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Fornns l__ ---- ______in__ hi__ e_ta_l ______275 Years of hietalstnithing in Alllerica

January 17-March 2,1975 1700--1940's Finch College Museum of Art , N.Y. 1940's-1975 Museum of Contemporary Crafts of the American Crafts Council New York, N.Y.

This catalogue is co-sponsored by Cranbrook Academy of Art, Bloomfield Hills, Michigan whereForms in will be exhibited from March 16 through April 20, 1975. The historical section of this exhibition is supported by a grant from The National Endowment for the Arts in Washington, D .C., a Federal agency.

CMuseum of Contemporary Crafts of the American Crafts Council Finch College Museum of Art ISBN 0-88321-008-8 Library of Congress No. 74-33197 1700'S-1940'S

he colonists from Europe who came to the based on London models. By the mid-18th Century, however, New World and settled along the Atlantic prosperity was such that colonial were busy seaboard brought with them the culture of in increasing numbers producing by hand a variety of entire 17th Century England when they arrived in table services, lighting devices and items of personal New England, New Jersey, Pennsylvania, adornment. Maryland, Virginia and the Carolinas. All From medieval times in England the quantity of colonists brought with them their indispensible household used in any given object was fixed by law and could then be goods, some of the most precious being pieces of table silver called sterling (92.5 per cent silver; 7.5 per cent added and . Pottery and wooden utensils and dishes served for hardness). This holds true down to the present day, for everyday use; were often of steel, while cooking and while that law was not enforced in the English colonies, vessels were made of , copper or . Pewter, a soft it appears that the silversmiths themselves honored it. It also principally of with copper and some other added, called into use in England the "maker's mark" which only was much less valuable than silver and much more frequently accepted silversmiths' guild members could stamp onto their found in homes and hostelries. Plates, mugs, spoons and products, each artisan having his own distinctive mark. The tankards were in daily service. All were used until worn out city where the piece was made also added a stamp identifying and, along with the kitchen pots, were patched and mended the place of origin and certification of silver content, and until they were finally irretrievable and were then melted a letter signifying the date. Silversmiths here used only down for the base metals, and re-formed into new objects. a personal mark of initials, or a name, but they all set the Fine silver, on the other hand, was cherished and passed from value of each piece by the weight of silver it contained, plus generation to generation. If imported productions were not the labor required to make it. bought, silver were amassed until a sufficient quantity The began his work with an ingot, or , of was accumulated to be given to a silversmith who would then silver and a with which he would have to hammer them into whatever the owner desired, depending out a sheet about one quarter of an inch thick, then mark upon the quantity of silver involved. Sometimes silver objects a circle on it, cut out the circle, and beat the disc with a considered to be old-fashioned were melted down to be ball-headed hammer on a to raise up the edges and re-used to make pieces in the latest style. begin formation of the cup, or bowl, or any hollow form A large number of the of the 17th and early it was destined to become. Constant manipulation with 18th Century in the colonies had been apprenticed to their different and positions on allowed him to trade in their homeland and, upon emigrating, established create various shapes, pausing now and then to anneal the themselves in congenial surroundings and set up shop. Soon metal made brittle by so much beating. This is one of they were taking as apprentices locally born youths, and the most ancient techniques known to metalsmiths, and is American craftsmanship was under way. Boston, Phila­ traced back to similar craftsmen in Mesopotamia, Egypt delphia and New York dominated the economic scene, and and Rome. Our American craftsmen by the middle of the in these cities the finest craftsmen were located, and in the 18th Century were making individual parts of, say, a teapot, greatest numbers. The wealthy and lordly continued to import the best that money could buy from the mother country, and so it follows that the styles in the arts and crafts were

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2 118. 119. 6. Porringer, c. 1750 Lantern, Pierced Design, Box, Hinged Cover, late H . 7'12" . Diam. 5v." . late 18th Century tin 18th Century painted tin William Simpkins H . 13". Diam. 5v.". H . 811l". W. 50/4". D. 4 V2" . (1704-1780). Boston Maker unknown. American 3 not only by this method but also by hinges and finials, assistants was forevermore altered. Some entered into the hollow tubes with seams for spouts, and spirit of the age by becoming designers and supervisors of the parts together. The final burnishing would the designs of the objects made in the factories. A handful of remove the visible traces of the seams and joints. If proud artisans preferred to maintain their independence and was desired upon the surface of the completed continued the tradition of handmade wares available only piece a small gouge was used to make grooves in the in small quantities, and to the very wealthy. surface and remove hairlike curls of silver, thus creating Among the inventions that changed the silversmith's work the lines of a monogram, for instance. Embossing (also called and allowed more and more people with less income to enjoy by a French word, "repousse") is done by forcing out, by the gleam of silver on their tables and sideboards was repeated blows upon the interior of an obj ect, certain portions Sheffield plate. "Sheffield silver" was fused over copper of its surface which thus stand out in relief upon the exterior. by a method which deposited a thin layer of the Chasing is achieved on the outer surface with a blunt- on both sides of the copper . In the 1830' s, again in edged tool by depressing it along the lines of the . This England, achieved the same results by the use technique is used to supplement embossing, but may also of a chemical bath, and that technique was further improved become the chief kind of decoration upon a piece. About 1800 by the Rogers Brothers of Connecticut in 1847 in a successful the technique of bending a sheet of silver around so that the attempt to achieve the appearance of silver without the edges met and soldering them together came into practice. requirements of "sterling". Only in 1865 did a law in the Final buffing and polishing erased the line of the seam and require that such a designation be stamped on overall a smoother surface resul ted, free of the hammer marks everything containing 90 per cent silver. And so it was of earlier work. that during the middle years of the 19th Century we , arly pewter was more often cast in molds, but it, throughout rural America, the peddlar's cart stocked with too, acquired identity with the "Touch mark" of silver plate, along with the familiar tin and enamel and copper a reputable pewterer or . It must be hollowware for kitchen use. Until the advent of the mail understood that many craftsmen worked in a order house, forms in metal were sold this way outside variety of metals, and we find Paul Revere town and city. For economy's sake plated silver was used in making brass andirons, as well as his famous the growing number of hotels, restaurants and even the many silver bowls and tea services. By the 1820's metals such steamboats that carried thousands of travellers far and wide. as tin were being spun on a , speeding up production In the 1850's Britannia ware, consisting of approximately markedly, and after the Civil War machines were developed for 91 per cent tin, 7 per cent antimony and 2 per cent copper, out metal forms, which again changed not only the (a harder alloy than pewter), replaced it almost totally because speed of production but the forms that metal objects could of Britannia's durability. It was similar in appearance to take. Makers' marks are rarely if ever found on tin, brass or pewter but more shiny, and less expensive than silver. It was copper in colonial times. "Brand names" and patented items, not until the 1920's that new materials, such as aluminum, such as oil lamps, made of brass or , and cast iron stoves, chromium and entered the major markets and are a part of the later 19th Century and a result of the Industrial allowed further experimentation with forms and designs Revolution. When the 1840's inaugurated this most dissimilar from traditional metals. significant change in western man's productivity by inventing machinery to do the work of many hands, the role and position of the individual master craftsman and his small of

4 Serviceable objects with a minimum of decoration typify the best of old American pewter.

106. 84. 85 . Demijohn, 19th Century Pair of Sauceboats, Sugar Bowl with Cover, H .I0W'. 18th Century late 18th Century James Hervey Putnam #12. H . 3W'. #13, H. 3%". H. w/cover, 3W'. (1803-1855). Malden, Mass. Probably American Thomas Danforth, III (1756-1840). Stepney, Conn., and Philadelphia 5 he collection of objects from 1700 to the popular with a number of art clubs and artists' societies in the 1940's is one of contrast. The superb United States in the 1890's and continued in favor through handcrafted objects made in silver by great the 1920's. One prominent American silver manufacturer, artisans are gathered together with the Gorham, reflected this taste in their martele line. A fresh sturdy and less sophisticated articles that source of inspiration that followed after the served useful purposes in daily life far from International Exposition of Modern Decorative and the sanctuary of parlor and diningroom. It is the great Industrial Art in 1925 was the dynamic known as variety of these pieces that, shown together, illustrate the Art Deco, or Style Moderne, which drew upon such varied life of generations past. Changing styles are evident most sources of design as the cultures of the American Indian, prominently, of course, in the precious objects of silver. MyanJAztec, Minoan and Egyptian. By the mid 1930's Utilitarian articles that satisfied the functions for which they the appeal of plain, undecorated surfaces with stress on the were made remained much the same for decades, or until their functionalism of the object made a new taste and style use changed, or they became obsolete, like the tea caddy and apparent in the work of individual craftsman and industrial the cuspidor. In the silver shown can be traced the style of designer alike. the English baroque and also the classical taste which brought, in the later part of the 18th Century, simpler forms Robert H. Luck and decoration which is reflected in this country by the silver Curator The Contemporary Wing made about the time of our Revolution. Not long after 1800 Finch College Museum of Art the influence ofN apoleon' s Empire, recalling ancient Roman opUlence, saw further change by enrichment of surface and more grandiose shapes. Archaeologists and art historians contributed impetus to the ensuing diverse tastes, during the 19th Century, for objects of art made in variations and adaptations of styles drawn from many sources: Greek, Egyptian, Romanesque, Gothic, Renaissance, Near and Far Eastern. Toward the end of this protean century nostalgia for 18th Century English and American things set in, and has never abated. The Art Nouveau style of the 1880's in continental Europe found expression, also, in America until the end of World War I. In the 1880' s in England, on the other hand, William Morris fostered a revival of hand-crafted and folk-art inspired handicrafts including furniture, accessories, fabric and wallpaper designs. In metals especially the hand-wrought look, hammer marks showing, was a trade-mark of the" Arts and Crafts Movement". This was

6 Rare and highly prized drinking vessels were passed down in some families for generations.

7. 8. 1. Tankard, c. 1735-69 H. 8" Cann, c. 1760 H. 5" Cup,c. 1700 Nicholas Roosevelt Daniel Henchman H. 2%". Diam. 2%". (1715-1769) worked in (1730-1775 ). Boston John Coney (1655-1722 ). New York from 1739. Boston 7 Strong and simple shapes reflect the utilitarian nature of early hollowware.

88. 105. 95. 91. 94. 99. Shaker with Stopper, early Teapot, 19th Century Beaker, Two-Handled, 1st Mug, late 18th or early Baby's Bottle, c. 1810-50 Flagon, 181O-50H. 12 W' 19th Century H . 5 ~" H.10W· Quarter, 19th Century 19th Century H. 5¥." H . 6'12" Danforth and Boardman T homas Danforth, III George Richardson H. 5W: Thomas Danforth Parks Boyd (1771/72-1819). Thomas Danforth (1756-1840) (1782-1848) Boardman and Sherman Philadelphia Boardman (1784-1873). Boardman (c. 1810-1854) Hartford 8 8l. 109. 122 . Tankard, 2nd half, 18th Pair of Chamber Coffee Pot, c. 1840 painted Century H. 8\1'8 " William Will Candlesticks, c. 1845 tinH.I0¥''' 3 123. Britannia ware H. 6 /4" Maker unknown, Lantern, c. 1830 brass Henry Hopper (working c. Pennsylvania 1841-1846/47). New York H.15 W' 9 32. 55. Pitcher, c. 1840-50 H. 7" Bowl, c. 1916 William Adams (working H. 19". Diam. 13" c. 1829-1850). New York William J. Codman, designer, for Gorham 10 Co. Highly skilled silversmiths produced luxurious and often unique pieces for use and display.

21. 17. 9. 25. 41. 18. Pot, Wine or Punch, Coffee Pot, c. 1790 H. 14" Creamer, c. 1750-1773). H . Tea Set, C. 1820 Candelabrum, c. 1890 Covered Sugar Urn, c. 1805-lOH. 8W'. Diam. George Aiken 4" Samuel Casey Teapot #3, H. 3%". H.21 \fz" c. 1790 H . 1O'1l" 5%" Simon Chaudron (1765-1832). (1723-1773 ). Exeter and Harvey Lewis (working Tiffany and Co., New York Daniel Van Voorhis (working 1798-1814). Baltimore Kingstown, R.I. 1811-1826). Philadelphia (1751-1824). New York Phil ad el p hia 11 From the beginning of the 20th Century a variety of vigorous styles have influenced designers and metalsmiths.

127. 67. 75. 130. Bookends, 1901 Tea Service, c. 1933 Tall Footed Compote, Peacock Andirons, c. 1930 H. 5W'. W. 8'14" Teapot, H . 5W; Sugar Bowl, c. 1936 H . 9W'. Diam. 8" bronzeH. 20". W. 22". Clio Bracken (1870-1925) H. 23f4'; Creamer, H. 3 ~8" Eliel Saarinen, (1873-1950) D.25" Arthur Nevill Kirk designer. Eliel Saarinen, designer 12 (1881-1958) International Silver Co. 129. 72. Antelope Candelabrum, Hot Water Urn, and Stand, c. 1927 wrought ironH. 79" c. 1935 Urn, H. 14:%". Hunt Diederich Stand, Diam. 18" Eliel Saarinen, designer. International Silver Co. 13 1940'S -1975

etalsmithing is emerging as a vigorous decorative elements. Despite these similarities, metalsmiths, and rapidly expanding area of artistic working primarily with silver and pewter, continued the activity in the United States today. Such tradition of integrating a distinctly American flavor into their growth could hardly have been pieces. Emphasis was placed on utilitarian function; bowls, anticipated by the conditions prevailing pitchers, platters, tea and coffee services represented the in the field fifty years ago. At that time, maj or portion of hollow ware produced for exhibition or the availability ofless expensive commercially produced special commission. pieces had greatly diminished the desire for handcrafted Perhaps the single element which distinguishes recent metalwork; and, accordingly, the number of smiths working metalwork is a sense of preciousness. The creation of such outside had dwindled to a small group of individuals. refined objects is a result of the university environment where Several schools maintained metal working departments in the most contemporary metalsmiths have freedom from financial 1930s; emphasis, however, was placed on basic processes and dependence on sales, numerous studio hours to devote to vocational training. Metalsmiths who wished to broaden the the fabrication of the piece, and the desire for personal scope of their technical abilities beyond those offered in recognition through exhibition. The elaborate forms and the schools had to look to Europe for additional sources of wide variety of materials and techniques characteristic of information. This infusion of knowledge from trained these objects reflect the enormous discipline required ofthe European master craftsmen was significant in regenerating contemporary metalsmith. Also, increased interest in subject metal smithing in this country. matter and personal statements become important as The greatest impetus for reviving metal smithing began in functional aspects of the pieces become less of a concern. All 1947 with a series of five annual conferences sponsored by of these factors contribute to an where whim and Handy and Harman, refiners and dealers of precious metals. frivolity are to be taken seriously, where the creative spirit is These conferences, planned by Margret Craver for teachers unrestricted, where emphasis is on the production of the of art who wished to study raising and hollow ware ultimate metal object. techniques, were held at the Rhode Island School of Design Paul J. in Providence and the School for American Craftsmen in Director Rochester, New York. Baron Erik Fleming from Sweden, Museum of Contemporary Crafts William E. Bennett, and Reginald H. Hill from England conducted the month-long workshops, each of which was limited to twelve students. The knowledge and stimulation gained by those in attendance were immediately shared with their students and spread through the developing art programs on university campuses. The pieces produced during the 1950s and early 1960s closely paralleled Scandinavian and modern design trends in the concern for simple forms with sparse, carefully considered

14 Pitcher 1950s Decanter Set 1945 Muffiner 1947 Onion 1953 Compote 1953 Hudson Roysher Margret Craver Arthur J. Pulos ; Sterling silver, Sumatra cane; Sterling silver; Teapot; silver; raised, Sterling silver; raised, fabricated ; stretched, formed, seamed; decanter: 10 '12" x 4Yz" dia. raised ; 4 /1 x 3". forged, fabricated ; 4Yz" x 9Yz" X 6 Yz" . constructed; goblet: 2%,' x 2 Vs" each; 6Yz" x lO W' x 8W'. lOW' x 6%" x 5". tray: }liz" x 20" X 12 Vs" , 15 Pitcher 1955 Sarcophagus 1973 Triptych 1972 Wine Containers 1973-74 Frederick A. Miller Richard Mafong IJon Riis Patricia J. Robert K. Montgomery Sterling silver; stretched; 12" x 6 Yz" . Sterling silver, metallic Daunis-Dunning Silver, iron wood, , Photo: threads; chased, tapestry Brass, sterling silver, vermillion wood, ; woven, repousse; cultured ; fabricated ; raised, constructed; 16 6" x 4 11 X 3", 5" x 5" x 5". 6 Yz" x 3" and 7" x 3 112". The infusion of knowledge from European craftsmen during the 1930s and 1940s was significant in regenerating metalsmithing in this country.

------.. Cup Form 1974 Traveling Sacrament Woven Form #1 1974 Hiroko and Gene Pijanowski Set, 1969 Mary LeeHu Copper, bronze, yarn, metallic Bob Ebendorf Fine silver, lacquered thread, feathers, fine silver; Silver, rosewood; copper; twined, wrapped; raised, inlaid, coiled, fabricated ; constructed; 4 1h" x 1'12", 8" x 7 1/z" x 7'1z". 7"x SlJz "x 5'/211 , 17 Enormous discipline, utilizing a wide variety of materials and techniques, is required of the contemporary metalsmith.

3-73 Vase 1973 Silver Form #1 1969 Paul Mergen Helen Shirk Copper; embossed, forged, Sterling silver; formed, raised; 9" x 8%", constrUcted ; 91h" x 5".

18 Container 1974 Container 1974 Container 1973 Nadene R. Wegner Thomas R. Bambas Jacqueline Ott Delrin, silver electroplate, Sterling silver; raised, Copper, pewter; fabricated ; commercial bronze, silicon chased, fabricated; 7"x 10"x 10". 9 1/2" x 7Vz" X 4 Vz" , bronze; cast, fabricated, carved; 2Yzil x 4" X 3 :Y4". 19 Perhaps the single element which distinguishes recent metalwork is a sense of "preciousness."

Shot Glasses 1974 Pewter Peanut with Box 1973 Funeral Hearse 1974 Pewter Cups 1974 Christopher A. Hentz Douglas K. Ewald Patricia J. Copper, brass, 24k plate; Pewter, brass, electric motor, cardboard, paint, Silver, brass, ebony, felt; Daunis-Dunning forged, inlaid, constructed, transfer type; cut, painted, glued, formed, welded, constructed, soldered, Pewter ; cast ; plated; 5" x 2'1 X 3" each. constructed; 10'1 x 8" X 8", turned; 14" x 4" x 5", 5" x 1Vz" each 20 Non-Denominational North Beach Flamingo Arc Angle 1974 Chalice 1974 J. Thomas Reardon Barry S. Merritt/ Brass, copper, sterling silver, fine silver, plexiglas, Fine and sterling silver, 24k gold plate, , essonite ! cloisonne enamel ; scored, rhodochrosites, , fingernail polish, animal bent, sandblasted, constructed; 3 0/8" x 4" x 5V2". 11 charms; forged, raised, constructed, cast, painted ; 9" x 2 , 21 Emphasis now is on the production of the ultimate metal object.

Pot Form-Lotus 1974 Planter 1972 Komelia Hongja Okim L. Brent Kington Sterling silver, rabbit fur ; Mild steel; forged, welded; raised, constructed, 29'12" x 17" x 20". repousse; 7" x 10". 22 Fate is the Hunter 1972 Streaker Chariot 1973 Pa Container 1973 J. Fred Woell Timothy M . Glotzbach Edward Higgins Box; brass ; cast; Brass, silver, copper, bone; Sterling silver; cast, 4 '1z" x2W'x H',". forged, cast, constructed, fabricated ; repousse; SW' x lO W' x 2W'. 4 I1 xS"x2 Vl". 23 Today, as functional aspects of the pieces become less of a concern, there is an increased interest in subject matter and personal statement.

Free Standing K n ife 1974 Stomach 1972 Box #31970 Experimental Container Decanter 1973 Pamela J. Burroughs Carol J. Steen Louis Mueller 1974 Humphrey T. Gilbert, Jr. Silver, antier, antique Brass ; masonite die Sterling silver, bronze; Gail Farris Larson Sterling silver; raised, ; cast, constructed; formed, fabricated ; fabrica ted ; Copper; raised; constructed; 21/." x SVz" X ¥4" , 6'/4" x 6:¥." x 3". 4"x 2 11 X 2/1 . 8" x 15" x 10". 11 " x 4v." X 2 0/4". 24 Gill Pot 1974 Candlestick # 15 1973 Debra Lynn G old S~ver, brass, copper; Wrought iron, brass, raIsed, fabricated ; copper inlay; forged, 11 5 Vz" x 7 VZII X 6 Vz". riveted, coiled; 23" x 10" x 6 • Photo: Rodger Smith 25 Catalogue Listing 1700-1940's

Silver 9. 16. The Metropolitan Museum of Art Creamer, c. 1750-70 Cake Basket, c. 1790 Purchase 1938. The Rogers Fund 1. H . 4" H. 12 'l's". Diam. 10" Cup, c.1700 24. Samuel Casey (1723-1773). William G. Forbes (1751-1840). Sauceboat, c. 1831-42 H. 23/4". Diam. 2¥8" Exeter and Kingstown, R.1. New York John Coney (1655-1722). Boston H . 6" William L. Adams The Metropolitan Museum of Art The Newark Museum (working 1831-42). New York The Metropolitan Museum of Art Bequest of Edward Pearce Casey, Presented in memory of Leonard Purchase 1941. The Rogers Fund The Metropolitan Museum of Art 1941 Dreyfus by the United Advertising Anonymous Gift Fund, 1968 2. 10. Corp., 1970 Wine Taster, c. 1700 25. Tankard, c. 1725-50 17. Tea Set, c. 1820 H. with handles, 1" ;'6". Diam. 3" ;'6" H . 6¥4" Coffee Pot, c. 1790 John Coney Teapot #1,H. 9'5;'6" Adrian Bancker (1703-1772). H. 14" George Aiken Teapot #2,H. 83/4" The Metropolitan Museum of Art New York (1765-1832). Baltimore Gift of Dr. Robert S. Grinnell, 1970 Teapot #3,H. 33/8" The Metropolitan Museum of Art The Newark Museum Creamer,H.65;'6". 3. Bequest of Charles Allen Munn, Purchase 1953, Wallace M. Scudder Sugar bowl with cover, H. 8" Porringer, c. 1725-35 1924 Bequest Waste bowl, H . 65/8" H. 2V8". Diam. 8V8" 18. Samuel Vernon (1683-1737). 11. Harvey Lewis (working 1811-1826). Footed Salt, c. 1764 Covered Sugar Urn, c. 1790 Philadelphia Newport, R.1. Diam. 23/ " H. lO W' Daniel Van Voorhis The Metropolitan Museum of Art 4 The Metropolitan Museum of Art Benjamin Halstead (working (1751-1824). New York Gift of Mrs. Arthur C. Steinbach, Gift of Brig. Gen. Sylvester Dering, 1764-1805) The Newark Museum 1915 1968 Elizabeth and Newark, N .J. Bequest of Amos F. Holbrook, 1934 26. 4. and Philadelphia 19. Tea Set, c. 1825 Spout Cup, c. 1720-40 The Newark Museum Footed Bowl, c. 1800 Teapot,H. 9 31." H . 5". Diam. 2¥S" Purchase 1964, Eva Walter Kahn H. 5W'. Diam. 6W' Covered Sugar Bowl, H. 9" George Hanners (1697-1740). Bequest Amos Whitney (working 1800-10). Creamer, H . 731." Boston 12. New York Waste Bowl, H . 6¥S" The Newark Museum Tumbler, c. 1769 The Newark Museum John Crawford (working 1815-1836). 5. H. 2W'. Diam. 3" 20. New York and Philadelphia Mug, c. 1735-55 Paul Revere (1735-1818). Boston Patch Box, c. 1800 The Metropolitan Museum of Art H. 5". Diam. 3'/4" The Metropolitan Museum of Art H . ';'6". L. 3'/8" Gift of Mrs. Joseph Shardlow, 1908 Jacob Hurd (1702-1758). Boston Gift of R. Thornton Wilson, 1939 Maker unknown. American? 27. The Metropolitan Museum of Art 13. The Metropolitan Museum of Art Purchase 1922. The Rogers Fund Chocolate Pot, c. 1827 Ladle, c. 1750-89 Bequest ofJohn L. Cadwalader, 1914 H . 12 V8". Frederick Marquand 6. L. 11 '!4" 21. (1799-1882). Savannah and Porringer, c. 1750 John Coburn? (1725-1803). Pot, Wine or Punch, c. 1805-10 New York H. 7V2". Diam. 5V4" Boston H . 8 'l'8" . Diam. 531." The Metropolitan Museum of Art William Simpkins (1704-1780). The Brooklyn Museum Simon Chaudron (working Purchase. Funds from Various Boston Bequest of Samuel E. Haslett 1798-1814). Philadelphia Donors, 1970 The Newark Museum 14. The Metropolitan Museum of Art 28. Gift of Louis Bamberger Mug, c. 1775-1800 Purchase 1966. Mr. and Mrs. Hot Water Pot, 1828 7. H . 5V4". Paul Revere Marshall P. Blankarn Gift H . 83/4". Samuel Kirk Tankard, c. 1735-69 The Metropolitan Museum of Art 22. (1793-1872). Baltimore H.8" Bequest of Charles Allen Munn, Entree Dish, c. 1810 The Brooklyn Museum Nicholas Roosevelt (1715-1769). 1924 W. 12V4". Diam. 9V4" Gift of Mr. and Mrs. Richman worked in New York from 1739. 15. John and Peter Targee (working Proskauer The Metropolitan Museum of Art Porringer, c. 1760-1800 1809-15). New York 29. Bequest of Charles Allen Munn, H. 1 ¥S". Diam. 6Y8" The Brooklyn Museum Tea Set, c. 1835 1924 Paul Revere H. Randolph Lever Fund Teapot, H . lO W' 8. The Metropolitan Museum of Art 23. Sugar Bowl, H. 9W' w/cover Cann, c. 1760 Bequest of Charles Allen Munn, Pap Boat, c. 1810 Creamer, H.6'l'8" H.5" 1924 H. 2". L. 6W' William Thomson Waste Bowl, H . 6'/8". Diam. 7V8" Daniel Henchman (1730-1775). (working 1809-45). Litchfield, Thomas E. Stebbins and Co. Boston Conn. and (1810-34). New York (working 1835). New York The Newark Museum The Newark Museum

26 30. 37. 44. 51. Siphon, c. 1833-39 Covered Bowl, c. 1855-60 Ladle, c. 1890 Martele Ewer with Plateau, 1901 L. 14'/2" Diam. 5'1s" L. 7%" Ewer, H. 19". Plateau, Diam. 17 '12" Marquand and Co. (working Cooper and Fisher (working 1850). Tiffany and Co., New York Gorham Silver Co. 1833-1839). New York New York The Museum of the City of The Metropolitan Museum of Art The Metropolitan Museum of Art The Metropolitan Museum of Art New York Gift of Hugh J. Grant, 1974 Gift of Russell Hunter, 1963 Gift of Miss Annie Clarkson, 1927 Gift of Mrs. Bertha Shulls 52. 31. 38. Dougherty and Cup, Three-Handled, c. 1905 Cream Pitcher, c. 1840 Threen, c. 1865-70 Miss Isabel Shulls H.8" H.6'14" H. 10 3,4" . Diam. 8'/s" 45. Tiffany Studios, New York James N. Hyde and C.W. Goodrich Gorham Manufacturing Co. Open Salt Dish, c. 1890 The Metropolitan Museum of Art (working c. 1816-1866). (est. 1831). Providence H.33/s" Edgar J. Kaufmann Charitable The Newark Museum Tiffany and Co., New York Foundation Trust, 1969 Cooper-Hewitt Museum of Design, 39. The Museum of the City of 53. Water Pitcher, c. 1866 New York Pair of Candlesticks, c. 1910 32. H . 12" Gift of Mrs. Bertha Shulls H.63/4" Pitcher, c. 1840-50 J.E . Caldwell and Co., Philadelphia Dougherty and Made for F . Walter Lawrence, H. 7". William Adams The Newark Museum Miss Isabel Shulls jeweler, New York (working c. 1829-1850). New York 40. 46. The Museum of the City of The Brooklyn Museum The William Cullen Bryant Vase, Pepper Shaker, c. 1890 New York Gift of Miss B.M. Kitching c. 1875 H. 5'12" Gift of Mrs. John Clapperton Kerr 33. H. wlbase, 33 %" Tiffany and Co., New York 54. Pair of Candlesticks, c. 1850 J.H. Whitehouse, Designer, The Museum of the City of Hot Milk Pitcher, c. 1914 H.53/4" Tiffany and Co., New York New York H . 3%". Meriden Britannia Co., Holmes, Booth and Haydens (attrib.). The Metropolitan Museum of Art Gift of Mrs. Bertha Shulls Meriden, Conn. Waterbury, Conn. Gift of William Cullen Bryant, 1877 Dougherty and International Silver Co. Miss Isabel Shulls The Newark Museum 41. 55. 34. Candelabrum, c. 1890 47. Punch Bowl, c. 1916 Pair of Goblets, c. 1850 H. 21 '12" "Viking" Punch Bowl, c. 1893 H. 19". Diam. 13" #3, H. 6 11 /16" .#4, H. 691.6" Tiffany and Co., New York H. I 13fs" . Diam. 20 '14" William J. Codman, designer, for Robert and William Wilson (attrib. The Museum of the City of Tiffany and Co., New York Gorham Manufacturing Co. Working 1825-1846). New York The Metropolitan Museum of Art The Newark Museum Philadelphia Gift of Mrs. Bertha Shulls Gift of the Edgar J. Kaufmann Gift of James R . Hillas, 1967 Charitable Foundation Trust, 1969 The Metropolitan Museum of Art Dougherty and 56. Gift of George H. Hull, 1970 Miss Isabel Shulls 48. Tobacco Jar, c. 1921-31 35. 42. Oval Box, c. 1896 H . 6 '14" Tea Service, c. 1850 Covered Dish, c. 1890 H . 3". L . 5'12" The Barbour Silver Co., Hot Water Kettle with Stand, H. 11 '12". Diarn. 9 '12" Derby Silver Co., Derby, Conn. Meriden, Conn. H. 1751.6" Tiffany and Co., New York International Silver Co. International Silver Co. Sugar Bowl with Cover, H. 9" The Museum of the City of 49. 3 57. Creamer, H. 8 /s" New York Fruit or Nut Bowl, c. 1898 Epergne with Crystal Bowl, c. 1930 Ball, Tomkins and Black (working Gift of Mrs. Bertha Shulls Diam. 7" H . 9 3/4". Diam. bowl, 13 3,4" c. 1839-1851). New York Dougherty and E.G. Webster and Son, Brooklyn William T. Brown (1892-1971), The Metropolitan Museum of Art Miss Isabel Shulls International Silver Co. designer for Gift of Mrs. F.R. Lefferts, 1969 43. 50. Wallace Silversmiths, 36. Sauce Boat and Tray, c. 1890 Bowl, c. 1900 Wallingford, Conn. Beaker, c. 1859 Sauce Boat, L. 8'/4". Tray, L . 10'14" Diam. I 1 'Is" Wallace Silversmiths H.3'l's" Tiffany and Co., New York Whiting Manufacturing Co. 58. Maker unknowr!, American The Museum of the City of (working c. 1900). New York The Brooklyn Museum Candelabrum, c. 1930 New York The Metropolitan Museum of Art H.15 '14" Gift of Mrs. Bertha Shulls Purchase, Mr. and Mrs. Marshall P. William T. Brown, designer, Dougherty and Blankarn Gift, 1970 for Wallace Silversmiths Miss Isabel Shulls Wallace Silversmiths

27 59. 69. Pewter and 83. Cross, c. 1930 Compote, c. 1933 Britannia Ware Basin, 18th Century H . 30". Arthur Nevill Kirk H. 85;'6". Diam. 63/4" H . 2¥s". Diam. 1 Pis" (1881-1958) Eliel Saarinen (1873-1950) 76. George Lighmer (1749-1815). Christ Church Cranbrook Cranbrook Academy of Art Museum Porringer, early 18th Century Baltimore 70. Diam. 5'/z" The Metropolitan Museum of Art 60. Maker unknown. American? Pair of Candlesticks, c. 1930 Bowl, c. 1933 Gift of Mrs. Blair in memory of her H. 12". Arthur Nevill Kirk Diam. 83/4" The Metropolitan Museum of Art husband, J. Insley Blair, 1941 Gift of Mrs. Russell Sage, 1909 Christ Church Cranbrook Eliel Saarinen, designer. 84. 61. Executed by Arthur Nevill Kirk 77. Pair of Sauceboats, 18th Century Bowl, c. 1931 Cranbrook Academy of Art Museum Round Box with Cover, #12,H. 3¥s" . #13, H. 3'/4" Diam. 65/s" 71. 18th Century Probably American Arthur J. Stone (1847-1938) Cigarette Box, c. 1933 H. 3'/4". Joseph Leddell, Sr. The Metropolitan Museum of Art Cranbrook Academy of Art Museum H. 5'12" . L. 4 '12" . (c. 1690-1754). New York, or Bequest of Helen W. D . Mileham, Eliel Saarinen, designer. Joseph Leddell, Jr. (d. 1754). 1955 62. New York Coffee Pot, c. 1931 Executed by Arthur Nevill Kirk 85. Cranbrook Academy of Art Museum The Metropolitan Museum of Art Sugar Bowl with Cover, H. 9 '/4" . Arthur J. Stone Purchase, 1945 Cranbrook Academy of Art Museum 72. late 18th Century Hot Water Urn, and Stand, c. 1935 78. H . w/cover, 31's" 63. Tankard, 18th Century Thomas Danforth, III (1756-1840). Cigarette Box, c. 1933 Urn, H . 14 3/4". Stand, Diam. 18" H. Tya" 3 Eliel Saarinen, designer. Stepney, Conn., and Philadelphia H. 5". Diam. 3 /4" John Will (c.1 707-c.1774). New York The Metropolitan Museum of Art Arthur Nevill Kirk Execu ted by International Silver Co. Cranbrook Academy of Art Museum The Metropolitan Museum of Art Gift of Mrs. Blaii: in memory of her Cranbrook Academy of Art Museum Gift of Mrs. Blair in memory of her husband, J. Insley Blair, 1941 64. 73. husband, J. Insley Blair, 1941 Compote, c. 1936 86. Cigarette Box, c. 1933 3 79. Mug, late 18th or early 19th Century H. 4 '12" . Diam. 2 '12" H. 4 /4". Diam. 10" Eliel Saarinen, designer. Chalice, 18th Century H . 5W'. Thomas Danforth, III Arthur Nevill Kirk H.87/s" The Metropolitan Museum of Art Cranbrook Academy of Art Museum Executed by International Silver Co. Cranbrook Academy of Art Museum John Christopher Heyne Gift of Joseph France, 1943 65. (1715-1781). Lancaster, Pa. 74. 87. Compote, c. 1933 The Metropolitan Museum of Art Dish, early 19th Century H . 8". Diam. 8'12" Compote, 1936 Gift of Joseph France, 1943 5 H. 3'/4". Diam. 13" Diam. 9 /' 6". Thomas Danforth, III Arthur Nevill Kirk 80. The Metropolitan Museum of Art Cranbrook Academy of Art Museum Eliel Saarinen, designer. Execu ted by International Silver Co. Teapot, 18th Century Purchase, 1945 66. Cranbrook Academy of Art Museum H . 6 '1s" 88. Sweet Meat Dish, c. 1933 William Will (1742-1798). 75. Shaker with Stopper, Diam. 4W'. Arthur Nevill Kirk Philadelphia early 19th Century Cranbrook Academy of Art Museum Tall Footed Compote, c. 1936 The Metropolitan Museum of Art H. 9 3/4". Diam. 8" H. 5%" . Thomas Danforth, III Gift of Mrs. Blair in memory of her The Metropolitan Museum of Art 67. Eliel Saarinen, designer. husband, J. Insley Blair, 1941 Tea Service, c. 1933 Executed by International Silver Co. Gift of Joseph France, 1943 Teapot, H.5 '12" Cranbrook Academy of Art Museum 81. 89. Sugar Bowl, H. 23/4" Tankard, 2nd half, 18th Century Chalice, late 18th or Creamer, H . 31's" H.8 '1s" early 19th Century Arthur Nevill Kirk William Will H. 8'l's". Timothy Brigden Cranbrook Academy of Art Museum The Metropolitan Museum of Art (1774-1819). Albany 68. Gift of Mrs. Blair in memory of her The Metropolitan Museum of Art Teapot, c. 1933 husband, J. Insley Blair, 1941 Gift of Joseph France, 1943 H . 31's" 82. Charles Price (1906-1943) Tankard, 18th Century Cranbrook Academy of Art Museum H. 7". Frederick Bessett (1740-1800). New York and Hartford, Conn. The Metropolitan Museum of Art Purchase, 1939

28 90. 9S. 106. Iron, Tin, Brass, Beaker, late ISth or Basin, 19th Century Demijohn, 19th Century Aluminum, Stainless Steel early 19th Century Diam. 7'l's". Josiah Danforth H. 10%". James Hervey Putnam H. 3Vs". Samuel Danforth (1803-1872). Middletown, Conn. (1803-1855). Malden, Mass. 113. (1772-1827). Norwich, Conn. The Metropolitan Museum of Art The Metropolitan Museum of Art Warming Pan, 18th Century The Metropolitan Museum of Art Gift of Mrs. Blair in memory of her Gift of Mrs. Blair in memory of her brass, iron handle Gift of Mrs. Blair in memory of her husband, J. Insley Blair, 1941 husband, J. Insley Blair, 1941 L. 41 '12". Diam. 13" Maker unknown. American husband, J. Insley Blair, 1941 99. 107. Flagon, 1810-50 Coffee Pot, 1835-52 The Metropolitan Museum of Art 9l. Gift of Mrs. Russell Sage, 1909 Mug, late ISth or early 19th Century H. 12'12". Danforth and Boardman H. lO W'. Samuel Simpson H. 5%". Parks Boyd The Brooklyn Museum (working 1835-1852). 114. Circular Box, c. 1747 (1771172-1819). Philadelphia 100. Yalesville, Conn. The Metropolitan Museum of Art The Metropolitan Museum of Art brass. Diam. 2'/s" Soap Box, 19th Century Maker unknown, American? Gift of Joseph France, 1943 H. I V2". Diam. 4V2" Gift of Mrs. Blair in memory of her husband, J. Insley Blair, 1941 The Metropolitan Museum of Art 92. Ashbil Griswold (1784-1853 ). Purchase, 1956 Plate, c. IS00 Meriden, Conn. 108. Diam. 8""6". Nathaniel Austin The Metropolitan Museum of Art Pitcher, c. 1845 115. (1763-1807). Charlestown, Mass. Gift of Mrs. Stephen S. Fitzgerald, H. 8Vs" . William McQuilkin Fireback, 1767 The Brooklyn Museum 1962 (working 1839-53). Philadelphia cast iron. H. 30". W. 21" Maker unknown, New York 93. The Metropolitan Museum of Art 10l. The Museum of the City of Porringer, early 19th Century Beaker, 19th Century Purchase, 1922 Diam.5lh" 109. New York H . 3". Ashbil Griswold Gift of Mrs. Screven Lorillard Maker unknown, Pennsylvania The Metropolitan Museum of Art Pair of Chamber Candlesticks, The Metropolitan Museum of Art Gift of Mrs. Blair in memory of her c.1845 116. Gift of Mrs. Blair in memory of her husband, J. Insley Blair, 1941 Britannia ware. H. 6%" Pair of Andirons, 18th Century brass. H . 19 '12" husband, J. Insley Blair, 1941 102. Henry Hopper (working 94. Measure, 1833 c. 1841-1846/47 ). New York Maker unknown. American The Brooklyn Museum Baby's Bottle, c. IS10-50 H. 3314". Boardman and Hart, The Museum of the City of H . 6'12". Thomas Danforth New York Gift of Colonel and Mrs. New York Edgar W. Garbisch Boardman (1784-1873). Hartford The Brooklyn Museum Bequest of Mrs. Giles Whiting The Metropolitan Museum of Art Gift of George D. Pran 1l0. 117. Lantern with Handle, ISth Century Gift of Joseph France, 1943 103. Oil Lamp, 1841-47 95. Britannia ware. H . 9" tin. H. 10 '12". Diam. 4%,' Candlestick, 1830-34 Maker unknown. American Beaker, Two-Handled, 1st Quarter, H . 12 Vs". The Taunton Henry Hopper 19th Century The Museum of the City of The Brooklyn Museum Britannia Manufacturing Co., Henry L. Batterman Fund H. 5'12". Thomas Danforth Massachusetts New York Boardman and Sherman Boardman The Brooklyn Museum Bequest of Dr. Annie Sturgis Daniel 118. (c. 1810-1854) Dick S. Ramsey Fund 111. Lantern, Pierced Design, late ISth Century The Metropolitan Museum of Art 104. Oil Lamp, c. 1848-54 Gift of Joseph France, 1943 Britannia ware. H . 5" tin. H. 13". Diam. 5V." Shaving Mug, lst Half, Maker unknown. American 96. 19th Century Capan and Molineux (working Porringer, 2nd Quarter, 1848-1853/54). New York The Brooklyn Museum H . 4'12". George Richardson Gift of Miss May Gelston 19th Century (1782-1848). Boston and The Museum of the City of Diam. 4". Thomas Danforth Cranston, R.I. New York 119. Boardman and Sherman Boardman The Metropolitan Museum of Art Gift of Mrs. Charles E. Atwood Box, Hinged Cover, The Metropolitan Museum of Art Gift of Joseph France, 1943 112. late 18th Century painted tin. H . 8'12". W. 5W'. D. 4'12" Purchase, 1909 105. Double Oil Lamp, 1858-67 97. H . 8'12". Yale and Curtis Maker unknown. American Teapot, 19th Century The Brooklyn Museum Flagon, lst Half, 19th Century H . 10 '12". George Richardson (working 1858-1867). New York H. l2W'. Thomas Danforth The Metropolitan Museum of Art The Brooklyn Museum Boardman and Sherman Boardman Purchase, 1939 Gift of Mrs. Samuel Doughty The Metropolitan Museum of Art Gift of Joseph France, 1943

29 1940'S-1975

120. Louis C. Tiffany The dimensions given, unless Cannister, 1820-50 Study Collection The Museum otherwise noted, are listed in order painted tin. H. 5%" . of Modern Art of height, width and depth. Maker unknown. Amencan Gift of Homer Kripke Jerry Bailey The Brooklyn Museum 129. Kink H. Randolph Lever Fund Antelope Candelabrum, c.1927 Container; sterling silver; aluminum 121. wrought iron. H. 79" die formed, fabricated, lost wax cast; Coffee Pot, early 19th Century Hunt Diederich 1'/4" x 4" x 2 314"; 1974. painted tin. H . lO W' . Frances Pratt Marilyn Bailey Maker unknown, Pennsylvama 130. Piglets Come Home. . The Metropolitan Museum of Art Peacock Andirons, c. 1930 Reliquary; sterlm~ sllve,~, Iv?,ry, ". Gift of Mrs. Robert W. deForest, bronze. H . 20". W. 22". D. 25" leopard's claw; raIsed; 9 x 4 x 4 , 1933 Eliel Saarinen, designer 1974. 122. Richard Thomas John Baltrushunas Coffee Pot, c. 1840 131. Box painted tin. H. lO W' Cigarette Box, c. 1933 Brass, bronze, nickel bronze, lapis, Maker unknown, Pennsylvania copper with silver trim pyrite; mokume and shell structure; The Metropolitan Museum of Art H. 4 V2" . Diam. 2 V2" 9" x 8" x 4"; 1974. Gift of Mrs. Robert W. deForest, Arthur Nevill Kirk 1933 Thomas R. Bambas Cranbrook Academy of Art Museum Container 123. 132. Sterling silver; raised, chased, cast; Lantern, c. 1830 Cocktail Shaker, 1939 7"x 10" x 10" ; 1974. brass. H. 15 W' chromium. H . 11" The Museum of the City of Thomas R. Bambas W. Archibald Weldon, designer, for Pitcher New York Revere Copper and Brass, Inc. Gift of William Dodd Geiger Sterling silver; raised, chased; The 10" x 3V2" X 2V2"; 1969. 124. 133. Dale Binford Center Candelabrum, c. 1850 Water Kettle, 1939 brass. H . 19 Y2" Apple Dinner Bell . Maker unknown. American? cast aluminum. H . 4 3,14" Copper, silver, bone; raIsed, The Brooklyn Museum Trace and Warner, designers for fabricated, repousse; Gift of Mrs. Chauncey E. Low Club Aluminum Products Co. 4 V2" x 1 V2" X 2"; 1974. The Museum of Modern Art 125. Dale Binford Pair of Sconces, c. 1840-60 134. Pocket Ashtray Pitcher, c. 1940 bronze. H . 16". W. 11 ". D . 15" Copper, silver; cast, etched, maker unknown, American? stainless steel fabricated; 5" x 2 V2 " x 'iz "; 1974. H. 6 V2 ". Diam. 5" The Museum of the City of Rex A. Stevens, designer for Paul Bundarin New York Devil Container Gift of Mrs. Frederick S. Crofts Carrollton Metal Products Co. The Museum of Modern Art Bronze, silver, plexiglas, velvet; 126. raised, constructed, cast; 135. 5V4" x 3V2" X 3 V2"; 1974. Six-Armed Candelabrum, c. 1900 Mixing Bowl, c. 1940 bronze.H. IS". W. 21 W' stainless steel. Diam. 9" Pamela J. Burroughs Louis C. Tiffany (1848-1933) Rex A. Stevens, designer for Free Standing The Museum of Modern Art Carrollton Manufacturing Co. Silver, antler, antique blade; cast, Phyllis B. Lambert Fund The Museum of Modern Art constructed; 2V4" x 5 liz" X 3/4"; 1974. 127. 136. Harlan W. Butt Bookends, 1901 Cardinal Box 3 Cocktail Shaker, c. 1943 bronze. H. 5 /4". W. 8V4" aluminum. H. 11 Y2" Silver, padouk, cardinal' s head; Clio Bracken (1870-1925), designer Peter Schlumbohm (1896-1962), constructed, pierced; Frances Pratt designer 2" x 2V2" X 4 V2" ; 1974. 128. for Chemex Corporation TJae Chapman Ink Well, c. 1910 The Museum of Modern Art Wheelbarrow etched metal and glass Sterling silver; centrifugal cast; H . 3V2". Diam. 6 3,14" 3" x 4" x 3"; 1973.

30 AI Ching Patricia J. Daunis-Dunning Frances Felten and Christopher A. Hentz Pitcher Triptych Margarete Seeler Shot Glasses (2) Sterling silver; raised, fabricated; Brass, sterling silver, cultured pearl; Box Copper, brass, 24k gold plate; forged, 7'12" x 4"; 1969. Courtesy Mr. fabricated; 5" x 5" x 5"; 1972. Pewter, cloisonne enamel; inlaid, constructed, plated; and Mrs. Gordon Eng. Patricia J. Daunis-Dunning fabricated; 1 %" x 6'/4" X 5"; 1968. 5" x 2" x 3" each; 1974. Triptych Courtesy Mr. and Mrs. Daniel Lamb, Edward Higgins Electroformed Copper Form Pewter, copper, brass; raised, Saugerties, N.Y. Pa Container with Silk Threads fabricated; 8" x 4" dia.; 1973. Frances Felten Sterling silver; cast, fabricated; Copper, silk threads; electroformed; Beth Potter de Rizo-Patron Box 4"x 5"x 2'1z"; 1973. 51/1" x 20" X 71/1"; 1974. Tea Ball Pewter; fabricated; 3" x 8" xl 1/z"; Edward Higgins Chunghi Choo Sterling silver; fabricated; 1940. Courtesy Miriam Isherwood, Twin Babies Electroformed Copper Form 4" x 2" xl"; 1973. Barrington, R.1. Con tainer; sterling sil ver; cast, with Silk Threads and Green Bob Ebendorf Fred Fenster fabricated; 8'14" x 2'12"; 1973. Drinking Vessel Lip Pot Edward Higgins Copper, silk threads, tourmaline; Silver, gold, bone; raised, engraved, Pewter; raised, cast; 5" x 4". Two Faces of Man electroformed; 31/1" x 31/2" x 6'/z"; constructed; 21/1" x 8'/4" X 3 'Iz"; 1972. Fred Fenster Sculpture;.sterling silver; cast, 1974. Bob Ebendorf Pitcher with Three Cups fabricated; 8'11" x 3" x 2"; 1974. Hans Christensen Saccharine Container Pewter; forged, cast, raised; MaryLeeHu II Form in Brass Sheet Silver, gold plate, pearl; constructed; 10"x 4"x 4". Woven Form #1 Brass; raised, planished; 5 V4" X 53/4" X 3"; 1974. Miki Foley Fine silver, lacquered copper; 7" x 8" x 4"; 1974. Bob Ebendorf Sea Cup twined, wrapped; Hans Christensen Traveling Sacrament Set Silver, plexiglas, gold plate, brass, 8" x 71/1" x 7'1z"; 1974. III Form in Brass Sheet Silver, rosewood; constructed; 4'1z" x ; raised, fabricated, cast; Mitsuko Kambe Brass; raised, planished; 1 '12" dia.; 1969. 4" x 4"; 1974. Tea Service 7" x 8" x 4"; 1974. Alma Eikerman Jacqueline Fossee Sterling silver, rosewood; raised, Margret Craver Bowl Tray Set fabricated; 6" x 5 1/2" X 8"; 3 3/4' x Gold Bowl with Enamel Sterling silver, red brass; stretched, Copper; stretched, formed ; 4" x 4"; 4'14" X 4" x 41/z"; 1973. Gold, en resille enamel; stretched; crimped, constructed; 4'12" x 18'12"; 1974. Adine D. Kaufman 3'12" x 4" dia.; 1961. Courtesy Mrs. 7V1"X 8"x 8"; 1974. Humphrey T. Gilbert, Jr. Walnut Box Alfred S. Mills, North Salem, N.Y. Alma Eikerman Decanter Sterling silver, ; raised, Margret Craver Sterling silver; raised, constructed; chased, repousse; Pitcher 3 Liqueur Cup Sterling silver; stretched, formed, 11" x 41/4" x 2%"; 1973. 3 /4" x 4" x 4'12"; 1974. Sterling silver; stretched; Timothy M. Glotzbach 23;""X 1'1z"dia.; 1949. constructed; lO'I2"x 6W'x 5"; 1950's. Robert J. King Alma Eikerman Pocket Ashtray Box and Cover Margret Craver Bowl Brass, copper, silver; constructed, Silver, champleve enamel; Muffiner Sterling silver; stretched, cast, etched, oxidized; 1" x 3 '14"; 1974. fabricated; 3%" x 3"; 1959. Sterling silver; raised; constructed; 5'14" x 81/2" x 7"; 1974. Timothy M. Glotzbach Perman en t Collection of the 4"x3"dia.; 1947. Museum of Contemporary Crafts. Henry J. Engelhardt Streaker Chariot Patricia J. Daunis-Dunning Brass, silver, copper, bone; forged, L. Brent Kington Bowl Inside-Outside Box; sterling silver; stretched, cast, constructed, repousse; Planter Brass, silver, copper; raised; repousse; 2" x 21/1" X 3"; 1974. 5 V1" x 10'11" X 21/1"; 1973. Mild steel; forged, welded; l W' x 2"dia.; 1974. 29'1z" x 17" x 20"; 1972. Douglas K. Ewald Debra Lynn Gold Patricia J. Daunis-Dunning Funeral Hearse Gill Pot L. Brent Kington Pewter Cups Silver, brass, ebony, felt; Silver, brass, copper; raised, Andirons and Poker Pewter; cast; 5"x 1 'Iz" dia. each; 1974. constructed, soldered, turned; fabricated; 5'12" x 7'11" x 6'12"; 1974. Cortin steel; forged, welded; 30". Patricia J. Daunis-Dunning 14" x 4" x 5"; 1974. Erik Gronborg Charles Kumnick Spider Box Anita S. Fechter Box Penetration Series Silver, brass, gold plate; fabricated, Winged Form Aluminum; cast; Bottles; 24k gold, copper, acrylics; stretched, cast; 11/1" x 2'/z" X 31/1".; 10" x 5W' x 5'1z"; 1973. raised, cast, photo-etched, electro­ 1972. Copper; coiled; 8" x 11" x 10"; 1974. Wayne Hammer plated; ranging from 6" to 8" in Counesy Mrs. Frank J. Daunis, Untitled height; 11/1" each dia; 1974. Auburn, Me. Railroad trestle with car; sterling silver; turned, chased, fabricated, repousse; 4'1z" x 3" x 9"; 1974.

31 David Laplantz Nelson R. Maniscalco Bruce Metcalf Louis Mueller Standing Machine .001 Container Optic Container Monte Vacuum Sells Art Box #11 Brass, copper; raised, fabricated ; Copper, glass; fabricated, formed ; Cutout of artist holding vase; Sterling silver; fabricated, cast, 4Vz" x 2Vz"; 1974. 4" x 3" x 4"; 1974. foamboard, paint, transfer type, plated; 5" x 3" x 3"; 1971. David Laplantz Nelson R. Maniscalco bronze, brass, silver; cut, painted, Louis Mueller Stud Box Tall Form in Silver glued, raised, forged, pierced, Box #22 Brass, copper; raised, fabricated ; Silver, glass; fabricated, formed; soldered, riveted; 69" x 36" x 12"; 1974. Sterling silver, ivory, 10k gold, 5" x 2Vz" ; 1974. 6" x 1" x 1V z"; 1974 . Bruce Metcalf ; electroformed, Gail Farris Larson Thomas R. Markusen Pewter Peanut with Box fabricated; 2" x 3" x 5"; 1973. Container Architectural Screen Pewter, brass, electric motor, card­ Barbara Anne Nilausen Sterling silver; crimped; Mild steel, brass; forged, lathed; board, paint, transfer type; cut, Container 6"x8" x 14"; 1973. 64" x 46" x 4"; 1974. painted, glued, die formed, welded, Copper, epoxy resin; electroformed, constructed; 10" x 8" x 8" ; 1973. Gail Farris Larson John C. Marshall inlaid; 8W' x 5" X 6Vz"; 1974. Experimental Container Creamer and Sugar Bowl C. James Meyer Komelia Hongja Okim Copper; raised; 8" x 15" x 10"; 1974. Sterling silver; raised, chased, Cordial Set Pot Form-Lotus Sterling silver, antler, plexiglas, 14k Gail Farris Larson repousse; 3'/4" x 3V4"; 3Vz" X 3V4"; Bowl; sterling silver, rabbit fur; 1973. Courtesy Professor Charles gold, ivory; fabricated, raised, turned, raised, constructed, repousse; Round Box 1 1 Smith, Bellevue, Wash. carved, cast; 9" x 3 12" X 3 12"; 2" x 2 V4" 7" x 10"; 1974. Copper; crimped, forged; X 13/4"; 2Vz" x 5Vz" x 1 Vz"; 1973. 9" x4" x4"; 1973. John C. Marshall Jacqueline Ott Frederick A. Miller Ruth P. Laug Handwrougbt Bowl Container Sterling silver; stretched, soldered; Bottles Silver, copper; fabricated ; Rockin'Robin Sterling silver, 23k gold; raised; Sculpture; copper, silver; raised, 9" x 12Vz" X 12Vz"; 1963. Courtesy 3" x 3" x 3"; 1972. Mrs. John H. Hauberg, , Wash. 7 Vz" x 51fz" ; 6 1fz" x 5Vz"; 1970, 1971. formed; 4W' x 4Vz" X 4Vz"; 1974. Jacqueline Ott Eric Martin Frederick A. Miller Container Ruth P. Laug Pitcher Rollin' Red Wing Box Copper; fabricated ; Sterling silver, gold plate; cast, Sterling silver; stretched; 12" x 51/z" x 5"; 1972. Sculpture; copper, sil ver; raised, 12" x 6W'; 1955 . formed; 5" x 5" x 6"; 1974. constructed; 6" x 4" x 4"; 1974. Jacqueline Ott Courtesy Mr. Paul Jenkins, Robert K. Montgomery Container Leslie Leupp New York, N.Y. Wine Container Copper, pewter; fabricated; Box Karena Massengill Silver, iron wood, ivory; raised, 9Vz" x 7Vz" X 4Vz" ; 1973. Brass, amethyst; constructed, Ephemeral Bliss constructed; 6 Vz" x 3"; 1973. etched; 1" x 1" xl"; 1973. Marc David Paisin Sculprure; sterling silver, acrylic Robert K. Montgomery Berkeley Bubble Blowing Bomber Jan Brooks Loyd and kodalith film; die formed, Wine Container Soap bubble blower in form of Child's Toy Drum chased, formed, soldered; Silver, vermillion wood, amber; spaceship; sterling silver, gold, Brass, steel, colored resins, goatskin, 4 Vz " x 3W' X 3Vz" ; 1974. raised, constructed; 7" x 3Vz"; 1974. plastic; hydraulically pressed, leather, padouk; fabricated, pierced; Paul Mergen Eleanor Moty fabricated, lost plastic cast; 2 Vz" x 4" x 6 1/z" x 6" ; 1973. 3-73 Vase Image 4W'; 1974. Richard Mafong and Jon Riis Copper; embossed, forged, raised; Hand mirror; sterling silver, brass, Albert Paley First Couple 9" x 83/8"; 1973. copper, amethyst crystal, leather; Candlestick #15 Container; sterling silver, metallic Paul Mergen fabricated, chased, photo-printed Wrought iron, brass, copper inlay; threads; die formed, chased, tapestry 8-74 Vase leather, repousse; forged, riveted, coiled; woven; 3Vz" x 3Vz " x 2W'; 1973. Copper; embossed, forged, raised; 3 V4" X 2 Vz" X Vz" ; 1974. 23"x 10" x6"; 1973. Richard Mafong and Jon Riis 13 314" x 9314"; 1974. Louis Mueller Albert Paley Sarcophagus Barry S. Merritt and Gary Noffke Box #1 Candlestick #18 Sterling silver, metallic threads; Non-Denominational North Miami Sterling silver, resin; fabricated; Wrought iron, brass inlay; forged, chased, tapestry woven, repousse; Beach Flamingo Chalice 4" x 2" x 2" ; 1969. tapered, twisted, coiled; 6" x 4" x 3"; 1973. Fine and sterling silver, 24k gold Louis Mueller 40" x 56" x 12"; 1973. James Malenda plate, carnelian, rhodochrosites, Box #3 Ronald Pearson Container I claw, fingernail polish, animal Sterling silver, bronze; fabricated; Metal Chalice Brass, copper, silver, pearl, glass; charm; forged, raised, constructed, 4" x 2" x 2"; 1970. Silver, plique-a-;our enamel, parcel folded, wrapped, bent, riveted, cast, painted; 9" x 2"; 1974. gilt; cast; 8" x 3 W'; 1959. dapped; 2Vz" x 3W ' x 7W'; 1974. Louis Mueller Box #5 Permanent Collection of the Sterling silver; fabricated; Museum of Contemporary Crafts. 8" x 5" xlI"; 1971.

32 Hiroko and Gene Pijanowski Hudson Roysher Walter Soellner Roberta Ann Williamson Cup Form Decanter Set Teapot Francis Copper, bronze, yarn, metallic Sterling silver, Sumatra cane; Sterling silver, orange wood; raised, Picture frame; bronze, sterling silver, thread, feathers, fine silver; raised, seamed; decanter: 10 Vz" x 4 Vz" dia. cast, fabricated; 6" x 7" x 9"; 1973. plexiglas, porcelain, cloth; pierced, inlaid, coiled, fabricated ; each; goblet: 2%" x 2 Vs" each; tray: Carol J. Steen constructed; 3" x 2" x Vz"; 1974. 7" x 5V2" X 5V2"; 1974. 1 V2" x 20" X 12 Vs"; 1945. Stomach Roberta Ann Williamson Hiroko and Gene Pijanowski Ginna Sadler Brass; masonite die formed, Ritual Vessel Pachinko Trophy Powder Bowl fabricated; 6 ¥." x 6 3/4" x 3"; 1972. Copper, feathers, leather, glass and Copper, silver, ebony, red magnet, Sterling silver; stretched, formed; Courtesy Mr. and Mrs. Eugene clay beads; key seamed, formed, pachinko ball ; raised, turned, inlaid, 4" x 4"; 1973. Brook, etched; 6" x 4" x 4"; 1974. fabricated; 6" x3 V2" x4"; 1973. Huntington Woods, Mich. J. Fred Woell JohnPrip #649 Jonathan Stein Fate is the Hunter Flower Container Bowl; copper, enamel; electroplated; Perfume Bottle Box; brass; cast; Silver, gold and plated; 4 ¥." x 4 Vs"; 1974. Sterling silver; stretched, formed, 4 V2" x 2V2" X 1 V2"; 1972. fabricated, electroformed; Heikki Seppa constructed; 5:W' x 6" x I V4"; 1973. J. Fred Woell 8" x3V2" x3 V2"; 1971. Bi-Shell II 110B Sheena Thomas Guess Who's in the Driver's Seat John Prip Box; silver and gold plated bronze, Repousse Object Box; brass; cast; Onion ; perforated, shell Copper; constructed, repousse; 3'/4" x 2V2" x 1112"; 1972. Teapot; silver; raised, forged, structure; 3 Vz" x 9" xII"; 1973. 4 V2" x 4" x 4"; 1973. J. Fred Woell fabricated; 6 Vz" x 10 '12" x 8Vz"; 1953. Heikki Seppa George P. van Duinwyk In the Spirit of'69 JohnPrip Bi-Shell IX 116C Box Box; silver, brass; cast; Container Arched form; brass, bronze; shell Sterling silver; fused, fabricated; 3" x 2" x 1 %"; 1974. Pewter, nickel plated; fabricated ; structure; 3 V4 " x 5:W' x 11 V2"; 1974. 1" x 4" xl"; 1973. 16" x 12V.' x 4"; 1970. Heikki Seppa George P. van Duinwyk JohnPrip Bi Shell XII UOB Magic Box Shallow Bowl Vessel; sterling silver, nickel bronze; Silver plated copper; fabricated ; Pewter; forged; 9" dia.; 1974. shell structure; 5V2" x 8" x 4"; 1974. 5" x 4" x 3"; 1972. Arthur Pulos Helen Shirk Lynda Watson Beverage Server Bowl Tea Ball Sterling silver, ebony; raised, Copper; stretched, repousse; Fine and sterling silver, garnet fabricated; 8" x 4112" x 23/.'; 1956. 5'12" x 12 '12"; 1972. beads; lost wax cast, fabricated; Arthur Pulos Helen Shirk 8" x 1 V2 " X 1 Vz"; 1974. Compote Box Nadene R. Wegner Sterling silver; raised, fabricated; Brass, silver; constructed; Container 4 Vz" x 9Vz" X 6 V2"; 1953. 1 V2" x 4112" x 3"; 1973. Sterling silver; fabricated ; J. Thomas Reardon Helen Shirk 8V2" x 4 V2" X 4Vz"; 1974. Arc Angle Silver Form No.1 Nadene R . Wegner Brass, copper, sterling silver, fine Sterling silver; formed, constructed; Container silver, cloisonne enamel, plexiglas, 9 V2" x 5"; 1969. Delrin; silver electroplate, essonite garnet; scored, bent, Helen Shirk commercial bronze, silicon bronze; sandblasted, constructed; cast, fabricated, carved; Silver Form No.2 3 3%" x 4" x 5V2"; 1974. Sterling silver; formed, constructed; 2 V2" x 4" X 3 /4"; 1974. J. Thomas Reardon 4" x 7" x 3"; 1971. Sally Wehrman Container Walter Soellner Incense Burner Sterling silver, brass, rosewood; Candle Holder Brass, rubber, lacquer; raised, raised, turned, riveted; Sterling silver; masonite die formed, fabricated; 9" x 4" x 4"; 1974. 3 Vz" x 5V2" X 6"; 1973. hammered; 4 Vz" x 3" x 12"; 1972. Michael B. Riegel Sewing Scissors and Needle Case Steel, brass; forged, raised, drawn; 5V2"h ; 1974.

33 Bibliography

Historical References Technique References Avery, C. Louise. American Silver of the XVII and XVIII Centuries: a study Abbey, Staton. The 's and Silversmith' s Handbook. N ew York: W. S. based on the Clearwater Collection. New York: The Metropolitan Museum of Heinman, 1968. Art, 1920. Bealer, Alex. The Art of Blacksmithing. New York: Funk & Wagnalls, 1969. _~ EarlyAmericanSilver. Reprint. New York: Russell and Russell, 1969. Charron, Shirley. Modern Pewter: Design and Technique. New York: Van (First published in 1930; New York, The Century Co.). Nostrand Reinhold Co., 1973. Bigelow, Francis Hill. Historic Silver of the Colonies and Its Makers . New Choate, Sharr. Creative Casting: Jewelry, Silverware, Sculpture. New York: edition. New York: Tudor Publishing Co., 1948. (First published in 1917: Publishers, 1966. New York: The Macmillan Co.). Gooden, Robert and Popham, Philip. Silversmithing. New York: Oxford Buhler, Kathryn C. American Silver. Cleveland and New York: The World University Press, 1971. Publishing Co., 1950. Hack, John. Metal: Designs, Material, Technique. New York: Van Nostrand __ and Hood, Graham. American Silver, Garvan and Other Collections, in Reinhold Co., 1972. the Yale University Art Gallery. New Haven, Conn.: Yale University Art Gallery, 1970. Irving, Donald J. Sculpture: Material and Process. New York: Van Nostrand Reinhold Co., 1970. Ensko, Stephen G.C. American Silversmiths and Their Marks. 3 volumes. New York: Privately printed, 1927, 1937, 1948. Maryon,Herbert. Metalwork and Enameling. New York: Dover Publications, 1971. Hood, Graham. American Silver; A History of Style, 1650-1900. New York: Praeger Publishers, 1971. Thomas, Richard. Metalsmithing for the Artist-Craftsman. Radnor, Pa.: Chilton Book Co., 1960. Kauffman, Henry J. and Zoe Elizabeth Kauffman. Pennsylvania German Copper and Brass. Plymouth Meeting, Pa. Mrs. C.N. Keyser, c. 1947. Ullrich, Heinz and Klante, Dieter. Creative Metal Design. New York: Van Nostrand Reinhold Co., 1967. _~ The Colonial Silversmith: His Techniques and His Products. Camden, N.J.: Thomas Nelson, Inc., 1969. Underwood, Austin. Creative Wrought . London: B.T. Batsford, 1965. ___ The American Pewterer: His Techniques and His Products. Camden, N.J.: Thomas Nelson, Inc., c. 1970. Untracht, Oppi. Metal Techniques for Craftsmen. Garden City, N.Y.: Doubleday & Co., 1968. _~ The American Fireplace: Chimneys, Mantlepieces, Fireplaces and Accessories. Nashville: Thomas Nelson, Inc., c. 1972. Weygers, Alexander. The Making of Tools. New York: Van Nostrand Reinhold Co., 1973. Kovel, Ralph M. and Terry H .American Silver, Pewter and Silver Plate. New York: Crown Publishers, 1961. Wilson, H . Silverwork and . New York: Pitman Publishing Corp., ND. Ledlie, Irwin Laughlin.Pewter in America: Its Makers and Their Marks. New edition, Barre, Mass.: Barre Publishers, 1970. (First published in 1940; This bibliography was prepared by the Research & Educaton Boston, The Houghton Mifflin Co.). Department of the American Crafts Council. McClinton, Katherine Morrison. Collecting American Nineteenth-Century Silver. New York: Charles Scribner's Sons, 1968. Montgomery, Charles F.A History of American P ewter. New York: Praeger Publishers, 1973. Schwartz, Marvin D. A Collector's Guide to Antique American Silver. New York: Doubleday, 1975.

34 Acknowledgements

We wish to express our appreciation to the artists and private individuals who lent pieces for this exhibition. We want especially to thank the curators of The American Wing, The Metropolitan Museum of Art and the curators of decorative arts of other institutions who made objects in their collections available for the historical section of the exhibition. For special research and consultation, we also thank Mary Riordan, Curator of the Collection, Cranbrook Academy of Art Museum, and Marvin D . Schwartz, who willingly answered many questions. Margret Craver, Frederick A. Miller, and John Paul Miller generously provided guidance on the research of the contemporary section of the exhibition. Of course, an exhibition of this scope can never be assembled without many hours of work by a dedicated staff and volunteers.

Catalogue designed by Linda Hinrichs, Hinrichs Design Associates. Photography (except as noted) by Bob Hanson. Typography by IGI. Printed by Ted Tessler, Sabine Press.

35 Finch College American 52 E. 78th St., New York, Crafts Council N.Y. 10021 44 W. 53rd St., New York 10019

Board of Trustees Finch College Officers Museum of Robert B. Peltz, A.B. Museum of Art Mrs. Vanderbilt Webb Contemporary Crafts Chairman 62 E. 78th St. New York 10021 Chairman of the Board 29 W. 53rd St., New York 10019 Mrs. Gustav S. Eyssell, A.B., D.S.C. John L. Baringer Paul J. Smith Secretary Mrs. John F . Varian, M.A. Vice Chairman Director, Contemporary Wing Director ThomasJ. Deegan, Jr., A.B., LH.D., Donald L. Wyckoff L.L.D. Robert H. Luck, M.A. President Doris Stowens Curator, Contemporary Wing Treasurer R. Leigh Glover Administrative Assistant Janet Katz, M.A. Treasurer Registrar Miss Louise H. Benton, A.B., Assistant Curator, Contemporary Wing Finch Alumna Joseph P. Fallarino Karen Dippold Robert L. Manning, M .A. Assistant Treasurer Glenn A. Ostergaard Ralph Cascella, L.L.B., J.D. Director, Old Masters Wing O. Roy Chalk, L.L.B., L.L.D. May E. Walter Diana Penzner Mrs. Disque Deane 1974-75 Student Secretary Ruth Tanenhaus Miss Darcie Denkert, A.B., Museum Committee Trustees Maureen Herbert Finch Alumna J oannie Plevritis William Alexander Public Relations Miss Adelaide Farah, A.B., Chairwoman Nicholas B. Angell Finch Alumna Charlene Ottmann John L. Baringer Rodney Felder, Ed.D. V ice-Chairwoman Herbert Cohen J ames Dugdale Vincent Fontana, M.D. Beth Barbato Miss Louise Gore, A.B., Dr. Mark Ellingson Cindy Cooke Finch Alumna Lynn Eichler John R. Haire, A.B., J.D. R. Leigh Glover Thea Freda Dr. Richard Gonzalez Mrs. John Herschede, A.B., Bonnie Ginter Finch Alumna Robert D . Graff Beth Greenwald August Heckscher William V. Lawson Jennifer Long Samuel C. Johnson Miss Francine Lefrak, A.B., Claire McGowan Finch Alumna Patty Sandler Sarah Tomerlin Lee Mrs. Robert Mason Vera Neumann Mrs. Harrison Tweed, A.B. Finch College is a fully accredited, Mary Nyburg Jesse Werner, Ph.D. non-denominational, independent college DeWitt Peterkin, Jr. Rodney Felder, Ed.D. for women. Donations and bequests to Barbara Rockefeller President of the College Finch College are deductible in Sam Scherr computing income and inheritance taxes. Carol Sinton Dr. Frank Stanton May E. Walter W. Osborn Webb Donald L. Wyckoff Honorary Trustees Alfred Auerbach Walter H . Kilham, Jr. Edward Wormley

36