From elegant tea sets to grand goblets, splendid platters and snuff boxes, the Cincinnati Art Museum holds over 400 pieces of silver designed, crafted, and sold in its city. With its founding in 1788, Cincinnati established itself as a leading center for the luxury silver trade in the United States. Cincinnati Silver: 1788-1940 traces the silver industry in the Queen City from the early years of production before the Civil War, through the growth of mechanization and mass production, and into the Arts and Crafts and Art Deco periods.
As the first comprehensive volume to be published on this subject in nearly forty years, Cincinnati Silver: 1788- 1940 is a vital resource for scholars, collectors, and enthusiasts of American silver, as well as those interested in American material culture and the development of eighteenth- and nineteenth-century commerce. With stunning color photography and in-depth research, Cincinnati Silver recounts the complex and fascinating story of the development of one of America's most important cities.
It covers the theory behind clock movement and design, including the particulars of escapements, pendulums, balance wheels, and even the sheet music for popular chimes. The American striking clock, the 400-day clock, and the alarm clock receive special attention. The in-depth information, including explanations of clock repairing terminology and details on the tools, materials, and supplies that are needed for success, will benefit even skilled enthusiasts.
This catalog presents a selection of the most representative pieces from the vast and diverse assortment of silverware produced in Europe between the 17th century and the early 19th century: from the old German states to the Italian peninsula, from France to England, the objects described in these pages testify to the great skill of master silversmiths in forging precious metals according to the artistic trends of their time, and together offer an exhaustive compendium of the main types of tableware and domestic objects used in the homes of the European upper classes over the course of three centuries. The book draws on the collection of the Villa san Luca in Ospedaletti, Italy, donated to the museum by collectors Luigi Anton and Nera Laura. With over 6,000 objects from Europe and Asia, the collection is one of Italy's most important private collections of decorative arts.
-The first book to be dedicated to the British branch of Faberge, covering its fascinating history from its opening in 1903, to its closure in 1917 Royalty, Aristocrats, American heiresses, exiled Russian Grand Dukes, Randlords, Maharajas, Socialites and Financiers with newly made fortunes flocked to Faberge in London to buy gifts for each other. The Imperial Russian Goldsmith's London branch was the only one outside of Russia and its jeweled and enameled contents were as popular there as they were in St. Petersburg or Moscow. Using previously unreferenced sources and a newly discovered archive of papers relating to Faberge in London, Kieran McCarthy studies the branch's structure, customers and exclusive stock. The book will be of interest to enthusiasts of the decorative arts, the social history of the Edwardian Golden Age and especially of European Royalty. Faberge's works were and continue to be intimately associated with the British Royal Family. For Violet Trefusis, daughter of King Edward VII's mistress Mrs. Keppel and lover of Vita Sackville-West, a Faberge cigarette case was the emblem of Royalty, as symbolical as the 'bookies' cigar', or the 'ostler's straw'.
At the turn of the last century, miner Joseph Lesher attempted to raise the price of silver by privately minting octagonal "Referendum souvenir medal" coins with values of $1.25 or $1. They were common in Victor, Cripple Creek, Denver and other places in Colorado in the days after William Jennings Bryan fought unsuccessfully for free silver. Surviving an initial dust-up with the Secret Service, Lesher found a loophole to place them in circulation in 1900 and 1901. Today, coin collectors pay more than $1,000 for one. This is the story of Joseph Lesher and his audacious private mint, along with the merchants in the mining towns and elsewhere who supported him.
-Accompanies the touring exhibition A Handsome Cupboard of Plate: Early American Silver in the Cahn Collection organized by, and starting at the Minneapolis Institute of Arts from December 1, 2012 - March 2013, moving onto the Nelson-Atkins Museum of Art, April 20, 2013 - November 3, 2013, the Missouri History Museum from November 23, 2013 - March 2, 2014 and finally to the The DeWitt Wallace Decorative Arts Museum, Colonial Williamsburg, from May 3, 2014 - May 25, 2015 Strength in design and fineness of craftsmanship unify the early American domestic and presentation silver assembled by Paul and Elissa Cahn and published together for the first time. Beginning in Boston with a caudle cup marked by Jeremiah Dummer, America's first native-born silversmith, and objects from the shop of patriot silversmith Paul Revere, the book then focuses on New York, where a distinctive style reflecting the Dutch heritage of that region emerged, and afterward on Philadelphia, where generations of the Quaker Richardson family supplied goods of the "best sort, but plain." Pride of place is given to the work of New York Jewish silversmith Myer Myers and his shop, including a presentation waiter made for Theodorus Van Wyck. Accompanying a touring exhibition of the Cahn collection, the book encapsulates some of the ethnic, religious, and political diversity of early America and sets the silver in its social and historical context
Collectors all over the world prize the distinctive silver jewelry crafted by the Hopi people of northern Arizona. Margaret Wright's comprehensive guide, first published over thirty years ago and updated in 1998 to include new artisans, has long been considered the best available reference on Hopi silversmithing and is now available only from UNM Press.
Beginning with a brief look at the geographic area that helped form Hopi identity and culture, Wright moves on to examine Hopi silversmiths from the late nineteenth century to the end of the twentieth century. Included is the important role played by Mary Russell-Colten of the Museum of Northern Arizona, Flagstaff. Russell-Colten encouraged the Hopis to adopt a unique design style that would set their work apart from other Indian silver work, thereby making it more easily distinguishable and profitable. Wright also provides a survey of the tools utilized by the artisans.
The index of hallmarks utilized by more than 300 Hopi silversmiths, arranged chronologically and by type of symbol, with brief information about each artist is a necessity for anyone collecting Hopi silver work.