CUbU1 U 1

SILVER
In The American Wing

FRANCESGRUBERSAFFORD

MUSEUMOF ART
THEMETROPOLITAN
NEWYORK

The Metropolitan Museum of Art

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1. Cherub'sheadfroma NewYorktankardmadeabout
1700-20byCorneliusKierstede.Bequestof Edward
L. Clarkson,1929(29.139)
Duringthe colonialperiodthe silversmith,or gold-
smithas he was oftencalled,rankedat the top of
the hierarchyof craftsmenandhis workoften re-
flected Europeanstyles more quicklyand more
closelythandidthe otherbranchesof the decora-
tivearts. Muchmoreso thantoday,the possession
of gold and silver objectswas the prerogativeof
the style-consciouselite thatwantedarticlesin the
latest fashion.As they hadin Europe,such items
establishedstatus, and in a society where social
standingwas determinedprimarilyby wealthand
materialpossessionsthe silversmithearlyon found
patronage.Forthe homehe madevessels forfood
anddrinkthatnot onlyfilledpracticalfunctionsbut
also were prominentlydisplayedas overt symbols
of affluenceandposition.Forthe dailyuse of indi-
vidualsof means,the silversmithprovideditemsof
adornment countlessgoldandsilverbuttonsand
bucklesas well as jewelry.For the more prosper-
ous parisheshe fashionedcommunionsilver and
baptismalbasins.
As they beganto prosper,the colonistscarried
on the OldWorldpracticeof convertingtheiraccu-
mulatedwealth into plate, as solid-silverwares
were thengenericallycalled.Thusin 1688William
Fitzhughof Virginiawrote his agent in London:
"Fornowmybuildingsfinished,myplantations well
settled. . . & being sufficientlystored with goods
of allsorts, I esteem it as wellpoliticas reputable,
to furnishmy self with an handsomCupboardof
platewhichgivesmy self the presentuse & Credit,
is a sure friendat a dead lift, withoutmuchloss,
or is a certainportionfora Childaftermy decease."
Platecontinuedto be a strongindicatorof wealth
andfamilyas well as a convenientformof invest-
mentthroughoutthe colonialperiod.In 1770John
Woolmanof Philadelphia decried"the Customary
use of SilverVesselsabouthouses"by his prosper-
ous Quakerbrethrenbecauseit clearlyrepresented
"Outwardshow andgreatness."
3

-
2. This New Englandshilling,the earliest type coined in
Massachusetts, must have been producedbetweenJune 10,
1652, when John Hulland Robert Sandersonwere appointed
mintmasters, and October 19 of that year, when an order was
passed to adopt a tree design. Two punches, one for the
obverse and one for the reverse, seem to have been used
ratherthan dies, and they were struck at opposite ends of the
planchetso that one stamp wouldnot obliteratethe other.
Diam. 11/sinches. Bequest of AlphonsoT. Clearwater,1933
(33.120.376)
3. Pine-tree shillingswere minted between 1667 and 1682,
those producedthrough1674 havinga largerdiameterthan
the later smaller,thicker,and more common ones. This
example belongs to the earlier groupand was struck from
dies thoughtto have been among the first of the manyused for
shillingsin the pine-tree design. The smallerpine-tree de-
nominations,such as the sixpence seen here, show few vari-
ations. Massachusetts coins were of the same standardbut of
lesser weight thantheirEnglishequivalents. Diam. 13/16 inches;
3/4 inches. Bequest of AlphonsoT. Clearwater,1933
(33.120.377,380)
4
Silversmithsplayedan importantrole in colonial
societybeyondthe fashioningof luxuryitems and,
whennecessary,theconversionofsuchobjectsback
intonegotiablesilverandgold.Theyalsofunctioned
in a sense as bankers,servingthe practicalcom-
mercialneeds of the community theymightsafe-
guardmoneyon depositor makeloans andsome
silversmithsalso entered into business ventures.
Working in the metalsof coinage,theycouldassess
and,if needbe, assaythe diversecurrencyof vary-
ingweightsandstandardsthatenteredthe colonies
throughtrade. Most of the money in circulation
was foreign:coinsfromSpanishcolonialmintspre-
dominatedand mingledwith Dutch, French,Por-
tuguese, Spanish,andof course Englishpieces.
The confusioncreatedby this varietyof coins,
some of whichwere worn, clippedat the edges,
or counterfeit,andthe shortageof hardcurrency
promptedthe MassachusettsGeneralCourtto es-
tablisha mint in Boston in 1652. New England's
firstknownworkingsilversmiths,JohnHullin part-
nershipwithRobertSanderson,becamethe mint-
masters,andthe earliestdatablesilveritem in the
Museum'scollectionis a 1652 shillingfrom that
mint (fig. 2). The first coins issued were irregu-
larlycircularpieces of silver stampedon the ob-
versewithNE for"NewEngland" andonthe reverse
with Romannumeralsindicatingthe value. Three
denominations were struck:twelvepence,or shill-
ing;sixpence;andthreepence.The uneven,undec-
orated edges obviously invited the practice of
clipping,or cuttingoff, of minutepieces of silver,
andbeforethe end of 1652a lawwas passedorder-
ing "that henceforth all peices [sic] of n1ony
Cojned.. . shallhavea doubleRingon eitherside,
with this Inscription Massachusetts,and a tree
in the Centeron the one side, and New England
andthe yeere of our lordon the other side."The
firsttree designwas a willow,followedby an oak,
andthen a pinetree (fig. 3), of whichthe greatest
numberof exampleshave survived.Allcoinsbore
the date 1652 no matterwhen issued, except for
the twopencepieces first struckin 1662.
The Massachusettsmint,whichwas established
withoutany legal authorityfromEngland,ceased
operatingabout1682, but the coins, often known
at the time as "NewEnglandmoney,"continuedin
circulationinto the nineteenthcentury.No other
coinswere officiallystruckinNorthAmericabefore
the Revolution,althougha few smithsdidsuccumb
 ; / --t :

to the temptationof counterfeiting.Silversmiths

remainedinvolvedwiththe monetarysystem, how-
ever, even when papercurrencywas introduced:
bothJohnConey,who engravedthe platesfor the
papermoney printedin Massachusettsin 1702
(andprobably alsoforthe 1690issue), andJeremiah
Dummer,who did those for Connecticutin 1709,
were Boston silversmiths. , 08 { {- ' \ S
Silverand gold arrivedin the coloniesthrough */ a ? , - - 8

legalandillegaltrade.ShipsfromCentralandSouth
Amencaladenwithbullionandcoinsandthose re-
turningto EuropearoundAfricawithrichcargoes
fromthe East Indieswere the targetsnot onlyof
enemyprivateersbutalsoof pirates,andthe latter
as wellas the formerhadconnectionswithAmeri-
canports. In 1698 GovernorBellomont,writingto
the Lordsof Tradein London,indignantly described
New Yorkas "anest of Pirates."Amongthose he
singledout in his reportsas engagingin the hugely
profitablecommercewiththe piratesinMadagascar,
a tradethatapparently broughtto New Yorkquanti-
ties of "Arabiangold"as wellas silver,was Captain
Giles Shelley,whose tankardis shownin fig. 29.
By traditionthe tankardwas given to him by the
merchantswho financedhis tripto Madagascarin
the shipNassau,presumablyrepresentedon the
lid(see insidefrontcover).If, as reported,Shelley
was ableto sell a two-shillinggallonof rumto the
piratesfor fifty shillingsor more, the merchants
couldwell affordto presenthimwith a handsome
piece of plate.
Coins,whatevertheirsource,andout-of-fashion
or brokenarticlesgenerallyprovidedthe rawmate-
rialfromwhichthe silversmithmadenew objects.
Oftenof variousstandards,the silverwas melted
downandrefined,if necessary,so that the metal
wouldhavethe propercontent.Pure silveris too
softformostpracticalpurposes;copperwas there-
fore addedto make it harderand more durable.
The proportionof silverto copperdeterminesthe
qualityor standardof the metal.The Englishster-
lingstandardfor coinageandobjectsalikewas set
at 925 out of 1000 partssilver.Varyingstandards
were used on the Continent:in Amsterdam,for
instance,morethanone qualityof silverwas per-
mitted,the firstbeingabovesterlingstandard,the
secondbelow.
In Europethe qualityof the metal and of the 4. Themarkonthe dramcupinfig. 8 is one of fiveusedby
worlunanship was supervisedby guilds.Beforean JohnConeyduringhis careerandis foundon manyof his
objectcouldbe sold, it had to be broughtto the ear.ler pleces.
. .

5

5. KnightLeverettstruckbotha markwithhisfullsurname
andfirstinitialandhisshorterinitialmarkonthecasterinfig.44.
6., 7. Withits stylizedflowersset withinpanels,thistwo-
handledcupmadein Bostonabout1660-70 byRobertSander-
son (1608-1693)andJohnHull(1624-1683)illustratesthe
earliesttypeof chaseddesignsusedinNew England.It also
showsthe earliestmannerof inscribing initials:the lettersEC,
probably referringto the originalowner,andthe surrounding
cartouchearesimplyprickedintothe surface(see detail).
Engravedblockinitialswereintroduced towardthe endof the
century,andthoseonthiscupmayhavebelongedto a member
of the Mascarenefamily,whosecrestis engravedonthe
underside.Thecup'slowsteppedfootis nowreinforced byan
appliedband.W.withhandles51/2inches.LentbyMr.and
Mrs.EricM. Wunsch(L.1979.134)
6
guildhall to be assayedand marked hence the
term "hallmark." Englishsilverwas usuallystruck
witha markindicatingthe standard,a townmark,
a dateletterdenotingthe year,andthe markof the
makerso that both silversmithand assayercould
be identified.
Guildswere never establishedin the colonies.
Localordinancessuch as that passed by a Boston
townmeetingin the 1670s, requiring"thatcarebe
takenall ware made of pewter or silver whether
broughtto the countrieor madehere. . . be of ye
just alloy,"placedthe burdenof maintaining stan-
dardson the silversmiths.The "justalloy"for sil-
ver was the Englishsterlingstandardof purity,and
it was generallyfollowedin the Americancolonies
withoutthe supervisionof assay offices. Though
he was not requiredto do so by law, the silver-
smithusuallystampedhis individualmarkon his
workto identifyit as his and have it serve as his
guarantyof quality."AndI herebycertify,thatI will
warrantall Goldand Silverto be good, whichis
markedwiththe followingstamp,viz. w H, by Wil-
liamHoward,"advertisedone silversmithin Mary-
landin 1749.
The silversmith'smarkin the seventeenthcen-
turyusuallyconsistedof his initialswithina shaped
reserve that sometimescontainedadditionalsmall
devices such as a pellet or a fleur-de-lis(fig. 4).
In the eighteenthcenturyinitialswere moreoften
set withina rectangleor oval, andby about1725,
as silversmithsbecame more numerous,a mark
withthe fullsurname,with or withoutfirstinitial,
came into use (fig. 5). The silversmithcut his
owndie andoftenemployedmorethanone die ei-
ther simultaneouslyor consecutivelyduringhis
worldnglife.The markwas struckbygivinga ham-
mer blowto the die held againstthe silver.
As in Europe,artisanswere trainedthroughthe
apprenticeship system, in whicha youngmanusu-
allyspent seven years, between the ages of four-
teen and twenty-one,leaInillgthe technicalskills
and design traditionsof the craft. The earliest
native-bornsilversmithswere taughttheir trade
by immigrantcraftsmen.Thus in Boston, the first
silversmithingcenter to develop, the craft was
foundedbyRobertSanderson(1608-1693)andJohn
Hull(1624-1683). Sandersonhadbeen trainedin
Londonandso broughtto New Englandthe crafts-
manshipof the Englishcapital.He arnvedin Mas-
sachusettsBay Colonyin 1638 but may not have
w
 practicedhis callingin the New Worldmuchearlier
than1652, whenhe formeda partnership withthe
youngerHull,whose finalyears of traininghe had
mostlikelyoverseen.Inthisshopweretaughtthree
Sandersonsons and seven other apprentices,in-
cludingJeremiahDummerandJohnConey,who,
withDummer'sapprenticeEdwardWinslow,domi-
natedBostonsilversmithing untilthe secondquar-
ter of the eighteenthcentury.
New York,or New Amsterdam,as it was called
until1664, was the next centerto developas pros-
perity in that colonybegan to increaseafter the
mid-century. InPhiladelphia,foundedonlyin 1682,
silversmithswere established before 1700. Al-
thoughsilversmithsweresoonalsoat workinother
townsupanddownthe easternseaboard,the three
leadingcities of Boston, New York,and Philadel-
phiaremainedthe majorcentersof silverproduction
throughoutthe colonialperiod,for the tradeflour-
ished primarilyin a thrivingurbanenvironment.
Sincetherewereno guilds,colonialcraftsmenin
all tradesreliedfor their success on a networkof
farnilyandbusinessties. Intermarriage withinthe
craftwas commonandmanyapprenticeswere re-
lated to their masters. The silversmithingtrade
was wellregarded,andapprentices,recruitedfrom
familiesof goodstanding,includedthe sonsof minis-
ters, whorankedhighin colonialsociety.The lead-
ing silversmiths like Hull,who was activein the
Atlantictradeandheld importantpublicoffices
were oftenprominentmembersof the community
withclose ties to the affluentmercantileclass. The
willingnessof manymerchantsto patronizelocal
smithsratherthanorderfromEuropewas central
to the early floweringof this art and attested to
the skillof the colonialsilversmithsandthe quality
of theirwork.
The successfulmerchantsin colonialAmerica,
in close touch with Londonand other European ingrichnessandvarietyof silverinuse inthe house-
cities, were intent on keepingup with the latest holdsof prominentmerchantsandministersfrom
fashionsfromabroadandemulatingthe lifestyle of early on. The wealthof silver broughtto Boston
their Europeancounterparts.They thereforede- in 1638 by the wife of the ReverendJose Glover,
mandedsilverthatwas up-to-date.Becausesilver Elizabeth,widowedon her voyagefromEngland,
is easilyportable,examplesof the lateststyle could includeda ewer andbasin,a sugarbox, a chafing
reachthe coloniesin a short time, andthe silver- dish, plates, and several salts, in additionto as-
smithswere ableto supplyobjectsthatrivaledthe sorteddrinlingvessels andnumerousspoons, the
imports.Silverwas thus in the vanguardof stylis- whole described as "a faire and full cubbardof
tictrendsandthe earliestof the artformsto flourish plate.. . as mightordinarily
be seen in mostgentle-
in the colonies. men'shouses in England." Duringthe second half
Seventeenth-century recordsindicatea surpris- of the centurylocallymadesilverjoinedthatfrom

8
abroadandthe amountof platelistedin household
inventoriesof wealthycolonistssteadilyincreased.
Unfortunately, one cannotdeterminefromprobate
recordseitherthe rateat whichcolonialsilversup-
plantedthe Europeanas the craftbecameestab-
lishedor the completerangeof formsmadeby the
earliestAmericansmiths, since inventorieshardly
ever indicatewhetheran articlewas producedlo-
callyor came fromabroad.(Indeedthey often do
not itemizeindividualsilver objectsandgive only
the totalweightandvalueof the plate.)
The Americansilverthathas survivedfromthe
8. Thetwo-handled shallowdrinking
bowlsabove,bothfrom
about1680-1700,representregionalvariationsof a popular
seventeenth-centuryform.Theplaindramcupinfront,made
byJohnConey(1655/56-1722)of Bostonandprobably origi-
nallyownedbyRobertandSarahStoneof Salem,is of a type
producedmainlyinNew England.Slightlylargerbowlsdivided
intosix lobeswerefashionedonlyinNewYork.Theywere
oftenchasedwithconventionalized designs,as is the oneby
JacobBoelen(about1657-1729)withanthemion decoration
showninback.The originof the tumbler-shaped cupon the
rightby CorneliusVanderBurch(about1653-1699)is
suggestedbythe engravedknottedwreath,a motiffoundon
otherNewYorksilverof the late1600s.Front:Diam.3ll/l6
inches.GiftofRobertS.Grinnell,1970(1970.287.3).Back:
Diam.43/8 inches.Bequestof AlphonsoT. Clearwater, 1933
(33.120.218).Right:Diam.2ll/l6inches.RogersFund,1950
(50.225)
9
 firststylisticpenod before1690 presentsa more
restncted picturethan that given in inventories.
The most popularforms in use were spoons and
drinldngvessels, andit is the lattercategory,often
preservedin churches,thatnowexists inthe great-
est number.Spoons,whichwerethe mostcommon,
havehada poorsurvivalrate,andthe earliesttypes,
of whichthe Metropolitanhas no examples, are
rare. Otherkindsof articlesare trulyexceptional
andare also unrepresentedin the collection.Thus
the firststyle in Americansilveris illustratedhere
by dr;nkingvessels.
Oneof the earlyformswhose popularity didnot
longoutlivethe seventeenthcenturywas the bul-
bous two-handledcup, often calleda caudlecup
(fig. 6). Caudlewas a warm drinkmade usually
of ale or wine mixed with eggs, breador gruel,
sugar,and spices. Doubtlessthe cups were used
forotherbeveragesas well,andin the nonconform-
ist churches,whichutilizeddomesticformsin order
to eschew anythingsmackingof popishpractice,
they often served as communionvessels. The ex-
ampleshownhere, probablyof the 1660s, repre-
sents the earlieststyle of New Englandcaudlecup,
whichfollowsthe formand decorationof English
cupsof the mid-century. Withthe curveof the sides
slight and the body wider than it is tall, the cup
showsthe solidproportionstypicalof shapesof the
period, which characteristically stand low to the
ground.Althoughsmallin comparisonto some of
the moreambitiouscupsmadelaterin the century,
it has a firm, sure presence. As on manyEnglish
cups, the lowersectionof the bodyis ornamented
withchasing,whilethe upperis left plain.Here, as
on other early examples,the decorationconsists
of panelsenclosingconventionalized flowers;peb-
bling,or matting,adds textureto the ground.On
ornamentedcups fromthe last two decadesof the
centurythe foliatedesignaroundthe baseis usually
free-flowingandmore naturalistic,whilethe body
tends to be more emphaticallycurved.
A varietyof othervessels, smallandlarge,were
in use duringthe seventeenthcentury.The low,
shallowdramcups for the tastingof smallquanti-
ties of wine or brandyalso have two handles,or
"ears,"andtheir horizontalemphasisis typicalof
seventeenth-century forms(fig.8, front).The earli-
est one knownhas chaseddecorationin panelssim-
ilarto thaton the caudlecupin fig. 6, but virtually
all dramcups that have survivedare plain.These
10
vessels, pnmarilymade in New England,passed
out of favorduxingthe earlyeighteenthcentury.In
NewYorka somewhatlargersix-lobeddrinlsing bowl,
oftenornamentedwith chaseddesigns, was more
common(fig.8, back).Seventeenth-century exam-
ples of the smallcupsvvithroundedbottomscalled
tumblerssurviveonlyfromNew York(fig.8, nght).
Amongthe largerforms designedto hold bever-
ages were tall beakers (see fig. 14) and shorter
versions,probablycalledwine cups or sometimes
tuns, not shownhere. Also unrepresentedin the
collectionis the cup on a balusterstem, the ante-
cedent of the eighteenth-centuryexamplein fig.
40. Beakers and wine cups as well as tankards
served both in the churchandin the home.
Popularthroughoutthe colonialpenod, tankards
were the largestof the drinkingvessels, andtheir
capaciousbodieswere filledmost commonlyvvith
generousdraughtsof beer.Theseventeenth-century
style is illustratedhere by a Boston exampleof
1680-1700 that can holda fulltwo quarts(fig. 9).
Witha broaddrumas wide at the bottomas it is
highanda majesticcurvinghandlethatextendsall
the way to the base, the tankardexhibitsthe im-
posingstrengthof seventeenth-century forms.Typi-
cal of tankardsof this penod are the narrowbase
bandandthe low,stepped,overhanging lid,bothof
whichreinforcethe horizontalweightof the mass.
Otherearlystylisticelementsarethe double-cusped
thumbpieceand the plain, shield-shapedhandle
terminal.
Not vvidelyproduced,spoutcupsare thoughtto
havebeen used in the feedingof infantsandinva-
lids and were made in the coloniesfromthe late
seventeenth to the mid-eighteenthcentury. An
example(fig. 10) very likelydates bom the early
1700s, but its shape bespeaksa previouspenod.
The globularbodyvvithstraightneck, whichin this
casenscelyflaresout,is a seventeenth-centuryform,
probablytraceableto sixteenth-centuryGerman
stoneware.
9. Made byJohn Coney, probablythe most prolificand
versatile of Boston's early silversmiths, this handsome tan-
kardof 1680-1700 is notable for its robust form and the fine
heraldicengravingrepresenting the arms of the Eyre family.
On the underside are the initialsIEK,forJohn Eyre, active in
business andin the affairsof the Massachusetts Bay Colony,
andhis wife Kathenne (Brattle), who were marriedin 1680.
H. 7 inches. Lent by Erving Pruyn (L.40. 36)
 -
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K ..G .,,

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12
 The bodyof this shapelycup, like that of most
colonialvessels, was made withouta seam from
one piece of silver. It was raised that is, ham-
meredup froma diskof silverthathadbeen pre-
viouslyforgedfroman ingot. On the undersideis
clearlyvisiblethe punchmarkthat indicatedthe
center of the disk and allowedthe smithto mea-
sure to the edge of the sides with his calipersto
checkthatthe formwas beinghammeredupevenly
(fig. 11). The steppedlidwas raisedfromanother
disk.Onthe otherhand,the spoutwas madefrom
a sheet of silverthatwas cutto size, givenits tubu-
larshape,andsolderedtogetherwherethe edges
joined.The wide, hollowhandlesof tankardswere
fonnedsimilarly froma flatouteranda roundedinner
sectionseamedtogether.The body of a straight-
sided objectcouldalso be made by seaming,but
this methodwas the exceptionduringthe colonial
penod. Thoughsheets of silvermachine-rolled by
flattingmills,whichobviatedthe need to hammer
themout fromingots, mayhavebeen producedin
the coloniesas early as the 1730s, they do not
appearto havebeen readilyavailableor commonly
used for hollowwareuntilthe end of the century.
Morethanone techniquewent intothe fashion-
ingof most objects.The handleandthe finialof the
spoutcup,forinstance,were cast andsolderedon,
as wasthe thumbpiece of the tankard
infig.9. "Pairs
of flasksfor casting"listedin inventonesof silver-
smiths'toolsandnewspaper advertisementsforcast-
ingsandindicatethe methodfrequentlyused inthe
colonialpenod.The flaskswerefilledwiththe spe-
cial castingsand and a patternimpressedin the
sandby means of a model. The flaskswere then
clampedtogetherandthe hollowfilledwithmolten
silver. Before the cast parts were solderedinto
place, roughsurfaceswere smoothedand details
sharpenedup. Onareasthat sometimesremained
untouched,suchas the innersideof a castfootnng, 10. MostknownAmericanspoutcupsareof New England
thepittingsleftbythe sandareveryvisible.Another origin.ThisrareNewYorkexample,madebyJacobBoelen
processrequiredforthe completion of manyarticles probably inthe early1700s,hasa particularlybroadandsquat
formandthe uncommon featureof a capforthe spoutthatis
was the makingof wireandmoldingson a drawing attachedto the lidbya chain.As usual,the spoutis at a right
bench.Wirewas formedby pullinga taperedstnp angleto the handle.The initialsWED onthe other side
of silverthroughsuccessivelysmallerholes of the havenotbeenidentified; the datebelow,1714,maybe bya
differenthand.H. 45/8inches.TheAndrewM andEthelD.
desiredshape circular,oval,or square.Formold- StoutFund,1952(52.91)
ings the stnp of silverwas drawnbetweensets of
dies untilthe propercontourswere obtained.The
tankardrests on an appliedmoldedbase band:a 11. Theundersideof the spoutcupinfig. 10 showsthe
centerpointnextto the maker'smark.The cup'sbase with
nng madeof a lengthof moldingthathas been sol- justa verylowstep inthe bodyandno appliedfootband
deredto the bottomof the piece. to reinforceit-has becomebadlydentedat the sides.

13
 When first completed, a raised form showed
strongevidenceof the countlesshammerstrokes
thatwentintothe fashioning of its shape.The ham-
mer markson the outer surfaceswere therefore
smoothed,or planished,witha flat-facedhammer,
and the piece was burnishedand polished.Even
then some slight irregulantiesand vanationsre-
mainedto catchthe lightandgive the mellowlook
associatedwith old silver. (To this must also be
addedthe countlessminusculescratchesandother
blemishesthat have been inflictedby wear.)The
surfaceof the spoutcupclearlyshowsthe nppling,
shimmeringqualitycharactensticof earlycolonial
silver a vibrancythatmechanically producedsil-
ver cannotpossess.
Surfacesthatwere not left plainwere decorated
in the seventeenthcenturymainlywith engraved
or chaseddesigns. Engraving(see fig. 14) is exe-
cutedwith a sharp-edgedtool that cuts andactu-
allyremovesmetal.In chasing(see fig. 8, back),a
blunt-edgedtool tappedagainstthe silver with a
hammeris usedandthe lineis formedby displacing,
not removing,metal. Chasingis thus usuallyseen
in reverse on the inner surface. Repousse, or
pushed-out,designsstandout fromthe surfaceand
are hammeredfromwithinand then given defini-
tionfromthe outerside, as canbe seen on the su-
perblyworkedbowl(figs. 12, 13). Ornamentin re-
liefwas alsoobtainedbymoremechanical methods:
the foot bandof the bowljust mentionedis deco-
ratedwith a stnp of silverthat has been stamped
with a repeatedpattern;the reliefdesignson the
handleandbowlof the spoon (figs. 16, 17) were
madebyhammenngthe silveragainsta swagebear-
ing the patternin intaglio.
The designof silverproducedin the coloniesfol-
lowedfor the most partEnglishinterpretations of
Europeanstyles. The seventeenth-century style in
Amencansilverreflectslate Renaissancetraditions
andat timesclearlyrevealsthe distinctinfluenceof
Manneristornament.Mannerism,whichoriginated
in Italyandthen spreadto NorthernEurope,was
broughtto Englandby GermanandNetherlandish
craftsmenandadoptedthereby the last quarterof
the sixteenthcentury.It spreadnot only through
themigration of artisansandobjectsbutalsothrough
pnntedpatternsof ornament.Fromthe 1520s on,
booksor smallersets of engravingsthat provided
designideas for the professionalcraftsmanwere
availablein Europeandbecameimportantvehicles
forthe dissemination of stylistictrends.SuchMan-
of sym-
neristprintsfeaturedelaboratecompositions
metricalfoliagethat couldincludeurns and other
devicesandwas populatedwitha varietyof strange
andhybridcreatures.The caryatidhandleson the
bowlinfig. 13 arerelatedto these compositefigures
andare of a standardtype madein bothNew York
12., 13. Thisimpressivepieceis the mostlavishlydeco-
ratedandone of the largestof the knownsix-lobedbowls
of NewYork.It was madeabout1700-10 by
characteristic
CorneliusKierstede(1675-1757),anoutstanding earlysmith
of thatcolony.Thebowlwasprobably filled,inthe Dutch
custom,witha beverageof brandyandraisinsthatwas drunk
witha silverspoon.Theinitialsaresaidto be thoseof
TheunisJacobsen Quick,a baker,andhiswifeVroutje,who
marriedin 1689.Quickverylikelyowedhisprosperityto the
regionalmonopolyon the inspecting,bolting,andexportingof
flourheldbyNewYorkCitybetween1678and1694.Diam.10
inches.SamuelD. Lee Fund,1938(38.63)
15
 i t -\ s t ^S El i e D eE C v iS-J t s o

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andNew England.PopularinnorthernEuropewere
patternsthat also incorporatedinterlacingbands
calledstrapwork,whichcanbe seen combinedwith
foliageon the beakers(fig. 14). In this case the
design impulse most likely came directly from
Holland,for the beakerswere madein New York,
where similarDutch beakers were availableas
models;someDutchbeakershavesurvivedin New
Yorkchurches,andothers must havebeen in do-
mesticuse. Althoughin two knowninstancesthe
engravingon New Yorkbeakerscan be tracedto
specificprintedsources, the design on these ap-
pearsto followa standardized Dutchformulathat
includesovalmedallionswithfigures,representing
inthisinstanceFaith,Hope,andCharity.Tallbeak-
ers with strapworkdecorationwere producedin
London,Norwich, and Aberdeen, ports where
Dutchinfluencewas strong, and three examples
fromBostonare also known.
A newerstyle was introducedto the coloniesat
the endof the seventeenthcentury the Baroque,
whichdominatedAmericansilverfromabout1690
to 1720. That periodproducedmanyof the most
strikingobjectsin colonialsilver.Formswere mas-
sive and monumentalin concept, if not alwaysin
size, anda diversityof ornament,principallyinrelief,
endowedthe objectswith the richnessandsense
of movementthatwere characteristics of Baroque
design.Styles changegradually, however,andob-
jects in the earlierfashionor stillincorporating
ele-
mentsfromthe seventeenthcenturycontinuedto
be madeintothe early 1700s, particularly in New
York.Thebowlinfigs. 12, 13, madeabout1700-10,
displaysthe horizontalform, floraldecorationin
panels,andcaryatidhandlesof the previouscentury, 14. TheNewYorkbeakeron the left, attributed toJurian
Blanck,Jr.(about1645-1714),bearsaninscription inDutch,
butits exuberantopulenceandthe regular,rhyth- whichtranslated reads:"Atokenof devotionandloyaltyto the
micdispositionof its motifsare in the spint of the churchinKingston,1683."Its mate,latermadeto matchby
Baroque.Naturalistic repousseornament,whenit anotherNewYorksilversmith,Benjamin Wynkoop(1675-
1728),is similarlyinscribedbutdatedNovember21, 1711.
occurredin that style, was formedinto repetitive Thesmooth,highlypolishedsurfaceof the interiorof the
geometricpatterns.Typicalof foliagemotifsused earliercupis the regrettableresultof modernreliningand
about 1700 is the symmetricalarrangementof buffing.DutchtraditionsremainedstronginNew Yorkwell
intothe eighteenthcenturyandthishandsometypeof beaker,
acanthusleaves seen on the lids of the porringer whichcloselyfollowsseventeenth-century Dutchprototypes
(figs. 18,19) andteapot(fig. 20). The lowerbody inbothformanddecoration,continuedto be madethereinto
of a vessel was also sometimesdecoratedwith a the 1730s.H. 71/4inches;73/8inches.Jointlyownedbythe
series of acanthusleaves. ReformedProtestantDutchChurchof Kingston,NewYork,
andTheMetropolitan Museumof Art, 1933(33.120.621,622)
The most widespreadmotifof the Baroquepe-
riodwas a whollygeometricone-gadrooning. Its
alternating reeds andflutes,repousseandchased, 15. Thedetailof the left-handbeakershowsa medallion
witha figurerepresenting Charity.The Dutchtypeof house
createdrhythmicpatternsof projectionsandreces- inthe background, witha steep, steppedgableendthatfaced
sionsandcontrastsof lightandshade;oftena spi- the street, wasalsobuiltinNew York.

17
 ralvariationwas used. Suchornamentprovidedthe
richthree-dimensional effects that distinguishBa-
roquesilver.The oval sugarbox (fig. 21) with its
bandsof spiraledgadrooning,coiledserpentfinial,
andoutwardcurvingfeet is alivewithcircularmo-
tion andboldcontrastsof surfaceas the strongly
refractivegadrooning is juxtaposedto a mattedbor-
der andareasof plain,smoothsilver.
In additionto the contrastof gadrooningwith
plainsilver,the decorativevocabulary of the period
includeda varietyof motifsas wellas diversetech-
niquesthatwere oftencombinedto createboldand
complex compositions. Ornamentin relief was
preferred,be it repousse, cast, stamped,or cut-
cardwork. Cut-carddesigns consist of a pattern
cutfroma sheet of silverandsolderedto the surface
of the object.Engraving was usedprincipally forar-
morials.Thoughbandsof gadrooning are the most
prominentfeatureon the chocolatepot (fig. 23),
other decorativeelements includethe cast acorn
finial,whichechoes the shape of the highdomed
lid,andthe hinge,whose cast scrolledthumbpiece
recalls the gadrooning.The geometric pattern
aroundthe upperlidandthe leaf decorationat the
topandbottomof the spout,bothcut-cardelements,
impartvarietyand richness to a design that bal-
ancesa talltaperingformandthe verticalthrustof
the gadrooning withhorizontalaccentsof moldings
andbandsof plainsilver.

16., 17. The reliefornamentandthe flathandlewith

trifidendof thisspoonbyJeremiah Dummer(1645-1718)of
Bostonarecharacteristic of spoonsmadeabout1685-1700
thatreflectthe emergingBaroquestyle. Stampeddesigns
werecommonlyusedon the backof the bowlbutonlyrarely
onthe frontof the handleas seen here. Inthisperiodspoons
wereplacedon the tablefacedown,andinitialswereengraved
onthe backof the handle.L. 7 inches.RogersFund,1940
(40.106)

18., 19. Ofthe fewcoveredporringersknown,noneotheris

embellished withgadrooning or the richfoliageexhibited
here,whichis typicalof repousseworkof about1700.With
oneexceptiontheycomefromNewYork,wherethisun-
markedexamplewas probably made.The initialsarethoseof
ThomasandMaryBurroughs of New York,whomarriedin
1680.Laterinscriptions onthe bowlrecordsubsequent
ownership inthe SylvesterandDeringfamilies.Thistypeof
geometrichandle,basedon Englishprototypes,waspopular
inNew EnglandbutwasusedinNew YorkandPhiladelphia as
well.L. withhandle91/2inches.Giftof Brigadier-General
SylvesterDering,1915(15.98.3)

18
s 'Ssa -
 20. Theluxuriance ofthearmorialengraving
withits cornuco-
piasat the bottom,the stampedbaseband,andthe meander
wiresallpointto a NewYorkoriginforthisrichlydecorated
teapot,whichwasmadeabout1700-15byJacobBoelenand
is probablythe earliestAmericanoneknown.Its lidis
detachable andits globularshapecanbe tracedto oriental
ceramicteapots.Thearmsandcrestarethoseof the Philipse
familyof NewYork;the teapotlaterpassedintotheJayfamily.
H. 61/2inches.Giftof Mrs.LloydK. Garrison,inmemoryof
herfather,PierreJay,1961(61.246)
21., 22. Thiselaboratesugarboxof about1710is attributed
to DanielGreenough(1685/86-1746),whoworkedinNew
Castle,NewHampshire, butmaywellhavebeentrained
inBoston,wherethe eightothersuchboxesknown,of a
somewhatearlierdate,weremade.It is inscribedwiththe
initialsof RobertandSarahEliot,Greenough's father-and
mother-in-law. Beforethe drinking
of tea andcoffeebecame
widespread inthe eighteenthcentury,sugar,stilla costly
commodity importedfromthe WestIndies,wasindemandto
sweetennotonlyfoodsbutalsowinesandliquors.L. 71/2
inches.RogersFund,1946(46.61)
20
Onthe teapotin fig. 20, variationson the rhyth-
mic patternof the gadrooningare providedby the
stampedgeometricfootbandandthe appliedmean-
der wire at base andrim as well as the repetitive
repousseand chased leaf designs aroundthe lid.
Onone side this rhythmicvarietyis set off by the
broad,unadomedsuriSceof the strongglobular body
whileon the other it is ennchedby lush armorial
engravingthatenvelopsthe wholeform.Suchsym-
metncalarrangements of acanthusleavesarechar-
acteristicof Baroquecartouches.The richnessof
thisfoliageandthe additionat the bottomof cornu-
copias(or in othercases swags of fruit)are typical
of New Yorkengraving.
The mostluxuriousobjectsin the collectionfrom
this periodare a pairof candlesticksand match-
ing snufferstand (fig. 26), on which barely any
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surfaceis left unadorned.Gadrooning,acanthus
leaves, pebbling,andmeanderwires can be seen
on numerouspieces of that time, but the chinoi-
serie designsof figures,birds,andanimalschased
on the bases of these pieces are highlyunusual
in Americancolonialsilverthoughthey were very
muchin vogue on Englishsilverin the 1670s and
1680s. (Duringthe seventeenthcenturyobjects
from the Far East were increasinglyin demand
in Europe,andtheirpopularitypromptedthe pro-
ductionof locallymade articles with decoration
evocativeof that on orientalwares.) The candle-
sticks are impressivenot only for their rich and
exoticchasingbut also for theirimposingsize and
architectonic grandeur.
The silverthat has survivedfromthe Baroque
periodgives concreteevidenceof the widevariety
of formsmadein the coloniesby that time andof
the highqualityof production achieved.Amongthe
moreambitiousand exceptionalpieces illustrated
here are formsthatremainedrarein Americansil-
ver even beyondthe colonialperiod.Candlesticks
were never commonand the lavishpairjust dis-
cussedare the earliestextantexamplesfromNew
York.Theyweremadebythe samesilversmith who
createdthe robustandlivelykettle(fig.28), which
is the earliestofjustfourcolonialones known.Most
unusualis the inkstandinfig. 38, foronlyone other
has survivedfromthe colonialperiod,the example
at IndependenceHallby PhilipSyng,Jr., of Phila-
delphia,commissionedin 1752 by the Assembly 23. Amongthe earliest colonialchocolate pots is this vivid
Baroqueexample with contrastingplainand brokensurfaces
of Pennsylvaniaand later used for the sigliingof made in Boston about 1700-10 by EdwardWinslow(1669-
the Declarationof Independence. 1753). The removableacorn finial,attached by a chainto the
Twoof the objectsshownrepresentseventeenth- handlesocket, alloweda stirringrod to be inserted while the
cover was kept closed and the contents remainedwarm.
centuryformsthat were producedbrieflyin New Engravedwith the Hutchinsonarms, the pot is said to have
Englandbeforethey went out of style soon after belonged to Thomas Hutchinson,a prosperous Boston mer-
1700. The magnificentstandingsalt (fig. 24), one chantand member of the legislature whose son was the last
of only three known,is descendedfromthe late royalgovernor of Massachusetts. H. 91/8inches. Bequest of
AlphonsoT. Clearwater,1933 (33.120.221)
medievalgreatsalt,whichmarkedthe placeof honor
andwas the most importantpiece of tablesilverat
thattime.The spoolshapewithscrollsupportswas 24. Bold swirled gadrooningat top and bottom makes this
perhapsthe most imposingof the three knownAmerican
the last used forthis formandcameintofashionin standingsalts, all from Boston. FashionedbyJohn Allen
Englandinthe 1630s. Herethe spoolhasanoctag- (1671/72-1760) andJohnEdwards (1671-1746) duringtheir
onaltop andbase whose geometriclinesarejuxta- briefpartnershiparound1700, the salt bears the initialsof
SolomonStoddard,minister at Northampton,Massachusetts,
posedwithswirledgadrooning andscrolledknops. from 1672 to 1729, and his wife Esther. The shallowrecepta-
Anotherelaborateform that fell into disuse was cle at the top is smallin relationto the overallsize of the
the sugarbox of ovalcasket shape, fashionablein object, reflectingthe costliness of salt at the time the form
Englandduringthe secondhalfof the seventeenth first came into use and the originalceremonialfunctionof
these pieces. The knops were designed to supporta dish of
century.The one in fig. 21, datableto not before fruitor nuts served at the end of the meal. H. 57/8inches. Gift
1707, when its makerbecame of age and would of SarahHaywardDraper, 1972 (1972.204)

23
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havebeenpermittedto workon his own,is consid-
ered the latest of the nine extantexamples.
On the other hand, the Baroqueteapot (see
fig. 20) andchocolatepot (see fig. 23) presagean
increasingly largeoutputof articlesforthe serving
of tea, coffee,andchocolateduringsucceedingperi-
ods. The growingpopularityof tea andthe other
newer hot beverageswas the social changethat
mostinfluencedthe formsproducedbysilversmiths
duringthe eighteenthcentury.Tea, introducedto
Europefromthe Orientin the early 1600s, was
beingdrunkin Londonbythe 1650sandinthe colo-
nies at the end of the century at the same time
thatcoffeeandchocolatewerealsobecomingknown.
The earliestsurvivingcolonialpots are in the Ba-
25., 26. Probablythe mostambitiouspiecesof NewYork
silverof the Baroqueperiodknownandthe onlyones with
chinoiseriedecorationarethese magnificent candlestickswith
matchingsnufferstand.The scissorlikesnuffersforcutting
andtrimming candlewicks fittedverticallyintheopenrectangu-
larbox.Madeby CorneliusKierstedeabout1700-10, the
threeobjectsareinscribedwiththe initialsofJohannesand
ElizabethSchuylerof Albany,NewYork,whomarriedin 1695.
Schuylerwas activeinthe affairsof his cityandcolony,
servingas mayorof Albanyfrom1703to 1706.Possiblythe
set wasorderedat thattime.The detailshowstwoof the
chasedchinoiseriedesignson the base of the left-handcandle-
stick.H. 111/2 inches;81/4inches.Rightcandlestick: Giftof
RobertL. Cammann, 1957(57.153).Leftcandlestick: Giftof
Mrs.ClermontL. Barnwell,1964(64.83).Snufferstand:
Giftof Mr.andMrs.William A. Moore,1923(23.80.21)
25
 -

.
\

Wrs'sj
roquestyle andshowthe distinctionmadeby then
betweenlowervessels for tea andtallerones for
coffee and chocolate.Chocolatepots are identifi-
ableby the hole in the lidundera removablefinial
thatpermittedthe insertionof a stimng rod.
Otherspecializedservingpieces that beganto
be regularlymadewerecastersforsugarandspices,
smallsalts, chafingdishes, and salvers, as trays
were then calledandwhichin this periodwere cir-
cularandstoodon a central,trumpet-shaped foot.
Nonetheless,a largepartof the silversmith'spro-
ductioncontinued to be spoonsanddrinking vessels.
Tankards fromthe Baroqueperiodhavesurvived
in goodlynumbersand the Metropolitan's collec-
tionhas a particularly strongrepresentation of fine
New Yorkexamples.These aredistinctivenot only
becauseof theirhighdegreeof elaboration butalso
becausethey are of a designuniqueto suchpieces
fromthatarea.Drawingon variedsourcesandcom-
biningtheminnewways,NewYorksilversmiths at
the time mostly of Dutchand a few of Huguenot
descent createdtankardsthatunmistakably pro-
claimtheirlocalorigin.
The shape of the tankardswith their straight,
slightlytaperingdrums,flat, steppedlidswithser-
ratedlips,andwidecurvinghandlesis derivedfrom
the same Englishprototypesof the secondhalfof
the seventeenthcenturyas the contemporary New
Englandexamples.New Yorktankards,however,
are distinguished by theirbroadstanceandstrong
proportionsand the heavy gauge of the metal as
wellas bytheirdecoration.A stampedfoliatebase
band,whichoccurson Dutchbeakers,was often
used, sometimestogether with a meanderwire, 27., 28. A remarkable birdlikespoutembellishedwithacan-
andthe tightlyspiraledcorkscrewthumbpiecewas thusleafagedistinguishes thisrareandlargekettlemadein
NewYorkabout1710-20 by CorneliusKierstede.The broad,
invariably present (fig. 29). flatbottomindicatesthe kettlewasprobably designedto sit
The greatestelaboration occurredon the handle on a standovera warmer.Initialson the sideandbottom
andthe lid. Engravingwas used moreextensively relateto a historyof ownershipinthe De PeysterandVan
Cortlandt familiesof New York.H. withhandle10 inches.
in New Yorkthanin the other coloniesduringthe BequestofJamesStevensonVanCortlandt,1917(40.145)
Baroqueperiodand on tankardsit was employed
not onlyin the coatof armson the frontbutalsoin
the embellishrnent of the lid. At times the engrav- 29. Madeabout1700byGerritOnckelbag (1670-1732),
thissplendidtankardhasthe ampleproportions, foliatebase
ing consistedonlyof a circularcartouchewiththe band,corkscrewthumbpiece,andwell-executedengraved
cipher,or monogram,of the owner.The moreor- decorationthatcharacterize earlyNew Yorkexamplesof this
natedesignsusuallyfollowedwhatappearsto be a form.Onthe frontarethe Shelleyfamilyarms,withthree
welkshells,a rebusforthe name.The square-rigger with
generallyaccepted formulathat includedfoliate thirty-twogunson the lid(see detailon insidefrontcover)is
scrolls,cherubs'heads, andbirdsaroundthe cen- purportedlythe shipNassau, inwhichCaptainGilesShelley
tral reserve (figs. 30, 31). The motifsare trace- sailedto Madagascar in 1698foranastonishingly profitable
tradingventurewithpirates,whichthispieceis saidto
able to printedpatternsof ornament,especially commemorate. H. 71/2inches.Bequestof AlphonsoT. Clear-
those of northernEurope,but it is probablethat water,1933(33.120.517)

27
 30. Thisinterpretation byBenjamin Wynkoop of the stan-
darddecorativeelements a circleof foliationwithwinged-
cherubs'headsand/orbirds thatusuallycomposedthe
engraveddesignon ornatelidsof New Yorktankardsof the
earlyBaroqueperiodshowsa schematiccherubwithlarge
wingsanda ratherloosearrangement of scrolledleaves.In
the centeris a doublecipherof the initialsID, those of the
tankard's originalowner,whomayhavebeenJonasDouw.A
repairat the frontof the lidhidesa portionof the engraved
borderaroundthe flange.Giftof Mrs.Abraham Lansing,1901
(01.3.1)
31. Theparticularly fineengravingon thisNew Yorktankard
byJacobusVanderSpiegel(1668-1708)displaysa pairof
birds,perhapsphoenixes,amidlushfoliage,andthe piececan
be accuratelydatedbetween1695and1700.The double
cipherRHM on the lidrefersto the originalowners,Robertand
MariaHarris,whoweremarriedin 1695.InApril1701the
widowedMariamarriedJohn Gorne.Thatcouple'sinitials
IGM, areon the handle,whichhasengravedfoliatedecoration
at the topandon the terminal.FletcherFund,1938(38.83)
32. Theappliedornamentthatimpartedanespeciallyrich
Baroquenoteto the handlesof New Yorktankardsis a cast
maskwithswagsandpendentfruitandflowers.The example
is on a tankardof about1705-25 by Simeon
illustrated
Soumain(1685-1750);herethe maskon the upperhandle
wasreused,shornof its pendants,on the terminal.H. 71/8
inches.Giftof AnnieClarkson,1927(27.85.1)
33. Thistankardmadeabout1700-20 byJacobBoelenis
distinguishedbytwotypesof reliefornamentation typicalof
NewYorktankardsof the period:a coininsertedintothe lid
fordecorativeeffect(inthiscase anEnglishWilliam IIIcrown
dated1696)anda castappliqueon the upperhandle(herea
lion,oneof the motifsfavoredforthatlocation).The action
of the thumbpiecerepeatedlyhittingthe handlehasworn
awaysomeof the reliefanddetailon the frontof the lion.
H. (closed)7 inches.Bequestof AlphonsoT. Clearwater,
1933(33.120.512)
28
 s

- -
-'s

:: ^; S D' w!\\i/kSorlseWesS;0t

22\:o-t:\m4gN:

29
 the designs shown here were conventionalized
ones thatfoundvaryinginterpretations withdiffer-
ent silversmiths.The depictionof a shipon the lid
of GilesShelley'stankardis exceptional(see inside
frontcover).
Ciphers,whichin this periodwere particularly
popularin New York,hadappearedin specialpubli-
cationsin Englandandthe Continentfromthe mid-
seventeenthcenturyon. New Yorksmithsno doubt
reliedon suchhelpfulbooksto devisetheirciphers
anddoubleciphers.In about1725JosephRichard-
son of Philadelphia,who was beglnninghis silver-
srnithingapprenticeshipwith his father,asked a
friendto buyhimbooksin England,includingspe-
cifically"analphabetCypherbookto Engraveby."
Another manner of decoratinglids that was
characteristicof New York,particularlyduringthe
Baroqueperiod, was the insertionof coins and
/ of Mrs. GeorgeWalcott,1951(51.88)
30
occasionallymedals (fig. 33), a practicethat had
precedencein northernEuropeanandScandinavian
silver.Coinsprovidedornamentin relief, andit is
castreliefdecorationon thehandlethatdistinguishes
manyNew Yorktankards.Thoughvaryingcast
cherubs'headsandmasksdecoratethe handleter-
minalsof both New Englandand New Yorktan-
kardsof the Baroqueperiod,the cast ornamenton
the upperhandleis foundonlyin New York.Most
typicalis anarrangement of a maskwithswagsand
pendentfruit and flowers (fig. 32). Ishoughdis-
tinctiveof New Yorktankards,this motifdid not
originatethere.Frenchbronzeornamentsforfurni-
ture and bronzeappliqueson Englishclocks are
knownthat are virtuallyidenticalto some of the
New Yorkcastingsfor both upperhandleandtip,
thoughelementswere used selectivelyandsome-
times rearranged.It is thereforevery likelythat
these castingswere madefromimportedmodels,
as wasprobably alsothe lioninfig.33, whosesource
has not yet been traced.
NewEnglandtankards of the Baroqueperiodhave
the same overallshapeas theirNew Yorkcousins
buttheyaregenerallyless massiveandless showy
andtheydifferinmanyof theirdecorativeelements.
Lids,whenornamented, have cut-cardworkor ga-
drooning(figs.34,35). The handleoftenhas a long
dropat the upperjuncture,and the cast thumb-
pieces are distinctive. The typicaldouble-scroll
thumbpiecein fig. 35 is easilydistinguishable from
the tightlyspiraledNew Yorkvariety.SeveralBos-
ton silversmithsused a most curioustype, whose
exact source is not known, that combines two
dolphinswith a mask (fig. 34). Otheranimal-form
thumbpiecessuch as the bird(fig. 36) are excep-
tional.Cast animalfiguresin the roundare rare,
thoughthe three-dimensional effects they created
were very muchin the Baroquespint, and those
few that are knownfrom the early colonialpe-
riodwere madein New England.Primeexamples
on a form other than a tankardare the crouch-
34. The castthumbpiece composedof a masksupportedby
dolphins,a designof unknownoriginusedbyvariousNew
Englandsmithsinthe Baroqueperiod,is the eye-catching
featureof a tankardmadeabout1700-15byJohnNoyes
(1674-1749)of Boston.Highlyuncommon on the flat-topped
tankardsin styleat thattimeis the additionof a finial,which
hererecallsthe patternof the gadroonedstep of the lid.Gift
35. Appliedcut-cardwork,a typeof ornamentation intro-
ducedto EnglandbyHuguenotsilversmiths,enrichesthe lid
andlowerhandlejunctureof thisBostontankardmadeabout
1690-1705byJeremiah Dummer.Themoldedouterfaceof
the handleandthe curlnearthe basearedecorativeelements
that,likethe castappliquesonNewYorktankards,are
thoughtto havealsoserveda practical
purpose to facilitatea
firmgrip.Theholesbelowthe hingeplatewerecausedby
wearfromthe thumbpiece.H. 7 inches.Purchase,Anony-
mousGift,1934(34.16)

36. Anunusualdetailon a tankardmadeabout1710-20 by

SamuelVernon(1683-1737)of Newport,RhodeIsland,is
thisstrikingbirdthumbpiece.Onlythreeotherslikeit are
known,andtheyareon tankardsbysilversmithsworkingin
Boston,whereVernonpossiblytrained.Thelidon thispiece,
havingmorethanone step, is high,andit hasa finial,two
characteristics
thatwouldbecomecommonon New England
tankardsbeginning withthe succeedingstylisticperiod.Gift
of Brigadier-General
SylvesterDering,1915(15.98.4)
 ,,,,tia,2 . ,' , ¢0 0R; 0. t 0 , 2,7_ ,,<,;- ,, : , 0

37., 38. Exceptionalfor the rarityof the formand the use of

animalfigures in the round, this Boston inkstandof 1710-20 is
the work of John Coney. It includes an inkwell, a sand shaker
(the precursorof blottingpaper), and a box to hold the wafers
with whichfoldedletters were sealed. The lid of the wafer
box is engravedwith the Belcher familycrest, suggesting that
the inkstandmay have been made forJonathanBelcher, a
wealthyBoston merchantactive in politics who became
governorof Massachusetts and, later, of NewJersey. The
detail shows a cast foot in the form of a lion. Greatest w. 73/4
inches. Bequest of CharlesAllen Munn, 1924 (24. 109.36)

39. Probablythe earliest knownNew Englandteapot,

this example of 1710-20 byJohn Coney has a soft, curvilinear
pear shape and a discrete oval cartouchethat reflect the
Queen Anne taste then being introduced.The piece repre-
sents the thirdand last style espoused by this outstanding
Boston silversmith. The arms and crest are those of the
Mascarenefamily;the teapot most likely belonged to Jean-
PaulMascarene, who came to Boston in 1709 andlater
served as commander-in-chiefof Nova Scotia. H. 7l/2inches.
Bequest of AlphonsoT. Clearwater,1933 (33.120. 526)

'.{." ; , ;; ' ' ' ' ' * ' ' . .. . . ' ' : - .
ing lions supportingthe inkstand(fig. 37).
Theinfluenceof a newerstylethatwas inmarked
contrastto the elaboratenessof the Baroquebegan
to be felt in the coloniesabout1715. Now called
QueenAnneafterthe monarchduxingwhosereign
(1702-14) the style becamepopularin England,it
was the dominantfashionin Americansilverfrom
about1720to 1750. The QueenAnneemphasized
formratherthandecoration,allowingthe inherent
beautyof the metalto be revealedin harmonious
linesandgracefulproportions.Anearlyexpression
of this newertaste is the teapotin fig. 39 with its
pear-shaped outlineandits modicumof decoration.
The engravingitselfon the side of the pot is clearly
in a differentspint. Goneare the expansiveflour-
ishes of the earlierBaroquecartouches.In their
place is a self-containedoval surroundof scrolls
andleaves that exemplifiesthe resene andquiet
graceof the QueenAnne. Verysimilarfoliageen-
circlesthe crest engravedon the lid of the wafer
boxof the inkstandinfig. 38, madeaboutthe same
time as the teapotandby the same Bostonsmith.
The form of the inkstand,however,with its lion
supportsthat give it a monumentality beyondits
size, stillbespeaksthe Baroque,evincingthe grad-
ualacceptanceof the newer style.
Thebasisof most QueenAnnesilvershapeswas
the S-curve,also seen in the cabrioleleg typicalof
furniturein the same style, andwhichthe painter
Hogarthwas to call the "lineof beauty."Bulbous
andbalusterformsdistinguishedby flowing,well-
balancedlines of curves andreverse cunes were
hence popular.On the teapot (fig. 39) the curves
areallfullandthe almostglobularbodystandsclose
to the groundon a verylowfoot. Ona standingcup
(fig.40) the shapelyserpentinecurvesof the stem
33
 contrastwiththe straightsides of the bowlandits
somewhatabruptlyeverted lip. Amongthe most
elegantandfluidformsof the periodare the sugar
bowlsbasedon Chineseporcelainshapes(see fig.
47). The complementingverticalcurves of body
andcovercoupledwiththe honzontalsof the molded
footandof the lid'snm andhandleachievea beauti-
fullyproportioned andbalancedform.
Anotheraspectof the QueenAnneis seen inthe
"eight-square," or octagonal,pieces that became
fashionablein this period.On these, curves inter-
playwith straightlines and the surfacebecomes
dividedintofacets thatexploitthe reflectiveprop-
erties of the metal. The delicatebaluster-shaped
candlesticks(fig. 41) sparklewith their surfaces
dividedinto polygonalforms, the highlyfaceted
socketandlowerknopcontrastingwiththe quieter
patternof the balusterandfoot. In New Yorkdur-
ingthisperiod,cut-cardworkwas sometimesused
to create effects similarto that of faceting,as on
the lid of the teapot (fig. 42), where the lambre-
quinson the coverecho the faces of the octagonal
spoutandadda touchof piquancyto the soft, al-
mostlanguidcontoursof the form.Whileon octag-
onalobjectsthe surfacewas brokenup vertically,

40. Onthiscommunion cupthe QueenAnnestyleis mani-

fest inthe dominant
S-cunes of the balusterstemandthe
neatsymmetrical surroundof the inscription,
whichreads:
"BelongsTothe ChurchinLyndeStreetBoston."It is one
of a pairmadeabout1740bySamuelEdwards(1705-1762)of
Boston,andits designcloselyfollowsthatof a cupmadeabout
1737byhisfather,JohnEdwards,forthe samechurch.Such
stemmedvessels, whichwereproducedinthe eighteenth
centurymainlyforchurchuse, derivedtheirformfromearlier
domesticwinecups.H. 81/8inches.Bequestof AlphonsoT.
Clearwater, 1933(33.120.230)

41. These candlesticks withtheirdelicatefacetedbaluster

stemsweremadeinBostonabout1715-25 byEdward
Winslowandareamongthe loveliestobjectsof the Queen
Anneperiodinthe Americansilvercollection.Onlythe
engravedHutchinson armsdisruptthe sheerbrilliance
of the
metal.The candlesticksarethoughtto havebeenfashioned
forEdwardHutchinson, the half-brother
of Thomas,for
whomWinslowis saidto havemadethe chocolatepotinfig.
23. H. 65/16
inches.Friendsof the AmericanWingFund,1973
r.i_, (1973.152.1,2)

42. Distinguished bythe cut-cardworkon its lid,thisteapot

wasmadeabout1715-25 byPeterVanDyck(1684-1751)of
NewYork.There,earlyheraldicconventionsremainedstrong
wellintothe eighteenthcentury,andon thisQueenAnnepot
the Schuylerfamilyarms,nowpartiallyeffaced,wereen-
closed withinan ample Baroquecartouche. A later inscription
on the other side identifies the first owner as Myndert
Schuyler,who was twice mayorof Albany.H. 71/4inches.
Rogers Fund, 1946 (47. 7)
34
 - / -'a

L-'>
V F; '.
\ v -- ,4

.'m.s '"
>7,
 -

fS
e_-

43. Eighteenth-century casterswereusuallymadeinpairs

orinsets of threewitha largercontainerforsugarinaddition
to the twoforspices(generallypepperandmustard).This
*sei *
rarecompleteset of about1725-35, one of the fewto have
survivedintactfromthe colonialperiod,is the workof Adrian
Bancker(1703-1772)of New York.He producedanearly
sT
versionof the balustershapewithmidband thatwithvaria-
tionswouldremainthe standardformforcastersuntilthe end
of the century,buthe retainedthe "bayonet" lidfastenings
popularinthe early1700s.H. 7 inches;55/8inches.Sansbury-
MillsFund,1972(1972.233.1-3)

44. A vividexampleof the emphasisgivento lineandreflec-

tivesurfacesinthe QueenAnneperiod,thisoctagonalcaster
balusterformwas madeabout1730-40 by
-

x _9__tj of anaccentuated
KnightLeverett(1702/03-1753)of Bostonprobably forHugh
andElizabeth(Pitts)Hallof thatcity.It is engravedwiththe
crestof the Hallfamilyandmaywellbe partof the set of cas-
terslistedintheirplateinventoryof 1750.H. 5 inches.Rogers
Fund,1948(48.152)

36
on othersthe expansesof plainsilverwere divided
honzontallyby midbandswhose moldedcontours
reflectedthose of the base, lid, or finial(fig. 43).
Whetherin the masterfulcompositionof curvere-
callingcurveof the largetwo-handled cup (fig. 45)
orinthe moreangular outlinesof anoctagonal caster
(fig. 44), silversmithsworkingin the QueenAnne
stylestroveto achieveperfectioninlineandpropor-
tionwithlittleor no decorationdisrupting the purity
of the surfaces.
Althoughthe style can be viewedas a reaction
againstthe elaborateness of the precedingBaroque,
it also representsthe preferencefor plain,well-
proportioned silverformsthathas existedto some
degree in every period.Silvermadefor churches
duringthe eighteenthcenturytendedto be in the
plainstyles; so didmanydomesticpieces, even in
timeswhenhighlyornamented silverwas in vogue.
Newspaperadvertisementsof the thirdquarterof
the eighteenthcenturyofferedsilver articlesei-
ther "plainor chased,"to accommodatedifferent
tastes as wellas differentpricerequirements.Not
onlywas the initialcost of the sturdy,plainpiece
smaller,but also the objectwas less likelyto be
damagedor look outmodedandthereforeneed to
be melteddownandrefashioned.WilliamFitzhugh
hadsuchpracticalconsiderations in mindwhenhe
orderedsilverfromhis Londonagentin 1688, re-
questingthatthe plate"bestrong& plain,as being
less subjectto bruise, more Serviceable,& less
out for the fashion."
Engravedinscriptions,initials,andfarnilycoats
of armswerecustomarily the onlydecoration added
to Queen Anne silver. Engravingwas charged
separately,whilethe basicpriceof a silverobject
was deterrnined by the amountof silverrequired,
at the currentvalue,plusthe chargeforfashioning,
whichwas usuallyfiguredat so muchper ounce.
The goingrate in Pennsylvania in about1698was
"betweenHalfa CrownandThreeShiDings anOunce
forworking.. . Silver,andforGoldequivalent." On
some pieces the weightof the silveris scratched
45. Thislarge,imposingtwo-handled coveredcup,probably
or engravedon the undersideas an exact account- of about1740,is one of fourknownsimilarcupsmadeby
ing for smith and client (fig. 46). If a customer JacobHurd(1702/03-1758),a leadingfigureinBostonsilver-
suppliedmoresilverthanwas used, the creditwas smithingduringthe secondquarterof the eighteenthcentury.
appliedtowardthe cost; if he didnot provideany Suchcupswereusuallypresentation piecesandon ceremonial
occasionsmighthavebeenfilledwith"bishop," a richport-
or allof the metal,he was chargedaccordingly for winednnk.Thecipherof the originalowneris thoughtto be
the material. Cave,a clergyman
thatof William the impaled
of Virginia;
armsof the CaveandPetitfamilieswereaddedat a laterdate
Duringthe QueenAnneperiod,the cartouches onthe otherside. H. 103/8 inches.MorrisK.JesupFund,
for the farnilycoats of armswere oval, as already 1952(52.170)

37
 *: :Xi;i;X<:R00000000;^
,t 00
000
;f;0 0+;0
089;-
. ¢ ;^tX0;-00
:;; ;;0000-00
;;was
While
strictly
tt Xin
;:;T;f;;
90: was
space
iX Europe
stood
no
regulated,
above
Herald's
is the
filled
arms
right
College,
inwith
the
where
ato
purely
colonies,
arms
the
usecrest
decorative
were
a coat
traditionally
where
assumed
of
element
there
arms
with
a

-Xx noted,or a reasonablytight,symmetricalarrange-

ment of architectonicscrolls and leaves arounda
1! * shield-shapedreserve (figs. 47, 48). By this time
v the surroundsusuallyreliedon generalornamental
* {\ ;000 designs of the periodinsteadof strictlyfollowing
;;Xt
fQo ;t w ::0iVt the heraldicconventionsof shield, helmet, crest,
0-f;0;-and mantling.On the sugar bowl in fig. 47, for
; \ > t;-0 instance,the crest is engravedon the lid andthe
0;$t-;
- X X;V;-

z * f* << bowlof the same outlinesas the objectitself.

; 000;;0;0;0000<^g

n rd S a 1no E Dl d[ Cd1 si ver ''Bothfam-

ancienttimes, thoughsome others do now claim
armson slightgroundif reportbe true, havingno
warranttherefor." Bookssuchas Guillim's Display
ofHeraldry(London,sixthedition,1724),a favorite
reference,madeit possibleto simplylook up the
familyname,andat least in one instancethe arms
of a nameclose to butnot identicalwiththatof the
customerwere used by the silversmith.Thomas
Hancock,a wealthymerchantof Bostonwhosearms
are engravedon the dishin fig. 59, maywellhave
appropriated themfromanotherbranchof the family.
The designwas very likelyprovidedby his London
agent,sinceHancockwrotehimin 1739askinghim
to findthe Hancockarms.Inengraving,established
patternsindicatethe heraldictinctures:thus, on
the Hancockarmsthe verticallines denotegules,
or red, and the plainareas argent, or silver. On
manyof the arms engravedon Americansilver,
however,the tinctureswere omitted,or onlypar-
tiallyor inaccuratelyshown.
Becauseof familyarmsandinscriptionsthatre-
lateobjectsto theirowners,andalsobecausemost
piecesbeara maker'smark,silveris the best docu-
mentedof the colonialdecorativearts. In its time,
suchengravingnot onlyprovidedornamentand,in
the case of arms, socialstatus, but it also served
the very practicalpurposeof identifyingobjectsin 46. Theundersideof the sugarbowlinfig.47 showsthe
case of theft. The theft of silver was a common carefullyengravedweightof the piece,given,as was the
custom,introyounces,pennyweights, andgrains.The bowl's
recordedcnme incolonialtimesandarms,ciphers, lidis markedwithits separateweight.Oftenthe weightwas
initials,the maker'smark,andthe weightwere all justscratchedratherthanengravedintothe silver.
importantmeansof identifyingthe stolenarticles,
whichwere "stopped"by silversmithsif offeredfor 47. Theearliestcolonialsugarbowlsforuse at the tea
purchase.JacobJ. Lansingof Albanyadvertisedin tableweremadeinthe QueenAnnestyle. Ofcircularor,on
the New-YorkMercuryof April24, 1758, that "a occasion,octagonaloutlines,theyhada gentlycurvingshape
SilverTankard,weight 34 oz. and some Penny- anda saucerlikelidthatcouldbe invertedto sene as a small
footeddish.Thisparticularly handsomeandlargebowlwas
weight,markedIHL theMaker'sMarkI.C." wastaken madeinBostonabout1740byJacobHurdandis engraved
fromhis house. Blockinitialswere commonin the withthe armsandcrestof the Henchman family.Thefine
eighteenthcenturyand in the case of a married cartoucheis typicalof the periodinits well-measuredarrange-
mentof scrollsandleaveson a scaledgroundbutexceptional
couple were often in a triangulararrangement. inits depictionof a bowl.Commonat the time if a crestwas
Usually,the familyinitialwas at the top and the notshownat the topof the cartouche was a designof leaves
first-nameinitialof husbandandwifeat the bottom or scrollsor a shell,a motifthatwas to predominateinthe
succeedingperiod.H. 41/2inches.Anonymous Loan(L.57.12)
(see fig.13); Lansing'stankardappearsto follow
the patternoften used in Albanywith the wife's
firstinitialat the apex. 48. Thistea caddy,or canister,madeabout1725-40
It was dunngthe QueenAnneperiodthatarticles bySimeonSoumainof NewYork,is notableforits well-
proportioned,distinctlygeometricformenhancedbythe
forthe servingof tea beganto constituteanimpor- heraldicengravingof the Bayardfamilyarms.It is one of the
tantsegmentof the colonialsilversmith'sproduction. fewto havesurvivedfromthe colonialperiod.Fashionable
At firsta costly luxuryenjoyedby few in America, accessoriesforthe tea table,caddiesforthe storingof dried
tea leaveswereintroduced around1725butneverbecame
tea was beingdrunkby more andmore peoplein commoninAmericansilver.H. 43/8inches.Giftof E. M.
bothtownandcountryby the mid-eighteenth cen- Newlin,1964(64.249.5)

39
 tury.The customof tea dnnking,withits own eti-
quette andspecialequipment,becamethe center
of sociallifein the home,andobjectsof silveradorn-
ingthe tea tableproclaimed the statusof the house.
QueenAnneteapotswere eitherof the globular
formfavoredinBostonandPhiladelphia (see fig. 57)
or of the pearshapemorecommonlyused in New
York(see fig. 42). Creamor milkpots, sugarbowls,
slopbowlsforcollectingthe dregsof tea, tea caddies
(see fig. 48), teaspoons,andtea tongs,as theywere
thenknown,were allintroduceddunngthatperiod
andbecameintegralpartsof the well-appointed tea
table.Articlesof the tea equipagewereamongthose
silverformsthatassiduouslyreflectedeachchang-
ingfashion.Individual items,however,werenotnec-
essarilyof the same design or even of the same
style, for they were often acquiredpiece by piece
to replaceless costly ceramicvessels. Whilemore
thanone objectwas sometirnesorderedat a time,
completematching teaservicesdidnotbecomecom-
mon untilthe end of the eighteenthcentury.
Thedemandforcoffeepots,thoughit didnotequal
thatfor teapots, was also steadilygrowing.In this
periodthe formerassumeda tapenngcylindrical
shape,as didchocolatepots, whose popularity, like
that of chafingdishes, was on the wane by mid-
century.Otherforms such as casters, salts, and
salvers,as wellas numeroussmalleritemsof func-
tion or ornament,became increasinglyprevalent
as the centuryprogressed,whilethe regularout-
put of spoons, tankards,mugs, and porringers
continued.
Tankardsmadein the majorsilversmithing cen-
ters of Boston, New York,andPhiladelphia during
the eighteenthcenturyexhibiteddistinctregional
characteristics probablymoreconsistentlythandid
anyother form. In Massachusetts,the flat lid re-
mainedin fashiononly into the early 1700s. From
the QueenAnneperiodon, a domedlidwas inuse,
butunlikethatof its Englishprototypes,it was cus-
tomarilyornamentedwith a finial.In addition,the
bodybecamemoreslender,anda midbandwas in-
troduced(fig.49). InNew York,on the otherhand,
tankardsretainedtheir flat, steppedlids, straight
sides, andslightlytaperingbodiesthroughoutthe
eighteenth century,reflectingchangingfashions
throughdetailsof ornamentandlighterproportions
ratherthanthrougha vanationin basic form(fig.
50). In Philadelphia, domedlids succeededthe flat
tops of earlytankardsas in Boston,buta finialwas
40
not added(fig. 51), andin the second halfof the
centurya bulbousbody was introducedthat was
alsooccasionallyused inNew York.The bulbshape
was a commonformformugs,or canns,bom about
1720on (fig. 52). By about1730the so-calledkey-
holepatternforpolTingerhandles(fig. 53) hadsu-
persededthe earliergeometricdesigns(see fig. 18),
and it remainedin widespreaduse for the rest of
the century.
The varietyof colonialsilver that has survived
increaseswitheverychronological period.Fromthe
secondquarterof the eighteenthcenturycomethe
earliestextantsilver-hilted
smallswords,whichnot
onlyservedas weaponsbutalsowerewornas fash-
ionableaccessories.The type of silverhiltthatwas
in vogue at that time (fig. 54), with its lack of
decoration,prominentuse of curves, and in this
instance octagonaltreatmentat the base of the
49. Typicalof the fullydevelopedMassachusettseighteenth-
centurytankardarethe high,stepped,domedlidwithfinial
andthemidband seen on thisexamplemadeinBostonprobably
about1760-70 byBenjamin Burt(1729-1805).Its slender
proportionsclearlyshowthe trendtowardtallerandmore
taperedtankardformsas the centuryprogressed.H. 81/2
inches.Giftof RobertS. Grinnell,1970(1970.287.1)
50. Madeabout1750-69byNicholasRoosevelt(1715-1769),
thistankardexhibitsthe flattopandslightlytaperedbodythat
characterizedNew Yorktankardsthroughout the eighteenth
century.Thedouble-scroll handle,the extrarise inthe lid,
andthe slightattenuationof the formsuggestthatthistankard
wasnotproducedbeforethe mid-century. H. 77/8inches.
Bequestof CharlesAllenMunn,1924(24.109.2)
51. Incloseimitationof Englishmodelsof the earlyto
mid-eighteenth century,thisPhiladelphia
tankardof about
1725-50 byPhilipSyng,Jr.(1703-1789),featuresa high
domedlidwithouta finial.Duringthe secondhalfof the
century,tankardsinthatcityretainedthistypeof lidbutoften
hada roundedbodysimilarto thatof canns(see fig. 52).
H. 71/8inches.BequestofCharlesAllenMunn,1924(24.109.1)
52. Drinking vessels withoutlidsandof bulbousoutlines,
suchas thisone madeinBostonabout1740-55 byJacob
Hurd,werepopularin allthe coloniesfromthe 1720suntilthe
endof the century.Todaythisformis usuallycalleda "cann,"
inoppositionto straight-sided
"mugs,"thoughinthe 1700s
the twotermsseem to havebeenusedinterchangeably.
Cannsvariedlittlein shapeotherthanintheirhandles,which
tendedto be double-scrolledbeginningat the mid-century.
Thecurrentstylewaschieflyindicatedbyengraveddecoration
- a Rocococartouchecanbe partiallyseen here. H. 51/8
inches.RogersFund,1922(22.90)
 wI
3-,
_s*s third
eral
_ i or
=n sentation
,large
inbowls
standing
quarter
seizing
about Queenofpiece
1725-50 performances
Anne
an
the of
enemy
was
mid-century
two-handled
by Edward the
developed
pnvateer
of century.
Winslow all is kinds.
cup
in
ason (see
the
well
view
Among
characteristic nineteenth
fig.
as the
in
ofin the
45),
sev-
The
re-

pommel,is in keepingwith the QueenAnne. De-

__ rivedfromEnglishexamplesof about1720, hiltsin
this style remainedpopularin the coloniesintothe

_ w - I _ Beforethe practiceof givingpresentation

swords
_ v beganduringthe Revolution pre-
andthe trophylike

_ % ^w _X 8. century,silver that commemoratedmilitaryand

_ -SS <z otherheroestookthe usualdomesticshapes.The

B a K whichevolvedoutoftheearliercoveredcaudlecup,
[ is the colonialform that probablymost evokes a
purelyceremonialpiece. The occasionforthe fash-
ioningof the cup illustratedis not known,buttwo
of the other cups of this type, both also byJacob
Hurdof Boston,weremadeto honorcaptainswhose
^ shipscapturedFrenchprivateersin coastalwaters
3 in 1744.Probablythe largestgroupof presentation
silveris thatgivento shipcaptainsin recognitionof
_i _ theirdaringin protectingtheirshipsagainstattack

-n wardfor completinga profitableventure.An early

example of this latter category is the tankard
reputeclly presentedto the notoriousGilesShelley
(see fig. 29).
Z While the exact history of many pieces that
^ marked importantpersonal occasions such as
christenings,marriages,or weddinganniversaries
- f has been lost, engravingusuallydocumentsthe
$X more publicpresentationsilver that honors out-

! .<

53. Porringerhandlesinthispattern,nowcalled keyhole,

g .w < prevailed fromthe 1730son. The engravedcrest shownhere
is thatof the Brownfamilyandthe initialsdenotea giftfrom
g ;\=@ Obadiah Brownof Providence,RhodeIsland,to his daughter
Anna.Theporringer was partof a groupof sflvermadeforher
in 1763byBenjamin Burtof Boston.L. handle27/8inches.
Bequestof AlphonsoT. Clearwater, 1933(33.120.330)

o-
U e 54. The simple,chastedesignof thishiltmadeinBoston

{ } X v earliestcolonialsilverswordhiltsknown.Typically, the gripis

{ , X boundwithbraidedwireandthe onlytouchesof decoration
XC / / areat the topof the knuckleguardandon the pommel,
_ # whichhereis notonlymoldedbutalsofaceted.The steel
_ bladeis Europeaninorigin.The inscription onthe counter-
guardindicatesa giftfromIM to FB; the latteris saidto be
__ FrancisBaudouin [Bowdoin],a descendantof the Huguenot
_ familythatsettledinMaineandBoston.L. hilt57/8 inches.
>X_ Bequestof AlphonsoT. Clearwater, 1933(33.120.500)

42
AmericanWingis one (fig.55) thatcommemorates
braveryduringthe firethatdestroyedthe New Free
Schoolandpartof the steeple of the adjacentTrin-
ity ChurchinNew YorkCityon February23, 1750.
The event is recordedby the engravedscene on
the front. One of the men who helped save the
churchwas a chairmaker,AndrewGautier,who
had this smallbowlmade out of his share of the
fifty-poundrewardgivenbythe church.A consider-
ablylargerbowl(fig.56) celebratesa horsenamed 55. Thefirethatbrokeoutinthe New FreeSchoolinNew
OldTenorwhowonthe NewYorkSubscription Plate YorkCityinthe earlyhoursof February23, 1750,destroyed
raceon October11 of the followingyear.The tradi- thatrecentlycompletedbuilding,andas depictedinthis
commemorative scene the blazewas spreadbyflyingcinders
tion of silver racing trophies goes back to the to the steepleof TrinityChurch,wherehappilyit was
seventeenthcenturyin the colonies, for a 1670 extinguished.(Theengraveddateis "1749/50"becausetwo
descriptionof a Long Islandplainused for racing calendarsweretheninuse.) The rewardmoneyreceivedby
mentionsthat the swiftesthorse in a yearlyevent AndrewGautier,a chairmaker,forhispartin savingthe
churchapparently wenttowardthisbowlmadebyAdrian
was "rewardedwith a silver cup."The most his- BanckerandinscribedAGE forAndrewandhis wifeElizabeth
toriccolonialbowlof all is one in the Museumof Diam.7 inches.Anonymous Loan(L.50.18)

43
 at n 11C8-,^
':f'_,,>^t
Fine Arts in Boston. Made by PaulRevereII, it
memorializes the ninety-twomembersof the Mas-
sachusettsHouseof Representatives,who inJune
1768votednotto rescindtheirprotestto GeorgeIII
eventhoughtheirvote meantthe dissolutionof the
assembly.All such bowls have a basicallysimilar
gentlycurvingformthatchangedlittlethroughout
thecentury,thoughbythe timeReveremadethisfa-
44
BC()150714X01>
/ *e-f-
mousSonsof Libertybowl,a newerprevailing style
was conspicuousfor its more exuberantshapes.
With the introductionat mid-centuryof the
Rococo,the last of the colonialstyles, silvertook
on a playfuleleganceandsurfacedecorationonce
againbecameanimportantelementof design.The
term"Rococo" is thoughtto derivefromthe French
rocaille ("rockwork"), and naturalisticdecoration
was a keynote of this style, whichoriginatedin
Franceandwas transmittedto the coloniesby way
of England.Amongthe earliestmanifestations of
the style werethose in engravedornamentsuchas
thaton the teapot(figs. 57,58). The Rococomotifs
of shellsanddiaperingseen aroundthe shoulderof
the pot firstappearedon late QueenAnnesilverin
the type of regular,containedarrangementof this
border.Entirelyin the spint of the Rococois the
livelycompositionof the armorialcartouche,which
enunciatesnot onlythe stronglynaturalistic deco-
rativevocabulary butalso the taste forasymmetry
andfantasyof this newer style.
The basicallycurvilinearshapes of the Queen
Anne were retainedby the Rococobut they be-
camelighterandmorefanciful as wellas embellished
by ornament.Suchobjectsas creampots, sauce-
boats, and salts, insteadof standingon a single
solidbase, were raisedon smallscrollfeet (figs.
60, 61). Double-scroll
handlesbecamemorepopular
than the single scroll and sometimes seemed to
performa bit of acrobatics.On sauceboatssuch
as the pairby Paul Revere II (see fig. 61) they
reachup into space, endowingthe vessel with a
touchof freeandairyasymmetry.The globularout-
lineof the teapotdiscussedabove,alreadypopular
in the 1730s,continuedinuse pastthe mid-century.
By the 1760s, however,manypots assumedthe

56. Thehistoryof thispunchbowlwithits rareearly

engravingof anAmericanracehorseis recordedinthe
inscription,
whichreads:"This,PlateWonBy A Horse,Cal,D
OLD TenorBelonging ToLewisMoris,Jun,r Octob,r
ye11, 1751."
("Oldtenor"wasa termappliedto eighteenth-century colonial
papercurrencyissuedbeforethe late1730s,when"new-
tenor"noteswereintroduced. ) Thetrophyis unmarked but
musthavebeenmadeinNewYork,wherethe racewas held,
as announced on September9 bythe Gazetteor WeeklyPost
Boy, whichon October15 dulypublished the nameof the
winner.Thebowlwasgivento the Museumbyone of Morris's
descendants.Diam.9l5/l6inches.Giftof Mrs.LewisMorris,
1950(50.161)

57., 58. Fineengraveddecorationdistinguishes thisteapot

ofabout1745-55byJosiahAustin(1719-1780)of Charlestown,
Massachusetts.Theborderaroundthe shoulderexhibitsthe
carefulsymmetryof QueenAnneengravingandthe shells,
scrolls,andovalcartouchesona diaperedgroundare
characteristic
of the 1740s.Thefreer,asymmetrical typeof
designthatsurrounds the armsof the Warefamilyonthe side
showsthe changesintroduced bythe Rococoat mid-century.
H. 55/8inches.Bequestof CharlesAllenMunn,1924
(24.109.7)

45
 inverted-pearform, the most typically Rococo
shape. Called"double-bellied" at that time, it be-
cameparticularly favoredfortea-, coffee-,andcream
pots as wellas for sugarbowls(see fig. 69). Early
in the centurybulbousformshadbeen earthbound:
the teapotin fig. 39 carnesits weightlowandhasa
very shallowfootband.By the late Rococoperiod,
shapeshadstretchedupwardandstoodon a splayed
foot and, on double-belliedpieces, the center of
gravitywas raisedhighabovethe base, conveying
a sense of imbalance consonantwsththe whimsical-
ity of the style. The finalstage of this evolutioncan
be clearlyseen by companngthe coffeepot(fig.63)
wsththat in fig. 72.
Withthe Rococo, the gently flowingcurves of
the QueenAnnegave wayto livelier,moreirregu-
larrhythrnsthatcombinedC-, brokenC-, andser-
pentinecurves, as can be seen in the scalloped
nms of the creampot andsauceboats(see figs. 60,
61). The bowlof the ladle(fig.62) is allcurvesand
lobes and the whole form evokes the shells that
were the penod'sdominantdecorativemotif.Styl-
ized shells composethe bases of the candlesticks
(fig.64). The shapeof the snufferstand(fig.66) is
entirelydetenninedby the decoration:cast scrolls
andshells createthe elaborateoutlinesof the tray
andserve as feet andthe handle.Formanddecora-
tion thus becomeinseparable,andsuch a synthe-
sis is at the heart of the most successfulRococo
creations.
The design of a basket (figs. 67,68) elegantly
piercedwitharabesquesthatalternatewithquatre-
foilsina diaperpatternis beautifully cohesive.One
areaof decorationmoves into the next: the shells
on the rimcontinuethe gadrooning intothe pierced

59. Thislargecommunion dishbySamuelMinott(1732-1803)

of Bostonis one of six threebyMinottandthreebyJohn
Coburn presumably purchasedwiththe onehundred
poundsbequeathedbyThomasHancockin 1764to the church
inBrattleStreet,Boston.The Rococostyleis heremanifest
inthe exuberantcartoucheof the Hancockarmsandinthe
slightasymmetryof the frondssurrounding the winged
cherub'shead.Allsix dishesaresimilarlyengraved,though
onthe othersthe cherubtendsto be placedmoredirectly
underthe coatof arms.Diam.131/8inches.Bequestof
AlphonsoT. Clearwater, 1933(33.120.235)

60. Rocococreampotswiththeirelongatedscallopedlips
balancedbyelaboratelyscrolledhandlesoftenhavea jaunty
air,aneffectenhancedon thisexamplebythe sprightly
armorial engraving.Thearmsarethose of the Brownfamily
andthispiece,byBenjamin Burtof Boston,mayhavebeen
madeforAnnaBrownof Providence,RhodeIsland,in 1763,
at the sametimeas the porringerinfig53. H. 35/8inches.
Bequestof AlphonsoT. Clearwater, 1933(33.120.295)
46
61. Bold,freestanding handlesgivea visualliftto the long,
lowbodiesof these Bostonsauceboats,or butterboats,
fashionedinthe Rococoformpopularinthe 1750sand60s.
Eachof these bearsa differentmarkof PaulRevereII
(1735-1818).Oneof these marksis believedto havebeen
usedalsobyhisfather,butit is presumedthatthe sauceboats
weremadeat the sametimeandbythe youngerRevere
about1765,afterRevereI's death forsauceboatswere
customarily boughtinpairsandbothareengravedwiththe
initialsof MungoandRuthMacKay,whomarriedin 1763.
L. 79/16inches.GiftofMr.andMrs.AndrewVarickStout,1946
(46.40.1,2)

62. The shapeof the gracefulscallopedandlobedbowlof

thisladle,whichis attachedto the woodenhandlebya curved
support,recallsthe shellformsthatwerea favoriteRococo
motif.MadebySamuelEdwardsof Bostonabout1750-60,
the ladleis inscribedISEforIsaacSmithandhiswifeElizabeth
(Storer),whowas Edwards'sniece;the couplewasmarriedin
1746.L. bowl4 inches.RogersFund,1941(41.70.3)
 B. A restainedNew Englandexpressionof the Rococo
style,thiscoffeepotrnadeinBostonabout1750 60 bySamuel
Edwardscombmesa shapelyformwithordya fewdetailsof
omament,notablythe designof boldflutesandscrollsthat
envelopsthe baseof the cast spoutand}s recalledin the
tighterpattetmsof the pineapplefirlialandof the acanthuson
the spouttip.The coffeepotis saidto havebelongedto
ElizabethSmith,whoownedthe ladleinfig 62. The es
monogram onthe sideis a lateraddition.H. 9 </4 mches.
RogersFundw 1941(41.7().1)

- _

bt;6ci
__

_kJa
 ---r

's ^

65. Shell motifs determine the

64.J

ofboth intncate lobed outlines

the bases and the removable
bobeches of these tall?
elegant
candlest}cks.Originallypart of a set of four,
byMyer Myers (1723-1795), New Yorkss they were
made
silversmith leading
of the Rococo periodJwho fashioned
both silver for
churches and synagogues as weil as for
manyprominent
individuals.
Accordingto the inscriptionon the
base, the sticks were a gift to Catharine underside of
each
Peter
and SarahVanBrugh, her Livingstonffom
grandparents.She probably
received
the set in 1759, when she
H. marriedJohnLawrence.
101/s
inches. Sansbury-Mills Fund, 1972 (1972.3.1abs2);1977
(1977.
88)

66. Castfoliatescrollsandshells,embellished bychasing,
createthe fancifulformof thiselaboratesnufferstandmade
about1755-70 byPhilipSyng,Jr.,of Philadelphia anden-
gravedwiththe crestof the Hamilton family.A scissorlike
snufferwouldhaverestedon the tray,andthe standmight
haveoriginallyaccompanied a set of candlestickssimilarto
thoseinfig. 64. L. 73/4inches.Bequestof CharlesAllen
Munn,1924(24.109.39)
67., 68. A delicate,vitalRocococreation,thisrareAmeri-
canbasketis a superblyintegratedcomposition of pierced
patternsandcastandchasedornament.Modeledcloselyafter
its Englishcontemporaries,it was madeabout1760-70by
MyerMyersof NewYorkandis engravedwiththe monogram
ssc forSamuelandSusannah(Mabson)Cornell,wealthy
patronsfromNewYorkandNewBern,NorthCarolina. The
inscriptiononthe undersideindicatesthe basketdescended
to theirdaughterHannahuponhermarriageto HermanLe
Royof NewYorkin 1786.L. 141/2inches.MorrisK.Jesup
Fund,1954(54.167)
50
panels,whilethe wavy bandsof repoussebeads,
echoing the pattern of the gadrooning,extend
beyondthe panelsinto the solidbottom,whichis
monogrammed ina floweryscriptbefittingthe grace
of the piece. Whilepiercingproducedobjectsof an
airyelegance,the richestdecorativeeffects were
achievedby repousseandchaseddesigns.Patterns
of flowersandleaves combinedwith scrollswere
themostpopular. Alsousedwasanirregular, ruffled,
ribbonlikemotif seen at the top of the lid of the
sugarbowl(fig. 69), whose birdfinialis in keeping
withthe naturalistic tendenciesof the style. Elabo-
raterepousseworkalsoadornsthegoldtoy(fig.70),
whichis as fully expressive of the currentstyle
as anyformof the period.Consistingof a whistle,
a piece of teethingcoral,andbells, these toys, al-
readyknownin the seventeenthcentury,became
popularin the coloniesin the eighteenthandwere
moreoften madeof silverthangold.
Relativelyfew colonialitems of goldare known,
thoughtheir productionis documentedfrom the
seventeenthcenturyon. Theywereallsmallarticles:
primarily jewelry,buckles,buttons,thimbles,and
the like. Particularlypopularwere rings; funeral
rings,customarily givento the minister,pallbearers,
relatives,andclose friendsof the deceased, were
madeingreatnumbers.Ona somewhatlargerscale
were luxuryitems such as the coraland bells as
wellas boxes meantto holdsnuffor patchesor, on
occasion,to be officiallypresentedwith "thefree-
domof the city."Smallwareswereoftennotmarked
so that little gold has survivedthat can be docu-
mentedas American.
Especiallyfromthe mid-century on, newspapers
advertisedthat quantitiesof such smallerobjects,
both importedand locally made, were for sale.
Whetherin goldor silver,it was "smallwork"that
constitutedthe silversmith's regularbusiness,along
with a steady flow of repairsfrom polishingand
takingout "bruises"to replacinghandlesandlids.
The objectsreportedstolenout of the shopof Bos-
tonsilversmithJoseph Edwards,Jr.,in March1765
were allon the smallside andrepresentthe types
of waresthatmightbe kepton handin a showcase.
The largeritemsof silverweretwo peppercasters,
twelve teaspoonsandtwo largerspoons, a punch
ladle, anda creampot. These were all described
as beingstampedwithJosephEdwards'smarkand
hadthereforebeen madein his shop. If therewere
markson anyof the othermissingitems oversixty
 pairsof silverbuckles,three gold necklaces,five
gold rings, and other jewelry,in additionto two
snuffboxes,threechild'swhistles,anda silverpipe
- thatfactis not mentioned,andmanywereproba-
bly imported.
Largeobjectswereless likelyto be in stocksince
they representeda greaterinvestmentin precious
metal,andoutstandingpieces of hollowwaresuch
as manyof those illustratedin thispublicationwere
most oftenmadeto order.Onthe otherhand,with
the steadilyincreasingimportation of plateat mid-
centuryto helpfillthe ever greaterdemand,larger
articlessuchas tea- andcoffeepots"justimported
52
fromLondon" were alsobeingsoldby silversmiths.
These importedwares as well as those ordered
directlyfromEnglandby privateindividualswere
the primaryvehiclesfor stylisticchange.
The rareRocococandlesticksinfig. 64, madeby
MyerMyersof New York,closely followthe con-
temporaryEnglishstyle andan importedpiece no
doubtservedas the modelfor them. The factthat
Myerscouldproduceobjectsin the latest London
fashionandformsnot commonlymadehere most
likely helped him win the patronageof Samuel
Cornell,a nativeof New Yorkwho movedto North
Carolinain the 1750s andbecame"themost opu-
lentmerchant" of thatcolony.Thanksto thiswealthy
clientMyershadthe opportunity to maketheMetro-
politan'ssplendidbasket(see figs. 67,68) andalso,
amongseveralpiecesinothercollections,a pierced
dishringanda pairof openworkcoasters,allexcep-
tionalformsin colonialsilver whose designmust
havebeen basedon importedexamples.
Immigrantcraftsmenalso playedan important
role in the transmittalof styles. DanielChristian
Fueter, whose elegant salver is shown (fig. 71),
workedin Switzerlandand Londonbeforecoming
to New Yorkin 1754. Withhis knowledgeof cur-
rentEuropeandesignhe couldconvincingly adver-
tise thathe, "latelyarrived.. . fromLondon,"could
make"allsorts of GoldandSilverwork,afterthe
newest and neatest Fashion."The very skillfully
engravedarms in the center of the salver could
havebeen done by Fueteror by a specialistin his
ownor anothershop. In 1769, actuallythe yearhe
returnedto England,Fueteradvertisedthathe had
workingwithhima chaserfromGeneva.Although
the master'smarkwas put on objectsproducedin
his shop,he didnotnecessarilyhavea handin mak-
ing all of them. A silversmithmighthave one or
moreapprentices to helpwiththe moremenialwork
and additionalexperiencedworkers,all of whose
contributions wouldremainanonymous.The latter
couldbe locallytrainedmenwholackedthe means
to set up theirownbusinessesor immigrant silver- Though silversmithsoften performeda wide
smithswhowere not ableto establishthemselves. rangeof work,theywerenot allequallyadeptin all
Shopworkersmightalsobe indentured servantsor, branchesandsome reliedon others for particular
particularlyinthe South,blackslaveswhohadbeen aspectsof thetrade.TheRocococreampotinfig. 60
trainedas silversmiths.Some of these men might was fashionedby BenjaminBurt of Boston, who
havespecialskillssuchas jewelry-or watchmaking, is knownto havesent his silverto be engravedbya
or engraving. fellowcraftsman,NathanielHurd(1729/30-1777),
who in all probabilitycut the coat of armson this
piece. Hurdis better knowntodayfor his numer-
ous heraldicbookplates,whose skillfulexecutionis
mirroredin his armorialson silver,thanforhis lim-
69. The emphaticcurves of this double-belliedsugar bowl
andits rich repousse decorationreflect the extravaganceof itedproduction of plate.The patriotPaulRevereII
fullydeveloped Rococo designs. Here the repousse patternof wasanotherBostonsilversmith of the Rococoperiod
naturalisticflowers and scrollingleaves is disposed into rather whoengravedsilverforothersand,likeHurd,made
compactbands, while on other Rococo pieces such ornament
mightbe more freely arranged.The bowl was made in New
copperplatesforpapercurrency,tradecards,bill-
Yorkabout 1760-75 byJacob Boelen II (1733-1786), his heads,andthe like.The best-knowncolonialsmith
grandfather'snamesake and the thirdgenerationof silver- ofversatiletalents,Reverenotonlyworkedinmetals
smiths in the family.H. 5/1/2inches. Rogers Fund, 1939 anddidthe moreroutineprintingjobs but also en-
(39.23)
gravedscenicviews, portraits,andpoliticalprints.
The production of silverunderstandably declined
70. Perhapsa lavish christeninggift, this gold whistle and duringthe years of the Revolution;no entries for
bells with coralwas made by Nicholas Roosevelt about 1755-
65 in New York,where the few knowncolonialexamples in silversmithingare recordedin PaulRevere'sday-
gold originated.A loop behindthe whistle allowedthe toy to
be hungfroma chainor ribbon,usuallyfromthe child'swaist.
Whatappearto be teeth marks on the whistle wouldindicate
that this piece saw active use; six of the originaleight bells
remain.L. 61/8inches. Rogers Fund, 1947 (47. 70)
53
 books from 1775 to 1780. The hiatuscreatedby
the Revolutioncoincidedwith the waningof the
Rococotaste in silver, so that when the demand
for plateresumedafterthe war anotherstyle was
emerging.Naturallythe changewas gradualand
someRococoformslingeredonintothefirstyearsof
the newly independentnation.The inverted-pear
shapeof a coffeepotprobablymade 1780-90 (fig.
72), the scroll-and-leaf
decorationof its spout,and
its elaboratelycurvedhandleare allpartof the Ro-
coco vocabularyas is the gadrooningon foot and
cover,a motifthatwas reintroduced in the 1760s.
Onthe otherhand,the urnfinial,the restraineden-
gravingof ribbonsandwreath,andthe attenuation
of the formall reflectthe neoclassicaltaste of the
earlyFederalperiod,whichembracedat the same
time a new formof governmentanda new style.
54
71. Made in New Yorkbetween 1754 and 1769 by Daniel
ChristianFueter (1720-1785), this large salver has a beauti-
fullyshaped rim of lively conjoinedcurves edged with fine
gadrooning.A delicate cartouche engraved with exceptional
sureness encloses the Provost familyarms. Salvers sup-
ported on three or four small cast feet first became popularin
the second quarterof the eighteenth century, and duringthe
Rococo period their curvilinearoutlines were echoed in the
"piecrust"edges of contemporarytea tables. Diam. 155/8
inches. Bequest of CharlesAllen Munn, 1924. (24.109.37)
72. On this splendidRococo coffeepot a high domed lid
complements the harmoniouscurves of the body, andthe
fancifulscrolls of the handlebalancethe rich ornamentof the
spout. Fashionedby EphraimBrasher (1744-1810) of New
Yorkabout 1780-90, when the early Federal style was
becomingestablished, the piece has an urn finialandengrav-
ing in the newer neoclassical fashion, which, like the earlier
styles, relied primarilyon English precedent. The oval re-
serve was meant to hold a script monogram. H. 131/4inches.
Bequest of AlphonsoT. Clearwater,1933 (33.120.223)
 y
/ X 9's\

55
 NOTES FORFURTHER
READING
P:3 RichardBealeDavis,ed., WilliamFitzhughandHis Avery,C. Louise.EarlyAmerican
Silver.NewYorkand
ChesXeakeWorld,1676-1701, TheFitzhugh Lettersand London,1930.Reprint.NewYork,1968.
OtherDocuments.
ChapelHill,N.C., 1963,p. 246.
Buhler,KathrynC.AmericanSilver.Cleveland
andNew
P.3 Woolman: QuotedinMarthaGandyFales,Joseph York,1950.
Richardson andFamily,Philadelphia
Silversmiths.
Middletown,
Ct., 1974,p. 67. Fales,MarthaGandy.EarlyAmerican
Silver.New York,
1970.
P.4 1652law:QuotedinSylvesterS. Crosby,TheEarly
CoinsofAmerica.Boston,1875,p. 44. Hood,Grahan.American
Silver:A HistotyofSWle,1650-1900.
NewYork,1971.
P.5 Documents RelativetotheColonialHistoryof theStateof
New York(Albany, 1853-87).Vol.4, ed. byE. B. O'Callaghan, Phillips,JohnMarshall.
AmericanSilver.New York,1949.
1854,p. 304 ("anest of pirates"),p. 532 ("Arabian
gold"and
priceof rum). Ward,BarbaraMcLeanandGeraldW.R., eds. Silverin
AmericanLife.Exh.cat., AmericanFederation
of Arts,New
P:6 Localordinance: QuotedinKathrynC. Buhler,American York,1979.
Silver.Cleveland
andNew York,1950,p. 9.
P.6 William Howardadvertisement:AlfredCoxePrime,
comp.,TheArtsandCraftsinPhiladelphia,Maryland,and
SouthCarolina,1721-1785, Gleanings
fromNewspapers.
Topsfield,Mass., 1929,p. 70.
P.8 ElizabethGlover:QuotedinJonathan L. Fairbanks
et al., NewEnglandBegins:TheSeventeenth
Century.Exh.
cat., Museumof FineArts,Boston,1982,vol. 3, p. 481.

P.30 Richardson:
Quotedin Fales,p. 54.
P.37 Fitzhugh:Davis(ed.), p. 246.

P.37 ". . . goingrate":QuotedinFales,p. 7.

Pp. 38-39 "Already in 1673. . . ":QuotedinJohnMarshall

Phillips,AmericanSilver.NewYork,1949,p. 47.

P.39 Lansingadvertisement:
RitaSussweinGottesman,
comp.,TheArtsandCraftsinNewYork,1726-1776,Adver-
tisementsandNewsItemsfromNew YorkCityNewspapers.
NewYork,1938,p. 36.

P.43 1670description:Quotedin Phillips,p. 50.

Pp. 50-52 "Theobjectsreportedstolen. . . ":George

FrancisDow,comp.,TheArtsandCraftsinNewEngland,
1704-1775, GleaningsfromBostonNewspapers.
Topsfield,
Mass., 1927,pp. 44-45.
P.52 "themostopulentmerchant": Descriptionof Cornell
byGovernorMartinof NorthCarolina in 1775,citedin
introduction
to PapersRelatingtoSamuelCornell,North
CarolinaLoyalist.New York,1913.
P.53 Fueteradvertisement:
Gottesman(comp.),p. 41.

Insidebackcover:Detailof repoussedesignon bowlfig. 13

56