Yale University Library

39002027104885

YALE UNIVERSITY
ART LIBRARY

AMERICAN SILVER
OF THE
XVII &? XVIII
CENTURIES

PORTRAIT OF PAUL REVERE
BY JOHN SINGLETON COPLEY

THE METROPOLITAN MUSEUM
OF ART
AMERICAN SILVER OF THE
XVII &> XVIII CENTURIES
A STUDY BASED ON
THE CLEARWATER
COLLECTION BY
C. LOUISE AVERY
WITH A PREFACE BY
R. T. H. HALSEY

NEW YORK
MCMXX

COPYRIGHT, I92O, BY
THE METROPOLITAN MUSEUM OF ART

PREFACE

^f^+j*^*^^, MAGNIFICENT opportunity to study
*** *3S* an<^ become acquainted with our Colo-
•§? A ^«. nial silver in its perfection of form and
JL. JL. craftsmanship has been afforded visitors
Jbk-&*Jk*4&4$1* to The Metropolitan Museum of Art
during the last few years through the
generosity of the Honorable Alphonso T. Clearwater. To
one viewing the objects in this wonderful exhibition the
question almost invariably arises, what motives prompted
Judge Clearwater to make the collection and how was it
possible for him to assemble so large a number of pieces
of an early American art the existence of which even
now is almost unknown to the average citizen.
Our knowledge of the beauty and the fascination of
Colonial silver is but a recent one. Scarce two decades
ago the fact that our country in its early days nurtured a
remarkable set of workers in the precious metals was
practically unknown. Family heirlooms, which had
graced ancestral dining rooms and, glittering in fire- and
candle-light, cast their joyous color notes on festal gather
ings from generation to generation, were almost universally
thought to have been imported from the Old World.
Collectors of Americana in its various phases were unaware
of the existence of these beautiful examples of our early
silversmiths' art.

PREFACE
I well remember less than twenty years ago being instru
mental in the acquisition of a silver teapot — hammered
out by Paul Revere — by that dean of our New York col
lectors of Americana, the late William Loring Andrews,
long Trustee of The Metropolitan Museum of Art, whose
recent death has been such a sorrow to all who knew him.
This veteran and exquisite among collectors, whose collec
tions were most varied in their nature, had been engaged
in the making of a series of beautiful books prompted by .
his pride in the accomplishments of our country, thus in
troducing to many of us the beginnings of the knowledge
of various phases of the collecting of Americana. His
enthusiasm as the wrappings of the teapot were removed,
disclosing to his eager eyes what appeared then to be a
unique piece of silver, and his delight at the sight of this
beautiful creation of one of our early heroes, have left in
my mind a never-to-be-forgotten picture.
A striking characteristic of the working of Mr. Andrews'
brain was that, when he discovered anything beautiful
connected with the history of our country, he became
impelled to make a book about it in order that others
might thereby share his knowledge and patriotic joy.
With that same pride with which a mother dresses up her
first-born child for introduction to friends and relatives
Mr. Andrews dressed up his findings in a series of beautiful
books the like of which will never be made again.1 The
beautiful volume "Paul Revere and his Engraving" in
spired by this little teapot first vividly made New York
collectors aware of the fact that silver plate was made in
the Colonies, previous writings by Professor Theodore S.
Woolsey and John H. Buck having failed to reach their
attention. The quest for the silver fleece then began and resulted
1 Copies of these are on exhibition in the Museum Library.

PREFACE
during the next two or three years in the bringing to New
York of two other pieces of the patriot's handiwork. The
possibility that there might have been other Colonial
silversmiths dawned upon a few enthusiasts and beautiful
heirlooms hitherto supposedly of English workmanship
were found upon careful examination to lack the English
hall-marks. Several years devoted to the searching of Colonial news
papers and archives of various sorts established the fact
that literally hundreds of silversmiths lived in the Colonies.
In the meantime Francis H. Bigelow of Boston became
greatly interested in the possibilities of Colonial silver; his
enthusiasm and energy enabled him to locate in New Eng
land churches and households a large number of pieces of
plate the origin of which had been supposedly English but
which Mr. Bigelow believed to be American. His sugges
tion for the holding of an exhibition of Colonial silver was
adopted by the management of the Boston Museum of
Fine Arts and through their foresight Colonial silver was
introduced in 1906 to the knowledge of the American public
by a magnificent exhibition accompanied by a catalogue.
The historical matter of this was based on data gleaned
during the previous five years.
The fame of this remarkable exhibition spread far and
wide; among others attracted to it was Judge Alphonso T.
Clearwater of Kingston, New York, of Dutch and Hugue
not descent, whose scholarly mind had long been devoted
to various intellectual activities connected with the pro
mulgation of knowledge of both local and national history.
Collecting had been a passion and a relaxation with him.
This distinguished jurist then saw the opportunity of a
new field for his collector activities and formulated the
project of making a permanent collection in order that to
the world in general and Americans in particular he might

PREFACE
unmistakably demonstrate the high standard of workman
ship maintained by our early craftsmen, as well as the fact
that the appreciation of the beautiful existed among our
forefathers, necessarily so as upon lavish patronage alone
the livelihood of these many workers was dependent.
The making of such a collection as is described in this
volume was no easy task. There were no collections to be
purchased at wholesale, as might be the case in the making
of a collection of foreign plate. There were no stocks in
dealers' hands to be drawn from; practically every piece
in the collection had to be searched out and coaxed from
its hiding place by the lure of the Judge's gold. The search
was not a haphazard one. Numerous agents in various
parts of the country were employed to do the combing.
A voluminous correspondence was necessitated and pleas
antly weighted the burden of an already overcrowded life.
Such is the brief story of the making of the remarkable
Clearwater Collection — a collection which has demon
strated to the thousands who have studied it the dignity
and the beauty of our Colonial craftsmanship.
In her treatise on Colonial silver as well as in the cata
logue Miss Avery has done her work well. Both show the
results of two years of intensive study and research. The
author worked under advantages not afforded to those of
us who had earlier written on Colonial silver, for the sur
prisingly large number and variety of pieces of Colonial
silver which have kept coming to light since the knowledge
of Colonial silversmiths began to be spread throughout our
land have made possible a treatment of the subject not
hitherto attempted. All previous writings on the subject
have been carefully studied. The large number of pieces
of Colonial silver on exhibition at the Metropolitan and
Boston art museums have been at her disposal for constant
and thorough investigation. Temporary loan exhibitions

PREFACE
and private collections throughout the country were fertile
fields for additional knowledge. Our own Museum collec
tion of European plate and the great and ever-changing
collections in the galleries of Messrs. Crichton Brothers
furnished easily accessible opportunities for studying the
designs and decorations employed by the master craftsmen
of the Old World. The proximity of the collections of the
kindred arts on exhibition in the galleries of the Museum
was of inestimable advantage; the print rooms and book
shelves of the Museum Library made possible exhaustive
study and were most conscientiously and laboriously
used. Miss Avery's real contribution — and it is a real contribu
tion — lies in her handling of the subject of Colonial silver
from its artistic standpoint. Her treatment of her topic
from the viewpoint of decoration, her tracing and ascrib
ing the origin of the motives of decoration used, and her
description of the designs which appear to have been pe
culiar to the early silversmiths of this country have been
made possible through a study of the wealth of material
now contained in the constantly growing collections in
the country.
Nearly two hundred illustrations accompany the text.
No collection of Colonial silver made as Judge Clearwater
made his, when knowledge of the subject was in its infancy,
could possibly supply material for fully illustrating the
chronological development of our silversmiths' art as well
as exemplifying the various decorative motives which ap
parently are of native origin or adaptation. For this
reason a few of the plates in this volume are of pieces of
other ownership which have been or are now on exhibition
at the Museum. The twenty-five head-bands, initials, and
tail-pieces are adaptations of characteristic designs found
upon Colonial silver.

PREFACE
The collecting of Americana in its various forms has been
peculiarly fascinating to many who have visualized in the
inanimate specimens of the craftsman's skill those tradi
tions of our early history which thrilled our childhood and
gave us a pride in ancestral achievement. A lifelong
passion for the study of American history caused me to
imagine seeing — just as the mystic sees in the crystal ball
scenes and portents connected with the future — in the
glittering silver of my Dummer porringer, romantic epi
sodes in the beginnings of New England, the memories of
which form part of our national inheritance. Tankards
by Dixwell, Van der Spiegel, and Van Dyck reflected to me
pictures of exciting incidents in the pursuit and hairbreadth
escapes of the Regicides in this country, of the Leisler
Rebellion, of the adventures of Captain Kidd, and of the
early days of the struggles between autocracy and democ
racy; while a teapot by Paul Revere fancifully revealed
the doings of the Sons of Liberty in Boston, their tea party,
the signal lights in the belfry, and the galloping steed in
that midnight ride. Fortunately this early glamor still
remains for me.
The intensity of joy at the discovery that among our
forefathers were noteworthy craftsmen working in the
precious metals at first almost blinded us to the excellence
of their workmanship. As piece after piece the work of our
Colonial master craftsmen came out of hiding, many of
them from attic chests, others from family safe deposit
boxes, the splendor of the work of our early craftsmen be
came more and more impressive, and now a recognition
of the personal touch and individualities of workmanship
of many of our foremost silversmiths adds greatly to the
historical interest formerly all absorbing.
Our earliest impressions of Colonial silver were that in
its making the fashions of the Old World were slavishly

PREFACE
copied. Our present knowledge tells us that many of our
craftsmen were men who injected their own personality
into their work. I believe the hour is not far distant when
it will be possible to publish a series of monographs on at
least a dozen of our silversmiths whose work was so individ
ualistic as to warrant special attention. Many of the
mouldings on the bases of tankards, teapots, beakers,
bowls, and mugs are very individual in treatment, worked
out thoroughly along classic ideas probably gained from
the close study of the little architectural books, such as
the Batty Langley series, which crossed the water and
formed the groundwork for the education of the Colonial
builders. It is only of recent years that through the
publications of Norman B. Isham of Providence and
of Joseph E. Chandler of Boston we are learning of the
glories of much of our Colonial architecture and its dis
tinction from the Old World prototypes. Much of our
Colonial silver has this personal quality which we find in
the architecture of many of our old-time mansions.
The forthcoming publication by the Metropolitan Mu
seum of a recent series of lectures on Colonial architecture
delivered here by Fiske Kimball of the University of Vir
ginia will be a further contribution to the subject. The
research work of these men and the praiseworthy efforts of
certain of our historical societies are compelling a decided
revision of our early ideas as to economic and industrial
conditions in the Colonies.
In making this volume Miss Avery has been necessarily
obliged to repeat much of the historical matter first pub
lished in the Boston (1906) and Metropolitan Museum
(191 1) catalogues. It is unfortunate that in the lapse of
years since these volumes were published almost no further
formal contributions to the history of these monumental
Massachusetts and Knickerbocker craftsmen have been

PREFACE
made. Their descendants are legion and much history of
these early silversmiths probably exists; some of it may be
in the form of diaries or account books buried in long-
unopened closets. These if found would give us additional
interesting light upon not only the lives and personalities
of the craftsmen but also upon the social and political con
ditions of the day.
There is yet to come from some gifted pen an essay upon
the charm of Colonial silver. Its subtleties are such that
one has to live with it to feel its full fascination. When
viewing it there is ever present a longing that it might be
given power of speech to tell its tale of happenings at table
board and fireside, of sentiments toasted and sorrows
drowned during that long period when our nation was in
its making.
Its fascinations are many-sided. Naturally some pieces
are of a higher aesthetic quality than others. The study
of the textures is most alluring, and comparisons of the
alloy of various makers show us that the textures in Colo
nial plate vary in no less a degree than those of the velvets
and other textiles of various qualities and periods.
The same differences apply to its forms and shapes, for
in no department of arts and crafts is sense of line and pro
portion more necessary in obtaining that standard of ex
cellence described in an utterance of Michael Angelo:
"Trifles make perfection and perfection is no trifle."
Texture and form must be considered along with makership
in the ultimate estimate of each and every piece.
A greatly added interest and a new point of appreciation
was given me a few years ago in an after-dinner conversa
tion with that master architect and maker of monumental
buildings, Cass Gilbert, who pointed out that the beauty
possessed by these old pieces, which is so sadly lacking
in our modern work, is largely due to the exquisite lines
xiv

PREFACE
of the mouldings which either encircle or form the bases
of much of our early plate, and that these were evidently
inspired by admiration for and a thorough knowledge of the
structure of the classic column. An informal demonstra
tion of this fact with pages of his note-book showing draw
ings of half-sections of pieces in the Clearwater Collection,
Mr. Gilbert has kindly given us for insertion in this vol
ume (pages cxlix - — cliv). Its study cannot but be
helpful to craftsmen as well as furnish a new line of delight
to the owners of all old plate.
It is with a view to expressing our deep appreciation of
Judge Clearwater's laborious task of gathering together
this remarkable collection of early American handiwork
and our obligation to him for his generosity in placing it
where it may be enjoyed by the visitors to the Museum
that this preface has been written.
R. T. H. Halsey.

AUTHOR'S PREFACE
UDGE ALPHONSO T. CLEAR
WATER has taken keen delight in
collecting, has known the excitement
, of the quest and the joy of possession.
His collection of American silver now
on view at The Metropolitan Museum
of Art forms a splendid and compre
hensive group, including the work of
a large number of the greatest craftsmen, comprising many
pieces of exceptional merit, and representing in its scope
and variety the whole range of American silverwork.
There are typical examples of almost every kind of object
made in the Colonies, examples illustrating the styles and
general tendencies of each chronological period, as well as
of the different Colonial groups, especially New England
and New York. Judge Clearwater may indeed be proud
of his achievement.
The formation of this collection convinced Judge Clear
water that such treasures would charm and interest others
as they had delighted him and he determined to place them
in the Metropolitan Museum where they might be enjoyed

AUTHOR'S PREFACE
by all. Since the initial loans made in 1910, the collection
has been constantly and substantially increased until the
objects now on view number nearly five hundred and fifty.
The beauty of this silver needs no interpreter. One
needs but to study the pieces themselves to become in
creasingly aware of their grace of line, their strength and
satisfying proportions, their beauty of surface and color.
But the sequence of styles and the relation of this silver
to that made in Europe and especially to that made in
England and Holland are not to be comprehended at a
glance. To sketch the outlines of this study and to en
courage further research along these lines are among the
main reasons for the preparation of this catalogue. An
essential part of this task has been the gathering of all avail
able information concerning the maker and the history of
each object, together with a somewhat detailed description
of it. Much of the biographical material relating to early
owners has been collected by Judge Clearwater and repre
sents extensive research as well as acquaintance and
correspondence with descendants. To this section have
been added certain general notes descriptive of Colonial
silver and its origins.
A great deal has already been done to develop a wide
interest in the subject of American silver. J. H. Buck,
for many years associated with the Metropolitan Museum,
whose volume on Old Plate first appeared in 1888, and
Professor Theodore S. Woolsey of Yale University, whose
article on Old Silver was reprinted in Harper's Magazine
in 1896, may be regarded as pioneers in this study. Wide
spread interest was first aroused by such notable exhibi
tions of Colonial silver as those held at the Museum of
Fine Arts in Boston in 1906 and 191 1, the exhibition
brought together by the Colonial Dames of the State of
New York and shown at the Metropolitan Museum and

AUTHOR'S PREFACE
at the Jamestown (Virginia) Exposition in 1907, the
exhibition held at the Metropolitan Museum in 1909 on
the occasion of the Hudson-Fulton Celebration, and the
later exhibition of silver used in New York, New Jersey,
and the South, arranged by the Colonial Dames of the
State of New York and held at this Museum in 191 1.
The work of a number of early American makers was in
cluded in the interesting display of the early plate in
Rhode Island churches prior to 1850, collected by The
National Society of Colonial Dames in Rhode Island
and exhibited at the Rhode Island School of Design in
Providence in 191 1. The Pennsylvania Museum in Phila
delphia held an exhibition of old American and English
silver in 1917. An exhibition of Connecticut church silver
was collected by The Connecticut Society of the Colonial
Dames of America and shown at the Wadsworth Athen-
eum in Hartford, Connecticut, in 1919. Such exhibitions
have not only increased the general appreciation of Colo
nial silverwork but they have encouraged the preservation
of these rare and splendid memorials in the proper treasure-
houses, in the museums where they may be properly cared
for and protected against fire, theft, and the melting-pot,
and where they may be enjoyed by all.
The published catalogues of these exhibitions are in
valuable because they accurately describe so many pieces
of American silver. In addition, the introductory notes
have been distinct contributions to the general subject.
The first Boston catalogue contains an account of Colonial
silversmiths with especial reference to the Boston crafts
men, a fascinating account written by R. T. H. Halsey.
This enthusiastic student and collector contributed a no
less valuable note on early New York silversmiths as
introduction to the catalogue of the exhibition of silver
held at the Metropolitan Museum in 191 1. The Boston

AUTHOR'S PREFACE
Museum exhibition of 191 1 emphasized the work of the
Connecticut silversmiths by including in its catalogue an
introductory note on this subject prepared by George
Munson Curtis. His volume on Early Silver of Connecti
cut and its Makers is a more intensive study. Inspired
by the two comprehensive and splendid exhibitions in
Boston and New York in 191 1 and cordially supported by
the Colonial Dames, E. Alfred Jones wrote a volume on
The Old Silver of American Churches which was published
by the National Society of Colonial Dames of America in
1913. This handsome volume is a rich mine, by virtue
both of its numerous and splendid illustrations and of the
wealth of information it contains relative to Colonial silver
and to the examples of foreign silver which beyond doubt
inspired many native craftsmen. The Boston Museum
catalogues contained lists of American silversmiths with
their dates and places of residence. In 1917 the Walpole
Society of New York published a very much more com
plete list of silversmiths with reproductions of their marks
wherever available, the work of compilation being done
by Hollis French. This extremely useful little volume
also contains a silver collectors' glossary. Still another
aspect of the general subject of Colonial silver was treated
by Francis Hill Bigelow in Historic Silver of the Colonies
and Its Makers, in which he has traced in detail the history
of all the important forms and has described and illustrated
a large number of notable examples.
These, then, are the more substantial contributions to
the subject which have been published up to the present
date. The Pennsylvania Museum has recently undertaken
to search through the files of eighteenth-century news
papers and other records of Pennsylvania for references
to her craftsmen. This research has been conducted by
Alfred C. Prime, who has for years been deeply interested

AUTHOR S PREFACE
in the general subject of Pennsylvania crafts. The re
sults are to be published in the Pennsylvania Museum
Bulletin and ultimately in book form and will be illus
trated wherever possible by attributed objects. This
should furnish much information concerning Philadelphia
silverwork and its makers. A comprehensive treatise on
the work of the Philadelphia silversmiths has long been
in preparation.
Although these earlier publications have treated the
subject of American silver in a manner both comprehensive
and intensive, the Clearwater Collection forms so excellent
a basis for the study of American silver that in a catalogue
of these objects an outline of the history and succession of
styles which they illustrate should assuredly be included.
As a Museum handbook, the catalogue will be accessible
to many people to whom the earlier books may not be so
readily available. For this reason, a resume of the main
facts of American silverwork is given in the Introduction.
This account is not, for the most part, the result of original
research but is rather a compilation of the facts found in
the previous publications, the aim being to give a con
nected and fairly comprehensive review, rather than to
present only original material.
The subject has, however, been approached from a
slightly different angle in this volume, for the empha
sis here has been placed upon the origin and evolution
of the various styles and their decoration and also upon
the subject of technique. The actual plan of the cata
logue, the division into chronological periods with descrip
tive notes on the styles of each, was suggested by C. J.
Jackson's incomparable work on The History of English
Plate. The general periods into which he divides English
plate have been followed here with due allowance for the
fact that the styles came to the Colonies slightly later than

AUTHOR S PREFACE
they arose in England and that they persisted here for a
somewhat longer period. The section on the evolution
of certain of the more important forms of American silver
has been largely based on Jackson's book, with help from
Bigelow's chapters. The biographical notes concerning the
silversmiths have in very many cases been drawn from the
detailed accounts given by Bigelow in Historic Silver and
from the Boston Museum and Metropolitan Museum cata
logues with, necessarily, very much the same phrasing.
Whenever the silversmith's mark on a Clearwater piece
seemed to correspond exactly to that reproduced for the
same maker in the Walpole Society's list of marks, this fact
has been noted. Thus in the entry for the chocolate-pot
by Edward Winslow, catalogue number n, Walpole, 127:1
indicates that the mark is the same as that reproduced on
page 127 of the Walpole volume, the first mark entered
under Winslow. For all help received from these various
publications, grateful acknowledgment is here made.
While one can, in a sense, estimate the results accom
plished by important exhibitions and can recognize the
importance of authoritative books on the subject, there are
other agencies which tend greatly to increase the apprecia
tion of American silver. What the enthusiasm of indi
viduals, especially of eager but discriminating collectors,
can do to increase the knowledge of the subject has been
demonstrated in the course of the preparation of this
catalogue. The interest and encouragement of such men
has made the present work possible. Preeminent among
them is R. T. H. Halsey, an enthusiastic collector in all
fields of Colonial art and especially of silver, a careful
student and stimulating adviser, who has given freely of
his time and of his store of knowledge that this catalogue
might be as comprehensive as possible. H. W. Kent,
Secretary of the Metropolitan Museum, has been especially

AUTHOR'S PREFACE
helpful in matters of arrangement and presentation. The
importance of design and decoration has been more keenly
recognized by him than by most students of American art
and it is at his suggestion that special stress has been laid
upon this aspect of Colonial silverwork. The head-bands,
initials, and tail-pieces1 (with two exceptions) have been
adapted from designs on American silver, chiefly from
objects in the Clearwater Collection. For each of the
five chronological sections of the catalogue, designs charac
teristic of the period have been selected.
Great help has come through the opportunity to study
examples of American silver in other collections. Recog
nition of their courtesy and generous assistance is due to
Francis Hill Bigelow of Cambridge, to Hollis French of
Boston, to Assistant Attorney-General Francis P. Garvan
of New York, to George S. Palmer of New London, and to
Philip Leffingwell Spalding of Cambridge.
The methods employed by the Colonial silversmith have
been more readily comprehended through the opportunity
to study modern methods of manufacture. Every cour
tesy was shown the writer by Currier and Roby, silver
smiths of New York City, and by the representatives of
the Gorham Manufacturing Company in Providence, es
pecially by the Art Director of the latter establishment,
Lionel Moses.
Invaluable assistance was also rendered by E. R. du
Parcq and W. E. Godfrey of Crichton Brothers, silver
smiths of London and New York City, both of whom have
given most liberally of their time and thought.
Mrs. Florence Paull Berger of the Wadsworth Atheneum
in Hartford, Connecticut, Alfred C. Prime of Phila
delphia, and R. A. Plimpton of the Metropolitan Museum
have also assisted materially.
1 Drawn by Edward Edwards.

AUTHOR'S PREFACE
Mrs. Nathaniel Thayer of Boston has very generously
given permission for the reproduction in this volume of
the portrait of Paul Revere by John Singleton Copley
which appears as frontispiece. The portrait of Nathaniel
Hurd by Copley is reproduced from the painting in the
John Huntington Collection in the Cleveland Museum of
Art. Certain of the illustrations which appear in the Intro
duction represent objects in the collections of The Metro
politan Museum of Art, The New York Historical Society,
the First Congregational Church at Marblehead, Massa
chusetts, St. Mary's Church, Burlington, New Jersey, the
New Utrecht Reformed Church, Brooklyn, or in private
collections. For the latter courtesy we are indebted to
P. L. Spalding, R. T. H. Halsey, F. P. Garvan, L. V.
Lockwood, and Pierre Jay.
To these and to all others who have assisted in the
preparation of this catalogue, my sincere thanks are given.
There is one name which should crown the list, the name
of the gentleman whose appreciation of Colonial silver
brought together the pieces here described, whose generous
courtesy now gives them to others to enjoy, whose unfailing
interest and encouragement have been a constant stimulus
in the preparation of the catalogue, Judge Alphonso T.
Clearwater. C. Louise Avery.

CONTENTS
PAGE
Preface, by R. T. H. Halsey  vii
Author's Preface  xvii
Table of Contents  xxv
List of Illustrations  xxvii
American Silver  xxxv
General Notes on Its History and Tech
nique  xxxv
Evolution of Some of the Principal Forms . Ixxxi
Beakers  lxxxiv
Tankards  xcv
Mugs  cix
Caudle-cups  cxiv
Porringers  cxx
Pots for tea, coffee, and chocolate . . cxxvii
Cream-jugs  cxxxvi
Spoons  cxxxix
Buckles  cxliv
Classic Mouldings in American Silver,
by Cass Gilbert  cxlix
Bibliography  civ
xxv

CONTENTS PAGE
The Clearwater Collection
First Period: about 1640-1710 . 3
Second Period: about 1700-1740 . . ¦ • 2°
Third Period: about 1730-1775 . 6°
Fourth Period: about 1770-18 10 . • rl5
Fifth Period: first half of the nineteenth cen
tury  161
Index .......... 201

XXVI

ILLUSTRATIONS
The cover design, vignette on the title-page, head
bands, initials, and tail-pieces have, with two exceptions,
been adapted from designs on American silver, chiefly
from examples in the Clearwater Collection. PAGE
Cover Design: from a brazier by John
Burt, cat. no. 18
Portrait of Paul Revere, by John Sin
gleton Copley . . . Frontispiece
Vignette: from a grater by William
Cowell, cat. no. 25 .... v
Preface Head-band: from a tankard by Peter
Van Dyck  vii
Tail-piece: from the same . . xv
Author's Preface
Head-band: from a chocolate-pot by
Edward Winslow, cat. no. 11 . xvii
Initial: from a standing-cup by Samuel
Edwards, cat. no. 102 . . xvii
Tail-piece: from a spoon by Paul Re
vere, Jr  XX1V
Introduction Head-band: from a tankard by Andrew
Underbill, cat. no. 158 . . . . xxxv
Initial: from a coffee-pot, probably by
NoahGuille, cat. no. 33. . . . xxxv
xxvii

illustrations
FIGURE PAGE
1-2 Frontispiece from A new Touchstone
for Gold and Silver Wares, London,
1679 • lxii, lxiii
3 Dutch or Flemish beaker, about 1700 lxxxiii
4 New Netherland beaker by Jacob Boelen lxxxv
5 Engraved design, H. Picart, French,
1618  lxxxvi
6 New England beaker showing Dutch in
fluence . . lxxxvii
7 New England beaker by Moody Russell lxxxviii
8 Late XVIII-early XIX century beaker by
David Moseley . Ixxxix
9-10 English tankards, styles of about 1660 to
1700 and of the first half of the XVIII
century . xci
11 Bulbous tankard by WF, London, 1765 xcii
12-13 New England tankards, XVII and XVIII
century styles . . . xciii
14 Bulbous tankard by J. G. Lansing . xcv
15 New England finials xcvi
16 Tankard handle drops xcvii
17 Tankard thumb-pieces . xcix
18 Tankard handle tips . c
19 Typical New Netherland tankard by
Garrett Onclebagh . ci
20 New Netherland corkscrew thumb-piece
by Garrett Onclebagh .... cii
21 New York handle ornaments . ciii
22 New York handle tips . civ
23 Lid of tankard by Everadus Bogardus
showing coin ... cv
24 New York tankard borders . cvii
25-28 Development of the straight-sided mug cxi

PAGE
cxiiicxiv cxv
cxvi
cxvii

ILLUSTRATIONS
FIGURE 29-32 Development of the bulbous mug .
33 Two-handled cup by Jonathan Otis
34 Caudle-cup by an unknown American
maker 
35 Caudle-cup by Hull and Sanderson
36 Caudle-cup by Richard Pargeter, Lon
don, 1729.
37 Two-handled cup by William Darker,
London, 1732  cxix
38 German porringer, Augsburg, XVII-
XVIII century .... cxxi
39 Flemish or Dutch pewter porringer,
XVII century  cxxi
40 English bowl and American porringer cxxiii
41 Typical American porringer handles . cxxv
42 Porringer with crown cresting by William
Cowell  cxxvi
43 Chocolate-pot by W N . . . cxxvii
44 Teapot by Peter Van Dyck . . . cxxviii
45-47 Developments of the pear-shaped teapot cxxix
48 Coffee-pot by Samuel Minott . . . cxxxi
49 Teapot by Jacob Boelen .... cxxxii
50 Teapot of Meissen porcelain . . . cxxxiii
51 Teapot by John Moulinar . . . cxxxiii
52 Coffee-pot by Benjamin Burt . . . cxxxv
53-56 Typical American creamers . . . cxxxvii
57 Seal-top spoon, York, XVI century . cxxxix
58 "Puritan" spoon, Chester (?), about
1660  cxl
59 Trifid spoon by T A, London, 1683 . cxl
60 Typical spoons made in America from
about 1690 to 1825 .... cxli
61 Details from spoons by Paul Revere, Jr. cxliii

ILLUSTRATIONS
FIGURE PAGE
62 Typical XVIII century American buckles cxlv
Tail-piece: from a teapot by J. Schanck,
cat. no. 332 . . . cxl vii
Sketches from the Clearwater Collec
tion, by Cass Gilbert .... cl-cliv
Bibliography Head-band: from a strainer by an un
known maker, cat. no. 539 . . civ
Tail-piece: from a tankard by Edward
Winslow . clix
First Period
Head-band: from a European beaker. 3
Initial: from a tankard by Benjamin Wyn-
koop  3
63 Porringer by P B . ... 11
64 Porringer probably by John Cony . . 13
65 Beaker probably by Shem Drowne 14
66 Coins by Hull and Sanderson 15
67 Detail from tankard by Garrett Onclebagh 17
68 Shelley arms from tankard by Garrett On
clebagh ... . . 18
69 Tankard by Garrett Onclebagh 19
70 Tumbler by Jacobus Van der Spiegel. . 20
71 Hutchinson arms from chocolate-pot by
Edward Winslow .... 22
72 Chocolate-pot by Edward Winslow 23
73 Spoon by Edward Winslow . ... 25
74 Mug by Benjamin Wynkoop ... 26
75 Patch-box by unknown maker . . 27
Tail-piece: from a porringer by an un
known maker  27

9293 9495

ILLUSTRATIONS
figure page
Second Period
Head-band: from a brazier by John Burt,
cat. no. 18 . . 28
Initial: from a tankard by Peter Quintard. 28
76 Tankard by John Burt  36
77 Brazier by John Burt ... 37
78 Teapot by John Cony . . 41
79 Cup by John Dixwell . 43
80 Porringer by John Edwards . . 44
81 Tankard by George Fielding . . 45
82 Coffee-pot probably by Noah Guille . 47
83 Beaker probably by Joseph Russell . 50
84 Caster by Moody Russell . . 51
85 Mug by Peter Van Dyck . . . 52
86 Tankard by William Vilant . . 55
87 Church seal by unknown maker . . 58
Tail-piece: from a brazier by John Burt,
cat. no. 18 . . . 59
Third Period
Head-band: from a brazier by Jacob Hurd 60
Initial: from a creamer by Benjamin Burt,
cat. no. 75 . . .
88 Coffee-pot by Pygan Adams . . 63
89 Salts by Josiah Austin . 65
90 Beaker by Adrian Bancker 66

60

91 Tobacco-box probably by Samuel Burrill . 70
Creamer by Benjamin Burt . . 71
Tankard by Samuel Casey 75
Strainer by John Coburn . . 77
Buckles by P D . .... 78
96 Teapot by Joseph Edwards, Jr. . . . 80

92 93959«
ioi •
103107

ILLUSTRATIONS
FIGURE PAGE
97 Standing-cup by Samuel Edwards . . 81
98 Tumbler by Philip Goelet . . . 83
99 Tankard by John Hancock . 86
100 Salver by Thomas Hamersly . . 87
101 Portrait of Nathaniel Hurd by John Single
ton Copley ... 89
102 Hancock arms from alms-basin by Samuel
Minott . ...
103 Alms-basin by Samuel Minott
104 Mug by Joseph Moulton
105 Porringer by Paul Revere, Sr.
106 Tankard by Paul Revere, Jr.
107 Ladle by I. & N. Richardson
108 Bowl by W T
109 Tankard by Andrew Underhill 108
no Caster by unknown maker 109
in Gibbs arms from teapot by unknown maker 1 10
112 Teapot by unknown maker . in
113 Tongs by unknown maker 112
114 Buckles by unknown makers 113
Tail-piece: from an alms-basin by Samuel
Minott, cat. no. 122 . . 114
Fourth Period
Head-band : from a teapot by Paul Revere,
Jr., cat. no. 304 . . ... 115
Initial: from a teapot by Freeman Woods. 115
115 Ladle by Standish Barry . . . 121
116 Salts by R C . 123
117 Creamer by I D . . 124
118 Beaker by Samuel Drowne . 125
119 Standing-cup by Joseph Foster . . 130
120 Ladle by Richard Humphrey . 132

ILLUSTRATIONS
FIGURE PAGE
121 Cup by Joseph Loring . . .137
122 Mug by Otto Parisien & Son 141
123 Sugar-bowl by Paul Revere, Jr. 144
124 Sugar-bowl and creamer by Paul Revere, Jr. 145
125 Teapot by Paul Revere, Jr. . . 147
126 Salt-spoon by Paul Revere, Jr. 148
127 Teapot by J. Schanck 151
128 Bowl by David Vinton . . 155
129 Mug by unknown maker . 157
130 Grater by unknown maker . . 158
Tail-piece: from a salt-spoon by Paul Re
vere, Jr., cat. no. 305 .... 160

Fifth Period
Head-band: from a sugar-bowl by W. G.
Forbes, cat. no. 434 .
Initial: from a creamer by I. W. Forbes,
cat. no. 429 ....
131 Sugar-bowl by Bailey & Kitchen .
132 Syrup-jug by I C
133 Flagon by R. & H. Farnam
134 Teapot by George B. Foster
135 Beaker by Gregg, Hayden & Co.
136 Creamer by W H -
137 Candlesticks by Isaac Hutton
138 Spoons by T. Keeler
139 Candlesticks by B M .
140 Salver by Andrew E. Warner
141 Salts by Andrew E. Warner
Tail-piece: from a sugar-bowl by Joel Sayre

161 161 164166171 175176 177 179 181
185 195197
200

f

AMERICAN SILVER
GENERAL NOTES ON ITS HISTORY AND TECHNIQUE

HEN the first settlers came to America Rise of

they brought with them only a few essen
tial household goods and for a consider
able period were unable to supplement
these except with the simplest and most
necessary things of their own manufacture.
Later, as conditions in any community
became more settled, the Colonial craftsmen found oppor
tunity to beautify their work and these efforts mark the
beginning of Colonial art. The craft of the silversmith,
being a luxury rather than a necessity, sprang up only when
the colony had become well established, when settled con
ditions and general prosperity supplied the necessary
patrons. In order to understand why such craftsmen
flourished in certain localities and practically did not
exist in others, why certain European styles were more
potent than others in the development of American design,
it is important to consider in detail the social and economic
conditions which prevailed in the various colonies.1
'The resume of conditions in the various colonies as they afFected the
development of Colonial handicrafts has been based to a considerable
degree upon the accounts given in Lockwood, Colonial Furniture in
America, and in the introductions to the Boston Museum catalogue of
1906 and the Metropolitan Museum catalogue of 191 1.
xxxv

Colonial Silver
work

AMERICAN SILVER
In the In the southern colonies, Virginia, Maryland, and the
South Carolinas, many of the early settlers were Cavaliers famil
iar with English court life who, when they came to America,
held strictly to their old customs and traditions and im
ported most of their manufactured goods, including silver
plate, from England. Outside of the class of wealthy
planters, the bulk of the population was engaged in agri
culture on the large estates; there were few cities and little
opportunity for the development of craftsmanship. As a
result, practically no silver was produced in the South
until the late eighteenth century, but a very considerable
amount of fine English plate, imported by the wealthy
colonists, has beyond a doubt been preserved among the
old families and in the churches.1 In the late eighteenth
century when local arts did become established they fol
lowed English design. Baltimore at this period produced
a considerable amount of American silver and was the
only large center of its manufacture in the South. Stan
dish Barry was probably the most distinguished of her
craftsmen. His silver, however, lacks the charm found in
that of his northern predecessors or contemporaries.
In New In tne early seventeenth century the Dutch were actively
Nether- engaged in voyages of exploration and trade but, having
recently won their independence from Spain, they did not
care to settle permanently in the new lands. New Nether
land was established primarily as a center for the fur
trade in this region. However, the Dutch West India
Company, chartered in 1621, regarded colonization as a
necessary aid to its commercial enterprise. The first real
colonists came over in 1623. To offer greater induce
ments the Company instituted the Patroon System in
1629, providing that any member of the Company who
'Jones in Old Silver of American Churches describes numerous examples
now preserved in the southern churches.

land

HISTORY AND TECHNIQUE
should bring over fifty settlers and establish them on land
purchased from the Indians should be granted semi-feudal
control over his tenants. Unfortunately, instead of giving
its patroons every possible support, the Company tended
rather to hinder them and the number of emigrants was
consequently rather small. In 1650 the privileges of settle
ment were extended, the affairs of the colony were more
wisely administered, and from this period on colonization
became more general. By 1664 when the English came
into control the population of New Netherland was about
8,000, of which number 3,400 were resident in New Amster
dam.1 The conditions which tended to limit emigration to the
Dutch colony had a similar effect upon the development of
craftsmanship. There was never a great influx of the
prosperous middle class, as there was in New England, the
class which would naturally have patronized local work
men. It is probable that the wealthy patroons imported
most of their household goods from Holland. Further
more, it was the policy of the Dutch West India Company
to limit the trade of New Netherland to an exchange of
manufactured articles from Holland for the furs and raw
materials found here. Less restricted commerce would
have resulted in more general prosperity and would have
brought more silver coin into the colony. As it was, local
trade, because of a suitable medium of exchange, was
generally effected by barter. The craftsmen of New
Netherland, therefore, did not enjoy a wide patronage and
the silversmiths were further hampered by the scarcity of
silver, the material of their craft. For this reason they
developed slowly and their output was small and somewhat
primitive. Their work during the last quarter of the
seventeenth century, however, was of high quality and
'Figures given in George W. Schuyler's Colonial New York.
xxxvii

AMERICAN SILVER
though simple in design was well proportioned and beauti
fully executed.1
The earliest silversmiths in the colony were undoubtedly
men who had learned their trade in Holland before they
emigrated. They soon found apprentices among the boys
of the community and thus local craftsmen developed.
The Dutch formed the predominant element in the colony
and the silver plate which they imported from Holland
and the designs wrought out by the newly arrived silver
smiths naturally followed contemporary Dutch styles.
Although the English came into control of New Netherland
in 1664, they were very liberal and allowed the Dutch to
continue most of their old customs undisturbed. In con
sequence, the Dutch traditions and the Dutch language
persisted far into the eighteenth century. Had these
silversmiths produced in greater quantity or had they
exported their goods, they might have adopted new
models or have followed more closely the changing Euro
pean fashions. As it was, they were quite conservative,
and their work, long after the period when New Netherland
became New York, continued to be distinctly Dutch in
design and feeling. To emphasize this quality, the early
silver has been described in this catalogue as New Nether
land silver, despite the fact that practically all that re
mains today was probably produced after 1664.
But though conditions in New York in the seventeenth
and early eighteenth century did not develop a wide range
of styles, elegant shapes, or elaborate decoration, there
were nevertheless many noteworthy silversmiths in the
colony, men who like their brother-craftsmen in New
England figured prominently in the social and official life
'There was evidently a considerable amount of plate in New York in
the later part of the seventeenth century. 723 ounces of plate, valued
at 6 shillings per ounce, was included in the estate of Cornelius Steen-
wyck, a wealthy New Yorker, in an inventory made in 1686.

s

H.ISTORY AND TECHNIQUE
of their day and whose work is a splendid contribution to
the history of Colonial silver.1 Some of them had learned
their trade abroad as, for example, Ahasuerus Hendricks,
whose name first appears in a list of those who swore fealty
to the king in 1675. Others born here became no les.
skilled in their craft. The greatest of them all is Peter
Van Dyck, whose work is represented in the Clearwater
Collection (cat. no. 45, fig. 85) and whose engraving
supplies a head-band and a tail-piece (pages vii and xv).
Born in New York in 1684, he became an active and pa
triotic citizen, serving as constable and assessor and taking
a prominent part in political affairs generally. Van Dyck
may have learned his trade from his father-in-law, the
Huguenot silversmith Bartholomew Le Roux, and may
have drawn from that source some of the high ideals of
craftsmanship for which the Huguenot emigrants were
preeminent. Certain it is that Van Dyck was not only a
skilled workman but that he had also the fine sense of pro
portion and the creative imagination which place him in
the forefront of Colonial silversmiths. His son Richard
succeeded him in his trade (see cat. no. 159). Other nota
ble names are those of Jacob, Henry, and Henricus Boelen2
who enjoyed a flourishing trade in New York, Carol Van
Brugh, Jacobus Van der Spiegel, Bartholomew Schaats,
Benjamin Wynkoop, Garrett-Onclebagh, and Jacob and
'Work by these silversmiths was well represented in the Exhibition of
Silver Used in New York, New Jersey, and the South, held at the Metro
politan Museum in 191 1. The introduction on Early New York Silver
smiths represents extensive research and is the most complete and
authoritative note on New York silver yet published.
2F. H. Bigelow has generously supplied some new data regarding the
Boelen family. Jacob Boelen was born probably in Amsterdam as early
as 1654; he was in New Netherland as early as 1659 where he died in 1729.
His brother Henry Boelen (1661-1692) was also a silversmith. Jacob
Boelen 's son Henricus Boelen (1697-1755) was a silversmith; as was the
latter's son Jacob who was born in 1733 and was living in 1778.

AMERICAN SILVER
Koenraet Ten Eyck, nephews and probably apprentices of
Jacob Boelen. All of these men were of Dutch extraction.
Among the first settlers of New Netherland were certain
Huguenots and Walloons who came to the New World
seeking refuge from religious persecution, the first of a
considerable group of such emigrants who proved a valu
able and important element in the community. In 1685
Louis XIV revoked the Edict of Nantes, thereby forbidding
the free exercise of the Protestant religion. Such bitter
persecution followed that thousands of Huguenots fled
from France, some passing over into Holland and Ger
many, others crossing to the Channel Islands and England,
while many ultimately found their way to America.1
Many of these refugees were skilled craftsmen and their
influence on English art for a considerable period can
readily be traced. Among the most notable Huguenots
in New England were the Reveres, father and son, whose
name before it was anglicized had been Rivoire. Jean
Paul Mascarene, the probable owner of a beautiful teapot
made by John Cony (cat. no. 24, fig. 78), was a Huguenot
who was forced to flee when a boy from his home in Castres,
France, into Holland whence he later moved to England
and ultimately came to America and settled in Boston.
Numbers of these French Protestants settled in Charles
ton, South Carolina. A large group, estimated as forming
about one tenth of the population, was located in New
York about 1690. To the French king, eager to force the
return of these refugees to France, this was an added reason
for his projected attack upon the city. Though the threat-
'See Baird, History of the Huguenot Emigration to America (1885).
Many of these refugees lived for a time in the West Indies. Among the
inhabitants of St. Christopher in 1671 were Jean Boyer, Jean David,
Pierre Le Tellier, Jean Grignon, Louis and Pierre Dubois, Jean Hastier,
Jacques and Pierre Le Roux, some of them quite probably ancestors of
the silversmiths of the same names in the Colonies.
xl

HISTORY AND TECHNIQUE
ened invasion did not take place, such measures were
not calculated to promote the cause of French art here and
it is probable that the Huguenots did not consciously seek
to perpetuate French styles. They were, however, splen
did craftsmen and the traditions of their art and the high
quality of their work could not fail to make a substantial
contribution to American silver. It is probable that a
certain amount of French design and feeling was thus di
rectly introduced into Colonial art. Among the prominent
New York silversmiths were the Huguenots Le Roux,
Hastier, Goelet, Pelletreau, Moulinar, and Huertin.
Because they so persistently employed certain forms and
decorative features which will be described in detail later
on,1 the work of the Dutch craftsmen of New Netherland
can generally be distinguished from that of other Colonial
silversmiths. Not only do these characteristic details
serve to identify it and proclaim its Dutch origin but its
general quality of solidity, its massiveness and rugged
simplicity, in no less degree mark it as different from silver
made elsewhere. Most of the New England pieces, for
example, are made of thinner silver, their edges are tapered
off, there are more curves, more slender shapes, more re
finements of line. In New York silver, on the other hand,
the pieces are generally large and wrought of thick silver,
the edges are cut sharply off, there is evidence of careful
workmanship but a lack of that finish which marks the
more sophisticated artist. The New Netherland silver
smiths in these early days were true craftsmen and worked
with great skill but perhaps they were less concerned with
fashion than were their neighbors in New England and so
did not so consciously strive for elegance and delicacy. A
realization of this difference cannot adequately be gained
by comparing photographs of New York and New England
1 Page 4. xli

AMERICAN SILVER
pieces but may readily be reached if characteristic exam
ples are examined. The plain beaker by Bancker (cat. no.
63, fig. 90) is of eighteenth-century workmanship but
follows Dutch traditions. Tall and of beautiful outline,
it is wrought of thick silver cut sharply across at the lip
and is set upon a substantial base. Compared with it
such New England beakers as those attributed to Drowne
(cat. no. 3, fig. 65) and Joseph Russell (cat. no. 40, fig. 83)
are fashioned of thinner silver and in general proportions
are considerably smaller. Practically all New York tank
ards conform to a certain type which is much larger,
broader, and more massive than the varying New England
styles. Bowls, porringers, mugs, etc., often display these
same qualities in marked degree. In figures 47 and 78
are illustrated the New York and New England develop
ments of a common type of teapot, showing how the tradi
tions of each community modified the form, making the
former somewhat more squat and reinforced by mouldings
and the latter considerably lighter in effect.
In this connection it is interesting to note the career of
Cornelius Kierstede, who was baptized in New York in
1675 and worked there until about 1722, when he moved
to New Haven, Connecticut. His work would seem de
serving of special study, as he carried over the traditions
of New Netherland and appears to have blended them
with the English styles which he found in New Haven.
There is evident in his work that quality of solidity which
appears to be characteristic of New York silver. It is
found, for example, in a caudle-cup (i. e., an English form)
made by him and now the property of the Congregational
Church in North Haven. The silver is modeled rather
thick in section and the lip cut sharply off. A two-handled
beaker bearing his mark and belonging to the First Con
gregational Church in Milford suggests the typical tall
xlii

HISTORY AND TECHNIQUE
Dutch beaker and at its base it has a simple applied band
with scalloped margin, probably related to the foliate
bands found at the bases of some Dutch beakers and of
New Netherland beakers and tankards. Trinity Church,
New Haven, owns a Kierstede tankard with plain body,
domed lid, and moulded finial and base, all similar to con
temporary work of New England, but with very interesting
bits of engraved ornament which were probably derived
from New Netherland styles.1 In the possession of the
New York Historical Society is a handsome flat-topped
tankard with an unusual cut-work border at the base
(fig. 24), the figure of a lion applied to the handle below
the hinge, and a well-modeled cherub-head tip. This ex
ample, though distinctly of the New Netherland type, is
unique in the treatment of certain details. It is probably
one of the seven listed in the inventory of Abraham De
Peyster (see footnote on page xliv), as it was part of the
De Peyster family silver. Kierstede was a skilful silver
smith and obviously developed his own personal style.
His work might be analyzed as being one part New Eng
land influence, displayed frequently in the form of the
object produced, one part New Netherland in the quality
of the work and in details of ornament, and one part
Kierstede in the unusual touches which seem to distinguish
it from the work of any other craftsman.2
While the Dutch traditions persisted for so long a period
'The three examples above noted are published and illustrated in Jones,
Old Silver of American Churches, pis. XCVII, XC, and XCIV respec
tively. In the Boston Museum Catalogue of American Church Silver>
191 1, they are nos. 694 (beaker) and 692 (tankard). All three were
exhibited at the Wadsworth Atheneum in Hartford, Connecticut, in
July, 1919, with other plate from Connecticut churches.
2The inventory of the estate of Colonel Abraham De Peyster, taken
May 21, 1734, is evidence of the amount of patronage afforded the New
York silversmiths by the wealthier families of the city. Abraham De
xliii

AMERICAN SILVER
in New York silver, the ever-increasing English element in
the colony introduced English styles. Consequently
most of the innovations from the early eighteenth century
on sprang from this source. In the old Dutch churches
the traditional form of communion vessels continued to
be used. In the churches established by the new English
colonists, on the other hand, the forms of the Anglican ser
vice were observed and in numerous instances the com
munion silver, comprising flagons, standing-cups, and
patens, was made in England and presented by the king
Peyster was born in 1657 in New York, of Dutch and French Protestant
descent. He held the offices of alderman and mayor, colonel in the
militia, judge of the Supreme Court, president of the Council, acting
governor, and treasurer of New York and New Jersey. Not only was
he a man of great wealth but he was distinguished for his hospitality.
He died in 1728. The inventory follows:
7 silver Tankards  197I oz
10 silver Mugs . 71
7 silver Porringers 82J
I large silver Punch Bowl and Spoon . 765
7 large and small Salvers 117J
6 Candle Sticks, and three pair of snuffers and snuff boxes 137I
2 silver basins 95»
2 Cordial cups, and one ditto with cover 9°
2 large spyce boxes . 74i
3 sugar Castors . . 37*1
3 Pots with wooden handles, viz: Coffee, Thea, and Milk. 69^
3 Plates and one Chafing dish. . 76
II salt Cellars and three tumblers, and 6 small salt spoons. 52
36 silver forks, 35 do. spoons, and 2 large ladles. 196I
4 small forks, 15 small teaspoons, a small spoon dish, &
one worn candle-stick . 30

1,403! oz.
I silver gilt salver, and one do cut . . . 55
I large cordial cup; a silver salver; a silver plate; a plate
silver-guilded, & a large silver tankard; a silver mug;
a porringer; a salt cellar; a pepper box; a ladle; and
a handle of a ladle . , 160

i,6i8f

xliv

HISTORY AND TECHNIQUE
and queen to their subjects here.1 Through such imported
silver, whether designed for domestic or sacramental use,
English fashions were introduced and eventually their in
fluence is seen in the use by some New York silversmith of
a typically English form or a characteristic bit of English
decoration. For this reason, silver made in New Nether
land at the end of the seventeenth century should first be
studied and its derivation from Dutch models analyzed.
Then in the discussion of eighteenth-century silver it will
be necessary to discuss only the current English styles and
their effect upon these earlier Dutch forms. Among the
New York silversmiths who distinguished themselves
later on in the eighteenth century are Adrian Bancker,
George Fielding, John Brevoort, Daniel Christian Fueter,
Daniel Dupuy, Myer Myers, Philip Goelet, Thomas
Hamersly, John Moulinar, Nicholas Roosevelt, Elias
Pelletreau, Richard Van Dyck, George Ridout, Freeman
Woods, Cary Dunn, Ephraim Brasher, and Jabez Halsey.
We have now seen that in the English colonies in the
South, because of their dependence upon England for manu
factured goods, the general pursuit of agriculture, and the
lack of town life, there were practically no local silversmiths
until the later eighteenth century. In the Dutch colony
of New Netherland conditions did not favor the rapid de
velopment of silversmithing but, though the New Nether
land craftsmen were conservative and did not evolve new
styles, they had high ideals of craftsmanship and made a
splendid contribution to Colonial silver, a contribution in
which the Dutch influence is very strong and persistent.
Passing now to New England, we shall see that in this col
ony various forces tended to develop craftsmanship to a
' For a description and illustration of such royal gifts, see Jones, id.,
and the catalogue of the exhibition of silver held at the Metropolitan
Museum in 191 1. xlv

AMERICAN SILVER
remarkable degree and that from an early date more silver
was produced here than in any other colony, that it was of
very high quality, that it followed the changes in English
design quite closely and hence showed a distinct evolution
in style, and finally that through it English traditions were
directly perpetuated and those of certain other European
nations, especially Holland and France, were reflected to
some extent.
In New The motives which led to the founding of the settlements
bnglana jn N|ew England were quite different from those which
stimulated emigration to the English colonies in the South
or to the Dutch colony in New Netherland, and the charac
ter of the communities differed accordingly. The May
flower brought to Plymouth in 1621 a little group of Pil
grims whose religious convictions had prompted them to
leave their homes in England and seek refuge first in
Holland and then in America. Their settlement was
never large nor thriving. On the other hand, it was
dissatisfaction not only with religious conditions but also
with political affairs in England which caused the great
Puritan migration to Massachusetts Bay. As Mr. Lock-
wood points out, "It is more than a coincidence that be
tween 1629 and 1640, the period when Charles I tried to
rule England without Parliament, twenty-six thousand
persons emigrated to New England." These Puritans
proposed to set up a government and homes for themselves
here in America and, possessing not only unusual deter
mination but also very considerable wealth and influence,
they soon built up a vigorous and growing community
which tended to become increasingly independent and self-
supporting. The colonists not only were able to import
much from abroad but were quick to encourage local
craftsmanship, that their new homes might have the
comforts and refinements of the old.
xlvi

HISTORY AND TECHNIQUE
Moreover, New England enjoyed greater commercial
prosperity than did New Netherland, chiefly because Great
Britain allowed her colonists to build up an extensive trade
both with the home country and with the West Indies,
whereas the Dutch West India Company endeavored to
limit the trade of New Netherland to Holland. Foreign
trade not only resulted in a continual flow of silver coin
into New England, giving the silversmith the material
for his craft, but ever-increasing prosperity in the colony
assured him local patronage.1 The more he produced,
the more experienced he became, the more ambitious and
varied became his art, while the natural source of his in
spiration was contemporary English silverwork with its rap
idly changing fashions. Compared with his fellowcrafts-
man in New Netherland, the New England silversmith
was a more conscious artist whose work showed definite
development and a striving for delicacy and elegance.
Boston was for a long period the largest and most
flourishing town in the Colonies as well as the center of the
official and commercial activities of New England. Her
prosperity accounts for the rise of her silversmiths and the
flowering of their art. A fascinating account of the lives
'"The Trade of New England consisting cheifly in Fish, Provisions, and
Lumber, exported to His Maty*" Southern Plantations in America, and
to the Dominions of the King of Spain in Europe, The returns from the
former are made in Sugar, Tobacco, and other Commodities of the growth
of those Parts, wch are again reshipped for England, and thereby Imploy
a double navigation; but from Spain are brought pieces of Eight, which
being of unequal weight and value, did necessitate the then Governmt
of New England (neer forty yeares since,) to Erect a mint for making of
Silver moneys, to be currant in that Country, as the Standard and meas
ure of Trade, all payments being since made in that money, which is in
fineness equal to the money of England, but less in weight, the shilling
being in value nine pence farthing, and smaller Pieces proportionable, and
frequently brought into England for want of other Returnes." Extract
from Reasons for a Mint in New England, 1686, quoted in Crosby, The
Early Coins of America and the Laws Governing Their Issue, 1875, p. 92.
xlvii

AMERICAN SILVER
of the more prominent of these men is given in the intro
duction to the catalogue of the splendid exhibition of
American silver held at the Museum of Fine Arts, Boston,
in 1906. The energy and skill which they displayed as
craftsmen were also devoted to the great issues of their
day. Many of them served in important official posts,
which means that they were also church members, for in
early Boston only church members were made freemen and
admitted to public office. A large number were officers in
the Military Company which later on became the Ancient
and Honorable Artillery Company of Boston, "the first
regularly organized military company in America." It was
founded in 1637, modeled after the famous London Artil
lery Company, and after gallant service in the French and
Indian Wars of the Colonial period ultimately formed the
nucleus of that "contemptible little army" which met the
British regulars in 1776. Most of these silversmiths en
joyed commercial success, some to a remarkable degree, as
evidenced by the very large estates which they left.
The caliber of these early craftsmen is well illustrated
by the career of John Hull who with his partner, Robert
Sanderson, heads the list of Colonial silversmiths. An
account of the life of this "successful merchant prince of
New England," given in the Museum of Fine Arts cata
logue mentioned above, is based on Hull's diary, pub
lished by the Massachusetts Historical Society. Born in
1624 in Leicestershire, England, he came to Boston at
the age of eleven and shortly after began to study the trade
of goldsmith. Not only did he prosper at his trade but he
also derived much profit from his office of Mint-master.
He was appointed to this office in 1652 when the General
Court of Massachusetts established a mint in Boston to
coin shillings and their fractions in order that local trade
might not be retarded because of a lack of a sufficient sup-
xlviii

HISTORY AND TECHNIQUE
ply of money for circulation.1 The pine-tree shillings and
sixpence coined by Hull and his partner, Robert Sanderson,
are now extremely rare but the Clearwater Collection in
cludes two examples of each denomination in which the
impressions are still distinct, and one example of a shilling
minted by Hull which is only stamped with the letters
N E for New England and XII for twelve pence (cat. nos.
4-8, fig. 66).
During the thirty years in which Hull held the office of
Mint-master he was also prominent in political affairs,
holding various important offices, served as captain in the
Military Company, and was extensively engaged in foreign
trade. "His vessels conveyed the products of New Eng
land to the West Indies, and the proceeds of their cargoes
were invested either in molasses for the distillers of New
England rum or in the manufactures of England for the
local trade. His wealth allowed him to serve as banker
for the community as well as to finance the colony in times
of local distress." Hull is likewise noted for his piety
and for his classical scholarship.
Among Hull's contemporaries were other illustrious
silversmiths: Sanderson, probably his teacher and later his
partner and a craftsman of no less skill, Jeremiah Dummer
who served an apprenticeship in his shop, William Rouse,
Timothy Dwight, John Cony, David Jesse, Edward Win-
slow, John Noyes. Of these, Dummer, Cony, and Win-
slow stand out preeminently. Dummer made many of the
standing-cups and tankards in which bands of fluting are
most effectively combined with the plain surfaces, a style
of decoration probably more frequently employed by him
than by any other Colonial silversmith. Cony was the
maker of many handsome pieces, while Winslow ranks
perhaps as the greatest of all these early silversmiths. His
'See note on page 16. xlix

AMERICAN SILVER
work is of such high quality that it seems fairly probable
that he may have served his apprenticeship in England.
Two of the most superb pieces in the Clearwater Collection
are the handiwork of these two men, a teapot by Cony
(cat. no. 24, fig. 78) and a chocolate-pot of exquisite design
and finish made by Winslow (cat. no. 11, fig. 72). Num
bers 2, 23, 12, 13, 50-52 represent other fine examples of
their work.
During the first half of the eighteenth century Boston
was still far in the lead in the production of silver, un
questionably first in point of quantity and unexcelled in
quality. In those days when there were no banks for the
safe-keeping of money and when the flourishing trade with
the West Indies brought in much Spanish coin, it was nat
ural that prosperous folk should bid the silversmiths trans
mute their "pieces of eight" into tankards and porringers,
caudle-cups and teapots, that it might bring them com
pound interest by virtue of its new beauty and utility.
Massachusetts, in order to pay for her expeditions against
Port Royal and Quebec led by Sir William Phipps in 1690,
issued paper currency which for twenty-three years was
maintained at par. The increase in the amount of paper
money caused great variations in its value, as we may see
from the fact that in 171 2 silver ruled at 8 shillings an
ounce, in 1715 at 12 shillings, and in 1728 at 18 shillings,
and in 1833 rose to 22 shillings an ounce, owing to the great
and growing depreciation of the currency of the province.
Wealth converted into plate, therefore, proved the safest
form of investment, especially since such wrought silver
could readily be reconverted into bullion if money were
required on short notice.
To the illustrious company of Cony and Winslow there
were added in the early eighteenth century many other
splendid craftsmen: John Allen, John Edwards, John Dix-
1

HISTORY AND TECHNIQUE
well, William Cowell, John Burt, Andrew Tyler, Jacob
Hurd, Knight Leverett, and Paul Revere, Senior. These
in turn were followed by the mid-eighteenth-century group
including Samuel Edwards, Benjamin, Samuel, and
William Burt, John Coburn, Daniel Henchman, Samuel
Minott, and Paul Revere, Junior. The same high ideals
of craftsmanship animated these later silversmiths and,
while they were perhaps more conscious artists than their
predecessors, they still sought to achieve beauty of line
and proportion in simple designs. English styles were
ever their models but were modified to the plainer taste of
their Colonial patrons.
Throughout Massachusetts there were numerous smaller
towns where trade and industry flourished. Charlestown,
Salem, Barnstable, Concord, Plymouth, Newburyport,
Hull, Hingham, and Worcester boasted silversmiths of
skill. Portsmouth, New Hampshire, was also a center of
the trade.
Another town which became an important center of the
silversmith's art in New England was Newp'ort, Rhode
Island, which, like Boston, owed its prosperity to its thriv
ing trade with England and the West Indies. Samuel
Vernon was the first great silversmith of Newport and was
followed by other men of skill: Samuel Casey, James
Clarke, Jonathan Otis, and Daniel Rogers. From 1726
to 1775 the town was wealthier than New York but its
commerce was largely destroyed as a result of the British
occupation in 1776-79. During the Colonial period it was
in close touch with England and may possibly have devel
oped a more or less distinct style of silverwork, even as
the Rhode Island cabinet-makers produced a characteristic
type of furniture in the eighteenth century. However,
until a more intensive study may be made and more ex
amples examined, it is unsafe to generalize. Providence

AMERICAN SILVER
after the Revolution became the principal place of Rhode
Island silver-making.
Penn- Pennsylvania was founded in 1682 by English Quakers
sy v,nia seeking religious liberty. They were people of more than
average learning, of considerable wealth, and were peace-
loving, thrifty, and industrious. William Penn was a
man of great energy, ability, and foresight and under his
leadership the colony prospered from the beginning.
The predominant element in the community was English
but there were also numerous Welsh, Scotch-Irish, Hugue
nots, Dutch, Swedes, and Germans. With the exception
of the Huguenots who undoubtedly brought in some
French design, these other nationalities practically did not
affect the history of Pennsylvania silver. Commercial
enterprise flourished in Philadelphia and consequently
from an early date her craftsmen enjoyed an extensive
patronage. There exists today a very considerable amount
of furniture of unusual grace and splendid workmanship
to attest the skill of her cabinet-makers throughout the
eighteenth century. Success was likewise achieved by
the silversmiths, among the earliest of whom was Cesar
Ghiselin, a Huguenot, who had fled from France to Eng
land and who later moved to Annapolis, Maryland, and to
Philadelphia, where he died in 1733-34.1 Later the craft
was represented by such able men as William Vilant, the
Syngs, father and son, John Hutton, Elias Boudinot, John
Lyng, Joseph Richardson, Peter David and John David,
Richard Pitts, Samuel Soumaine, Daniel Dupuy, and
Daniel Van Voorhis.2 Their work is based on English
'The only noted examples of Ghiselin's work are an alms-basin in Christ
Church, Philadelphia, and a tablespoon in the possession of R. T. H. Hal
sey. 2The Early Pennsylvania Craftsmen Research Fund has made possible
the systematic examination of Pennsylvania newspapers and other
Iii

HISTORY AND TECHNIQUE
design and does not differ materially from that produced
in the other English colonies. Certain local adaptations
of particular styles will be noted later. From about
1760 to 1830 the population of Philadelphia exceeded that
of any other city in the country and especially from the
outbreak of the Revolution until the end of the century
the city became a Mecca for artists, men of letters, scien
tists, statesmen.
Far and wide throughout the Colonies spread the fame Smaller
of the great silversmiths of Boston, Newport, New York, c°m™un-
and Philadelphia. Whenever plate "in the most elegant '£**'„
manner and in the newest fashion" was desired, it was tkut
ordered from these cities. Lesser cities and towns, such
as Newburyport, Albany, Troy, and Trenton served a
more limited area. Outside of the more thriving centers
of the craft, comparatively little silver was produced. The
conditions which prevailed in Connecticut, as described
by George Munson Curtis,1 well illustrate the general
principles which operated in all more or less rural districts
throughout the Colonies. The population of Connecticut
was largely engaged in agriculture, lack of good harbors
prevented extensive commercial development, and no one
was able to accumulate great wealth. As a result, local
silversmiths enjoyed but a limited patronage, almost
entirely that of people of moderate means living in their
own community. That the more important orders were
dispatched to Boston, Newport, or New York is indicated
records to the close of the eighteenth century for references to the early
craftsmen. The material is to be published in the Bulletin of the Penn
sylvania Museum, under whose auspices the research has been conducted,
and will eventually be published in book form and illustrated, wherever
possible, by attributed objects.
'Early Silver of Connecticut and its Makers, 1913, and Early Silver
smiths of Connecticut, the introduction to the catalogue of the exhibition of
American church silver held at the Museum of Fine Arts, Boston, in 191 1.
liii

AMERICAN SILVER
by the large amount of such plate still in the possession of
Connecticut churches. The local craftsmen produced the
less pretentious articles as desired but probably did not
attempt to keep much manufactured goods on hand.
They frequently engraved plate with coats of arms, ini
tials, and other embellishments. Probably this profession
did not prove sufficiently remunerative and many of the
workmen followed other allied trades in addition, such as
blacksmithing, clock-making and repairing. New Haven,
Hartford, New London, and Norwich were among the
larger towns and local demand supported several silver
smiths in each place. As far as records show, Job Prince
of Milford was the pioneer silversmith of Connecticut.
Other early eighteenth-century workers were Rene Grignon
and Timothy Bontecou, both of Huguenot descent. In
New London, Samuel Gray, Pygan Adams, John Hallam,
and John Champlin were skilful in their trade; in Guilford,
Billious Ward and Samuel Parmele; in Hartford, Miles
Beach, James Ward, and John Potwine, who had come
from Boston in 1737. Robert Fairchild, Abel Buel, Ebene
zer Chittenden, Phineas Bradley, and Marcus Merriman
were New Haven craftsmen; Thomas Harland and Joseph
Carpenter were active in Norwich; Jonathan Otis, a former
resident of Newport, and Antipas Woodward worked in
Middletown. Peter Quint ard, a New York silversmith of
Huguenot descent, did some excellent work in Norwalk.
Such were the general conditions under which the art
of the silversmith developed in the seventeenth and eigh
teenth centuries in the various colonies. Dutch influence
was strong and persistent in New Netherland but grad
ually gave place to English styles. In all the other colonies
English influence was dominant from the beginning. As
much English art, however, was inspired by Continental de
sign, specially Dutch and French, these other European ele-
Iiv

HISTORY AND TECHNIQUE
ments were also carried indirectly into Colonial silver. The
Huguenot emigrants, who came into all the colonies to some
extent and formed a very appreciable part of the population
of certain cities, brought in some direct French influence.
The foreign styles entered through various channels. Foreign
Silversmiths who had become skilled craftsmen before they Influ-
emigrated to the Colonies naturally introduced European emes
styles. Many of the colonists brought silver with them
when they emigrated or imported it later from Europe
when they desired the "newest and most elegant" fash
ions.1 The frequent mention in the advertisements of the
day of consignments of European plate indicates its free
importation. These examples of foreign work, being
highly esteemed, naturally exerted a strong influence upon
the developing Colonial styles. Many of the pieces were
presented to the churches and those still in existence afford
a key to the genesis of various Colonial designs. Many
have been destroyed which might otherwise make clear
the origin of other American forms.
Still another way in which European styles entered was
through occasional books of design or stray leaves from
'Daniel Henchman's advertisement in the Boston Evening Post for
January 4, 1773, shows how some of the Colonial silversmiths objected
to the importation of foreign plate: "Daniel Henchman Takes this Method
to inform his Customers in Town & Country, that he still continues
to carry on the Gold and Silversmiths Business at his shop opposite
the Old Brick Meeting House in Cornhill, where he makes with his own
Hands all kinds of large and small Plate Work, in the genteelest Taste
and newest Fashion, and of the purest Silver; and as his work has hitherto
met with the Approbation of the most Curious, he flatters himself that
he shall have the Preference by those who are Judges of Work, to those
Strangers among us who import and sell English Plate, to the great Hurt
and Prejudice of the Townsmen who have been bred in the Business.
"Said Henchman therefore will engage to those Gentlemen and Ladies
who shall please to employ him, that he will make any kind of Plate they
may want equal in goodness and cheaper than they can import from
London, with the greatest Dispatch." Iv

AMERICAN SILVER
such books. From about the fifteenth century on, Euro
pean goldsmiths and other craftsmen engraved many of
their designs and, somewhat later, collections of such de
signs were published, not so much with the idea that they
should be closely copied as that they should afford sugges
tions and inspiration to craftsmen. Probably an occa
sional engraved design of this sort found its way to America
and was used by an American silversmith.1
Though he was familiar with these foreign traditions and
doubtless had access to actual examples of imported silver
work, the native craftsman probably did not, except in
those rare instances when an exact reproduction was de
sired, copy the European model. The foreign silver deter
mined the shapes he employed and their general decoration
but he modified and adapted each style to meet his require
ments, with the result that his productions are not copies
1 On page Ixxxvi of this catalogue is reproduced an engraved design, one
of a series now at the Metropolitan Museum, which was originally designed
for the use of goldsmiths. The whole subject of these books of design
and ornament is an absorbing one. It is treated in detail by W. M.
Ivins, Jr., in an illustrated article on "Ornament" and the Sources of
Design in the Decorative Arts which appeared in the Bulletin of the
Metropolitan Museum, vol. 13, pp. 35-41. The value of collections of
such books of ornament to modern design and craftsmanship is here
emphasized. Another note on this general subject was written by E. F.
Strange as preface to a South Kensington Museum handbook, Old
English Pattern Books of the Metal Trades, 1913.
Noteworthy examples of such engraved designs are those for metal-
work and carvings in wood and stone engraved by the German Little
Masters; the designs of the Hopfer family, goldsmiths of Augsburg;
those of Matthias Zundt and Virgil Solis, of Peter Flotner and Paul
Flindt. The books of designs published by the Adam brothers, Chippen
dale, Sheraton, and Hepplewhite are late examples of such pattern books
in England. In France the designs of Berain, Meissonnier, and Salem-
bier did much to determine the trend of the national styles. In the
majority of these cases, the artists were able craftsmen but their fame
rests rather on their skill as designers and is dependent on the publication
and dissemination of those designs among other craftsmen.
lvi

HISTORY AND TECHNIQUE
of European work but have a distinct quality of their
own and reflect the character of the early colonists.
What, then, were the peculiar conditions in the Colonies Quality
which gave the silver its individuality and how may it be ^ . .
described? In the earliest days the hardships of life made Silver-
luxuries impossible and utility became established as a work
first essential in all production. This attitude was em
phasized by the temper of the early colonists. The ma
jority were from the middle class, people of simple tastes
and unable to afford much luxury. There was no court
life to set an example for display and in Puritan New
England especially, where the people had emigrated be
cause of their intense opposition to the religious and politi
cal ideas represented by the King and his court, there was
great dislike of all extravagance and affectation. With
such traditions, Colonial art was naturally marked by its
simplicity, strength, and vigor. But little ornament was
used and there was no attempt at lavish display.
While the shops of the early craftsmen were often rather
crude and their tools very simple, yet their perseverance,
skill, and taste were such that they overcame all handicaps
and produced silver with which most modern work cannot
compare. The beauty of these early American pieces de
pends partly upon their form, partly upon the decoration,
which is usually very simple and quite subordinated to
form, and partly upon the beautiful color and surface
modeling. The Colonial craftsman strove to make an
object with beautiful outline, well-proportioned, designed
not primarily for ornament but for use, and so he achieved
a form at once graceful and convincing. Colonial taste
demanded simplicity and accordingly many of these pieces
are plain. In an undecorated object an ugly line would
have been especially glaring; beauty of form thus became a
prime requisite. lvii

AMERICAN SILVER
Allied to this quality of proportion is that of balance.
An object should not only look well-balanced but it should
prove to be well-balanced when put into use. The ancient
armorers designed suits of steel in which each plate was
made as light in weight as possible and strengthened at
just those points where the greatest strain would come
until one marvels at the ease with which such armor could
be worn. The secret lay largely in the proper adjustment
of weight. The Colonial silversmith had, in a sense, the
same problem and that he solved it may be proved by
examining some of the early pieces. Lifting one of the
early caudle-cups, for example, one cannot fail to be im
pressed with the comparative lightness and balance, the
result of careful modeling. The Winslow sword in the
Clearwater Collection has the same quality, the same
poise, which makes it a delight to hold.
When decoration was employed by the silversmith, it
was not an end in itself nor was it required to cover up
faulty modeling but, on the contrary, it served primarily
to emphasize form. In the familiar standing-cups by
Dummer or the chocolate-pot by Winslow (cat. no. n,
fig. 72), the fluting serves to heighten the effect of a beau
tiful curve as well as to increase the richness of surface.
Much of the charm of this old silver lies in its wonderful
texture and surface. Many pieces have unfortunately
been buffed in recent years and now have the hard me
tallic brilliance of much modern work. But in unharmed
pieces the warm, mellow surface of the silver can be fully
appreciated. This grayish or blackish appearance is
probably due to the so-called "fire-skin" which is de
posited in the process of annealing when done by the old
methods but which is either removed or altogether pre
vented in most modern processes.1 When old silver is
'See page lxvi.

HISTORY AND TECHNIQUE
buffed, this fire-skin is thereby destroyed and the silver
not only becomes more brightly polished but has a whiter
tone. The mathematical precision resulting from modern
machine methods does not constitute art. Indeed, it is
often the slight variations from the exact curve which give,
in silver especially, the greatest charm. In almost any
early beaker, for example, the outline is not entirely regular
and precise nor is the surface perfectly flat. It is just
this gentle undulation in the old, hand-hammered silver
that gives it unusual beauty, that produces not a smooth,
glaring, and harsh surface but a rich, warm quality. In
stead of becoming a rather inferior mirror, reflecting any
thing near-by, the silver absorbs the light and color from
its surroundings and becomes colorful and mellow itself.
The slight but innumerable irregularities in the surface
refract the light in the same way though not in the same
degree that the myriad planes in the surface of ancient glass
produce the iridescent effects which make it so exquisite
in color.
The manner in which old silver was produced is funda- Method
mentally different from the present system of manufacture. °j °~
In a Colonial workshop there were usually only the silver
smith and perhaps two or three apprentices who were
learning the trade. When the metal, generally in the form
of coin, was brought to the master, it was he who deter
mined the design into which it should be wrought, who
melted it and cast it into ingots which were then hammered
or rolled out, who shaped up the new vessel, added the
decoration, polished it, and engraved a coat of arms or
inscription when such was desired. When he finally
stamped it with his mark, he could indeed claim it as his
own production. Naturally he saw the relation of each
step in the process to the finished piece and gained a val
uable sense of proportion. His interest was roused, for

AMERICAN SILVER
countless possibilities were beckoning him and each parcel
of coin brought to him was a new adventure.
While foreign styles set the general fashion, the native
craftsman probably did not make up a large quantity of
stock in one design and keep it ready for possible cus
tomers. He seems rather in most instances to have made
objects when they were ordered, accommodating the
design more or less to the amount of silver brought to him.
There would, therefore, be considerable variation in pieces
of the same general type. Characteristic details, how
ever, appear again and again. One silversmith adopts a
particular style of porringer handle, another favors a cer
tain engraved design. Could enough data be compiled,
some interesting and valuable deductions might be drawn.
Dummer seems to have had a predilection for the band
of fluting at the base of tankard or standing-cup. Several
of Revere's tankards have the same general and quite
distinctive outline — a flare at the lip, a body quite taper
ing, a stout "mid-band," and broad base mouldings.
Whether under his hand a tankard usually came into this
shape and how in some detail it differed from the outline
which Coburn, for example, made his own might be dis
covered if numerous examples were available for study.
Newport silversmiths seem to have favored the flat-topped
tankard without mid-band for a long period. The cut-
work foliated borders on New Netherland tankards are
one of the most interesting of these personal touches.
That one silversmith should frequently use the same design
for the tip of a tankard handle is readily explained, as these
ornaments were probably made with the aid of a mould
kept in stock.
Opposed to this method of production in which one per
sonality dominates, is the modern system of manufacture
on a huge scale. Not only have machine methods super-
Ix

HISTORY AND TECHNIQUE
seded much of the earlier hand-work but each process is
performed by a group of men doing that one thing and
no other. Thus in the design-room a group of men, who
perhaps have never shaped up a piece of silver nor ac
quired dexterity with an engraving-tool, plan the shape
and sketch the ornament. The man who spends hours
shaping a teapot has not first melted the silver, cast, and
rolled it, nor does he have the joy of adapting an engraved
design to the piece which he has modeled. He may possi
bly acquire more manual dexterity at this one task than
his predecessor of two centuries ago but he is no longer,
except in rare instances, an artist-craftsman. In modern
work, therefore, there is less often found that happy com
bination of grace of line, strength, and balance which dis
tinguishes early silver. The close personal relation exist
ing between Colonial producer and purchaser explains in
large measure the emphasis upon quality rather than upon
quantity production — the artistic rather than the commer
cial viewpoint.
What, then, were the tools with which the Colonial Tools
silversmith worked and by what methods did he accom- a" Processes
plish these superb results? Though no representation of
the Colonial workshop has been found, a general idea may
be formed from the accompanying illustration which repre
sents a seventeenth-century English goldsmith's shop and
is reproduced from an engraving, the frontispiece of "A
new Touchstone for Gold and Silver Wares," published
in London in 1679. The Colonial shop was more primitive
and the silversmith undoubtedly had fewer show-cases.
The inventory of the tools of the Boston silversmith, John
Burt (1690-1745), which follows, gives more definite in
formation concerning the number and variety of tools used
by the Colonial craftsman.

Ixi

The Intent of the Frontifpiece-
i St Dunftan, the "Patron of the Goldfiniths
Company.
% The Refining furnace:
3 The Teft with Silver refining on it-
4 The Fineing Bellows.
5 The Man blowing or wording them.
^TheTett Mould.
7 A Wind-hole to melt Silver in without
Bellows.
8 A pair of 'Organ Bellows. - * . .
'9 A Man melting or Boiling, or moling Sil
ver at them.
IO A Blocks, with a large Anvil placid
thereon.
II Three Men Forging T fate. ;
12 The Fineing and other Goldfiniths Tom.
13 The Affay Furnace. ' -
14 The Affay-MaSer making Affdys. '*'
1 5 Bis Man putting the AJJ'aji into the' Fire.
16 The Warden marking the Tlate en the
AnpiU
17 Bis Officer holding the Tlate fir the
Markj. ...
1 8 Three Goldfiniths, fitfaU-workers, af workz
19 A Goldfiniths Shop fitr^ijhed wifh Tlaie.
20 A Goldfinith weighing Thfe-
FRONTISPIECE FROM A NEW TOUCHSTONE
FOR GOLD AND SILVER WARES
LONDON, 1679
FIG. I

FRONTISPIECE FROM A NEW TOUCHSTONE
FOR GOLD AND SILVER WARES
LONDON, 1679

AMERICAN SILVER
INVENTORY OF JOHN BURT1
Taken March 20, I74S/6 £ s d
316 oz 4 pwt of Silver @ 36/ p oz £569.3/ Gold 18
oz 11 pwt @ £27 p oz. £500.17/  1070
Cash £100 — 33 oz of Correll @ 20/ pr oz. £33 133
5 pair of stone earings & 3 sett of stone buttons £30
a parcell of old stones £7  37
a parcell of Christalls for Buttons & Earings . 32
a parcell of old stone work. ... ... 5
2 Show Glasses £5.0/ 53 pair of Chapes & tongs
£10.2/ . . ... . 15 2
11 Files, 33/ a pair of large and small bellows 40/ 3 13
a large Forgin Anvil 120 Id @ 2/6p £15
1 small do £9 . . ... . 24
9 raising Anvils 217 Id @ 3/6 p Id £37.19.6. 2
planishing Teaster 39 Id @ 3/6 £6.16.6 . . . 44 16
2 Spoon Teaster £26 ... 2 planishing ditto
25/ 3 bench vises £12 . . . 39 5
9 small vises 45/ 2 beak irons 20/ 40 hammers @
8/ pr hammer 18.16. 10 . . 22 1
2 Melting Skillets £5. 37 bottom stakes & punches
155 @ 4/ £31 . . 36
a Drawing bench & tongs 40/ 1 1 Drawing Irons
£11 10 pair of shears £6 ... 19
2 brass Hollowin stamps £5. a pair of brass Salt
punches 30/ .... 6 10
1 Thimble stamp £4.10/ 6 pr. of flasks for casting
£4.10/  ... 9
15 pair of tongs & plyers @ 5/ a pr. 75/ a pair of
large scales and weights £8 . . . . 11 15
4 pair of small scales & weights 40/ pewter and
lead moulds 85 Id @ 1/6 £6.7.6. . ..876
'This inventory was originally quoted in the introduction to the cata
logue of the exhibition of American silver held at the Museum of Fine
Arts in Boston in 1906, and from it were deduced the methods employed
by the Colonial workman. Upon this account, upon the volume by Her
bert Maryon, Metalwork and Enamelling: a Practical Treatise on Gold
and Silversmiths' Work and Their Allied Crafts, published in 1912, and
upon the information gained by visits to various modern silversmithing
establishments, the present description of the old methods has been
based. Ixiv

HISTORY AND TECHNIQUE
36 old files, 18/ 12 strainers 12/ 1 Oyl Stove 25, 3 £ s d
small saws 25 . .... 4
4 boreax boxes 5/ 3 burnishers 20/ 1 Triblet 10/
2 boiling pans 60/ ... . .41c
a parcell of punches £5. 1 Touch Stone 5/ . . 5 5
Pure silver is too soft to be practicable for ordinary use
and accordingly it is alloyed with some other metal or
metals, chiefly copper, which toughen it. The English
standard for all work in silver, including coin of the realm,
is known as sterling and is 925 parts fine, that is, it contains
11 oz. 2 pwts. of pure silver and 18 pwts. of alloy in every
12 oz. or pound Troy.1 While the laws in England re
quired plate to be of this quality,2 these regulations did
not extend to America and during the Colonial period no
general laws established a standard for silver plate made
here. The name of the maker stamped on a piece was the
sole pledge of its quality, a fact which bears striking wit
ness that as a group these early silversmiths were recog
nized as men of honor and integrity.
Most of the silver used by the Colonial craftsman came
to him in the form of coin — Spanish, Dutch, English, Por-
1 Jackson, in the History of English Plate, p. 25: "Silver of this
Standard is called 'sterling/ derived it is supposed 'from the Germans,
who were termed Easterlings by the English from their living Eastward;
and who were first called in by King John to reduce the silver to its due
fineness, and such (silver) money in ancient writings is called 'Easter
lings.' (Camden 'Britannia'.) In the course of years the first two
letters were dropped." Buck, in Old Plate, p. 19, quotes from an old
goldsmiths' manual published in 1677, from a later edition of which
the accompanying illustration (fig. 2) is taken, in which "the Standard
for all Silver Money, and all Silver Works" is said to be "commonly
called the Sterling Allay (from the Esterlings or men that came from the
2saj7-Country, and were the first Contrivers and makers of that allay)."
2Except between 1697 and 1720, when plate was required by English
law to contain 11 oz. 10 pwts. of fine silver to 10 pwts. of alloy, the cur
rency standard remained sterling. The higher standard for plate was
known as the Britannia standard. See page 28 and note.
lxv

AMERICAN SILVER
tuguese — of varying fineness. It was necessary, therefore,
for him first to melt the metal in the boiling-pans and
refine it until he brought it to the desired standard, testing
its quality by rubbing a bit of it on a touch stone and com
paring the color of the "touch" or mark thus made with
that produced by a small piece of silver of known quality.1
He then poured the molten metal into a skillet and when
it cooled he obtained a rectangular block of silver, thinner
than an ingot, which he proceeded to roll out or hammer
out on a forgin anvil into a sheet of the required gauge or
thickness. As silver is hammered it becomes denser, harder, and
more brittle and will crack unless frequently annealed,
The old-time silversmith placed the silver in the heat of a
charcoal fire fanned by bellows (modern annealing is done
by the flame from a blow-pipe), which softened it and
made it more malleable. In the process of heating, some
of the oxygen in the air united with the copper in the sur
face of the silver and formed a thin film of copper oxide.
The gray or bluish color resulting is generally known as a
"fire-skin" and is almost invariably present in old silver
which has not been treated in such a way as to destroy it.
The blackish spots which are often found on well-worn
pieces of early plate are the remnants of the original fire-
skin. Buffing, the process by which old silver is some
times polished nowadays, cuts away so much of the surface
that the original appearance is lost.2
¦The illustration {fig. 2, 13-15) represents another method of testing the
quality of silver, the chemical assay, which is described by Cripps in Old
English Plate, p. 14, in Buck, Old Plate, p. 22, etc.
2 Most modern work is polished by buffing, which removes the fire-skin
and gives a white surface as compared with the blacker surface of bur
nished silver in which the fire-skin has been left. The formation of a
fire-skin is frequently prevented in modern manufacture by excluding
the air from the object during annealing. Ixvi

HISTORY AND TECHNIQUE
When the old-time silversmith wished to make a piece
of hollow-ware, with his saws or shears he cut from a sheet
of silver a circular disk slightly less in diameter than the
combined base and height of the object sought. The proc
ess of hammering a sheet of silver into a hollow vessel
without a seam is known as raising. By this method
practically all of the early shapes — beakers, cups, tankards,
teapots, etc. — were produced. Suppose, for example, the
silversmith intended to make a simple cup like that by
Dixwell (cat. no. 28, fig. 79). He probably first placed a
disk of silver of the required diameter over one of the
shallow hollows of a wood sinking-block and struck it with
a wooden mallet. Leaving a central section reserved for
the base of the cup, he struck repeated blows in a con
tinuous spiral toward the perimeter. This process he
continued on a raising anvil, using a metal hammer.
Gradually he transformed the silver from a flat disk to a
shallow saucer and then to a deeper dish with smaller dia
meter, until at length he secured the exact form desired.
In this process he used anvils, beak-irons, and stakes of
various shapes adapted to reach the interior of the vessel.
Some of these tools were not permanently fixed in place
but when they were needed were firmly secured in position
by means of a vise.
When the work of raising had been largely completed, the
heavy and somewhat uneven marks of the raising hammers
were smoothed out over a planishing teaster. The base of
the cup was leveled over a bottom stake. Whenever the
silver became hard, the smith annealed it to make it mal
leable again.
The problem of raising a straight-sided cup is compara
tively simple, yet it illustrates the general principles of
raising. By this method the Colonial silversmith not only
produced objects, such as mugs and tankards, which ta-

AMERICAN SILVER
pered toward the mouth but pieces of far more intricate
design, such as teapots of undulating outline like that by
Joseph Edwards, Jr. (cat. no. 100, fig. 96). Indeed, a skil
ful craftsman could fashion almost any shape, however
involved, by raising, provided he had the necessary tools.
In fashioning an object with curved sides, the workman
usually hammered it up first with more or less straight
sides and then bossed out the curves later by means of
hammers and stakes adapted to this purpose.
After the object had been raised, it was frequently
strengthened by the addition of mouldings at the lip or
base. These were made by drawing a strip of metal
through the opening between two dies which were set at a
given distance apart. The dies were screwed closer to
gether each time the strip of silver was drawn through un
til the latter was of the desired thickness and width. Its
profile conformed to the pattern of the die. These mould
ings made on the drawing-bench were then soldered to the
object, boreax probably being used as a flux. The modern
workman using a blow-pipe is able to direct the flame
upon the solder as it is applied to the piece and can make a
neat joining or seam. The Colonial craftsman, however,
was obliged to heat a bit of solder over the oyl stove, apply
it, and repeat the process and, in consequence, the solder
appears thickly and unevenly put on.
The next step was the making of handles, spouts, stems,
etc., which were generally either cut from sheet silver and
raised to the desired form by means of hammers or were
cast. Tankard handles, for example, were usually hollow,
flat on the outer surface and rounded on the side nearest
the body of the piece. They were made in two strips, the
flat outer side and the curved inner side, which were shaped
into the desired curve by hammers and then soldered to
gether. The little hole at the tip of the handle was left to
lxviii

HISTORY AND TECHNIQUE
permit the escape of air and does not form a whistle, as
sometimes stated. Many of the handles of circular sec
tion were raised or cast in two symmetrical parts and
soldered together. Probably the customary process of cast
ing was as follows. A pewter or lead mould of the desired
form was made and from this a wax impression was taken.
The wax pattern was then pressed into the moist sand con
tained in a casting flask, and the sand was beaten firmly
down and baked. The wax, when heated, melted and ran
ofF (hence the name "lost wax process") and into the
cavity molten silver was poured and allowed to cool and
harden. The rough surface of the cast was polished up
by means of files and chasers. Very often, however, im
pressions left by the sand grains still remain and proclaim
the method used.
It was by these general methods that the early silver
smith raised his shapes and made and applied the necessary
mouldings, handles, spouts, etc. If the object did not
require decoration, it was rubbed down with pumice-stone
and then polished by means of a burnisher which did not
cut away any of the surface but rubbed it smooth. The
marks of the hammer still faintly remained, giving the
personal touch and the slight deviation from exact sym
metry which lend so much charm and interest to this early
silver. This treatment left the fire-skin, which accounts
for the grayer and warmer appearance of old silverwork.
Before considering the various methods of decoration
employed by the Colonial artist, it is interesting to com
pare the early process of raising with the methods used
later. Raising is necessarily a slow and arduous task and
pieces so made are sure to vary slightly. While this en
hances their charm, it does not make possible the rapid
production of the many examples of exactly the same pat
tern which modern demand requires. Accordingly it has

AMERICAN SILVER
been almost altogether superseded by other processes.
During the classic revival in the late eighteenth century it
became fashionable to make many objects, such as teapots,
sugar-bowls, etc., of sheet silver rolled quite thin, curved
into an oval or circular form, seamed, and set upon a flat
base. The shapes in themselves, though often dainty, are
usually quite formal and severe, and the silver does not
have so mellow an appearance as that which has been
hammered into shape. In modern workshops the silver
is rolled into thin sheets, cut into the required outline, and
then is either forced into a simple shape by means of a
heavy drop press or is spun. In spinning, a wooden (or
metal) block or "chuck" of the desired shape is fastened
to a lathe and a disk of sheet silver is tightly pressed against
this pattern. With a burnisher or spinning tool the metal
is shaped up against the "chuck," as both revolve, until
it conforms to the shape of the model. Objects so made
have a mechanical smoothness and lack the mellow quality
of old silver. Concentric circles left by the burnisher are
often faintly marked on the surface of spun silver. The
perfect uniformity of such modern work, completed by
the mirror-like polish produced by buffing, cannot give it
character and quality.
If instead of making an undecorated beaker or bowl, the
Colonial silversmith desired to enrich his work with a bit
of ornament, there were certain types of decoration which
he favored. One of the simplest and most effective forms
was repousse work in which the pattern is beaten or ham
mered out from the wrong side and appears in relief on the
right side. The band of fluting at the base and about the
cover of the Winslow chocolate-pot (cat. no. n, fig. 72)
illustrates a popular and very beautiful decoration used
by the seventeenth- and early eighteenth-century New
England silversmiths which they had borrowed from
lxx

HISTORY AND TECHNIQUE
contemporary English silverwork. It is a simple form of
embossed or repousse work. After the object had been
raised to the desired shape it was either filled with pitch
and the channels beaten in, which would force out the
intervening spaces and form the flutes, or the flutes were
bossed out from the interior by means of beak irons or
snarling irons. A beak iron is practically an anvil or stake
with a beaked end. Hammering an object over such a
beak will force out the surface. A snarling iron is used
when the mouth of the object is too small to permit the
entrance of a hammer or other large tool. It consists of a
long slender rod, one end of which turns downward at right
angles to the rod and is fixed in a vice while the other
end turns upward at right angles and is furnished with a
small knob. When this knob is pressed against the inner
surface of the object and the rod is struck near the vice,
the rebound from the blow forces the knob against the
silver and bosses it out.
Most repousse work involves a freer design than fluting.
The row of erect acanthus leaves at the base of the tankard
by Timothy Dwight,1 or the similar band in the beaker
attributed to Shem Drowne (cat. no. 3, fig. 65), both fol
lowing contemporary English design, illustrate more
elaborate repousse work.
Frequently such patterns were touched up by more
delicate line-work executed on the surface, especially by
chasing. To accomplish this, the interior of the object
was filled with pitch and the work was executed on the
exterior by means of a blunt instrument struck with a
mallet which did not cut away any of the surface but beat
in a fine groove, making the design by such depressions
and punches. The inner surface then frequently shows a
'Exhibited at the Museum of Fine Arts, Boston, in 191 1, cat. no. 386,
pi. 22. lxxi

AMERICAN SILVER
faint trace of the pattern, especially where the punches
have been heavy. Chasing was used even more frequently
alone than in combination with repousse work. The effect
of flat-chasing is at first glance very similar to that accom
plished by engraving but the process is different. In en
graving a "graver" with sharp cutting edge was used
which actually cut away the surface of the silver, the little
channels forming the lines of the design. It was usually
done when all other work on the object had been finished.
Engraving on silver is exactly like engraving on a copper
plate. A good workman will, of course, have a firm, clear,
unwavering line. Some of the elaborately executed coats
of arms with their mantlings not only proclaim the identity
of their original owners but afford convincing proof of their
engravers' skill. Many of the New Netherland coats of
arms are especially elaborate and are finely done. The
Shelley coat on the tankard by Garrett Onclebagh (cat.
no. 9, fig. 68) is a typical example, showing the flowing
scrolls and the swags of fruit and flowers which character
ize these Dutch mantlings.
Piercing was used in such objects as braziers, casters,
and strainers, and most of all in porringer handles. Pos
sibly some of the latter may have been cast; in this case
they were finished with files. Most of the designs are
extremely simple and might have been executed with the
simplest tools.
In addition to repousse work, chasing, engraving, and
piercing — types of surface decoration — there are other
types of ornament. One of the simplest forms of applied
decoration is cut-card work, in which designs or bands of
ornament are cut out of sheet silver and their surface left
plain. This was a popular treatment in English plate of
the late seventeenth century and was also used to some
extent in Colonial silver of the same period and later.
lxxii

HISTORY AND TECHNIQUE
The Winslow chocolate-pot is the best illustration (cat.
no. II, fig. 72; detail adapted to form head-band on page
xvii). The foliate borders so characteristic of the New
Netherland tankards and beakers (e.g., the Onclebagh tank
ard mentioned above) belong to the same general type of
decoration but in the latter the surface is not left plain but
is stamped with a simple design. The process by which
simple moulded bands were fashioned has already been
described. Many of the ornamental finials, thumb-pieces, and han
dle tips were cast and their surfaces frequently show a
roughness or grainy quality, often evident without the aid
of a magnifying-glass, which is the result of the impress of
the sand-grains. In executing these designs the Colonial
silversmiths became the first American sculptors and they
developed no little skill and originality. It is possible, of
course, that an occasional mould was imported from abroad
but it is equally probable that the majority of such moulds
were made here by the silversmiths themselves.
It was natural that some of the silversmiths should ac- Engrav-
quire such proficiency in engraving on silver that they inS
turned also to the very similar art of copper-plate engrav
ing. The plates for the paper money issued by the Massa
chusetts General Court in 1690, the first paper currency in
America, were engraved by John Cony.1 Some years
later, in 1709-13, Jeremiah Dummer was printing the first
Connecticut paper money from plates which in all proba-
¦An example of these bills is preserved by the Massachusetts Historical
Society and is illustrated by Bigelow in Historic Silver of the Colonies,
p. 85. He there states that the irregular upper margin of this bill
"exemplifies the term 'indenture' — commonly used in legal documents
when it was the custom to fold the paper or parchment upon which they
were engrossed. It was then cut or indented as a sure means of identifi
cation — the two parts fitting together and furnishing the proof of the
identity of the two copies.'' lxxiii

AMERICAN SILVER
bility he had engraved.1 Amos Doolittle of Connecticut
learned the trade of silversmithing but later took up vari
ous forms of engraving, such as the making of book-plates,
maps, charts, portraits, views, and blocks for printing on
calico. Jacob Hurd was a distinguished silversmith but
his son, though trained to the same trade, became far more
famous as an engraver. In the same manner did Paul
Revere, the most renowned of all these silversmith-
engravers, make the simple transition from the work of the
silversmith to that of the copper-plate engraver. An
example of his skill is included in the Clearwater Collection
in the engraved receipt issued by the Massachusetts State
Treasurer.2 His patriotism spurred him to engrave a
'Curtis, Early Silver of Connecticut and its Makers, p. 29: "Journals
of the Council for 17 10 show transactions with Dummer relating to this
currency, and in 1712 Governor Saltonstall laid before the Council Board
the bill of Jeremiah Dummer for printing 6,550 sheets of this paper
currency." 2Xhis receipt has a floral scroll border. In the upper left-hand corner
appears a seal: a "united" rattlesnake (symbolizing the Colonies united
against England and superseding the earlier emblem of the disjointed
rattlesnake with its legend "join or die") forming the marginal ring with
in which is the figure of a man holding a sword in his right hand and in
his left a scroll with the legend INDEPENDENCE; marginal legends
ENSE PETIT PLACIDAM SUB LIBERTATE QUIETEM. The
receipt reads: State of Massachusetts Bay
No: 2774 £10.16 Dec. ist 1777
Received of Abijah Livermoor
the sum of Ten pounds, 16 s
for the Use and Service of the STATE of Massachusetts-Bay, and
in Behalf of said STATE, I do hereby promise and oblige myself
and Successors in the Office of Treasurer, to repay to the said
Abijah Livermoor
or Bearer, by the first Day of March, A.D. 1781, the aforesaid
Sum of Ten pounds sixteen shillings
with Interest Annually, at Six per Cent, per Annum.
J. Scollay Witness my Hand.
Eze Price H. Gardner, Treasurer.
I. Boyer
(Number of note, name of holder, amount, and date added in long hand.)
Ixxiv

HISTORY AND TECHNIQUE
series of political cartoons in which he mercilessly exposed
the injustice of the British policy toward the Colonies just
previous to the Revolution. Splendid book-plates and
other prints further attest his skill. Along somewhat simi
lar lines his ability was turned to the carving of the wood
frames for many of Copley's portraits. Among the early
New York silversmiths Charles Le Roux, official silver
smith of the city, made the stamps or plates for the bills
of credit issued in 1734 and 1737.
Besides these men who were both silversmiths and en
gravers there were many others who did not profess to
be the former but who advertised, like John Hutt of New
York, "engraver in general and copper-plate printer," that
they would engrave "all sorts of Coats of Arms, Crests,
Seals and Cyphers, Shop Bills, Bills of Exchange, Bills
of Lading, Bills of Parcels, Card Plates, Architecture Maps,
Portraits, Frontispieces, Arms painted on vellum, Door
Plates, Compliment Cards, Spoons and all sorts of Plate
marked and cyphered, Dog Collars, Stamps, etc. etc."
Beyond a doubt many a coat of arms, inscription, or bit
of decoration on these old pieces of silver was added long
after the original silversmith had done his work. The
statement, "Ladies may have their tea-table plate en
graved in the most elegant manner and in the newest
fashion, resembling the flat chasing," in the advertisement
of Peter Maverick of New York in 1786, suggests that
much old plate was made a la mode by these later en
gravers. In this connection it is also worthy of note that there
seems to have been a considerable demand for the engrav
ing of coats of arms, crests, etc. "To obviate the neces
sity gentlemen are frequently under in this country of
sending to Europe for their family coats of arms, which is
attended with considerable expence and trouble the sub-
lxxv

AMERICAN SILVER
scriber [Thomas Reynolds of London, Dublin, and later of
Philadelphia, who advertises in 1786] has been induced to
provide himself, at much cost and pains with a curious
collection of books of heraldry, etc. containing upwards of
seventy thousand coats of arms: he therefore proposes to
furnish those who may be pleased to apply to him, with
their arms truly blazoned, at two dollars each. The
subscriber intends registering the names, places of resi
dence, etc. of every person applying to him for his arms,
together with the arms which shall appear to belong to
such persons, in a book that will be provided for that pur
pose, which shall be deposited in the library of this city, as
public property. Gentlemen already in possession of their
arms, may have them registered on paying one dollar. If
the arms required should not be found nothing will be de
manded for the search." While in the majority of cases
arms so discovered may have been rightly borne, it seems
probable that in some instances desire for arms and the
lack of adequate records here in America may have com
bined in creating a nobility with no more royal grant than
that of the engraver who furnished them.
Marks In those countries of Europe where large quantities of
plate were produced, where there were powerful guilds to
protect the interests of the trade and centralized govern
ments to supervise all industrial art, it was natural that
elaborate systems of marking and registering plate should
have been evolved to prevent counterfeiting and to keep
up the standard of metal used. The bulk of English plate
made from the fourteenth century on and much of the
plate of Holland, Germany, France, etc., was hall-marked,
that is, it was stamped at the Goldsmiths' Hall in the
district of its manufacture with certain marks which
guaranteed its quality and lawful manufacture. A piece
of London silver of the time of Charles II, for example,
lxxvi

HISTORY AND TECHNIQUE
would bear four marks: (i) the leopard's head crowned, the
London stamp denoting standard quality; (2) the lion
passant, denoting government assay; (3) a date-letter,
indicating the year in which it was made and entered at
the Hall; (4) a maker's mark, generally his initials.
In smaller towns in England where there were fewer
regulations governing the stamping of plate, frequently
only the maker's mark or the maker's mark and a single
town mark were employed. Examples of such provincial
English work bearing only a maker's mark or examples
in which the town mark has been erased by some unscru
pulous person have sometimes been wrongly attributed to
American silversmiths and special care should be taken
to avoid such error.
With contemporary English customs the colonists were
familiar, but as America was a new country, a series of
separate colonies, and as there were no powerful trade
guilds, only the simplest system of marking silver was
followed. Until the early nineteenth century the only
official stamp was the maker's mark, which was the sole
assurance that the silver used was of the proper quality.
There was no mark to indicate the place or date of manu
facture except as the maker's identity indicated the period
and probable locality in which he worked. The seven
teenth-century Colonial maker's mark was usually in
the form of his initials, often combined with a device or
emblem,1 enclosed within a shield, trefoil, heart, or other
'In early times most shops in England and on the Continent had signs
bearing, instead of the written name of their owner which few people
could have read, an emblem or symbol by which the shop came to be
known. "It is therefore not improbable," according to Macquoid (in
The Plate Collector's Guide, p. 6), "that the goldsmiths, in some cases,
took for their mark the sign of their shop." For a time emblems were
almost exclusively used in these makers' marks, later the initials were
added, and eventually the latter were used alone. The early Colonial
marks reflect these customs. See also Buck, Old Plate, p. 33.
lxxvii

AMERICAN SILVER
reserve. The device was sometimes taken from the
silversmith's coat of arms as, for example, the cat adopted
by Andrew Tyler, or was in punning allusion to his name,
as in the case of the cony used by John Cony. A few
smiths affected the use of the crown in their marks, which
in English silver generally indicated royal patronage or
recognized excellence of craftsmanship. It became cus
tomary in the early eighteenth century to stamp silver with
the maker's surname, often with the initial of the first name
or the name in full, while sometimes on lesser parts such
as covers and usually on small objects such as spoons a
smaller mark enclosing the maker's initials was used.
Silversmiths of the late eighteenth and of the nineteenth
century, especially those of New York, frequently added
the name of the town of manufacture and in some cases
indicated the quality of the silver by the addition of the
letter D or C, presumably for Dollar or Coin. In the early
nineteenth century the word Coin was sometimes stamped
on plate1 and after about 1865 Sterling was used to mark
quality. Pseudo hall-marks, in imitation of the official
marks on English plate, were affected by some workmen.
The first state law requiring a quality stamp on silver
was the Maryland act of 1814 which fixed the standard for
Baltimore plate as eleven ounces of fine silver to every
pound Troy (917 fine) and required that all objects be
assayed by the assay officer and stamped by him as well
as by the maker.2 For some years after the passage of
this act Baltimore plate generally bore several stamps: a
town mark, the arms of Baltimore; a date-letter; the as-
'Curtis, Early Silver of Connecticut and its Makers, p. 20: "When the
United States Mint was established in 1792, the standard of silver coin
age was fixed at .8924 fine. In 1837 the standard was raised to .900 fine.
Therefore, 'Coin' stamped on plate does not indicate .925 or 'Sterling'
fine." 2Buck, Old Plate, pp. 378". quotes extracts from the Maryland law.
lxxviii

HISTORY AND TECHNIQUE
sayer's punch; the maker's mark. The law was afterward
modified. Laws passed later in various states agree in
requiring silver marked Coin to be 900 parts fine to every
1000 parts, and that marked Sterling to be 925 parts fine.
The examples of Colonial silver in the Clearwater Col- Colonial
lection claim our attention for a multiplicity of reasons. Silver a
They represent one of the earliest and finest of Colonial ^eflec-
arts, of which we have just cause to be proud. Their Colonial
makers were men worthy of high respect for their crafts- Life
manship and no less deserving of admiration for their part
in the great events of their time, for their statesmanship,
patriotism, enterprise, and piety. In numerous instances
the owners of these storied pieces were great and distin
guished folk, and in a few cases we can hazard a guess as
to the notable occasions upon which a particular tankard
or alms-basin was used. As a group they reveal many of
the social and religious customs of the time, recall many
stirring events, and vividly picture for us the life of Colo
nial days.
A group of early American silver at once arouses curios
ity because it comprises so many objects rarely or never
used today. Porringers are occasionally given to children
but they do not hang in a glittering row along the chimney
shelf as they did two hundred and fifty years ago when tea
and coffee were almost unknown and when a porringer
proved a most useful dish for broth or porridge or berries
and milk. The early teapots and coffee-pots were neces
sarily small because these beverages when first introduced
were great luxuries and were served in small quantities
when served at all.
Mugs, tankards, caudle-cups, beakers all proclaim the
fact that our forefathers not only celebrated such joyful
events as births, christenings, and marriages with brim
ming bowls but observed similar customs at funerals.
lxxix

AMERICAN SILVER
Taverns and tankards were well-nigh synonymous. That
no conscientious scruples were felt is proved by the fact
that many of these domestic cups were afterward pre
sented to the churches to serve in the communion service.
Indeed, it is due to these very customs that there is pre
served for us today so much of the early plate. And this
brings to our attention the piety and careful attendance
upon religious worship which marked these early colonists.
Many of these pieces are also rich in historical associa
tions. The handsome tankard by Onclebagh of New York
was made probably shortly after 1700 and the tradition is
that it was presented to Captain Giles Shelley, a noted sea
captain and merchant of that city, by the men who had
financed his voyage to Madagascar in 1698. It was upon
his return to New York after this trip that Shelley was
arrested on a charge of complicity with Captain Kidd.
The old accounts tell us that buccaneers in their bright
and motley costumes paraded the streets of New York in
those days in a daring fashion and doubtless many a mer
chant of the city handled goods plundered on the Spanish
main. One cannot but wonder whether some of the silver
of which the Onclebagh and other tankards were wrought
may not have been the plunder of our Colonial buccaneers.
The Hull and Sanderson coins recall the legend (for his
tory does not confirm the details) that when John Hull's
daughter married Samuel Sewall, the prosperous father
gave his daughter away with a dowry of pine-tree shillings,
the lass sitting in one side of the scale and balancing a pile
of silver coin in the other.
The tankard by Samuel Vernon undoubtedly figured in
the reception tendered Washington and Lafayette at the
Vernon house in Newport and recalls the brilliant company
that moved in that town in the days when the French fleet
rode at anchor in the harbor. Ixxx

EVOLUTION OF THE PRINCIPAL FORMS
Other pieces are likewise linked with Revolutionary his
tory. When the British were threatening the destruction
of Kingston, New York, the inhabitants sought to save
some of their household treasures. The tumbler made by
Goelet owes its preservation to the forethought which
prompted its owner to hide the family silver at the bottom
of the well from which it was later dug up when the
enemy had departed. A different fate befell the coffee
pot made by Pygan Adams of New London for one of
his fellow-townsmen. Curiously enough, this coffee-pot,
stolen by a British officer and taken to London, was
brought back to this country about a century and a
quarter later.
Some of these stories we can discover, others seem lost
to us forever. Yet the silver will always beckon; for who
knows when some little clue, some quaint old chronicle,
some brief but conclusive fragment of evidence may make
it yield up its own bit of history or romance.
EVOLUTION OF SOME OF THE PRINCIPAL FORMS
Each chronological division of the catalogue is preceded
by a note which describes the general styles dominant in
that period; but the story of American silver may be told
from another point of view, by tracing the successive
changes in style as they are set forth in one particular ob
ject, a story which is to be told under the heading of this
chapter. Among the many objects made by the Colonial
silversmith, only the more important or those which are
most fully illustrated by the Clearwater Collection will be
described here.
It is perhaps a far cry from a drinking-horn used by our
Anglo-Saxon ancestors to a tankard made by Paul Revere,
and yet such a line of American ancestry might reasonably
lxxxi

AMERICAN SILVER
be traced. The pedigree of porringers, of caudle-cups or
spoons might likewise be followed back to their European
prototypes of centuries ago. If elaborated at all, the story
would include much concerning the history, economic con
ditions, social and religious customs of all the years be
tween. It could not be told without emphasizing the
important results of the Reformation, for example. The
Protestants in their desire to banish everything pertaining
to Catholicism destroyed much of the ancient ecclesiastical
plate, and when they sought to furnish their own churches
turned to many of the objects in domestic use. These
they either took directly into church service or used as
models for the new church silver. This departure from
the established forms resulted in greater variety of contour
and the adoption of new elements of design. It is, how
ever, with the later effects of these early changes that the
student of Colonial silver has to deal. How the Reforma
tion affected Dutch silver as compared with the changes it
wrought upon English plate is of interest because later in
New England different customs prevailed from those which
existed in New Amsterdam.
In a brief essay it is impossible to do more than trace
the main lines of descent, yet it must be borne in mind that
many lesser influences enter in to modify shapes or vary
their ornamentation. The first objects to be discussed —
the beaker, the tankard, and the mug — have been grouped
because in their most common form, that with straight,
tapering sides, they probably spring from a common an
cestor, the early drinking-horn. The simple cup of horn,
popular for a long period, gradually gave place to cups
made of metal. The transition was natural. Desire for
greater convenience than was afforded by this rather
cumbersome vessel probably prompted some early crafts
man to cut a section of horn and by mounting the narrower
lxxxii

EVOLUTION OF THE PRINCIPAL FORMS
end with a metal base and further strengthening it with
encircling bands of metal he had evolved a beaker. When
he reversed the section of horn and mounted the larger

DUTCH OR FLEMISH BEAKER
ABOUT 1700
FIG. 3
end with metal base and added a handle, he had produced
the immediate forerunner of the tankard, for from the
vessel of horn strengthened by metal it was but a short
step to the object of similar form made wholly of metal.
An elongated tankard produced the common style of flagon

AMERICAN SILVER
while a small tankard without a cover became known as a
mug. But evolution does not proceed along such simple lines.
There are always interacting influences. Many flagons,
tankards, and mugs are made with bulbous sides which
could not have been derived from the drinking-horn but
probably were developed from pottery shapes. One of the
more obvious influences, for example, was that of the
German stoneware or salt-glaze jugs, so popular in Eng
land in the sixteenth century, upon mugs and tankards
of slightly later date. Here again, the pottery jug had
been mounted with silver or gold, and it was a natural
step to make a similar object entirely of metal. Vessels
of glass, leather, and wood also had their share in deter
mining silver forms. While these developments had taken
place before the future colonists packed in their chests
and brought to America pieces of English and Dutch plate
which soon set the fashions for Colonial silver, yet it is
only by a review of the early history of each object that its
development in America can be understood.
Beakers The term beaker was probably derived from an old Eng
lish word of German origin meaning a wide-mouthed
drinking-vessel. The shape was in all likelihood evolved
from a section of a drinking-horn, the smaller end of which
had been fitted with horn or metal base.1 In time the
whole vessel was made of metal and upon its enrichment
many a medieval goldsmith lavished his skill.
Conti- A*3 a domestic vessel the beaker was used from medieval
nental times. It was popular in Germany from the sixteenth to
Proto- t^e eighteenth century, many of the seventeenth-century

types

'Jackson, p. 682. In this catalogue the term beaker has heen limited
to *** vessel with practically straight sides which taper toward the base
and which has no handle, cover, or foot.
lxxxiv

EVOLUTION OF THE PRINCIPAL FORMS
examples having embossed decoration.1 It was even more
widely used in Holland where, after the Reformation, it
superseded the chalice as a sacramental cup. While many
of the domestic beakers were small, a type apparently
much favored for communion (fig. 3) was tall and taper-

NEW NETHERLAND BEAKER
JACOB BOELEN
FIG. 4
ing, the base generally with a heavy torus moulding, sur
mounted by a band of incised or stamped ornament
(lozenge, cross, etc.), by a spiral wire, and sometimes by a
cut-out border of foliate design.2 Another style of base,
'A German beaker of this type, made in Hamburg about 1700 and given
to the Old South Church in Boston in 1713, is illustrated by E. A. Jones
in Old Silver of American Churches, pi. XXIV, and by F. H. Bigelow in
Historic Silver, p. 61.
2The beaker shown in figure 3 was given by Colonel Robert Quarry to
St. Mary's Church, Burlington, N. J., in 171 1. Another beaker with a
foliate base border was exhibited at Leeuwarden, Holland, in 1902, and
is published in the catalogue, "Friesch genootschap van geschied- oud"
lxxxv

AMERICAN SILVER
also found on numerous German and Flemish pieces, has a
convex rim stamped with ovolo pattern (cf. fig. 6). A
border of interlacing strap-work and foliate scrolls en
graved below the lip was the most characteristic decoration
and, wherever found, probably indicates Dutch influence.
Symbolic figures in medallions are equally typical but were
rarely copied elsewhere except by the silversmiths of
Cologne and New Netherland (fig. 4).1 The simple border

ENGRAVED DESIGN
H. PIC ART, FRENCH, l6l8
FIG. 5

incised on a beaker (probably Scandinavian) in the Clear
water Collection has been adapted to form the head-band
on page 3.
The publication and wide distribution of goldsmiths'
heid- en taalkunde-Museum. Antiek nederlandsch goud- en zilversmids-
werk . opname van W. A. Slager," 1902. See also pages civ ff. of
the present catalogue for discussion and illustration of the use of such
borders on New Netherland tankards.
'Numerous Dutch and one Cologne beaker brought to America and
given to churches are described and illustrated by Jones, id., pis. II,
XII, XXII, CXI, etc. lxxxvi

EVOLUTION OF THE PRINCIPAL FORMS
designs was made possible by the discovery of printing.
Certain goldsmiths, such as the Hopfer family of Augs
burg, though clever craftsmen, became far more famous
because their printed patterns inspired so many other less
imaginative but no less dextrous craftsmen. A French
artist, H. Picart, in 1618 engraved a series of twelve de
signs for the use of goldsmiths and jewelers. A series of

NEW ENGLAND BEAKER SHOWING
DUTCH INFLUENCE
HULL AND SANDERSON
FIG. 6
these engravings is now in the Metropolitan Museum and
figure 5 reproduces one design. It was to just such pat
terns that the contemporary goldsmith turned for inspira
tion, as comparison with actual silverwork of the time will
prove.1 'Further references to these engraved designs are noted on page lvi.
See also engraved designs for beakers in Guilmard, Les Maitres Ornema-
nistes, 1880, pi. 172, the upper one of which was reproduced in the Metro
politan Museum Bulletin, 13:38. lxxxvii

AMERICAN SILVER
In the second half of the sixteenth and the early seven
teenth century Dutch traders probably imported the
beaker into northeastern Scotland where at first, as in
Holland, it was used as a domestic cup and came later into
sacramental use. The engraved strap-work and scrolls
and the ovolo design on the base were copied from the
Dutch models, this type persisting even into the eighteenth
century. Most of the examples ori
ginated in the vicinity of Aberdeen.
In England, as in Scotland, the
Dutch type of beaker was more or
less confined to the locality most
closely in touch with the Low Coun
tries — in this case, the vicinity of
Norwich — and was used to some
extent among Nonconformist con
gregations for the communion.1
Of the more common English types
there may be noted first the small
low beaker, generally with reeded
base, which came into fashion in the
reign of Charles I. This frequently
had an engraved band at the top and later was decorated
with repousse designs and in the time of William and Mary
with spiral fluting.2 Plain beakers with moulded bases
were made in the seventeenth and early eighteenth cen
turies.3 But few examples of these styles exist, as the
beaker was never widely popular in England; after the mid-
' Examples of this type of English beaker are illustrated in Gardner,
Old Silver-Work, pi. XLVI (London, 1612); Macquoid, Plate Collector's
Guide, no. 30; Hayden, Chats on Old Silver, p. 121.
2Hayden, id., p. 121, illustrates Charles I and Charles II styles; Mac
quoid, id., nos. 31-32, beakers with floral repousse and fluted decoration.
3 For illustrations, see Jones, Old Plate of the Cambridge Colleges, pi.
LXXIII, p. 66. lxxxviii

NEW ENGLAND
BEAKER
MOODY RUSSELL
FIG. 7 CAT. NO. 41

EVOLUTION OF THE PRINCIPAL FORMS
seventeenth century it was gradually displaced by the
tankard, and many of the old pieces were melted down
when fashions changed. The tall ornamental embossed
beakers were probably not copied in the Colonies, as ob
jects here were designed primarily for use, either domestic
or sacramental.
Of seventeenth-century Colonial beakers it is important Colonial
to distinguish between those made in New Netherland Beakers:
directly after Dutch models and , Seve"-
those of New England which foi- *^ES^^* clnL
lowed chiefly English fashions. In
the first place, the beaker was prob
ably the only form of communion
cup used in New Netherland
churches, while in New England a
miscellaneous group of standing-
cups, beakers, caudle-cups, and
tankards was used for this service.1
This was, of course, partly due
to the fact that in New England
there was a wider variety of drinking-cups in domes
tic use. In the second place, the forms are quite differ
ent. The New Netherland beakers, like their Dutch
models already described, form a distinct type and prac
tically all examples conform to this style. They are tall,
' "The large number of beakers, as well as cups and other vessels, in
the New England churches is accounted for by the fact that as in the
Nonconformist bodies in England the intervention of a priest or minister
in the administration of the Sacrament was deemed unnecessary. Sev
eral cups were handed round at the Communion service. The following
extract from an English Nonconformist minute-book of the eighteenth
century clearly explains the distinction: 'The administration of the
ordinance of the Lord's Supper did not exclusively belong to the pastor
of a church, but might and should be attended by a society of Christians,
though deprived of that office-bearer.'" (Jones, Old Silver of American
Churches, p. xxvii f.) lxxxix

BEAKER
DAVID MOSELEY
FIG. 8 CAT. NO. 271

AMERICAN SILVER
averaging about seven inches in height, considerably taller
than those characteristic of New England. The base is
almost invariably strengthened by a heavy torus moulding
with reeding, spiral wire, or cut foliate border above.
A rare example, belonging to St. Anne's Parish, Middle-
town, Delaware, has a cut-leaf border above the moulding at
the base. The typical decoration around the lip, as in the
Dutch prototypes, consists of engraved strap-work and foli
ate scrolls, often with symbolic figures in medallions (fig. 4) .**
In figure 6 is shown an example of a very rare New
England style of beaker which resembles those New
Netherland beakers just described because it, too, was
influenced by Dutch styles, but in this instance the Dutch
influence probably came through the medium of English
silver. Hull and Sanderson in making this piece may
have actually had as their model an English beaker of the
type of about 1550-1630 which had been brought to Amer
ica and which may long since have perished.2 That they
were copying an English adaptation of a Dutch style rather
than copying an imported Dutch beaker is almost certain,
as they took the ovolo type of base which was favored in
England instead of those other forms which are more typi
cally Dutch.3 The beaker is, of course, quite tall (height,
6 inches) and has the characteristic border of strap-work
and foliation. It belongs to the Congregational Church
of Marblehead, Massachusetts, and is described by Mr.
Jones in Old Silver of American Churches.
1 Belonging to the New Utrecht Reformed Church, Brooklyn, New York.
Other examples are shown in Jones, id., pis. VII, II; New York, M.M.A.,
191 1, cat. nos. 22, 23, 25, 26, 66, 84, etc.
2 An English example of 1606 (illustrated in Hayden, Chats on Old Silver,
p. 121), though probably never brought to America, is strikingly like the
Hull and Sanderson beaker, especially in the engraved scroll ornament.
••Jackson in his History of English Plate illustrates English flagons
with the ovolo style of base: fig. 508, London, 1609; fig. 509, London, 1608.
xc

STYLE OF ABOUT I060 TO 1700
R W, LEEDS, ABOUT 1680 (POSSIBLY
ROBERT WILLIAMSON)
FIG. 9

STYLE OF THE FIRST HALF OF THE EIGHTEENTH
CENTURY
FEAS SPILSBURY, LONDON, 1731
FIG. IO

ENGLISH TANKARDS

AMERICAN SILVER
The typical seventeenth-century New England beaker,
on the other hand, is broad and low and without doubt
followed a seventeenth-century English prototype. While
a large number of the English examples of this shape have
a moulded base, most of the Colonial pieces are flat-bot
tomed without the addition of a moulding. The majority
are plain.1 A few are decorated with a broad band of
.......

BULBOUS TANKARD
W F, LONDON, 1765
FIG. II
granulation like that occasionally found on standing-cups
of the period.2 This is a seventeenth-century German and
'Illustrations may be found in Jones, id., pis. XX, LIII; in Boston Mu
seum catalogue, 1906, pi. 12, no. 109; in Boston catalogue of 191 1, pi.
7, nos. 252, 259; pi. 19, no. 581; pi. 20, nos. 672-675; pi. 36, no. 1006; and
in Bigelow, id., fig. 21.
2 Jones illustrates five of Colonial workmanship, pis. LIII, XI, and
CXXVII (Hull and Sanderson and Dummer). He also illustrates an
English standing-cup with granulation, pi. X, doubtless a model for the
Colonial pieces. The Colonial examples are also illustrated in the Boston
Museum catalogue, 1911, pi. 10, no. 358; pi. 19, nos. 580, 582-583, 591;
and in Bigelow, id., fig. 20. Judge Clearwater has lent to the Metro
politan Museum a German beaker with granulated band.

SEVENTEENTH CENTURY STYLE
WILLIAM ROUSE
FIG. 12

EIGHTEENTH CENTURY STYLE
JOHN CONY
FIG. 13 CAT. NO. 23

NEW ENGLAND TANKARDS

AMERICAN SILVER
Scandinavian style, found to some extent in Holland, and
occasionally in English beakers and standing-cups of
the Stuart period. New England beakers of this shape
with incised or embossed designs are likewise rare. Figure
65 on page 14 is an unusual example and shows the em
bossed surbase of acanthus leaves which, together with its
size, marks the piece as of late seventeenth- or early
eighteenth-century workmanship. The moulded base is
in general, however, more typical of later styles.
Later In the eighteenth century when the vogue for the strap-
Styles work decoration had passed, the earlier Dutch influences
were still felt in New York in such pieces as the tall and
superbly proportioned beaker made by Adrian Bancker
(fig. 90). In New England, on the other hand, a new
fashion gradually came in and in place of the low, flat-
bottomed beaker already described as typical of the seven
teenth century, there was a taller and more slender form
with applied moulding at the base which from the late
seventeenth century on was extremely popular; indeed,
the majority of Colonial beakers still in existence seem to
be of this type (figs. 7 and 83). The examples are usually
plain and vary considerably in point of height. They
were undoubtedly a development of the English late seven
teenth- and early eighteenth-century style, though the
beaker became much more popular in New England than
it was in the mother country.
In the second half of the eighteenth century and later,
flat-bottomed, straight-sided beakers again appeared but
they are more slender and sophisticated than the earlier
types and are generally plain (fig. 118). In the later part
of the century there is to be found the beaker with slightly
bulbous sides and flat bottom (fig. 8) which is probably a
development of a French style. Most of the beakers with
straight sides and moulded bands at base and lip (fig. 135)

EVOLUTION OF THE PRINCIPAL FORMS
date from the late eighteenth and the first half of the
nineteenth century.
Tankards The term tankard "may be derived from tank, a vessel,
or the Dutch for 'tin quart'"1 and is generally used to indi
cate a large drinking-vessel with tapering or bulbous sides,
handle, and hinged lid. Smaller vessels of similar shape

BULBOUS TANKARD
J. G. LANSING
FIG. 14 CAT. NO. Il8
but without covers are called mugs. Elongated tankards
are commonly known as flagons and generally served as
sacramental vessels.
The typical Continental tankard of the seventeenth European
century was rather small, with domed lid, finial, and elabo- Tankards
rate handle, and almost invariably was richly decorated.
Colonial silversmiths may have copied some of these de
tails but they did not adopt the general style.
The earliest type of English tankard to serve as a model
'Gardner, Old Silver-Work, p. 17.

types

AMERICAN SILVER
English for the American silversmiths was that with broad, cylin-
Proto- drical body, flat top usually in two stages, heavy scroll
handle, and moulded base (fig. 9). This style lasted from
the Restoration to the time of Queen Anne when it was
gradually superseded by a tankard of rather more slender
form with domed lid and moulded band around the body
placed about one third of the way up from the base,1 a
type which was very generally used throughout the first
half of the eighteenth century (fig. 10). The tankard with
bulbous body was a later style, common in the second half

Colonial Types

NEW ENGLAND FINIALS
JOHN BURT, D T, JOHN HANCOCK, AND PAUL REVERE, JR.
FIG. 15 CAT. NOS. 20, 156, III, 137
of the century (fig. ii).2 Barrel-shaped tankards were a
fashion of the late eighteenth and early nineteenth century.
With the exception of New Netherland tankards, which
will be described in detail later, Colonial tankards followed
these English prototypes. Seventeenth-century examples
were bread, flat-topped, and generally comparatively
low (fig. 12). The heavy handle was often strengthened
by a long body-drop. These flat-topped tankards did not
wholly pass out of fashion until about 17303 but they began
to yield place about 1710 to the newer style with domed
lid. Shortly afterward it became customary to ornament
'Frequently termed a "mid-band" though usually not placed midway
between base and lip.
2 Jackson, in his History of English Plate, 2:770, briefly reviews and
illustrates these types. See also numerous examples on exhibition at the
Metropolitan Museum.
3 See also foot-note on page 30.

EVOLUTION OF THE PRINCIPAL FORMS
the lid with a finial and to add a moulded band around the
body. This was the most popular eighteenth-century
form (fig. 13). The later examples were generally more
slender and were surmounted by a higher dome (figs.
100 and 106). The later eighteenth-century form with
bulbous sides, flaring moulded foot, and double-scroll
handle was followed to some extent in America, figure 14

TANKARD HANDLE DROPS
D T (CAT. NO. 156) AND JOHN DIXWELL
FIG. 16

showing a New York example made by Lansing. Barrel-
shaped tankards of the late eighteenth and early nineteenth
century are comparatively rare.1
The tankards of New Netherland developed certain Decora-
features not found elsewhere and these will be discussed tive
in a separate section. Colonial tankards as a group, how
ever, have characteristic details which well merit study.
In almost all examples the body is plain. An occasional
'See Jones, Old Silver of American Churches, pi. LII, or Bigelow, His
toric Silver, p. 144. xcvii

Features

AMERICAN SILVER
seventeenth-century New England piece has a surbase of
erect acanthus leaves,1 a fashion first used in England
about the middle of Charles II's reign, or a band of spiral
fluting following late seventeenth-century English styles.
Fluting was frequently employed in the decoration of the
lid of late seventeenth- and early eighteenth-century
tankards.2 Especially characteristic of the New England tankards
of the eighteenth century are the moulded finials which
show analogies to contemporary furniture, especially fin
ials on highboys and desks with cabinet tops. English
tankards rarely have finials and those found on Continen
tal pieces are usually more elaborately executed. The
earlier New England finials are simply turned while later
examples become more definitely ornamental. The princi
pal styles are illustrated in figure 15. The last of the series
represents the pine cone, an emblem frequently employed
in Colonial art.
Another bit of ornament suggestive of contemporary
furniture is the moulded drop so frequently found on eigh
teenth-century tankards, especially those of New England
(fig. 16, left). Many chests and cupboards made about
1700 were ornamented with applied moulded drops in
strikingly similar forms. The cabinet-makers in their
turn had borrowed the moulded drop from Elizabethan
architecture. In certain of the earlier New England
tankards the handle is overlaid with a grooved or ribbed
plate terminating in a ring or loop (fig. 16). The reason
for the addition of this latter feature is not yet clear. This
'A tankard of this style made by Timothy Dwight, 1654-1691, of Bos
ton, was exhibited at the Museum of Fine Arts, Boston, in 1911, cat. no.
386, pi. 22; illustrated also in Bigelow, id., p. 131.
'See Jones, id., pis. XLII and CXVII, for examples by Cony and
Dummer.

EVOLUTION OF THE PRINCIPAL FORMS
device was employed by Dummer, Winslow, Vernon, and
Dixwell, but apparently was limited to New England
tankards made about 1710. No English or European
prototype has been noted.
As in English tankards, the most common thumb-piece
is scrolled, varying from the early spiral forms1 to later
examples such as that shown in figure 17. A seventeenth-
century English style is followed in the double-cupped
thumb-piece on a Dummer tankard.2 A tankard by
Timothy Dwight, a Boston silversmith of the seventeenth
century, has a lion thumb-piece, an English fashion very

TANKARD THUMB-PIECES
NICHOLAS ROOSEVELT (CAT. NO. 143), EDWARD WINSLOW,
AND SAMUEL VERNON
FIG. 17
rarely copied in America.3 Comparable to this but
apparently peculiar to New England silversmiths is the
use of the eagle as a thumb-piece (fig. 17) and the dolphin
and mask (fig. 17) though two dolphins addorsed are found
on some English tankards of the Charles II period. The
dolphin and mask ornament was used by a small number
of New England smiths — Winslow, Dixwell, Hurst, Hiller,
Millner, and Vernon. The dolphins symbolize power, the
mask gaiety. A Colonial example of the later eighteenth-
century English form of open interlace appears in figure 14.
'Jones, id., pi. XLII, XXXVII; Boston, M.F.A., 1906, pi. VI, no. 62;
191 1, pi. 7.
¦•Jones, id., pi. CXXX, shows an English example of 1674-75, brought
to New England, and pi. XLVIII shows a Colonial example by Dummer.
3 Boston, M.F.A., 191 1, pi. 22, no. 386.

AMERICAN SILVER
Many Colonial tankard handles terminate in a plain
oval disk or boss. Others are ornamented with variously
shaped shields, a late example being shown in figure 18.
These styles are typically English. A few rare American
examples have a coin applied.1 The most interesting
ornament and one which was more or less peculiar to
Colonial silversmiths is the head or mask, especially the

TANKARD HANDLE TIPS
(LEFT TO RIGHT) ANDREW UNDERHILL, EDWARD WINSLOW, WILLIAM
VILANT, JOHN CONY, JOHN BURT, AND SAMUEL CASEY
FIG. 18 CAT. NOS. 158, 50, 48, 23, 20, 86

cherub head.2 The cherub head is a familiar design
in all European art, probably developed first in Italy
but widely used elsewhere. Probably some Continental
1Id., pi. 15, no. 213, tankard by Cobb with Spanish coin in handle;
pi. 16, no. 548, tankard by Hanners with Queen Anne shilling.
2 Jones, id., p. xli, states that "the only old English vessels, known to
the author, with handles terminating in cherubs' faces, are two commun
ion flagons of about the date 1660, which originally belonged to the
Dutch or German chapel royal, St. James's palace, now known as Marl
borough house chapel," and which "were probably copied from some
such Dutch flagon of about 1675 as that in the chapel of Corpus Christi
college, Cambridge, which was given by William Stanley, master of the
college (1693-1698) and previously chaplain to the princess of Orange,
who was afterwards queen Mary II of England."

EVOLUTION OF THE PRINCIPAL FORMS
silversmith adapted it as a handle ornament but appar
ently its use on European tankards is extremely rare. In
the Colonies, however, it was widely employed. The
tail-piece on page clix is drawn from such a handle tip and
figure 1 8 illustrates other characteristic heads and masks.
The last of the series, the grotesque used by Casey, was
also used by William Homes, Sr., and Jacob Hurd.

TYPICAL NEW NETHERLAND TANKARD
GARRETT ONCLEBAGH
FIG. 19 CAT. NO. 9

The tankards of New Netherland form a very interesting New
and well-defined group, to be distinguished partly by their Nether-
imposing proportions and partly by certain decorative ,£w ,
details. Their European prototype is difficult to discover,
for tankards apparently were not made in Holland and
contemporary European examples were usually small and
richly decorated. The form most like that used by the
New Netherland silversmiths was the English tankard of
the Restoration period which was broad, flat-topped, and

AMERICAN SILVER
plain. The New Netherland examples, however, are as a
rule much larger and have a heavier, more massive appear
ance, a quality which characterizes all New Netherland
silver. Illustrations do not adequately show this differ
ence but it is manifest in the actual pieces. With the ex
ception of the bulbous form made in the second half of the
eighteenth century (fig. 14) practically all tankards made
by New York silversmiths conform to this cylindrical,
flat-topped type. That by Onclebagh (fig. 19) is a splendid
example and exhibits many of the characteristic features.
The details of ornament merit study, as they almost

NEW NETHERLAND CORKSCREW
THUMB-PIECE
GARRETT ONCLEBAGH
FIG. 20 CAT. NO. 9
invariably distinguish the tankards of New Netherland
and in several instances their origin from Dutch design
may be directly traced. The so-called corkscrew thumb-
piece (fig. 20) occurs on almost every example. No in
stance of its use on a New England piece has been noted
but similar thumb-pieces have been found in a few English
seventeenth-century tankards. Some of the later New
York examples dating from the mid-eighteenth century
are furnished with scrolled or interlaced ornaments (figs.
17 and 14) which indicate English influence.
Below the hinge on the heavy scroll handle there is fre
quently placed a narrow plate with incised design (fig.ig)
more or less Dutch in feeling. A long beaded drop or rat-

EVOLUTION OF THE PRINCIPAL FORMS
tail on the handle (fig. 21 ; cf. fig. 26) is not confined to New
Netherland tankards but is more commonly found on
them than on those of England or New England.1 Many
European pieces, especially German and Danish, show this
feature. Figure 21 also shows an applied design of
cherub's head and garlands, reflecting European ornament,

NEW YORK HANDLE ORNAMENTS
GEORGE FIELDING (CAT. NO. 32) P V B
FIG. 21
though in its adaptation as a handle ornament it was more
or less peculiar to New Netherland.2 The greatest of New
Netherland silversmiths, Peter Van Dyck, made quite
extensive use of such embossed designs on his tankard
handles. The use of the cherub's head as a tip ornament was fol
lowed in New Netherland as well as in New England,
figure 22 showing an excellent example. Of similar sort is
'Similar ornaments on New England tankards are to be found in the
piece by Timothy Dwight previously mentioned (note I, page xcviii)
and in a tankard by Dummer.
2Compare the embossed handle on a tankard by Henry Hurst (1665-
1717) of Boston, pi. 22, no. 684, of the Boston Museum catalogue, 1911.

AMERICAN SILVER
the man's head reproduced in the same figure. Another
style used by several silversmiths was cast in the form of a
woman's head, clasped hands, caryatids, and animal mask
(fig. 22). These elements were drawn from European
design but their combination and adaptation apparently
were the achievement of the Colonial silversmith. Coins
and medals were sometimes used for decoration, inserted
in the lid (fig. 23) or affixed to the tip of the handle, follow
ing German and Scandinavian styles of the seventeenth

NEW YORK HANDLE TIPS
EVERADUS BOGARDUS, GARRETT ONCLEBAGH (CAT. NO. 9),
AND JACOBUS VAN DER SPIEGEL
FIG. 22
and eighteenth centuries. Oval and shield-shaped tips
also appear in later examples, probably the result of Eng
lish influence.
One of the most interesting and unique features of these
New Netherland tankards is the foliate border above the
moulding at the base. This base treatment, if not con
fined to this province, was extremely rare elsewhere.1 The
origin of such foliate bands would seem to go back to the
ornamental silver mountings of early drinking-horns,
mazer-bowls, and the like.2 Generally used in Europe
'Found on a tankard by Samuel Vernon of Newport, R. I., no. 992,
pi. 22, of the Boston Museum catalogue, 191 1.
'See Jackson, History of English Plate, 1:108, English fourteenth-
century drinking-horn; 2:613, English, t. 1440; Gardner, Old Silver-
Work, pi. 1, German early fifteenth-century horn; pi. 34, Enghsh mazer-
bowl, c. 1500; pi. 35, mazer-bowl, English, sixteenth century.

EVOLUTION OF THE PRINCIPAL FORMS
from medieval times, these borders doubtless persisted
longer in certain localities. Cocoanut and shell cups were
decorated with such bands.1 English silversmiths used
similar designs for the mounting of the stoneware jugs
imported from Germany in the sixteenth century.2 Cut-
card borders, although plain and not stamped, were prob
ably akin to these foliate bands.3

LID OF TANKARD SHOWING COIN
EVERADUS BOGARDUS
FIG. 23
As noted above in the section on the evolution of the
beaker, this vessel in Holland sometimes had such a foliate
' Gardner, id., pi. 3, German seventeenth-century palm-nut cup; Bur
lington Fine Arts Club, European Silversmiths' Work, 1901, pi. 19, no.
2, Flemish (?) early sixteenth-century cup; pi. no.89*, bowl and jug of
porcelain with Dutch (?) seventeenth-century silver mounts; Jackson,
id., fig. 245, English, t. 1670, ostrich-egg ewer.
2 Gardner, id., pis. 48-50, English sixteenth-century mountings; Bur
lington, id., pi. 41, English sixteenth-century mountings.
3A simple scalloped band or cut-card border, applied at the base of a
Scotch tankard of 1695, is illustrated in Jackson, id., 2:768, fig. 995.

AMERICAN SILVER
band at the base (fig. 3) and, as some of these were imported
into New Netherland, it is natural that they should have
served as models for Colonial beakers and have suggested
what soon became a most popular decoration for the New
Netherland tankards. Apparently each silversmith de
veloped his own style of foliate border. Of the many
variations figure 24 shows interesting examples, the last
of the series being a late development. Onclebagh also
used such a cut-out border on a caster.1
Four of these illustrations also show a spiral wire which
may likewise have come from earlier European ornament.
Compare, for example, the spiral wire which girdles the
bases of some sixteenth-century European tankards and
beakers.2 A similar wire was frequently used in com
bination with the mouldings at the lip of a New
Netherland tankard or on the handle, at the lip of a
teapot, or on a banded mug, but its use seems to have
been more or less confined to this province. Whenever
these typically Dutch designs, such as the foliate border
at the base, the spiral wire, the embossed ornament of
masks and swags, or the engraved strap-work found on
the beakers, occur on English, Scotch, or New England
pieces, it is fair to assume that Dutch influence has been
introduced. Engraved and embossed decoration exclusive of coats of
arms was but little used on New England tankards but on
those of New Netherland it is very often found, the plain
flat lids and heavy drums affording excellent opportunity
for the artist to pursue his fancy. Such designs are usually
Dutch in feeling and are reminiscent in general of sixteenth-
and seventeenth-century ornament in France, the Low
'Illustrated in Bigelow, Historic Silver, p. 317.
2 Burlington, id., pi. 16, Flemish sixteenth-century chalice; Gardner,
id., pi. 17, no. I, German sixteenth-century flagon.
cvi

uiyyy^^FT^^T^y^

J'a/rtrffaaffaaosapo 10JLJAL
NEW YORK TANKARD BORDERS
GARRETT ONCLEBAGH (CAT. NO. 9), JACOBUS VAN DER
SPIEGEL, PETER VAN DYCK, P V B, CORNELIUS KIER
STEDE, AND ANDREW UNDERHILL (CAT. NO. 158)
FIG. 24

AMERICAN SILVER
Countries, and Germany. The same motives of animal
masks, caryatid figures, swags of fruit and flowers, cherub
heads, and flowing scrolls may be found again and again
in books of ornament from these countries. The Dutch
silversmith of New Netherland was familiar with such
designs and simply selected and combined as the occasion
demanded. When he wished to enrich a tankard handle,
he used the cherub head and fruit swags as shown in figure
21. If the end of a handle required an ornament of oval
or circular form, he fitted several motives into the space
as in the example by Bogardus illustrated in figure 22,
which was evidently inspired by European design.1 Of
similar character is the decoration incised on the lid of a
Peter Van Dyck tankard which has been adapted as a
head-band on page vii. An embossed detail from the
same tankard forms a tail-piece (page xv). Coats of arms
were often added to denote ownership and were finely en
graved. The details of mantling, the flowing scrolls, the
swags of fruit and flowers, the cornucopias, the manner
in which the crest was represented, were all distinctly
Dutch or German in their inspiration. Excellent and
typical examples are afforded by the Shelley arms on the
Onclebagh tankard reproduced in figure 68 and by the arms
on the Jacob Boelen teapot in figure 49. Of European
inspiration, too, were the splendidly executed double or
reversed monograms not infrequently found on the tops of
New York pieces from 1730 on. Even the serrated edges
of the tankard covers often received a bit of engraved de
sign (fig. 23), showing how the New Netherland silver
smith delighted in this mode of ornament.
'For suggestively similar European designs, see Perreti, Alphabets,
1569, Brussels (plate 2 shows animal mask similar to that in figure 22);
Guilmard, Les Maitres Ornemanistes, 1880 (no. 34, French, c. 1600,
style of Louis XIV, shows flowing scrolls similar to those used in New
Netherland coats of arms).

EVOLUTION OF THE PRINCIPAL FORMS
E. Alfred Jones, in his great and comprehensive work
on The Old Silver of American Churches, has described
over one hundred and thirty tankards, the majority of
which served as communion cups. To many a Colonial
tankard a spout was added in the days of the temperance
movement to give an air of respectability and greater con
venience in pouring. When thus equipped they were
sometimes used as flagons for pouring the communion wine
but were too awkward to continue long in favor.
Mugs
Mr. Jackson describes mugs as "drinking vessels smaller
than tankards, mostly cylindrical in form, with one handle,
but without a cover; they are generally made of a pattern
similar to the bodies of tankards of the same period."
From other forms, especially the stoneware jug, the beaker,
and the caudle-cup, certain other varieties of English mugs
developed. The German stoneware jugs, many of which
were imported into England in the sixteenth century and
were mounted by English silversmiths, or some similar
pottery form, probably determined the shape of those rare
English silver mugs of the second half of the seventeenth
century which have globular bodies and broad reeded
necks.1 Fitting a single handle to a body of beaker or of
caudle-cup shape produced cups which are frequently
classified as mugs.
The majority of English mugs, however, fall into one of
three fairly distinct groups. One type with straight taper
ing sides and flat bottom, similar to the tankard in form
but smaller and without a cover, was common in the late
seventeenth and early eighteenth century (fig. 25) and
1 Examples in Moffatt, Old Oxford Plate, pi. LIX, London, 1683; Bige
low, Historic Silver, fig. 90, made in London, 1688, given in 1728 to St.
Michael's Parish, Talbot Co., Maryland.

AMERICAN SILVER
became popular again in the later eighteenth century.1
Sometimes the body was plain, sometimes it was girdled
by a moulded band or bands. Another group dating from
about the beginning of the eighteenth century is charac
terized by a tapering, almost straight body curving inward
quite sharply to a narrow, spreading base.2 From this
group, as the neck became contracted, the sides increas
ingly bulbous or "bellied," the base wider and more
prominent, the last type probably developed, the typical
eighteenth-century bulbous mug.3
American y[r_ Bigelow illustrates examples of those rare New
*e England cups or mugs the outlines of which more or less
closely follow those of the stoneware jug, the bulbous and
straight-sided caudle-cup, and the beaker (fig. 79).* The
majority of Colonial mugs, however, are of the more popu
lar English types. Those of the seventeenth and early
eighteenth century conform to the straight lines of the con
temporary tankard. The form as developed by Koenraet
Ten Eyck of New York is seen in figure 26. The body is
girdled by moulded bands and has a beaded rat-tail on the
handle, in both respects resembling a similarly shaped mug
by Cony.5 The Ten Eyck mug shows in addition a typical
'An example of 1702, London, one of 1712, Exeter, and one of New
castle, about 1794, are illustrated in Jackson, History of English Plate,
pp. 772-773-
2 Jackson, id., fig. 1004, Newcastle, 1714. Compare form of chocolate-
pot, illustrated in Moffatt, id., pi. LXI, London, 1725.
3 Bigelow, id., fig. 109, London, 1779. Jones, in Old Silver of American
Churches, describes four English mugs of this form in American churches:
pi. LXVII, in Maryland, hall-marked 1742; p. 151, in South Carolina,
marked 1771; p. 437, in Salem, Massachusetts, marked 1778; pi. LXIX,
in Hamilton, Massachusetts, marked 1779.
4 See Bigelow, id., fig. 91, a Cony mug evidently inspired by the form of
the stoneware jug; fig. 92, by Dummer, similar in shape to the bulbous
caudle-cup; fig. 93, by Cowell, straight-sided caudle-cup shape.
¦•Illustrated in Bigelow, fig. 98

EVOLUTION OF THE PRINCIPAL FORMS
Dutch detail in the spiral wire which is incorporated with
its mouldings. A Wynkoop mug (fig. 74) is also of this
straight-sided form. In an example, probably of the
mid-eighteenth century (fig. 27), which was made by an

GEORGE GIBSON, YORK
ABOUT 1685
FIG. 25

f

TP>

KOENRAET TEN EYCK
FIG. 26

UNKNOWN AMERICAN
MAKER
FIG. 27 CAT. NO. 162

M H
FIG. 28 CAT. NO. 244
DEVELOPMENT OF THE STRAIGHT-SIDED MUG

unknown maker, presumably of Boston or vicinity, as the
mug belonged to a Boston church, the body is plain, the
handle shaped like the contemporary tankard handle.
Similar mugs with a single band of moulding, as in the
English example shown in figure 25, were made in New
England, illustrations being found in the work of Cowell,
Hiller, and Andrew Tyler.1 Figure 28 is a typical late
1Id., fig. 101; also in Jones, Old Silver of American Churches, pis.
LXXII (Cowell), XVII (Hiller), LXXXIV (Tyler).

AMERICAN SILVER
eighteenth-century tapering, straight-sided mug with
bands of reeding and a hollow handle of rectangular sec
tion. Figure 29 shows an early Colonial mug by J. Ten
Eyck, the style of the arms and mantling indicating New
York manufacture. The sides here are faintly rounding
and curve inward to the base. Winslow, Pollard, and
Blowers of Boston also made examples in this style dating
from the early eighteenth century. The mugs by Peter
and Richard Van Dyck (fig. 85) have more distinctly
curved sides but are not really of the later bulbous type.
The third main group includes all Colonial mugs of dis
tinctly bulbous form, frequently termed "bellied" mugs
or "canns." This style lasted through the eighteenth
century and was very popular. Figure 30 by Thomas
Millner is obviously an early example. The form of the
handle, a simple scroll continuing to a roughly shield-
shaped tip, is typically early. In the mug by John Burt
(fig. 31) the sides have assumed a gentle cyma curve. In
the later examples illustrated here (figs. 32, 104, 122 and
129) the curve has become very pronounced, the lip is
often distinctly flaring, the body broadly bulging, and the
base more elaborately moulded and higher. Occasionally
a moulding is added around the body.1 Figure 32 by
Myer Myers is very unusual in having a cover. It also
shows the scallop shell at the upper attachment of the
handle, an ornament which Myers seems to have favored
but which was rarely used by other Colonial silversmiths.
The piece by Jonathan Otis (fig. 33) is of exactly the same
form as these mugs but is probably more properly called a
two-handled cup.
During the eighteenth century the style of the handle
changed considerably. The earliest examples are usually
in the form of a simple S-curve, sometimes in strap form,
'Example in Bigelow, id., fig. 111, by E. Davis.

EVOLUTION OF THE PRINCIPAL FORMS
sometimes semicircular in section like the tankard handle,
but gradually developing into one of somewhat circular
section. The later handles are generally in double-scroll
form, often with an acanthus-leaf thumb-rest.

J. TEN EYCK
FIG. 29

JOHN BURT
FIG. 31

THOMAS MILLNER MYER MYERS
FIG. 30 FIG. 32
DEVELOPMENT OF THE BULBOUS MUG

Spout-cups seem to have been more or less peculiar to
New England in the first half of the eighteenth century.
In form they follow the contemporary bulbous mugs with
the addition of a long slender spout.1
'See chapter on spout-cups in Bigelow, id., pp. 383-390.
cxiii

English Caudle-
cups

american silver
Caudle-Cups and Later Two-Handled Cups
During the seventeenth century in England hot drinks
were much favored, especially caudle, "a warm drink con
sisting of thin gruel, mixed with wine or ale, sweetened and
spiced," which was associated especially with births and
christenings, and posset, "a drink composed of hot milk
curdled with ale, wine, or other liquor, often with sugar,
spices, or other ingredients; formerly much used as a deli
cacy and as a remedy for colds and other affections."

TWO-HANDLED CUP
JONATHAN OTIS
FIG. 33
The earlier form of caudle-cup was circular and bulbous,
incurved at the base and somewhat contracted at the
mouth, often described as gourd-shaped, with two handles.
In the late Commonwealth period the bulbous portion
was usually beaten thin and embossed with bold floral
designs, a fashion imported from Holland and widely
used in English plate but nowhere to better advantage
than in these caudle-cups. The relief became higher
and the designs more realistic in the reign of Charles
II. Often an embossed cover and plateau accompanied
the cup.
After about 1675 this bulbous cup yielded precedence to
one with practically straight sides curving inward at the

EVOLUTION OF THE PRINCIPAL FORMS
foot, a shape first introduced in the reign of Charles I.1
The most popular decoration at this time consisted of a
surbase of erect acanthus leaves which conformed well to
the more severe lines of the latter form. During the period
that this style of decoration was in vogue, cut-card orna
ment was also used. A considerable number of caudle-
cups of the second half of the seventeenth and early eigh
teenth century were plain. In the last quarter of the
seventeenth century and especially in the time of William
III spiral fluting was popular, a fashion which lasted
through the first quarter of the
succeeding century. Frequently
there is a corded band or border
of fluting just below the lip. In
the eighteenth-century examples
the fluted surbase is often inter
rupted by a shield as in figure 36.
T, f • , , CAUDLE-CUP
Inese forms with the narrow- UNKNOWN AMERICAN MAKER
ing of the body and the addition FiG. 34
of a higher foot developed in the
eighteenth century into the larger two-handled loving-cups,
plain (fig. 37) or decorated according to the taste of the
time, and eventually in the later part of that century
into the two-handled cups of classic form.
In England the caudle-cup was almost entirely a domes
tic drinking-cup. Only rarely was it used in the commun-
¦Some authorities limit the use of the term caudle-cup to the gourd-
shaped cup while they apply the term porringer to the straight-sided form.
According to Jackson in his History of English Plate, p. 712, such a dis
tinction is hardly reasonable " and the better opinion is that cups of both
descriptions were used as drinking-vessels, and that the term "porringer*
is properly applicable only to the smaller two-handled cup, either cylin
drical or contracted at the mouth, out of which porridge may have been
eaten;" in other words, a distinction based upon use and consequent size
rather than upon shape. This English porringer must not be confused
with the American porringer, a vessel of quite different shape.

AMERICAN SILVER
ion service of the Church of England. A considerable
number, however, were employed in Nonconformist
churches. In New England, where this form of worship
prevailed, many of the caudle-cups which had been used
in Colonial households were presented to the churches and
frequently served as models for others made later. Many
of the examples in existence today have thus been pre
served. According to Mr. Jones, the caudle-cup "was
rarely if ever made on the continent of Europe." Con
sequently it is to be expected that practically all Colonial
examples would come from New England. Of the seven-

CAUDLE-CUP
HULL AND SANDERSON
FIG. 35
teenth- and eighteenth-century caudle-cups by native
silversmiths now preserved in American churches, Mr.
Jones finds that forty-six were made by Boston craftsmen,
three by unknown makers, one by Peter Quintard, a silver
smith of Huguenot descent who worked in Norwalk, Con
necticut, and one by Cornelius Kierstede, a New York
craftsman working in New Haven.
. The English fashions were simplified by the Colonial
American r J
Caudle- workmen and generally persisted here for a longer period
cups than in England. The examples are quite simple in design
but are of such grace of line and so well proportioned that
they vie with the standing-cups for the honor of first place
in point of charm and beauty. The great majority are

EVOLUTION OF THE PRINCIPAL FORMS
bulbous or gourd-shaped, modeled on the popular Charles
II style. The lip is usually thin and not reinforced by a
moulding (fig. 34). An occasional caudle-cup appears
to have been made in the form of one by Winslow which
has a bulbous body, a distinct and deep neck, and moulded
lip.1 This suggests its probable derivation from silver mugs
and, farther back, from pottery forms.
Though those of gourd shape were the most popular and Later
continued to be made in the early eighteenth century, Forms of
there were also some examples made in the later style with rr „ "
*, . Handled
almost straight sides curving inward at the base in the Cup

CAUDLE-CUP
RICHARD PARGETER, LONDON, 1 729
FIG. 36
manner of the later seventeenth- and early eighteenth-
century English caudle-cups. Akin to this style is an
example by Dummer which has a bowl-shaped body evi
dently copied from the bowl of the contemporary standing-
cup. Mr. Jones, in Old Silver of American Churches,
expresses the opinion that the silversmith in this case
probablymade these bowls and then fitted them with balus
ter stems if standing-cups were desired or with handles if
caudle-cups were sought. The theory is supported by the
fact that several standing-cups by Dummer have bowls
'Illustrated in Jones, Old Silver of American Churches, pi. XC, and in
Bigelow, Historic Silver of the Colonies, fig. 51. It belongs to the First
Congregational Church in Milford, Conn.

AMERICAN SILVER
of the same form and size as this caudle-cup.1 Few caudle-
cups today are accompanied by covers. One by John
Cony " has a typical reel-shaped cover which when inverted
serves as a paten-like dish.
Dating from the beginning of the eighteenth century
are two splendid loving-cups made by Cony and Winslow3
which are of greater size than the foregoing types but which
evidently derived their form from the straight-sided caudle-
cup. Each has a more elaborate foot and a domed lid with
large finial. In later developments of the same form the
sides become narrower in proportion, the foot higher, and
the handles necessarily heavier (cf. fig. 37). 4 Thus is
gradually evolved the modern two-handled loving-cup.
Figure 121 shows a late development along classic lines
which is, however, equally related to the form of the
standing-cup.
Decora- The great majority of the Colonial caudle-cups are plain.
tion Of sixty-five described by Jones in Old Silver of American
Churches, fifty-seven are undecorated. Of those which
received some enrichment a few have simple floral motives
in compartments against a mat ground (fig. 35).5 They
were probably inspired by similar punched and incised
'Jones, id., pi. XI (standing-cup), pi. XLIX (caudle-cup). Each has
a band of fluting around the lower portion of the bowl.
'Boston, Museum of Fine Arts, exhibition of 191 1, pi. 7, cat. no. 247,
or Bigelow, id., fig. 48.
3One by Cony belonging to Harvard University is no. 64, pi. 7, of the
Boston Museum catalogue of American silver, 1906. The other by
Winslow is in a private collection and was exhibited at the same museum
in 191 1, cat. no. 1021, pi. 36.
4 For illustration of an American cup, see one by Hyde belonging to a
church in Newport, R. I., and shown in the volume by Jones, pi. XCV.
6Other examples occur in Jones, id., pi. LIV, by Hull and Sanderson
(also illustrated in the Boston Museum catalogue of 1911, pi. 19, no. 589);
pi. XXXI, by Sanderson (also in the Boston catalogue of 1906, pi. 3, no. 303,
and in the 1911 catalogue, pi. 19, no. 933); and pi. CXXXIV by Cony.

EVOLUTION OF THE PRINCIPAL FORMS
designs on English cups of about 1660.1 These lightly
wrought patterns suggest the simple carved designs of
similar character on contemporary furniture — -chests, cup
boards, boxes. Other Colonial examples have repousse
or punched ornament in various designs more or less follow
ing English models.2 On the straight-sided caudle-cups
the typical decoration is a band of spiral fluting, a style of
cup evidently favored by William Cowell, as a number of

TWO-HANDLED CUP
WILLIAM DARKER, LONDON, 1732
FIG. 37
examples bear his mark (cf.fig. 36).' Fluting and gadroon-
ing also occur on the handsome loving-cups by Cony and
Winslow mentioned above.
The majority of Colonial caudle-cups have plain scrolled
handles, varying in thickness from a thin strap to a heavier
and more rounded form. A few are cast in more elaborate
style with a woman's head at the upper curve of the scroll.
Excellent illustrations are furnished by the work of Cony.4
'Compare Jackson, History of English Plate, pp. 713-714. figs- 932-
934; Hayden, Chats on Old Silver, p. 201.
2 Jones, jJ., pi. CXXI (also Boston Museum catalogue of 1911, pi. 15,
no. 935); Boston Museum catalogue of 1906, pi. 6, no. 65.
'Jones, id., pis. LIV, LXI, CXXXIV.
4 Boston Museum catalogue of 1906, pi. 6, no. 65; pi. 7, no. 64; Boston
1911 catalogue, pi. 7, no. 247; Jones, pi. CXXXIV. PI. XCIV in the
same volume shows one by Dummer. cxix

AMERICAN SILVER
The design is borrowed from English handles which in
turn drew their inspiration from similar terminal figures
in Italian metalwork. Variations and simplifications of
this style also occur. Other American examples have
beaded handles. Hayden in Chats on Old Silver, in dis
cussing caudle-cups, sets forth the view that these beaded
handles were probably adapted by English silversmiths
from the designs of old Venetian glass-workers who
modeled their handles on the form of the sea-horse, a little
creature familiar enough to them and readily convention
alized in their art.1 Beaded handles were extremely pop
ular in Germany, the Scandinavian countries, and else
where. Presumably the notched handles popular with
American silversmiths were a modification of the beading.
Porringers The prototype of the American porringer was doubtless
the shallow bowl with handles, widely used in Europe
throughout the Middle Ages for soup and broth. Made at
first of wood, later of pewter and silver; of gold, crystal, or
jasper, richly wrought, when designed for "lords of high de
gree," this vessel underwent various modifications in both
form and use before it was gradually superseded by dishes
of porcelain about the middle of the eighteenth century.
European The original shallow form was retained longest in Ger
many and Holland (figs. 3 8-39). 2 In France the simple
early vessel became elaborated into an ecuelle with domed
cover and fruit finial.3 In Scotland in the seventeenth
1 See examples in Venetian glass at the Metropolitan Museum.
2 See general account in Gardner, Old Silver-Work, p. 30. See also
other examples in pewter at the Metropolitan Museum.
3 Examples may be found in H. Havard, Histoire de L'Orfevrerie Fran-
caise, 1896, p. 426; G. Bapst, Etudes sur L'Orfevrerie Francaise au XVIII
Siecle: Les Germain, p. 102; H. Bouilhet, L'Orfevrerie Francaise, 1908,
pp. 61, 74, 95. See also examples on view at the Metropolitan Museum.

Forms

EVOLUTION OF THE PRINCIPAL FORMS
and eighteenth centuries there developed, presumably
from the old medieval bowl, a drinking-vessel with two
solid handles known as a quaigh or quaich. Communion
tokens and alms were sometimes collected in such bowls.1

GERMAN PORRINGER
AUGSBURG, XVII-XVIII CENTURY
FIG. 38

FLEMISH OR DUTCH PEWTER PORRINGER
SEVENTEENTH CENTURY
FIG. 39
In England small shallow bowls of this sort generally served
a different purpose and were known as surgeons' bleeding-
'The origin and use of the Scotch quaigh is described by Wood, in
Scottish Pewter-ware and Pewterers, pp. I37"i39- Illustrations are also
found in Jackson, History of English Plate, p. 743; Masse, Pewter Plate,
1910, p. 81, taken from the Connoisseur, 5:127; Burns, Old Scottish Com
munion Plate, 1892, p. 401; etc. cxxi

gers

AMERICAN SILVER
bowls (fig. 40, left).1 Instead of the two handles almost
invariably found on European pieces, these English bowls
were usually supplied with but one.
American jn jts generai shape the American porringer apparently
followed this English prototype, the typical form being a
shallow, open bowl with flat base slightly domed in the
center and one flat, pierced handle set nearly flush with
the rim. Naturally, on account of its use, the English
bleeding-bowl was comparatively rare and rather small in
size. Apparently a number of the earliest American
porringers were not much larger, but some of the early
American examples and practically all of the later ones
were of considerably greater size, averaging perhaps 5!
inches across the bowl, with corresponding depth and with
a larger handle (fig. 40 indicates the comparative size of
typical English and American examples). This was
undoubtedly because the American porringer was not
designed as a surgeon's bowl but was used, like its medieval
predecessor, for serving hot broth, porridge, children's food,
etc. Before tea and coffee came into general use, most
New England families ate broth and porridge at breakfast
and supper. The porringer probably proved a most useful
dish for such semi-liquid foods, for berries and milk, etc.,
for which a cup or plate would have been unsuited.2 How
important a place these little objects filled may be judged
'The term porringer in English silver does not refer to a vessel of this
form but is generally used to indicate a two-handled cup akin to the
caudle-cup. 2 Because of his Tory sympathies, Thomas Vernon, son of the silversmith
Samuel Vernon, was exiled from his home in Newport, R. I., for several
months in the summer of 1776. He spent the time of his exile in towns
in the northern part of the state and his diary gives an interesting view
of life at that period. Several entries mention "a porringer of pudding
and milk" taken at supper. "Drank a porringer and turned in at ten,
very sober." The evening meal was evidently light — baked apples,
berries and milk, eggs, or ''pudding and milk."

EVOLUTION OF THE PRINCIPAL FORMS
by the fact that in 1660 one family had nine, another
family in the following year had seven, probably most of
them of pewter. Pewter and silver in the seventeenth and
early eighteenth centuries enjoyed a wide popularity be
cause pottery and porcelain were more difficult to secure.
Changing fashions in the eighteenth century no doubt
called many a porringer into service as a sugar-bowl.
The thirty-five examples of American porringers in the

ENGLISH BOWL AND AMERICAN PORRINGER
TIMOTHY LEY, LONDON, 169I (LEFT)
SAMUEL VERNON, NEWPORT (CAT. NO. 46), (RIGHT)
FIG. 40
Clearwater Collection illustrate many of the important
styles. One by an unknown maker, P B (fig. 63), is of
comparatively small size (diameter of bowl, 4! inches)
and has a handle very similar to that of the English bleed
ing-bowl shown in figure 40 (left) and like the Flemish or
Dutch example shown in figure 39 except that the latter
lacks the three openings at the base of the handle. Evi
dently the American piece follows English styles quite
closely and is probably of late seventeenth- or early
eighteenth-century workmanship. The first handle shown

AMERICAN SILVER
in figure 41 is of the same design and follows even more
closely the outlines of the English bowl. This piece is also
small and has no maker's mark. Another handle which
clearly shows its derivation from English styles is that by
Allen and Edwards (fig. 41, no. 2) which, however, has a
larger bowl.1
In addition to those American porringers which were
quite closely modeled on English and European proto
types, there were many other early examples with handles
pierced in geometric designs made up of circles, quatre-
foils, and other simple motives such as might have been
executed with the simplest punching tools (fig. 41, nos. 3-4,
and fig. 64). These were doubtless inspired to some ex
tent by foreign models but the patterns are so simple that
they might have been evolved almost anywhere. The fact
that the bowls of such porringers are generally rather large
would seem to bear out the theory that this style is quite
distinctly Colonial.
As early as I7252there came into fashion the handle with
scrolled piercings, now commonly called "keyhole" pattern
because the uppermost piercing resembles the opening
in an escutcheon. Though no early prototype has been
found, this style may have been inspired by English mod
els.3 An early Colonial adaptation is shown in figure
41, no. 5. Figure 40 (right) is a typical example of this
style, which was extremely popular throughout the eigh
teenth century. The majority of Colonial porringers in
'The heart-shaped piercing in these American examples may be com
pared with similar heart-shaped piercings in the splats of chairs. A
chair with such a splat was found in Baltimore.
2A porringer of this pattern was made by Dixwell, who died in that
year. It is no. 84, pi. XVII, of American Silver, exhibited at the Boston
Museum of Fine Arts in 1906.
'Compare the handle illustrated by Bigelow, Historic Silver, p. 303,
made in London, 1780-81. cxxiv

TYPICAL AMERICAN PORRINGER HANDLES
(LEFT TO RIGHT) UNKNOWN MAKER, ALLEN AND EDWARDS (CAT.
NO. 17), JOHN NOYES, JOHN CONY, JOHN NOYES (CAT. NO. 39),
BARTHOLOMEW SCHAATS, ADRIAN BANCKER (CAT. NO. 64), AND
SAMUEL BURRILL FIG. 41

AMERICAN SILVER
existence today are of this design. Those with two arched
openings in the base of the handle, as in the illustration here
shown, are generally rather early.
Presumably certain silversmiths developed their own
characteristic style. A charming early eighteenth-century
design (fig. 41, no. 6) was used by Bartholomew Schaats
and Peter Van Dyck, who may have drawn their inspira
tion from European design, possibly from one of those
books of engraved ornament which must have afforded

PORRINGER WITH CROWN CRESTING
WILLIAM COWELL
FIG. 42
many a silversmith the rich suggestions which he adapted
to the work in hand. Two porringers with the simple
piercings illustrated in figure 41, no. 7, were made by
Bancker of New York and a similar one was made by P D.
Another rather distinctive early eighteenth-century design
is that shown in number 8, made by Samuel Burrill. John
Edwards and Andrew Tyler employed the same pattern.1
Sometimes the cresting is in another form, suggesting a
crown, as in a porringer by Cowell (fig. 42; cf. cat. no. 27).
Many of these porringer handles bear the initials of
'That by Edwards is illustrated in Bigelow, id., p. 313, fig. 217; that by
Tyler in Boston, M.F.A., cat., 191 1, no. 970.

EVOLUTION OF THE PRINCIPAL FORMS
husband and wife, generally but not without exception
reading 3 , the husband's Christian name, the wife's, the
1 2
surname.

Pots for Tea, Coffee, and Chocolate
These beverages were not generally used in England
before the middle of the seventeenth century. The cus-

CHOCOLATE-POT maker: w n
fig. 43 cat. no. 38
torn of drinking coffee probably originated in Abyssinia
but was introduced into Europe from Arabia and Turkey.
The rise of coffee-houses in the second half of the seven
teenth century, despite royal opposition, is an indication
of the favor with which the new beverage was received in
England. Chocolate made from cocoa imported from the
West Indies increased in popularity during the second half
of the seventeenth century and continued in vogue during

AMERICAN SILVER
the first quarter of the next century. Tea and the little
porcelain teapots in which it might be brewed with fullest
flavor were among the Oriental wares brought into Euro
pean markets by those enterprising Dutch traders who had
sailed eastward to China and Japan.1 All three beverages
steadily increased in favor during the second half of the
seventeenth century and consequently teapots, chocolate-
pots, and coffee-pots were designed and fashioned, some in
pottery, some in silver. At first the forms of all three

TEAPOT
TETER VAN DYCK
FIG. 44
were very much alike and all were small because these
commodities were expensive and could be enjoyed only in
small quantities. Gradually with the eighteenth century
the importations increased, the price was greatly reduced,
and the pots were accordingly made in larger size. Grad
ually it became customary to make the teapot smaller
than the coffee-pot, a distinction which is still observed.
Their general outlines, however, conform to the same
changes in style and they may be discussed in one general
section. Oriental porcelain was so much thinner, lighter in weight,
'Based on a more detailed account in Jackson, 2: 941-43.
cxxviii

JOHN LINGARD, LONDON, 1716
FIG. 45

H N H, AMSTERDAM, 1 743
FIG. 46

\Jr

¦

ADRIAN BANCKER, NEW YORK
FIG. 47
DEVELOPMENTS OF THE PEAR-SHAPED TEAPOT

AMERICAN SILVER
and more translucent than European pottery that from
the time it was first imported it was greatly sought after.
European craftsmen at once began to experiment to learn
the secret of its manufacture. Naturally enough, the
shapes of Chinese porcelain teapots set the style for
others in European pottery and porcelain and in silver.
At the same time native models were adapted to the new
requirements. Probably in a general way the distinction
might be made that the curved, globular shapes were
largely inspired by the Oriental while the straight, tapering
bodies were inspired by contemporary European forms.
Apparently the same general types were produced on the
Continent, in England, and in America.
The earliest English teapot known, according to Jackson,
is one bearing the London hall-mark for 1670-71. This
has a straight, tapering body and a conical cover. This
general form was in fashion in England until the mid-
eighteenth century, the later examples generally having
low-domed lids, curved spouts, and decorative details
characteristic of their period. Except for the earliest
English examples, the shape seems to have been devoted
quite exclusively to coffee- and chocolate-pots and was not
used for tea. An American chocolate-pot, possibly made
about 1735-40, is shown in figure 43. Its straight spout is
set at right angles to the handle, which was the customary
position at first. This piece shows the distinguishing
feature of the chocolate-pot, the opening beneath the
sliding-plate of the cover through which a brush or stick
might be inserted in order that the thick chocolate might
be frequently stirred in the course of its preparation. The
coffee-pot in figure 82 is small (height, 6\ inches) and ex
tremely dainty. In figure 88 of the same shape the rococo
influences of the mid-eighteenth century are evident in the
scrolled flutings on the spout and handle-sockets. This

EVOLUTION OF THE PRINCIPAL FORMS
tapering style was often modeled in octagonal form in
England and doubtless also occasionally in America.
Another early shape, illustrated by the chocolate-pot by
Winslow (fig. 72), differs from the preceding forms chiefly
in the incurve of the body at the base and the addition of a
spreading foot. The body itself tapers somewhat more

COFFEE-POT SAMUEL MINOTT
FIG. 48
sharply than do most of the earlier type. The piece is
distinctly an early one, for it shows no late features and
it has many which are typical of the late seventeenth and
early eighteenth century — the high-domed lid, the form of
the spout and thumb-piece, the position of the spout at
right angles to the handle, and the fluting and cut-card
ornaments.1 'Bigelow, in Historic Silver of the Colonies, p. 375, illustrates a London
coffee-pot of similar form, dating from 1751-52. which is now in the Mu
seum of Fine Arts, Boston. cxxxi

AMERICAN SILVER
Not far removed from the outlines of the Winslow cone-
shaped chocolate-pot is the form of the teapot by Peter Van
Dyck of New York (fig. 44), a piece inherited by Pierre
Jay. The chocolate-pot is taller and is more graceful
and slender than the heavy teapot. The latter seems to
be a New York style, evidently drawn from European
sources, as a strikingly similar teapot in the possession of
the New York Historical Society, though with an unknown
hall-mark, is evidently of European origin.

/

TEAPOT
JACOB BOELEN
FIG. 49
Another style which dates from the first quarter of the
eighteenth century is that with pear-shaped outline.
Figures 45 and 46 show an English and a Dutch teapot
each of which is in the octagonal form so favored in the
first half of the eighteenth century. The English example
has a rather heavy duck-neck spout. Some of the early
spouts in this form have a hinged cap at their tips suggest
ing a bird's beak. Though the tip ornament here illus
trated is not hinged, it is of similar design. Contemporary
with this and very like it in form is the Cony teapot shown
in figure 78. The modifications of this general form which
were apparently peculiar to New York silversmiths are

EVOLUTION OF THE PRINCIPAL FORMS
illustrated in the teapot by Adrian Bancker (fig. 47). It
has quite distinctive features, a broader and more com
pressed body, a more sharply defined neck and shoulder
(the latter emphasized by a moulding), a long slender
spout, and prominent finial. Charles and John Le Roux,

TEAPOT OF MEISSEN PORCELAIN
FIG. 50

TEAPOT
JOHN MOULINAR
FIG. 51
Peter Van Dyck, Simeon Soumaine, J. Ten Eyck, and
John Brevoort made similar teapots. It is probable that
in New York the early pots were used interchangeably for
tea, coffee, and milk.1 Apparently no distinction between
the forms of the teapot and the coffee-pot was observed
until about 1760.
A chocolate-pot by John Cony now in a private collec-
'See De Peyster inventory, quoted on page xliv, note, eleventh item.
cxxxiii

AMERICAN SILVER
tion1 is of the same shape elongated to meet the require
ments of the chocolate-pot. As in the Cony teapot, the
spout is in the popular duck-neck form. The same shape
in Worcester porcelain is represented in the Metropolitan
Museum collections. The tendency of the mid-eighteenth
century to make more slender shapes and more pronounced
curves developed this style still further as illustrated by
figure 48, an American coffee-pot probably dating from
about 1760-75 and showing rococo influences in the decora
tion of the spout.
Little teapots made on the pattern of the globular Chin
ese porcelain teapot were probably first made in European
pottery and porcelain and in silver in the later part of the
seventeenth and the early eighteenth century. Jackson
illustrates an English silver teapot of 1682 which, though
hexagonal, is of this general form.2 An Aberdeen teapot
of 1 710 is an excellent example of the globular or melon
shape.3 A very interesting teapot by Jacob Boelen
(fig. 49; inherited by Pierre Jay) is presumably one of the
earliest examples of the use of this shape in America. The
covers of silver pots are generally hinged but in this Boelen
piece the cover is separate, suggesting that it was directly
derived from porcelain teapots with their detachable
covers. Characteristic of the work of the early eighteenth-
century New York silversmiths with their Dutch traditions
are the spiral wire at lip and base, the simple border pattern
of the base, and the flowing scrolls and cornucopias which
embellish the coat of arms engraved on this Boelen teapot.
Later examples of this globular type are more shapely.
Figure 50 shows a porcelain teapot made at Meissen proba
bly between 1720 and 1750 and figure 112 a teapot of very
'Illustrated in Bigelow, id., fig. 264.
2History of English Plate, vol. 2, p. 495.
3 Illustrated in Macquoid, Plate Collector's Guide, p. 116, no. 57.
cxxxiv

EVOLUTION OF THE PRINCIPAL FORMS
similar shape by an unknown American silversmith.
Figure 96 by Joseph Edwards, Jr., illustrates a further
development, presumably the result of rococo influences.
Still further development in the second half of the eigh
teenth century is shown in the form of the teapot by

COFFEE-POT
BENJAMIN BURT
FIG. 52

1

Moulinar (fig. 51) and in that which Paul Revere is holding
in his portrait by Copley (frontispiece). The coffee-pot
by Benjamin Burt in figure 52 combines the lines of those
in figure s 48 and 51.
The vogue for classic styles which reached England in
the third quarter of the eighteenth century brought in urn
and vase shapes. Tea-kettles had up to this period been
made much like the contemporary teapots, though larger
and with a bail handle and a stand. At this time, however,

AMERICAN SILVER
the tall tea-urn supplanted the earlier kettle as a receptacle
for hot water. Those by Paul Revere are excellent exam
ples of this style in America.1
The teapots by Revere and Schanck (figs. 125, 127)
illustrate a style popular in England in the last quarter of
the eighteenth century and much copied by contemporary
American silversmiths. Sheet silver was rolled thin and
shaped into oval, octagonal, or waved outline. The sides,
of course, were vertical and the base flat. In the eighteenth-
century examples the spout is usually straight, the lid
low and slightly domed. The contemporary scheme of
decoration by bright-cut engraving was eminently
suited to these formal but dainty shapes. The teapot
was often accompanied by a stand on four feet.
In the nineteenth century teapots and coffee-pots were
generally considerably larger in size and much heavier
and more elaborate in design. Figure 134, showing one
of the various styles, is distinctly more graceful than many
of its contemporaries.
Cream— Jugs
In England it did not become customary to use milk or
cream in tea until the eighteenth century. Consequently
the succession of styles of cream-jugs begins at this period.
The principal types made in the Colonies are represented
here. The changes in form are comparable to those which
occurred in the shapes of mugs, coffee-pots, etc.
The first Colonial example (fig. 53) is modeled on the
English style in favor in the time of George I and in the
early years of his successor's reign. The bulbous body and
spreading foot follow the general outlines of the contem
porary mug and coffee-pot.
'Illustrated in Bigelow, fig. 253; Boston Museum exhibition of 1906,
cat. pi. 25, and exhibition of 191 1, pi. 30.
cxxxvi

JONATHAN OTIS
FIG. 53 CAT. NO. I30

#*--^

E. DAVIS
FIG. 55 CAT. NO. 214

BENJAMIN BURT
FIG. 54 CAT. NO. 75

IA(?)
FIG. 56 CAT. NO. 187

TYPICAL AMERICAN CREAMERS

AMERICAN SILVER
This style was succeeded by a more slender pear-shaped
jug with long, scroll-cut lip and three scroll feet, which was
very popular in England from about 1735 to 1765. The
modifications in form were probably part of the general
tendency of the rococo period toward lightness of effect,
attained especially through the use of more curved lines
(fig. 54). A few of these were elaborately decorated. A
cream-jug by Jacob Hurd bears an embossed coat of arms
under the spout and in panels on the sides are beautifully
engraved views of a Colonial mansion with (according to
family tradition) the original owner of the jug, Benjamin
Johnson of Marblehead, gazing through a spy glass at his
square-rigged ship in the offing. The delicacy of the scene
stamps it unquestionably as coming from the engraving
tools of Nathaniel Hurd.
A taller and larger body and a circular foot are character
istic of the cream-jugs of slightly later date, the body
following lines similar to those of the contemporary
coffee-pot, etc., and being generally described as of in
verted pear shape. A row of punched beads frequently
serves, instead of a moulding, to strengthen the rim (fig.
55). This style had its vogue in England from about 1765
to 1780.
Neo-classic influences are evident in the shape of the
helmet creamer on its square plinth (fig. 56), a style which
was in fashion in the last decade of the eighteenth and
the early nineteenth century. Many contemporary jugs
were made with broader bodies and flat bottoms (fig.
136). Later nineteenth-century styles were extremely varied.
They were generally larger in size and more elaborate in
shape and in decoration. When part of a tea-service, the
cream-jug usually conformed to the style of the teapot and
coffee-pot.

evolution of the principal forms
Spoons Throughout the Middle Ages in England the spoon
underwent only a very gradual development in form.
Bowl and stem were usually hammered out of one piece of
silver, and the bowl was fig-shaped with the narrowest
portion nearest the stem. The latter was short, straight,
generally hexagonal, and tipped by an applied ornament or
knop in the shape of an acorn, diamond-point, ball, seal, or
figure. Apostle figures were especially favored. Figure
57 is quite typical in its general form.1
During the first half of the seventeenth century in Eng
land radical changes began to take place in the form of the

SEAL-TOP SPOON
york, sixteenth century
fig. 57
spoon and the modern form was gradually evolved. The
middle of the century is often given as the dividing line
between the old and the modern. The whole development
was, in brief, from the medieval fig-shaped bowl which was
broader at its extremity through the medium of the mid-
seventeenth-century elliptical bowl to one which is, as in
the present day, broadest near its junction with the stem
and more or less pointed at the end. The stem from a
short, straight, hexagonal form became gradually thinner
and flatter and broadened at its tip, which was at first
up-curving and later, in the eighteenth century, became
down-curving. Instead of being hammered out of one
1 For the history of the English spoon, see Jackson's comprehensive
account in his History of English Plate, vol. 2, pp. 470-532.
cxxxix

AMERICAN SILVER
piece of metal as in medieval times, stem and bowl in
the later seventeenth century were made separately
and then joined, the stem continued down on the bowl
in a tongue or drop. A glance at the outlines of a
sixteenth-century (fig. 57) and an eighteenth-century spoon

"PURITAN" SPOON
CHESTER (?), ABOUT 1660
FIG. 58
(fig. 60) emphasizes the advantages gained by these
changes. The development of the modern spoon is practically the
history of the spoon in America. Puritan influences in

TRIFID SPOON
T A, LONDON, 1683
FIG. 59
England at the time of the Commonwealth favored the use
of a severely plain spoon with broad, flat stem cut quite
sharply across at the end. The bowl at this time was oval
or shghtly egg-shaped and was joined to the stem by a short
triangular tongue (fig. 58). Examples of this style are
very rare in America as it almost antedates the earliest
Colonial silver-making. The earliest Colonial spoon

TYPICAL SPOONS MADE IN AMERICA FROM
ABOUT 1690 TO 1825
EDWARD WINSLOW, JAMES CLARKE (2), DANIEL RUSSELL, EPHRAIM
COBB, DANIEL HENCHMAN, N. BARTLETT, JOHN LETELLIER, JOSEPH
MOULTON, DANIEL VAN VOORHIS,T. P. DROWN, W. ROE, AND S. MUSGROVE
FIG. 60
CAT. NOS. 13, 21, 90, 144, 91, II4, 67, 259, 273, 343, 411, 505, 486

AMERICAN SILVER
known, the work of John Hull, is of this general style. It
is now in Essex Institute, Salem, Massachusetts.1
The stem of the English spoon from about 1660 on tended
to become flat and thin, its tip still thinner, broader, and
cleft in what is known as the trifid end, a fashion probably
imported into England from France or Holland. Toward
the end of the seventeenth century the so-called wavy end
came into fashion, similar to the trifid end but not cleft,
while the lower portion of the stem became rounder in
section and the bowl narrower. Meantime it was custom
ary to join stem and bowl by a long, grooved tongue which
was frequently bordered by acanthus leaves or scrolls
which were sometimes engraved, sometimes apparently
stamped with steel dies. Figure 59 shows the bowl so
decorated and a stem which is slightly cleft, almost a tran
sitional stage between the trifid and the wavy-end types.
The first two spoons in figure 60 are Colonial examples of
the trifid-end style which was made here in the late seven
teenth and early eighteenth century. The tongue in the
first example is marked by a line of beading.
Some of the very early New York funeral spoons (in
tended for presentation to friends as memorials of the
deceased) contain the figure of a skeleton in relief on the
inside of the bowl.
Early in the eighteenth century in England the tip of
the stem was rounded, thickened, up-curved, and marked
by a long, distinct mid-ridge, the space at either side
sharply concave. The style reached the Colonies probably
slightly later (fig. 60, nos. 3-4). The long, plain tongue
or rat-tail of this period was supplanted during the second
quarter of the century by the double drop and the mid-
ridge at the end of the stem became reduced to a faint line
(nos. 5-6). Toward the middle of the century the French
1 Illustrated in Bigelow, Historic Silver, p. 263.
cxlii

EVOLUTION OF THE PRINCIPAL FORMS
rococo influences brought in the scroll and shell ornaments
in place of the double drop (fig. 60, no. 7, and fig. 61).
They were popular for thirty years or more, the bird
and spray (see tail-piece on page xxiv) occurring on spoons
made as late as 1790. This particular design is suggest
ively like the birds frequently engraved on Dutch beakers
of an earlier period.1
The next important development, which probably began
about 1760-70, was the turning down of the end of the stem
which had formerly been up-curved. A scrolled end called

DETAILS FROM SPOONS
PAUL REVERE, JR.
FIG. 6l CAT. NOS. I38, 312
the Onslow pattern was one of the first to depart from the
earlier style. Though not exactly like this English style,
the ladle in figure 107 is suggestively similar. The down-
curved end which had become established by 1780 was at
first generally rounded, a style known as the "Old English"
pattern, but later was usually pointed or clipped. Some
times the under side of the tip showed the thickened rim
and slight mid-ridge which had appeared on the upper side
of the earlier up-curved handle (fig. 60, no. 9). Spoons of
this period, like all other forms, were generally made of
thinner silver and were enriched with bright-cut designs,
many of the motives employed being of neo-classic inspira
tion. Feather-edging (fig. 120), medallions (fig. 60, no. 10),
' Compare the Dutch beaker illustrated in Jones, Old Silver of American
Churches, pi. 12. cxliii

AMERICAN SILVER
flower and leaf designs are common (see tail-piece on page
160 which was adapted from a Revere salt-spoon). The
bowl at this time is broadest near its junction with the
stem and tapers toward its extremity. It might be de
scribed as heart-shaped. Usually before about 1800 there
is a drop on the bowl but in the nineteenth century this
tends to disappear.
For about ten years before 1800 and for ten or fifteen
years after that date the so-called coffin handle was much
favored, illustrated by nos. 11-12 in figure 60. About 1810
the fiddle handle became popular, characterized by a broad
tip with sharp shoulder below and another shoulder just
above the junction of stem and bowl (no. 13). The
handles of spoons made about 1830 were often ornamented
with baskets of flowers or sheaves of wheat in sharp relief.1
Buckles Comparatively little has been written on the subject of
Colonial shoe- and knee-buckles. Only an occasional
example bears a maker's mark and it is difficult to deter
mine exactly when any given style was in vogue. It is,
therefore, helpful to consider the changes in English
fashions upon which the Colonial styles were so directly
based.2 The long, square-toed shoes of the reign of Charles II
usually had a wide tongue and an elaborate tie which some-
1 Curtis well illustrates the chronological development of the spoon in
plates i-vi of his volume on Early Silver of Connecticut and its Makers.
Excellent illustrations are also afforded in the chapter devoted to spoons
in Bigelow, Historic Silver, pp. 260 fF.
2 Mr. Godfrey of Crichton Brothers, silversmiths of London and New
York, has been especially helpful in classifying and dating the European
and Colonial styles. The chief publications consulted were F. W. Fair
holt, Costume in England; J. R. Planche, A Cyclopaedia of Costume;
Calthrop, English Costume; Elizabeth McClellan, Historic Dress in
America. cxliv

EVOLUTION OF THE PRINCIPAL FORMS
times was accompanied by a small, inconspicuous buckle.
About the time of William and Mary the ornamental shoe-
buckle came into fashion, small at first but destined to

TYPICAL EIGHTEENTH CENTURY AMERICAN BUCKLES
FIG. 62
CAT. NOS. 175, 179, 177, 375, 377, 368, 382, 366, 192, 370, 372

increase steadily in size and in richness of design. It was
immensely popular throughout the eighteenth century.
Shoes in the days of Queen Anne were still square-toed but
in the next reign the more graceful, pointed shapes began
to win favor. Much in esteem at this time were the red
cxlv

AMERICAN SILVER
heels which had first appeared in the second half of the
seventeenth century. Buckles of the Georgian period were
much larger than before, made of pewter, pinchbeck (an
alloy of about five parts of copper to one of zinc), of silver,
sometimes of gold, and were plain, chased, or set with real
jewels or with paste according to the wealth and taste of
the wearer. Brilliant were the buckles of steel cut in facets
and combined with gold. After the discovery, about
1745, of the process of fusing silver and copper, many
buttons, buckles, and other small articles were made of
fused plate, especially at Sheffield and Birmingham.
The nineteenth century brought in simpler fashions in
dress. Shoe-strings first appeared in 1790, to the dismay
of the buckle-makers who sent a petition to the Prince of
Wales begging him to retain the earlier fashion. Despite
his compliance with their wish, the simpler and newer
mode prevailed and shoe-buckles gradually passed out of
fashion. Knee-buckles were used throughout the eighteenth cen
tury until the new styles of the Empire period made them
no longer necessary. Stock-buckles were worn with the
low, flat collars and plaited linen neck-stocks of the eigh
teenth century.
Judge Clearwater's collection of silver contains nearly
fifty buckles of American manufacture, of which twelve
are knee-buckles (see figure 114), three are stock-buckles,
and the remainder are shoe-buckles. Quite characteristic
are those shown in figure 62. The three in the upper row
have been attributed to the third period in this catalogue
and were probably made before 1760 or 1765, while the
other examples shown are assigned to the succeeding period,
from about 1760 to 1800. The one in the center of the
top row is composed of faceted knobs and was probably
derived from the buckles of cut steel which were so highly
cxfvi

EVOLUTION OF THE PRINCIPAL FORMS
favored. A number of buckles used in the Colonies were
made of fused plate, some unquestionably of English work
manship, others possibly made by American silversmiths
from fused plate imported from England. As a rule, the
Colonial buckles followed the lines of those imported from
England and both domestic and foreign were freely adver
tised in our Colonial newspapers. They all conjure up
before us the gay and distinguished companies of Colonial
days, the powdered wigs, the Watteau gowns, the flowered
brocades and brightly embroidered satins, the hooped
skirts and cocked hats of the time.
A pronounced American note in shoe-buckles appears
in a pair found in the vicinity of Boston which have at the
center top and bottom finely executed die-work medallion
profile portraits of Washington. The latter are careful
copies of the tiny portrait engraved by Saint-Memin and
inserted in memorial rings when the country was mourning
for Washington. An example of the latter is exhibited at
the Museum among the treasures of the Huntington Col
lection of memorials of Washington, Franklin, and Lafay
ette. The fact that few examples of either engravings or
buckles are in existence is evidence that neither was made
for general circulation. When it is remembered that Paul
Revere in 1801 employed Saint-Memin to make the crayon
portrait which served as the frontispiece for the Boston
Museum catalogue of American silver exhibited in 1906,
and the provenance of the buckles is considered, one is
tempted to attribute the buckles to the workshop of Paul
Revere.

«4fr&fe£i-:

cxl vii

CLASSIC MOULDINGS IN AMERICAN
SILVER
OEVERAL years ago I was looking at a group of beauti-
k*~' ful examples of old American silver in a friend's collec
tion when it occurred to me to examine more carefully the
details of the mouldings forming the bases and caps of the
various tankards, cups, and bowls before us. I had al
ready noticed in other pieces of old silver a similarity to
architectural details of a refined type but had given the
matter only passing attention. There seemed to be a
certain classic proportion in all of the beautiful objects
in this collection though there was no pretense of imitative
classic or renaissance shapes. The swelling lines of a broad
bowl seemed to me like those of the bowl of the fountain
in the gardens of the Vatican or as in that other charming-
fountain which one sees in the foreground of the view of
St. Peter's from the Pincian Hill. The graceful curves of a
cup seemed like the lines of a pedestal of the best period
of the Florentine renaissance. And so it was with other
pieces, each suggesting in some detail knowledge of the
art precedents of an age more critical and more apprecia
tive than our own.
The mouldings on these bits of old silver are so minute
that it is often very difficult to see their contours; only by
close examination can they be discerned, because of the
reflections of light from the polished metal. The form, the
cxlix

AMERICAN SILVER
color, the reflections from neighboring surfaces, and the
delicate scale all combine to make these beautiful mould
ings more elusive and almost more beautiful than any
other mouldings in existence.
It was, to me at least, a real discovery to find that in
practically all the old American and much of the old Eng-

! :*•¦' E I :'
J* N*-1 G.rn&ir.cu*1 of
IAi ¦¦¦ '¦ MN -*

¦¦ I , '¦ £LL,
:, . . **BLE.,
*

CLEAR Vv AT i=^. COM-BO /oM
lish silver, of what we call the "Colonial period," the
mouldings were replicas or refinements of architectural
mouldings of the classic Roman or renaissance periods.
Such architectural knowledge and refinement were not
confined to any one maker but were characteristic of the
time in which these pieces were made.
The Graeco-Roman echinus frequently forms the lip of
cl

CLASSIC MOULDINGS
the cup; the fillet and cavetto follow below it in classic
sequence, as in the tankard made by William Vilant of
Philadelphia, in the Clearwater Collection, or in the upper

TftMKARI)
John 3UTCT
BOSTON
I (,9 I l/H

ClE-ARvVATEF"- COU-liCTIpft- .
Mr-TROPOUITAN rvuSf.ur
H t V*/ YQ R K ¦ -rf
>...., 2V US-' (ST

MUG
RJCHAR.C VAN I'V'tK
;v r .... y o«; l<

Y/OS<.KIKk"-

175c

moulding of the shaft of the caster by Stephen Emery
(1752-1801), and still again in the more bold and sweeping
form of the lip of the mug probably made by Paul Revere,
Jr. (1735-1818). Sometimes the Attic base appears com
plete with the conge of the column and its fillet, then the
cli

AMERICAN SILVER
half-round moulding, fillet, scotia, fillet, taurus, and plinth
in perfect sequence and proportion as though copied from
the base of a Corinthian column. In other pieces there are
various combinations of mouldings forming base, cap,
and cover, all of them of exquisite shape; the cyma recta
and the cyma reversa, fillet, bead, ovolo, and cavetto are

Lip

\TM<*KP

-TANK"*- " :

Co * ¦
K.s-5" - '7"*"-z

'LEAK'

CfcH-EcTION

wrought together with the knowledge and skill of masters
of architecture.1
1 Among the pieces in the Clearwater Collection which especially ap
pealed to me are fine examples by the following masters: John Burt of
Boston, Peter Van Dyck and Richard Van Dyck of New York, L. Adam>
George Hanners, and John Cony of Boston, Jacobus Van der Spiegel of
New York, Moody Russell of Barnstable, William Vilant of Philadelphia,
I. and N. Richardson of Philadelphia, S. Mars, Stephen Emery of Boston,
clii

CLASSIC MOULDINGS
These were no common craftsmen nor were they lacking
in erudition. They knew their precedent and their propor
tions and yet knowing worked with free hands, controlled
only by knowledge of their art and by impeccable taste.

OF TftNK*-SJ

JOW '*-
EPHCAWA BP.A.b(+E.*p.
working IfSri-lfcM

TrSNKlMrU) -*"s"
BV *PA,UURS.VEF,£
3O5T0U ill?- i&lt

CUARWATEK COLI-ECTIOH *

COVER.

It was not that this old silver was "ornamented" that
William Swan of Worcester, Ephraim Brasher of New York, and that
master and patriot, Paul Revere of Boston.
The accompanying sketches, only a few of many that might have been
made, are not drawn to scale, but will serve to call attention to the
points I have been discussing. cliii

AMERICAN SILVER
it is worthy of note. In truth it was not "ornamented":
it was very simple and plain and almost devoid of orna
ment. Sometimes we find a bowl or cup without mould
or ornament of any kind; at others we find sturdy shapes
which Paul Revere designed so skilfully. But whatever
the individual object may display, the lover of a clean line
and a fine contour will always find rare pleasure in the
study of the old American silver. Cass Gilbert.

T Horn A*. COVERJ-Y
A*5<"**n-i'! So - i Vac

)m^^,\^o

cliv

BIBLIOGRAPHY
The following brief bibliography is offered merely as a
suggestive list of the more important works relative to
American silver and its origins. It is from these books of
reference that many of the data embodied in the present
catalogue have been drawn. Whenever page references
have been made to any of these books, the edition is in
variably the one listed here.
Bigelow, Francis Hill. Historic Silver of the Colonies
and its Makers. 1917.
Boston, Museum of Fine Arts. American Silver, the
Work of Seventeenth and Eighteenth Century Silver
smiths, exhibited . . . 1906. (With an introduc
tion by R. T. H. Halsey; technical description of ob
jects by J. H. Buck.) 1906.
American Church Silver of the Seventeenth and
Eighteenth Centuries with a few pieces of domestic
plate, exhibited . . . 191 1. (With an introduc
tion on Early Silversmiths of Connecticut, by George
Munson Curtis.) 191 1. civ

bibliography
Bradbury, Frederick. History of Old Sheffield Plate.
1912.
Buck, J. H. Old Plate, its Makers and Marks. 1903.
Burlington Fine Arts Club. Exhibition of a Collection
of Silversmiths' Work of European Origin. (With an
introduction by J. Starkie Gardner.) 1901.
Cripps, Wilfred Joseph. Old English Plate, Ecclesias
tical, Decorative, and Domestic: its makers and
marks. Tenth edition. 1914.
Curtis, George Munson. Early Silver of Connecticut
and its Makers. 1913.
Dyer, Walter Alden. Early American Craftsmen
. . . 1915. (Chapters VIII-IX.)
Gardner, J. Starkie. Old Silver-work, chiefly English,
from the XVth to the XVIIIth Centuries; a catalogue
of the unique loan collection exhibited in 1902. 1903.
Hartford, Connecticut, Wadsworth Atheneum and
Morgan Memorial. The Early Plate in Connecti
cut Churches Prior to 1850, collected by The Con
necticut Society of the Colonial Dames of America,
catalogued by Florence Paull Berger. 191 9.
Hayden, Arthur. Chats on Old Silver. (1915.)
Jackson, Charles James. English Goldsmiths and their
Marks: a history of the goldsmiths and plate-workers
of England, Scotland, and Ireland; with over eleven
thousand marks, reproduced in facsimile. . . .
i9°S- clvi

B I B LI OGRA PHY
An Illustrated History of English Plate, Ecclesias
tical and Secular . . . from the earliest . . .
examples to the latest of the Georgian period. . . .
191 1. 2 vols.
Jones, E. Alfred. The Old Church Plate of the Isle of
Man. 1907.
The Old Plate of the Cambridge Colleges. . . .
1910. The Old Silver of American Churches. Privately
printed for the National Society of Colonial Dames of
America. . . . 1913.
The Old Silver Sacramental Vessels of Foreign
Protestant Churches in England. 1908.
Leeuwarden (Holland). Friesch genootschap van ge-
schied- oudheid- en taalkunde-Museum. Antiek
nederlandsch goud- en zilversmidswerk . . . op-
name van W. A. Slager. 1902.
Macquoid, Percy. The Evolution of Form and Decora
tion in English Silver Plate (in the Burlington Maga
zine, 1903, vol. 1, pp. 167-181, 359-379; Pi*3-)-
Plate Collector's Guide arranged from Cripps's
Old English Plate. 1908.
Moffatt, Harold Charles. Old Oxford Plate. 1906.
New York, Metropolitan Museum of Art. The Hud
son-Fulton Celebration, Catalogue of an Exhibition
Held . . . MCMIX. Vol. 2, part III, American
Silver. clvii

BIBLIOGRAPHY
Catalogue of an Exhibition of Silver Used in New
York, New Jersey, and the South, with a note on
Early New York Silversmiths by R. T. Haines Halsey.
New York . . . 191 1.
Philadelphia, Pennsylvania Museum. Exhibition of
Old American and English Silver. 191 7.
Walpole Society. A List of Early American Silversmiths
and their Marks (by Hollis French) with a silver col
lectors' glossary. 1917.
Woolsey, Theodore S. Old Silver. Reprinted from
Harper's Magazine. 1896.

The following books on allied subjects have also proved
of value :
Bell, Malcolm. Old Pewter. (1905).
Masse, H. J. L. J. Chats on Old Pewter. (191 1).
Pewter Plate, a historical and descriptive hand
book. 19 10.
Navarro, Antonio de. Causeries on English Pewter.
n.d.
Wood, L. Ingleby. Scottish Pewter-ware and Pewterers.
n.d.
Maryon, Herbert. Metalwork and Enamelling; a
practical treatise on gold and silversmiths' work and
their allied crafts. 191 2.
clviii

bibliography
Crosby, Sylvester S. The Early Coins of America and
the Laws Governing their Issue . . . 1875.
Lockwood, Luke Vincent. Colonial Furniture in Amer
ica. 1913.
Eberlein, Harold Donald, and Abbot McClure.
The Practical Book of Period Furniture. 1914.
McClellan, Elizabeth. Historic Dress in America.
(1904).

clix

THE
CLEARWATER COLLECTION

THE CLEARWATER COLLECTION

FIRST PERIOD
about 1640 to 1710
HE collection of American silver lent
by Judge Alphonso T. Clearwater
has been divided into five chronolog
ical periods in order to emphasize the
more important changes in form and
decoration as these have developed from
European, and especially from English, fashions. In
the earliest period, the seventeenth century, Colonial
silver falls into two groups: that produced in New Nether
land more or less under Dutch traditions, and that made
in New England following English styles. The conditions
in New Netherland which tended to limit production have
already been contrasted with those in New England which
so greatly stimulated the craftsman.1 It has also been
noted that, except for the distinctive styles developed in
'See Introduction, page xxxvii fF. In 1664 the English took possession
of the Dutch colony of New Netherland and renamed it New York.
Despite the fact that most of the silver was made after this change had
occurred, it has frequently been called New Netherland silver in this
catalogue to emphasize the fact that it was made by craftsmen of Dutch
descent working under Dutch traditions.

of New
Nether land

THE CLEARWATER COLLECTION
New Netherland, the bulk of Colonial silver is modeled on
contemporary English work. In this first period, there
fore, it will be necessary to consider in detail the distin
guishing forms and decorative features of the silver made
in New Netherland which continued in later periods to
affect the local types. In all periods it is desirable to dis
cuss briefly the conditions which existed in England and
governed the form of English silver and then to relate
these to contemporary American silverwork. Where any
locality at a given period developed a new type or modified
a common one, such a fact will be noted in its place.
Silver What, then, are the forms and elements of design which
distinguish the silver of New Netherland and which of
them are of Dutch origin ? The pieces are generally sim
ple, massive, and imposing, splendidly proportioned and
beautifully executed. The chief objects are baptismal
basins, beakers, cups, tankards, porringers, wine tumblers,
bowls, teapots.1
The beaker is perhaps the most characteristic of all.
At the time of the Reformation when the Protestants
banished the Catholic chalice because it symbolized to
them the ritual of the Church of Rome, they adopted va
rious other vessels for their communion. In Holland the
cup almost universally used from this time on was the
beaker which had previously been popular as a domestic
cup. It was natural for the Dutch in the New World
to follow a similar custom, and this accounts for the large
number of beakers found in the churches of New Nether
land and the absence of standing-cups. Many of the
beakers were imported from Holland; many of very similar
design were made here. They are generally tall, averag-
'See especially the M. M. A. Catalogue of an Exhibition of Silver Used
in New York, New Jersey, and the South, 191 1, for excellent illustrations
of these types.

FIRST PERIOD  ABOUT I 6 4 O - I 7 I O
ing about seven inches in height, considerably taller than
those characteristic of New England. The most typical
base is formed by a heavy torus moulding surmounted by
a band of incised design, a spiral wire, or a cut-work
border of foliation, the last two features characteristic
also of the New Netherland tankards.1 In the under
rated pieces the beauty of outline is especially striking.
More frequently, however, these beakers are engraved in
a style distinctly Dutch, with bands of interlacing strap-
work and foliate scrolls, often with symbolic figures in
medallions (fig. 4).2
The tankards of New Netherland have a marked in
dividuality but their pedigree is more difficult to trace
than that of the beakers. Apparently tankards were not
made in Holland and the European examples of sixteenth-
and seventeenth-century workmanship are generally
small and elaborately ornamented. If the silversmiths of
New Netherland copied the plain, broad, flat-topped Eng
lish tankard of the second half of the seventeenth century,
they put the stamp of their own personality upon it.
Compared with New England tankards of this same
period, the New Netherland pieces are heavier and more
massive in form and are further distinguished by certain
decorative features which are frequently drawn from
Dutch design. They are almost invariably made with
large, undecorated body; flat lid with corkscrew thumb-
piece; heavy handle with beaded rib, plain rat-tail, or
elaborate applied ornament; and are often ornamented
at the base with a band of cut-work of foliate design
similar to those occasionally seen on New Netherland
'See pages civ-cvii for a discussion of the probable origin of these bor
ders and illustrations of their use by New Netherland silversmiths.
2 Dutch and American beakers of this type are well represented in
New York, M. M. A., catalogue, 191 1, by plates and by eight line-
drawings of strap-work designs. 5

THE CLEARWATER COLLECTION
beakers.1 The handle generally terminates in a cherub
head or other mask, different in design and larger than
those found on New England tankards. Probably the
engraved designs of cherubs' heads, floral scrolls, swags
of fruit and flowers, etc., with which the flat lids are often
enriched, are the most distinctly Dutch elements in these
New Netherland pieces. The broad body offers an excel
lent opportunity for the engraving of a coat of arms with
wide-flowing scrolled mantling such as that on the Oncle
bagh tankard (fig. 68).
Following the outline of the tankard but without a
cover, the straight-sided mugs are a familiar type from
the seventeenth century on. Many are girdled by bands
of moulding at lip, base, and around the body (fig. 26).
Other early mugs are made with almost straight sides
curving inward to a splayed base. Those by the Van
Dycks, father and son, represented in this collection (fig.
85 and nos. 45 and 159) are interesting' to compare with
the early bulbous mugs of New England.
Shallow, open, two-handled bowls divided into panels
of repousse ornament are typically Dutch in form and
decoration.2 The baptismal basins usually have a wide, flat rim and
deep, bowl-shaped center following a common Dutch style.
Such a one is that made by Jacobus Van der Spiegel, now
belonging to the South Reformed Church of New York
and exhibited on loan at the Metropolitan Museum.3
'See page xxxiii.
2Two such bowls were included in the Exhibition of Silver Used in New
York, New Jersey, and the South, held at the Metropolitan Museum in
191 1, both lent at that time by Mrs. Robert Remsen: cat. no. 27, made
by Jacob Boelen, and now lent to the Museum by Miss Margaret Rem
sen; cat. no. 102, made by Simeon Soumaine. Another handsome exam
ple made by Benjamin Wynkoop is now in the possession of the New
York Historical Society.
3No. 119 of the same catalogue. 6

FIRST PERIOD  ABOUT 164O-I71O
One of the most characteristic features in New Nether
land silver is the engraved and embossed decoration which
follows Dutch and German design very directly. En
graved ornament is used much more sparingly on New
England silver and is of a different sort, being inspired by
English rather than by Continental models. New Nether
land pieces, however, are very often enriched with en
graved designs — cherubs' heads, scrolls, the strap-work
designs found on beakers, birds, swags of fruit and flowers,
etc.1 — in which the New Netherland silversmith is follow
ing Dutch prototypes, which in turn had drawn much of
their inspiration from contemporary books of engraved
ornament. Similar motives appear also in applied work,
especially in the decoration of tankard handles (fig. 21).
Turning from New Netherland to New England, we New
find that the large migrations to the latter colony, es- England
pecially between 1630 and 1640, had brought in a pros- ° "°™s
perous and cultured class. By the middle of the century styles
more settled conditions of life had brought more luxuries
and more opportunity for the development of the arts.
English silver was imported, English craftsmen came to
the colony to pursue their trade, and native artists sprang
up.2 Before considering the early silver of New England
let us glance at contemporary English work.
Much of the wrought plate of Jacobean times had been
melted down to provide funds for the Royalist and Com-
'For examples, see head-band on page vii, and initial on page 3.
2Of the silversmiths who emigrated, John Mansfield, who came from
London to Boston in 1634, is the earliest of whose coming we have record.
Robert Sanderson (1608-1693) to whom, Mr. Bigelow believes, "should
be given the title of father of New England silversmiths, hitherto borne
by John Hull," had learned his trade in England before he came to
America in 1638. In 1652 he moved to Boston, entering into partner
ship with John Hull (1624-1683) who, though born in England, had come
to Boston in 1635 and was probably the first silversmith to learn his trade
in New England. 7

THE CLEARWATER COLLECTION
English monwealth armies in the struggle between Charles I and
Plate of nj;s Parliament. Silver of the Commonwealth period,
.. ~ shaped under Puritan influences, was for the most part of
t oration v _ \
Period a plain and substantial sort. With the Restoration in
1660, a variety of influences brought in new styles and
furnished a great impetus to production. As prosperity
returned, with the lavish patronage of the luxury-loving
Charles II, with the example of the French court, and
with the large quantities of silver brought into Europe
from South America, the silversmith found himself sup
plied not only with the material of his craft but with
a ready market for his most extravagant productions.
English styles were subject to European influences, es
pecially Dutch and French. Much ornamental plate was
wrought of thin silver with highly embossed designs of
fruit and flowers, a style introduced from Holland shortly
before the Restoration The elaborate French fashions
were widely followed. Most of the domestic plate of the
period, however, retained its substantial character. The
acanthus leaf, a decorative motive widely used in Europe,
was frequently employed, often in series arrangement
forming a frieze around the base of a cup or tankard.
Flat chasing and engraving enriched the surface, or cast,
moulded, or cut-card1 ornaments were applied. In the
last quarter of the seventeenth century spiral fluting,
generally formed of alternately concave and convex sec
tions, was extremely popular and remained in fashion in
the early eighteenth century.
While the New England silversmith2 drew his inspiration
'"Cut from sheet metal without embossing or engraving." Gardner.
2 Doubtless some of the earliest silver wrought in America, such as the
plain standing-cups by Hull and Sanderson, follows English styles of the
Commonwealth period rather than those of the succeeding Stuart period.
The examples, however, are so few that they do not seem to justify the
formation of a separate group.

FIRST PERIOD  ABOUT I 6 4 O - I 7 I O
from the wide range of English design, he selected only Typical
the simpler elements, modifying them and stamping them %ew, ,
¦-u u- 11 ,..,.., Ens-land
with his own personality, because to him simplicity and Forms
utility were prime requisites. The majority of his patrons
had come to America because they were dissatisfied with
religious and political conditions in England and they
vigorously opposed all that suggested the extravagance
and display of the royal court. Practically all the prod
ucts of the craftsman were designed for use, domestic or
sacramental. Moreover, it was a common custom to
present to the churches various objects which had been
originally designed for secular use, and thus there have
been preserved many beakers, tankards, standing-cups,
and caudle-cups which otherwise might have passed long
ago into the melting-pot. Such pieces constitute the bulk
of the earliest New England silver which is available for
our study today.1
Following the style of the English tankard of the second
half of the seventeenth century, the early Colonial tankard
is broad and flat-topped (fig. 12). The flagon does not
appear here until the early eighteenth century.
The early type of beaker probably also has its English
seventeenth-century prototype. It is generally low, broad,
and flat-bottomed without the moulding at its base which
characterizes most later examples.
Seventeenth-century England was wont to drink a night
cap of hot posset and to celebrate such events as births
and christenings with caudle, customs which led to the
production of cups of bulbous form, somewhat contracted
at the neck, and provided with two handles. These
'The volume on Old Silver of American Churches, by E. A. Jones, and
the catalogues of the exhibitions of American Silver and American Church
Silver held at the Museum of Fine Arts, Boston, in 1906 and 191 1 re
spectively, are especially valuable in this connection.

THE CLEARWATER COLLECTION
caudle-cups of the Restoration period were followed later
by those with almost straight sides. When domestic
vessels were devoted to church use, a few caudle-cups
were included from time to time and numerous ex
amples of American manufacture are found in Colonial
churches. Of a form quite different from the Catholic chalice, the
Protestant standing-cup in England in the second half of
the seventeenth century had a large bowl, sometimes quite
widely flaring, at other times broader and more rounded at
the base; a stem with large knop at the center; and a wide,
flaring foot. New England examples follow these styles.
Among the various forms of cups used in New England
at this period, a tall, inverted bell-shaped type is common,
with splayed foot and either with or without handles.
Others are straight-sided and tapering, like rhe tank
ard in form, in this catalogue described as mugs. Others
of smaller and lighter form follow the shapes of the
contemporary beaker and caudle-cup, differing mainly
from these forms in having a single handle.
The Winslow chocolate-pot (fig. 72) illustrates the form
of some of the earliest pots for chocolate, coffee, and tea,
which at this period were very rare. These beverages
were just coming into use and were so expensive that but
few could afford them. The earliest specimens generally
show the handle set at right angles to the spout.
Candlesticks are comparatively rare in the Colonies,
one of the very few examples of the earliest type being
that made by Dummer, now in a private collection.1 It
follows the contemporary English style and has a square
shaft representing clustered columns, square nozzle and
similar flange at the base of the shaft, and square moulded
base. 'Illustrated: Boston, M. F. A., catalogue, 1911, pi. 10, no. 372.
10

FIRST PERIOD — ABOUT 1640-17IO
The so-called trencher salt is probably the style first
used in the Colonies and derives its name from its position
next the trencher. The examples have a circular basin
set within a flaring foot.
The spoon at this period has a broad, oval bowl; short
triangular or long tongue, frequently decorated with
acanthus scrolls at the sides; and a slipped, trifid, or wavy
end. It would seem that there was rather more ornament
used on Colonial silver at this time than appeared in the

P B
FIG. 63 CAT. NO. I
succeeding years of the eighteenth century, yet it was
employed with so much taste and skill that the results
are as splendid as American silversmiths ever achieved.
The acanthus surbase, characteristic of this period, is
used occasionally on cups and tankards, and achieves a
handsome effect by contrasting the plain upper portion
with the irregular surfaces below (fig. 65). Somewhat
more popular is the band of fluting at the base of such
objects, a beautiful example being offered in the Winslow
chocolate-pot (fig. 72). When not so decorated, cups,
especially those designed for caudle, often display repousse
or chased designs, equally typical of this period. Cut-
card ornament, though simple, is very effectively em-

THE CLEARWATER COLLECTION
ployed as in the Winslow chocolate-pot above mentioned.
Beakers or cups which are decorated with a granulated
band, with embossed flower or fruit ornament, or engraved
with strap-work and florals, follow German and Dutch
fashions derived through England.

P B
i Porringer. Handle with heart-shaped piercings.
D. 4 in.1
Mark: P B (tall, crude capitals), in rectangle, beneath
handle. Fig. 63.
The handle is very similar in design to one made in London,
1701-02, and reproduced in Bigelow, Historic Silver, no. 201.
The body is of rather unusual form and well modeled.
I C (PROBABLY JOHN CONY2)
1655-1722. Boston, Mass. Son of John Cony, who
probably came as a child from Boston, Lincolnshire, to
Boston, Mass., and Elizabeth Nash. Probably learned
his trade from his brother-in-law, Jeremiah Dummer.
Married (1) Sarah . . . ; (2) Mary Atwater, sister
of Jeremiah Dummer's wife and widow of Captain John
Clark. Member of the Second Church and a subscriber
toward the erection of King's Chapel in 1689. Engraved
plates for the first paper money used in the Colonies, an
example of a bill thus engraved being preserved in the
Massachusetts Historical Society and reproduced in Bige
low, Historic Silver, p. 85. Apollos Rivoire (Paul Revere)
was apprenticed to Cony. The inventory of his estate
amounted to about £4,000.
'Measurements have been taken, as far as possible, to indicate the size
of an object including finial, but they do not include the tip of a handle
or thumb-piece which may project above.
2 See also cat. nos. 23-24.

FIRST PERIOD  ABOUT 164O-I7IO
2 Porringer. Deep bowl; handle pierced in geo
metric pattern. D. 5I in.
Inscription: A (rude block letters), on handle.
I A
Mark: I C (roman capitals), in cartouche, on back of
handle and again at lip to left of handle. Fig. 64.
S D (probably SHEM DROWNE)
1 683-1 774. Boston, Mass. Son of Leonard Drowne
(1646-1729), who came from the west of England soon after

I C (probably JOHN CONY)
FIG. 64 CAT. NO. 2
the restoration of Charles II, settled at Portsmouth, N. H,
married Elizabeth Abbott, carried on his trade of ship
building at Kittery, Maine, and finally in 1692, during the
French and Indian wars, removed to Boston.
3 Beaker. Flaring lip with repousse band below;
wide band of erect acanthus leaves, repousse, above
moulded base. H. 3! in.
Inscriptions: (a) M (crude block letters), above lip
W M
band; (b) H (crude block letters), below band; (c)
E E
T M, on opposite side. 13

THE CLEARWATER COLLECTION
Mark: S D, two small circles between, in shield, twice on
base. Fig. 65.
This beaker came from Winthrop, Mass.
JOHN HULL AND ROBERT SANDERSON
Hull: Born in Leicestershire, England, 1624; died in
Boston, 1683. Came with his father, Robert Hull, a
blacksmith, to Boston in 1635 and learned his trade here.
Married Judith Quincy. Free
man, 1649. Became the first
Mint-master of Massachusetts
in partnership with Sanderson,
1652. Town treasurer, 1660; rep
resentative from Wenham, 1668;
treasurer of the Colony, 1676.
Captain in Artillery Company,
1675. Became a great and pros
perous merchant. Member of
SHEM (DROWNE) f Fi"* Chu-h ™? *\ **$"
fig 6*; cat no 3 drew to become one of the found
ers of the Old South Church in
1669. Jeremiah Dummer apprenticed to him in 1659.
Hull's diary published by the Massachusetts Historical
Society. Sanderson: Born in England, 1608; died in Boston,
1693. Came to Hampton, 1638. Moved to Watertown,
1642, and married as his second wife Mary, widow of
John Cross. Settled in Boston, 1652, becoming a partner
of John Hull. Until recent years Hull has received the
major part of the credit for the work done in partnership,
yet, while undoubtedly he was the more enterprising busi
ness man, Sanderson was probably as skilled in point of
craftsmanship and had practised his trade in England be-
14

FIRST PERIOD  ABOUT 164O-171O
fore coming to America. Became a member of the First
Church, Boston. His three sons, Joseph (1643-67).
Benjamin (1649-78), and Robert (1652-1714), became
silversmiths. 4 Shilling. Circular planchet; upon obverse, NE in
relief upon depressed field, straight upon three sides but

JOHN HULL AND ROBERT SANDERSON
FIG. 66 CAT. NOS. 4-

arched at top; upon reverse, Roman numerals XII upon
slightly smaller and more nearly square field; second punch
stamped at opposite edge of planchet in order not to ob
literate first impression. D. if in. Fig. 66.

5-6 Shillings (2). Circular planchet; upon obverse,
pine-tree; legend in margin between rows of beading,
masathvsets . in; reverse, legend in margin, new Eng
land : an : dom; in field, 1652/ XII. D. i^* in.
Fig. 66.
15

THE CLEARWATER COLLECTION
7-8 Sixpence (2). Circular planchet; obverse as in
preceding; reverse, legend in margin, new England .
ano; in field, 1652 / VI. D. f in. Fig. 66.
Published: M. M. A. Bulletin, 14:264.
Especial interest attaches to these coins because they are
examples of the first money coined in what is now the United
States and represent the work of our first great silversmiths,
Hull and Sanderson. In Massachusetts in the mid-seventeenth
century there was in circulation a considerable amount of
Spanish, Dutch, and English money obtained by trade with
the mother country and with the West Indies. Unfortu
nately, because of the confusion arising from so many stand
ards of exchange and the presence of a large amount of base
and counterfeit coin, business was transacted with difficulty.
The General Court of Massachusetts tried first to relieve the
situation by providing that foreign coin should be tested and
stamped to indicate its value according to some uniform
standard, probably sterling. The measure, however, did not
meet with popular approval nor did it bring the desired results.
Accordingly in 1652 the General Court passed an act author- •
izing the establishment of a mint in Boston and appointing
John Hull Mint-master.1
For thirty years Hull and his partner, Robert Sanderson,
continued to coin money for local circulation. The mint was
"an howse built at the Countryes Charge of sixteene foote
square tenn foote high." The dies were made by Joseph
Jenks of Lynn, the first Colonial iron-founder. In its first
orders, the General Court authorized the stamping of "NE"
and the denomination on each coin but somewhat later, dis
covering that the margins of such coins were frequently
clipped by unscrupulous persons, provided against this prac-
'The orders of the General Court are quoted in the Bulletin article
above mentioned. The present account is based on Crosby, The Early
Coins of America and the Laws Governing Their Issue, 1875.
In his diary, Hull writes: "Also upon occasion of much counterfeit
coin brought in the country, and much loss accruing in that respect (and
that did occasion a stoppage of trade), the General Court ordered a mint
to be set up, and to coin it, bringing it to the sterling standard of fineness,
and for weight every shilling to be three pennyweight; i. e., 9d. at 5s per
oz. And they made choice of me for that employment; and I chose my
friend, Robert Sanderson, to be my partner, to which the Court con
sented." 16

FIRST PERIOD  ABOUT 164O-171O
tice by ordering that both shillings and smaller pieces should
have a double ring on either side together with the pine-tree
and inscriptions found on the coins described in nos. 5-8.
Coinage was a royal prerogative jealously guarded by the
English Crown, but in 1652, when the General Court of Massa
chusetts established its mint, England was under the Protec
torate of Cromwell. Probably no defiance of royal authority
was intended by the General Court but in later years its action
was so regarded.
GARRETT ONCLEBAGH
New York; admitted as Freeman, 1698. Belonged to
"an old and socially prominent New York family and was

GARRETT ONCLEBAGH
FIG. 67. DETAIL FROM TANKARD
an active member of the Dutch Church." Married Eliza
beth van Schayck, 1690. Was active in civic affairs,
holding office as assistant alderman from 1700-03. Later
he appears to have fallen into disfavor and when re-elected
in 1713 was declared not qualified to serve.
9 Tankard. Flat lid in two stages, wide rim serrated
in front; corkscrew thumb-piece; handle with foliate de
sign incised on plate below hinge; tip, escalloped plate
with applied cherub's head; above moulded base, an ap
plied band of foliation. H. 6f in.
17

THE CLEARWATER COLLECTION
Inscriptions: (a) H B (block letters), on handle; (b)
32-gun ship, square-rigged, flying the Union Jack at the
bowsprit and a white ensign at the poop, on lid; (c)
Shelley arms: sable, a fess engrailed between 3 whelk-
shells gold (Robson, British Herald), with scrolled man
tling, ensigned with helmet surmounted by crest: a

GARRETT ONCLEBAGH
FIG. 68. SHELLEY ARMS FROM TANKARD

griffin's head erased, ducally gorged gold. Finely en
graved. Mark: B (crude capitals), in trefoil (Walpole, 88),
G O
at left of handle and on lid. Figs. 19, 20, 22, 24, 67-69.
The swags of fruit at the base of the shield are similar to de
signs on German and Dutch engraved beakers. In the late
seventeenth century the English King, acting upon the advice
of Earl Bellomont who soon after became Governor of New
York, commissioned Captain Kidd to suppress the pirates who
infested the East Indies and the coasts of Africa. Within a

wyYvy%m,$0M

GARRETT ONCLEBAGH
FIG- 69 CAT. NO. 9

THE CLEARWATER COLLECTION
few years, however, Kidd himself was charged with piracy and
was subsequently (1701) executed in London. Meanwhile,
in 1698, Captain Giles Shelley (1664-1710), a merchant and
sea-captain of New York, had sailed in command of the ship
Nassau for Madagascar, a favorite haunt of the pirates, from
which voyage he returned to New York with a vast amount of
treasure. Although suspected of complicity with Kidd and
arrested at the Governor's order on a charge of piracy, he was
later released and lived for many years, a wealthy and re
spected merchant. The tradition is that this tankard was
presented to Captain Shelley by the New York merchants
who had financed his enterprise, the ship engraved on the lid
representing his privateer, the Nassau.

JACOBUS VAN DER SPIEGEL
New York; working 1 685-1 705. Son of Laurens Van
der Spiegel. Saw military service along the Albany fron
tier when the French invasion
was threatening; commissioned
ensign by Leisler, 1689; men
tioned as captain, 1691. As
sessor for West Ward, 1694-95;
constable, 1698. Married Ann
Sanders; his daughter Sara
was baptized February 7,
JAC0BUS VAN DER l694_ Admitted as Freeman>
fig. 70 cat. no. 10 I7°2- Died about 1708. The
family was prominent in so
cial life; one of his sisters married Isaac de Forest, another
married Rip Van Dam, for thirty years one of the Council
of the city.
10 Wine-Tumbler. H. if in.
Marks: (1) I V S, in long oval, twice at lip; (2) W K
B
(crude capitals), pellet between, in heart, on base.
20

FIRST PERIOD  ABOUT 164O-I7IO
Probably mark of Benjamin Wynkoop (Walpole, 129:1),
added later when tumbler came into his hands, perhaps
for repairs, perhaps for sale.1 Fig. 70.
EDWARD WINSLOW2
1 669-1 753. Boston. One of the greatest of Colonial
silversmiths; from the superior quality of his work, it
seems probable that he served part of his apprenticeship
abroad. He was grandson of John Winslow who came to
Plymouth in the Fortune in 1621 and his wife, Mary
Chilton, one of the Mayflower's company; was great-
grandson, on his mother's side, of Mistress Ann Hutchin
son and thus a second cousin of Samuel Vernon, the
Newport silversmith. He married (1) Hannah, daughter
of Rev. Joshua Moody of the First Church, Boston; (2)
Elizabeth Dixie, widow of Benjamin Pemberton; (3)
Susanna Farnum, widow of Caleb Lyman. Lived in
King Street. Served as constable of Boston, 1699;
tithing-man, 1703; surveyor, 1705; overseer of the poor,
1711, 1712; selectman, 1714, declining reelection in 1715.
Captain of militia; major of Boston regiment, 1729, and
colonel, 1733. Second sergeant of Artillery Company,
1702; lieutenant, 1711; captain, 1714 and 1729. Sheriff
of Suffolk County, 1728-1743; Judge of Inferior Court of
Common Pleas from 1743 until his death. Member of
the Old South Church. Two of his sons were lost at
Louisburg in 1745. His nephew, Moody Russell, was
apprenticed to him. Left an estate valued at £1, 083.18.5.
His granddaughter married John Singleton Copley.
1 1 Chocolate-Pot. Tapering, rounded at base, with
convex foot marked by faint repousse beading; high-
'Van der Spiegel's daughter married Wynkoop's son.
2 See also cat. nos. 50-52. 21

THE CLEARWATER COLLECTION
domed lid, rim, and lower portion of body fluted; cleft and
scrolled thumb-piece; removable acorn finial attached
by chain to hinge of lid; wood handle set at right
angles to slender duck-neck spout, its tip and base orna
mented with cut-card design; cut-card border on lid. H.
9! in-
Inscription: Arms of Hutchinson: per pale gules and

EDWARD WINSLOW

FIG. 71.

HUTCHINSON ARMS FROM
CHOCOLATE-POT

azure, semee of cross crosslets or, a lion rampant argent;
with scrolled mantling; ensigned with helmet and sur
mounted by crest: out of a ducal coronet or, a cockatrice
with wings endorsed azure, beaked, combed, and wattled
gules. Mark: E W (shaded roman capitals), fleur-de-lis
below, in shaped shield (Walpole, 127:1), between handle
and spout and again on lid. Figs. 71, 72, and head-band
on page xvii. 22

EDWARD WINSLOW

FIG. 72

CAT. NO. II

THE CLEARWATER COLLECTION
Published: Bigelow, Historic Silver, p. 368 (illus.). In the
history of Colonial days the Hutchinson family figures prom
inently and with distinction. Prosperous and cultured
members of the community of Afford, in Lincolnshire, Eng
land, William Hutchinson and his wife, Ann (Marbury), with
their children sought refuge from the despotism at home by
emigrating to America in 1634. Mistress Ann Hutchinson
soon set forth religious views so far out of accord with those
generally held in Massachusetts Bay that she and her followers
were banished from the colony and sought refuge in Rhode
Island, 1638. Later she removed to Eastchester, N. Y.,
where she fell a victim to an Indian massacre. The site is
near Pelham Bay Park, within the limits of New York City,
and was marked by a monument erected by the Colonial
Dames.
This chocolate-pot and the tankard described below (no. 51)
are said to have belonged to another member of this distin
guished family, Thomas Hutchinson (1675-1739), great-
grandson of William and Ann and son of Elisha and Hannah
(Hawkins) Hutchinson. He was a highly prosperous mer
chant of Boston, prominent as an officer of the Ancient and
Honourable Artillery Company, a member of the Provincial
Legislature, and for thirty years a member of the Council.
His son, Governor Hutchinson, described him as one who
"deserved the integer vitae as much as any man I ever knew,"
and coupled with this integrity were great independence of
character and wide benevolence. His wife was Sarah, daugh
ter of Colonel John Foster, a wealthy and influential mer
chant to whom the plate (no. 12), made by Winslow and now
in the Clearwater Collection, probably belonged. Thomas
Hutchinson's son was a celebrated historian and the last
Royal Governor of Massachusetts. Both these pieces of silver
came to Judge Clearwater from a descendant of Thomas
Hutchinson.Mr. Jones in Old Silver of American Churches, 1913, p. 41,
describes two plates bearing the Hutchinson arms, one the
gift of Thomas Hutchinson to the Second Church, Boston, in
171 1, the other the gift of his half-brother, Edward Hutchin
son. A similar dish was given to the same church by Abigail
Foster, wife of Colonel John Foster, and bears the Foster
arms (see also no. 12).
12 Plate. Wide, slightly sloping rim; shallow. D.
\ in. 24

FIRST PERIOD  ABOUT I 6 4 O - I 7 I O
Inscription: Arms of Foster: argent, a chevron be
tween 3 hunting-horns stringed (Robson, British Herald),
on a background of crossed palms, on rim.
Mark as in preceding, on face of rim.
This plate is said to have belonged to Colonel John Foster
who came from Aylesbury, Bucks County, England. Im
mediately after his arrival in Boston he
joined the Artillery Company and was
prominent in its affairs. He became a
Freeman in 1682. Served as a mem
ber of the Council of Safety, 1689; rep
resentative for Portsmouth, 1690; one
of Gov. Dudley's councilors; named in
the charter of William and Mary in
1692 and served as one of the first coun
cil under it, in which office he continued
until his death. Held other important
public offices. Colonel of the Boston
regiment. One of the wealthiest and
most influential men of his time. Mar
ried in 1689 Abigail, daughter of
Thomas and Mary Hawkins and widow
of Samuel Moore and of Thomas Kel-
lond. Colonel Foster and his wife both
died in 1711. Mr. Jones in Old Silver
of American Churches, p. 41, describes a
dish with the Foster arms, a bequest
from Mrs. Foster to the Second Church,
Boston. A silver dish and a tankard
given to the church by Colonel Foster
have been lost. EDWARD WINSLOW
FIG. 73 CAT. NO. 13
13 Spoon. Broad, oval bowl with
drop and long grooved and beaded tongue; broad, flat
stem with trifid end. L. 7I in.
Inscription: H (crude block letters), on under side
of stem. L M
Mark: E W (roman capitals), in rectangle (Walpole,
127:2). Fig. 73.
25

THE CLEARWATER COLLECTION
BENJAMIN WYNKOOP
New York; working 1698-1740. Son of Cornelius
Wynkoop of Kingston; baptized April 18, 1675. Married
in New York, 1697, Femmetje Van der Heul; lived in
South Ward. Served as collector and assessor at various
times from 1703 to 1732. "Admitted as Freeman, New
York, 1698. In 1741, his slave London, a Spanish Indian,
was indicted with others for conspiring to burn the city."

BENJAMIN WYNKOOP
FIG. 74 CAT. NO. 14
Wynkoop's son Cornelius, also a silversmith, born 1701,
married in 1724 Elizabeth Van der Spiegel, daughter of
the silversmith Jacobus Van der Spiegel.
14 Mug. Straight, tapering; moulded bands at lip,
on body, and base; scroll handle. H. %\ in.
Inscriptions: (a) R (crude capitals), on front; (b) I R
I T
(script), on base.
Mark: W K (crude capitals), pellets between, in heart
B
(Walpole, 129:1), to left of handle and underneath base.
Fig. 74.
26

FIRST PERIOD  ABOUT 164O-I7IO

MAKER UNKNOWN
15 Patch-Box. Oval; milled edges; separate cover
with formal flower design within tongue border, lightly
incised; on base, pierced and
winged heart, birds, etc. D.
if x if in.
Inscription: Sarah Rain (script),
on base; probably later addi
tion. Fig. 75.
Tradition runs that this patch-box
was presented by a rejected suitor to
Sarah Rain, the niece of Governor
Benning Wentworth (1696-1770),
the last royal governor of New Hampshire, 1741-67. His
second marriage is the subject of Longfellow's poem, "Lady
Wentworth."

MAKER UNKNOWN
FIG. 75 CAT. NO. 15

27

£««>«%%*>&

EnglishStyles of
Shieen AnneandGeorge I
Periods

SECOND PERIOD
ABOUT 1700 TO I74O
S already noted, much of the plate of
Jacobean times had been melted down
to provide funds for the Civil Wars
of the mid-seventeenth century. In
Charles II's reign a great counter-
flow occurred when such large quan
tities of silver coin were melted down and wrought into
the highly embossed plate then in fashion that at length
the government was forced to undertake rigorous meas
ures. From 1697 to 1720 a high standard for wrought
plate was enforced by which silversmiths were required
to use metal of purer quality than that used for currency.1
The smaller amount of alloy resulted in silver of softer
quality, making it impracticable to manufacture wares
beaten thin and highly embossed, and necessitating the
use of more substantial forms. A reversion to simpler
sryles at this time was also a natural reaction after the
extravagant fashions of the Restoration period had run
'n oz. 10 pwt. of fine silver per pound Troy, 8 pwt. finer than the
coinage standard. Commonly known as the Britannia standard because
marked with this figure. See Jackson, English Goldsmiths and their
Marks, pp. 17-28. 28

SECOND PERIOD  ABOUT I70O-I74O
their course. Moreover, with the advent of William and
Mary from Holland there had been an increasing vogue
for Dutch styles, while the relations with France were
less close. All these influences tended toward greater
simplicity and plainness. The sturdier shapes required
but little ornament, most of the elaborate designs of the
earlier period were discarded, and only the simpler and
bolder ones retained — the deep fluting and gadrooning;
the more striking punched designs; applied cast and chased
masks and foliage; and ornaments cut out and applied,
sometimes plain cut-card work, sometimes enriched with
patterns in relief, a fashion brought over earlier from
France. Undecorated octagonal forms are very typical
of the first third of the eighteenth century, a style popular
on the Continent as well. When engraving was added,
it was generally finely executed.
While the fixing of the higher standard for plate did New
not extend to America, the plainer fashions in vogue in Forms
England were followed here; but since seventeenth-century ZM
Colonial styles had been comparatively simple, the change Colonial
here is less striking. Much of the typical ornament of Silver
the earlier* period tends gradually to disappear. The
work of the early eighteenth century is marked by em
phasis on beauty of line and proportion with the conse
quent evolution of new forms whose simplicity and dignity
required no embellishment. More curved lines are intro
duced, showing in the pear-shaped outlines of the teapot,
in the bulbous mug, iii the doming of the lid of the tankard
and flagon, etc. Octagonal shapes are also considerably
employed. One of the chief developments is in the form of the
tankard. Seventeenth-century tankards made in New
England had been flat-topped and broad, occasionally
decorated with an acanthus surbase or band of fluting.
29

THE CLEARWATER COLLECTION
While this flat-topped form does not pass wholly out of
fashion until about 1730,1 the tankards made after 1715
are generally plain, taller and rather more slender than
their predecessors, and show certain new features, mould
ing about the body and a domed lid, later surmounted
by a finial (figs. 13 and 76). The moulded band is copied
from contemporary English tankards but the finial seems
to be a Colonial fashion, possibly borrowed from the Con
tinent, as English tankards practically never display this
ornament. Flagons were probably first made in America by Boston
silversmiths about 171 1,2 the early type having a flat lid
and a finial. Later, as in the case of the tankard, the lid
became domed.
The popular seventeenth-century style of New England
beaker had been broad, low, and flat-bottomed. Probably
about the end of the century the custom of adding a
moulding at the base became generally adopted, and prac
tically all beakers of the first half of the eighteenth century
show this feature. Though varying considerably in
height, they are generally taller and more slender than
earlier examples (figs. 7 and 83). The majority of Colonial
beakers in existence today are of this type.
Similar to the early tankards in form are the straight-
sided mugs of the early eighteenth century (cf. fig. 27).
Many of them are banded. A newer form of mug dis
playing the development of curved lines which marks this
'Jones in Old Silver of American Churches, p. xl, finds about twenty
examples of this early type of New England tankard with flat top, of
which three were made prior to 1700. "The other early flat-topped
tankards wrought by Boston silversmiths now in New England churches
would seem to date mainly from about 1700 to 1730, when they went
almost completely out of fashion, having been superseded by the tankards
of the same shape with domed covers."
2 Jones, op. cit., p. lxvi. 30

SECOND PERIOD  ABOUT I7OO-I74O
period appears probably about the beginning of the cen
tury. The early specimens have almost straight sides
which curve abruptly inward just above the base (fig. 29).
In time the sides assume a gentle cyma curve (fig. 31),
later becoming increasingly bulbous, with splayed foot
(.fig- 32).
On these mugs, the handle is at first a simple S-curve,
sometimes in strap form (fig. 26), sometimes of semi
circular section like the contemporary tankard handle
(fig. 27), but gradually developing into one of circular
section. The handle at a later period is made in double
scroll form, often with an acanthus thumb-piece (fig. 129).
Some cups follow the shape of the beaker with the addi
tion of one or two strap handles. Tall, bell-shaped cups,
with or without handles, are popular during this period.
Another type is the two-handled loving-cup, a late develop
ment of the straight-sided caudle-cup which by this date
had begun to pass out of fashion.
The style of standing-cup which is so characteristic of
the seventeenth century is superseded by one of smaller
section, with a more slender baluster stem. Whereas in
many of the earlier style the bowl and foot are fluted,
the new type is almost invariably plain.
At least as early as 1725 the porringer handle with the
so-called keyhole piercings had come into fashion1 and it
remained the most popular form throughout the eighteenth
century (fig. 80). The design was quite probably an
adaptation of an English style.
The chocolate-pot by Winslow illustrated in figure 72
is classed as belonging to the first period because its decora
tion is so characteristic of that early time; it was probably
'One of this style was made by John Dixwell who died in 1725. It is
illustrated on pi. XVII, no. 84, in the American silver exhibition held at
the M. F. A. in Boston in 1906. 31

THE CLEARWATER COLLECTION
made between 1690 and 171 5. It is doubtful whether
teapots, coffee-pots, or chocolate-pots were made in
America much before 1700, but from then on they become
increasingly popular. As tea and coffee were very expen
sive at this time, the earlier examples are usually rather
small. Following English models, they fall into certain
groups according to shape. One class is straight and
tapering with low-domed lid like the example in figure 43.
Another group has straight, tapering sides which curve
inward to the base like the chocolate-pot mentioned above.
Others are globular, copying Chinese porcelain shapes.
Still another popular style which develops the curved line
is the pear-shaped teapot represented by figure 78. In
teresting to compare with this example by a Boston silver
smith, John Cony, is one of similar form by Adrian Bancker
of New York (fig. 47). The latter is to be distinguished
by the more compressed body, the moulded band at the
shoulder, and the taller neck, local modifications of the
same general type. In the earlier chocolate-pots, etc.,
the handle is set at right angles to the spout but it soon
assumes its present position, in the same plane with the
spout. The cast form of candlestick with baluster stem, often
octagonal, is developed from the beginning of the eigh
teenth century on.
Though rare in England, the brazier is apparently con
siderably more popular in America. The form was quite
common in New England in the second quarter of the
eighteenth century (fig. jj).
The caster is often made in octagonal form like so many
pieces of this period (fig. 84). The most popular form of
the eighteenth century is of vase shape, the earliest exam
ples appearing probably during this period.
Characteristic features of the spoons of this period are
32

SECOND PERIOD  ABOUT I7OO-174O
the oval bowl with ribbed or plain rat-tail or (later) the
double drop; the rounding of the stem near the bowl; the
rounded, up-curved handle end with thickened edge and
pronounced mid-ridge with concavity at either side. The
mid-ridge becomes less pronounced later. In New York
the rat-tail is very rare, the double drop being much more
common. Certain of the characteristic and highly effective forms Little
of seventeenth-century ornament tend to disappear in the Orna-
early years of the eighteenth century. The acanthus r-
surbase had been rarely used in America but bands of ployed
fluting at the base of cups, tankards, etc., which had been
more common, from now on slowly pass out of fashion.
Cut-card work remains in vogue for a time. Embossed
and engraved decoration are practically not used. It is
true that coats of arms, finely executed, often appear but
they were added to denote ownership rather than as decora
tion. The new styles are essentially plain and unorna-
mented. Whatever decoration is used is subordinated
to the simple dignity of form. Some of the most interest
ing bits are the cast masks, especially the cherub heads
which so often appear at the tips of tankard handles of
this and the preceding period (figs. 18 and 22). Finials in
their various turned forms suggest the furniture of the time
(fig. 15). The flat moulded drops (fig. 16) which so fre
quently ornament the handles of tankards are probably
related to similar ornaments used especially on chests
made about 1700. Many of the most attractive designs
used by the silversmiths are pierced, as in some of the
porringer handles and in the brazier made by John Burt
which has been adapted for the cover design of this cata
logue. That the Colonial silversmith was a master of his
craft, possessing originality, skill, and fine feeling for form,
is abundantly proved by the work of this period.
33

THE CLEARWATER COLLECTION
L A (probably L. ADAM)
Died 1 73 1.
16 Mug. Straight, tapering; moulded lip and base;
handle of semicircular section with triangular body-drop;
shaped shield at tip. H. 4§ in.
Inscription: The Gift of Will Roun- / dell & Rebecka
Brooks / to Thos. Wrather 1731, on base.
Mark: L A (shaded roman capitals), pellet below, in
shield (Walpole, 3:1, but upper margin of shield is more
carefully drawn), near lip.
JOHN ALLEN AND JOHN EDWARDS
Boston. John Allen (1671-1760) was the son of Rev.
James Allen, a Fellow of Oxford and one of the ejected
ministers. He came to New England in 1662 and served
as pastor of the First Church from 1668 until his death
in 1710. He married (1) Hannah, sister of the silversmith
Jeremiah Dummer, (2) Elizabeth Houchin, widow of the
second John Endicott, (3) Sarah Hawkins, widow of Rob
ert Breck and sister of Abigail, wife of Colonel John
Foster (see no. 12). John Allen quite possibly was ap
prenticed to Dummer. He married Elizabeth, a sister of
John Edwards (q. v., page 43).
17 Porringer. Circular and heart-shaped piercings
in handle; strong English influence. D. 5! in.
Inscription: G (block letters), on handle.
N E
Marks: I A and I E (crude capitals), each pair in
quatrefoil (Walpole, 4:2, 41 :i), to left of handle. Fig. 41.
The same design is in a porringer by John Edwards, exhibited
at the Museum of Fine Arts, Boston, in 191 1, catalogue no. 391,
pi. n, and reproduced in Bigelow, Historic Silver, no. 216.
34

SECOND PERIOD — ABOUT I70O-I74O
JOHN BURT
1691-1745. Boston, Mass. Son of William and Eliza
beth Burt. Married Abigail Cheever, 1714. Served as
clerk of the market, tithing-man, and constable. Left
a large estate, valued at £6,460.4.9, evidencing great
commercial success.1 Three of his sons, Samuel (1724-54),
William (1726-52), and Benjamin (1729-1805), were silver
smiths. 18 Brazier. Basin with decoratively pierced sides,
base, and insetting plate; three scrolled supports project
ing above rim; three scroll feet; turned wood handle.
H. 3i in.
Inscription: P (block letters), on base.
S A
Mark: john (italic capitals), in oval (Walpole, 22:1),
BURT
on base.
Fig. 77, cover design, head-band on page 28, tail-piece
on page 59.
Mentioned: M. M. A. Bulletin, 7:154 (ill.).
Of very similar design is a brazier by Paul Revere, no. 226 in
the Boston M. F. A. exhibition of American silver held in
1906.
19 Porringer. Handle pierced in keyhole pattern.
D. 5§ in.
Inscriptions: (a) S W (block letters), on handle; (b) B
(script), below, added later.
Mark as in preceding, on face of handle.
20 Tankard. Low mid-band; stepped and domed
lid with turned finial; scrolled thumb-piece; moulded drop
',The inventory of Burt's stock and tools, quoted on page xiv, gives
an insight into the methods employed by the early silversmiths.
3S

THE CLEARWATER COLLECTION
applied on handle; oval tip with grotesque mask. H.
8i in.
Inscription: H W (block letters), on handle.
Mark: I B (roman capitals), pellet below, crown above,
in plain shield (Walpole, 22:3), on base. Figs. 15, 18,
and 76.
Mentioned: M. M. A. Bulletin, 7:154.

JOHN BURT
FIG. 76 CAT. NO. 20

JAMES CLARKE1
Newport, R. I.; working 1734.
21-22 Spoons (2). Each with oval bowl with drop
and rat-tail; flat stem with trifid end, central section broad
and up-curved. L. 7f in.
Inscription: B S (block letters).
1742
Mark: J. Clarke (script) in long oval. Fig. 60.
' See also cat. nos. 88-90. 36

THE CLEARWATER COLLECTION
These spoons belonged, according to tradition, to Benjamin
Smith, first husband of Anne Smith, who later became the
wife of Stephen Hopkins, one of the signers of the Declaration
of Independence.

JOHN CONY1
23 Tankard. Low-domed and stepped lid with turned
finial and scrolled thumb-piece; short, moulded drop on
handle; cast cherub's head mask at tip; mid-band applied.
H. 7| in.
Inscriptions: (a) Arms of Holyoke, finely engraved on
body: azure, a chevron argent cottised or, between 3
crescents of the second, with scrolled mantling, ensigned
with helmet and surmounted by crest-wreath and crest: a
crescent of the last (Robson, British Herald); (b) E H
(block letters), on handle.
Marks: (1) I C, crowned, cony below, in shield (Wal
pole, 30:2), on base and at left of handle; (2) I C, in rectan
gle (Walpole, 30:4), on bezel. Figs. 13 and 18.
The first member of the Holyoke family in America emigrated
to Massachusetts from Staffordshire in 1639. His great-
grandson, Edward Holyoke (1689-1769), son of Elizur and
Mary (Eliot) Holyoke, graduated from Harvard College in
1705. In 1714, when the First Congregational Church of
Marblehead voted to call an assistant to their pastor, Edward
Holyoke of Boston was named as one of the candidates. Al
though the congregation and the town elected Rev. John
Barnard to the office, the followers of Mr. Holyoke were un
willing to abide by this settlement and after a bitter contro
versy withdrew from the original congregation and established
the Second Church with Rev. Mr. Holyoke as first pastor
^7l6)"
The ill-feeling evidently passed with time, for in 1737 upon
Rev. Mr. Holyoke's election to the presidency of Harvard
College, his devoted congregation, unwilling to allow him to
go, were finally won over because "Old Barnard prayed him
away." This silver tankard was presented to Mr. Holyoke
•1655-1722. Boston. For further biographical notes, see page 12.
38

SECOND PERIOD — ABOUT I70O-I74O
by his congregation as a parting gift. Quite possibly it had
previously belonged to this church, as two other similar but
uninscribed tankards made by Cony are still owned by the
congregation (described by E. A. Jones in Old Silver of Amer
ican Churches, p. 265). The Holyoke arms were doubtless
added to the tankard at this time by a contemporary engraver,
as John Cony had died in 1722. During his presidency at
Harvard, which lasted from 1737 until his death, Dr. Holyoke
is said to have used this tankard in a most generous manner
in the entertainment of the trustees and faculty of the college.
The piece came eventually to Judge Clearwater from Andrew
Nichols, Esquire, of Hathorne, Massachusetts, a great-great-
grandson of President Holyoke.
President Holyoke's daughter Margaret married (1750) John
Mascarene, son of Jean Paul Mascarene to whom the teapot
described in no. 24 belonged. Edward Holyoke's son, Edward
Augustus, became one of the most distinguished physicians of
Massachusetts, serving as first president of the Massachusetts
Medical Society and president of the American Academy of
Arts and Sciences. In 1830 he presented to Harvard College
a portrait of his father painted by Copley.1
24 Teapot. Body and high-domed cover of pear
shape; knob finial; duck-neck spout curving close to body;
straight foot; wood handle. H. 7§ in.
Inscription: Arms and crest of Mascarene (Languedoc
and Brittany): argent, a lion rampant gules, on a chief
azure, 3 mullets or2; crest: a mullet of the same.
Marks: (1) I C, crown above and cony below, in
shaped shield (cf. Walpole, 30:2, but shield is more care
fully formed), on lip to left of handle and on base; (2) I C
in oval (Walpole, 30:3), on bezel. Fig. 78.
'Samuel Roads, Jr.: History and Traditions of Marblehead, 1880,
pp. 41, 50, 349, 358.
2Rietstap, in the Armorial Universel, gives "3 etoiles de sable,
rangees en chef," but in Jean Paul's memorandum for entering his arms
at the Heraldry Office, London (quoted in the New England Historical
and Genealogical Register, 9:247), the arms appear as here: on a chief
azure, 3 mullets or. 39

THE CLEARWATER COLLECTION
Published: Bigelow, Historic Silver of the Colonies, p. 335,
pi. 236. Mentioned: M. M. A. Bulletin, 8:165.
The teapot undoubtedly belonged originally to Jean Paul
Mascarene, whose arms it bears. He was born of Huguenot
parentage near Castres, Languedoc, France, in 1685, the year
of the revocation of the Edict of Nantes. Religious persecu
tion drove him, when only a boy, to seek refuge in Holland.
Later he traveled to England where, in 1706, he became
naturalized and received a lieutenant's commission in the
army. In 1709 he came to Boston in the Dragon, married
(1714) Elizabeth Perry, only child of Michael and Joanna
Perry, and settled on School Street. Part of his life was spent
away from his family in Nova Scotia where he served for some
years as lieutenant-governor and commander-in-chief of the
province. He retired to Boston in 1750 with the rank of
major-general and died there in 1760. His tomb in the
Granary Burying Ground on Tremont Street bears his arms.
The only son of Jean Paul Mascarene was John Mascarene
(1722-1778), who married Margaret (1726-1792), daughter
of President Holyoke of Harvard (see preceding entry).
Their son Paul was the last of the name. The teapot, how
ever, probably descended to Jean Paul's daughter Joanna who
married James Perkins.1

WILLIAM COWELL
Boston, 1682-1736. Son of John Cowell, a blacksmith
of Boston. Married Elizabeth Kilby. Served as con
stable, overseer of shingles, scavenger, and clerk of the
market. Mentioned in Annals of King's Chapel, 1728.
The robbing of his shop is described in Samuel Sewall's
diary.2 His estate amounted to £3,309.19.4. His son
William was also a silversmith.
'For much of this biographical data we are indebted to the kindness
of Paul M. Hamlen of Boston, a descendant of Jean Paul Mascarene.
2 "Billy Cowell's shop is entered by the Chimney, and a considerable
quantity of Plate stolen. I give him a Warrant to the Constable, they
find James Hews hid in the Hay in Cabal's Barn on the Back side of
the Comon; while they was seising of him under the Hay, he strip'd off
his Pocket which was quickly after found, and Cowell's silver in it'
(Sewall's diary, June 21, 1707). 40

JOHN CONY

fig. 78

CAT. NO. 24

THE CLEARWATER COLLECTION
25 Nutmeg-Grater. Cylindrical box of sheet silver
set into moulded base; body marked by cross-hatching;
detachable cover engraved with carnation; cylindrical
grater inside. H. 2§ in.
Inscription: S E (block capitals), on base.
Mark: W C (shaded roman capitals), in oval (Wal
pole, 31:3), on base of box, inside cover, and on base of
grater. Vignette on title-page.
26 Patch-Box. Shallow, oval; milled edges; separate
cover with crude, incised tulip design; base with inscrip
tion surrounded by heart and scrolls. D. if x ij in.
Inscription: Mary Mendum (initial letters are block
M Mendum capitals; other letters
anno 1722 script or italic)
Mark: W C (shaded roman capitals), pellet between,
in rectangle, inside on base.
This patch-box is in the style of the preceding period but
was probably not made until the early eighteenth century.
According to tradition, Mary Mendum was a belle of
Salem.27 Porringer. Pierced handle suggesting English
style but without customary crown cresting. D. 5f in.
Inscription: L (block letters), on handle.
S M
Mark: W. Cowell (italics), in cartouche, inside on
base. A similar porringer with full cresting, made by John Edvvards,
is reproduced in Bigelow, Historic Silver of the Colonies,
p. 313; another by Cowell was exhibited at the Museum of
Fine Arts, Boston, in 1906, and illustrated in that catalogue,
no. 69, pi. XVII, and appeared again in 1910 in the Hudson-
Fulton Exhibition at the Metropolitan Museum, cat. no.
302. Of somewhat similar design is a porringer by S. Burrill
in the Garvan Collection, now on loan at the Metropolitan
Museum. 42

SECOND PERIOD  ABOUT I7OO-I74O
JOHN DIXWELL
Born in New Haven, Conn., 1680; died in Boston, 1725.
Son of the regicide, Colonel John Dixwell who, fleeing from
England, sought refuge in New Haven and lived there,
under the name of James Davids, in retirement until his
death. His son moved to Boston before 1700. Married
(1) Mary Prout, (2) Martha Bowes, (3) Abigail Bridgham.
Deacon of New North Church, erected in 1714. His son,
Lieutenant Basil Dixwell (1711-1746), also a silversmith,
lost his life at Louisburg.

JOHN DIXWELL
FIG. 79 CAT. NO. 28
28 Cup. Tapering; flaring lip; moulded band applied
at foot; scrolled strap handle. H. 3! in.
Inscriptions: (a) R A (block capitals), on base; (b)
late inscription, on body.
Mark: I D (roman capitals), in oval (Walpole, 36:1),
to left of handle and on base. Fig. 79.
JOHN EDWARDS
1670-1746. Born in England and probably served his
apprenticeship in London, 1 684-1 691. Married Sybil
43

THE CLEARWATER COLLECTION
Newman, 1694, and Abigail Fowle, widow of William
Smith of Charlestown, in 1740. Was a man of education
and prominent in civic affairs; member of Boston militia
and tithing-man, 1701, 1708, 171 1; fourth sergeant of
Artillery Company, 1704; constable, 171 5; assessor, 1720-
1727. Member of the church in Brattle Square. He was
one of the most flourishing of Boston silversmiths, leaving
an estate valued at £4,840, of which his goldsmith's tools
were worth £336, the goods in his shop £1,042, and the
silver and gold £2,305.

JOHN EDWARDS
FIG. 80 CAT. NO. 30
29 Porringer. Handle pierced in keyhole pattern
with two arched openings in base. D. 5§ in.
Inscription: R (block letters), on handle.
D R
Mark: I E (roman capitals), crowned, fleur-de-lis
below, in shaped shield (Walpole, 41 -4), to left of handle.

30 Porringer. Handle pierced in keyhole design.
D. 5! in.
Inscriptions: (a) Arms engraved in oval — 3 fleurs-de-lis
with crescent for difference, a chief chequy — surrounded by
foliate scrolls; (b) S A (monogram) to T K (monogram),
incised on the under side of handle (script, added later).
44

GEORGE FIELDING

CAT. NO. 32

THE CLEARWATER COLLECTION
Mark as in preceding, to left of handle, twice. Fig. 80.
The tradition is that this porringer was presented by Sarah
Austin to Thomas Kneeland when he was a child. He be
longed to the well-known Kneeland family who a century and
a half ago were large landowners in Boston.
31 Spoon. Shallow, broadly oval bowl with drop
and long grooved and beaded tongue; broad, flat stem;
trifid end with up-turned points. L. 7§ in.
Inscription: M I (crude block letters), on back of
handle. M W
Mark as in no. 29.
GEORGE FIELDING
New York, Freeman, 1731.
32 Tankard. Flat top in two stages, with serrated
rim and corkscrew thumb-piece; handle with incised design
below hinge and moulded and punched ornament applied
down center; tip, a disk of wavy outline with punched
ornament. H. 6| in.
Inscription: E G, on handle.
Mark: G F, in oval (Walpole, p. 46), twice, to right
and left of handle. Figs. 21 and 81.
Ephraim Gumare is said to have been the original owner.
N G (probably NOAH GUILLE)
Boston; working 1701. Admitted as Freeman in 1701,
William Rouse being his security.
33 Coffee-Pot. Straight, tapering; low-domed lid
with moulded acorn finial; slightly curved spout; scroll
wood handle. H. 6| in.
Inscriptions: (a) I C (block letters), on base; (b) arms
probably of Cruttendon (Crutendon, Cruttenden) : azure,
46

SECONI? PERIOD  ABOUT 170O-I74O
a chevron argent between 3 estoiles gold. The arms are
enclosed by acanthus scrolls and shell ornament and sur
mounted by a basket of fruit.
Mark: N G (shaded capitals), in shaped cartouche,
twice to right of handle and twice on bezel. Fig. 82 and
initial on page xxxv.
Published: M. M. A. Bulletin, 13:244.

N G (probably NOAH GUILLE)
FIG. 82 CAT. NO. 33
GEORGE HANNERS
Boston, about 1 696-1 740. Son of Robert and Hannah
(Matson) Hanners. Married Rebecca Peirson. Estate
valued at £2,667.11.11. His son, George Hanners, Jr.
(1721-1760), was a silversmith.
34 Beaker. Plain; flaring lip; broad applied foot-
rim with few mouldings. H. 6 in.
Mark: G. hanners (italic capitals), in rectangle (Wal
pole, 58:1), on base.
Mentioned: M. M. A. Bulletin, 8:164.
This beaker is one of five originally belonging to the Congrega
tional Church of Greenland, N. H. (founded 1736), and de-
47

THE CLEARWATER COLLECTION
scribed by Mr. Jones in Old Silver of American Churches, 1913,
p. 187. He states that "a tradition exists that these beakers
were presented by Mrs. Elizabeth Packer, wife of Thomas
Packer, physician, colonel and judge of probate, of Ports
mouth, in New Hampshire. She died in 1717, aged 62, and
was buried in the old burying ground here; he died in 1728."
One of the five beakers has been given to the Museum of
Fine Arts, Boston. All five were exhibited there in 1911,
catalogue no. 541.
35 Spoon. Handle up-curved with long mid-rib; rat-
tail and short drop on bowl. L. 7§ in.
Inscription: R (block letters).
I D

Mark as in preceding.

T K

36 Butter-Tester. Incised border on handle. L.
Sf in.
Mark: T K, in reserve, twice.
This butter-tester and that described in cat. no. 107 belonged
at one time to Judge Clearwater's great-grandmother who died
in 1798 and later to his grandmother and were used by them
for many years. Objects of this sort in England were fre
quently used as apple-corers.
T M (probably THOMAS MILLNER)
Boston; about 1690 to about 1745. Perhaps one of
John Cony's apprentices. Married Mary Reed.
37 Tankard. Tapering, with mid-band; domed and
stepped lid with turned finial and scrolled thumb-piece;
flat, moulded drop on scroll handle; tip, a flat oval disk;
body engraved with foliate scroll and pendent husk design
enclosing a coat of arms. H. 83 in.
Inscription: Coat of arms: argent, on a fess sable a
crescent . . . , in chief 3 fleurs-de-lis of the second.
48

SECOND PERIOD  ABOUT I70O-I74O
Mark: T M (?) monogram, in rectangle, twice, to left
of handle near lip.
These are probably the Eyles arms, which are (Robson,
British Herald, and Rietstap, Armorial General) argent, a
fess engrailed sable, in chief 3 fleurs-de-lis of the last. Sir
John Eyles was Lord Mayor of London in 1688. Sir Francis
Eyles, director of the East India Company and an alderman,
was created a baronet in 1714. His son was Lord Mayor in
1727. The tankard was purchased from a member of the
Endicott family of Boston but the connection between them
and the Eyles has not been traced.
W N
38 Chocolate-Pot. Straight, tapering; low-domed
lid with moulded finial fixed to sliding plate above circular
opening in lid; double-scroll wood handle set at right angles
to straight, tapering spout. H. 9! in.
Inscription: oz. p.
27 15, on base.
Mark: W N (shaded roman capitals), pellet between,
in rectangle, to right of handle near lip. This mark ap
pears, so far as is known, on only one other piece, a lemon
strainer formerly owned by George Munson Curtis. Fig- 43-
This chocolate-pot was probably made about 1735.
JOHN NOYES
1674-1749. Boston. Son of John and Sarah (Oliver)
Noyes. Married Susanna Edwards in 1699, and was
brother-in-law of John Edwards, the silversmith. Quite
prominent in the community; ensign of Artillery Com
pany, 1704; elected constable in the same year but declined
to serve. Member of the church in Brattle Square.
39 Porringer. Small bowl; pierced handle, probably
a forerunner of the familiar keyhole pattern. D. 4§ in.
49

THE CLEARWATER COLLECTION
Mark: I N (Walpole, 87:2), to left of handle (probably
Noyes). Fig. 41-
I R (probably JOSEPH RUSSELL)
1702-1780. Barnstable, Mass., and later of Bristol,
R.I. 40 Beaker. Plain; everted lip; reeded band applied
at base. H. 4! in. Inscription: This belongs to ye
Chh / of Christ in Truro / 1730
(old lettering), on base.
Mark: I. R (shaded roman cap
itals), pellet between, in oval.
Fig. 83.
Mr. Jones in Old Silver of American
Churches, p. 471, describes this
beaker which then belonged to the
First Congregational Church of Truro,
Mass. (founded 171 1).
MOODY RUSSELL
1694-1761. Barnstable, Mass.
Son of Jonathan Russell and Martha, daughter of Rev.
Joshua Moody. Grandson of Rev. John Russell who gave
shelter to the fleeing regicides, Goffe and Whalley, at his
home in Hadley. Moody Russell's uncle, Eleazer Rus
sell (1663-1691), was a silversmith of Boston. Another
uncle was the silversmith, Edward Winslow, to whom
Moody Russell was apprenticed. His sister Abigail mar
ried Nathaniel Otis and their son became the celebrated
silversmith Jonathan Otis.
41 Beaker. Plain; flaring lip; applied reeded band at
foot. H. 5 in. So

I R (probably
JOSEPH RUSSELL)
FIG. 83 CAT. NO. 40

SECOND PERIOD  ABOUT I7OO-I74O
Inscription: This belongs to yc Church of Christ in
Truro (rude lettering), on body.
Mark: M R (roman capitals), in rectangle (Walpole,
102:1), on lip. Fig. 7.
Published: Jones, Old Silver of American Churches, p. 471,
where another beaker exactly like this is also described. The
First Congregational Church of Truro was founded in 171 1.
42 Caster. Octagonal; overlapping, slightly domed lid
with finial; reeded strap handle; moulded foot. H. 3§ in.
Inscription: C (crude block
TM
letters), on base.
Mark as in preceding, on
base. Fig. 84.

I T (probably JACOB
TEN EYCK)
Born about 1704; son of Koen-
raet Ten Eyck, the silversmith.
In 1719 indented to Charles Le
Roux, celebrated New York
goldsmith and engraver. Worked in Albany

MOODY RUSSELL
FIG. 84 CAT. NO. 42

43 Porringer. Keyhole handle. D. 5! in.
Inscription: S (block letters), on handle.
R E
Mark: I T, in oval, underneath handle and at lip to
left of handle (Walpole, 112:1).
The initials are thought to be those of Robert and Elizabeth
Sutermeister, an old Dutch family of Kingston.
ANDREW TYLER
1692-1741. Boston, Mass. Son of Thomas Tyler.
Married Miriam Pepperell, sister of Sir William Pepperell.
Si

THE CLEARWATER COLLECTION
Served as scavenger, assessor, and fire-ward, 1720-27;
selectman, 1729-32. Member of the church in Brattle
Square. His daughter married Captain David Ochter-
lony, their son being Sir David Ochterlony, who won dis
tinction as a British general in India. Her second husband
was Sir Isaac Heard.

44 Cup. Plain, tapering
toward foot; applied moulding
at foot; moulded strap handle.
H. 2-| in.
Inscription: P (block let
ters). I S
Mark: A T (roman capi
tals), fleur-de-lis below, in heart
(Walpole, 115:1), twice, to right
and left of handle.

PETER VAN DYCK
FIG. 85 CAT. NO. 45

PETER VAN DYCK
1684-1750. The greatest of New York silversmiths.
Probably learned his trade from his father-in-law, Bar
tholomew Le Roux. Married (1) Rachel Le Roux, (2)
Cornelia Van Varick. Constable of East Ward in 1708;
assessor in 1730. Active participant in political strife
during the administration of Governor Cosby.
45 Mug. Slightly everted lip; body curving inward
to moulded and splayed foot; double-scroll handle with
double body-drop. H. 4! in.
Inscription: A (block letters), on top of handle.
I S
Mark: P V D (roman capitals), pellets between, in
oval (Walpole, 117:1), twice, near lip to left of handle.
Fig. 85.

52

SECOND PERIOD  ABOUT I70O-I74O
SAMUEL VERNON
1683-1737. Newport, R. I. Son of Daniel Vernon
(1643-1715), who came from London to Rhode Island in
1666, and his wife, Ann Dyer. She was a granddaughter
of Mistress Ann Hutchinson and sister of Elizabeth
Hutchinson, the mother of the silversmith Edward Wins
low. Samuel Vernon married Elizabeth Fleet in 1707
and Elizabeth Paine, widow of . . . Prince in 1725.
He became a Freeman, 1714. Elected justice of the peace,
1728; assistant in the General Assembly, 1729-1737.
Served on various committees, including one to settle
boundary dispute between Massachusetts and New Hamp
shire in 1737. Vernon was highly esteemed in the
community. Of his sons more is noted below (under
no. 47).
46 Porringer. Deep bowl; handle pierced in key
hole design with two arched openings in base. D. 5! in.
Inscriptions: (a) M D (block letters), floral spray be-
S C
tween S and C, on handle; (b) B B (block letters), on base.
Marks: (1) S V (roman capitals), fleur-de-lis below, in
heart (Walpole, 119:1), inside on bottom and on under
side of handle; (2) S S (?) in rectangle, on upper side of
handle; probably the mark of another silversmith, added
at a later date. Fig. 40.
47 Tankard. Plain; stepped lid with flat top; scrolled
thumb-piece; scrolled handle with drop and plain oval tip.
H. 61 in.
Inscription: I W (block letters), on handle.
Mark: S V as in preceding, on top of lid and on body
near lip to left of handle. S3

THE CLEARWATER COLLECTION
Published: M. M. A. Bulletin, 8:18.
This tankard is said to have come from the Vernon house,
a fine old Colonial mansion still standing at the corner of Mary
and Clarke streets, Newport.1 Built in 1738 and first occupied
by Metcalf Bowler, a wealthy merchant, it was sold in 1773
to William Vernon (1719-1806), youngest son of Samuel Ver
non, the silversmith and maker of the present tankard. An
older son, Thomas, was a Tory and because of his sympathy
with the Loyalist cause was banished from Newport in 1776
and forced to spend several months in exile in the northern
part of the state.2 Samuel Vernon's other sons, however, were
ardent patriots. William and Samuel, Junior, before the war
were prosperous merchants and ship-owners, trading with all
the maritime nations of Europe, with the West Indies and
Africa. At the outbreak of the Revolution William was living
in the house on Mary and Clarke streets, but in 1776 he left
the city, burying his silver but leaving his furniture in the
house. From 1776 until 1779 the British forces held the
town, no doubt occupying this house among others. At this
time William Vernon was in Boston, serving as president of the
Continental Navy Board (1777-81), where his wide knowledge
of marine affairs made him invaluable. Shortly after the
British evacuated Newport, a friendly fleet entered the har
bor and from 1780 to 1 78 1 the French were quartered in
the city. The admiral of the fleet, Count de Rocham
beau, made the Vernon house his headquarters and here he
received Washington and Lafayette. On both these occa
sions, it is said, the Vernon tankard was used. After these
stirring days William Vernon returned to his home and
later his son occupied the house. In 1908 a bronze tablet
to Rochambeau was affixed to the house by the Alliance
Francaise and the house itself was purchased in 1912 by the
Charity Organization Society of Newport so that its preser
vation is assured.
'For the history of this house and a vivid picture of Newport before
and during the Revolution, see M. L. Stevens, The Vernon House, New
port, 1758-1915, publ. 1915.
'During his exile Thomas Vernon kept a journal now preserved by the
Newport Historical Society and published as the Rhode Island Tracts,
no. 13, 1881: Diary of Thomas Vernon, 1776. It contains much of in
terest regarding conditions in Rhode Island at that period.
54

SECOND PERIOD  ABOUT 170O-I74O
WILLIAM VILANT
Philadelphia; working 1725.
48 Tankard. Small; lid in two flat stages surmounted
by small central dome; scrolled thumb-piece; flat moulded
drop ending in foliate ornament on handle; cast ornament
at tip, head in scrolled shield. H. 4! in.

WILLIAM VILANT
FIG. 86 CAT. NO. 48
Inscriptions: (a) C (rude block letters), on base; a
T B
later inscription adds the date 1696 and the statement that
the initials are those of Thomas and Beulah Coates.
(b) oz. : pwt.
16 : 18
Mark: W V, fleur-de-lis below, in heart (Walpole,
119:1), on either side of handle. Figs. 18 and 86.
This tankard is said to have descended from Thomas and
Beulah Coates to their great-great-great-granddaughter,
Sarah Wistar Morris, 1840. It was purchased by Judge Clear
water from a direct lineal descendant of Thomas and Beulah
Coates. 55

THE CLEARWATER COLLECTION
I W (probably JOHN WINDOVER)
New York; working 1694-1727.
49 Patch-box. Oval; lid with formal incised design,
flower surrounded by leaf scrolls within tongue border.
D. 2| x if in.
Inscription: C V W (block letters), scratched on base.
Mark: I W, in oval, on base.
The initials are said to be those of Catharine Van Vechten
Wynkoop.
EDWARD WINSLOW1
50 Tankard. Hinged lid missing; large, tapering
body; heavy handle with short moulded ornament applied
and long body-drop; tip, cast cherub's head with scrolls.
H. 5I in.
Inscription: E I V Junier / Sep*. 24. 1711, within
scrolled cartouche (E I V in block letters, rest in crude
lettering). Mark: E W (shaded roman capitals), fleur-de-lis
below, in shaped shield (Walpole, 127:1), to left of
handle. Fig. 18.
51 Tankard. Tapering, with mid-band; low-domed
and stepped lid with turned finial; fluted thumb-piece;
scroll handle with flat drop and domed oval tip. H. 7-4 in.
Inscription: Hutchinson arms and crest as on chocolate-
pot (cat. no. 11) represented with scaled mantling, scrolls,
and foliation.
Mark as in preceding, to left of handle.
This tankard probably belonged to Thomas Hutchinson (see
biographical notes under no. 11).
1 1669-1753. Boston. For further biographical notes, see p. 21.
56

SECOND PERIOD  ABOUT 170O-I74O
52 Dress-Sword. Grip bound with silver wire;
moulded pommel, solid two-cusped guard, branch, and
quillon all of silver. L. 31 1 in.
Mark: E W (shaded roman capitals), in double circles
(Walpole, 127:3), on branch and guard.
Published: Boston, M. F. A., American Church Silver, 1911,
cat. no. 1026.
According to tradition, this sword belonged to Governor
Benning Wentworth, the English governor of New Hampshire,
1 741-1767, and was worn by him on the occasion of his second
marriage, an account of which is given in Longfellow's poem,
"Lady Wentworth" (see no. 15).

MAKERS UNKNOWN
53 Alms-Box. Straight, tapering; flaring foot; low-
domed and hinged lid with rectangular slot furnished with
high rim; two strap handles; engraved on either side with
large wreath. H. 7J in.
Mark indistinct, on rim of slot.
This alms-box came from a church at Portsmouth, N. H.
54 Bowl and Cover. Slightly rounded sides, some
what flaring lip; ring foot; domed, insetting cover with
ring foot when inverted; form probably suggested by Chin
ese cup and cover. H. 3! in.
Inscriptions: (a) K (rude block letters), on cover; and
A I
on base, (b) 10, (c) B (probably later).
I I
Bowls of this type in English silver are generally called college
cups; in America they probably served as sugar-bowls.
55 Wine-Taster. Shallow bowl with thick moulding
at lip; small pierced handle. D. 3I in.
Inscription: M S (crude capitals), beneath handle.
57

THE CLEARWATER COLLECTION
56 Patch-Box. Shallow, oval; formal design incised
on cover. D. 2§ x if in.
Inscription: N (block letters), on base.
L M
Published: M. M. A. Bulletin, 14:248.
This patch-box belonged to Lucy Mercy Noyes, a belle of
Portsmouth, New Hampshire, who gave it to her grand
daughter named for her, who in turn bequeathed it to her
namesake and grand-niece by the following bequest: "I be
queath my silver patch box, carved with true lovers knotts
and locks of curling hair, which I had from my grandmother,
Lucy Mercy Noyes, for whom I was
named, upon which the initials of
her full name likewise are carved,
and my tea spoons also had from
my grandmother, carved with the
same said initials, the same to my
grand niece Lucy, daughter of my
nephew, Joseph Noyes, the said Lucy
being so named after my said grand
mother and me. The said patch box
and tea spoons to be hers when she
is eighteen years old, unless she gets
married before then, when she is to
have them on her wedding day." Judge Clearwater bought
the little patch-box at a Red Cross salvage sale held during
the Great War, to which it had been donated by a descend
ant of Lucy Noyes.

MAKER UNKNOWN
FIG. 87 CAT. NO. 57

57 Church-Seal. Engraved representation of
church; legend in margin: sig. eccl. reform, prot.
belg. KINGSTON. D. if in. Fig. 87.
The edifice represented on this seal is thought to be the Cathe
dral at Dordrecht, Holland, in which the great Synod of Dort
held its session. The seal itself was used for generations in
the First Reformed Church at Esopus (Kingston, N. Y.).
Among the many church documents upon which it was im
pressed are numerous deeds of pews, which are still owned,
according to the old custom, by members of the church. This
church was founded in 1659 under the ministry of Hermanus
Blom who, after his ordination by the Classis in Holland, came
58

SECOND PERIOD  ABOUT 17OO-174O
to New Netherland at the request of that body to preach
"both on water and on the land, and in all the neighborhood,
but principally in Esopus." Until 1808, the services of the
church were conducted in Dutch by pastors who had received
their training in Dutch or German universities. There is a
tradition which links this seal with the name of the silversmith,
Benjamin Wynkoop, though whether he presented it to the
church or had some share in its production, it is impossible
to determine. It is believed to have been first used about
1725.

S9

THIRD PERIOD
ABOUT 1730 TO 1775
Rococo v „¦* '&_ HE plainer styles of the time of Queen
Designs *|$ 11 J&f Anne did not outlast the reign of her
Brought r\f/3-^^M.iF^iW. <-. t tl r
Fwf&^^G^P successor, George I. Ihe revocation of
England *i|f([ T lip? tne high standard for silver in 1720,
from M „J?Sr ^ combined with the influx of Huguenot
Europe "G|-|3p%v*-;* craftsmen from France at this period,
brought about the introduction into
England of the so-called rococo style, then in vogue in
northwestern Europe and particularly in France where it
had originated from the Louis XIV style. This desire for
more ornate decoration was dominant in England from
about 1725 to 1765 when a counter-change gradually came
about. The term rococo probably originated in rocaille,
the French word for the rock-work which is so characteristic
a feature of the decoration. The shapes are generally
made up of curves, tending toward lightness of effect.
The ornament consists of a combination of rock-work,
shells, fantastic scrolls, leaf-work, escutcheons, and dia
pered or reticulated reserves, dainty and fanciful when
employed in moderation, heavy and grotesque when too
lavishly applied, as in some of the later and degenerate
forms. 60

ences in
erica

THIRD PERIOD  ABOUT I73O-I775
These influences were felt in America but apparently Rococo
were balanced by a fundamental desire for simplicity, for Infiu-
the more extravagant forms do not appear here. The ertct
1 ¦ -r . Am
rococo impulse is chiefly manifested in the shape of objects,
in the tendency toward lighter effects, more curves, more
fanciful outlines. Even in earlier forms which continue
in favor, there is a more conscious striving for refinement
and elegance.
Tankards and flagons tend to become taller and more
slender, their domed lids higher; their finials show greater
variety and become more definitely ornamental (figs. 99
and 106). A few tankards are made in bulbous form (fig.
14), similar to the popular form of mug, while a new de
velopment of the flagon is pear-shaped with a high foot, a
handle resembling that on the contemporary mug, a spout,
and a hinged and domed lid.
Probably the most notable development in form under
rococo influence is the introduction of the teapot of in
verted pear shape with low, bell-shaped cover and spread
ing foot (fig. 96), and of the tall, pear-shaped coffee- and
chocolate-pots of the same general style (fig. 52). The
accompanying sugar-bowl and cream-jug follow the same
fashion, the former usually circular in section, with undu
lating sides; the latter, so characteristic of the period,
made of pear shape with long scroll lip and three legs
(fig. 92). Much the same lines appear in the gravy-boat
which shows rococo influences in the waved line of the
lip, in the form of its scroll handle, and in the scallop
shells which frequently ornament the three feet at their
junction with the bowl.
The shallow bowl set on three legs is the typical form of
salt used at this time and is illustrated by a pair by Austin
(fig. 89).
The vase-shaped form of caster with high-domed lid
61

THE CLEARWATER COLLECTION
and splayed foot is further developed during this period
(fig. no).
The spoon is characterized by the ovoid bowl, double
or single drop, often with rococo shell, scroll, or palmette
ornament in relief; the up-curved handle with short ridge
becoming down-curved toward the end of the period.
Rococo The extravagant fancies of European artists were much
lL lp yyi pyit r • _,
nD modified by their American contemporaries. There is
ration neither the richness of invention nor, on the other hand,
the riot of ornament so often found in European work,
but rococo elements are none the less evident in Colonial
silver. Among such are the scrolled flutes found at the
bases of spouts or ornamenting handles; the repousse de
signs of flowers, leaves, and scrolls; the moulded and cast
ornaments, such as the shell, palmette, and scroll, applied
on the bowls of spoons, on the handles, feet, etc., of tea
pots, creamers, gravy-boats, and similar objects. By far
the greatest number of rococo motives, however, appear
in the engraved designs, in the rock-work, shells, foliate
scrolls, flower sprays, diapered grounds, masks, etc., which
decorate so many pieces of the period. Escutcheons of
fantastic scrolled outline surrounded by flower sprays,
pendent husks, or shell-work are common (figs. 102 and
in and initial on page 60). The comparison of such de
tails with those of the succeeding period is interesting and
illuminating.
PYGAN ADAMS
1712-1776. New London, Conn. Son of Rev. Elipha-
let Adams and Lydia, daughter of Alexander Pygan.
Rev. Mr. Adams succeeded to the ministry of the First
Congregational Church of New London when the Rev.
Gurdon Saltonstall became governor of the colony.
Pygan Adams was a merchant and one of Connecticut's
62

THIRD PERIOD  ABOUT I73O-1775
greatest silversmiths; he also served the community as
captain in the militia, and representative from New Lon
don to the General Assembly at most of the sessions from
1753 to 1765, serving as auditor, overseer of the Mohegan
Indians, and one of the builders of the lighthouse at New
London in 1760.

i

\ 1

f'l" #

,;l

V\/

PYGAN ADAMS

CAT. NO. 58

58 Coffee-Pot. Plain, tapering; low-domed lid with
tall moulded finial; curved spout with scrolled flutes at
base; wood handle with scrolled silver sockets and moulded
body-drop. H. 9! in.
Inscription: I C B (script monogram) surmounted by
crest: right arm in armor embowed, hand bare, grasping
unsheathed dagger.
Marks: (1) P A (roman capitals), pellet between,
63

THE CLEARWATER COLLECTION
crowned, in shaped rectangle (Walpole, 3:1), on base;
(2) P A (roman capitals), pellet between, in rectangle
(Walpole, 3 ;¦£), twice, to right of handle. Fig. 88.
Published: M. M. A. Bulletin, 8:164; Curtis, Early Silver of
Connecticut and its Makers, 1913, p. 81, pi. xxiiia.
The initials are those of the original owner, Ichabod C. Barrett
of New London. When in 1 78 1 during the American Revolu
tion the city was captured and burned by the British forces
led by Benedict Arnold, this coffee-pot was carried away by a
British officer to London. It remained in his family until
recently when the last owner died childless and his collection
was sold at Christie's. The coffee-pot was bought by Crichton
Brothers from whose New York agents Judge Clearwater
secured it. What the latter learned of its history at that time
was later confirmed by Absalom Barrett of Poughkeepsie, a
descendant of the original owner.
JOSIAH AUSTIN
1719-1780. Charlestown, Mass. Married Mary
Phillips. 59-60 Salt-Cellars, Pair. Circular bowl on three
scroll feet; unusual moulded design at knee. H. 1 y^ in.
Inscription: E (block letters).
P E
Mark: I A (crude capitals), pellet between, in rectangle
(similar to Walpole, 7:3 but I has cross-line at center), on
base. Fig. 89.
These came to Judge Clearwater from a member of the Endi
cott family of Boston. The tradition is that the salts were
presented as a wedding-present to Philip and Emily Endicott
with the hope that the symbolism of the salt — fidelity and
hospitality — might mark their married life.
B B
61 Spoon. Oval bowl joined to stem by drop and
palmette-like ornament; handle up-curved at tip with
faint mid-rib. L. 4! in. 64

THIRD PERIOD  ABOUT I73O-I775
Inscription: P (block letters).
S E
Mark: B B (roman capitals), in rectangle (?).
I B
62 Caster. Vase-shaped with chased and embossed
floral and rocaille scroll patterns; moulded finial; splayed
foot. H. 5 in.
Mark: I B (script monogram), in round, twice beneath
base.

JUSIAH AUSTIN CAT. NOS. 59-60

ADRIAN BANCKER
1703-C.1761. New York, N. Y. Son of Evert Bancker,
mayor of Albany. Married Elizabeth van Taerling, 1729.
Admitted as Freeman, New York, 173 1 ; continued his
trade for about thirty years. Collector of South Ward,
1733-1736. 63 Beaker. Tall, tapering; moulded band applied at
base. H. 7 in.
Inscriptions: (a) 13 oz. 7 p., scratched on base; (b)
£636
1 10 o
7 13 6 (figures of original cost), on base.
Mark: AB (roman capitals), in oval (Walpole, 10:1),
twice on base. Fig. 90.
65

THE CLEARWATER COLLECTION
This beaker formerly belonged to the Reformed Dutch Church
of Rochester, in Accord, N. Y. Described by Jones in Old
Silver of American Churches, 1913, p. 1; exhibited at Metro
politan Museum of Art, in 191 1, catalogue no. 9. "The
Rochester Church was organized in 1701, the beginning of its
life coinciding with that of the community itself. It shared
for several years the fostering care of the Rev. Petrus Vas and
the Rev. G. W. Mancius of Kingston. Eager for a minister
of their own, the churches of Marbletown, Rochester, and

ADRIAN BANCKER
FIG. go CAT. NO. 63
Wawarsing in 1751 sent Jacobus Frelinghuysen to Holland to
complete his studies at the University of Utrecht and return as
their clergyman. He was licensed and ordained by the Classis
of Amsterdam and sailed for America, but died during his
passage over." (Catalogue of an Exhibition of Silver Used in
New York, New Jersey, and the South, p. 10.)
64 Porringer. Geometric handle with three large
and one small piercing; very deep bowl. D. 5§ in.
Inscriptions: (a) S M (block letters), on base; (b)
modern record.
Mark: as in preceding, twice on base. Fig. 41.
66

THIRD PERIOD — ABOUT I73O-I775
Exhibited at the M. M. of A. in 191 1, no. 13 of the Catalogue
of an Exhibition of Silver.
65-66 Spoons (2). Thickened drop on bowl; tip of
stem slightly up-curved with mid-rib. L. 7I in.
Inscription: M
I V (block letters), on back of handle.
Mark as in no. 63, twice on stem of each.

N. BARTLETT

About 1760.

67 Spoon. Drop and floral ornament in low relief on
bowl; tip of handle rounded, slightly up-curved; very
faint mid-ridge. L. 8 in.
Inscription: E L (block letters), underneath handle.
Mark: n. bartlett (shaded roman capitals), in rec
tangle (Walpole, 11 :i). Fig. 60.
DANIEL BOYER1
About 1 725-1 779. Boston, Mass. His father, James
Boyer (1700-41), was a Huguenot silversmith who had
married the daughter of Daniel Johonnot and came from
'"lust imported from London, and to be sold by
" Daniel Boyer, leweller,
"At his Shop opposite the Governor's in Boston. Best Brilliant and
Cypher Earing and Button Stones, Binding Wire, Brass and Iron ditto.
Brilliant and cypher ring stones, Brass stamps, Garnets, Amethysts, and
topaz. Buckle and ring brushes, Ring and buckle sparks, Money scales
and weights, Locket stones & Cyphers, Small sheers & Plyers, Ruby and
white foyle, Screw dividers, Coral beads, Blow pipes, Coral for Whistles,
Shoe and knee Chapes, Draw plates, Moulding sand, Rough and smooth
files, Crucibles and plack pots, Borax and Salt-Petre, Pommice and
Rotten-stone, etc.
"Where also may be had, some sorts of Jewellers and Goldsmith work,
cheap for cash." (Advertisement quoted in McClellan, Historic Dress
in America, 1904, p. 247.) 67

THE CLEARWATER COLLECTION
La Rochelle, France. Daniel Boyer married Elizabeth
Bulfinch. Served as clerk of the market, 1754-58, and
fourth sergeant of the Artillery Company, 1762. Member
of the Old South Church. Two of his daughters married
the silversmith, Joseph Coolidge, who was one of the Sons
of Liberty and a member of the Boston Tea Party.
68 Mug. Everted lip; bulbous body; splayed and
moulded foot; double-scroll handle with acanthus thumb-
rest. H. 4f in.
Inscriptions: (a) S F to A F (block capitals), on base;
(b) I S R (or I F R?) (script monogram), on front.
Mark: boyer (roman capitals), in rectangle (Walpole,
16:1), on base.
B B (probably BENJAMIN BRENTON)
Newport, R. I., born 1710.
69 Porringer. Keyhole handle. D. 5! in.
Mark: B B (tall, fine roman capitals), in rectangle,
beneath handle.
JOHN BREVOORT
New York. Born 171 5, son of Elias and Margaret
(Sammans) Brevoort and probably great-grandson of the
emigrant, Hendrick Janszen Van Brevoort, who was born
about 1630 and came to New Amsterdam from Holland.
John Brevoort married Louisa-Abigail, daughter of Rev.
Joshua Kockerthal, in 1739. Became Freeman in 1742
and established reputation as skilled goldsmith. His
daughter Charlotte married Whitehead Hicks, mayor of
New York, 1766-1773.
70 Tankard. Flat lid with serrated margin; curved
spout (added later); thumb-piece scrolled and set in reverse
68

THIRD PERIOD — ABOUT 1730-1775
position; handle with flat moulded drop; plain oval tip.
H. 6|in.
Inscriptions: (1) R (block letters), on base; (2) on
P I
lid, arms of Remsen: quarterly, (1) argent, 2 arms armed,
hands extended fesswise in pale proper; (2) (3) gold, on a
water vert, 2 swans proper; (4) argent, a garb in pale
vert. Crest: an eagle's head erased proper. Motto on
scrolled ribbon: Otium ex labore (Rietstap, Armorial
General). Mark: I B V, in oval, to right and left of handle (similar
to Walpole, 18:1, but not so crude and B does not have
median scrolls).
This tankard is said to have belonged originally to Phoenix
Remsen, a well-known member of the family from which
Judge Clearwater secured this piece.
ZACHARIAH BRIGDEN1
1734-1787. Born in Charlestown, Mass.; died Boston.
Son of Michael and Winifred (Sprague) Brigden. Married
(1) Sarah, daughter of Thomas Edwards, the silver
smith, (2) Elizabeth Gillam. Had shop and house on
Cornhill. 71 Porringer. Deep bowl; keyhole handle. D. sf
in. Inscription: M H (block letters), on handle.
Mark: Z. Brigden (script), in cartouche, beneath
handle (Walpole, 18:1).
This belonged, it is said, to Mary Whipple Holyoke (1699-
1790), wife of President Holyoke of Harvard. At her death
she left the porringer to her husband's granddaughter, Mary
Holyoke Pearson (1782-1829). She married in 1813 the Rev.
1 See also cat. nos. 200-202. 69

THE CLEARWATER COLLECTION
Ephraim Abbott, born 1779, graduated from Harvard College
in 1806, died 1870. She left all her property to her husband
and in 1830 he married a second wife. The porringer de
scended to their son, George E. H. Abbott of Groton, from
whom it came to Judge Clearwater. (See cat. no. 101.)

S B (probably SAMUEL BURRILL)
Boston, Mass.; working 1733.
72 Tobacco-Box. Oval; separate, slightly convex
cover with overlapping moulded rim. D. 4I x 3^ in.

S B (probably SAMUEL BURRILL)
FIG. 91 CAT. NO. 72
Inscription: Arms of Barnardiston (Suffolk and Lines.):
azure, a fess dancetty ermine between 6 cross-crosslets
argent; enclosed by leaf sprays, pendent husks, and scrolls
and surmounted by crest: a heron standant or among
rushes proper (Robson, British Herald); all in oval me
dallion with husk border.
Mark: S B (shaded roman capitals), in rectangle
(Walpole, 21:3). Fig. 91.
Published: M. M. A. Bulletin, 8:163.
The box came from a Boston family with the tradition that it
had been presented to a member of the family who distin
guished himself in the French and Indian wars.
70

THIRD PERIOD  ABOUT I73O-1775

BENJAMIN BURT
1729-1805. Boston, Mass. Son of the silversmith,
John Burt. Married Joan Hooten, 1754. Lived in Fish
Street. His estate amounted to #4,788.52.
73 Beaker. Tapering; plain; flaring lip. H. 3I in.
Inscription: I A D W (script monogram).
Mark: b. burt (shaded roman capitals), in rectangle
(Walpole, 22:2), on base.
It is said that this beaker belonged originally to the de Wolfes.
74 Creamer. Pear-shaped;
three trefoil feet; serrated lip;
double-scroll handle. H. 3I in.
Inscription : H D (block let
ters), on handle.
Mark as in preceding, on base.
Fig. 92.

BENJAMIN BURT
3. 92 cat. no. 74

75 Creamer. Similar to pre
ceding. H. 3! in.
Inscription: within rocaille
shield with floral sprays, the
arms: ... a chevron between 3 lion's gambs erased;
on a chief, an eagle displayed. Crest: an eagle's head.
These are probably the arms of Browne (Essex) which are
(Robson, British Herald) gules, a chevron between 3 lion's
gambs erect and erased argent, on a chief of the second
an eagle displayed sable armed and crowned or.
Mark as in no. 73, on base. Fig. 54 and initial on
page 60.

76 Porringer.
D. 5I in.

Handle pierced in keyhole design.

7i

THE CLEARWATER COLLECTION
Inscription: Crest, eagle's head couped, with block
letters below, O B to A B.
Mark: benjamin (italic capitals), in cartouche (Wal-
BURT
pole, 22:1), on face of handle.
This porringer, bought at the sale of the de Wolfe silver, is
said to have belonged to a member of the Brevoort family.
77 Porringer. Handle in keyhole design. D. 5J in.
Inscription: L
E M (crude block letters), on handle.
Mark as in no. 76, on top of handle.
78 Spoon. Bowl with flat drop and palmette-like
ornament in relief; handle slightly up-curved at tip with
mid-rib. L. 4f in.
Inscription: B C (block letters).
Mark as in no. 73.
SAMUEL BURT
1724-1754. Boston. Son of John Burt and brother of
Benjamin. Married (1) Elizabeth White, 1747; (2) Eliza
beth Kent of Newbury, 1749.
79 Spoon. Plain rat-tail on bowl; rounded, up-curved
handle with long mid-rib. L. 7f in.
Inscription: trace of block letters E P (?).
Mark: samuel (shaded italic capitals), in cartouche
BURT
(Walpole, 22:1). I C
80 Spoon. Drop on bowl; handle with downward
curve, faint rib beneath rounded tip. L. 8f in.
72

THIRD PERIOD  ABOUT I 7 3 O - I 7 7 C
Inscription: C (block letters).
W A
Mark: I C, in rectangle.

I c
81-82 Serving-Spoons (2).} Deep oval bowl with flat
drop; long, almost straight handle with down-curved hook.
L. 12 in.
Inscription: A N, incised on drop of one, probably
later. Mark: I C (thick letters), in oval or square.

SAMUEL CASEY
C.1724-C.1773. Son of Samuel and Dorcas (Ellis)
Casey. His grandfather, Thomas, came to America about
1658 from Plymouth, England, and according to tradition
was the only survivor of a Gloucestershire family who had
planted in Ulster, Ireland, and was massacred in 1641.
Samuel Casey, the silversmith, became a Freeman in
Exeter, R. I., 1745; removed about 1750 to South Kings
ton, where he was probably in business with his brother
Gideon. In 1770 he was arrested on a charge of counter
feiting money and sentenced to death but his friends,
unconvinced of his guilt, broke into jail at night and
effected his escape.
83 Creamer. Pear-shaped; long lip with scalloped
edge; scrolled handle; three feet, each in two sections.
H. 3! in.
Inscription: A S (block letters), on base.
Mark: s: casey (roman capitals), in rectangle (Wal
pole, 25:1), on base. 73

THE CLEARWATER COLLECTION
84 Porringer. Handle pierced in keyhole pattern.
D. 5I in.
Inscription: E E (block letters), on handle.
Mark as in preceding, beneath handle.
This is said to have belonged to a Cape Cod family before it
came into Judge Clearwater's possession.
85 Porringer. Keyhole handle. D. 5I in.
Inscription: R W (block letters), on handle.
Mark as in preceding, beneath handle.
86. Tankard. Plain; high-domed lid with acorn
finial; scroll thumb-piece; flat moulded drop ornament on
handle; tip, mask in relief on oval disk. H. 8| in.
Inscription: B and below, B (rude block letters),
I A B C
on handle.
Mark as in no. 83, on base. Figs. 18 and 93.
This tankard came to Judge Clearwater from a great-great-
grandson of the maker.
I. CLARK
Boston or Salem, Mass., working 1754.
87 Porringer. Keyhole handle with two arched
openings in base. D. 5 in.
Inscription: F (crude capitals), on handle.
I S
Mark: 1 clark (shaded roman capitals, I crossed at
center), in rectangle.
Published: Boston, M. F. A., 1911, cat. no. 206.
JAMES CLARKE1
88 Porringer. Keyhole handle. D. 5! in.
'Newport, R. I., working 1734. See cat. nos. 21-22.
74

THIRD PERIOD  ABOUT I73O-1775
Inscriptions: (i) H (block letters), on handle; (2)
S A
1759 (date a later addition)
J. S. (script), on base.
1877 Mark: j: clarke (roman capitals), in rectangle, on
back of handle and inside on base.

SAMUEL CASEY
fig. 93 CAT. NO. 86
According to tradition, this porringer belonged to Anne Smith,
second wife of Stephen Hopkins, a signer of the Declaration of
Independence. This was her second marriage, her first hus
band being Benjamin Smith of Smithfield, whom she married
in 1742 (cf. cat. nos. 21-22). The porringer was bequeathed
to her daughter, Ruth Smith, who married in 1773 George
Hopkins, the youngest son of Stephen Hopkins, the signer,
by his first wife.
89 Porringer. Handle pierced in keyhole design
with two arched openings in base. D. 5 J in.
Inscription: E (block letters), on handle.
I M 7S

THE CLEARWATER COLLECTION
Mark: J. Clarke (script), in long oval, inside on base and
underneath handle (Walpole, 28:1).
This porringer and the tablespoon with the same inscription
are said to have belonged to a celebrated woman in Kingston,
Mary Elmendorf, commonly called Molly Elmendorf, who
was a very important personage at Kingston during the war of
the Revolution.
90 Tablespoon. Rat-tail and flat drop on bowl; up-
curved handle with long mid-rib and concavities at either
side. L. 7§ in.
Inscription: E (rude block letters); see preceding
I M
entry.
Mark as in preceding. Fig. 60.
E C (probably EPHRAIM COBB)
1708-1775. Plymouth, Mass. Ancestor was Henry
Cobb, one of the early settlers of Barnstable. Learned his
trade from Moody Russell of Barnstable. Married Mar
garet Gardner of Yarmouth.
91-92 Spoons (2). Bowl with long drop; handle with
slightly up-curved tip and short rib. L. 8 in.
Inscription: H G (block letters)
to
M T
1770 (date probably added later).
Mark: E C (roman capitals), in rectangle, twice (Wal
pole, 28:2). fig, 60.
According to tradition, these spoons were presented by
Hannah Gibbs, daughter of Robert and Amy Gibbs, to her
daughter but did not come into the latter's possession until
1770. Hannah Gibbs was born in 1735, married Daniel
Tillinghast in 1752, and died in 1762. Her sister, Mary Gibbs,
married Captain John Hopkins, son of Stephen Hopkins, a
signer of the Declaration of Independence. 76

THIRD PERIOD  ABOUT I73O-I775
JOHN COBURN
1725-1803. Boston. Married (1) Elizabeth Green-
leafe, (2) Catharine Vans. Third sergeant of Artillery
Company, 1752; elected constable, 1753, but declined to
serve; warden, 1772; census taker, 1776. He left Boston
during the period of its siege by the British and upon his
return opened a shop in King Street opposite the American
Coffee House.

JOHN COBURN

FIG. 94

CAT. NO. 93

93 Strainer. Shallow pierced bowl; moulded rim;
arched and scrolled handles. L. 10J in.
Mark: j. coburn (roman capitals), in rectangle (Wal
pole, 28:1), on handle. fig. 94.

THOMAS COVERLY
Newburyport, Mass.; c. 173 0-1800. Married Elizabeth
Harbut? 94 Mug. Bulbous type with moulded lip and splayed
foot; scroll handle, possibly originally with a tip. H. 5 in.
Mark: t. coverly (roman capitals), in rectangle, with
pellet between (Walpole, 31), on base and near lip to left
of handle. 77

THE CLEARWATER COLLECTION
WILLIAM COWELL, JUNIOR
1713-1761. Boston, Mass. Son of the silversmith Wil
liam Cowell, Sr.
95 Tablespoon. Upturned handle with mid-ridge;
double drop and palmette on bowl. L. 7! in.
Inscription: M
N A
Mark: W: Cowell (italics), in cartouche (Walpole,
31 :i) (probably work of W. Cowell, Jr.).
Published: Boston, M. F. A., cat. 191 1, no. 295.

P D

FIG. 95

CAT. NOS. 96-97

P D

96-97 Shoe-Buckles, Pair. Plain; heavy moulded
border. 2§ x if in.
Inscription: I R or I B (crude block letters), on each.
Mark: P D (roman capitals), in oval. fig. 95.
This pair of buckles came from Judge Clearwater's family.
DANIEL DUPUY
1719-1807. New York. Son of Dr. John Dupuy
(1679-1744), a Huguenot who went from France into
England where he studied medicine, thence to Port Royal,
Jamaica, and thence about 1713 to New York. Daniel
probably went to Philadelphia to study goldsmithing
78

THIRD PERIOD  ABOUT I73O-1775
with his brother-in-law, Peter David, where he was resi
dent as early as 1740. Lived for many years in South
Second Street. Married, 1746, Eleanor Cox, widow of
John Dylander. Their sons, John (1747-183 8) and Daniel
(I7S3-l826), were silversmiths and worked in partnership.
Member of Old Christ Church, Philadelphia.
98 Skewer. Tapering; rectangular in section; loop
handle. L. nf in.
Mark: D:D (roman capitals), colon between, in
rectangle, on either side (cf. Walpole, 39:1, which lacks
colon). JOSEPH EDWARDS, JUNIOR
1737-1783. Boston, Mass. Son of Joseph Edwards,
Sr. (1707-1777), and grandson of the silversmith, John
Edwards. 99 Beaker. Widely flaring lip; wide moulded band
applied at foot. H. 4! in.
Inscription: The Gift of Deacon Joseph Stockbridge
to the Church of Christ in Hanover, 1768.
Mark: I. Edwards (script with roman capitals), in
rectangle (Walpole, 41:1), on base.
Mr. Jones in Old Silver of American Churches, p. 206, de
scribes a set of four beakers originally in the possession of the
First Congregational Church in Hanover, Mass. (founded
1728). One of the beakers was exhibited at the Museum of
Fine Arts, Boston, in 191 1, no. 438 of the catalogue, and has
since been given to that museum. Another is the one here
described. Mr. Jones states that "the donor was a prominent
man in the affairs and one of the founders of this church, of
which the Rev. Benjamin Bass was the first minister. Pre
vious to this gift of silver beakers, pewter vessels were in use.
. . . The Stockbridge gift is recorded in the church records
for October 30, 1768, thus: 'Lord's Day. The Church in
Hanover was presented with Four Silver Cups on the Com
munion Table by order and at the expence of Deacon Stock-
79

THE CLEARWATER COLLECTION
bridge. The cost of each Cup 25£ O. S. and each bearing this
inscription' (as above) . . . Joseph Stockbridge died at
Pembroke, March n, 1773, and was buried with his wife,
Margaret, in the cemetery at Centre Hanover, where his
tombstone is inscribed: 'Here lyes intered ye Body of Deacon
Joseph Stockbridge who was Member of and Benefactor to the
Church of Christ in Hanover; from him descended 140 Souls,
53 of whom paid the last Debt of Nature before him; 87 remain
and sin. He departed this Life March nth ADomini 1773
Aged 100 years 8 Months & 2 days. His wife, Margaret, had
died Oct. 17, 1732.'"

JOSEPH EDWARDS, JUNIOR
FIG. 96 CAT. NO. 100
100 Teapot. Inverted pear-shape on flaring foot;
small, shallow, bell-shaped lid; pine-cone finial; margin
of lid and of pot with engraved borders; curved spout;
silver handle (of later date). H. 5I in.
Inscriptions: (1) E D (block letters), on base; (2)
E A (script monogram), on side.
Mark as in preceding, on base. fig. 96.
SAMUEL EDWARDS
1705-1762. Boston. Son of John Edwards, silver
smith. Married Sarah Smith. 80

SAMUEL EDWARDS
FIG. 97 CAT. NO. 102

THE CLEARWATER COLLECTION
101 Porringer. Handle pierced in keyhole pattern.
D. 4f in.
Mark: S E (crude capitals), pellet between, crowned,
fleur-de-lis below, in shaped shield, on inside of base
(Walpole, 41:1).
This belonged, it is said, to Mary Whipple Holyoke, wife of
President Holyoke of Harvard College, and bequeathed by
her to her husband's granddaughter, Mary Holyoke Pearson
(see porringer by Brigden, no. 71, with similar history).
102 Sianding-Cup and Cover. Bell-shaped cover;
turned acorn finial; lip of cup slightly everted; baluster
stem; stepped foot. H. with cover: I of in.
Inscriptions: (a) Belongs / To the Church / in Lynde
Street / Boston (old script), within cartouche; (b) III, on
lid; (c) V, incised on base.
Mark as in preceding, below lip of cup. fig. 97 and
initial on page xvii.
Probably one of a set belonging to the church in Lynde Street,
of which two others were exhibited at the Museum of Fine Arts
in Boston in 191 1, cat. nos. 446, 447, and described by E. A.
Jones in The Old Silver of American Churches, 1913, p. 87, pi.
XXXIII. One of these is now in the possession of the Mu
seum of Fine Arts, Boston, while the other is in the Norfolk
Unitarian Church, Dorchester, Mass. The West Church
in Lynde Street was founded in 1737. It is now standing
and is a branch of the public library on what is now Cambridge
Street, Boston.
DANIEL CHRISTIAN FUETER
New York. Probably came from London about 17541
and was made Freeman in 1759. Lewis Fueter, the gold
smith, was probably his son.
'In the New York Gazette for May 27, 1754, Daniel Fueter, "lately
arrived from London,'' advertises that he " makes all sorts of Gold and
Silverwork, after the newest and neatest Fashion. He also gilds Silver
and Metal."

THIRD PERIOD  ABOUT I73O-1775
103 Tankard. Plain ; flat stepped lid ; scrolled thumb-
piece with acanthus leaf in relief on inner surface of scroll;
double-scroll handle with beaded drop; moulded shield-
shaped tip similar to those found on some English tank
ards. H. 6f in.
Inscriptions: (a) V ° D (crude block letters), on base;
(b) oz. 41.2. C F
Marks: (1) D C F (roman capitals), in oval, twice on
base (Walpole, 49:1); (2) N: (italic capitals) in shaped
YORK
oval, on base (Walpole, 49:2,
except that here colon is used
and shape of oval is different).
This tankard is said to have be
longed first to the Du Bois family n**^
and subsequently to the Freer
family. PHILIP GOELET
FIG. 98 CAT. NO. I04
PHILIP GOELET
New York, baptized, 1701; son of Jacobus and Jannetje
Cosaer. Admitted as Freeman, 1731. Served as assessor
and constable at various times, 1731-1747. Married
Katharina Boelen. "Goelet was a direct descendant of
Jacobus Goelet, the early schoolmaster, and later book
seller and stationer, at the Sign of the Bible in what is
now Hanover Square." Philip Goelet died in 1748.
104 Tumbler. H. 2 in.
Inscription: T N W (block letters).
Mark: P G (rude capitals), in oval (similar to Walpole,
52, but letters are heavier here and P has not the scroll,
etc). Fig. 98.
Published: M. M. A. Bulletin, 14:185.
The cup belonged originally to Tryntje Nancy Whittaker,
whose initials appear on its side. At the time of the Revolu-
83

THE CLEARWATER COLLECTION
tion it belonged to her granddaughter in Kingston. When
the town was burned by the British forces under General
Sir John Vaughan, in 1777, this tumbler with other pieces of sil
ver belonging to the family was thrown into a well on the
premises in order to escape seizure by the British. After
the re-building of the town a slave of the family was sent down
in the well to recover the secreted silver. He found that the
bottom of the well was composed of quicksand and in digging
for the silver his shovel struck the tumbler, making the cut
which appears on its side. The break has never been re
paired.
I H
105-106 Spoons (2). Bowl with long drop; handle
with rounded, up-curving tip marked by faint ridge. L.
8J in.
Inscription: I V M (block letters), on reverse of
handle. N
Mark: I H (possibly J H or T H), apparently with
pellet between, letters thin and wide-spread, twice on stem
of each.
T H
107 Butter-Tester. Moulding between scoop and
handle; latter expands at end into moulded ball. L. 6 in.
Mark: T. H, in rectangle (probably Thomas Hamersly).
See note under no. 36.
W H
108 Ladle. Oval bowl; long drop; tip of handle
slightly up-curved; long, faint mid-rib. L. 14J in.
Mark: W H (script), in cartouche, twice.
THOMAS HAMERSLY
Worked in New York, 1756. " Not only was he a silver
smith, but a shrewd investor, putting his savings into real
84

THIRD PERIOD  ABOUT 173O-1775
estate which, in the course of the development of Man
hattan Island, immensely increased in value. His
descendants today are numbered among the wealthiest
and socially most important families of the city. Among
his patrons were churches and wealthy Knickerbockers.
There was about his silver a dignity which endeared it to
collectors." (M. M. A. Bulletin, 14:67.)
109 Salver. Moulded rim of scroll and scallop-shell
pattern; three rocaille scroll feet. D. 13 in.
Inscriptions: (a) W , on bottom; (b) E. M. L.
B (script mono-
G M gram), on face.
1751
E:B 1793
E:M:L 1828
E:M: DeP 1873
Marks: (1) T. H, in rectangle; (2) T H (script), in
constricted oval (Walpole, 58: 2, 1). Fig. 100.
Published: M. M. A. Bulletin, 14:68.
The original owner was the wealthy and distinguished Ger-
ardus Beekman, whose initials appear on the salver. From
him it descended to his daughter, then to his granddaughter
who married a Livingston, and to his great-granddaughter
who married a DePeyster, and from her descendants Judge
Clearwater bought it in January, 1919. The initials on the
face of the salver are those of Mrs. Livingston.
no Spoon. Double drop on bowl; tip of handle up-
curved. L. 4! in.
Inscription: I V N (block letters).
Mark: T H (script), in oval (Walpole, 58:1).
JOHN HANCOCK
Born, Charlestown, Mass., 1732. Son of John Hancock
and Susanna Chickering, granddaughter of Rev. Zeoc-
85

THE CLEARWATER COLLECTION
ariah Symmes, Junior. John Hancock moved to Provi
dence, R. I. Married Martha Sparhawk, 1760. Was
living in 1772.
ill Tankard. Domed and stepped lid, flame finial;
scrolled thumb-piece; flat moulded drop on handle; domed
oval tip; mid-band. H. 8f in.

JOHN HANCOCK
FIG. 99 CAT. NO. Ill

¦Inscription: Benj. Wyman (rudely incised on handle
below drop).
Mark: j. Hancock (shaded roman capitals), in rect
angle (Walpole, 58:1?), stamp slipped, to left of handle.
Figs. 15 and 99.
Benjamin Wyman (1706-1774) of Woburn, Massachusetts,
was the original owner, the tradition being that the tankard
was made from silver coin taken by him to Hancock.
It passed through successive generations to his great-great-
grandson, Nathan Warren of Waltham, from whom Judge
Clearwater secured it. 86

THIRD PERIOD  ABOUT I73O-I775
GEORGE HANNERS, JUNIOR
1721-1760. Boston. Son of the silversmith George
Hanners and Rebecca Peirson. Married Sarah Foster.
112 Mug. Flaring lip; curved body; moulded splayed
foot; double-scroll handle. H. 4! in.

THOMAS HAMERSLY
FIG. 100 CAT. NO. 109
Inscriptions: (a) P F (rough lettering), on base;
R L
175°
(b) and (c) later records.
Mark: g. hanners (roman capitals), in rectangle on
base.
DANIEL HENCHMAN
Born in Lynn, 1730; died in Boston, 1775. Son of Rev.
Nathaniel Henchman. Married Elizabeth Hurd, 1753.
87

THE CLEARWATER COLLECTION
Probably learned his trade from his father-in-law, Jacob
Hurd. Henchman inserted in the Boston Evening Post,
January 4, 1773, an advertisement which reveals the com
petition existing at that time between Colonial silversmiths
and "those Strangers among us who import and sell
English plate" and he asserts that he will make plate
"equal in goodness and cheaper than they can import
from London."
113 Spoon. Flat drop with palmette ornament in
relief; handle slightly up-curved at tip with long mid-rib.
L. 4 in.
Inscription: L K (block letters).
Mark: D.H (roman capitals), probably with pellet
between, in rectangle — probably mark of Henchman
(Walpole, 61:2).
114-115 Spoons (2). Bowl and stem joined by long
drop; rounded, up-curving tip with slight ridge L. 8| in.
Inscription: engraved crest of griffin's head erased.
Mark: Henchman (shaded roman letters), in rectangle
(Walpole, 61:1). Fig. 60.
JACOB HURD
1702-1758. Born in Charlestown, Mass.; died in Rox
bury. Married Elizabeth Mason, 1725. Elected con
stable, 173 1, but refused to serve; first sergeant of Artillery
Company, 1745; captain in militia. Succeeded in trade
by his son Nathaniel (1729-77) who soon, however, ac
quired more fame for his copperplate engravings. His son
Benjamin (1739-81) was also a goldsmith.
116 Spoon. Drop and long rat-tail on bowl; handle
with rounded, sharply up-curved tip and mid-ridge. L.
7f in.

ioi. PORTRAIT OF NATHANIEL HURD
SILVERSMITH AND ENGRAVER
BY JOHN SINGLETON COPLEY
IN THE JOHN HUNTINGTON COLLECTION
CLEVELAND MUSEUM OF ART

89

THE CLEARWATER COLLECTION
Inscription: K (crude block letters).
E L
Mark: i hurd (sloping roman capitals), in cartouche
(Walpole, 67:2).
JEFFREY LANG
Salem, Mass.; 1707-1758. His sons, Richard (1733-
1820) and Edward (1742-1830), were also silversmiths.
117 Spoon. Rat-tail and drop on bowl; handle with
up-curved tip and mid-ridge. L. 7f in.
Inscription: G (block letters).
S M
Mark: 1. lang (shaded roman capitals), in long oval
(Walpole, 73:1). JACOB GERITTSE LANSING
Albany, N. Y.; 1736-1803. In 1788 he was paid by the
Common Council of Albany for a gold box made by him
and presented by the Council to some distinguished per
son. 118 Tankard. Bulbous, with everted lip and splayed
base; domed and stepped lid with open, interlaced thumb-
piece; flat moulded drop on double-scroll handle; tip
broken away; broad body-drop; engraved on front, hunts
man, dog, and stag, within elaborate cartouche enclosed
by foliate scrolls, with background of brickwork. H. 9 in.
Inscriptions: (a) Crest: stag's head couped; (b) C
(crude block letters), on base; (c) oz. d.; (d) 1770. A I
41 4
Mark: I G L (capitals, G smaller than I and L), in
half oval, four times on base (Walpole, 74:1). Fig. 14.
It is said that this tankard belonged to a member of the Clinton
family who married a Lansing. 90

THIRD PERIOD  ABOUT I73O-I775
JOHN BURT LYNG
New York; Freeman, 1761.
119 Ladle. Circular bowl with double drop; curved
stem with up-curved tip and short mid-rib on face. L.
13! in.
Inscription: S
I S (block letters).
Mark: I B L (shaded roman capitals), in cartouche,
three times. H M
120 Tongs. Tips shaped like leaf cups; broadly
curved arms; hoop almost pinched together; applied
lozenge. L. 5 in.
Inscription: M M (script).
Marks: (1) H M, in rectangle; (2) fragment of another
mark.
S. MARS
About 1770.
121 Mug. Comparatively tall and slender; everted
lip; bulbous body; wide splayed foot; double-scroll handle
with foliate scroll thumb-rest. H. 5! in.
Inscription: M T B (script).
Mark: S. Mars (script), six pellets between initials,
in shaped rectangle, on base (Walpole, 78).
SAMUEL MINOTT
1732-1803. Born in Concord; son of Samuel and Sarah
(Prescott) Minott. He may have been apprenticed to
91

THE CLEARWATER COLLECTION
Edward Winslow as the latter's executors reported finding
a receipt from Minott for three goldsmith's tools. Mar
ried Elizabeth Davis, 1762. Protestor against Whigs,
1774, and an addressor of Hutchinson. Massachusetts
Council in 1776 ordered his arrest because of his strong
Tory sympathies. Member of the church in Brattle
Square. 122 Alms-Basin. Center slightly domed; shallow;
flat rim engraved with cherub's head, wings, and scrolls.
D. I3f in.
i8i

SAMUEL MINOTT

FIG. 102. HANCOCK ARMS FROM ALMS-BASIN

Inscriptions: (1) The Gift of the Honble thomas
Hancock esq"; / to the church in Brattle Street Boston
1764 (script and block capitals); (2) Hancock arms: gules,
a dexter hand appaumee argent, on a chief of the last,
3 cocks of the first; surrounded by flower sprays and
scrolls; crest: a demi-griffin argent armed gold; (3) on base,
oz. wt.
25 — 7
Mark: Minott (script), in rectangle (Walpole, 81 :i),
on base.
Figs. 102 and 103 and tail-piece on page 114.
Exhibited at the Museum of Fine Arts, Boston, 1906, cat. no.
187, pi. IX, and again in 1911, cat. no. 724, pi. 25. In the
latter case three basins, all alike, were exhibited, all lent by the
church in Brattle Square. Published: M. M. A. Bulletin, 9:4.
9^

THIRD PERIOD  ABOUT I73O-I775
Jones, in The Old Silver of American Churches, pp. 68-69,
pi. XXVII, describes three "large plain dishes" by John
Coburn and three similar ones by Minott, a member of the
Brattle Street Church, founded 1699. All bear the Hancock
arms and the inscription as above. "The donor, Thomas
Hancock, was the son of Rev. John Hancock and his wife
Elizabeth Clark, and was born in 1703. He married, 1730,

SAMUEL MINOTT

FIG. 103

Lydia, daughter of the well-known Boston bookseller, Daniel
Henchman, in whose bookshop he was employed, and even
tually succeeded to the business. . . . He died in 1764,
leaving his large fortune to his nephew, John Hancock, first
signer of the Declaration of Independence." By his will
he arranged to give two silver flagons to the Church, but since
there was already a sufficient number, the money was used
to buy these dishes. Hancock also gave to the First Congre
gational Society of Lexington, Mass., a pair of beakers made
by Nathaniel Hurd which are also engraved with the Hancock
arms (Jones, p. 246). His portrait by Copley is now at Har
vard College. 93

THE CLEARWATER COLLECTION
123 Mug. Bulbous body, splayed foot; double-
scroll handle set on posts, with acanthus thumb-rest.
H. 5 in.
Inscription: M. Thompson (script), on side.
Marks: (1) as in preceding; (2) M (script), in square
(Walpole, 81:5).
JOSEPH MOULTON
1694-C.1756.1 Born in Newbury, Mass. Moved to
Newburyport. Son of William Moulton (1664-173 2) of
Newbury who, about 1690, began the business of silver
smithing which was carried on by six successive genera
tions of his descendants. Joseph Moulton married Mary
Noyes in 1717. He was a blacksmith and goldsmith by
trade. His great-great-grandson was Joseph Moulton,
'The date of birth generally given is 1680. However, the following
statements seem to be correct. They are based on an article, "The
Moulton Family," by Augustus F. Moulton, published in the Maine
Historical and Genealogical Recorder, 1888, vols. 5 and 6, on H. W. Moul
ton's Moulton Annals, published in 1906, and on the Vital Records of
Newbury and Newburyport. William Moulton (c. 1617-1664) emigrated
to New England about 1637. The seven generations of Newbury and
Newburyport silversmiths, his descendants, are given below:
(1) William, 1664-1732, son of William the emigrant. Married Abi
gail Webster, 1685.
(2) Joseph, 1694-C.1756. Married Mary Noyes, 1717. Moved to
Newburyport. (3) William, 1720-C.1793. Married Lydia Greenleaf, 1742. Moved
to Marietta, Ohio, in 1788 with his son Enoch.
(4) Joseph, 1744-1816. Married Abigail Noyes, 1765. Lived in
Newburyport. (See cat. nos. 272-275.) Son Enoch, born 1780, was
silversmith in Portland, Me. (See cat. no. 480.)
(5) William, 1772-1861. Married Judith Noyes, 1801. (See cat-
nos. 276-81, 481-5.)
(6) Joseph, 1814-1903. Married Elizabeth L. Coleman - (or Col-
man), 1838.
(7) William, born 185 1. Married (1) Mary A. Mason, (2) Carrie
Amand. 94

THIRD PERIOD  ABOUT I73O-I775
born in 18 14, whose two apprentices, Anthony F. Towle
and William P. Jones, began business under the name of
Towle and Jones in 1857. The company became A. F.
Towle and Son in 1873, the A. F. Towle and Son Company
in 1880, and the Towle Manufacturing Company in 1882.
124 Mug. Bulbous; con
tracted at neck; moulded
splayed foot; double-scroll
handle. H. 4f in.
Inscriptions: (1) M M (rude
block letters), on base; (2)
1750, on front.
Mark: 1. moulton (roman
capitals), in rectangle, on
base- FtS- I04- JOSEPH MOULTON
FIG. IO4 CAT. NO. 124
MYER MYERS
New York, Freeman, 1746; active until 1790. Presi
dent of New York Silver Smiths' Society, 1776. His
shop in 1755 was "opposite the Meal Market."
125 Mug. Bulbous; everted lip; splayed foot; double-
scroll handle with leaf-scroll thumb-rest. H. 5J in.
Inscription: Crest of lion sejeant, breast pierced with
sword (?).
Mark: Myers (shaded script), in cartouche (Walpole,
85:2), on base.
M N
126 Caster. Vase-shaped with sharp shoulder; pierced
top; pine-cone finial; device of eagle rising, in wreath,
incised. H. 5 in.
Mark: M N (roman capitals), in rectangle, on base.

95

THE CLEARWATER COLLECTION
127 Mug. Widely bulging body; splayed moulded
foot; double-scroll handle with acanthus-leaf scroll on
top. H. 5I in.
Mark as in preceding.
DAVID NORTHEE
Salem, Mass.; died 1778.
128 Porringer. Handle pierced in keyhole design
with two arched openings at base. D. 5! in.
Inscription: M O (crude block letters), on handle.
Mark: d. northee (roman capitals), in rectangle, on
face of handle.
JONATHAN OTIS
Born in Sandwich, Mass., 1723; died in Middletown,
Conn., 1791. Son of Nathaniel Otis and Abigail, daughter
of Rev. Jonathan Russell of Barnstable and sister of
Moody Russell, the silversmith. Jonathan Otis married
Katherine Coggeshall in 1745. Began business in New
port and was active in the militia, holding the rank of
lieutenant, 1755, captain, 1757, and major, 1758. During
the British occupation of Newport, Otis removed to Mid
dletown, Conn., 1778, where he did much to aid those
made destitute in the war. Was an ardent patriot and a
skilful silversmith. He was great-great-grandson of
John Otis who emigrated from Devonshire, England, in
1635, to Hingham, Mass.
129 Caster. Octagonal; pierced, overlapping, domed
lid with moulded finial; body slightly tapering with
reeded bands at lip and just above base. H. 45 in.
Inscription: A I (rude block letters), on base.
to
M H 96

THIRD PERIOD  ABOUT I73O-I775
Marks: (1) J. Otis (large script), in flat oval on base
(Walpole, 89:1); (2) 1:0 (roman capitals), pellet or colon
between, in oval (Walpole, 89:4).
130 Creamer. Bulbous, with pinched spout and
splayed base; double-scroll handle. H. 3§ in.
Inscriptions: (a) DA (block letters), beneath base; (b)
GMT (script monogram) on side (cf. caster by W. Forbes
with same monogram).
Mark: otis (shaded roman capitals), in oval, on base
(cf. Walpole, 89:3). fig. 53.
131 Mug. Squat body bulging just above moulded,
splayed base; double-scroll handle. H. 4! in.
Mark: otis (large crude capitals), in rectangle, to
left of handle (Walpole, 89:3).
Published: M. M. A. Bulletin, 8:18.
RICHARD PITTS
Philadelphia, Pa.; working 1741.
132 Porringer. Keyhole handle. D. 5! in.
Inscriptions: (1) C (block letters), on handle; (2)
N H
Alice Whipple 1732 (probably added later), on base.
Mark: Pitts (script), in oval (Walpole, 93), on handle.
Published: N. Y., M. M. A. Catalogue of an exhibition of
silver, 191 1, no. 89.
PAUL REVERE, SENIOR (APOLLOS RIVOIRE)
Born at Riancaud, France, 1702; died in Boston, 1754.
Son of Huguenot parents. In 171 5 went to Island of
Guernsey to learn the trade of a goldsmith from his
brother. Soon afterward he came to Boston and was
97

THE CLEARWATER COLLECTION
apprenticed to John Cony. Anglicized his name and
established himself as a silversmith, 1723. Married
Deborah Hitchborn, 1729. His son Paul (1735-1818)
became the most famous of Boston silversmiths.
133 Porringer. Handle pierced in keyhole design.
D. sf in.
Inscription: A P (block letters) on handle.
Mark: p. revere (roman capitals), with pellet, in
rectangle, beneath handle (Walpole, 97:3). Fig. 105.

PAUL REVERE, SENIOR
FIG. IO5 CAT. NO. 133
Exhibited at the Museum of Fine Arts, Boston, in 1906,
cat. no. 224.
134 Porringer. Handle pierced in keyhole design.
D. sf in.
Inscription: Sallie Macintosh Tucker (script), on
front; probably later addition.
Mark: P. Revere (italics) in shaped cartouche, be
neath handle (similar to Walpole, 97:2 but in different car
touche). Sallie Macintosh Tucker, daughter of Commodore Samuel
Tucker, U. S. N., was born at Marblehead, Mass., in 1742.
Her father was one of the most distinguished naval officers of
the American Revolution. 98

THIRD PERIOD  ABOUT 1730~I77 5
135 Porringer. Keyhole handle. D. 5 J in.
Inscriptions: (1) A (block letters), on handle; (2)
B H
arms: gules, a cross saltire, surmounted by crest: a lioness
(?) on bowl.
Mark as in cat. no. 133, inside base and beneath
handle. It is said that this porringer belonged to the Aspinwall family.
PAUL REVERE, JUNIOR1
1735-1818. Boston. Son of the Huguenot silversmith
Apollos Rivoire or Paul Revere, Senior. Learned his
trade in his father's shop and at the latter's death suc
ceeded him and became the most celebrated of American
silversmiths. Married Sarah Orne, 1756, and Rachel
Walker in 1773. Became a skilful copperplate engraver,
executing telling series of anti-British political cartoons
shortly before the Revolutionary War. He also engraved
in 1775 the first national paper currency. Began active
military career by taking part in the expedition against
the French at Crown Point in 1756. He was an ardent
patriot, one of the Sons of Liberty,2 a leader in the Boston
'See also cat. nos. 300-25 and page 145.
2 Especially rich in historical associations is the punch-bowl made by
Revere at the order of the fifteen Sons of Liberty whose names are en
graved around its rim. This bowl, the property of Mrs. Marsden J.
Perry, was exhibited at the Museum of Fine Arts, Boston, in 1906 and
191 1 and is fully described in the 1906 catalogue, pp. 27-29. It is now
lent by Mrs. Perry to the Metropolitan Museum. It commemorates
the gallant defense of constitutional government made by John Wilkes
in the British Parliament and the action of "the Glorious ninety-
two Members of the Hon1??. House of Representatives of the Massa
chusetts Bay, who, undaunted by the insolent Menaces of Villains in
Power, from a strict Regard to Conscience and the liberties of their
Constituents, on the 30th of June, 1768, voted not to rescind." When,
earlier in this year, the British policy toward the American Colonies
99

THE CLEARWATER COLLECTION
Tea Party, hero of the "Midnight Ride" celebrated by
Longfellow, and a trusted messenger of the Committee
of Safety, sent on numerous occasions from Boston to
New York and Philadelphia. Major and lieutenant-
colonel of Massachusetts regiment in 1776 and com
mander of fort at Castle William, 1778-79. Member of
the expedition to Rhode Island in 1778 and of the Penob
scot expedition in the following year. During the Revolu
tion he had conducted a powder mill in Canton, Mass.,
and later with his son, Joseph Warren Revere, established
a bell and cannon foundry, becoming the first firm in
America to smelt copper ore and refine and roll it into
sheets. His son Paul (1760-1813) was also a silver
smith. 136 Mug. Bulbous; slightly everted lip; moulded
and splayed foot; double-scroll handle with acanthus
ornament. H. 5! in.
Inscription: S E B (script monogram), on foot.
Though unmarked, this mug was probably made by Revere.
The Bradley family to whom this mug and the tankard de
scribed below formerly belonged have Revere's bill for a tank
ard, a can, and a dozen spoons. Probably this is the "can."
137 Tankard. Tapering, with mid-band; high-domed
lid with pine-cone finial; scrolled thumb-piece; handle
with flat moulded drop and heart-shaped tip; long body-
drop. H. iof in.
became well-nigh intolerable, the Massachusetts House of Representa
tives sent a letter of protest to London and dispatched a circular letter
to the assemblies of the other colonies urging concerted action against
such British policy. When ordered by the English Ministry to with
draw its action, the Massachusetts body cast the historic vote of ninety-
two against seventeen, not to rescind. Revere has also celebrated this
stirring event by inscribing "The Illustrious ninety-two" on a charm
ing little salt-cellar now on view at the Metropolitan Museum as the loan
of R. T. H. Halsey.

PAUL REVERE, JUNIOR
FIG. 106 CAT. NO. 137

THE CLEARWATER COLLECTION
Inscription: S E B (script monogram).
Mark: revere (shaded roman capitals), no pellet,
in rectangle (Walpole, 97:4), to right of handle. Figs. 15
and 106.
The initials are said to be those of the original owner, Samuel
Ebenezer Bradlee (1 707-1 768) of Dorchester, Mass., the son
of Nathan Bradley (1674-1750) and grandson of Nathan
Bradley (1632-1701). Samuel was the first to spell the name
Bradlee. He was a weaver and fisherman; in 1753 he was
constable for the town of Dorchester. He moved later to
Boston but is buried in the old Dorchester burying-ground.
He married Mary Andrus and had twelve children. One of
his daughters, Sarah, helped her husband, John Fulton, who
was a cousin of Robert Fulton, and four of her brothers to
disguise themselves as Indians and saw them take part in
throwing the tea overboard in Boston Harbor, December 16,
1773. A grandson of Samuel Bradlee became the celebrated
architect of that name.
138 Spoon. Handle with round, up-curving tip and
short mid-rib; bowl with drop and shell ornament. L.
8 in. Inscriptions: (1) S H (block letters); (2) 1760 (added
later); (3) Hewes Hunneman / 1851.
Mark: -revere (shaded roman capitals), pellet be
fore, in rectangle (Walpole, 97:1). Fig. 61.
Hewes Hunneman was the great-grandson of Stephen Hunne
man of Boston.
139 Spoon. Bowl with double drop, lower one
marked, like handle, with mid-rib; handle up-curved.
L. 4§ in.
Inscription: M F (block letters), on reverse.
Mark: P R (crude capitals), in rectangle, probably
without pellet (cf. Walpole, 97:5).
I. & N. RICHARDSON
Philadelphia. 102

THIRD PERIOD — ABOUT I 7 3 O - I 7 7 5
140 Mug. Bulbous; flaring lip; flaring moulded foot;
double-scroll handle with acanthus scroll on top. H.
4i in.
Mark: I.NR (shaded roman capitals, NR mono
gram) with pellet, in rectangle, twice on base.
141 Ladle. Scallop-shell bowl with |
plain drop; curved handle with scroll
tip in Onslow pattern. L. 13! in.
Inscription: I (block I and OS
O S
somewhat italic).
Mark: I.NR \as above); three
times. Fig. 107.
DANIEL ROGERS
I7S3"I792- Newport, R. I. Chosen
deputy to the Assembly from New
port, 1792.
142 Spoon. Drop and palmette
ornament on bowl; tip rounded, up-
curved, and marked with mid-ridge.
L. 7I in.
Inscription: K (block letters); on
A S
the under side of handle.
Mark: d. Rogers (roman capitals),
in rectangle (Walpole, 100:1).

I. & N.
RICHARDSON
FIG. 107 CAT. NO. I4I

NICHOLAS ROOSEVELT
Born, 1687, at Kingston. Son of Nicholas and grandson
of the emigrant, Claes Martenszen Van Rosenvelt. Married
Sarah Fulman in New York, 1710. Admitted Freeman,
1738-39. Collateral ancestor of the late Colonel Roosevelt.
103

THE CLEARWATER COLLECTION
143 Tankard. Plain; flat, stepped lid with scroll
thumb-piece; long moulded drop on handle; tip, plain oval
disk. H. 6\ in.
Mark: N.RV (N, pellet, RV monogram, roman block
capitals), in oval, to right and left of handle (Walpole,
101:1). Fig. 17.
DANIEL RUSSELL
Newport, R. I.; about 1750.
144-145 Tablespoons (2). Drop and rat-tail; stem
widening to up-curved and thickened tip; long mid-rib
and pronounced hollows at sides. L. 8| in.
Inscription: A S (block letters)
1742
Mark: D R (roman capitals), in bell (Walpole, 101:1).
Fig. 60.
According to tradition, these spoons belonged to Anne Smith
who married Benjamin Smith in 1742 and in 1755 married
Stephen Hopkins, one of the signers of the Declaration of
Independence.
T S (probably THOMAS SKINNER)
1712-1761. Marblehead, Mass.
146-147. Spoons (2). Each: long drop on bowl;
down-turned, rounded handle with faint mid-rib beneath
tip. L. 8| in.
Inscription: S M.
Mark: T S (crude capitals), in rectangle, twice (prob
ably Thomas Skinner, cf. Walpole, 107).
WILLIAM SWAN
1715-1774. Worcester, Mass. Made loving-cup which
was presented by the Province of Massachusetts Bay to
104

THIRD PERIOD — ABOUT I 7 3 O - I 7 7 5
Governor Pickman, 1749, and which now belongs to the
Essex Institute, Salem.
148 Mug. Bulbous; moulded lip and splayed foot;
simple scroll handle. H. 5! in.
Inscription: M D (script monogram with middle
initial, possibly F, I, or S), on top of handle.
Mark: w. swan (crude capitals), in cartouche, on
base (Walpole, 111:1).
149 Porringer. Keyhole handle. D. 5! in.
Inscription: T (rude block letters), on handle.
W F
Mark: Swan (script) in cartouche, beneath handle
(Walpole, 111:2).
P S (probably PHILIP SYNG, JR.)
Philadelphia, 1703-1789. Son of Philip Syng (1676-
1739) who was also a silversmith. Philip Syng, Jr.,
made the silver inkstand used at the signing of the Decla
ration of Independence and now preserved in Independ
ence Hall, Philadelphia.1
150 Ladle. Circular bowl with drop; stem curving
downward to rounded tip. L. 15! in.
Inscription: W (block letters), on face.
B S
Marks: (1) P S (shaded roman capitals), in rectangle,
twice; (2) unidentified mark.
151-152 Spoons (2). Each: long drop on bowl; plain,
down-turned handle, pointed oval tip. L. 8| in.
'For further history of this inkstand, see Bigelow, Historic Silver of the
Colonies, pp. 437-438, fig. 321. 105

THE CLEARWATER COLLECTION
Inscription: M (block letters).
B L
Mark: P S (roman letters), in rectangle.
B T
153 Spoon. Drop and palmette ornament on bowl;
handle slightly up-curved at tip with thickened rim and
short mid-rib. L. 4 in.
Inscription: A C (block letters).
Mark: B. T (shaded roman capitals), pellet between,
in rectangle with indentation between letters at base.
D T
154-155 Salt-Cellars, Pair. Shallow, circular bowl
on three feet, slipped at feet and knees; moulded lip. H,
ij in.
Inscription: M * H (block letters), on base.
Mark: D T (roman capitals), in rectangle, on base.
D T
156 Tankard. Domed and stepped lid, acorn finial,
scrolled thumb-piece; flat moulded drop on scroll handle;
domed oval tip; mid-band. H. 8| in.
Inscriptions: (1) E W B (pricked monogram), on base;
(2) XXXI oz. X pwts.
Mark: D T (roman capitals), in rectangle, on base.
Figs. 15 and 16.
This tankard appears to have had a spout added at one time;
since removed.
W T
157 Bowl. Curved sides; flaring foot; surface, es
pecially interior, shows hammer punches; scrolled car
touche enclosed by flower sprays engraved on side. D.

106

THIRD PERIOD  ABOUT I73O-I775
Inscriptions: (a) Priscilla Robinson (script); (b) 13-16,
on base.
Mark: W T (?), twice, near lip. Fig. 108.
ANDREW UNDERHILL
Mentioned in "New York Wills," 1788.
158 Tankard. Plain; flat-topped lid with serrated
rim; scrolled thumb-piece; flat moulded drop on double-
scroll handle; tip somewhat shield-shaped with scrolled

W T
FIG. 108 CAT. NO. 157
margin; base moulding with incised and toothed border
and cabled moulding below; curved and covered spout,
added later. H. 6| in.
Inscription: Thomas Klaarwater (script), within ro
caille wreath on lid.
Marks: (1) a. underhill (shaded roman capitals),
in rectangle; (2) A. U (shaded roman capitals), in oval;
each mark twice on base (Walpole, 116:1, 2). Figs. i8>
24, and 109, and head-band on page xxxv.
Exhibited at the Hudson-Fulton Celebration, M. M. A.,
catalogue, no. 481.
Thomas Klaarwater was Judge Clearwater's great grand
father. The tankard was presented to the former, a soldier of
107

THE CLEARWATER COLLECTION
the War of the American Revolution, by a number of his
comrades in arms. It passed from him to his son, Thomas
Teunis Klaarwater, a soldier of the War of 1812, upon the
death of his father in 1830. The spout was added at about
that time, which was the period of the temperance agitation
in the State of New York. The name is of Holland derivation,
the family coming to America from Hattem, Holland, about
the middle of the seventeenth century. The name is spelled
Klaarwater in Holland to this day. It was anglicized to
Clearwater in America shortly before the War of 1812.

ANDREW UNDERHILL
FIG. 109 CAT. NO. 158
RICHARD VAN DYCK
New York; baptized 1717. Son of Peter Van Dyck, the
celebrated silversmith. Married Elizabeth Strang of
Rye. He had a store in Hanover Square, New York, in
1750, but from advertisements in New York papers be
tween 1753 and 1756 he appears to have become an im
porter of "pictures, European and Indian goods, looking
glasses, sconses, and Florence oyl." Plate bearing his
mark is rare.
159 Mug. Slightly everted lip; body curving inward
to splayed foot; double-scroll handle. H. 4! in.
108

THIRD PERIOD  ABOUT I73O-I775
Inscriptions: (a) G (block letters), on handle; (b)
I S
S S (crude letters), on base.
Mark: R V D (monogram), in cartouche, on base.
I W
160 Spoon. Long drop at junction of oval bowl and
up-curving handle. L. 4! in.
Inscription: K (block letters).
T S
Mark: I W (possibly T W) (roman
capitals), in rectangle.
UNKNOWN MAKERS
161 Caster. Vase-shaped with
high-domed and pierced lid; moulded
finial; spreading foot. H. 5! in.
Inscription: R H (block letters), on
side; on opposite side, 1773.
No mark. Fig. 1 10.
This caster is said to have been a wedding-
gift to Ruth Smith who married in 1773
George Hopkins, youngest son of Stephen
Hopkins, one of the signers of the Declaration of
Independence (see no. 185).

-4*

UNKNOWN MAKER
FIG. 1 10
CAT. NO. l6l

162 Mug. Straight, tapering; moulded base; hollow
handle of semicircular section tapering to recurved tip.
H. 4! in.
Inscription: The West Church in Lynd Street (old
script). Fig. 27.
Mr. Jones in Old Silver of American Churches, p. 88, pi.
xxxiii, describes and illustrates four mugs of the same size
and with the same inscription, which he dates about 1730.
This is one of the set, another is in the Boston Museum of Fine

109

THE CLEARWATER COLLECTION
Arts, and the other two were given to the Norfolk Unitarian
Church of Dorchester, Mass. The "Church in Lynd Street"
was founded in 1737 in Boston; it is now standing and is a
branch of the public library on what is now Cambridge Street.
163 Teapot. Globular; slightly domed lid with
moulded finial; curved spout; high-domed foot; wood
handle; engraved border on lid and around lip.
H. 5t in.
Inscriptions: (1) Hannah Gibbs 1752, on base; (2) Gibbs

UNKNOWN MAKER
FIG. III. GIBBS ARMS FROM TEAPOT
arms: sable, 3 battle-axes argent, enclosed by foliation
and scrolls with floral spray at either side; crest: 3 broken
tilting spears, 2 in saltire and 1 in pale gold, enfiled with a
wreath argent and sable (Robson, British Herald).
Figs, m and 112.
Hannah Gibbs (1735-1762) was the daughter of Robert and
Amy (Whipple) Gibbs and the great-granddaughter of
Robert Gibbs who came from Warwickshire, England, to
Boston about 1638 and became a wealthy merchant with a
fine house on Fort Hill. Hannah Gibbs married Daniel
Tillinghast in 1752 and this teapot is said to have descended
to one of their children. Her sister Mary married Captain
John Hopkins, a son of Stephen Hopkins, one of the signers of
the Declaration of Independence.
no

THIRD PERIOD  ABOUT I73O-I775
164-165 Knee Buckles, Pair. Scroll outline, carved
in relief, if x i| in.
Mark: B (?) A, on one. Fig. 114.
166 Knee-Buckle. Same as preceding pair. s
167 Knee-Buckle. Carved and pierced in interlacing
vine design. i| x if in. Fig. 114.

-^

4

UNKNOWN MAKER

FIG.
112
CAT.
no. 163
168-
169
Knee-Buckles,
Pair. PI
ain,
oval.
ifin.
170-171 Knee-Buckles, Pair. Oval; nail-head bor
der, itt x i| in.
Inscription: I W (block letters), on one; V, on other.
Fig. 114.
172-173 Knee-Buckles, Pair. Like preceding but
uninscribed. '"ig- II4-
174-175 Shoe-Buckles, Pair. Rectangular with cut
corners; bow-knot at center top and bottom; fused plate.
3x3! in. FiS-62-
111
THE CLEARWATER COLLECTION
176 Shoe-Buckle. Rectangular; spiral markings at
center top and bottom; fused plate. 2| x 2§ in.
177 Shoe-Buckle. Rectangular with cut corners;
large rectangular medallion at center top and bottom;
fused plate. 3! x 3! in. Fig. 62.
178 Shoe-Buckle. Rectangular; sharply arched;
double borders joined at center and corners; fused plate.

UNKNOWN MAKER
FIG. 113 CAT. NO. 185
179-180 Shoe-Buckles, Pair. Rectangular; pierced
and scalloped margin enclosing two rows of facets, sepa
rated by line of gold. 3! x 3 in. Fig. 62.
181-182 Shoe-Buckles, Pair. Plain, rectangular.
2| x if in.
Mark: faint trace of mark on one buckle, D (?).
183 Shoe Buckle. Plain, rectangular; gun metal,
perhaps once coated with silver. 2§ x i| in.
184 Serving-Spoon. Broad, oval bowl with double
drop; handle with up-curved and thickened tip with mid-
ridge and hollows at either side. L. 15 J in.
112

UNKNOWN MAKERS
fig. 114 cat. nos. (left to right) 170, 171,
164, 167, 165, 172, 173

THE CLEARWATER COLLECTION
185 Scissor-Tongs. Shell tips, scrolled arms and
handles; pivotal plate incised with floral design. L. 5J in.
Inscriptions: (a) R H (block letters) on pivotal plate;
(b) 1773, on handle.
No mark. Fig. 113.
This piece is said to have been a wedding-gift to Ruth Smith,
who married, 1773, George Hopkins (see no. 161).

186 Scissor-Tongs. Similar to preceding. L. 5 J

in.

114

^¦^^••^^¦-¦^¦^•¦¦^¦•¦ag.***^^

/St.

Gat :^f3v-

FOURTH PERIOD
ABOUT 1770 TO l8lO
HE exuberant designs of the rococo Classic
"©jj period in Europe had been expressed Remval

W V i if \«^4 mainly in curved lines. In time a

m | reaction set in and popular taste
\ demanded greater simplicity. The
' A^-W^/**. * 1 r 1 - 1 , ¦ 1
..^.¦^.awi trend ot this new style was determined
¦-'...^if*^,.^ by the excavations made about the
middle of the eighteenth century at Pompeii and Hercu-
laneum. Here were discovered examples of classic art
beautifully conceived and executed, which soon became
models for artists throughout Europe. In England the
great exponents of the classic styles were the brothers
Adam who, as architects *and designers of furniture,
exerted a tremendous influence. They had studied in
Italy and had derived their inspiration directly from
the source, but similar influences reached England a
bit later through the medium of French design of the
Louis XVI period. From both these sources Hepplewhite
and Sheraton drew freely for their furniture designs,
adapting or modifying according to their individual
taste. Following the example of the architects and
"5

Classic
Influences in
Silver
Forms

THE CLEARWATER COLLECTION
cabinet-makers, potters, silversmiths, and metal-workers
adopted the new fashion. The rococo style had been
built up of curved lines with an abundance of ornament —
rock-work, scrolls, shell-forms, fantastic leaf and flower
motives. Its exuberance is in striking contrast to the
reserve of the classic style. The latter is preeminently
formal, delicate, graceful, and expresses itself chiefly in
straight structural lines, its rectangular compositions
accented by slender columns, pilasters, friezes, flutings,
and mouldings of exquisite detail. Urns, animal heads,
festoons of flowers, pendent husks, drapery, acanthus
foliage, medallions, rosettes — these are the ear-marks of
the eighteenth-century "classic."
Like all wars, the American Revolution retarded the
development of the arts for an interval but in whatever
work the American craftsman produced during this time
and in the succeeding years of the eighteenth century, he
followed his French and English contemporaries in this
classic revival.
The silversmith conformed to the new regime by adopt
ing vase shapes for many of his pieces as, for example, in
the tall flagon with ovoid body, high foot, contracted
neck, and short spout (fig. 133). Those of the earlier, taper
ing, straight-sided form which are still made to some extent
have a different quality from their predecessors; the lines
and proportions are not so good nor is the general effect
so convincing. The bases in these later pieces are gen
erally high and moulded, the covers high and domed and
surmounted by an urn finial, while the details of their
decoration stamp them as products of the period.
Other objects of sacramental use which are character
ized by a deep ovoid body are the standing-cups with
domed or with truncated bases and frequently with domed
lids (fig. 119), and the large, two-handled cups of very simi-
116

FOURTH PERIOD  ABOUT 1770-181O
lar form with high foot, square handles, and high covers
with vase-shaped finials (fig. 121).
A new development is the imposing tea-urn with tall,
slender, ovoid body, often fluted, circular stem and square
base, reel-shaped cover, and high loop handles. Tea
services were not often made before about 1760 but after
that date they were widely used. Akin to the form of the
tea-urn just described are the urn-shaped sugar-bowls
and helmet-shaped creamers (fig. 124).
While not showing classic influence in their form, per
haps, but in the elements of their decoration, the oval
teapots made of sheet silver with vertical sides, flat bot
tom, and straight tapering spout (fig.i2$) have much the
same quality of lightness and somewhat the same struc
tural lines as are found in Sheraton and Hepplewhite
furniture of approximately the same period. Frequently
a stand accompanies the teapot. This style was very
popular in the late eighteenth century in America as well
as in England.
The various styles of columnar candlesticks derive
their form from classic design.
During this period the spoon develops an increasingly
pointed bowl, often without a drop, and a down-turned
handle with pointed or clipped end, and is generally lighter
in weight and form than its predecessors.
What the eighteenth-century craftsman regarded as Classic
essential elements in classic ornament he adapted to his ^'e' THCYltS
new forms. Bands of reeding or beaded mouldings are ifj DecQ_
used to emphasize the structural lines. The urn is the ration
most typical style of finial. Classic motives appear again
in the pierced designs. As the cabinet-maker turned to
inlays of light-colored woods to produce a light and grace
ful surface pattern, so the silversmith turned to delicately
engraved designs as the most fitting mode of ornament for
117

THE CLEARWATER COLLECTION
his creations. These "bright-cut" designs were ex
tremely popular and many of them are of classic inspira
tion, though dimmed in the borrowing. Characteristic
are the festoons of drapery and flowers, borders of husks,
of guilloche, or of floral pattern, the anthemion design,
oval medallions, and rosettes. Silver of this period affords
a wealth of examples of such ornament.
Phila- Philadelphia at this time is well to the fore in American
deiphia craftsmanship. Her silver throughout the eighteenth
Stlver- , ¦ , i f
wor£ century deserves intensive study as her craftsmen were
producing pieces of great refinement and distinction.
From about 1760 to 1830 the city had the largest popula
tion of any in the country; there was great wealth among
her people. The chief commercial and social center
for a considerable period, the meeting-place of the Conti
nental Congress, the national capital from 1790 to 1800,
Philadelphia attracted the most distinguished of all classes,
statesmen, professional men, artists, craftsmen. When
more has been published concerning silver made by her
workmen, its characteristic features may be more clearly
recognized. A fashion popular among Philadelphia sil
versmiths of this period was the pierced railing or gallery
top around teapots, coffee-pots, and sugar-bowls.
South- In the later part of the eighteenth century Baltimore
ern had some silversmiths of note but in the more southern
colonies the absence of large cities limited the local devel
opment of silverwork and much was imported from the
North, especially from Philadelphia. I A
187 Creamer. Helmet-shaped; circular stem and
square base; high curved handle. H. 5J in.
Mark: I A (?) (script monogram), twice on base.
Fig. 56.
118

Silverwork

FOURTH PERIOD  ABOUT I770-181O
L A
188 Beaker. Plain, tapering. H. 2§in.
Inscription: H. Mercier (block letters).
Mark: LA (roman capitals), pellet placed high be
tween, in rectangle, twice on base.
S A
189-190 Knee-Buckles, Pair. Pointed oval; fa
ceted border. 1 x if in.
Mark: S A, in oval.

J. ADAM1
Alexandria, Va., about 1800.
191 Creamer. Helmet-shaped; scroll handle; cir
cular stem and square base; beading at lip and stem. H.
6f in.
Inscription: B (script), in shield.
Marks: (i) J. Adam (script), in shaped rectangle
(Walpole, 3:1); (2) spread eagle in circle; each twice on
base. J B or F B (?)
192-193 Shoe-Buckles, Patr. Rectangular with cut
corners; moulded border. 3*5 x 2§ in.
Marks on each: (1) J B or F B (?) (script) in rectangle;
(2) unknown object in oval. R B
194 Teaspoon. Handle slightly down-curved; incised
and pricked medallion. L. 5 in.
'See also cat. no. 386. 119

THE CLEARWATER COLLECTION
Inscriptions: (i) M (block letters), on handle; (2)
I V E
P E (?) (script), in bowl, later.
Mark: R B (shaded roman capitals), in rectangle.
L B (probably LORING BAILEY)
1740-1814. Hull and Hingham, Mass.
195 Spoon. Long drop on bowl; down-curved handle.
L.-8f in.
Inscription: L C (block letters).
Mark: L. B (shaded roman capitals), pellet between,
in rectangle.
S. BARRETT
Nantucket, Mass., and Providence, R. I. (?); about
1760. 196 Teaspoon. Bowl with drop and palmette orna
ment in relief; slender down-curving stem. L. 5§ in.
Inscription: E B (block letters).
Mark: s Barrett (roman capitals), in rectangle.
STANDISH BARRY
Baltimore, Md.; working 1790.
197 Ladle. Palmette ornament below drop on bowl;
bright-cut design on handle. L. 15! in.
Inscription: TED (script monogram).
Marks: (1) barry (shaded roman capitals, initial
larger), in shaped rectangle (Walpole, 10); (2) No. 92, in
rectangle. Fig. 115.
Published: M.M.A. Bulletin, 14:123.
120

FOURTH PERIOD — ABOUT I770-181O

EPHRAIM BRASHER
New York. Name appears in New York Directory,
1786-1805; member of Gold and Silver Smiths' Society.
Made die for famous doubloon known
by his name.
198 Bowl. Curved sides; flaring
foot. D. 7! in.
Marks: (1) brasher (roman capi
tals), in rectangle; (2) E B (shaded
roman capitals), in rectangle, twice;
(3) N. York (capitals, initials larger),
dash between, in rectangle (Walpole,
17 :3, 4, 2 respectively); all on base.
Published: M.M.A. Bulletin, 8:18.
According to tradition, this bowl
belonged formerly to Commodore Isaac
Hull (1773-1843) of the U. S. Navy
and was with him when he commanded
the Constitution in the War of 181 2,
and on the nineteenth of August of
that year when he fought the English
frigate Guerriere, reduced it to a com
plete wreck, and forced it to surrender.
199 Tongs. Tips gadrooned;
plain hoop. L. 6| in.
Mark: E. B (crude), apparently
with pellet between, twice (probably
E. Brasher).

STANDISH BARRY
FIG. II5 CAT. NO. 197

in.

ZACHARIAH BRIGDEN1
200 Porringer. Slender keyhole handle. D. \\
1.
'1734-1787. Boston. See also no. 71.
121

THE CLEARWATER COLLECTION
Inscription: S B (block letters).
to
L H
Mark: Z B (roman capitals), pellet or lozenge be
tween, in rectangle, beneath handle (Walpole, 18:2).
201-202 Shoe-Buckles, Pair. Oval; border of
bosses. 2§ x 2 in.
Inscription: L W (block letters).
Mark: Z B with cross between, in rectangle (cf. Wal
pole, 18:2).
JOHN BURGER
New York; working 1786.
203 Spoon. Bowl with drop; down-turned handle
with short mid-rib beneath; bright-cut border. L. 8f in.
Inscription: A R (script monogram).
Mark: Burger (script), in shaped rectangle (Walpole,
21:1). 204-205 Spoons (2). Each: bowl with drop; handle
with short mid-rib beneath; bright-cut medallion. L. 9! in.
Inscription: W S D (script monogram).
Marks: (i)Burger as in preceding; (2)NYork (script, N
and Y conjoined), without pellet, in shaped rectangle
(cf. Walpole, 21:2). EZEKIEL BURR
Providence, R. I., 1764-1846.
206 Tongs. Medallion and interlacing sprays lightly
incised. L. 5! in.
Inscription: D A (script), conjoined.
Mark: E B (script), conjoined, in octagon (Walpole,
21:2).

FOURTH PERIOD  ABOUT I770-I81O
I C '
207-208 Spoons (2). Each: drop indicated by wave
border; down-curved handle, bright-cut. L. 8J in.
Inscription: RCR (script monogram).
Mark: I C (roman capitals), in rectangle.
R C
209-210 Salt-Cellars, Pair. Boat-shaped bowl with
short, moulded, down-curved handle at either end: oval
base and stem; gilded inside. H. 3! in.

R C
FIG- Il6 CAT. NOS. 209-2IO
Inscription: Crest: eagle's head erased.
Mark: R C (or R G?) (script), pellet between, in ir
regular shape, on base; mark occurs twice on one.
Fig. 116.
NATHANIEL COLEMAN
Burlington, N. J.; working 1790.
211 Teaspoon. Bowl with double drop; pointed
oval, down-curving handle. L. 6| in.
Inscription: S R (script monogram).
Mark: n. coleman (shaded roman capitals), in rect
angle (Walpole, 29:1). 123

THE CLEARWATER COLLECTION
M. CONNELL
Philadelphia, Pa. (?); about 1800.
212 Tongs. Bright-cut border. L. 6j in.
Inscription: R W (script monogram).
Mark: m. connell (shaded roman capitals), in rect
angle (Walpole, 30:1)

I D
FIG. 117 CAT. NO. 213
I D
213 Creamer. Helmet-shaped; circular stem and
square base; beaded mouldings. H. 5I in.
Mark: I D (possibly J D), in oval; twice on base.
Fig. 117.
E. DAVIS
Newburyport, Mass.; working 1775; died 1781.
214. Creamer. Bulbous body, lip outlined by
punched dots; small stem and circular domed base. H.
4! in- 124

FOURTH PERIOD  ABOUT I770-18IO
Inscription: I B (block letters)
obc. N'yok (script)
Apr. 14 1782 "
M17 (italic capitals)
Marks: (i) E D (shaded roman capitals), in rectangle
(Walpole, 34:2); (2) lion passant to right; each mark to
right and left of handle. fig. r^.
Probably made about 1770, this
might equally well have been classi- a
fied as belonging to the third period. £
JOSHUA G. DAVIS (?)
Boston, Mass.; working 1796.
215 Teaspoon. Drop with I
rocaille scroll in relief; down-
curving stem with bright-cut
waved border and flower spray. SAMUEL DROWNE
T „ . FIG. Il8 CAT. NO. 217
L. 5I in.
Inscription: E D (block letters).
Mark: davis (roman capitals) in serrated rectangle.
T. DENISON
About 1790.
216 Teaspoon. Slightly down-curving stem; bright-
cut and pricked designs. L. 5! in.
Inscription: B W (?) (script, conjoined).
Mark: t. denison (shaded roman capitals), in ser
rated rectangle (cf. Walpole, 35:1).
SAMUEL DROWNE
1749-1815. Born in Providence but soon moved to
Portsmouth, N. H. Son of Rev. Samuel and Sarah
(Reed) Drowne and grandnephew of the silversmith,
Shem Drowne (1683-1774). Married Mary Pickering.
125

THE CLEARWATER COLLECTION
At one time he had a shop at junction of Jefferson and
Water Streets, opposite Long Wharf, Portsmouth.
217 Beaker. Plain, tapering; flat bottom; slightly
everted lip. H. 3§ in.
Inscription: M M (script monogram).
Mark: S D (roman capitals), cross between, in rect
angle (cf. Walpole, 38:2, but letters are not crude).
fig. 118.
JOSEPH DUBOIS
New York, N. Y.; working 1790.
218-219 Spoons (2). Each: bowl with long drop;
handle bordered with bright-cut waved pattern and
medallion. L. 9 in.
Inscription: R E L (script monogram).
Mark: j. Dubois (thin shaded roman capitals), in
rectangle (Walpole, 38:1).
T. D. DUBOIS
About 1780.
220-221 Spoons (2). Narrow bowl with drop; slender
handle with bright-cut medallion and pendant. L. 9! in.
Inscription: A C N (script monogram).
Marks: (1) T. D. Dubois (shaded roman capitals), in
rectangle; (2) wheat-sheaf in rectangle, twice (Walpole,
39:1-2). 222-223 Teaspoons (2). Each: bowl with drop;
slender stem, bright-cut. L. 5J in.
Inscription: E H (block letters).
Marks: (1) T. D. D. (shaded roman capitals), in
rectangle; (2) wheat-sheaf in rectangle; twice (Walpole,
39=2)- 126

FOURTH PERIOD  ABOUT I770-181O
CARY DUNN
New York, N. Y.; Freeman, 1765; working for thirty
years longer. Assessor of North Ward, 1771. Member
of the Gold and Silver Smiths' Society, 1786.
224 Beaker. Plain; slightly rounded sides; everted
lip; moulded foot. H. 3J in.
Mark: C. Dunn (roman capitals, initials larger), in
flattened oval, on base (Walpole, 39:1).
225 Cup. Everted lip; rounded sides; flat base; strap
handle. H. 2f in.
Inscription: L. Mower to
S.C.Ward (script).
Mark: Dunn (shaded roman capitals, initial larger)
in flattened oval (the initial C probably erased or not
deeply stamped — apparently Walpole, 39:1).
226 Mug. Bulbous; everted lip; flaring foot; moulded
strap handle. H. 3I in.
Inscription: Sarah H. Broughton (script).
Mark: Dunn as in preceding.
GEE
227 Teaspoon. Faint drop on bowl; pointed handle;
bright-cut wave border. L. sf in.
Mark: GEE (thick capitals), in rectangle.
STEPHEN EMERY1
About 1 75 2-1 801. Boston, Mass. Married Anna Knox.
'The following advertisement appeared in the Massachusetts Centinel
for April 3, 1790: "To Be Sold,
By Stephen Emery,
At his Shop, No. 5, Union-Street, near the Golden Candle-Stick, An
127

THE CLEARWATER COLLECTION
228 Caster. Vase-shaped body with moulding at
shoulder; high-domed lid; moulded finial; flaring domed
foot. H. 5J in.
Inscriptions: (1) P (block letters); (2) B (script),
N M
on opposite side; probably later.
Mark: S E (roman capitals), in oval, on base (Wal
pole, 42:4).
THOMAS KNOX EMERY
About 1781-1815. Boston, Mass. Son of Stephen
Emery. 229 Spoon. Long drop on bowl; down-curving han
dle. L. 9! in.
Inscription: E S B (script monogram).
Mark: T. Emery (roman letters), in cartouche (cf.
Walpole, 43 :3, which is not so carefully formed).
ROBERT EVANS
About 1768-1812. Born Mendon (?), died Boston.
Married Mary Peabody.
230 Porringer. Keyhole handle. D. 4I in.
Inscription: M T (script monogram).
Mark: evans (shaded italic capitals), in rectangle
with scalloped edge, with dot in each scallop (somewhat
blurred but clearer than in Walpole, 44:2).
assortment of articles in the Goldsmith's, Jeweller's and Foundery Way.
A large assortment of fashionable Plated Buckles, as cheap as any im
ported. A small quantity of excellent Powder, for cleaning Plate and
Plated Ware. Black Lead, for cleaning Stoves, large pumice Stone.
The Goldsmith's Business carried on as usual. Cash for Old Silver."
128

FOURTH PERIOD  ABOUT I 7 7 O - I 8 I O
231 Porringer. Gridiron handle. D. 5 J in.
Inscription: A P (script monogram), on handle.
Mark: r. evans (shaded roman capitals) in rectangle,
with pellet, beneath handle (Walpole, 44:1).
Published: M.M.A. Bulletin, 8:216.
232 Spoon. Long drop; lower part of stem slender;
plain, rounded end. L. 9! in.
Inscription: P B (script).
Mark: R.E (roman capitals), pellet between, in rect
angle (probably R. Evans, Walpole, 44:4).
RUFUS FARNAM *-
Born about 1771, at Norwich, Conn. (?) Brother of
Henry Farnam. Probably apprenticed to Joseph Car
penter of Norwich. In Boston, 1799-1830; moved to
Hanover about 1833. Married (1) Lois Cady Read, (2)
Elizabeth Kelly, (3) Priscilla . . .

233-234 Teaspoons (2). Each: bowl with long drop.
L. sf in.
Inscription: A T (block letters).
Mark: R. farnam (shaded roman capitals), in rect
angle (Walpole, 45:1). JOSEPH FOSTER
1 760-1 839. Boston, Mass. An executor and probably
an apprentice of Benjamin Burt.
'In The Columbian Centinel for Nov. 27, 1790, appeared the following
advertisement: "Now ready for Sale, by Rufus Farnum, No. 42, Cornhill,
Men's and Women's Silver plated Shoe Buckles, all of American Manu
facture, warranted to be equal in workmanship to any in the United
States. Also, An assortment of Gold Neck-laces, stone Earrings, stone
Buttons, etc. N.B. Any order in the line of his business shall be neatly
executed on short notice, and the smallest favors gratefully acknowledged.
Cash for Old Gold and Silver. Boston, Nov. 6, 1790."
129

THE CLEARWATER COLLECTION
235-236 Standing-Cups, Pair. Each: oviform;
reeded lip; long circular stem with mid-band; domed
and stepped foot; bell-shaped lid with acorn finial.
H 9! in.
Inscriptions: (a) Property/ of/ Brattle Street Church /

JOSEPH FOSTER
FIG. II9 CAT. NO. 23:

Boston (block letters), in chased cartouche pendent from
bow-knot; (b) 10 oz. 7 (on one cup) and 10 oz. 3 (on the
other). Mark: on base, foster (shaded roman capitals),
in rectangle (Walpole, 48:1). Fig. 119.
Mr. Jones, in Old Silver of American Churches, p. 69, pi.
XXVII, describes the original set of six cups, all of which were
exhibited at Boston, M.F. A., in 191 1, catalogue nos. 499-503.
One is still in that museum, two are these in the Clearwater
Collection. 130

FOURTH PERIOD  ABOUT 1770-181O
LEWIS FOURNIQUET
New York, N. Y.; 1796.
237 Deep Dish. Sloping sides; flaring lip; flat bot
tom. D. 5! in.
Mark: Fourniquet (italics), in cartouche, on base
(Walpole, 48:1).
R G
238-239 Sugar-Urn and Cover. Vase-shaped on
circular splayed base; urn finial; beaded edges. H. 8j in.
Marks: (1) R G, in rectangle, twice; (2) indistinct; on
rim of base.
Exhibited at M. F. A., Boston, in 191 1, cat. no. 536.
NICHOLAS GEFFROY
1761-1839. Newport, R.' I.
240 Porringer. Deep bowl; keyhole piercings. D. 5
in. Inscription: M M (script monogram), on handle.
Mark: n. geffroy (shaded roman capitals), in en
grailed rectangle (Walpole, 50:1), on handle.
Exhibited at the Museum of Fine Arts, Boston, 191 1, cat.
no. 513.
241 Tongs. Engraved with zigzag medallion. L. 5^
in. Inscription: MSB (script monogram).
Mark: geffroy (shaded roman capitals), in engrailed
rectangle (Walpole, 50:2).
Exhibited at the Museum of Fine Arts, Boston, 191 1, cat.
no. 516. 131

THE CLEARWATER COLLECTION

THOMAS GRANT
1731-1804. Marblehead, Mass. Married Margaret
Bubier. 242 Marrow-Scoop. Scoop deep
and closed at tip; long, slender
stem with pointed oval tip. L. 6|
in. Inscription: M H (script mono
gram). Mark T. grant (roman capitals),
in rectangle (Walpole, 54:1).
A H
243 Teaspoon. Bowl with drop;
slightly down-curving stem with
bright-cut medallion. L. 5! in.
Inscription: S H (block letters).
Mark: A-H (roman capitals),
pellet between, in four-sided reserve.
M H
244 Mug. Tapering body girdled
by two wide bands of reeding.
H.3|in. Inscription: E P (script).
RICHARD HUMPHREY Mark: M H (shaded roman capi-
fig. 120 cat. no. 246 tals), in rectangle, on base. Fig. 28.
W H
245 Gravy or Toddy Ladle. Deep oval bowl with
drop; handle curving downward to rounded tip. L. 75 in.
Mark: W H (roman capitals, practically conjoined),
in rectangle, twice. 132

FOURTH PERIOD  ABOUT 1770-181O
RICHARD HUMPHREY
Philadelphia; working 1771-1788.
246 Ladle. Fluted scallop-shell bowl with drop;
down-curving handle, feather-edged. L. 14J in.
Inscription: IMS (?) (script monogram).
Mark: R. Humphrey (script), in shape (Walpole, 66:1).
Fig. 120.
ISAAC HUTTON1
1767-1855. Worked in Albany, 1790-1810. Son of
George and Mary (File) Hutton. Treasurer of Albany
Mechanics' Society. His brother George was also a silver
smith. 247 Teapot. Waved outline, vertical sides, straight
spout, scrolled curly maple handle, urn finial, incised and
pricked border designs. H. 6| in.
Inscription: engraved shield on either side, one enclosing
script monogram A J J V V.
Marks: hutton (roman capitals), in rectangle; Albany
(similar) (like Walpole, 68:2, but in separate rectangles).
This teapot is said to have belonged to the Van Vechten family
of Albany.
248 Teaspoon. Handle with bright-cut interlacing
design. L. 6 in.
Inscription: N F (script monogram).
Marks: (i) hutton (shaded roman capitals), in rect
angle (Walpole, 68 :i); (2) eagle in oval.
249-250 Spoons (2). Bright-cut design. L. c,\ in.
Inscription : E V D Z (block letters).
Mark: hutton, as in preceding.
'See also nos. 457-462. 133

THE CLEARWATER COLLECTION
C C K
251 Salt-Cellar. Oval, boat-shaped, on base;
pricked borders and lightly cut festoons; inside gilded.
H. 2§ in.
Marks: on base (1) C C K (crude capitals), in rect
angle; (2) E or C E conjoined in oval; (3) L or T (?).
I K
252 Nutmeg-Grater. Oval box, hinged lid disclos
ing grater; bottom of box also hinged in order that grated
powder may be released. D. if x if in.
Inscription: K C (script monogram), on lid.
Mark: I K (shaded roman capitals), pellet between,
inside lid and inside on base. I L
253-254 Teaspoons (2). Bright-cut border and re
serves. L. 5! in.
Inscription: A. MH (MH conjoined).
Mark: I L, faint pellet between, in rectangle, twice.
I L
255 Tongs. Plain. L. 6| in.
Inscription: H F (script monogram).
Mark: IL (roman capitals), faint pellet (?) between,
in rectangle, twice.
M L (probably MATHIAS LAMAR)
Philadelphia, Pa.; working 1796.
256-258 Spoons (3). Each: bowl with drop and pal
mette ornament; slightly down-curved, pointed handle.
L. 5I in. 134

FOURTH PERIOD  ABOUT 1770-181O
Inscription: T (crude block letters).
G L
Mark: M L (roman capitals), conjoined, in rectangle
(Walpole, 73:1). JOHN LETELLIER1
Philadelphia, Pa.; working about 1770.
259-260 Spoons (2). Each: bowl with drop and
bird and spray in low relief; handle with down-curved tip,
thickened rim on reverse. L. 8| in.
Inscription: W. M. B.
Mark: I.LT (shaded roman capitals), pellet between
I and L, in rectangle, twice (Walpole, 75:1). Fig. 60.
JOSEPH LORING
1743-1815. Born Hull, Mass., died Boston. Married
(1) Mary Atkins, (2) . . . (3) Sally Pratt. He was
held prisoner for nine months on Long Island while serving
as first lieutenant of artillery but returned to Boston in
1777. Second sergeant in Artillery Company, 1791. He
had a shop at 3 Union Street, 1 788-1 796. His son Henry
(1773-1818) was a goldsmith.
261 Two-Handled Cup. Plain, oviform; short cir
cular stem and domed foot; handles of rectangular sec
tion; separate cover with ball knop and urn finial; reeded
bands. H. nf in.
Inscription: Property/of/Brattle Street Church
/Boston (roman and italic capitals); in bright-cut oval
suspended by bow-knot.
'"Run away on Monday, the 14th instant duly) from John LeTelier,
Silversmith, opposite the Coffee-house, in Market street, Philadelphia,
a Negroe wench, named Nell. . . ." Pennsylvania Gazette, No.
2528, August 6, 1777. 135

THE CLEARWATER COLLECTION
Mark: J. Loring (small shaded italic letters), in car
touche; twice on base and traces of two more (Walpole,
76:1). Fig. 121.
Published: M.M.A. Bulletin, 8:163.
Mr. Jones in Old Silver of American Churches, p. 69, describes
four cups which originally belonged to the Brattle Street
Church, Boston (founded 1699). All four were exhibited at
the Museum of Fine Arts, Boston, in 191 1, cat. nos. 711-714.
One of the four was remade from silver given to the church
in 1707 by William Johnston. It was exhibited at the M.F.A.
in 1906, cat. no. 1 77, and is also published by Bigelow in
Historic Silver of the Colonies, 1917, p. 200, pi. 121. It is
now in the Boston Museum. The Clearwater cup is one of
the other three.
262-263 Spoons (2). Each: bowl with drop; handle
hexagonal near bowl, sharply down-turned at tip. L. 8|
in. Inscription: C (script).
Mark as in preceding.
JOSEPH LOWNES1
Philadelphia, Pa.; working 1796.
264 Sugar-Urn. Ovoid bowl, circular stem, and
square base; reel-shaped cover; slender urn finial; beaded
edges. H. 11 in.
Inscription: J Mc L (script monogram).
Marks: each twice on base: (1) J. Lownes (script)
in irregular shape (Walpole, 77:1); (2) eagle (?) displayed
in cartouche.
265 Waste-Bowl. Accompanying preceding; rounded
sides; beaded edges. D. 4! in.
Inscription and marks as above.
1 See also no. 474. 136

FOURTH PERIOD — ABOUT I770-181O
266 Spoon. Bowl with long drop; rounded, down-
curved handle. L. gl in.
Inscription: SDC (script monogram).
Marks: (1) J. Lownes (script), in irregular shape (Wal
pole, 77:1); (2) I W G (roman capitals), impressed.

JOSEPH LORING
FIG. 121 CAT. NO. 261
THOMAS LYNDE
1748-1812. Born, Maiden; died, Leicester (?). Mar
ried Sarah Greenleaf. Worked in Worcester.

267 Beaker. Flaring slightly; thick moulded lip;
wide horizontal fluting at foot. H. 3 in.
Inscription: T W (crude block letters).
Mark: t. lynde (shaded roman capitals), pellet
between, in rectangle, on base (Walpole, 77:1).
137

THE CLEARWATER COLLECTION
I M
268 Ladle. Shallow, circular bowl with large drop;
down-curving handle with feather edge. L. I2§ in.
Inscription: T M T (script monogram)
Mark: I M (roman capitals) with pellet, in cartouche,
twice. P M
269 Tongs. Saw-tooth border. L. 6 in.
Inscription: EOF (script monogram).
Mark: P M (script), apparently in rectangle.
W M
270 Teaspoon. Stem down-curved; oval medallion.
L. 5I in.
Inscription: M E T (?) (script monogram).
Mark: W'M (shaded roman capitals), pellet between,
in rectangle.
DAVID MOSELEY
1753-1812. Boston. Married Elizabeth . . .
271 Beaker. Sides slightly curved, sloping inward
to base. H. 3§ in.
Inscription: A H (block letters), on side.
Mark: D. Moseley (italics with shaded roman initials),
in rectangle, on base (Walpole, 83:1). Fig. 8.
JOSEPH MOULTON
1744-1816. Newburyport, Mass. Son of the silver
smith, William Moulton (1720-C.1793). Married Abigail
Noyes, 1765. His sons, William (1772-1861) and Enoch
(born 1780), were also silversmiths. For further notes on
the Moulton silversmiths, see page 94 and foot-note.
138

FOURTH PERIOD  ABOUT 1770-181O
272 Creamer. Curved sides with four vertical chan
nels; contracted neck; flat bottom; high strap handle.
H. 4! in.
Inscription: A C (script monogram).
Mark: 1. moulton (roman capitals), in rectangle
(Walpole, 84:1), on base.
273-274 Spoons (2). Each: bowl with drop and pal
mette ornament in relief; down-curving handle. L. 8f
in. Inscription: M E (script monogram).
Mark: I M (script capitals), cross between, in rect
angle (Walpole, 84:2), twice. Fig. Go.
275 Spoon. Down-curving stem with oval medallion
and pendent design. L. 8| in.
Inscription: E S.
Mark as in preceding.

WILLIAM MOULTON1
1772-1861. Newburyport, Mass. Son of the preced
ing. Married Judith Noyes, 1801. A jeweler and gold
smith of such integrity that he was commonly known as
"The Honest Goldsmith."
276 Bowl and Cover. Rounded sides; reeded lip
and base; bell-shaped cover with ball finial. H. 5} in.
Inscription: C N C (script monogram).
Mark: moulton (shaded roman capitals), incised,
on base (Walpole, 84:3).
277 Mug. Straight, tapering; moulded lip and foot;
hollow handle of rectangular section. H. 5I in.
JSee also cat. nos. 481-485. 139

THE CLEARWATER COLLECTION
Inscription: C H B (script monogram).
Mark: w. moulton (shaded roman capitals), in
serrated rectangle, on base.
278 Porringer. Keyhole handle. D. 5! in.
Inscription: C H B (cf. preceding).
Mark as in preceding, with final pellet, beneath
handle. 279 Porringer. Keyhole handle. D. 5J in.
Inscription: E L (script monogram), on handle.
Mark: moulton (shaded roman capitals), impressed
in rectangle, beneath handle.
280 Spoon. Handle with bright-cut design. L. 85
in. Inscription: M T (block letters).
Mark: moulton, impressed; similar to that in no.
276 but heavier.
281 Spoon. Plain, rounded, slightly down-curved
handle. L. 7 in.
Inscription: C M M (block letters).
Mark as in preceding.
JOHN MYERS
Philadelphia, Pa.; working 1796.
282-283 Spoons (2). Each bowl with drop and
bird and spray in low relief; end of handle clipped.
L. 9j in.
Inscription: R M (script monogram).
Mark: I. Myers (shaded roman capitals, initials
larger), in shaped rectangle (like Walpole, 85:1, except
that rectangle is shaped). 140

FOURTH PERIOD  ABOUT I 7 7 O - I 8 I CK
N N (probably NEHEMIAH NORCROSS)
1765-1804. Boston, Mass.
284 Teaspoon. Bowl with drop and scallop-shell
ornament in relief; handle with feather-edge. L. \\ in.
Inscription: E S (block capitals).
Mark: N N (shaded roman capitals), in cartouche.

OTTO PARISIEN & SON
FIG. 122 CAT. NO. 289
285-286 Salt Shovels (2). Pointed oval, slightly
down-curved handles. L. 4 in.
Mark as in preceding.
Exhibited at the Museum of Fine Arts, Boston, in 191 1, cat.
no. 794. P P
287-288 -Spoons (2). Each: bowl with drop; stem-
end round and down-turned; bright-cut medallion and
pendant. L. 8| in.
Inscription: W S D (script monogram).
Mark: P P (roman capitals) without pellet, in rect
angle. 141

THE CLEARWATER COLLECTION
OTTO PARISIEN & SON1
New York, N. Y. Otto Parisien became a Freeman,
1769; his son David worked in partnership with him, 1789-
1817. 289 Mug. Bulbous; everted lip; splayed foot; double-
scroll handle attached to body above with shell-shaped
ornament. H. 5I in.
Inscription: F (rude block letters), on bottom.
S C
Mark: OPDP (roman capitals), in oval or possibly
rectangle, on base (Walpole, 89). Fig. 122.
Published: M.M.A. Bulletin, 8:18.
The shell ornament used in this manner appears to have been
developed by the New York silversmiths. A mug by Myer
Myers, now owned by R. T. H. Halsey, shows the same deco
rative detail.
S P (probably SAMUEL PARMELE)
1737-1803. Guilford, Conn. Prominent citizen, excel
lent craftsman, and a captain (1775) in the Revolutionary
Army. 290-291 Spoons (2). Each: bowl with wide drop;
stem sharply down-curved at tip; bright-cut medallion.
L. 8f in.
Inscription: R (block letters).
S I
Mark: S P (small roman capitals), in rectangle, outline
depressed over P (cf. Walpole, 90:2).
292 Teaspoon. Bowl with drop; feather-edge and
bright-cut medallion on handle. L. 5§ in.
'Otto Parisien, Goldsmith, is mentioned in an advertisement in the
New York Gazette for Dec. 12, 1762. See also cat. no. 491.
142

FOURTH PERIOD  ABOUT I77O-181O
Inscription: A S B (script monogram).
Mark: either S P or S R (somewhat crude capitals),
pellet between, in rectangle.
SAUNDERS PITMAN1
1732-1804. Worked in Providence, R. I.
293 Porringer. Keyhole handle; deep bowl. D.
5! in.
Inscription: B. Aldrich (script), probably added later.
Mark: pitman (shaded roman capitals), in relief in
depressed rectangle, beneath handle.
This porringer came from Portsmouth and probably belonged
to some member of the Aldrich family.
294 Ladle. Shallow circular bowl with drop; handle
down-curving to plain, pointed oval tip. L. G\ in.
Inscription: A.B (block letters).
Mark: pitman (shaded roman capitals), in serrated
rectangle (Walpole, 93:2).
295-296 Spoons (2). Each: bowl with triangular
drop; handle widening to broad, pointed, down-curving
tip; bright-cut border and medallion. L. 8f in.
Inscription: A L (block letters).
Mark as in preceding. J R '
297 Nutmeg-Grater. Cylindrical box, one side open
ing out on hinge to disclose grater; hinged lid with zigzag
moulding. H. 3^ in.
Marks: (1) J R (script monogram), in oval; (2) same
monogram in cartouche; both inside of hinged section.
'See also cat. no. 495.
H3

THE CLEARWATER COLLECTION
S R
298 Teaspoon. Bowl with drop; down-curving stem
with incised zigzag line. L. 5! in.
Mark: S R (rather crude capitals), in rectangle.
S R (probably STEPHEN REEVES)
Burlington, N. J., and New York, N. Y.; working 1767-
1776.

PAUL REVERE
FIG. 123 CAT. NO. 302
299 Creamer. Helmet-shaped; double-scroll handle;
square base and circular stem; beading at lip and on stem.
H. 5* in.
Inscription: G (crudely scratched block letters),
E M
on base (later?).
Mark: S R (shaded roman capitals), in rectangle,
four times on base.
This creamer was purchased by Judge Clearwater in Borden-
town, N. J., which is but a short distance from Burlington.
144

fourth period — about 1770-1810
PAUL REVERE1
300 Creamer. Helmet-shaped, with fluted sides;
strap handle; pricked and engraved border and pendent
festoons at lip; circular stem and square base. H. 5I in.

PAUL REVERE

FIG. I24

CAT. NOS. 3OO-3OI

Mark: revere (shaded roman capitals), no pellet,
in rectangle (Walpole, 97:3), on base. Fig. 124.
Published: M.M.A. Bulletin, 13:161.
'1735-1818. Boston. For further biographical notes, see page 99.
" Revere and Son,
Goldsmiths,
Beg leave to inform their friends and the publick, that they have Re
moved from No. 8, Union-Street, to No. 16 Ann-Street, four doors South
of the Draw-Bridge; Where the Gold and Silversmith's Business is
carried on in all its branches — Plated Ware mended, plated, shoe, har
ness, and Bridle Buckles made in the neatest and newest fashion." The
Massachusetts Centinel, March 3, 1790.
US

THE CLEARWATER COLLECTION
According to tradition, this creamer and the accompany
ing sugar-bowl were made as a gift for a Virginia bride
and remained in her family until purchased by Judge
Clearwater.

301 Sugar-Bowl with Cover. Mate to preceding;
urn-shaped; pine-cone finial; decoration similar to that
on creamer. H. 9J in.
Mark as above. Fig. 124.
302 Sugar-Bowl. Oval, basket-shaped, with fluted
sides; oval base; flat bail handle; engraved and punched
borders similar to those on creamer. H. 4§ in.
Inscription: H (script), on lip. Fig. 123.
303 Stand. Pointed oval; raised margin cut in con
cave scallops; four grooved feet; decoration as in preceding.
D. 7\ x 5 in.
Inscription: H (script), engraved at center.
Mark: revere, as in no. 300, on base.
304 Teapot. Oval in section, its vertical sides fluted;
low-domed cover with pine-cone finial; straight, tapering
spout; wood handle; engraved and pricked borders and
pendent festoons. H. 6| in.
Inscriptions: (1) S B (script monogram); (2) 20-13,
roughly scratched on base.
Mark: revere, as in no. 300, on base. Fig. 125
and head-band on page 115.
305-308 Salt-Spoons (4). Each: shell-shaped bowl
with drop; down-curving stem, pointed at tip and en
graved with bright-cut oval enclosing monogram and
floral motive. L. 4I in.
Inscription: HEW (script monogram).
146

THE CLEARWATER COLLECTION
Mark: P R (script), in rectangle (Walpole, 97:7).
Fig. 126 and tail-piece on page 160.
These spoons came to Judge Clearwater from Baltimore.
They are said to have belonged to the Williams family of
Boston, a member of which married one of the Baltimore
Bonapartes. 309 Spoon. Bowl with drop; down-
turned handle with short ridge beneath tip.
L. 8i in.
Inscription: S W (block letters).
Mark: -revere (shaded roman capitals),
pellet before, in rectangle (probably Walpole,
97:1). This piece came to Judge Clearwater from
Baltimore and has the same history as the
preceding salt-spoons.

3 10-3 1 1 Spoons (2). Each: drop and
foliate scroll ornament in low relief on bowl;
handle with rounded down-curving end;
PAUL
REVERE bright-cut wave border. L. 8| in.
fig. 126 Inscription: C (block letters).
CAT. NO. 305 t p
Mark as in preceding.
312-314 Spoons (3). Each: bowl with drop and foli
ate scroll ornament in low relief; down-curving handle
with border of wave design. L. 8 in.
Inscription: E A O (script monogram).
Mark: -revere, as in no. 309. Fig. 61.
Presented by Edward A. Oliver to Edward Brattle and Esther
Parkman Oliver when they were married September 13, 1787.
315 Spoon. Bowl with drop; thick handle widening
into down-curving end; bright-cut wave border with oval
medallion and pendant. L. 8f in.
148

\

FOURTH PERIOD  ABOUT I 7 7 O - I 8 I O
Inscription: K L C (script monogram).
Mark: revere (shaded roman capitals), in rectangle
(Walpole, 97:4).
316-321 Tablespoons (6). Each: bowl with drop;
down-curved handle. L. 8f in.
Inscription: I M K (script monogram); in one spoon
this monogram is enclosed in oval medallion and the letters
are thicker.
Mark: revere, as in preceding.
The initials are said to be those of Colonel Israel M. Keith, a
major of the Continental Army and aide-de-camp to General
William Heath, from the thirteenth of August, 1776, to the
twenty-third of May, 1778. General Heath was colonel of a
Massachusetts regiment at Lexington and Concord. The
spoons were bought by Judge Clearwater from a grandson of
Colonel Keith. (See also nos. 326-327.)
322 Teaspoon. Bowl with drop; down-turned han
dle. L. 5I in.
Inscription: I (block letters).
IS
Mark: P. R (script), with pellet, in rectangle.
323-324 Spoons (2). Each: bowl with drop; slender
curved handle broadening into somewhat squared end
with cut corners. L. 9J in.
Inscription: J L H (script monogram).
Mark: revere, as in no. 300.
325 Tongs. Acorn tips; bright-cut. L. 6| in.
Inscription: I M L (script monogram).
Mark: -revere, as in no. 309, twice.
Exhibited at the Museum of Fine Arts, Boston, in 191 1, cat.
no. 880. 149

THE CLEARWATER COLLECTION
JOEL SAYRE1
1778-1818. Born in Southampton, L. I. Name in
New York directory, 1798. Married 1813.
326-327 Toddy-Ladles (2). Each: oval bowl with
triangular drop; long, pointed handle with bright-cut
design. L. <y\ in.
Inscription: I M K (script monogram).
Mark: 1. sayre (shaded roman capitals), in shaped
rectangle (cf. Walpole, 104:1. Mark on these ladles has
slight depression in upper margin).
Published: M. M. A. Bulletin, 8:163.
The initials are said to be those of Colonel Israel M. Keith of
the Continental Army. Other spoons, made by Revere, which
formerly belonged to Colonel Keith, are described in nos.
3T6-21.328-329 Spoons (2). Each: bowl with triangular
drop; slightly down-curving handle with clipped end.
L. 9! in.
Inscription: A (script).
Mark: I. sayre, as in preceding.
330 Teaspoon. Pointed drop on bowl; slender stem
expanding to pointed oval tip; bright-cut. L. 6 in.
Inscription: I H B (block letters).
Mark: 1. sayre, as in preceding.
G. SCHANCK
331 Tongs. Bright-cut. L. 6\ in.
Inscription: C (block letters).
W A
Mark: g. schanck (shaded capitals, a bit rough),
in rectangle, twice.
'See also cat. nos. 508-510. ISO

FOURTH PERIOD  ABOUT I770-181O
J. SCHANCK
New York; working 1796.
332 Teapot. Oval in outline; vertical sides; Bell-
shaped cover with urn finial; straight spout; wood handle;
beaded mouldings and bright-cut designs, floral borders
and shield on either side (one with monogram) from which
spring scrolls and festoons of roses. H. 7! in.

J. SCHANCK
FIG. 127 CAT. NO. 332
Inscription: C C (script monogram), one letter in cen
ter, other perhaps added later, to right.
Marks: (1) j. schanck (shaded roman capitals),
in rectangle, on base; (2) spread eagle; (3) false date-
letter, m in shield. Fig. 127 and tail-piece on page cxl vii.
ANTHONY SIMMONS
Philadelphia, Pa.; late eighteenth century.
333-334 Spoons (2). Each: bowl with drop and bird
and spray in low relief; plain, pointed, down-turned han
dle. L. 9 in.

THE CLEARWATER COLLECTION
Inscription: S W (script monogram).
Mark: A. simmons (shaded roman capitals), in rect
angle, left end indented (cf. Walpole, 106:2).
I T
335 Patch-Box. Tiny, oval; separate lid overlapping
box to mid-band of latter; lid chased in scale pattern.
D.fxifin. Mark: I T (capitals), in oval, inside lid and box.
(THOMAS) UNDERHILL & (JOHN) VERNON
Thomas Underhill became a Freeman, New York, 1787.
336-337 Spoons (2). Drop on each bowl; rounded,
down-curved handle. L. 8| in.
Inscription: E (block letters).
S C
Marks: (1) T..U (shaded roman capitals), two dots
or hyphen between, in rectangle; (2) I.V (shaded roman
capitals), pellet between, in cartouche (Walpole, 116:1).
338 Tongs. Slender; continuous bright-cut border
and pendent guilloche. L. 6 in.
Inscription: H H S (script monogram).
Marks: (1) T U (shaded roman capitals), apparently
no hyphen between, in rectangle; (2) I.V, as in pre
ceding.
P. VAN BEUREN
New York; working 1790.
339 Mug. Straight, tapering; heavy moulding at lip
and base. H. 3§ in.
Inscription: T D (or D T) (script monogram), in ser
rated circle, on front. 152

FOURTH PERIOD  ABOUT I770-18IO
Marks: (1) V B (shaded roman capitals, conjoined),
in decorated cartouche, three times on base (Walpole,
116:1); (2) two indistinct marks.
DANIEL VAN VOORHIS
Philadelphia, working 1782-1787; New York, 1787-
1797. 340 Teapot. Oval; vertical sides; straight spout;
pineapple finial with two whorls of leaves; beaded mould
ings and pricked borders. H. 7\ in.
Inscriptions: (1) Crest: an arm in armor embowed,
the hand holding a dagger, point to dexter. Crest is dis
played within a shield with ermine mantling, letter B (old
English) below shield; (2) similar shield with script mono
gram IRS.
Marks: (1) d. v. voorhis. (shaded roman capitals),
in rectangle, twice (Walpole, 118:3); (2) eagle displayed
in lozenge.
341 Stand. Accompanying teapot; oval; beaded rim;
four feet. D. 7% x 5§ in.
Inscription: IRS (script monogram) on shield with
ermine mantling, surmounted by crest, an arm in armor,
old English B below.
Marks as on teapot but name appears once, eagle
twice. 342 Urn with Cover. Deep conical bowl on circular
stem; square foot; spool-shaped cover with pineapple
finial (upper whorl of leaves missing); beaded mouldings.
H. 10 in.
Inscription: two shields with ermine mantling, charges,
etc., as on teapot.
Marks as on teapot. 153

THE CLEARWATER COLLECTION
343-344 Spoons (2). Each: deep bowl with drop;
down-curving handle with bright-cut medallion. L. 9 in.
Inscription: S A (script monogram).
Marks: (1) V. V. & S. (shaded roman capitals), in
serrated rectangle (cf. Walpole, 118:1); (2) eagle displayed
in square; one spoon also stamped twice with figure 3.
Fig. 60.
345-346 Spoons (2). Similar to preceding but smaller.
L. 7\ in.
Inscription and marks as above.
JOHN VERNON
New York; working 1789.
347 Tongs. Narrow hoop with bright-cut medallion
and pendant. L. 6f in.
Mark: I.V (shaded roman capitals), pellet between,
in cartouche, twice (Walpole, 118:1).
DAVID VINTON
Boston, Mass., and Providence, R. I.; working 1792.
348 Bowl and Cover. Deep curved bowl on high
foot; separate bell-shaped lid with urn finial; repousse bead
borders. H. 6f. in.
Mark: D.V (shaded roman capitals), with pellet, in
rectangle (Walpole, 119), three times on base. Fig. 128.
B W
New York, N. Y.
349 Tongs. Slender; bright-cut medallion and spray.
L. 7 in. 154

FOURTH PERIOD  ABOUT 1770-181O
Inscription: E H (script monogram).
Marks: (i) B W (shaded roman capitals), in car
touche; (2) n. york (shaded roman capitals), in serrated
rectangle.
I W
350 Spoon. Drop on bowl; slender stem widening
to clipped end. L. 4! in

gA-

DAVID VINTON
FIG. 128 CAT. NO. 348
Inscription: N S (script monogram), on face; A S
(block letters), on reverse.
Mark: I.W. (shaded capitals), in cartouche.
BARNARD WENMAN
New York, N. Y. ; working 1786.

5 j in.

351 Tongs. Bright-cut. L. 6\
Inscription: WM D (script monogram). >
Mark: b. wenman (shaded roman capitals), with
pellet, in rectangle (cf. Walpole, 124, which is without
pellet). I5S

THE CLEARWATER COLLECTION
SAMUEL WILLIAMSON
Philadelphia, Pa.; working 1796.
352 Creamer. Eight-sided; flat bottom; wide mouth;
strap handle. H. 4I in.
Inscription: H H W (script monogram), in wreath.
Mark: Williamson (shaded roman capitals), in rect
angle, on base.
CHRISTIAN WILTBERGER
Philadelphia, Pa.; working 1793.
353 Teaspoon. Bowl with drop and faint trace of
bird and spray in relief; down-curving handle. L. 5§ in.
Inscription: J S Q (script monogram).
Mark: C. Wiltberger (roman letters), in irregular
shape.
HUGH WISHART1
New York, N. Y.; mentioned in directory, 1789 and
1816. 354 Creamer. Helmet-shaped; circular stem and
square base; beaded lip and stem. H. 5! in.
Inscription: E B (script monogram).
Mark: wishart (shaded roman capitals), in rectangle,
on base (Walpole, 127:2).
355 Creamer. Roughly helmet-shape, tapering to
small columnar stem on square base. H. 5§ in.
Mark: ishart (shaded roman capitals), in rectangle,
on base.
' See also cat. no. 536. 156

FOURTH PERIOD  ABOUT 1770-181O
FREEMAN WOODS
New York, N. Y.; goldsmith at n Smith Street, 1790-93.
356 Teaspoon. Bowl with long drop; down-curved
handle with bright-cut medallion and pendant. L. 5! in.
Inscription: E B (script, conjoined)
to
S D

UNKNOWN MAKER
FIG. 129 CAT. NO. 359
Mark: Woods (shaded script), in cartouche (Walpole,
128:1).
UNKNOWN MAKERS
357 Caster. Vase-shaped, lower portion rounded and
set on small flaring foot; urn finial. H. 7 in.
Inscription: E A (crude block letters), beneath base.
358 Creamer. Helmet-shaped; circular stem and
square base; high strap handle; border at lip; on front,
shield with bow-knot. H. 6| in.
Inscription: E B (script monogram), within shield.
157

THE CLEARWATER COLLECTION

359 Mug. Bulbous, with moulded and splayed base;
double-scroll handle attached by posts; acanthus thumb-
rest. H. 5§ in.
Inscription: i & adw (script interlace), on front.
Fig. 129.
This mug came from the sale by the de Wolfe executors.
They had it with three pieces made by Cary Dunn which
were bid in by members of the family.
Probably this mug was made by Dunn
although there is no certainty about it.
The A is said to be for Aspinwall.
360 Nutmeg-Grater. Oval urn-
shaped; hinged cover with moulded
finial; one side of body opens out on
hinge in center of square base and
discloses grater. H. 2§ in.
Inscription: B (script), on front.
Fig. 130.

UNKNOWN MAKER
FIG. 130 CAT. NO. 360

361 Nutmeg-Grater. Like pre
ceding; saw-tooth oval incised on
front. H. 3! in.
Inscription: S T (script).
Graters in this shape were apparently not made in England.
362-364 Sugar-Bowl, Creamer, and Waste Bowl.
Each with ovoid body, circular stem, and square platform
base; beaded edges; sugar-bowl with reel-shaped cover,
urn finial, and double-scroll handles with acanthus-scroll
thumb-rests. H. 11 J, 7§, and 6| in. respectively.
Inscription on each: M S (foliated script monogram).
Mark on sugar-bowl: s. e. louie (?), very faint, has
been rubbed out; creamer and waste-bowl unmarked.
365 Communion-Token. Circular; engraved on one
side with communion table and vessels and legend: This
158

FOURTH PERIOD  ABOUT I 7 7 O - I 8 I O
do in remembrance of me; on reverse, representation of
the burning bush and legend: nec tamen consume-
batur. D. I-Jg in.
Inscription: Presbyterian Church of Charleston, S. C.
1800 (roman capitals), on rim.
This church was founded in 1732. Jones, in Old Silver of
American Churches, p. 117, describes two cups, two plates,
and a flagon, made in London in 1789-90, and engraved with
the church emblem, the burning bush, and Nec Tamen Con-
sumebatur as in this communion-token.
366-367 Shoe-Buckles, Pair. Rectangular moulded
border with medallion at center top and bottom; fused
plate. 2§ x 2 in. Fig. 62.
368-369 Shoe-Buckles, Pair. Slightly waved mar
gin with simple incised floral design; fused plate. 3J
x 2§ in. Fig. 62.
370-371. Shoe-Buckles, Pair. Rectangular with cut
corners; fluted oval medallion at center top and bottom;
fused plate. 3 x 3! in. Fig. 62.
372 Shoe-Buckle. Rectangular with punched border
design; fused plate. 2J x 2§ in. Fig. 62.
373 Shoe-Buckle. Long oval; stamped design; fused
plate. 3! x if in.
374 Shoe-Buckle. Oval; simple border of bosses.
i\ x if in.
375-376 Shoe-Buckles, Pair. Rectangular; pierced
wave border. 3§x2in. Fig. 62.
377 Shoe-Buckle. Very heavy; rectangular; pierced
border; probably fused plate. 3J x 2§ in. Fig. 62.
1 59

THE CLEARWATER COLLECTION
378-379. Shoe-Buckles, Pair. Rectangular; moulded,
pierced, and punched; fused plate. 2J x 2 in.
380 Shoe-Buckle. Rectangular; simple incised de
sign. 3 x if in.
381 Shoe-Buckle. Reeded rim. 3 x 2§ in.
382 Shoe-Buckle. Rectangular; incised and pricked
border with flower motive; fused plate. 2§ x if in.
Inscription: 1776. Fig.G2.
383 Shoe-Buckle. Oval; border of bosses. 2§ x if
in. Inscription: S N or N S (block letters).
384-385 StocKtBuckles (2). if x 2| in.
Inscription: W P (script).
These stock-buckles belonged to Judge Clearwater's great
grandfather.

,*-\/--, -'A

160

nament
Heavy andElaborate

FIFTH PERIOD
first half of the nineteenth century
HE early years of the century were Forms
dominated by the. Empire styles which an^ ®r-
had developed in France as a reaction
against all earlier fashions. Because
of the great enthusiasm felt at this
period in America for all things French
and the antipathy to everything British,
the French styles had a wide vogue here. Later influences
are too diffuse for classification. The forms and ornament
are generally heavy; there is less art and more elaboration
of detail. The objects are larger in size than their
predecessors and are usually made of very thin silver.
Elaborate tea-sets are common, the creamer much larger
and made to match the teapot and sugar-bowl. Many of
the early nineteenth-century pieces are supported on ball
feet. Possibly the greatest interest in the silver of this
period lies in the fact that it recalls days when families
were generally large and hospitality was lavishly dispensed.
Certain variations in the form of the spoon occur in the
early years of the nineteenth century. The so-called
coffin-shaped spoon is popular during the first ten years
of the period. About 1810 the fiddle-backed handle
161

THE CLEARWATER COLLECTION
comes into fashion, in which the upper portion is broad
and somewhat fiddle-shaped while the lower portion of the
handle is narrowed and marked by a shoulder just above
its junction with the bowl. Many of the spoons made
about 1830 are ornamented with baskets of roses or
sheaves of wheat.
JOHN ADAMS1
386 Tongs. Plain. L. 6f in.
Inscription: S. Davis (script).
Mark: J A (script), conjoined in rectangle, twice
(Walpole, 3:2). I B
387 Tongs. Acorn tips; bright-cut border and medal
lion. L. 6 in.
Inscription: C R (script monogram).
Mark: LB, pellet between, in rectangle.
J B
388 Teaspoon. Bowl without drop; plain, slightly
down-curved handle. L. 5I in.
Inscription: S F (script monogram).
Mark: J B (script), in oval.
B & P
389 Tongs. L. 6| in.
Inscription: L W R (script monogram).
Marks, series of three on each arm: (1) B & P (roman
capitals), in rectangle; (2) A in triangle; (3) man with bow
in left hand, arrows in right, in octagon.
'Alexandria, Va., about 1800 (see also cat. no. 191).
162

FIFTH PERIOD  1800-1850
W. B. & T.
390 Tongs. Bright-cut medallion. L. 7 in.
Inscription: M C (script monogram).
Mark: W. B & T (shaded roman capitals), in rect
angle, twice.
H B (probably HENRY BAILEY)
Boston, Mass.; directory 1808.
391 Stock-Buckle. Rectangular, if x if in.
Marks: (1) H.B, in rectangle; (2) lion passant in
shield or rectangle; each twice.
BAILEY & KITCHEN
Philadelphia, Pa.; working 1846.
392 Beaker. Plain, tapering; moulded lip and foot.
H. 3| in.
Marks: (1) B. & K. (shaded roman capitals), in rect
angle; (2) eagle in octagon; (3) harp in rectangle; (4) un
known object resembling shuttlecock, in rectangle; on
base. 393 Bowl and Cover. Inverted pear-shape with
flanged lip; circular stem and foot; domed cover with con
ventionalized fruit finial; foliate scroll borders at lip and
foot. H. 9J in.
Inscription: M M E (script monogram).
Marks: (1) bailey & kitchen (shaded roman capitals),
in oval or rectangle; (2) (3) (4) as in preceding number.
394 Sugar-Bowl. Vertical sides; flat bottom; domed
lid and finial; strap handles; engraved borders. H. 6f
in. 163

THE CLEARWATER COLLECTION
Inscription: A R (script).
Marks : four marks noted in preceding entry. Fig. 131.
W. BAILY, JR.
395 Tongs. Plain. L. 6f in.
Inscription: C (script).
Marks: (1) w. baily jr. (roman capitals), in serrated
rectangle; (2) eagle in rectangle; each mark twice.

BAILEY & KITCHEN
FIG. 131 CAT. NO. 394
GEORGE BAKER
Providence, R. I.; working 1825.
396 Mug. Bulbous body curving sharply inward to
splayed foot; double-scroll handle on posts; acanthus
thumb-rest. H. 5! in.
Inscription: A A (script monogram).
Mark: g. baker (shaded roman capitals), in rectangle,
twice on base (Walpole, 8:1).
BELLONI AND DURANDEAU
New York, N. Y. 164

FIFTH PERIOD  180O-1850
397 Jug. Circular; wide flaring lip; scroll handle;
high-domed base. H. 7! in.
Marks: (1) belloni & durandeau (shaded roman
capitals), in engrailed rectangle; (2) new-york, like pre
ceding; on base.
L. BOUDO
398 Map Case. Rectangular box with separate
cover; cabled mouldings. H. 9f in., W. 8T\ in., Th. iT\ in.
Inscription: Presented By / Richard J. Manning /
Governor of South Carolina / TO / General Lafayette /
Whilst at Columbia in March 1825 / In tracing your
route through our Territory every / inhabited spot will
recall to your memory the / devotion and affection of a
grateful people. Ls. Boudo, Fecit Charleston, S° Ca.
(chiefly in script lettering).
Mark: Ls. boudo (shaded roman capitals), in rect
angle, on base.
This historic box contains a map of South Carolina.
J. BOUTIER
399 Tongs. Bright-cut border. L. 6f in.
Inscription: W R K (script monogram).
.Mark: j. boutier (roman capitals), in oval.
BROWNE & SEAL
Philadelphia, Pa.; about 1819.
400 Teaspoon. Bowl with drop; down-curving han
dle. L. 6f in.
Inscription: I R H (script monogram).
Mark: browne & seal (shaded roman capitals), in
scroll. This is very similar to the teaspoon by Lewis and Smith (no.
473)- 165

THE CLEARWATER COLLECTION

N B (probably NICHOLAS BURDOCK)
Philadelphia, Pa.; working 1797.
401-402 Teaspoons (2). Each: pointed bowl with
out drop; end of handle square-cut and shouldered; dia
mond-shaped panel with mono
gram. L. 5§ in.
Inscription: S S (script
monogram). Mark: N.B (shaded roman
capitals), pellet between, in
rectangle (Walpole, 21:1).
I c
403 Syrup-Jug. Helmet-
shaped with circular stem and
square base; four ball feet;
domed lid and urn finial; beaded
margins. H. 8| in.
Inscription: IRS (script
monogram), crest and black
letter B below.
Mark: I C (block letters), in rectangle, in each corner
of base. Fig. 132.
I C
404 Tongs. Bright-cut and pricked designs. L. 6 in.
Inscription: ATE (script monogram).
Mark: I C, in rectangle.
C & N
405 Tongs. Plain. L. 6f in.
Inscription: H N (script monogram).
166

FIG. 13

FIFTH PERIOD  1800-1850
Mark: C & N (shaded roman capitals), in rectangle,
twice. CHAUDRON'S & RASCH
Philadelphia (?); about 1820.
406 Tongs. L. 7 in.
Inscription: P A (block letters).
Y
Marks: (1) chaudron's & rasch (shaded roman capi
tals), in scroll; (2) ster. ameri. man. in scroll (probably
Sterling, American Manufacture).
J. COOK
Portland, Me. (?), about 1820.
407 Tongs. Margin of tips fluted. L. 6 in.
Inscription: M (script).
Mark: j. cook (shaded roman capitals), in rectangle,
twice.
JOHN CRAWFORD
New York; working 18 15.
408 Teapot. Bulbous body with wide flutes; domed
foot; curved spout; grape-vine and palmette borders.
H. 8f in.
Mark: j. Crawford (roman capitals), in rectangle
twice on base (Walpole, 32:1).
T. A. DAVIS
Boston, Mass.; working 1824.
409-410 Salt Shovels (2). L. 3! in.
167

THE CLEARWATER COLLECTION
Mark: T. a. davis (shaded roman capitals), in rect
angle (Walpole, 34:1).
T. P. DROWN
About 1800.
411-412 Spoons (2). Each: long pointed bowl with
long drop; plain "coffin" handle. L. 5 in.
Inscription: A M (block letters).
Mark: t. p. drown (shaded roman capitals), in rect
angle, with pellets (cf. Walpole, 38). Fig. Go.
F X E (or F A E)
413 Fork. Four square-cut tines with shoulder above
and drop; flat stem with wide tip. L. 5 in.
Inscription: MAW (script monogram).
Mark: F. X. E. (roman capitals), pellets between, in
rectangle.
GARRETT EOFF
New York; about 1785-1850.
414 Coffee-Pot. Oviform body fluted at base;
lion's claw feet on balls with acanthus carving above;
acanthus foliage on lid, handle, and spout; fruit finial.
H. io| in.
Mark: G. Eoff (roman capitals, initials larger), in
shaped rectangle (cf. Walpole, 43).
Exhibited at M. M. A., Hudson-Fulton Exhibition, 1909, no.
33i-
415-417 Teapot, Sugar-Bowl, and Creamer. Each:
oval, bulbous, on high-domed foot; mouldings suggesting
egg and dart pattern; finial vaguely acorn-shaped; teapot
168

FIFTH PERIOD  I 8 O O - I 8 5 O
with curved spout and silver handle. H. respectively
9§, 8|, and 6 in.
Mark on each as in no. 414.
418 Tongs. Repousse claw tips; scallop shell at
springing of hoop. L. 6f in.
Inscription: Crest: stag's head erased.
Marks: (i) G. Eoff as in no. 414; (2) C (roman letter)
in oval; (3) bird in oval; each mark appears twice.
EOFF & CONNOR
New York; working 1833.
419 Creamer. Shallow, on three cast animals' claw
feet with leaf carving in relief at knee. H. 2f in.
Inscription: M L O (script).
Marks: (1) G. Eoff (shaded roman capitals, initials
larger), in shaped rectangle; (2) j. h. connor (shaded roman
capitals), in engrailed rectangle (Walpole, 30:1); (3) Gothic
S, star above, in oval; (4) N. Y. (thick capitals), in shaped
shield.
EOFF & PHYFE
New York; working 1850.
420 Bowl. Rounded sides; circular stem and square
base; bead moulding at lip; engraved lambrequin, foliate
scrolls, and swags of flowers; shield on either side. H. 5f
in. Inscriptions: (1) A H E (script monogram), in shield; (2)
Punch Bowl, / Phineas Eldredge / Presented by Co. / of
Ship Masters / of London (script), in shield; (3) mollie e.
morris (roman capitals), on base; (4) Evea L. Mayer
(script), on base. 169

THE CLEARWATER COLLECTION
Marks: (i) E & P (roman capitals), in rectangle (Wal
pole, 43:1); (2) Baldwin & co. (shaded roman capitals),
in rectangle; each mark twice on base.
This is said to have been a baptismal bowl of the Morris
family, and the initials and names those of members of the
family at whose christening it was used.
HENRY FARNAM
Born Norwich, Conn., 1773. Brother of Rufus Far
nam (see page 129). In Boston, 1 799-1 825; moved to
Hanover about 1833. Married Nancy . . .
421 Teaspoon. Down-curved handle, tip cut some
what square. L. 5§ in.
Inscription: A W (script monogram).
Mark: h. farnam (roman capitals), in rectangle (Wal
pole, 45:1).
R. & H. FARNAM
422 Flagon. Ewer-shaped on circular stem and
base; hinged lid and urn finial; reeded band at lip and
shoulder; double-strap handle with shell-shaped sockets.
H. 15! in.
Mark: r & h. farnam (shaded roman capitals), in
rectangle (Walpole, 45:1), on base. Fig. 133.
Published: M.M.A. Bulletin, 8:164.
Exhibited at the Museum of Fine Arts, Boston, in 191 1, no.
497 in Catalogue of American Church Silver. This was for
merly the property of the First Baptist Church, Salem, Mass.
FELLOWS
Newport, R. I. (?); about 1800.
423 Mug. Faintly barrel-shaped with applied bands
at lip and foot; strap handle. H. 3I in.
170

FIFTH PERIOD  180O-185O
Marks: (1) fellows (shaded roman capitals), in
oval, twice on base (Walpole, 46:1); (2) lion passant, in
rectangle (?).
424 Tongs. Plain. L. 6f in.
Inscription: R L (?) (script monogram).

R. & H. FARNAM
FIG. 133 CAT. NO. 422
Mark: Fellows (fine italic letters), in shaped rect
angle, once and trace of second.
THOMAS FLETCHER
Boston, Mass., about 1810; and Philadelphia, Pa.,
about 1830. 171

THE CLEARWATER COLLECTION
425 Teapot. Ovoid body contracted at neck, on
domed foot; fruit finial; curved spout; acanthus-leaf orna
ment in relief. H. iof in.
Mark: t. Fletcher, philad. (shaded roman capi
tals), in voided oval, on base.

G. FORBES
New York; working 18 16.
426-428 Teapot, Sugar-Bowl, and Creamer. Each:
long, bulbous body with constriction at shoulder; ball
feet; teapot with curved spout, silver scroll handle, and
pyramidal finial. H. respectively 6f, 6f, and 5I in.
Inscription: H J O (script monogram), on each.
Mark: g. forbes (shaded roman capitals), in rect
angle (Walpole, 47:1), on base of each.
I. W. FORBES
New York; working 1805-20.
429 Creamer. Bulbous on rectangular domed foot;
chased border at shoulder; cartouche formed of crossed
wheat sprays, on side. H. 6f in.
Inscription: H B (script monogram).
Mark: I. W. Forbes (shaded roman capitals, initials
slightly larger), pellets faint, in rectangle (cf. Walpole,
47:1). Initial on page 161.
430 Jug. Bulbous earthenware body, lower portion
a light brown, upper portion of darker tone; hunting and
drinking scenes modeled in relief; curved handle; lip-
rim, low-domed cover, and wire thumb-piece of silver.
H. 9! in. 172

FIFTH PERIOD  1800-1850
Marks: (1) 1. w. forbes. (shaded roman capitals),
pellets between and at end, in rectangle (Walpole, 47:1);
(2) pseudo-hall-marks, anchor in oval; (3) star in circle;
(4) C in oval; (5) indistinct; all on lip.
431 Mug. Straight, tapering; two bands of reeding;
hollow, shaped handle. H. 3 J in.
Inscription: J F B (script monogram).
Marks: on base (1) 1. w. forbes (roman capitals),
in rectangle; (2) head to right in oval; (3) otter or beaver
in oval; (4) anchor in oval; (5) star in circle (cf. Walpole,
47:1).
W. FORBES
New York; working 1839.
432 Caster. Vase-shaped; pierced and domed lid
with flame finial; repousse floral and rocaille scroll de
signs. H. 6f in.
Inscription: GMT (script monogramj, in cartouche.
Same monogram occurs on creamer by Otis, no. 130.
Mark: w. forbes (roman capitals), in rectangle, on
base (cf. Walpole, p. 47).
W. G. FORBES
New York, Freeman, 1773; working 1803. "Name
appears in first New York Directory in 1786; under notice
of a meeting of the Gold and Silver Smiths' Society; mem
ber of Mechanics' Institute, 1802."
433-435 Teapot, Sugar-Bowl, and Creamer.. Each:
rectangular with slightly rounded sides; band of acorn
and scroll design at shoulder; teapot with curved spout of
rectangular section; urn finial. H. respectively: 6f, 6j,
and 4! in. 173

THE CLEARWATER COLLECTION
Inscription: J N W (script monogram).
Mark: W. G. Forbes (shaded roman capitals, initials
larger), in shaped rectangle; twice on base of teapot and
bowl, once on creamer. Head-band on page 161.
436 Tongs. Tips somewhat shovel-shaped; plain.
L. 6f in.
Inscription: R C C (script monogram).
Mark: W. G. Forbes. (italics), with three pellets, in
rectangle, twice.
437 Spoon. Bowl with drop; down-curved "fiddle"
handle. L. 8f in.
Inscription: C H (script monogram).
Mark: W. G. Forbes, as in cat. nos. 433-435.
438 Spoon. Bowl with long triangular drop; "coffin"
handle. L. 8f in.
Inscription : A M W (script monogram).
Marks: (1) W. G Forbes (script) in rectangle (Wal
pole, 47:1); (2) wheat sheaf in rectangle; (3) bird's head to
left in oval.
GEORGE B. FOSTER
Salem and Boston, Mass.; working 1838.
439-441 Teapot, Sugar-Bowl, and Creamer. Each:
inverted pear-shape with spreading base; teapot and bowl
with flaring bell-shaped covers and finials representing
fruit and leaves; silver handles. H. respectively 8f, 7§,
and 6f in.
Inscriptions: (a) H B H (script monogram), on side;
(b) from Charlotte Harris, 1853 (script), added later, on
base. Marks: (1) george b. foster, (roman capitals),
174

FIFTH PERIOD  180O-185O
in rectangle, on each; (2) boston, (shaded roman capitals),
incised, on teapot and creamer; boston in rectangle, on
sugar-bowl; (3) Pure Silver Coin (italics) in rectangle, on
teapot; Coin (gothic letters), incised on bowl and creamer.
Fig. 134-

GEORGE B. FOSTER
fig. 134 CAT- NO- 439
N. FRANCIS
New York; working 1805-1816.
442 Tongs. Plain. L. 7 in.
Inscription: J.Y. or LY. (script monogram).
Marks: (1) n. francis (shaded roman capitals), in
rectangle, twice (Walpole, 48:1); (2) C, in oval, twice.

G. GAITHER
443 Tongs. Fluted tips; incised designs. L. 6f in.
Inscription : Presented by Doct. / William Beanes / to
M- B- Beanes (script). 1 75

THE CLEARWATER COLLECTION
Mark: G. Gaither (shaded roman capitals, initials
larger), in rectangle. J. GASKINS
Norfolk, Va. (?)
444 Ladle. Circular bowl with drop; down-curving
handle with "coffin" end. L. i4f
 in. Inscription: R F L (script
monogram). Mark: J. Gaskins (long s), in
engrailed rectangle, twice.

«fc

445 Tongs. Bright-cut designs.
S^ L. 6f in.
GREGG, HAYDEN & CO. Inscription : M (script).
fig. 135 cat. no. 447 Mark: J G (thick capitals), in
rectangle with diagonally-lined
ground, twice (probably mark of J. Gaskins).
JOHN GOODHUE
Salem, Mass.; working 1840 (?).
446 Beaker. Slightly curved sides, ribbed moulding
at foot. H. 3 J in.
Inscription: Ann E. Creamer (script).
Mark: j. goodhue (shaded roman capitals), in rect
angle (Walpole, 53).
Exhibited at the Museum of Fine Arts, Boston, in 191 1,
cat. no. 520.
GREGG, HAYDEN & CO.
Charleston, S. G; working 1832-1840.
447 Beaker. Plain, tapering; moulded lip and foot.
H. 3f in. 176

FIFTH PERIOD— 1800-1850
Marks: (1) gregg hayden 4 co. (roman capitals), in
rectangle; (2) D, in circle; (3) 1846 arranged in lozenge,
tlius Sj\; (4) indistinct. /-;„ „-

W H
448 Creamer. Oval, bul
bous; oval foot; cabled
moulding at lip; strap handle.
H. sf in.
Inscription: C G (script
monogram). Mark: WH (rather crude
capitals), pellet between, in
rectangle, twice on base.
W H
449 Creamer. Slightly bul
bous, oval in section; fluted
sides; strap handle. H. 4f in.
Inscription: (?) G (script monogram).
Mark: W H (shaded roman capitals), twice, with
band between, in rectangle. fig. 136.

W H
FIG. I36 CAT. NO. 449

NEWELL HARDING
Haverhill and Boston, Mass.; 1 799-1 862.
450 Jug. Squat, bulbous body with high lip and spout;
scroll handle; short circular stem and domed foot. H. 6f in.
Inscription: H B S (script monogram).
Marks: on base, (1) N. Harding (italic letters), in
irregular shape; (2) boston, (large, thin roman capitals),
pellet following, in rectangle; (3) Pure Silver Coin (italics),
in rectangle. 177

THE CLEARWATER COLLECTION
STEPHEN HARDY
1 781-1843. Portsmouth, N. H. Apprenticed to Paul
Revere and William Simes.
451 Tongs. Plain. L. 6f in.
Inscription: E N (script monogram).
Mark: hardy (roman capitals), pellet following, in
rectangle, twice (Walpole, 59:2).
W. B. HEYER
New York, N. Y.; 1798-1827. Associated with Hyde
and Nevins, working 1798.
452-454 Teapot, Sugar-Bowl, and Creamer. Each:
bulbous body constricted at shoulder; rectangular base on
ball feet; cabled mouldings; bowl and teapot with domed
lids and moulded finials. H. respectively: 8f, 7f, 6f in.
Marks on each: (1) W. B. Heyer (shaded roman capi
tals, initials larger), in rectangle; (2) Hyde & Nevins
(shaded roman letters), in rectangle (Walpole, 68:1).
JAMES HOWELL
Philadelphia, Pa.; working about 1810.
455 Ladle. Circular bowl; plain drop; down-curving
"coffin" handle. L. 14! in.
Mark: howell (shaded roman capitals), in rectangle.
J. HUTCHINSON
456 Tongs. Bright-cut. L. sf in.
Inscription: S C (script).
Mark: J. Hutchinson (roman capitals, initials larger),
in shaped rectangle. 178

FIFTH PERIOD  1800-1850
ISAAC HUTTON1
457 Beaker. Narrow everted lip; curved sides slop
ing inward to base. H. 3 \ in.
Inscription : Isaac D. Verplank, Witbeck / 1 863 (script) .
Marks: on base, (1) hutton (shaded roman capitals),
in rectangle; (2) eagle in oval (Walpole, 68:1).

ISAAC HUTTON

FIG. I37

CAT. NOS. 458-459

Published: Catalogue of Hudson-Fulton Exhibition, 1909, no
379-
This piece came from Albany, where the Verplank and Wit-
beck families were well known.
458-459 Candlesticks, Pair. Hollow, fluted, cir
cular shaft; plain circular base sloping to square plinth;
square saucer for removable socket. H. 8| in.
Mark: hutton, as in preceding. Fig. 137.
'1767-1855. Albany, N. Y. (see page 133).
179

THE CLEARWATER COLLECTION
460 Creamer. Four-sided, with constriction below
shoulder; four ball feet; band of lozenge pattern at lip.
H. sf in.
Inscription: I K W (or J K W?) (script monogram).
Marks: (1) hutton, as above; (2) eagle in oval, four
times, on base (Walpole, 68:1).
461 Teapot. Somewhat rectangular in form, with
constriction at shoulder; ball feet; curved spout; finely
cabled mouldings. H. 7f in.
Inscriptions: (a) state of new-york / By the society
for the Promotion of / Usefull arts, this Premium is
awarded to / Nicholas smith / of the County of Saratoga,
for the / Second best Specimen of / woolen cloth / pre
sented the present Year/1813; (b) device of New
York State: a rising sun; crest, an eagle displayed on
demi-globe; scroll legend excelsior; supporters, Liberty
and Justice.
Marks: (1) and (2) as above.
462 Tongs. Bright-cut design. L. 7 in.
Inscription : E R V D B.
Mark: hutton (shaded roman capitals), in rectangle,
twice (probably Walpole, 68:1).

B. IVERS
About 1800.
463 Spoon. Rounded drop on bowl; down-curved
"coffin" handle. L. 9 in.
Inscription: H M E (script monogram).
Mark: B. Ivers. (shaded roman capitals, initials
larger), pellet following, in serrated rectangle (Walpole,
69). 180

FIFTH PERIOD — 1800-1850
C. JOHNSON
Albany, N. Y.; working 1825.
464 Bowl. Rounded sides; high foot-rim with con
ventionalized border; cabled moulding at lip. D. 7f in.
Marks: (1) c. johnson (shaded roman capitals), with
pellet, in rectangle; (2) anchor in circle; (3) head to right
with periwig, in oval (?); (4) anchor in oval; on base.

T. KEELER
FIG. I38 CAT. NOS. 467-468
JONES, LOW & BALL
Boston, Mass.; working 1839.
465 Mug. Bulbous body on high-domed foot. H.
4f in.
Marks: (1) jones, low & ball (shaded roman capi
tals), in rectangle; (2) Boston (shaded letters), in rect
angle; (3) Pure Silver Coin (italics), in rectangle, on base.
T K
466 Spoon. "Coffin" handle. L. 9I in.
Inscription: I A B (script monogram).
Mark: T.K. (roman capitals), two pellets, in finely
serrated rectangle.

THE CLEARWATER COLLECTION
T. KEELER
About 1800.
467-468. Teaspoons (2). Each: bowl with drop;
down-curving "coffin" handle; bright-cut design. L. 6\ in.
Inscription: ISP (script monogram).
Mark: T. Keeler (shaded roman capitals, initials
larger), in shaped rectangle (cf. Walpole, 71). Fig. 138.
E. KINSEY
Cincinnati, Ohio (?).
469 Beaker. Straight, tapering; heavy mouldings at
lip and foot. H. 3f in.
Mark: e. kinsey (shaded roman capitals), in rectangle
with cut corners.
SAMUEL KIRK & SON1
Baltimore, Md.; 1846-1861. Samuel Kirk (1793-1872)
was born at Doylestown, Pa., of Quaker ancestry. At
seventeen, he began his apprenticeship under James
Howell of Philadelphia, and at its completion was offered
a share in the business. He preferred, however, to estab
lish a business of his own which he did in Baltimore about
1815. For about a year (1818-19) he was in partnership
with a man named Smith. In 1814 Maryland passed a
law providing that silver made in Baltimore should be
stamped with an official mark of quality. The provisions
of this law, the first of its kind in the United States, were
somewhat modified in 1830 as a result of a petition of
which Samuel Kirk was one of the signers.
From 1846 to 1861 the name became Samuel Kirk &
1 See The Story of the House of Kirk, published by Samuel Kirk & Son
Co. in 1914. 182

FIFTH PERIOD  180O-1850
Son, from 1861 to about 1868 it was Samuel Kirk & Sons,
and now is Samuel Kirk & Son Company.
470 Creamer. Vase-shaped, lower part of body
fluted, neck with wide, fluted band; handle with applied
rat-tail ornament; domed base. H. 6f in.
Inscription: n oz.
Mark: s. kirk & son (shaded roman capitals), in rect
angle, on base.
HARVEY LEWIS
Philadelphia; working 18 19.
471 Creamer. Circular, bulbous; domed foot; cabled
mouldings; handle terminating in dragon's head and in
acanthus leaf. H. 6f in.
Inscription: E H (foliate script monogram).
Mark: h. lewis (roman capitals), in serrated or en
grailed rectangle, twice on base.
LEWIS AND SMITH
Philadelphia; working 181 1.
472 Creamer. Oval; horizontal flutings at shoulder;
bands of lozenge design at lip and base. H. 4J in.
Mark: Lewis & Smith (script), in irregular shape, on
base (Walpole, 75).
Published: M.M.A., Hudson-Fulton Celebration, 1909, cat.
no. 390.
473 Teaspoon. Faint drop on bowl; handle with
rounded end. L. 6 in.
Inscription: I R H (script monogram).
Mark as in preceding.
Very similar to spoon by Browne & Seal (cat. no. 400).
183

THE CLEARWATER COLLECTION
JOSEPH LOWNES1
474 Teapot. Circular, bowl-shaped body, lower part
fluted; domed base; bell-shaped lid; cabled mouldings.
H. 7| in.
Inscription: B (script).
Marks, each twice, on base: (i) J. Lownes (script) in
irregular shape (Walpole, 77); (2) eagle in cartouche.
B M
475-476 Candlesticks, Pair. Four-sided shaft;
moulded and reeded socket; fluted and stepped base.
H. 7f in.
Mark: B M (roman capitals), in rectangle on base of
one. Fig. 139.
The mark has not yet been identified. The candlesticks are
said to have come from the vicinity of Newburyport, Mass.
However, the color and quality of the silver indicate the possi
bility of South American origin.
FREDERICK MARQUAND
1799-1882. New York. Married Hetty Perry. Took
his brother Cornelius P. Marquand into partnership in
1 83 1 and another brother, Josiah P., the following year.
The firm became Marquand & Co. in 1839, was succeeded
by Bill, Black & Co., and later by Black, Starr & Frost.
477 Creamer. Covered spout; scroll handle; con
cave foot. H. 2f in.
Inscription: Cynthia Carryl (script).
Mark: marquand (shaded roman capitals), in curved
panel, on base.
1 Philadelphia, working 1796. See nos. 264-6.
184

FIFTH PERIOD* — 180O-1850

JOHN McMULLIN
Philadelphia, Pa.; 1 765-1 843. Mentioned in Phila
delphia directory, 1796.
478 Sugar-Bowl. Oval, fluted bowl with cabled
moulding at lip; domed lid with glass finial; domed foot.
H. 7! in.

B M

CAT. NOS. 475-476

FIG. I39
Mark: I. McMullin (italics), with pellet, in rectangle,
on base.
MARCUS MERRIMAN & COMPANY
New Haven, Conn.; 1802-17. Business founded by
Marcus Merriman (1762-1850) who began silversmith
ing after the Revolutionary War.
479 Teaspoon. L. 6 in. 18S

THE CLEARWATER COLLECTION
Inscription: M D (script monogram).
Mark: M.M. & Co. (shaded roman capitals), pellets
between, in serrated rectangle.
ENOCH MOULTON
Portland, Me.; born 1780. Brother of William Moul
ton (1772-1861) and son of Joseph Moulton (1744-1816).
See also page 94 and foot-note.
480 Tongs. L. sf in.
Inscription: A P (script monogram).
Mark: e. moulton (shaded roman capitals), in ser
rated rectangle, twice (Walpole, 83).
WILLIAM MOULTON1
481 Beaker. Slightly bulbous; narrow everted lip;
flat base. H. 3! in.
Inscription: AMC/to/ETB (script monograms).
Mark: w. moulton (shaded roman capitals), in rect
angle, on base (Walpole, 84:1).
482 Porringer. Keyhole handle. D. 5I in.
Inscription: P (script).
Mark: moulton. (shaded roman capitals), impressed
in rectangle, beneath handle.
483 Teaspoon. "Coffin" handle, slightly down-
turned. L. sf in.
Inscription: E B H (script monogram).
Mark: moulton (shaded roman capitals), incised
(Walpole, 84:3).
484-485 Teaspoons (2). Each: shoulder at base of
1i772-i86i. Newburyport, Mass. See also page 94 and cat. nos.
276-281. 186

FIFTH PERIOD  180O-185O
handle and another at widening of tip; outlined by saw
tooth border. L. 5J in.
Inscription: A M (script monogram).
Mark: w. moulton, as in no. 481.
S. MUSGROVE
486 Spoon. High shoulder above bowl; broad "fid
dle" handle. L. 9! in.
Inscription: A C R (script monogram).
Mark: s. musgrove (shaded roman capitals), im
pressed. Fig. 60.
H. M. NICHOLS
487 Sugar-Shovel. High shoulder at base of stem;
broad tip of undulating outline. L. 6 in.
Inscription: R M (script).
Mark: h. m. nichols (shaded roman capitals), in ser
rated rectangle.
FREDERICK OAKES
Hartford, Conn.; directory, 1825. The firm of Oakes
and Spencer advertised in 1814.
488 Spoon. "Coffin" handle with shoulder. L. 9!
in. Inscription: C T (script monogram).
Mark: oakes (shaded roman capitals), in partly
serrated oval (Walpole, 88:1). T P
489-490. Spoons (2). Each: down-curving, pointed
handle. L. \\ in.
Inscription: B A.
Mark: T P, in rectangle. 187

THE CLEARWATER COLLECTION
PARISIEN/
491 Tongs. Repousse tips representing animals'
claws; scallop shells at springing of hoop. L. 7 in.
Inscription: E S (script monogram).
Mark: parisien (large shaded roman capitals), in
rectangle, on either arm.
JOHN PEABODY
Advertised in 1779, Enfield, Conn.
492 Spoon. Sharply pointed bowl with shoulder
above; down-curving handle with broad, pointed oval tip
and slight shoulder. L. 8J in.
Inscriptions: (1) J C B (script monogram), on face;
(2) Cooper (script), on reverse.
Mark: j. peabody (shaded roman capitals), in rect
angle (Walpole, 91).
PHINNEY & MEAD
About 1825.
493 Tongs. Zigzag border and bright-cut designs.
L. sf in.
Mark: P & M (shaded capitals), in rectangle, twice
(Walpole, 92). WALTER PITKIN
1808-1885. Hartford, Conn. With his brother, John
O. Pitkin, he began the business of silversmithing in 1826
which was continued until 1880. John O. Pitkin retired
in 1840.
'Otto Parisien became a Freeman in 1769. His son David was work
ing 1789-1817. See no. 289.

FIFTH PERIOD  1800-1850
494 Sugar-Shovel. Shoulder at base of handle and
at wide, up-curving, rounded tip. L. G\ in.
Inscription: A G (script).
Marks: (1) w. pitkin (roman capitals), in rectangle;
(2) root & chaffee (fine shaded roman capitals), in
rectangle.
SAUNDERS PITMAN1
495 Creamer. Oval, bulbous; incised borders at lip
and foot. H. 4! in.
Inscription: E & M C
to
F. E. C.
Marks: (1) pitman (shaded roman capitals), in scal
loped rectangle (Walpole, 93:2); (2) jones, ball & poor
(shaded roman capitals), in rectangle; (3) Pure Coin,
twice; all on base. J. S. PORTER
496 Tongs. Bright-cut. L. sf in.
Inscription: I M (script monogram).
Mark: I S Porter (italics), in shape, twice.
P. PRIE
497 Creamer. Bulbous; scalloped edge; double-
scroll handle; three cabriole legs, attached to body with
scalloped plates. H. 6f in.
Inscription: Crest: demi-lion supporting spear erect.
Mark: p (shaded roman capitals), in cartouche
prie (Walpole, 95).
'1732-1804. Providence, R. I. See also cat. nos. 293-96. Jones,
Ball & Poor were working in Boston in 1846.
189

THE CLEARWATER COLLECTION
F Q OR F O
498 Tongs. Bright-cut borders interrupted by bands
of rose design. L. 7 in.
Inscription: J B (script).
Mark: F Q or F O, conjoined, in shaped rectangle.
W R
499 Tongs. Plain. L. 6f in.
Inscription: A J W (script monogram).
Mark: W R (shaded roman capitals), wheat sheaf
above, rosette (?) below, in rectangular cartouche.
REVERE (probably PAUL REVERE 3rd)
1760-1813. Boston, Mass. Eldest son of Paul Revere,
the patriot and silversmith, and grandson of Apollos
Rivoire (see pages 97-100). Was engaged with his father
and brother in the business of bell-casting.
500 Tongs. Acorn-shaped tips; plain. L. sf in.
Inscription: Kent (script).
Mark: revere (shaded roman capitals), letters appar
ently all disjoined, in rectangle.
501 Tongs. Deeply gadrooned tips; plain. L. sf in.
Inscription: W J H (script monogram).
Mark as in preceding.
502 Tongs. Shell-shaped tips; plain. L. 6f in.
Inscription: C M M (script monogram).
Mark as in number 500.
503 Spoon. Handle with very broad, three-sided, or
"coffin end." L. 9| in.
Inscription: E H (script monogram).
Mark as in number 500. 190

FIFTH PERIOD — 1800-1850
T. RICHARDS
After 1800.
504 Beaker. Band of anthemion design in low relief
at base. H. 3f in.
Inscription : Agricultural Society / of / Kings County,
to (script).
Mark: T. Richards, (thick, shaded roman capitals),
in rectangle with cut corners (Walpole, 98).
W. ROE
Kingston, N. Y.; working 1803.
505-506 Spoons (2). Each: very pointed bowl with
drop; "coffin" handle with pricked medallion. L. 8f
in. Inscription: H S D (script monogram).
Mark: w. roe (shaded roman capitals), in rectangle
with indented ends, its upper margin serrated (cf. Wal
pole, iocn). Fig. 60.
ROE & STOLLENWERCK
507 Ladle. Deep oval bowl with drop; wide "cof
fin" handle. L. I4§ in.
Marks: (1) w. roe (shaded roman capitals), in rect
angle with indented ends (Walpole, 100:1); (2) Stollen-
werck (script), in shape.
JOEL SAYRE1
508 Teapot. Oval; horizontal grooves at shoulder;
bell-shaped lid with urn finial; curved spout. H. 6f
in.
1I778-l8i8. Born in Southampton, L. I. Name in New York direc
tory, 1798. See cat. nos. 326-330. 191

THE CLEARWATER COLLECTION
Inscription: M 0 (script monogram), on each side.
Mark: J. Sayre (shaded script), in shaped rectangle
(Walpole, 104:2), on base.
509 Tongs. Plain. L. 7! in.
Inscription: S N C (script monogram).
Mark: 1. sayre (shaded roman capitals), in rectangle
(Walpole, 104:1).
510 Tongs. Plain. L. 7§ in.
Inscription: SEW (script monogram).
Mark as in preceding.
ROBERT SHEPHERD
Albany, N. Y.; about 1800.
511 Tongs. Plain; stems with double shoulder. L.
6f in.
Inscription: RES (script monogram).
Mark: R. Shepherd (italics), in shaped rectangle.
SHEPHERD & BOYD
Albany, N. Y. ; working 1 8 1 0.
512 Beaker. Everted lip; slightly rounded sides
tapering to flat bottom. H. 3f in.
Inscription: honourable testimony / October 1814
/BERKSHiRE/Agricultural Society /to/james barker jnr.
Mark: shepherd & boyd (roman capitals), in serrated
rectangle (cf. Walpole, 105:1).
513 Tongs. L. 6f in.
Inscription: A M L (script monogram).
Mark as in preceding. 192

FIFTH PERIOD  180O-1850
J. D. STOUT
About 1850.
514 Ladle. Oval bowl; handle with high shoulder
terminating in short drop and shell-like ornament in relief;
down-curving "fiddle" handle ornamented on face with
shell. L. 7§ in.
Inscription: B (script).
Marks: (i) j. d. stout (shaded roman capitals), in
scalloped rectangle; (2) Warranted (italics), in oval.
515-516 Teaspoons (2). Each: drop on bowl; down-
curved handle with "coffin" end and shoulder below;
bright-cut. L. sf in.
Inscriptions: (a) C H (script monogram), on face of
handle; (b) A B A (script monogram), on back of one.
Mark: j. D. stout, (shaded roman capitals), in long
oval.
ROBERT SWAN
Worcester, Mass.; working 1775.
517 Tongs. L. 6| in.
Inscription: ASP (script monogram).
Mark: R. swan (shaded roman capitals), in rectangle
(Walpole, 111, but mark here is more carefully formed),
twice.
I T
518 Teapot. Massive, bulbous; domed and stepped
lid with ball finial; silver handle; S-shaped spout. H. 7f
in. Inscription: A A (script monogram).
193

THE CLEARWATER COLLECTION
Marks: on base (i) I. T. (shaded roman capitals),
in rectangle; (2) lion's head affronte in shield; (3) P in rect
angle.
W H T
519 Sugar-Bowl. Bulbous; lower portion fluted;
ball feet; domed lid and finial; strap handles. H. sf in.
Inscription: S T N (script monogram).
Marks: (1) W H T, in rectangle; (2) star in crescent
in rectangle; (3) anchor with rope in oval (?).
WILLIAM THOMSON
New York, N. Y.; working 1812-30.
520 Mug. Slightly tapering; horizontal fluting at lip
and foot; moulded scroll handle. H. 2§ in.
Inscription: S C J (script monogram).
Marks, inside cup on base: (1) W. Thomson (script),
in shaped rectangle, twice; (2) new-york (roman capitals),
in rectangle, twice (cf. Walpole, 113 :i).
521 Hash-Spoon or Serving-Spoon. Bowl with
drop; high shoulder above; "fiddle" handle up-curved at
tip with thickened rim. L. 12 in.
Mark: Wm. Thomson, (script letters; m of Wm. is not
raised), pellet following, in shaped rectangle (cf. Walpole,
113:1).
R W (probably RICHARD WARD)
Boston, Mass.; about 1815.
522 Tongs. Bright-cut. L. 6§ in.
Inscription: M B W (block letters).
Mark: R W, in oval or cartouche, twice.
194

FIFTH PERIOD  I 8 O O - I 8 5 O
ANDREW E. WARNER
Baltimore, Md.; working 1811. Son, Andrew E. War
ner, Jr., was also a silversmith, working 1837.
523 Salver. Oval, with massive border representing
the leviathan of the Bible intertwined with rose garlands.
D. 17! x 13-^ in.

ANDREW E. WARNER
FIG. I40 CAT. NO. 523
Inscription : The Citizens of Baltimore to / commodore
Stephen decatur. / Rebus gestis insigni: ob virtutes
dilecto. ("Illustrious for his deeds; beloved for his vir
tues.") Marks: (i) andw. e. Warner (shaded roman capitals),
in rectangle; (2) arms of Baltimore,1 within rectangle
'The State of Maryland assumed for its official seal the arms of Lord
Baltimore, the Lord Proprietor of the original plantation, which were—
quarterly, (1) and (4) paly, gold and sable, a bend counterchanged (Cal
vert), (2) and (3), quarterly, argent and gules, a cross flory counter-
changed (Crosland). I9S

THE CLEARWATER COLLECTION
with cut corners; (3) E (date letter), in same; (4) Liberty
head, in same. Fig. 140.
Published: M.M.A. Bulletin, 13:18.
The American naval officer, Stephen Decatur (1779-1820),
has been described as "a man of an age, an officer of uncom
mon character and rare promise, one not equalled in a million."
He rendered distinguished service in the War with Tripoli,
1802-05, and in the War of 1812. In 1815 he commanded the
American squadron in the expedition against the Dey of Al
giers and compelled the latter to renounce his claim to tribute
from the United States and to free all Christian captives.
"On the assembling of Congress in December, 1815, President
Madison began his message with a high eulogy upon Deca
tur's success against the Barbary states. Decatur arrived in
Washington in December, 1816, and was appointed by Presi
dent Madison a Commissioner to formulate a plan for the
creation of the Navy of the United States, when the citizens
of Baltimore, as a token of their appreciation and affection,
presented to him the salver'' here described. Among Judge
Clearwater's collection of Americana is Decatur's commission
bearing President Madison's signature. Decatur was killed
in a duel with Lieutenant James Barron at Bladensburg,
Md. 524-525 Salts (2). Each: shallow bowl with repousse
floral design; interior gilded; three feet on shoes with shell
ornament above. H. if in.
Mark: a. e. Warner (shaded roman capitals), in ser
rated rectangle, on base. Fig. 141.

JOSEPH WARNER
Philadelphia, Pa.; working 181 1.
526 Teapot. Oval, with rounded sides; high-domed
foot; curved spout; urn finial. H. 8| in.
Inscription: S (script).
Mark: J. Warner (shaded roman capitals), in rect
angle, twice. 196

FIFTH PERIOD-

OO-1850

T. WARNER
527 Tongs. Acorn tips; double incised line border.
L. 6f in.
Inscription: W (script).
Marks, each twice: (1) t. warner (shaded roman capi
tals), in rectangle; (2) bird's head in oval; (3) Sterling
(roman capitals, initial larger), in shape.

FIG. 141

ANDREW E. WARNER
CAT. NOS. 524-525

A. & G. WELLES
Boston, Mass.; about 1810.
528 Mug. Bulbous body on splayed foot; double-
scroll handle on posts. H. sf in.
Inscription: C B (script monogram).
Marks, on base: (1) a. & g. welles (shaded roman capi
tals), in rectangle; (2) American eagle displayed in oval.
529 Standing-Cup. Oviform bowl; columnar stem;
sloping circular base. H. sf in.
Inscriptions: (1) Presented to the / Suffolk Street
Chapel / by / Sarah Blake; (2) B (all script).
Mark: a. & g. welles, as in preceding.
530 Teapot. Rectangular, with rounded sides; cabled
mouldings; urn finial; ball feet. H. 7! in.
197

THE CLEARWATER COLLECTION
Inscription: H P (script monogram)
to
H L P
Marks, on base: (i) and (2) as in no. 528.
C. WHITE
531 Beaker. Tapering; very slightly rounded sides;
moulded lip and foot. H. 35 in.
Inscription: E L (script).
Mark: c. white (shaded roman capitals), in rectangle,
twice on base.
R. & W. WILSON
Philadelphia, Pa.; working 1831.
S32"S34 Creamer, Sugar-Bowl, and Waste-Bowl.
Each: oviform body on high foot; elaborate repousse fruit
and floral designs; sugar-bowl with domed lid and manda
rin figure as finial; scroll handles. H. respectively: 8f,
10J, G\ in.
Inscription: W M G (script monogram).
Mark, on base of each: r & w. wilson (shaded roman
capitals), pellet after W, in rectangle.
S. & WILSON
535 Tongs. Plain. L. 7% in.
Inscription: M I (script).
Mark: s. &. wilson (shaded roman capitals), in ser
rated rectangle.
HUGH WISHART1
536 Sugar-Bowl. Bulbous body with wide octag
onal band at lip; rectangular base on ball feet; strap han-
1 New York directory, 1789 and 1816. See also cat. nos. 354-55.
198

FIFTH PERIOD — 1800-185O
dies; domed lid and moulded finial; chased border and
shields. H. 7 in.
Inscription: P (old English).
Marks: (1) h. wishart (shaded roman capitals), in
rectangle; (2) eagle in circle; name between eagles occurs
on each side of base (Walpole, 127:1).
This sugar bowl is said to have belonged to the Honorable
John V. L. Pruyn, who at one time was United States Minister
to Holland. S. YATES
About 1825.
537 Ladle. "Fiddle" handle. L. 6f in.
Inscription: E A C (script monogram).
Mark: s. yates (shaded roman capitals), in serrated
rectangle (Walpole, 129).
UNKNOWN MAKERS
538 Creamer. Oval, somewhat helmet-shaped with
wide mouth; rectangular domed base. H. 5 in.
Mark indistinct; apparently W followed by second letter.
539 Strainer. Deep bowl pierced with crosses at
center and border of scrolls; flat, open, scroll handles.
L. 8J in. Head-band on page civ.
540 Sugar-Bowl. Oval, bulbous; high-domed foot;
domed lid and urn finial. H. 8| in.
Inscription: D E G (script monogram).
541 Medal of Scholarship. Shield-shaped; en
graved with sun's rays above, globe, open book, and pal
ette below; pricked borders, if x if in.
Inscription : Painting and Geography.
199

THE CLEARWATER COLLECTION

542 Medal of Scholarship. Oval; waved border.
x if in.
Inscription: Geography; Class / No 2 (script).

543 Medal of Scholarship. Oval; waved border.
iT*V x || in.
Inscription: No. 1 / Second / Class (script).
544 Tongs. L. 6f in.
Inscription: S B (script).
Marks, each twice: (1) eagle displayed in oval; (2) B,
in octagon; (3) man (possibly Indian), with bow and
spear, in oval.

INDEX

INDEX

The asterisk indicates a silversmith whose work is represented in
the Clearwater Collection, the numbers in italics the pages where the
examples are described.

*I A, 118
*L A, up
*S A, up
Abbott, Rev. Ephraim and
George E. A., 70
Accord, N. Y., Reformed Church,
66
*Adam, J., up
*Adam, L., 34
Adam Brothers' Designs, lvi, 115
Adams, Rev. Eliphalet, 62
*Adams, John, 162
*Adams, Pygan, 62-64
Albany, N. Y., liii
Aldrich Family, 143
*Allen, John, cxxiv, 34
Allen Family, 34
Alloy, Ixv, 28
American Revolution, li, 64, 84,
116
Andrews, William Loring, viii
Andrus, Mary, 102
Anne (Queen) Period, American
silver of, 29-33; English silver
of, 28-29, 60
Annealing, lviii, lxvi
Apprentices, lix
Architecture, influence upon
silver design, xiii, xcviii, cxlix-
cliv, 115-116; lectures on Co
lonial, xiii
Armorer's Craft, lviii
Arms, lxxii, lxxv, lxxvi, cviii, 33;
illustrations in catalogue,
cxxxii, 18, 22, 41, 47, 7°> 92> II0

Arnold, Benedict, 64
Artillery Company, Ancient and
Honorable, Boston, xlviii
Aspinwall, 99
Assay, legislation, lxxviii, 182;
methods, lxii, lxvi
*Austin, Josiah, 64
Austin, Sarah, 46B
*B B, 64
*F B, up
*I B, 65, 162
*J B, up, 162
*P B, cxxiii, 12
*R B, np-120
*B & P, 162
*W B & T, 163
*Bailey, Henry, 163
*Bailey, Loring, 120
*Bailey & Kitchen, 163-164
*Baily, W., Jr., 164
Baird (quoted), xl
*Baker, George, 164
*Baldwin & Company, 170
Ball, Black & Company, 184
*Ball (Jones, Ball & Poor), iSp
*Ball (Jones, Low & Ball), 181
Baltimore, citizens of, 195 ; mark
ing of silver, lxxviii, 182, 195;
silversmiths, xxxvi, 118
Baltimore, Lord, arms of, 195
*Bancker, Adrian, xiii, xciv,
cxxvi, cxxxiii, 32, 65-67
Bancker, Evert, 65
Banks, absence of, 1

203

INDEX

Baptismal-Basins, 6
Barker, James, Jr., 192
Barnard, Rev. John, 38
Barnardiston, arms of, 70
Barnstable, Mass., Ii
Barrett, Absalom and Ichabod
C, 64
*Barrett, S., 120
Barron, Lieutenant James, 196
*Barry, Standish, xxxvi, 120
*Bartlett, N., 67
Basins, baptismal, 6
Bass, Rev. Benjamin, 79
Beach, Miles, liv
Beakers, lxxxii-xcv, cv, cxliii,
4-5> 9. 3°
Beanes, William and M. B., 175
Beekman, Gerardus, 85
Bellomont, Earl, 18
*belloni & durandeau, 164-165
Berkshire Agricultural So
ciety, 192
Bigelow, Francis Hill, ix, xx,
xxii-xxiii, xxxix, Ixxiii, cxliv, 7
Birmingham Plate, cxlvi
Black (Ball, Black & Company),
184
Black, Starr & Frost, 184
Blacksmiths, liv
Blake, Sarah, 197
Blom, Hermanus, 58
Blowers, John, cxii
Boelen, Henricus, xxxix
Boelen, Henry, xxxix
Boelen, Jacob, xxxix, xl, cviii,
cxxxiv, 6
Bogardus, Everadus, cviii
Bonapartes of Baltimore, 148
Bontecou, Timothy, liv
Boston, xlvii, 1, liii
Boston Artillery Company,
xlviii
Boston, Brattle Street Church,
92-93, 130, 135-136
Boston, Lynd Street Church, 82,
109, 110
Boston, Museum of Fine Arts,
exhibitions, ix, xviii; publica
tions, xix-xx, xxii, xlviii, lxiv,
9- 99
Boston, Old South Church, lxxxv
Boston Silversmiths, xix, xlvii-li
Boudinot, Elias, Iii
*Boudo, L., 165
*Boutier, J., 165

Bowler, Metcalf, 54
Bowls, bleeding or barber-sur
geons', cxxi-cxxii; mazer, civ;
medieval, cxx, cxxii; New
Netherland, 6; sugar, cxxiii, 61,
117-118, 161. See also Por
ringers
*Boyd, Shepherd &, ip2
*Boyer, Daniel, 67-68
Boyer, James, 67
Boyer, Jean, xl
Bradlee, Samuel Ebenezer, 102
Bradley Family, 100, 102
Bradley, Phineas, liv
*Brasher, Ephraim, cliii, 121
Brattle, Edward, 148
Braziers, 32-33
*Brenton, Benjamin, 68
*Brevoort, John, cxxxiii, 68-6p
Brevoort Family, 68, 72
Brigden Family, 69
*Brigden, Zachariah, 6p, 121-122
Britannia Standard, lxv, 28, 60
Brooklyn, New Utrecht Re
formed Church, xxiv, xc
Brooks, Rebecka, 34
Broughton, Sarah H., 127
Browne Arms, 71
*Browne & Seal, 165
Buck, John Henry, viii, xviii, lxv
Buckles, cxliv-cxlvii, 113
Buel, Abel, liv
Buffing, lviii, lxvi
*Burdock, Nicholas, 166
*Burger, John, 122
Burlington, N. J., St. Mary's
Church, xxiv, lxxxv
Burnishing, lxix
*Burr, Ezekiel, 122
*Burrill, Samuel, cxxvi, 42, 70
*Burt, Benjamin, li, cxxxv, 71-
72, 129
*Burt, John, Ixi, lxv, cxii, cli, 33,
35-36
*Burt, Samuel, li, 72
Burt, William (son of John), li,
35
Burt Family, 35

*I C, 72, 73, 123, 166
*R C, 123
*C & N, 166
Calvert Arms, 195

204

INDEX

Can, ' cxii. See also Mugs
Candlesticks, io, 32, 117
Carolinas, xxxvi
Carpenter, Joseph, liv, 129
Carryl, Cynthia, 184
*Casey, Samuel, li, ci, 73-74
Casey Ancestry, 73
Casters, cvi, el, 32, 61
Catalogues of Silver, xix-xxi
Caudle, cxiv [9-10, 3 1]
Caudle-Cups, cix-cx, cxiv-cxx,
Ceramics, lxxxiv, cix, cxxviii,
cxxx, cxxxiii, cxxxiv
*Chaffee, Root &, i8p
Chalices, lxxxv, 4
Champlin, John, liv
Chandler, Joseph E., xiii
Channel Islands, Huguenots in,
xl
Charles I and Puritan Migra
tion, xlvi
Charles I Period, English silver
of, 7-8
Charles II Period, American
silver of, 9-12; English silver of,
8, 28
Charleston, S. C, Huguenots in,
xl; Presbyterian Church, 159
Charlestown, Mass., li
*Chaudron's & Rasch, 167
Chinese Porcelain, cxxviii, cxxx,
cxxxiv
Chittenden, Ebenezer, liv
Chocolate, cxxvii
Chocolate-Pots, cxxvii-cxxxvi,
10, 31-32, 61
Chronology of Colonial Silver,
xxi, xxiii
Church Silver, exhibitions of,
xviii, xix; preservation of, 9;
publications, xviii, xx; royal
gifts, xliv-xlv. See also Com
munion Vessels
Civil War in England, effect on
silver, 7-8
Clark, Elizabeth, 93
*Clark, I., 74
*Clarke, James, li, 36, 38, 74-76
Classic Influences, lxx, cxv,
cxviii, cxxxv, cxxxvi, cxxxviii,
cxlix-cliv, 115-118
Clearwater Collection, forma
tion of, ix-x, xvii-xvin. See
also Klaarwater
Cleveland Museum of Art, xxiv

Clinton Family, 90
Coates, Thomas and Beulah, 55
*Cobb, Ephraim, c, 76
Cobb, Henry, 76
*Coburn, John, 77, 93
Cocoa, cxxvii
Coffee, cxxvii
Coffee-Pots, cxxvii-cxxxvi, 32,
61, 118
"Coin" Stamped on Silver,
lxxviii-lxxix
Coins, as decoration, c, civ, cv;
foreign coin in Colonies, xlvii,
1, 16; Hull and Sanderson,
xlix, 14-17; use by silversmiths,
lxv
*Coleman, Nathaniel, 123
Cologne Beakers, Ixxxvi
Colonial Dames, xviii-xx, 24
Commonwealth Period, con
temporary American styles,
9-12; English styles, 8
Communion Customs, Noncon
formist, lxxxviii-lxxxix; Prot
estant, 4
Communion Tokens, Scottish,
cxxi
Communion Vessels, xliv, lxxx,
lxxxii, lxxxv, lxxxviii-lxxxix,
xcv, cix, cxv-cxvi, cxxi, 4, 10,
1 16. See also Beakers, Chalices,
Cups, Flagons, Tankards
Concord, Mass., li
Coney, see Cony
Connecticut, conditions in Co
lonial period, liii; paper money,
Ixxiii; silver exhibited at Wads
worth Atheneum, xix; silver
and silversmiths, xx, liii— liv
*Connell, M., 124
*Connor, Eoff &, i6g
*Cony, John, Ixxiii, lxxviii, xcviii,
ex, exviii-cxix, exxxii-exxxiv,
clii, 12-13, 32, 38-40, 48
Cony Family, 12
*Cook, J., 167
Coolidge, Joseph, 68
Copley, John Singleton, xxiv,
Ixxv, 21, 39, 93
Cosby, Governor, 52
Costume, English and American,
cxliv-cxlvii
*Coverly, Thomas, cliv, 77
*Cowell, William, Sr., cxi, cxix,
40,42

205

INDEX

*Cowell, William, Jr., 78
Cowell Family, 40
*Crawford, John, 167
Creamer, Ann E., 176
Creamers, cxxxiii, cxxxvi-cxxxviii,
61, 117, 161
Crosby, S. S., xlvii, 16
Crosland Arms, 195
Cruttendon Arms, 46
Cups, 10, 31; caudle, cix-cx, cxiv-
cxx, 9-10, 31; cocoanut and
shell, cv; "college," 57; com
munion, see Communion ves
sels; loving, see Cups, two-
handled; spout, cxiii; standing,
Ix, xcii, cxvii-cxviii, 4, 10, 31,
116; two-handled, cxii, cxiv-
cxv, cxviii-cxix, 31, 116. See
also Beakers, Mugs, Tankards
Currency, Connecticut paper
money, Ixxiii; foreign coin in
Colonies, 1, 16; Massachusetts
mint, 14-17; Massachusetts
paper money, 1, Ixxiii, 12
Curtis, George Munson, xx, liii,
lxxviii, cxliv

D
D ("Dollar") Stamped on Sil
ver, lxxviii
*I D, 124
*P D, cxxvi, 78
Danish Designs, ciii
David, Jean, xl
David, John, Hi
David, Peter, Iii, 79
Davids, John (alias of Colonel
John Dixwell), 43
*Davis, E., cxii, 124-125
*Davis, Joshua G, 125
Davis, S., 162
*Davis, T. A., 167-168
Decatur, Commodore Stephen,
195-196
Decoration. See Ornamentation
*Denison, T., 125
De Peyster, Abraham, xliii-xliv
De Peyster, E. M., 85
Design, engraved books of, lvi,
Ixxxvi-lxxxvii. See also Orna
mentation
De Wolfe, 71, 72, 158
Dixwell, Lieutenant Basil, 43

*Dixwell, John, xcix, cxxiv, 31,
43
Dixwell, Colonel John, 43
Doolittle, Amos, lxxiv
Dorchester, Mass., Norfolk Uni
tarian Church, 82, 110
Dordrecht, Cathedral, 59
Drinking-Horn, lxxxi-lxxxiv, civ
*Drown, T. P., 168
*Drowne, Samuel, 125-126
*Drowne, Shem, xiii, Ixxi, 13-14,
125
Drowne Ancestry, 13, 125
Du Bois Family, 83
*Dubois, Joseph, 126
Dubois, Louis, xl
Dubois, Pierre, xl
*Dubois, T. D., 126
Dudley, Governor, 25
Dummer, Jeremiah, xlix, Ixxiii,
lxxiv, xcix, ciii, cxvii, 10, 12, 14,
34
*Dunn, Cary, 127, 158
*Dupuy, Daniel, xlv, 75-79
Dupuy Family, 78-79
*Durandeau, Belloni &, 164-165
Dutch, coin in the Colonies, lxv,
16; Colonial policy, xxxvi-
xxxvii; influence in English and
American silver, xxxviii, xli-
xlvi, 'liv, lxxii, lxxxv-xc, xciv,
cii-cviii, cxi, cxiv, cxx, cxxxii,
cxxxiv, cxlii-cxliii, 3, 7-8, 12,
29; settlement of New Nether
land, xxxvi-xl; settlers in Penn
sylvania, Hi. See also New
Netherland
Dutch West India Company,
xxxvi, xxxvii
Dwight, Timothy, xlix, lxxi,
xcviii, xcix, ciii

*F A E or F X E, 168
*G E E, 127
Early Pennsylvania Craftsmen
Research Fund, xx, Iii
Early Silver of Connecticut
and Its Makers, xx
Easterlings, lxv
Ecuelle, cxx
Edict of Nantes, Revocation of,
xl
Edwards, Edward, xxiii

206

INDEX

*Edwards, John, cxxiv, cxxvi, 34,
42. 43-46, 49. 79. 80
Edwards, Joseph, Sr., 79
?Edwards, Joseph, Jr., cxxxv,
79-80
*Edwards, Samuel, 80-82
Eldredge, Phineas, 169
Elmendorf, Mary, 76
Emblems, Ixxxvi, xc, xcviii, xcix, 5
*Emery, Stephen, cli, 127-128
*Emery, Thomas Knox, 128
Empire Styles, 161
Endicott, Philip and Emily, 64
Endicott Family of Boston, 34,
49. 64
English: Coin in Colonies, 16
Goldsmith's workshop, lxi
Influence in American silver,
xxxvi, xlii-xliv, xlvi-xlvii, Hi,
liv-lvi, lxxi-lxxii, lxxviii,
lxxxviii-xcvi, xcviii-cii, civ-
cvi, cix-cxi, cxiv-cxvii, cxix-
cxxiv, cxxx-cxxxii, cxxxvi-
cxlvi
Marks, lxxvi-lxxviii
Settlements in New England,
xlvi-xlvii
Settlements in the South, xxxvi
Silver, exhibition of, xix
Silver, in America, xx, xxxvi,
xliv, lv
Silver, provincial, lxxvii
Silver styles:
Anne (Queen) period, 28-29,
60
Charles I period, 7-8
Charles II period, 8, 28
Classic styles, 115-117
Commonwealth, 8
George I period, 28-29, 60
High standard period, 28-29
Later Georgian period, 60,
"S-I.I7 . , o
Restoration period, 8
Rococo styles, 60
William III period, 29
Standards, lxv, 28. See also
Beakers, Tankards, Caudle-
cups, etc.
Engraving, copper-plate, lxxiii-
lxxiv. See also Ornamentation
*Eoff, Garrett, i68-i6q
*Eoff & Connor, i6p
*Eoff & Phyfe, 169-170

Esopus, N. Y. (Kingston), First
Reformed Church, 58-59
Essex Institute, Salem, cxlii, 105
*Evans, Robert, 128-129
Evolution of American Silver
Forms, lxxxi-cxlvii
Exhibitions of Silver, American,
xviii-xix; English, xix; Euro
pean, Leeuwarden, lxxxv
Eyles Arms, 49
Eyles Family, 49

Fairchild, Robert, liv
*Farnam, Henry, 169
*Farnam, Rufus, 129
*Farnam, R. & H., 160-170
*Fellows, 170-171
*Fielding, George, xlv, 46
Fire-Skin, lviii, lix, lxvi, lxix
Flagons, lxxxiii-lxxxiv, xcv, cix,
9, 30, 61, 116
Flemish Designs, Ixxxvi, cvi
•"Fletcher, Thomas, 171-172
*Forbes, G., 772
*Forbes, I. W., 172-173
*Forbes, W., 173
*Forbes, W. G, 173-174
*Foster, George B., 174
Foster, Colonel John and Abi
gail (Hawkins), 24-25, 34
¦"Foster, Joseph, 129-130
Foster, Sarah, 24
Foster Arms, 24, 25
*Fourniquet, Lewis, 131
•"Francis, N., 175
Freemanship, xlviii
Freer Family, 83
Frelinghuysen, Jacobus, 66
French, classic designs, 115; Em
pire styles, 161; engraved de
sign, lxxxvii; influence in Eng
lish and American silver, xli,
liv, lv, xciv, cvi, cxlii, 8, 29,
60, 115, 161; rococo styles, 60
French, Hollis, xx, xxiii
Frost (Black, Starr & Frost),
184
*Fueter, Daniel Christian, xlv,
82-83
Fueter, Lewis, 82
Fulton, John and Robert, 102
Furniture, xcviii, cxix, 33,115-1 17
Fused Plate, cxlvi

207

INDEX

G
*R G, 131
*Gaither, G., 175-176
Gallery Tops, 118
Garvan, Francis P., xxiii-xxiv
*Gaskins, J., 176
*Geffroy, Nicholas, 131
Georgian Period, contemporary
American styles, 29-33, 60-62,
115-118; English styles, 28-29,
60, 115-117
German, goldsmiths' engraved de
signs, lvi, lxxxvii; influence on
American design, lxxxiv-lxxxvi,
xcii, ciii, civ, cviii, cxx, 7, 12;
settlements in Pennsylvania,
Hi; stoneware jugs, lxxxiv, cv,
cix-cx
Ghiselin, Cesar, Hi
Gibbs Arms, iio
Gibbs Family, 76, no
Gilbert, Cass, xiv, xv, cxlix, cliv
Glass Vessels, lxxxiv, cxx
"Glorious Ninety-Two," 99
Glossary, Silver Collectors', xx
Godfrey, W. E., cxliv
*Goelet, Philip, xli, xlv, 83
Goelet Ancestry, 83
Goffe, 50
Goldsmiths, European, engraved
designs, lvi, lxxxvi-lxxxvii,
cxxvi; guilds, lxxvi; workshop,
lxi. See also Silversmiths
*Goodhue, John, 176
*Grant, Thomas, 132
Gravy-Boats, 61
Gray, Samuel, liv
"Great Migration" of Puri
tans, xlvi
Greenland, N. H., Congrega
tional Church, 47
*Gregg, Hayden & Company,
176-177
Grignon, Jean, xl
Grignon, Rene, liv
Guilford, Conn., liv
*Guille, Noah, 46-47
Gumare, Ephraim, 46

H

*A H, 1 32
*I H, 84
*M H, 132

*T H, 84
*W H, S4, 132, 177
Hall-Marks. See Marks
Hallam, John, liv
Halsey, Jabez, xlv
Halsey, R. T. H., xix, xxiv
*Hamersly, Thomas, xlv, S4-85
Hamlen, Paul M., 40
*Hancock, John, 85-86
Hancock, Thomas, 92-93
Hancock Arms, 92-93
Hancock Family, 85, 93
*Hanners, George, Sr., c, 47-48
*Hanners, George, Jr., 87
Hanners Family, 47
Hanover, Mass., First Congre
gational Church, 79
*Harding, Newell, 177
*Hardy, Stephen, 178
Harland, Thomas, liv
Harris, Charlotte, 174
Hartford, Conn., silversmiths,
liv; Wadsworth Atheneum, ex
hibition of silver, xix
Harvard College, cxviii, 38-40,
93
Hastier, Jean, xl
Hastier, John, xli
Hawkins Family, 24, 25, 34
*Hayden (Gregg, Hayden &
Company), 176-177
Hayden, Arthur, cxx
Head-Bands, tail-pieces, etc.,
sources of designs for, xxiii
Heath, General William, 149
"Henchman, Daniel, lv, 87-88,
, 93
Henchman Family, 87, 93
Hendricks, Ahasuerus, xxxix
Hepplewhite, 115, u*7
Herculaneum, 115
*Heyer, W. B., 178
High Standard, period of, lxv;
contemporary American silver,
29-33; English silver of, 28-29;
revocation of, 60
Hiller, Benjamin, xcix, cxi
Hingham, Mass., li
Historic Silver of the Colonies
and Its Makers, xx
Historical Societies. See under
Massachusetts, New York,
Newport
Hollow-Ware, making of, lxvii-
Ixix

208

INDEX

Holyoke, Edward, 38-40, 69, 82
Holyoke, Mary (Whipple), 69,
82
Holyoke Arms, 38-39
Holyoke Family, 38-40
Homes, William, Sr., ci
Hopfer Family, Augsburg gold
smiths, lvi, lxxvii
Hopkins, Anne (Smith), 38, 75,
104
Hopkins, George, 75, 109, 114
Hopkins, Captain John, 76
Hopkins, Stephen, 38, 75, 76, 104,
no
Horns, drinking, lxxxi-lxxxiv, civ
*Howell, James, 178, 182
Hudson-Fulton Celebration,
xix
Huertin, xli
Huguenots, xl, xli, Hi, 60
Hull, Mass., li
Hull, Commodore Isaac, 121
*Hull, John, xlviii, xlix, lxxx,
xc, cxlii, 7-8, 14-17
Hull, Robert, 14
•"Humphrey, Richard, 133
Hunneman, Hewes and Stephen,
102
Hurd, Benjamin, 88
*Hurd, Jacob, lxxiv, ci, cxxxviii,
88-90
Hurd, Nathaniel, xxiv, cxxxviii,
88,93
Hurst, Henry, xcix, ciii
Hutchinson, Ann, 21, 24, 53
*Hutchinson, J., 178
Hutchinson, Thomas, 24, 56
Hutchinson, Gov. Thomas, 24,
92
Hutchinson Arms, 22, 24,56
Hutchinson Family, 24, 53
Hutt, John, lxxv
Hutton, George, 133
*Hutton, Isaac, 133, 179-180
Hutton, John, Hi
Hyde, silversmith, cxviii
*Hyde & Nevins, 178

I

Illustrated History of English
Plate, xxi
"Illustrious Ninety-Two," 99
Independence Hall, Philadel
phia, 105

Irish in Pennsylvania, Hi
Isham, Norman B., xiii
Italian Design, c, cxx
*Ivers, B., 180
Ivins, William M., Jr., lvi
I
Jackson, C J., xxi, xxii, lxv,
cxv
Jacobean Period, English silver
of, 7
Jamestown, Va., Exposition
(1907), xix
Jay, Pierre, xxiv, cxxxii, cxxxiv
Jenks, Joseph, 16
Jesse, David, xlix
Johnson, Benjamin, cxxxviii
•"Johnson, C, 181
Johnston, William, 136
Jones, E. Alfred, xx, lxxxix, c,
cxvii, 9, 30
Jones, William P., 95
*Jones, Ball & Poor, 189
* Jones, Low & Ball, 181
Jugs, German stoneware, lxxxiv,
cv, cix-cx; hot-water, cxxxv-
cxxxvi; milk and cream, cxxxiii,
cxxxvi-cxxxviii, 61, 117, 161
K
*C C K, 134
*I K, 134
*T K, 48, 181
*Keeler, T., 182
Keith, Colonel Israel M., 149-
15°
Kellond, Thomas, 25
Kettles, tea, cxxxv
Kidd, Captain William, 18-20
Kierstede, Cornelius, xiii, xliii,
cxvi
Kimball, Fiske, xiii
Kings County Agricultural
Society, 191
Kingston, N. Y., 84; First Re
formed Church, 58
*Kinsey, E., 182
*Kirk, Samuel & Son, 182-183
*Kitchen, Bailey &, 163-164
Klaarwater, Thomas, 107
Klaarwater, Thomas Teunis,
108
Kneeland, Thomas, 46

209

INDEX

*I L, 134
Lafayette, lxxx, 54, 165
*Lamar, Mathias, 134
Lang, Edward, 90
*Lang, Jeffrey, go
Lang, Richard, 90
¦"Lansing, Jacob Gerittse, 90
Lansing Family, 90
Leathern Vessels, lxxxiv
Leeuwarden, Holland, exhibition,
lxxxv
Legislation concerning Silver,
lxv, lxxviii, 182
Leisler, Jacob, 20
Le Roux, Bartholomew, xxxix,
xli, 52
Le Roux, Charles, xli, lxxv,
cxxxiii, 51
Le Roux, Jacques, xl
Le Roux, John, cxxxiii
Le Roux, Pierre, xl
*Letellier, John, 135
Letelher, Pierre, xl
Leverett, Knight, li
*Lewis, Harvey, 183
*Lewis & Smith, 183
Little Masters, German, lvi
Livingston, E. M., 84
Lockwood, Luke Vincent, xxiv,
xxxv, xlvi
London Artillery Company,
xlviii
London Company of Ship Mas
ters, 169
Longfellow's Lady Wentworth,
25. 57
Loring, Henry, 135
*Loring, Joseph, 135-136
"Lost Wax Process," lxix
Louie, S. E., 158
Louis XIV and the Revocation
of the Edict of Nantes, xl
*Low (Jones, Low & Ball), 181
*Lownes, Joseph, 136-137, 184
*Lynde, Thomas, 137
Lyng, John, Hi
*Lyng, John Burt, 91

M

*B M, 184
*H M, 91
*I M, 138

*P M, 138
*W M, 138
*McMullin, John, 185
Macquoid, Percy, lxxvii
Madison, President, 196
Makers' Marks. See Marks
Mancius, Rev. G. W., 66
Manning, Richard J., 165
Mansfield, John, 7
Marblehead, Mass., First Con
gregational Church, xxiv, xc,
38; Second Church, 38
Marbury, Ann, 24
Marks on Silver, American, xx,
xxii, lxv, lxxvii-lxxix, 182;
Continental, lxxvi; English,
lxxvi-lxxvii
Marlborough House Chapel, c
Marquand, Cornelius P., 184
*Marquand, Frederick, 184
Marquand, Josiah P., 184
Marquand & Company, 184
*Mars, S., ciii, 91
Maryland, xxxvi, lxxviii, 182, 195
Maryon, Herbert, lxiv
Mascarene, Jean Paul, xl, 39-
40
Mascarene, Margaret (Hol
yoke), 39-40
Mascarene Arms, 39-40
Mascarene Family, 39-40
Massachusetts, commercial pros
perity and rise of silversmiths,
xlvii; currency, xlviii-1, Ixxiii;
early settlement, xlvi-xlvii; sil
versmiths, xlvii-li
Massachusetts Historical So
ciety, xlviii, Ixxiii, 12, 14
Maverick, Peter, lxxv
Mayer, Evea L., 169
Mayflower, xlvi, 21
Mazer-Bowls, English, civ
*Mead, Phinney &, 188
Measurements of Clearwater
Silver, 12
Medals, civ
Meissen Porcelain, cxxxiv
Mendum, Mary, 42
Mercier, H., 119
Merriman, Marcus, liv
*Merriman, Marcus & Com
pany, 185-186
Methods of Production, Ix, lxi
Metropolitan Museum of Art.
See under New York

210

INDEX

Middletown, Conn., silversmiths
of, liv
Middletown, Dela., St. Anne's
Parish, xc
Milford, Conn., First Congre
gational Church, xiii; silver
smiths of, liv
*Millner, Thomas, xcix, cxii, 48-
49
*Minott, Samuel, 91-94
Minott Family, 91-92
Mint, Massachusetts, xlvii, xlviii,
16-17; United States, lxxviii
Moore, Samuel, 25
Morris, Mollie E., 169
Morris, Sarah Wistar, 55
Morris Family, 169
*Moseley, David, 138
Moulinar, John, xli, xlv, cxxxv
*Moulton, Enoch, 186
*Moulton, Joseph (1694-c. 1756),
94-05
•"Moulton," Joseph (1744-1816),
138-139
*Moulton, William, 139-140, 186
Moulton Ancestry, 94
Mower, L., 127
Mugs, lxxxii, lxxxiv, xcv, cix-cxiii,
6, 10, 30-31. See also Cups
Museum of Fine Arts, Boston.
See Boston
*Musgrove, S., 187
*Myers, John, 140
*Myers, Myer, xlv, cxii, 95, 142
N
*M N, 95-96
*W N, 49
Nassau, privateer, 17, 20
National Society of Colonial
Dames of America, xviii-xx,
24
Neo-Classic See Classic
*Nevins, Hyde &, 178
New Amsterdam, population in
1664, xxxvii. See also New
Netherland . ...
Newburyport, Mass., li, lm .
New England, xlvi-H, l.ui-liy;
early settlements, xlvi-xlvii.
See also Massachusetts, Con
necticut, Rhode Island
New Haven, Conn., silversmiths,
liv; Trinity Church, xlm

New Jersey, xix
New London, Conn., liv, 64;
First Congregational Church, 62
New Netherland, xxxvi-xlv;
Dutch influence, xxxviii, xli-
xlv, 4-7; early settlement,
xxxvi-xxxvii; Huguenots in,
xl-xli; introduction of English
styles in, xliv-xlv; made Eng
lish colony, xxxviii; silver,
xxxviii, xli-xlv, 4-7; silver
smiths, xxxvii-xli, xlv; use of
term in catalogue, xxxviii, 3.
See under New York for XVIII
century developments
Newport, R. I., li, liii, lxxx;
silversmiths, li, lx; Vernon
house, lxxx, 54
Newport Historical Society, 54
New York, liii; silversmiths, xix,
xxxix. For conditions in the
XVII and early XVIII century,
see under New Netherland
New York Historical Society,
xxiv, xliii, cxxxii, 6
New York, Metropolitan Museum
of Art, exhibitions, xviii-xix;
publications, xiii, xix, xxii,
xxxix, 4-5
New York, South Reformed
Church, 6
Nichols, Andrew, 39
•"Nichols, H. M., 187
Nonconformists, lxxxviii-lxxxix,
cxvi
*Norcross, Nehemiah, 141
*North ee, David, 96
North Haven, Conn, Congrega
tional Church, xiii
Norwalk, Conn., liv
Norwich, Conn., liv
Norwich, England, lxxxviii
*Noyes, John, xlix, 49
Noyes, Joseph, 58
Noyes, Lucy Mercy, 58
Noyes Family, 40, 58
0
*F O (or F Q), 190
*Oakes, Frederick, 187
Oakes & Spencer, 187
Octagonal Shapes, cxxxvi, 29, 32
Old Silver of American
Churches, xx, 9

211

INDEX

Oliver, Edward A. and Esther
Parkman, 148
"Onclebagh, Garrett, xxxix,
lxxii, lxxx, cii, cvi-cviii, 17-20
Oriental Influences, cxxviii,
cxxx, cxxxiv
Ornament, books of engraved, lvi,
lxxxvi-lxxxvii
Ornamentation: Acanthus, lxxi, xciv, xcviii,
cxiii, cxv, cxlii, 8, n, 29, 33,
116
Anne (Queen) period designs,
29. 3.3
Anthemion, 118
Baskets of roses, 162
Beading, cxx, 117
Bird and spray, xxiv, cxliii, 7
Borders, foliate, Ixxiii, lxxxv,
xc, civ-cvii, 5
Borders, ovolo, Ixxxvi, Ixxxviii,
xc
Bright-cut, cxxxvi, 118
Caryatids, civ, cviii
Cast ornaments, lxix, Ixxiii,
civ, cxix, 29, 33, 62
Chasing, lxxi, lxxii, 8, 11, 29
Cherub heads, xliii, c, ci, ciii,
civ, cviii, 6-7, 33
Classic designs, 116-118
Coins, c, civ, cv
Cornucopias, cviii, cxxxiv
Cut-card, lxxii, cxv, cxxxi, 8,
II, 29, 33
Diapers, 60, 62
Dolphins, xcix
Drapery, 116, 117
Drops, moulded, xcvii-xcviii,
ciii, ex, cxlii, 33
Eagle, xcix
Embossing, lxxxv, lxxxix, ciii,
cvi, cxiv, 7, 8, 12, 33
Empire styles, 161
Engraving, xliii, lxxii, Ixxiii,
Ixxxvi-lxxxviii, cvi, cviii,
cxxxviii, 5-8, 12, 29, 33, 62,
U7
Escutcheons, 60, 62
Feather-edging, cxliii
Finials, Ixxiii, xcvi-xcviii, 33, 117
Floral and foliate designs, cxiv,
12, 60-62, 116, 118
Fluting, lviii, lxx-lxxi, Ixxxviii,
xcviii, cxv, cxix, 8, n, 29,
33. "6

Gadrooning, cxix, 29
Geometric designs, exxiv
Granulation, xcii, cxviii, 12
Guilloche, 118
Heads and masks, xliii, xcix,
c-ci, ciii-civ, cvi, cviii, 6-7,
29, 33, 62, 116
Husks, 62, 116, 118
Matting (Granulation), xcii,
cxviii, 12
Medallions, 116, 118
Medals, civ
Monograms and initials, cviii,
cxxvi
Mouldings, lxviii, cxlix-cliv,
116, 117
Ovolo borders, Ixxxvi, Ixxxviii,
xc
Palmette, 62
Piercing, lxxii, exxiii-exxvi, 33,
II[7
Pine cone, xcviii
Punched designs, cxviii, 29
Rat-tail, ciii, cvii, ex, cxlii, 5
Repousse, lxx, lxxi, Ixxxviii,
cxix, n-12, 33, 62
Rockwork, 60, 62
Rococo designs, cxliii, 60, 62
Rosettes, 116, 118
Scrolls, Ixxxvi, cviii, cxliii, 60,
62 ... .
Shell, cxii, cxliii, 60-62, 142
Spiral wire, lxxxv, xc, cvi, cxi, 5
Strapwork, Ixxxvi, Ixxxviii, xc,
cvi, 5-7, 12
Swags, lxxii, cviii, 6-7
Symbolic figures, Ixxxvi, xc, 5
Thumb-pieces, Ixxiii, xcix, cii
Urns, 116, 117
Wheat sheaves, 162
Wire, spiral, lxxxv, xc, cvi, cxi,
*0tis, Jonathan, li, liv, cxii, 50,
96-97
Otis Family, 50, 96

*P P, 141
*T P, 187
Packer, Thomas and Elizabeth,
48
Palmer, George S., xxiii
*Parisien, 188
Parisien, David, 142

212

INDEX

*Parisien, Otto & Son, 142
Parkman, Esther, 148
*Parmele, Samuel, liv, 142
Patroon System, xxxvi-xxxvii
Pattern Books, lvi, lxxxvi-lxxxvii
*Peabody, John, 188
Pearson, Mary Holyoke, 69, 82
Pelletreau, Elias, xli, xlv
Penn, William, Hi
Pennsylvania, lii-liii; silver
smiths, xxi, lii-liii, 118
Pennsylvania Craftsmen Re
search Fund, Early, xx, Hi
Pennsylvania Museum, Phila
delphia, xix-xxi, Hi
Perkins, James, 40
Perry, Hetty, 184
Perry, Mrs. Marsden J., 99
Perry Family, 40
Peyster. See De Peyster
Philadelphia, Hi, liii, 118
Philadelphia, Independence Hall,
105
Philadelphia, Old Christ Church,
Hi
Philadelphia, Pennsylvania Mu
seum, exhibition of silver, xix;
research, xx-xxi, Hi
Philadelphia Silversmiths, xxi,
Hi, liii, 118
*Phinney & Mead, 188
Phipps, Sir William, 1
*Phyfe, Eoff &, 169-170
Picart, H., lxxxvii
Pickman, Governor, io;
Pilgrim Settlement, xlvi
Pine-Tree Coins, xlix, lxxx, 15-17
Pirates, lxxx, 18
Pitkin, John O., 188
*Pitkin, Walter, 188
•"Pitman, Saunders, 143, 189
*Pitts, Richard, 97
Plate. See Silver
Plymouth, Mass., xlvi, li
Polishing, methods of, Ivm-lix,
lxvi, lxix-lxx
Pollard, William, cxii
Pompeii, 115
*Poor, Jones, Ball &, 189
Porcelain, cxxviii, cxxx, cxxxm-
CXXXIV
Porringers, lxxix, cxv, cxx-cxxvii,
31
•"Porter, J. S., 189
Portsmouth, N. H., li

Portuguese Coin in Colonies,
lxv
Posset and Posset-Cups, cxiv, 9
Pots. See under Teapots, Choco
late-pots, Coffee-pots, Jugs, etc.
Pottery, lxxxiv, cix, cxxviii, cxxx
Potwine, John, liv
*Prie, P., 189
Prime, Alfred C, xx
Prince, Job, Hv
Processes of Silver-Making,
lxv-lxxiii
Providence, R. I., Hi; Rhode Island
School of Design, exhibition of
silver, xix
Provincial Silver, English, lxxvii
Pruyn, John V. L., 199
Publications on Silver, xix-xxi,
clv-clviii
Puritan Influence in English
Plate, cxl, 8
Puritans in New England, xlvi,
lvii Q
*F Q (or F 0), 190
Quaich, Scottish, cxxi
Quakers, Hi
Quarry, Colonel Robert, lxxxv
Queen Anne Style. See Anne
(Queen) style
Quintard, Peter, liv, cxvi
R
*J R, 143
*S R, 144
*W R, 190
Rain, Sarah, 27
Raising, lxvii-lxix
*Rasch, Chaudron's &, 167
*Reeves, Stephen, 144
Reformation, Protestant, lxxxii,
lxxxv, 4
Remsen, Margaret, 6
Remsen, Phoenix, 69
Remsen, Mrs. Robert, 6
Remsen Arms, 69
Restoration Period, contempo
rary American styles, 8—12;
English styles of, 8
Revere, Joseph Warren, 100
*Revere, Paul, Sr., xl, 97~99 .
•"Revere, Paul, Jr., viii, xxiv,
xl, lxxiv, cxxxv-cxxxvi, cxliv,

213

INDEX

cxlvii, cii, cliii, cliv, 35, 99-102,
I45-H9, 178
"'Revere, Paul, 3rd, rpo
Revolution, American, li, 64, 84,
116
Reynolds, Thomas, lxxvi
Rhode Island, silver in, xix, li
Rhode Island School of Design,
exhibition, xix
•"Richards, T., ipr
*Richardson, I. & N., ciii, 102-103
Richardson, Joseph, Hi
Ridout, George, xlv
Rivoire, Apollos. See Revere,
Paul, Sr.
Robinson, Priscilla, 107
Rocaille, 60
Rochambeau, Comte de, 54
Rochester, N. Y., Reformed
Church in Accord, 66
Rococo Period Styles, 60-62,
115-116
*Roe, W., ipi
*Roe & Stollenwerck, 191
¦"Rogers, Daniel, li, 103
•"Roosevelt, Nicholas, xlv, 103-
104
Roosevelt Family, 103
*Root & Chaffee, 189
Roundell, Will, 34
Rouse, William, 46
*Russell, Daniel, 104
*Russell, Joseph, xiii, 50
*Russell, Moody, cl, 21, 50-51,
76, 96
Russell Family, 50, 96

St. Christopher (West Indies),
xl
Saint-Memin, cxlvii
St. Michael's Parish, Talbot
County, Md., cix
Salem, Mass., li; Essex Institute,
cxlii, 105; First Baptist Church,
170
Saltonstall, Governor, lxxiv, 62
Salts, ii, 61
Sanderson, Benjamin, 15
Sanderson, Joseph, 15
•"Sanderson, Robert, Sr., xlviii,
xlix, lxxx, xc, 7-8, 14-17
Sanderson, Robert, Jr., 15
*Sayre, Joel, 150, 191-192

Scandinavian Designs, Ixxxvi,
xciv, civ, cxx
Schaats, Bartholomew, xxxix,
cxxvi
*Schanck, G., cxxxvi, 150
*SCHENCK, J., 151
Schuyler, George W., xxxvii
Scotch in Pennsylvania, Hi
Scottish Plate, Ixxxviii, cvi, cxx,
cxxxiv
*Seal, Browne &, 165
Sewall, Samuel, lxxx, 40
Sheet Silver, lxx
Sheffield Plate, cxlvi
Shelley, Captain Giles, 18-20
Shelley Arms, cviii, 18
•"Shepherd, Robert, 192
¦"Shepherd & Boyd, 192
Sheraton Styles, 115, 117
Ship Masters, Company of Lon
don, 169
Silver, American:
Classic influences in, xiii-xv,
lxx, cxviii, cxxxv, cxxxvi,
cxxxviii, cxlix-cliv, 11 6-1 18
Decoration, lviii, lxx-lxxiii.
See also Ornamentation
Division into chronological
periods, xxi, xxiii
Early development, xxxv-lv
European influences in, liv-lvii,
3. See also Dutch, English,
French, etc.
Evolution of principal forms
and their decoration, lxxxi-
cxlviii
Exhibitions of, xviii-xix
Marks, lxv, lxxvii-lxxix
Methods of production, Hx-lxi
Old Silver in American
Churches, xx
Processes and tools, lxi-lxxiii
Publications, xix-xxi
Quality, lvii-lix
Reflection of Colonial life,
lxxix-lxxxi. See also New
Netherland, Massachusetts,
Connecticut, etc.
Silver, European, importation,
lv; in American churches, xx.
See also Dutch, English, French,
etc.
Silversmiths, American, xiii-xiv,
xix-xxii; lists of, xx; marks, xx,
xxii, lxxvii-lxxix; tools and

214

INDEX

processes, lxi-lxxiii. See also
New Netherland, Boston, New
port, etc.
Silversmith's Workshop, lxi
Simes, William, 178
•"Simmons, Anthony, 151-152
*Skinner, Thomas, 104
Smith, Anne, 38, 75, 104
Smith, Benjamin, 38, 75, 104
Smith, Nicholas, 180
Smith, Ruth, 75, 109, 114
¦"Smith, Lewis &, 183
Society of Colonial Dames,
xviii-xx, 24
"Sons of Liberty," 99
Soumaine, Simeon, Hi, cxxxiii, 6
South American Silver, 8, 184
Southern Colonies, xix, xxxvi,
118
Spain, xxxvi, xlvii
Spalding, Philip Leffingwell,
xxiii-xxiv
Spanish Coin in Colonies, 1, lxv,
16
Spencer, Oakes &, 187
Spinning of Silver, lxx
Spoons, cxxxix-cxliv, 11, 32-33, 62,
117, 161
Spout-Cups, cxiii
Spouts, duck-neck, cxxxii
Standards, silver, lxv, lxxviii, 28
Stanley, William, c
Starr (Black, Starr & Frost),
184
Steenwyck, Cornelius, xxxviii
Sterling, lxv, lxxviii, lxxix
Stevens, M. L., 54
Stockbridge, Deacon Joseph
and Margaret, 79-80
*Stollenwerck, Roe &, 191
Stoneware Jugs, German, lxxxiv,
cv, cix-cx
*Stout, J. D., 193
Strange, E. F., lvi
Stuart Period, English silver,
7-8, 28
Sugar-Bowls, cxxiii, 61, 117, 118,
161
Sutermeister, Robert and
Elizabeth, 51
*Swan, Robert, 193
*Swan, William, din, 104-105
Swedish Colonists, In ...
Symbols, Ixxxvi, xc, xcvm, xcix,
5

Symmes, Rev. Zechariah, Jr., 86
Syng, Philip, Sr., 105
*Syng, Philip, Jr., 105-106

*B T, 106
*D T, 106
*I T, 152, 193
*W H T, 194
*W T, 106-107
Tankards, xiii, xliii, lx, Ixviii, lxxx,
lxxxii-lxxxiv, xci-xciii, xcv-cix,
5-6, 9. 29-30, 61
Tea Imported into Europe,
cxxviii
Tea-Kettles, cxxxv
Teapots, xiii, cxxvii-cxxxvi, 32, 61,
117-118, 161
Tea-Sets, 117, 161
Tea-Urns, cxxxvi, 117
*Ten Eyck, Jacob, xxxix, xl, ex,
cxii, cxxxiii, 51
Ten Eyck, Koenraet, xl, ex, cxii,
cxiii, 51
Thayer, Mrs. Nathaniel, xxiv
Thompson, M., 94
•"Thomson, William, 194
tlllinghast, daniel, 76, ho
Tokens, Scottish communion, cxxi
Tools, silversmiths', lxi-lxv
Touchstone, lxvi
Towle, Anthony F., 95
Towle Manufacturing Com
pany, 95
Trenton, N. J., liii
Troy, N. Y., liii
Truro, Mass., First Congrega
tional Church, 50, 51
Tucker, Commodore Samuel and
Sallie Macintosh, 98
*Tyler, Andrew, lxxviii, cxi,
cxxvi, 51-52
Tyler Family, 51 U
*Underhill, Andrew, 107-108
*Underhill, Thomas. See under
Underhill and Vernon
*Underhill & Vernon, 152
Unknown Makers, 27, 57-59,
iop-114, 157-160, 199-200
Urn, tea, cxxxvi, 117
Urn Shapes, cxxxv, 116-117

2IJ

INDEX

V
*Van Beuren, P., 152
Van Brugh, Carol, xxxix
*Van der Spiegel, Jacobus,
xxxix, cl, 6, 20, 21, 26
Van der Spiegel Family, 20, 26
*Van Dyck, Peter, xxxix, ciii,
cviii, cxxvi, cxxxii, cxxxiii, cii,
6, 52, 108
*Van Dyck, Richard, cxii, cii, 6,
108
*Van Vechten Family, 133
*Van Voorhis, Daniel, 153-154
*VanVoorhis, Daniel & Son, 154
Vas, Rev. Petrus, 66
Vase Shapes, cxxxv, 116-117
Vaughan, Sir John, 84
Venetian Glass, cxx
*Vernon, John, 154
*Vernon, Samuel, li, lxxx, cxix,
cxxii, 21, 53-54
Vernon, Thomas, cxxii, 54
Vernon Family, 53-54
Vernon House, 53-54
*Vernon, Underhill &, 152
Verplank, Isaac D., 179
*Vilant, William, cli-clii, 55
*Vinton, David, 154
Virginia, xxxvi W
*B W, 154
*I W, 109, 155
Wadsworth Atheneum, exhibi
tion of silver, xix
Walloons in New Netherland,
xl
Walpole Society, xx, xxii
Ward, Billious, liv
Ward, James, liv
*Ward, Richard, 194
Ward, S. C, 127
*Warner, Andrew E., Sr., 195-
196
Warner, Andrew E., Jr., 195

*Warner, Joseph, ip6
*Warner, T., 197
Warren, Nathan, 86
Washington, George, cxlvii, 54
*Welles, A. & G, 197
Welsh in Pennsylvania, Hi
*Wenman, Barnard, 155
Wentworth, Governor Ben-
ning, 27, 57
West Indies, Colonial trade with,
xlvii, 1, li
Whalley, 50
Whipple, Alice, 97
Whipple, Amy, iio
Whipple, Mary, 69, 82
*White, C, 198
Whittaker, Trajntje Nancy, 83
Wilkes, John, 99
William III Period, English sil
ver of, 29
Williams Family, 148
¦"Williamson, Samuel, 156
*Wilson, R. &. W., 198
*Wilson, S., 198
*wlltberger, christian, 156
*Windover, John, 56
•"Winslow, Edward, xlix-1, xcix,
cxii, cxvii-cxix, cxxxi, 21-25,
31. 50, S3. 56-57, 92
Winslow Ancestry, 21
*Wishart, Hugh, 156, 198-199
Witbeck Family, 179
Wood Vessels, lxxxiv
*Woods, Freeman, 157
Woodward, Antipas, liv
Woolsey, Theodore S., viii, xviii
Worcester, Mass., li
Worcester Porcelain, cxxxiv
Wrather, Thomas, 34
Wyman, Benjamin, 86
*Wynkoop, Benjamin, xxxix, cxi,
6, 21, 26, 59
Wynkoop Family, 26, 56

Y

*Yates, S., 199

216

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