller personal drinking vessels became popular and old style tankards, which were passed around, became less used. While technically a hot beverage jug with insulators, this jug could also be easily used for pouring beer in deference to the 18th century function. \u003cbr\u003e\u003cbr\u003eThe Pumpelly family traces its roots to French Huguenot immigrants.1 The most prominent New York branch of the family lived in Owego, on the Susquehanna River, where a transportation hub developed with the river and railroads. (The Albany branch of the family used a slightly different coat of arms.2) While we do not know the original owner of this pitcher, Pumpellies in Owego included wealthy farmers, bank presidents, etc. and present many possibilities. Further, it came from a collection in northeast Ohio where descendants could have moved.\u003cbr\u003e\u003cbr\u003eThis wonderful pitcher or jug is marked underneath four times with Eoff \u0026amp; Shepard's maker's mark and twice with Ball, Tompkins and Black's retailer's mark. Eoff \u0026amp; Shepherd were first working in 1852 and Ball, Tompkins and Black become Ball, Black \u0026amp; Co on June 1st 1852, so this pieces dates very specifically to then.3 It measures 7.75 inches high to the top of the thumb piece by 10 inches wide across the handle and spout, weighs a hefty 36.35 troy ounces and is in very good antique condition with an old surface that includes light nicks, scratches and very minor unevenness. \u003cbr\u003e\u003cbr\u003e\u003cstrong\u003eEndnotes:\u003c\/strong\u003e\u003cbr\u003e\n\u003col\u003e\n\u003cli\u003eLouis R Sosnow, ed., \u003cem\u003eComplete American Armoury and Blue Book\u003c\/em\u003e by John Matthews combining the 1903, 1907 and 1911-23 editions, (New York: Heraldic Publishing Company, Inc., 1965), addendum p. 64.\u003c\/li\u003e\n\u003cli\u003eCharles Knowles Bolton, \u003cem\u003eBolton's American Armory\u003c\/em\u003e, (Baltimore: Heraldic Book Company, 1964), p.135.\u003c\/li\u003e\n\u003cli\u003eD. Albert Soeffing, 'Ball, Black \u0026amp; Co.:Silverware Merchants' in \u003cem\u003eSilver Magazine\u003c\/em\u003e, Novermber\/ December, 1998, pp. 44-45.\u003c\/li\u003e\n\u003c\/ol\u003e","brand":"Spencer Marks Ltd","offers":[{"title":"Default Title","offer_id":27311743429,"sku":"H540","price":0.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1850\/5637\/products\/h540_pi.jpg?v=1491426278"},{"product_id":"peter-taylor-the-breton-family-george-ii-sterling-silver-english-rococo-two-handled-cup-and-cover-london-1741-42-bearing-the-arms-of-breton-for-eliab-breton-of-norton-hall-norton-northamptonshire-and-forty-hall-enfield-middlesex","title":"Peter Taylor - The Breton Family George II Sterling Silver English Rococo Two Handled Cup and Cover, London, 1741\/42, bearing the arms of Breton for Eliab Breton of Norton Hall, Norton, and Forty Hall, Enfield","description":"\u003cp\u003eThis outstanding covered cup features very fine repousse and flat chased rococo decoration around its body and lid. Bold foliate, scroll and rocaille decoration are prominently displayed over much of the surface both above and below the drawn and applied band around the mid-section. The stepped foot has foliate decoration near the edge. Both cast and applied handles with acanthus leaf thumb rests are finished with hand chased decoration. The domed lid is topped with a large artichoke finial.\u003cbr\u003e\u003cbr\u003eCentrally located on each side are asymmetrical cartouches engraved with the arms of Breton with, on an escutcheon of pretense, the arms of Wolstenholme quartering Raynton for Eliab Breton. The lid is similarly twice engraved with the family's crest, a lion or bear's paw and forearm (gamb). \u003cbr\u003e\u003cbr\u003eA very fine example of rococo silver from the George II period, this cup is fully marked underneath and along the rim bezel. It measures 10.5 inches high, weighs 38.2 troy ounces and is in excellent antique condition.\u003cbr\u003e\u003cbr\u003ePeter Taylor's work is rarely found today, but he is regarded as a particularly fine maker. The understated Arthur Grimwade notes of Taylor: \"Although rare, his work when found shows a high standard of craftsmanship coupled with a nice use of rococo ornament.\"(1) The Museum of Fine Arts, Boston, chose to use details of a wonderful chinoiserie tea caddy by Peter Taylor for the cover art of their recent catalog.\u003cbr\u003e\u003cbr\u003eEliab Breton (1710-85) of Norton Hall, Norton, Northamptonshire married Elizabeth Wolstenholme in 1740. Norton Hall and the associated estates were substantial. Although Norton Hall was demolished after the Second World War, the land today is owned by the Marquis of Bath.\u003c\/p\u003e\n\u003cp style=\"text-align: center;\"\u003e\u003cimg alt=\"\" src=\"\/\/cdn.shopify.com\/s\/files\/1\/1850\/5637\/files\/h633_Norton_Hall_J_P_Neale_1825_use.jpg?v=1491506896\" style=\"float: none;\"\u003e\u003c\/p\u003e\n\u003cp\u003eElizabeth Wolstenholme was the daughter and heiress of Sir William Wolstenholme, Bt. and Mary Raynton, daughter and heiress of Sir Nicholas Raynton, 2nd Baronet who inherited the estate and title of his uncle, Sir Nicholas Raynton, a prominent and wealthy London merchant who became Lord Mayor of London in 1632 and was knighted in 1633. The first Sir Nicholas Raynton purchased the land and built Forty Hall, Enfield, Middlesex, c. 1632. When Sir William Wolstenholme inherited the mansion he made significant updates c. 1700.\u003c\/p\u003e\n\u003cp style=\"text-align: center;\"\u003e\u003cimg alt=\"\" src=\"\/\/cdn.shopify.com\/s\/files\/1\/1850\/5637\/files\/h633_forty_hall_use.jpg?v=1491506919\" style=\"float: none;\"\u003e\u003c\/p\u003e\n\u003cp\u003eWhen Eliab Breton and his wife Elizabeth moved into Forty Hall in 1740, it looked much as it does today.(2) Currently, Forty Hall operates as a museum.\u003c\/p\u003e\n\u003cp style=\"text-align: center;\"\u003e\u003cimg alt=\"\" src=\"\/\/cdn.shopify.com\/s\/files\/1\/1850\/5637\/files\/h633_Forth_Hall_Cartouche_use.jpg?v=1491506909\" style=\"float: none;\"\u003e\u003c\/p\u003e\n\u003cp\u003eIn a cartouche which originally hung above the front door (see below), the arms of Eliab Breton - identical to those on this cup - were found after removing many layers of later paint.(3) It is fun to speculate what place of honor this cup held in such a wonderful home!\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eEndnotes:\u003c\/strong\u003e\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eArthur Grimwade, \u003cem\u003eLondon Goldsmiths 1697-1837: Their Marks and Lives\u003c\/em\u003e, p.678\u003c\/li\u003e\n\u003cli\u003eGeoffrey Gillam, \u003cem\u003eForty Hall: Enfield\u003c\/em\u003e, (Boughton Gifford: The Enfield Archaeological Society, 1997), pp. 15-22\u003c\/li\u003e\n\u003cli\u003ePrivate conversation with Gavin Williams, manager, Forty Hall Museum on 17 October 2006. Many thanks for his kind assistance with this research!\u003c\/li\u003e\n\u003c\/ol\u003e","brand":"Spencer Marks Ltd","offers":[{"title":"Default Title","offer_id":27370740485,"sku":"H633","price":0.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1850\/5637\/products\/H633_tall_pi.jpg?v=1491488292"},{"product_id":"gorham-the-dancers-parcel-gilt-enameled-and-semiprecious-stone-set-antique-sterling-silver-tray-design-attributed-to-william-c-codman-executed-for-the-1893-worlds-columbian-exposition-in-chicago-providence-and-new-york-city-c-1893","title":"Gorham - The Dancers: Parcel-Gilt, Enameled and Semiprecious Stone Set Antique Sterling Silver Tray, design attributed to William C. Codman, executed for the 1893 World's Columbian Exposition in Chicago, Providence and New York City, c. 1893","description":"\u003cp\u003eFeaturing nine enameled plaques and resting on four foliate shell feet, this exceptional shaped oval tray was made by Gorham as a centerpiece of its much admired exhibit of enameled silver at the 1893 Columbian World's Fair. A 'sample', or internally generated special order, it is a unique creation, designed and made specifically for their exhibit at the Columbian Exposition. \u003c\/p\u003e\n\u003cp\u003eAt the fair, Gorham won several awards for enamel, two awards for their painted enameled silver like this, as well as another award for artistic silver. This was one of the six most important enameled pieces they brought to the fair.\u003cbr\u003e\u003cbr\u003eTwo toned parcel-gilt silver frames each enameled panel with scrolling floral and fruit-laden arabesques between the enamels. Semiprecious stones are set outside each panel and on the four sides of the central panel.\u003cbr\u003e\u003cbr\u003eEach enamel is masterfully painted. The main center panel depicts a scene of dancers in an antique setting with two musicians and a couple enjoying food and drink in a setting of merrymaking. \u003cbr\u003e\u003cbr\u003eAround the center are another eight panels. Four of these are oval and include scenes of couples in sport, leisure or courting. \u003cbr\u003e\u003cbr\u003eFour round plaques, centered between the ovals, feature putti: two playing music and two with bows and arrows - Cupid at work.\u003cbr\u003e\u003cbr\u003eThe chased silver details and repoussé work are exceptional. Each plaque is framed by a classical cartouche with varying decoration of beading, strap work, foliage, ribbons and bows. Between the enamels, flowing arabesques enhance the space. \u003cbr\u003e\u003cbr\u003eEach area of background is given a different texture with extraordinary, jewelry like results. The arabesque's background is stippled for texture. The outer strap work is stippled to emphasize crossing the straps. In the center, the outer undecorated area is textured with lightly hammering while the inner area has stippled decoration. The three different styles of frames to the enamel have different surface treatments. \u003cbr\u003e\u003cbr\u003eSimilarly, two toned parcel gilding is used to enhance the design. The silver arabesques contrast with the lightly gilded stippled background. The frames, outer strap work and interior are gilded with in a deep gold color contrasting, complementing and unifying the design.\u003cbr\u003e\u003cbr\u003eEverything about this masterpiece is exhibition quality.\u003cbr\u003e\u003cbr\u003eArchival records indicate just how important this tray is. Gorham documented this piece on page 68 of cost book 'H', where only the very best objects were recorded. Making, or forming, the tray took 75 hours. It took 210 hours to chase the decoration on the silver and the enameling took another 240 hours. The net wholesale cost of the tray was $680.00, possibly indicating a $850.00 retail price. At this time, Gorham's typical employee was earning between $12-$21 a week. \u003cbr\u003e\u003cbr\u003eGorham's display at the Columbian Exposition was highly important and extremely successful; it represented Gorham's emergence as America's great silversmithing firm. At the fair they won 47 awards (the largest number of any single exhibit), 42 of those for silver, while Tiffany \u0026amp; Co. only won 18 for silver.(1) For details about the 1893 World's Columbian Exposition and Gorham's extraordinary display, see this description of a previous piece we had.\u003cbr\u003e\u003cbr\u003eSpecifically, their exhibit of enameled silver met with great praise and awards.\u003cbr\u003e\u003cbr\u003eGorham's display at the Fair was dominated by the larger than life-size sterling silver statue of Columbus. In the window display to the right can be seen enameled pieces and \u003cem\u003eThe Nautilus Cup\u003c\/em\u003e, now in the collection of the Dallas Museum of Art. Gorham Company Archives, John Hay Library, Brown University.\u003cbr\u003e\u003cbr\u003eCount Gyula de Festetics, an award winning enamelist,(2) was hired by Gorham to run the enameling workshop in their New York shop, where most of the employees were women. \u003cbr\u003e\u003cbr\u003eIn an 1894 pamphlet reviewing Gorham's exhibit, art historian and lecturer at the 'Wheaton Seminary', Julia Osgood, wished to 'call attention to the broad field now open to American craftsmen of both sexes'(3) and noted de Festetics,'designs are executed by young women, mostly American, chosen for their artistic tendencies...'.(4)\u003cbr\u003e\u003cbr\u003eOsgood was particularly taken by \u003cem\u003eThe Dancers\u003c\/em\u003e tray: 'The choicest enamel I have examined was a large salver; the centre painting was such as one could imagine at the Trianon...'(5)\u003cbr\u003e\u003cbr\u003eThe Jewelers' Circular, while discussing Gorham's 'remarkable specimens of enamel work' at the Fair, observed that de Festetics, 'prides himself on his female assistants, who in some respects are fully equal to their male co-workers.'(6)\u003cbr\u003e\u003cbr\u003eOn September 20, 1893, \u003cem\u003eThe New York Times\u003c\/em\u003e noted Gorham's successful enamel exhibit, 'is the equal, if not the superior, of any product in enamel on a silver surface made by the best enamel workers in Europe...Prof. Lessing of the Royal Museum in Berlin has purchased several pieces for the museum as representative of the highest proficiency in this art.'(7)\u003cbr\u003e\u003cbr\u003eExtraordinarily, this tray was exhibited again in 1897 by Gorham at the Boston Society of Arts and Crafts' \u003cem\u003eThe First Exhibition of Arts \u0026amp; Crafts\u003c\/em\u003e, held at Copley Hall in Boston. When the Society first formed, they had no silversmith members with a body of work to exhibit. They looked to the leading firms of Gorham and Goodnow \u0026amp; Jenks to exhibit handcrafted silver. The Dancers was one of the pieces Gorham exhibited there.(8) Enameled silver, copper and jewelry became important avenues for arts and crafts expression and this piece would have been closely studied at this exhibit.\u003cbr\u003e\u003cbr\u003eWilliam Christmas Codman was hired by Gorham in 1891 and became the most important designer of American silver of his era, responsible for Gorham's Martelé line of hand wrought silver. This early example of his work at Gorham shows the strong academic influence of his documented pieces from this period. Most importantly, Codman's son states Codman, Sr. designed the sister tray to \u003cem\u003eThe Dancers\u003c\/em\u003e, named Diana.(9)\u003cbr\u003e\u003cbr\u003e\u003cstrong\u003eExhibitions:\u003c\/strong\u003e\u003cbr\u003eWorld's Columbian Exposition, Gorham's Pavilion, 1893,\u003cbr\u003eThe First Exhibition of Arts \u0026amp; Crafts, Boston Society of Arts \u0026amp; Crafts, Copley Hall, 1897, catalog number 141\/9.\u003cbr\u003e\u003cbr\u003e\u003cstrong\u003eLiterature:\u003c\/strong\u003e\u003cbr\u003eJulia Osgood, \u003cem\u003eThe Silversmiths' Work in the Liberal Arts Building Columbian Exposition A.D. 1893\u003c\/em\u003e, (Providence: Gorham Mfg. Co., 1894),\u003cbr\u003e\u003cem\u003eThe Jewelers' Circular\u003c\/em\u003e, 'Features of the Arts and Crafts Exhibition', 21 April 1897, Vol. XXXIV, No 12.\u003cbr\u003e\u003cem\u003eThe First Exhibition of Arts \u0026amp; Crafts, Boston Society of Arts \u0026amp; Crafts, Copley Hall, April 5-16, MDCCCXCVII\u003c\/em\u003e, (Boston: Thomas P. Smith Printing, 1897)\u003cbr\u003e\u003cbr\u003eThe tray is marked twice, once on the rim and again in the center with Gorham's trademark, 'STERLING', the sample code 4870 and the date mark for 1893. It measures 18.5 inches long, 12.5 inches wide and just over 2 inches high at the highest point. It is in very good\/ excellent antique condition with extremely light wear to the gilding and minor scratching. The enamel is in excellent condition. Two of the feet have small holes through which picture wire has been strung to hang the tray from a wall. We have left the picture wire as we found it - it looks very good when it is hanging! (Possibly this is why it is in such outstanding condition.)\u003cbr\u003e\u003cbr\u003e\u003cstrong\u003eEndnotes:\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003e\n\u003cem\u003eWorld's Columbian Exposition, List of awards, as copied for Mrs. Virginia C. Meredith, Chairman, Committee on Awards, Board of Lady Managers, from the official records in the office Hon. John Boyd Thacher, Chairman, Executive Committee on Awards\u003c\/em\u003e. Chicago History Museum online at: chsmedia.org\/media\/fa\/fa\/LIB\/WCE_AwardsList_Domestic.htm (last accessed 11 October 2016). See also a Gorham ad in the \u003cem\u003eJewelers' Circular\u003c\/em\u003e (Feb. 7, 1894 p. 3), Gorham won 47 awards, 42 for silver, others for brass, bronze and hard wood chests.\u003c\/li\u003e\n\u003cli\u003e'A Glimpse of the Gorham Mfg. Co. Exhibit. Part IV' in \u003cem\u003eThe Jewelers' Circular\u003c\/em\u003e, 17 May 1893, Vol. XXVI, No. 16, p. 35.\u003c\/li\u003e\n\u003cli\u003eJulia Osgood, \u003cem\u003eThe Silversmiths' Work in the Liberal Arts Building Columbian Exposition A.D. 1893\u003c\/em\u003e, (Providence: Gorham Mfg. Co., 1894), p. 13\u003c\/li\u003e\n\u003cli\u003eJulia Osgood, \u003cem\u003eThe Silversmiths' Work in the Liberal Arts Building Columbian Exposition A.D. 1893\u003c\/em\u003e, (Providence: Gorham Mfg. Co., 1894), p. 3\u003c\/li\u003e\n\u003cli\u003eIbid.\u003c\/li\u003e\n\u003cli\u003e'A Glimpse of the Gorham Mfg. Co. Exhibit. Part IV' in \u003cem\u003eThe Jewelers Circular\u003c\/em\u003e, 17 May 1893, Vol. XXVI, No. 16, p. 34.\u003c\/li\u003e\n\u003cli\u003e'Silver at the World's Fair' in\u003cem\u003e The New York Times\u003c\/em\u003e, September 20, 1893, p. 5.\u003c\/li\u003e\n\u003cli\u003e'Features of the Arts and Crafts Exhibition' in \u003cem\u003eThe Jewelers' Circular\u003c\/em\u003e, 21 April 1897, Vol. XXXIV, No. 12, p. 1.\u003c\/li\u003e\n\u003cli\u003eWilliam Codman, \u003cem\u003eAn Illustrated History of Silverware Design\u003c\/em\u003e, (Providence: Gorham Mfg. Co., 1930), p. 74.\u003c\/li\u003e\n\u003c\/ol\u003e","brand":"Spencer Marks Ltd","offers":[{"title":"Default Title","offer_id":27372836869,"sku":"H652","price":0.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1850\/5637\/products\/h652_tall_pi.jpg?v=1493809859"},{"product_id":"george-sharp-for-bailey-co-the-samuel-m-felton-medallion-sterling-entree-server-c-1865","title":"George Sharp for Bailey \u0026 Co. - The Samuel M. Felton 'Medallion' Sterling Entree Server, c. 1865","description":"\u003cp\u003eA stunning piece of 19th century American silver, this important entree server features decoration of neoclassical medallions (10 of them) and elaborate casting and hand chasing. \u003cbr\u003e\u003cbr\u003eBoth the lid and base feature bands of chased neoclassical decoration including: anthemion leaves and acanthus based fluid foliate designs, much of it on various hand-chased matte finishes in the background.\u003cbr\u003e\u003cbr\u003eThe base has eight circular cartouches around the side, six filled with exceptionally repousséd medallions (all different), two with inscriptions. The shaped rim of the base has four cast medallions in a chased background. The lid, with a removable handle, has two circular cartouches with inscriptions and can be used as a second server when the handle is removed. The handle is adorned with cast winged griffins, finished with very fine hand chasing. \u003cbr\u003e\u003cbr\u003eIn a circular cartouche, it is inscribed:\u003c\/p\u003e\n\u003cdiv style=\"text-align: center;\"\u003ePresented to\u003c\/div\u003e\n\u003cdiv style=\"text-align: center;\"\u003eSamuel M. Felton\u003c\/div\u003e\n\u003cdiv style=\"text-align: center;\"\u003eby his friends\u003c\/div\u003e\n\u003cdiv style=\"text-align: center;\"\u003eof the city of\u003c\/div\u003e\n\u003cdiv style=\"text-align: center;\"\u003ePhiladelphia\u003c\/div\u003e\n\u003cdiv style=\"text-align: center;\"\u003eand its vicinity\u003c\/div\u003e\n\u003cdiv style=\"text-align: center;\"\u003e1865.\u003c\/div\u003e\nIt measures 13.75 inches long by 10 inches wide, is 6.5 inches high and weighs 58.8 troy ounces. It is marked with the 'lion, \"S\", shield' trademark that Bailey \u0026amp; Co. used on their sterling silver, two lion passant marks and 'BAILEY \u0026amp; CO CHESTNUT ST PHILA'.\u003cbr\u003e\u003cbr\u003eGeorge Sharp had been Bailey \u0026amp; Co.'s silver shop foreman until he started his own business in 1861, when Bailey discontinued the in-house manufacture of silver. Bailey continued to order silver from Sharp and the Felton pieces bear Bailey \u0026amp; Co.'s marks, indicating that Sharp continued to use the Bailey marks on Bailey retailed silver even after starting his own shop.\u003cbr\u003e\u003cbr\u003e\u003cstrong\u003eCondition:\u003c\/strong\u003e Excellent.","brand":"Spencer Marks Ltd","offers":[{"title":"Default Title","offer_id":27383016517,"sku":"I23","price":0.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1850\/5637\/products\/I23_pi.jpg?v=1491501501"},{"product_id":"wood-hughes-sterling-terrapin-soup-bowl-new-york-city-c-1880s","title":"Wood \u0026 Hughes Sterling Terrapin Soup Bowl, New York City, c. 1880's","description":"This fun and rare piece of aesthetic silver features 3 wonderfully cast feet in the form of terrapins. Carrying a bowl on their backs, these terrapins are cast with heads, tails and feet extending from their shell. The irregularly shaped lobed bowl is hand-chased in a manner similar to the texture of terrapin skin. One of the panels has a cartouche for a monogram which has never been engraved. \u003cbr\u003e\u003cbr\u003eDid you know the popularity of terrapin soup almost made the terrapin extinct and it is to this day a protected species? \u003cbr\u003e\u003cbr\u003eThis fascinating piece of silver is marked underneath 'STERLING\/ W\u0026amp;H\/ 164', measures 2.5 inches high by 4.75 inches wide and weighs 5.9 troy ounces. It is in very good antique condition.","brand":"Spencer Marks Ltd","offers":[{"title":"Default Title","offer_id":27386953029,"sku":"I313","price":0.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1850\/5637\/products\/I313_b_pi.jpg?v=1491505693"},{"product_id":"tiffany-large-moderne-sterling-silver-centerpiece-new-york-city-c-1952","title":"Tiffany Large 'Moderne' Sterling Silver Centerpiece, New York City, c. 1952","description":"Simplicity and grace characterize this stunning and large centerpiece. Inspired by the Danish modern movement, Tiffany's silversmiths made some spectacular silver during the 1950's which was mostly unadorned; relying on its form to create an object of beauty. The saucer-shaped, shallow bowl with turned down rim has four cast and applied feet and a pair of sweeping handles which extend from underneath over the sides of the bowl.\u003cbr\u003e\u003cbr\u003eOscar Riedener, Tiffany's silver designer who would replace Arthur Barney as chief silver designer in 1955, worked in the Scandinavian style and almost certainly designed this piece.\u003cbr\u003e\u003cbr\u003eThe underside of this wonderful piece is marked 'TIFFANY \u0026amp; CO\/ MAKERS\/ STERLING SILVER\/ 23399\/ m'. According to Tiffany Silver by Carpenter, this particular 'm' mark was used from 1947-1955 and this piece was designed c. 1952. It measures 18.5 inches across the handles and 5.5 inches high. The actual bowl is 15.5 inches round by 4.5 inches high. This lovely centerpiece has never been monogrammed, weighs 86.15 troy ounces and is in very good condition.","brand":"Spencer Marks Ltd","offers":[{"title":"Default Title","offer_id":27387618373,"sku":"I335","price":0.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1850\/5637\/products\/I335_pi.jpg?v=1495303518"},{"product_id":"gorham-antique-sterling-silver-aesthetic-movement-black-coffee-service-providence-ri-1883","title":"Gorham Antique Sterling Silver Aesthetic Movement Black Coffee Service, Providence, RI, 1883","description":"Gorham produced this rare and lovely set in the early 1880's. Its unusual design in a Japanese motif incorporates high aesthetic elements. Also unusual are the individual trays for each piece. This service is a unique 'experimental' special order work, and in excellent condition retaining the original rope carved ivory insulators.","brand":"Spencer Marks Ltd","offers":[{"title":"Default Title","offer_id":27876761861,"sku":"I539","price":0.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1850\/5637\/products\/I539_pi.jpg?v=1492283788"},{"product_id":"joel-f-hewes-sterling-silver-covered-compote-titusville-pa-c-1927-probably-exhibited-at-the-boston-society-of-arts-crafts-1927-tricennial-exhibition","title":"Joel F. Hewes Sterling Silver Covered Compote, Titusville, PA, c. 1927, probably exhibited at the Boston Society of Arts \u0026 Crafts 1927 Tricennial Exhibition","description":"This beautiful example of hand wrought arts \u0026amp; crafts silver is extremely rare and interesting. A very early example of American silver based on modern Scandinavian designs, this is one of the finest pieces ever crafted by Joel Hewes. The spreading pedestal foot rests on five organic ball supports on a silver ring. The stem rises like a floral bud with a flower in bloom with a complex set of silver balls attached. The finial of the domed lid continues the organic, ball motif. \u003cbr\u003e\u003cbr\u003eUsing a complex mix of varied hammered and flat surfaces, Hewes develops a sense of visual depth in the piece. By varying the planished details, he accentuates the form of the compote. \u003cbr\u003e\u003cbr\u003eHewes's work is rarely seen on the market today. He was a member of the society of Arts and Crafts in Boston beginning in 1907 and was elevated to the rank of 'Craftsman' in 1928, possibly because of this piece. Usually one sees a small or a medium sized bowl. We have never seen and cannot find another object by him that comes close to approaching the complexity and ambition of this piece. It is a very important, and almost certainly unique, example of his oeuvre.\u003cbr\u003e\u003cbr\u003eThis compote clearly dates to the late 1920's. The foot is nearly identical to ones by Erik Magnussen on a series of compotes, or candy dishes, he designed for Gorham c. 1926.(1) Compared to the Magnussen design, Hewes's compote is much bolder. Further, the varied surfaces on the Hewes piece create a visual complexity not found in Magnussen's designs.\u003cbr\u003e\u003cbr\u003eThe Boston Society of Arts \u0026amp; Crafts' Catalog to their 1927 Tricennial Exposition held at the Museum of Fine Arts, Boston from March 1 - 20, 1927 lists three objects by Hewes, including item number 98, a 'Covered Compote'. Unfortunately, we can find no photographs of this item at the exhibit. \u003cbr\u003e\u003cbr\u003eThis exceptional compote is marked underneath 'JOEL F. HEWES\/ HANDMADE\/ STERLING'. Underneath the lid, it is monogrammed 'E.C' in a block style. It measures 9 inches high, weighs 27.5 troy ounces and is in excellent condition. \u003cbr\u003e\u003cbr\u003e\u003cstrong\u003eEndnote:\u003c\/strong\u003e\u003cbr\u003e\n\u003col\u003e\n\u003cli\u003eCharles Venable; \u003cem\u003eSilver in America 1840-1940: A Century of Splendor\u003c\/em\u003e (New York: Abrams, 1995), pp. 282-83.\u003c\/li\u003e\n\u003c\/ol\u003e","brand":"Spencer Marks Ltd","offers":[{"title":"Default Title","offer_id":27877957573,"sku":"I626","price":0.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1850\/5637\/products\/I626_pi.jpg?v=1492285926"},{"product_id":"shreve-crump-low-co-arts-crafts-sterling-silver-and-semi-precious-stone-2-handled-condiment-dish-boston-c-1905","title":"Shreve, Crump \u0026 Low Co Arts \u0026 Crafts Sterling Silver and Semi-Precious Stone 2-handled Condiment Dish, Boston, c. 1905","description":"\u003cp\u003eThis is a rare and stunning example of great American arts \u0026amp; crafts silver. The circular bowl is bordered with an applied plain band around the top rim with the interior and exterior surfaces exhibiting beautiful hammering. The unusual, long loop handles consist of two silver wires which are hammered flat at their ends and attached to the bodies. A cabochon stone held in place by oval rings adorn the top of each handle.\u003cbr\u003e\u003cbr\u003eBased on a c. 1900 design by Charles Robert Ashbee, this iconic dish is marked by the famous Boston firm of Shreve, Crump \u0026amp; Low Company. \u003cbr\u003e\u003cbr\u003eThe bowl is an outstanding example of arts and crafts design. The hammered surface of the bowl clearly breaks from the machine finished pieces popular at the time. The long attenuated 'loop' handles makes a strong, clean and pure aesthetic statement which contrasts to much of the highly decorated silver being produced at the turn of the century. \u003cbr\u003e\u003cbr\u003eThis design has become an icon of the arts \u0026amp; crafts movement. An almost identical example of this dish by Ashbee can be found in the Victoria and Albert Museum in London. An identical dish by Marcus \u0026amp; Co. is in the collection of the Metropolitan Museum of art on display in the American Wing. (See \u003ca href=\"https:\/\/www.metmuseum.org\/art\/collection\/search\/805\"\u003ehere\u003c\/a\u003e)\u003cbr\u003e\u003cbr\u003eThese extremely rare cups are true masterpieces of the arts and crafts movement. While commonly called 'loop handled cups', they were originally intended as condiment dishes. Guild of the Handicraft catalogs refer to them as 'jam or butter' dishes.1\u003cbr\u003e\u003cbr\u003eC. R. Ashbee was one of the most important leaders of the arts and crafts movement. In London in 1889, he started the Guild of the Handicraft. In part a communally based workshop, in part a return to ancient craft guilds, the Guild was based on a rejection of the machine-made that embraced the hand-crafted: a return to 'honest' craftsmanship.\u003cbr\u003e\u003cbr\u003eAshbee's influence cannot be overstated. After he toured the U. S. in 1896 talking and lecturing about the arts \u0026amp; crafts movement, arts \u0026amp; crafts societies were begun in Boston and Chicago in 1897. When he moved the Guild of the Handicraft to the idyllic rural Cotswold setting of Chipping Camden, the Boston Society of Arts \u0026amp; Crafts moved its Handicraft Shop to Wellesley Hills.\u003cbr\u003e\u003cbr\u003eOther Shreve, Crump and Low 2-handled cups like this can be found in the collections of the Art Institute of Chicago and the Dallas Museum of Art.\u003cbr\u003e\u003cbr\u003eThis lovely sterling silver dish is marked underneath 'SHREVE, CRUMP \u0026amp; LOW CO\/ STERLING'. It measures 4.25 inches in diameter by 2.5 inches high. The length across the handles is 12.5 inches. It weighs 8.20 troy ounces and is in very good antique condition with some scale to the surface.\u003c\/p\u003e","brand":"Spencer Marks Ltd","offers":[{"title":"Default Title","offer_id":27878597125,"sku":"I651","price":0.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1850\/5637\/products\/i651_pi.jpg?v=1492286621"},{"product_id":"robert-r-jarvie-extremely-fine-american-arts-crafts-silver-presentation-pitcher-chicago-1914-design-attributed-to-george-elmslie","title":"Robert R. Jarvie Extremely fine American arts \u0026 crafts silver presentation pitcher, Chicago, 1914, design attributed to George Elmslie","description":"With tapered octagonal panels that flair out at the base, this presentation pitcher features some of the most dramatic 'Prairie' school designs we have seen in silver. The pitcher has two horizontal bands of geometric chased decoration which are carefully designed to accommodate the corners and spout. A bold rectangular handle completes the design.\u003cbr\u003e\u003cbr\u003eIn an artistic arts \u0026amp; crafts block lettering, it is inscribed on one side panel:\u003cbr\u003e\n\u003cblockquote\u003e\n\u003cdiv style=\"text-align: center;\"\u003ePresented By\u003c\/div\u003e\n\u003cdiv style=\"text-align: center;\"\u003eChicago\u003c\/div\u003e\n\u003cdiv style=\"text-align: center;\"\u003eLive Stock World\u003c\/div\u003e\n\u003cdiv style=\"text-align: center;\"\u003eIowa\u003c\/div\u003e\n\u003cdiv style=\"text-align: center;\"\u003ePoland China\u003c\/div\u003e\n\u003cdiv style=\"text-align: center;\"\u003eFuturity\u003c\/div\u003e\n\u003cdiv style=\"text-align: center;\"\u003e1914\u003c\/div\u003e\n\u003c\/blockquote\u003e\nPoland China is a breed of pig and a futurity is a contest or wager on the future. So this wonderful and important arts and crafts presentation piece was won by Harris Brothers, Iowa based Poland China breeders who had entered the contest before any of their entered pigs had been born. According to newspaper accounts, 'The beautiful hand wrought trophy of a solid silver pitcher actually costing $85, donated by the Live Stock World was greatly admired.'(1)\u003cbr\u003e\u003cbr\u003eThis very rare pitcher is marked underneath \"STERLING', 'Jarvie' and '2084'. It measures 9.5 inches high and 7.75 inches across the handle and spout. It weighs 32.5 troy ounces and is in very good antique condition.\u003cbr\u003e\u003cbr\u003eRobert Riddle Jarvie of Chicago was the single most important American arts \u0026amp; crafts metalsmith. He started his career at the turn of the century making copper and bronze floral-form candlesticks that have become iconic to the arts \u0026amp; crafts movement. \u003cbr\u003e\u003cbr\u003eAbout 1910 he became a founding member of the Cliff Dweller's Club, a group of artistically minded Chicagoans, where he met the important Prairie school architect George Elmslie. With Cliff Dwellers' encouragement and patronage, Jarvie started fashioning objects in silver - producing some of the finest arts and crafts silver ever made. Many of his rare pieces are institutionally owned (see the Art Institute of Chicago's website). \u003cbr\u003e\u003cbr\u003eMost of the silver produced in his shop dates from 1912 to 1914 and it is rare to find pieces as exciting as this pitcher. During this brief period he employed important artisan silversmiths, but his most important collaborator was architect George Elmslie. Jarvie's relationship with Elmslie was close, Elmslie's wife even possibly working in Jarvie's shop.(2)\u003cbr\u003e\u003cbr\u003eGeorge Elmslie worked for the famous Chicago architect Louis Sullivan as his principal draftsman (and by many accounts practically running the firm). Going out on his own as a partner in Purcell and Elmslie in 1907, Elmslie established himself as an important Prairie school architect, second only to Frank Lloyd Wright.\u003cbr\u003e\u003cbr\u003eThe motif used in the chased decoration of the pitcher can be found in other Elmslie designs. While most Elmslie designed windows are strictly rectilinear, two window designs from this period include this visual theme. One window set, from the Cross House of 1911, is now in the collection of the Metropolitan Museum of Art (\u003ca href=\"http:\/\/www.metmuseum.org\/art\/collection\/search\/9851\" target=\"_blank\" rel=\"noopener noreferrer\"\u003esee here\u003c\/a\u003e) and another set was designed for the 1912 sleeping porch in the Henry Babson house in Riverside, Illinois.(3)\u003cbr\u003e\u003cbr\u003eRobert Jarvie was of Scottish descent and George Elmslie was born there. The easy familiarity between the decoration on this pitcher and that of designs by Charles Rennie Mackintosh in Glasgow is a wonderful example of the collaborative nature of the world-wide arts \u0026amp; crafts movement which can also be seen in designs from the secessionist movement in Vienna. \u003cbr\u003e\u003cbr\u003eRobert Jarvie's silver rarely comes on the market today, and pieces of this quality are now primarily in institutional collections. This is the finest example of silver from his shop that we are aware of coming on the market in many years.\u003cbr\u003e\u003cbr\u003e\u003cstrong\u003eEndnotes:\u003c\/strong\u003e\u003cbr\u003e\n\u003col\u003e\n\u003cli\u003e'Iowa Poland China Futurity Show' by A.M. Caldwell, \u003cem\u003eLive Stock World\u003c\/em\u003e September 3, 1914 p.6.\u003c\/li\u003e\n\u003cli\u003e'Catalog Entry 140' by W. Scott Braznell in \u003cem\u003eThe Art that is Life: The Arts \u0026amp; Crafts Movement in America, 1875-1920\u003c\/em\u003e, Wendy Kaplan, Ed., (Boston: Museum of Fine Arts, Boston, 1987), p. 278 and conversations with the author.\u003c\/li\u003e\n\u003cli\u003e'Purcell and Elmslie, Architects' by Mark Hammons in \u003cem\u003eMinnesota 1900: Art and Life on the Upper Mississippi 1890-1915\u003c\/em\u003e, Michael Conforti, Ed., (Newark: University of Delaware Press, 1994), p. 242.\u003c\/li\u003e\n\u003c\/ol\u003e","brand":"Spencer Marks Ltd","offers":[{"title":"Default Title","offer_id":27879256261,"sku":"I720","price":0.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1850\/5637\/products\/I720_pi_8210de0c-1f76-42a8-8ad7-5592d5c06d5d.jpg?v=1533925930"},{"product_id":"whiting-persian-design-sterling-silver-centerpiece-bowl-c-1880s","title":"Whiting Persian Design Sterling Silver Centerpiece Bowl, NYC, NY, c. 1880s","description":"Of exceptional quality and design, this centerpiece bowl is one of the nicest items we've had by Whiting. Three horizontal sections are separated by applied rope banding. Exotically inspired decoration is featured in each area.\u003cbr\u003e\u003cbr\u003eIntricate and exquisite, the central band of bold swirling 'paisley' decoration dominates the design The depth and detail of the chased work is stunning.\u003cbr\u003e\u003cbr\u003eThe interior of the bowl retains its lovely original gilding and underneath the bowl is beautifully monogrammed 'LLN' in a foliate script.\u003cbr\u003e\u003cbr\u003eThis rare centerpiece bowl is marked underneath with Whiting's trademark and 'STERLING\/ 789\/ A'. It measures 4.5 inches high by 9 inches round at the top. It weighs 28.55 troy ounces and is in excellent antique condition.","brand":"Spencer Marks Ltd","offers":[{"title":"Default Title","offer_id":27879752005,"sku":"I812","price":0.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1850\/5637\/products\/I822_pi.jpg?v=1492288657"},{"product_id":"samuel-kirk-probably-american-coin-silver-presentation-fire-trumpet-baltimore-c-1854-retailed-c-t-holloway-baltimore","title":"Samuel Kirk (probably) American Coin Silver Presentation Fire Trumpet, Baltimore, c. 1854, Retailed C. T. Holloway, Baltimore","description":"\u003cp\u003eThis historic fire trumpet is wonderfully decorated with flowing repousséd morning glory vines surrounding fire fighting equipment including a ladder, hooks, pike poles, axes and a helmet. It is inscribed 'Presented to the Pioneer Hook \u0026amp; Ladder by Their Friends Nov. 4th 1854'.\u003cbr\u003e\u003cbr\u003eCharles T. Holloway, president of the Pioneer Hook \u0026amp; Ladder, was an important American firefighter. Trained as a jeweler, but also a volunteer firefighter, he started Baltimore's Pioneer Hook \u0026amp; Ladder Company in 1851. The hook \u0026amp; ladder was an innovation in urban fire fighting, allowing for increasing large equipment to navigate narrow urban streets and this was Baltimore's first hook \u0026amp; ladder company.\u003c\/p\u003e\n\u003cp\u003eA noted leader in the field, he became the first chief of the Baltimore Fire Department when it was created in 1859. Holloway also consulted with Pittsburgh when they started their fire department and he started the Baltimore County Fire Department.\u003cbr\u003e\u003cbr\u003eHolloway started his own fire fighting equipment company in Baltimore and held numerous patents including some for fire extinguishers and fire engines. His engines were sold around the country and can be found in fire fighting museums today.\u003cbr\u003e\u003cbr\u003eThis historic trumpet measures 18 inches tall and 6 3\/4 inches across the base. It weighs approximately 22 troy ounces. It is marked with the Baltimore coin standard mark of 10-15 and by the retailer C. T. Holloway. It is in good antique condition with some deep surface etching (visible in the presentation image) and mild compression in the mouthpiece.\u003c\/p\u003e","brand":"Spencer Marks Ltd","offers":[{"title":"Default Title","offer_id":27881726981,"sku":"I3118","price":0.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1850\/5637\/products\/i3118_side_pi.jpg?v=1492292444"},{"product_id":"gorham-art-nouveau-antique-sterling-silver-poppy-inkwell-providence-ri-c-1900","title":"Gorham Art Nouveau Antique Sterling Silver 'Poppy' Inkwell, Providence, RI, c. 1900","description":"A stunning example of the art nouveau aesthetic, this beautiful inkwell is cast with fully hand chased details. Gorham made some of the very finest American art nouveau silver and this is a wonderful piece. While this is clearly influenced by their Martelé line, Martelé itself is not always this pretty.\u003cbr\u003e\u003cbr\u003eDeep, bold three dimensional castings, all finished by hand, flow organically all over this inkwell. Poppies in full bloom and in bud grow on their vines and leaves in a sinuous fluid motion. The entire outer edge is shaped with flowing organic lines. The background shimmers with a hammered surface that adds to the visual movement of the piece. (This surface - in fact the entire piece - is very similar to the art nouveau flatware pieces in the 'H' line.)\u003cbr\u003e\u003cbr\u003eThis outstanding piece measures 12 inches wide (yes, it is large), 6.5 inches deep and 2.5 inches high. It weighs 24 troy ounces and is in excellent condition except for missing its glass liner for ink - only important to those resolutely still in the quill age.","brand":"Spencer Marks Ltd","offers":[{"title":"Default Title","offer_id":27923129989,"sku":"J15","price":0.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1850\/5637\/products\/j15_pi.jpg?v=1492350683"},{"product_id":"peter-krider-sterling-repousse-tea-caddy-with-scenic-decoration-philadelphia-pa-c-1870s","title":"Peter Krider Sterling Repousse Tea Caddy with Scenic Decoration, Philadelphia, PA, c. 1870's","description":"This large tea caddy is one of the finest Krider pieces we've had the privilege to sell. It's also one of the best American tea caddies we've ever had. Of elongated octagonal form, each panel features scenic landscapes which include a castle, a church and a pair of riders on horseback. The top and bottom of each panel feature floral repoussé work with a stippled background, framing the landscape scenes. \u003cbr\u003e\u003cbr\u003eOn the back panel a cartouche meant for a monogram has been filled with a similarly repousséd crest - a ship sailing in heavy seas. Clearly, this is custom work done in Krider's shop. The finial on the hinged lid is a large cast bunch of grapes with leaves. We purchased this with the Kettle on Stand and it has the same family crest.\u003cbr\u003e\u003cbr\u003eKrider was one of the finest silversmiths working in Philadelphia during the 19th century. After serving an apprenticeship with the noted Philadelphia firm of R. \u0026amp; W. Wilson, he worked for the important Boston silversmith Obadiah Rich. Returning to Philadelphia, he started his own firm in the early 1850's. His shop excelled at casting, and was one of the largest medal making firms in the country - commissioned to make award medals for the Centennial Exposition in 1876 and others. They produced exceptional pieces (like this) which can be found in many museum collections. \u003cbr\u003e\u003cbr\u003eThis caddy is marked underneath with Peter Krider's trademark, 'STERLING' and 'P.L. KRIDER CO.' It measures 5.5 inches high, 5.5 inches wide and 3.75 inches deep. It weighs a very impressive 20.05 troy ounces and is in excellent condition.","brand":"Spencer Marks Ltd","offers":[{"title":"Default Title","offer_id":27960058949,"sku":"J253","price":0.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1850\/5637\/products\/J253_b_pi.jpg?v=1492433133"},{"product_id":"dominick-haff-antique-sterling-silver-intaglio-chased-aesthetic-movement-water-pitcher-new-york-city-1881","title":"Dominick \u0026 Haff Antique Sterling Silver Intaglio Chased Aesthetic Movement Water Pitcher, New York City, 1881","description":"Dominick \u0026amp; Haff is one of our favorite companies, especially when they executed pieces in the 1880s in this unique style.\u003cbr\u003e\u003cbr\u003eThe surface to the pitcher is achieved with irregular hammer blows which create the honeycomb design. It is then brushed to give it a soft, shimmering finish. \u003cbr\u003e\u003cbr\u003eEach side of the pitcher is a work or art. Above we see an incredible display of a lily flower in bloom with leaves on a single stem emanating from the base. It features incredibly skilled intaglio chasing to achieve deep stunning detail. \u003cbr\u003e\u003cbr\u003eThe other side features a hibiscus with stunning leaves also sprouting from a single stem from the base. This naturalistic chased decoration is so deep and exceptional that it actually folds over itself at places.\u003cbr\u003e\u003cbr\u003eThe underside is beautifully engraved 'BOWEN\/ AUG. 25th\/ 1856 and 1881' - so this most likely was a 25th wedding anniversary gift.\u003cbr\u003e\u003cbr\u003eThis exquisite and rare pitcher is marked under the base above the inscription with Dominick \u0026amp; Haff's trademark, 'STERLING\/ 86'. It measures 7.5 inches across the handle by 7.75 inches tall, weighs 26.25 troy ounces and is in excellent antique condition.","brand":"Spencer Marks Ltd","offers":[{"title":"Default Title","offer_id":27961866245,"sku":"J530","price":0.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1850\/5637\/products\/j530_pi.jpg?v=1492437502"},{"product_id":"tiffany-co-edward-c-moore-antique-sterling-silver-cigar-vase-stand-and-lighters-in-the-persian-taste-new-york-city-1873-75","title":"Tiffany \u0026 Co.\/ Edward C. Moore Antique Sterling Silver Cigar Vase, Stand and Lighters in the Persian Taste, New York City, 1873-75","description":"An extremely rare and fine piece of early Tiffany silver, this wonderful cigar accessory has a square stand, cylindrical vase and two pendant lamps. The stand has four paw feet on the corners and wonderful Persian style engraved decoration on a matted surface. The vase, with applied bands at the rim and foot, features similar Persian inspired engraved decoration on a matte background and retains its original gilded surface. On opposite sides, pendant lamps hang from applied holders. The base of the lamps, which acts as a handle, are Egyptianate – similar in look to bound sheaves of papyrus reeds.\u003cbr\u003e\u003cbr\u003eEdward C. Moore, the first director of the silver division at Tiffany \u0026amp; Co., found inspiration in many exotic eastern designs. He amassed a large and important collection of Persian and mid-eastern items that was donated to the Metropolitan Museum upon his death. Moore's first documented use of mid-eastern inspired design was the 'Moresque' creamer and sugar that Tiffany exhibited at the 1867 Paris exhibition and is now in the collection of the Philadelphia Museum of Art. Tiffany introduced the 'Persian' pattern in 1872, about the date of his cigar set.\u003cbr\u003e\u003cbr\u003eMarked underneath 'Tiffany \u0026amp; Co.\/ 2974\/ Quality\/ 925-1000\/ M\/ 855\/ Union Square'. It measures 6 inches high (to the rim of the vase) by 7 inches wide and weighs 22 troy ounces. It is in very good antique condition (there are a couple small dings on the lamps) and is monogrammed 'WVV' in an artistic block style on one side and 'WRV' in a cursive style on the other.","brand":"Spencer Marks Ltd","offers":[{"title":"Default Title","offer_id":27972972357,"sku":"J942","price":0.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1850\/5637\/products\/J942_a_pi.jpg?v=1492460628"},{"product_id":"george-sharp-for-bailey-co-the-samuel-m-felton-medallion-sterling-silver-swing-handled-cake-basket-c-1865","title":"George Sharp for Bailey \u0026 Co: The Samuel M. Felton 'Medallion' Sterling Silver Swing-handled Cake Basket, c. 1865","description":"This wonderful basket features four cast and applied medallions around the shaped edge and four repoussed neoclassical medallions on a stippled background with acanthus based fluid foliate scrolls in the basket. Anthemion leaves deorate the chased base. The swing handle has beading centering a bold cast medallion.\u003cbr\u003e\u003cbr\u003eIt measures 13 inches long by 10.5 inches wide, is 10.25 inches high with the handle elevated and weighs 38.25 troy ounces. It is marked with the 'lion, \"S\", shield' trademark that Bailey \u0026amp; Co. used on their sterling silver, another lion passant mark and 'BAILEY \u0026amp; CO CHESTNUT ST PHILA'. It is monogrammed 'S.M.F.' in an Old English style in the center.\u003cbr\u003e\u003cbr\u003eGeorge Sharp had been Bailey \u0026amp; Co.'s silver shop foreman until he started his own business in 1861, when Bailey discontinued the in-house manufacture of silver. Bailey continued to order silver from Sharp and the Felton pieces bear Bailey \u0026amp; Co.'s marks, indicating that Sharp continued to use the Bailey marks on Bailey retailed silver even after starting his own shop.\u003cbr\u003e\u003cbr\u003e\u003cstrong\u003eCondition:\u003c\/strong\u003e Outstanding.","brand":"Spencer Marks Ltd","offers":[{"title":"Default Title","offer_id":28466046085,"sku":"K330","price":0.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1850\/5637\/products\/K330_pi.jpg?v=1493229871"},{"product_id":"george-sharp-for-bailey-co-the-samuel-m-felton-medallion-sterling-silver-centerpiece-compote-c-1865","title":"George Sharp for Bailey \u0026 Co: The Samuel M. Felton 'Medallion' Sterling Silver Centerpiece Compote, c. 1865","description":"This outstanding centerpiece features 10 cast and applied neoclassical medallions. In a wide band outside the bowl is bold floral and fruit repoussé work on a matted background in a beaded border with fans. The pedestal foot has a central decorated knob and a stepped base with more repoussé and medallions.\u003cbr\u003e\u003cbr\u003eIn a circular cartouche, it is inscribed:\u003cbr\u003e\n\u003cblockquote\u003e\n\u003cdiv style=\"text-align: center;\"\u003ePresented to\u003c\/div\u003e\n\u003cdiv style=\"text-align: center;\"\u003eSamuel M. Felton\u003c\/div\u003e\n\u003cdiv style=\"text-align: center;\"\u003eby his friends\u003c\/div\u003e\n\u003cdiv style=\"text-align: center;\"\u003eof the city of\u003c\/div\u003e\n\u003cdiv style=\"text-align: center;\"\u003ePhiladelphia\u003c\/div\u003e\n\u003cdiv style=\"text-align: center;\"\u003eand its vicinity\u003c\/div\u003e\n\u003cdiv style=\"text-align: center;\"\u003e1865.\u003c\/div\u003e\n\u003c\/blockquote\u003e\nIt measures 8.25 inches high and weighs 36.25 troy ounces. It is marked with the 'lion, \"S\", shield' trademark that Bailey \u0026amp; Co. used on their sterling silver, two lion passant marks and 'BAILEY \u0026amp; CO CHESTNUT ST PHILA'.\u003cbr\u003e\u003cbr\u003eGeorge Sharp had been Bailey \u0026amp; Co.'s silver shop foreman until he started his own business in 1861, when Bailey discontinued the in-house manufacture of silver. Bailey continued to order silver from Sharp and the Felton pieces bear Bailey \u0026amp; Co.'s marks, indicating that Sharp continued to use the Bailey marks on Bailey retailed silver even after starting his own shop.\u003cbr\u003e\u003cbr\u003e\u003cstrong\u003eCondition:\u003c\/strong\u003e Excellent, retaining the original gilt interior.","brand":"Spencer Marks Ltd","offers":[{"title":"Default Title","offer_id":28466117189,"sku":"K331","price":0.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1850\/5637\/products\/K331_pi.jpg?v=1493230033"},{"product_id":"american-sterling-overlay-on-grueby-art-pottery-extremely-rare-inkwell-boston-c-1900","title":"American Sterling Overlay on Grueby Art Pottery Extremely Rare Inkwell, Boston, c. 1900","description":"A Grueby inkwell in itself is quite a rare object, this one may be unique. The dark green glaze of the pottery (the best Grueby color) is beautiful and is enhanced by the silver overlay. The hinged dome lid is plain and the overlay design on the body of the piece is (appropriately) designed including quills and ribbons. \u003cbr\u003e\u003cbr\u003eWe are aware of no other piece of sterling overlay on Grueby pottery and believe this was a special order item or a possibly prototype for a line which was never developed. While very rare pieces of Grueby pottery are found mounted on silver, sterling overlay is another matter. Further, sterling overlay is mentioned in none of the literature on Grueby. This form of inkwell is found with Tiffany Studios bronze lids, but this is the only known sterling example.\u003cbr\u003e\u003cbr\u003eIt is odd that we do not see more Grueby Pottery with silver, especially given that many of Grueby's designers had experience in metalwork and that Grueby was sold exclusively in Boston by Bigelow, Kennard \u0026amp; Co., the famous jewelers and silversmiths. It is quite possible that Bigelow, Kennard did this silver overlay work as a special order.\u003cbr\u003e\u003cbr\u003eThis stunning and large inkwell is impressed underneath 'GRUEBY\/ BOSTON. MA' (very difficult to read). The lid is marked on the inside 'STERLING'. It measures 4.5 inches high by 5.5 inches round. The glass liner is missing from the inside but could probably be replaced. It is in otherwise excellent condition.","brand":"Spencer Marks Ltd","offers":[{"title":"Default Title","offer_id":28466783429,"sku":"K441","price":0.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1850\/5637\/products\/K441_pi.jpg?v=1493231732"},{"product_id":"gorham-japanese-work-antique-sterling-silver-and-enamel-sample-vase-providence-ri-1897-98","title":"Gorham 'Japanese Work' Antique Sterling Silver and Enamel 'Sample' Vase, Providence, RI, 1897-98","description":"This vase is extremely rare and quite stunning. It is also a fascinating study of Gorham production, which we'll discuss later.\u003cbr\u003e\u003cbr\u003eIn the form of a Japanese bottle, the body is an exquisite shape of graceful lines with the front and back being slightly bulbous with wider bulbous sides which all taper inwards and upwards to the top of the tall neck. Five beautifully chased scenes of butterflies and foliage against a stippled background decorate the opening below a rolled edge.\u003cbr\u003e\u003cbr\u003eEach side of the vase is decorated with stunning artistic scenery. One side has a pond scene with three bunches of iris rising from the water. The flower scenes vary in size giving the illusion of distance with the smaller ones in the background.\u003cbr\u003e\u003cbr\u003eIn the foreground is a beautiful fish swimming behind the foliage. The exotic scene also conveys movement with the fish and irregular chased lines of rippling water.\u003cbr\u003e\u003cbr\u003eThe fish and water are hand-chased, while the leaves and flowers are all applied. The enamel to the various iris is stunning. The workmanship is very fine and the translucent colors are vibrant incorporating violet, cream, yellow and green. \u003cbr\u003e\u003cbr\u003eFeaturing a large rooster, a hen and a small chick, the opposite side is also extraordinary. \u003cbr\u003e\u003cbr\u003eFine chasing is used to add simple elements like pebbled earth and a decorative flower. The line you see to the right of the rooster is a hill which goes around the corner into the pond.\u003cbr\u003e\u003cbr\u003eAlso depicted on this side is a magnificent blossoming chrysanthemum plant. Once again, chasing is used for the bamboo shoots and grass in the background. The chrysanthemum stems and blossoms are all applied. The detail is beautiful and the enameling is another fine example of exceptional skill. Here's an enlargement of the rooster showing the great detail and multi-colored enamel feathers:\u003cbr\u003e\u003cbr\u003eEnamel is a very difficult process and controlling the colors while firing is extremely tricky. Various colors throughout the spectrum are incorporated into these lovely objects. As one can see, various colors are even blended together for greater artistic expression. Even rarer is the Japanese signature on the side of the vase, most likely by the artisan who decorated the body.\u003cbr\u003e\u003cbr\u003eInterestingly, we have the original Gorham costing slip for this vase. According to the documentation, the costing was recorded on December 12, 1898. What is fascinating is that the vase bears the trident date mark of 1897. \u003cbr\u003e\u003cbr\u003eAccording to an 1898 article in the New York Times '...designs from almost every country are produced here (America), except Japan. The Japanese have their own original ways of doing their silver, which is a combination of chasing and applied work, and shows the characteristics of the country. So when an American manufacturer wishes Japanese designs made from his own silver he sends it to Japan'.(1) This accounts for the 1897 date mark on the silver and the December, 1898 date on the costing slip.\u003cbr\u003e\u003cbr\u003eThis rare set is marked underneath with Gorham's trademark along with the Sample Code '8727' and 'STERLING. Is is also engraved with a 'GPL' monogram. It measures 12.5 inches tall by 6.5 inches wide, weighs 27.60 troy ounces and is in excellent antique condition with very slight enamel loss to one feather on the rooster (visible in the photo) and one blade of grass.\u003cbr\u003e\u003cbr\u003e\u003cstrong\u003eEndnotes:\u003c\/strong\u003e\u003cbr\u003e\n\u003col\u003e\n\u003cli\u003e\"Silver For American Tables\" in \u003cem\u003eThe New York Times\u003c\/em\u003e, 11 December 1898, p. 20.\u003c\/li\u003e\n\u003c\/ol\u003e","brand":"Spencer Marks Ltd","offers":[{"title":"Default Title","offer_id":28468952645,"sku":"K553","price":0.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1850\/5637\/products\/k553_b_pi.jpg?v=1493238094"},{"product_id":"porter-blanchard-lotus-pattern-sterling-silver-large-ewer-crafted-by-richard-blanchard-c-1927-30","title":"Porter Blanchard 'Lotus' Pattern Sterling Silver Large Ewer crafted by Richard Blanchard, c. 1927-30","description":"This large sterling ewer is in the rare 'Lotus' pattern and made by Richard Blanchard working with his brother Porter Blanchard in Burbank, California. Designed with a pedestal foot of lobed panels and incised lines which match the main body, a flaring spout and scroll handle, it is a striking example of arts \u0026amp; crafts silver with overall, shimmering hammer marks.\u003cbr\u003e\u003cbr\u003eRichard Blanchard and his brother Porter learned their trade from their father, George Porter Blanchard (who worked for Arthur Stone from 1906-09) in Gardner, Mass. The brothers were Members of the Society of Arts \u0026amp; Crafts, Boston where Richard is listed as a Craftsman 1913-16 and Master Craftsman Society, from 1917-18 and 1920-21 (\u003cem\u003eThe Society of Arts \u0026amp; Crafts, Boston Exhibition Record\u003c\/em\u003e, 1897-1927, p. 31). \u003cbr\u003e\u003cbr\u003eIn 1923, Porter Blanchard moved to Burbank, California and was joined in 1925 by his brother and father. Richard worked in the Burbank shop until 1930. Working a relatively short period in Burbank, examples of Richard Blanchard silver are quite rare and this is a great example in a lovely design which exhibits the level and skill of a great silversmith. (See: \"Richard Blanchard: Twentieth-Century Maker of Handwrought Silver\" by Pansylea Howard Willburn in \u003cem\u003eSilver Magazine July\/August 2001\u003c\/em\u003e for more information.)\u003cbr\u003e\u003cbr\u003eThis beautiful sterling silver pitcher or ewer is marked underneath with the shop's trademark which is the profile of a silversmith at work inside a square. It is also stamped 'HANDMADE\/ STERLING\/ PORTER BLANCHARD'. A stamped 'R' inside a square designates the piece as being by Richard Blanchard. It measures 12 inches high by 9 inches across the spout and handle, weighs 40.15 troy ounces, is in excellent condition and has never been engraved or monogrammed.","brand":"Spencer Marks Ltd","offers":[{"title":"Default Title","offer_id":28589659589,"sku":"L65","price":0.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1850\/5637\/products\/L65_pi.jpg?v=1493409082"},{"product_id":"dominick-haff-japanesque-antique-sterling-silver-coffee-tea-service-new-york-city-1881","title":"Dominick \u0026 Haff Japanesque Antique Sterling Silver Coffee \u0026 Tea Service, New York City, 1881","description":"With stunning Japanese inspired scenery against a spot-hammered background, Dominick \u0026amp; Haff creates this unusual and visually exciting work of art consisting of a hot water kettle on stand, coffee pot, tea pot, creamer, covered sugar and waste bowl. \u003cbr\u003e\u003cbr\u003eThe handles are executed in a basket weave design and the bodies decorated with wildlife and aquatic scenery. Both the kettle and coffee pot feature 2 large dragonflies in flight above pools of flowing water and exotic plants.\u003cbr\u003e\u003cbr\u003eThe tea pot has three birds among cattail and grasses with one swimming peacefully, another on rocks about to eat a snail (?) hanging from a blade of grass and the third fishing, with its head submerged under water.\u003cbr\u003e\u003cbr\u003eThe covered sugar bowl with detachable lid has wonderful flowing water scenery with aquatic plants on one side and on the other one fish diving into the water and another fish jumping out of the water to snare a dragonfly. The creamer is designed with beautiful foliage and water design and the waste bowl with water and ducks.\u003cbr\u003e\u003cbr\u003eCompleting the beautiful designs are decorated bottoms of each piece depicting a sandy riverbed. Underneath each piece is a lovely 'CMD' script monogram. Interiors of the creamer and waste bowl retain their original gilding, as do many fine details in the intaglio chased decorations. \u003cbr\u003e\u003cbr\u003eThis is the finest example of this style of American Japanisme we have ever seen. Never common, these pieces usually feature foliate decoration sometimes in the Japanese taste including dragonflies. Aquatic scenes, ducks and fish are very rare.\u003cbr\u003e\u003cbr\u003eStunning and exceptionally rare, this service is marked underneath with Dominick \u0026amp; Haff's trademark with the 1881 date within and 'STERLING', the model number '116' and by the Philadelphia silver manufacturer and retailer 'Wm. Wilson \u0026amp; Son'. The kettle on stand measures 12.75 to the top of the handle. The total weight is 136.65 troy ounces and it is in excellent condition. The hammered sterling burner underneath the kettle is a replacement.","brand":"Spencer Marks Ltd","offers":[{"title":"Default Title","offer_id":28589869829,"sku":"L97","price":0.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1850\/5637\/products\/l97_DH_service_pi.jpg?v=1493410030"},{"product_id":"rebecca-cauman-rare-and-important-sterling-silver-enamel","title":"Rebecca Cauman Rare and Important Sterling Silver, Enamel and Crackled Rock Crystal Covered Bowl or Box, Boston, c. 1927, exhibited at the Boston Society of Arts \u0026 Crafts Tricennial Exhibition held at the Museum of Fine Arts, Boston, March 1 - 20, 1927","description":"An outstanding example of American arts \u0026amp; crafts silver, this is one of the finest pieces made by Rebecca Cauman. Featuring a hand chased lid with a cracked rock crystal finial from which radiate twelve hand pierced, applied and enameled ovals, this covered bowl or box has a wonderfully planished surface which sparkles. It rests upon a spreading foot with hand chased, pierced and enamel decoration similar to the lid.\u003cbr\u003e\u003cbr\u003eThis wonderful covered bowl is marked underneath 'STERLING\/ Cauman'. It measures 3.5 inches high, 5.5 inches in diameter, and weighs 22.2 troy ounces. It is in excellent condition although the rock crystal finial has been reattached. \u003cbr\u003e\u003cbr\u003eRebecca Cauman is listed as a Master Craftsman member of the Boston Society of Arts \u0026amp; Crafts after 1924, with a studio at 516 Atlantic Avenue in Boston.(1) Masters represented the highest level of craftsmanship at the society. She was an enameler and metal worker, and her enameling on copper is more commonly seen than her work in silver. \u003cbr\u003e\u003cbr\u003eThe catalog from the Society of Arts \u0026amp; Crafts 1927 exhibition lists item number 77 as a \"Covered bowl, enamel lined, cover and base saw pierced and enameled, ball knob of crackled rock crystal\". We have a photocopy of the original receipt which indeed documents that this is item number 77.\u003cbr\u003e\u003cbr\u003eWe also have a photocopy of the artist's statement by Cauman about the bowl. The crackled rock crystal finial came from Switzerland. Cauman felt the light of the crystal represented life and created the twelve radiating ovals to represent the tree of life, and the space between the ovals to represent its shadow. The yellow enamel on the cover and lining of the bowl also represent light and hence life. Modestly she states, \"It is rather fun to work a definite meaning into a piece of work even though it is only a little candy box.\"\u003cbr\u003e\u003cbr\u003eIt is exceptional to have a masterpiece with this level of documentation remaining intact. While it is more common to see her enamel work on copper, she chose to show mainly silver at this exhibition. Clearly she felt her work in silver more important than copper or pewter. Cauman's pieces are rarely available and this is the only documented exhibition piece by her that we are aware of to come to market. \u003cbr\u003e\u003cbr\u003eWe quote from the forward of the Society of Arts \u0026amp; Crafts catalog to the 1927 exhibition:\u003cbr\u003e\n\u003cblockquote\u003e\n\u003cdiv style=\"text-align: center;\"\u003eThe chief concern of this organization has always been to develop able craftsmen and to place their work before the buying public. Its ideal has not been to foster a large number of indifferent and mediocre workers but to build up a body of craftsmen capable of expressing beauty in its manifold forms.... The society has not sought to revive past styles or methods, but rather to revive the spirit of former times, to touch the craftsman again with the fire of enthusiasm for and devotion to his work; to waken once more his desire to express himself sincerely, availing himself of such facilities as this age has placed at his disposal.(2)\u003c\/div\u003e\n\u003c\/blockquote\u003e\n\u003cbr\u003eIn this very rare documented piece of Cauman's work, exhibited after selection by a jury of her peers and mentors, we find an exceptional example of this credo.\u003cbr\u003e\u003cbr\u003e\u003cstrong\u003eExhibition:\u003c\/strong\u003e The 1927 Boston Society of Arts \u0026amp; Crafts Tricennial Exhibition, exhibition number 77.\u003cbr\u003e\u003cbr\u003e\u003cstrong\u003eLiterature:\u003c\/strong\u003e \u003cem\u003eTricennial Exhibition of the Society of Arts \u0026amp; Crafts in Celebration of the Thirtieth Anniversary of its Organization\u003c\/em\u003e (Boston: The Merrymount Press, 1927).\u003cbr\u003e\u003cbr\u003e\u003cstrong\u003eProvenance:\u003c\/strong\u003e Primarily by descent in the family of the purchaser, who wishes to remain anonymous.\u003cbr\u003e\u003cbr\u003e\u003cstrong\u003eEndnotes:\u003c\/strong\u003e\u003cbr\u003e\n\u003col\u003e\n\u003cli\u003eKaren Evans Ulehla, Ed., \u003cem\u003eThe Society of Arts and Crafts, Boston Exhibition Record 1897-1927\u003c\/em\u003e, (Boston: Boston Public Library), p. 48.\u003c\/li\u003e\n\u003cli\u003e\n\u003cem\u003eTricennial Exhibition of the Society of Arts \u0026amp; Crafts in Celebration of the Thirtieth Anniversary of its Organization\u003c\/em\u003e; (Boston: Merrymount Press, 1927,), p. viii.\u003c\/li\u003e\n\u003c\/ol\u003e","brand":"Spencer Marks Ltd","offers":[{"title":"Default Title","offer_id":28699452997,"sku":"L620","price":0.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1850\/5637\/products\/L620_pi.jpg?v=1493578610"},{"product_id":"william-e-brigham-rare-and-important-american-arts-crafts-amethyst-and-sterling-silver-covered-urn-providence-ri-c-1927-exhibited-at-the-boston-society-of-arts-crafts-tricennial-exhibition-boston-march-1-20-1927","title":"William E. Brigham Rare and Important American Arts \u0026 Crafts Amethyst and Sterling Silver Covered Urn, Providence, RI, c. 1927, exhibited at the Boston Society of Arts \u0026 Crafts Tricennial Exhibition, Boston, March 1 - 20, 1927","description":"William E. Brigham (documented) Rare and Important American Arts \u0026amp; Crafts Amethyst and Sterling Silver Covered Urn set with semiprecious stones, Providence, RI, c. 1927, exhibited at the Boston Society of Arts \u0026amp; Crafts Tricennial Exhibition held at the Museum of Fine Arts, Boston, March 1 - 20, 1927\u003cbr\u003e\u003cbr\u003eAn extraordinary example of an American arts \u0026amp; crafts \"objet de virtue\", this silver and amethyst urn was made by one of the most important and influential masters of his craft during the arts \u0026amp; crafts period. The amethyst urn is mounted with a silver base and rim with applied beading and set with yellow sapphires. A separate domed lid is similarly set with yellow sapphires and finished with a mounted pink tourmaline as a finial. \u003cbr\u003e\u003cbr\u003eIt measures 2.6 inches high and is in excellent condition.\u003cbr\u003e\u003cbr\u003eClearly influenced by renaissance designs, Brigham's use of amethyst is in keeping with that period. Before the discovery of deposits in Brazil, amethyst was one of the most precious stones. Highly desirable for its color, amethyst was also used for vessels during the renaissance because of the widely held belief that it stopped the inebriating effects of alcohol. \u003cbr\u003e\u003cbr\u003eWilliam Edward Brigham (1885-1962) was one of the most important jewelers and teachers working during the arts and crafts movement. Of independent means, he was able to travel to Europe where he made detailed drawing of many renaissance treasures which were to inspire his later work.(1) A graduate of the Rhode Island School of Design, he also studied at Harvard. After starting the arts \u0026amp; crafts department at the Cleveland School of Art, he returned to RISD in 1914 where he led the Department of Decorative Design until 1927 when he retired.(2) In 1936 he was awarded The Medal of Excellence in Craft by the Society of Arts and Crafts, Boston, the highest honor bestowed by the society - one of only seven jewelers to receive that honor.(3)\u003cbr\u003e\u003cbr\u003eBrigham did not sign his work; hence, documentable examples of his work are very rare. We have a photocopy of the original bill of sale for this piece, documenting that this is item number 69 exhibited at the Boston Society of Arts \u0026amp; Crafts Tricennial Exhibition held at the Museum of Fine Arts, Boston, March 1 - 20, 1927. \u003cbr\u003e\u003cbr\u003eWe quote from the forward of the Society of Arts \u0026amp; Crafts catalog to the 1927 exhibition:\u003cbr\u003e\n\u003cblockquote\u003e\n\u003cdiv style=\"text-align: center;\"\u003eThe chief concern of this organization has always been to develop able craftsmen and to place their work before the buying public. Its ideal has not been to foster a large number of indifferent and mediocre workers but to build up a body of craftsmen capable of expressing beauty in its manifold forms.... The society has not sought to revive past styles or methods, but rather to revive the spirit of former times, to touch the craftsman again with the fire of enthusiasm for and devotion to his work; to waken once more his desire to express himself sincerely, availing himself of such facilities as this age has placed at his disposal.(4)\u003c\/div\u003e\n\u003c\/blockquote\u003e\n\u003cp\u003eWilliam E. Brigham spent his life espousing this credo. Here we have a very rare documented example of his work made at the height of his career. Not only is this urn documentable, but Brigham felt it was such an excellent example of his work that he chose to show it at an important exhibition juried by his peers and mentors. \u003cbr\u003e\u003cbr\u003e\u003cstrong\u003eExhibition:\u003c\/strong\u003e The 1927 Boston Society of Arts \u0026amp; Crafts Tricennial Exhibition, exhibition number 69.\u003cbr\u003e\u003cbr\u003e\u003cstrong\u003eLiterature:\u003c\/strong\u003e \u003cem\u003eTricennial Exhibition of the Society of Arts \u0026amp; Crafts in Celebration of the Thirtieth Anniversary of its Organization\u003c\/em\u003e (Boston: The Merrymount Press, 1927).\u003cbr\u003e\u003cbr\u003e\u003cstrong\u003eProvenance:\u003c\/strong\u003e Primarily by descent in the family of the purchaser, who wishes to remain anonymous.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eEndnotes:\u003c\/strong\u003e\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eJeannine Falino, 'Circles of Influence: Metalsmithing in New England', in \u003cem\u003eInspiring Reform: Boston Arts \u0026amp; Crafts Movement\u003c\/em\u003e, consulting curator Marilee B. Meyer (Wellesley, MA: David Museum and Cultural Center, 1997), p. 83.\u003c\/li\u003e\n\u003cli\u003eMarilee B. Meyer, consulting curator, \u003cem\u003eInspiring Reform: Boston Arts \u0026amp; Crafts Movement\u003c\/em\u003e, (Wellesley, MA: David Museum and Cultural Center, 1997), pp. 207-8.\u003c\/li\u003e\n\u003cli\u003e\n\u003cem\u003eThe Society of Arts and Crafts Medal for Excellence in Craft Award 1997 Recipient Jonathan L. Fairbanks\u003c\/em\u003e, (Boston: The Society of Arts \u0026amp; Crafts, 1997), n. p.\u003c\/li\u003e\n\u003cli\u003e\n\u003cem\u003eTricennial Exhibition of the Society of Arts \u0026amp; Crafts in Celebration of the Thirtieth Anniversary of its Organization\u003c\/em\u003e, (Boston: Merrymount Press, 1927), p. viii.\u003c\/li\u003e\n\u003c\/ol\u003e","brand":"Spencer Marks Ltd","offers":[{"title":"Default Title","offer_id":28699721413,"sku":"L622","price":0.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1850\/5637\/products\/L622_pi.jpg?v=1493579134"},{"product_id":"gorham-antique-coin-silver-medallion-teapot-providence-ri-c-1865","title":"Gorham Antique Coin Silver Medallion Teapot, Providence, RI, c. 1865","description":"This wonderful teapot by Gorham is a rare example of the Medallion pattern in holloware. Of spherical form with a die rolled cast band at the center with four (all different) cast applied applied medallions supported by a stepped pedestal foot. The strong geometric design is continued in the handle and spout. Finely engraved, classically inspired decoration adorns the body. This teapot measures 7.5 inches high and and 10 inches from handle to spout and weighs approximately 27 troy ounces. It is inscribed \"Linda\" in an Old English style and in excellent condition.\u003cbr\u003e\u003cbr\u003eToday one of the most collected patterns around, Sam Hough believes the medallion pattern was first designed during the partnership of John Wendt, George Wilkinson and Augustus Rogers in 1861 in New York City. George Wilkinson (who returned to Gorham as their chief designer after the dissolution of the partnership) appears to have designed the pattern, although John Wendt was the first to patent it. The similarities between the Gorham and Wendt patterns lends credence to this dual creation and ownership theory - both partners making small changes in the original pattern to be fair to the other.","brand":"Spencer Marks Ltd","offers":[{"title":"Default Title","offer_id":28699832517,"sku":"L911","price":0.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1850\/5637\/products\/L911_pi.jpg?v=1493579344"}],"url":"https:\/\/www.spencermarks.com\/collections\/museum-acquisitions.oembed?page=4","provider":"Spencer Marks","version":"1.0","type":"link"}