American Silversmiths and Their Marks: The Definitive (1948) Edition

DOVER BOOKS ON ANTIQUES AND COLLECTING

HATS: A HISTORY OF FASHION IN HEADWEAR, HILDA AMPHLETT. (0-486-42746-3)

BRITISH COSTUME FROM EARLIEST TIMES TO 1820, MRS. CHARLES H. ASHDOWN. (0-486-41813-8)

BLOOMINGDALE’S ILLUSTRATED 1886 CATALOG, BLOOMINGDALE BROTHERS. (0-486-25780-0)

EVERYDAY FASHIONS OF THE THIRTIES As PICTURED IN SEARS CATALOGS, EDITED BY STELLA BLUM. (0-486-25108-X)

EVERYDAY FASHIONS OF THE TWENTIES AS PICTURED IN SEARS AND OTHER CATALOGS, EDITED BY STELLA BLUM. (0-486-24134-3)

A PICTORIAL HISTORY OF COSTUME FROM ANCIENT TIMES TO THE NINETEENTH CENTURY: WITH OVER 1900 ILLUSTRATED COSTUMES, INCLUDING 1000 IN FULL COLOR, WOLFGANG BRUHN AND MAX TILKE. (0-486-43542-3)

ARCHITECTURA NAVALIS MERCATORIA: THE CLASSIC OF EIGHTEENTH-CENTURY NAVAL ARCHITECTURE, FREDRIK HENRIK AF CHAPMAN. (0-486-45155-0)

THE BOOK OF OLD SHIPS: FROM EGYPTIAN GALLEYS TO CLIPPER SHIPS, HENRY B. CULVER. (0-486-27332-6)

THE HISTORY OF UNDERCLOTHES, C. WILLETT CUNNINGTON AND PHILLIS CUNNINGTON. (0-486-27124-2)

DECORATIVE ANTIQUE IRONWORK, HENRY R. D’ALLEMAGNE. (0-486-22082-6)

AMERICAN VICTORIAN COSTUME IN EARLY PHOTOGRAPHS, PRISCILLA HARRIS DALRYMPLE. (0-486-26533-1)

TWO YEARS BEFORE THE MAST: A PERSONAL NARRATIVE, RICHARD HENRY DANA, JR. (0-486-45802-4)

WOMEN’S HATS, HEADDRESSES AND HAIRSTYLES: WITH 453 ILLUSTRATIONS, MEDIEVAL TO MODERN, GEORGINE DE COURTAIS. (0-486-44850-9)

WOMEN’S COSTUME OF THE ANCIENT WORLD: 700 FULL-COLOR ILLUSTRATIONS, PAUL LOUIS DE GIAFFERRI. (0-486-44527-5)

HISTORIC COSTUMES AND HOW TO MAKE THEM, MARY FERNALD AND E. SHENTON. (0-486-44906-8)

VICTORIAN AND EDWARDIAN FASHION: A PHOTOGRAPHIC SURVEY, ALISON GERNSHEIM. (0-486-24205-6)

TURN-OF-THE-CENTURY FASHION PATTERNS AND TAILORING TECHNIQUES, S. S. GORDON. (0-486-41241-5)

WHAT PEOPLE WORE: 1,800 ILLUSTRATIONS FROM ANCIENT TIMES TO THE EARLY TWENTIETH CENTURY, DOUGLAS GORSLINE. (0-486-28162-0)

AUTHENTIC VICTORIAN FASHION PATTERNS: A COMPLETE LADY’S WARDROBE, EDITED BY KRISTINA HARRIS. (0-486-40721-7)

SEE EVERY DOVER BOOK IN PRINT AT

WWW.DOVERPUBLICATIONS.COM

This Dover edition, first published in 1983, is an unabridged republication of the definitive third edition of the work as published by Robert Ensko, Inc., N.Y., in 1948 under the title American Silversmiths and Their Marks III.

9780486147048

International Standard Book Number: 0-486-24428-8

Library of Congress Cataloging in Publication Data

Ensko, Stephen Guernsey Cook, 1896-

American silversmiths and their marks.

Bibliography: p.

1. Silversmiths — United States — Biography. 2. Hall-marks. I. Title.

NK112.E66

1983

739.2’3722 [B]

82-17763

Manufactured in the United States by Courier Corporation

24428808

www.doverpublications.com

Table of Contents

DOVER BOOKS ON ANTIQUES AND COLLECTING

Title Page

Copyright Page

ACKNOWLEDGEMENTS

Dedication

INTRODUCTION

Chapter I - NAMES OF EARLY AMERICAN SILVERSMITHS 1650-1850

Chapter II - MARKS OF EARLY AMERICAN SILVERSMITHS 1650-1850

Chapter III - LOCATIONS OF SILVERSMITHS’ SHOPS

BIBLIOGRAPHY

A CATALOG OF SELECTED DOVER BOOKS IN ALL FIELDS OF INTEREST

ACKNOWLEDGEMENTS

I wish to express my sincere and grateful thanks to Dorothea E. Wyle and Vernon C. Wyle for invaluable help and inspiring cooperation in the preparation and progress of this work.

I appreciate the suggestions and friendly interest extended to me by Prof. John M. Phillips, Director, Yale University Art Gallery; Curator of The Mabel Brady Garvan Collection.

I desire to thank Kathryn C. Buhler, Museum of Fine Arts, Boston, for gracious assistance and constructive criticism.

To Helen Burr Smith I am deeply indebted for the scholarly work of Chapter III, listing silversmiths and showing their locations on the maps of New York, Boston, Philadelphia; and for research work and generous contributions of information and dates.

I am indebted for information to: C. Louise Avery, Metropolitan Museum, N. Y.; Lockwood Barr, Margaret M. Bridwell, E. Milby Burton, Charleston Museum, S. C.; Dr. George B. Cutten, Stephen Decatur, Carl W. Drepperd, Henry F. du Pont, Caroline R. Foulke, Harrold E. Gillingham, Jessie Harrington, Mrs. John Russel Hastings, John D. Hatch, Albany Institute of History and Art, N. Y.; Edwin J. Hipkiss, Museum of Fine Arts, Boston; Stanley Ineson, Walter M. Jeffords, Rhea M. Knittle, Dr. J. Hall Pleasants, Elizabeth B. Potwine, Mrs. Harold I. Pratt, Mrs. Alfred C. Prime, Beverley R. Robinson, Frank O. Spinney, Andrew V. Stout, Mr. and Mrs. Charles Messer Stow, R. W. G. Vail, New-York Historical Society; Mabel C. Weaks, Alice Winchester. To friends and acquaintances who have given me permission to use photographs, and have supplied marks and information, I wish to express my thanks and appreciation.

I am indebted for the use of illustrations to: Mrs. Adelyn B. Breeskin, Baltimore Museum of Art, Md.; Erwin Christiansen, Index of American Design, National Gallery of Art, Washington, D. C.; Downtown Assn., New York; Joseph Downs, Metropolitan Museum of Art, N. Y.; Helen S. Foote, Cleveland Museum of Art, Ohio; V. Isabelle Miller, Museum of the City of New York; Charles Nagel, Brooklyn Institute of Arts and Sciences, N. Y.; Russell A. Plimpton, Minneapolis Institute of Arts, Minn.; Robert H. Tannahill, Detroit Institute of Arts, Mich.; Josephine Setze, Art Gallery, Yale University.

To my wife Dorothea W. Ensko, I owe the greatest debt, for the many years that she has cheerfully given her assistance and generous encouragement.

STEPHEN G. C. ENSKO

New York.

To

S. M. K.

and

S. C. E.

INTRODUCTION

STUDY of American silver leads into many fields of interest and profit. One of them is history in general. Another is history in some of its subdivisions — economic, social, esthetic. Best of all, however, it leads to a better understanding and appreciation of the ethos of America.

Now ethos is a word which I believe ought to appear oftener in our thinking. The dictionary definition of it is the character, sentiment or disposition of a community or people; the spirit which actuates manners and customs. More concretely, I think, the ethos of America is that characteristic inherent in its mentality, its customs and its handiwork which may be comprehended in the phrase the American Way of Life.

So thoroughly is the American ethos embodied in the works of American silversmiths that it has given to their product a typical identity and it never can be mistaken for that of any other country, though other nations may have influenced design and workmanship. Traces of English ostentation, French flourish and Spanish and Italian rococo fussiness may be found, but all these influences have been transmuted into American forthrightness and simplicity.

The same process is seen in the work of American cabinetmakers. Nobody mistakes a Philadelphia Chippendale chair for its English prototype or a Duncan Phyfe Federal period table for its English Regency model. Even the houses our ancestors built, though patterned after those of Georgian England, were so changed by the American ethos that we consider them typically American.

We learn from the earliest silver made in this country that the American spirit is no phenomenon of recent political origin. It started long before America was a nation.

The seventeenth century silversmiths of New England and New York followed English Jacobean and Restoration and Dutch styles, but altered and simplified their copies so that even the earliest known American silver had an individuality of its own — it signified an American ethos already initiated.

One of the contributing causes of the American spirit expressed by our silversmiths was the ingenuity and native skill demanded of them. In the seventeenth century the master silversmiths of London complained to the Guild Hall that their trade had become too specialized. Too many different craftsmen, they grumbled, must contribute to the making of a single piece — the hammerers, the planishers, the handle molders, the engravers. In America one journeyman silver-smith accomplished all the kinds of work done in England by shop specialists.

Study of American silver in connection with certain phases of American history shows that it is a record of the economic and esthetic life of the colonies, all and each. At first, cups, tankards, beakers, porringers and other household utensils were made out of the silver acquired by the owner in trade or commerce. They were his equivalent of a savings bank.

As wealth increased, household silver became an index of the owner’s financial status and an indication of his manner of living. Pride of possession led him to have initials or armorial bearings engraved on his silver, and these, together with the maker’s marks, are often an invaluable help to genealogists and other historians.

Study of the variations found in the silver produced in the various colonies is rewarding for the light it throws on local characteristics.

New England silversmiths followed more nearly the designs of England than did the craftsmen of other colonies, perhaps because New England’s customs were more like those of Old England than any other colony — except Virginia. There the ties were so close that most of its silver as well as everything else was bought in London. Philadelphia, too, followed English styles (with modifications) but because of Quaker tolerance, design there in every branch of craftsmanship was more or less eclectic.

New York silver is considered to offer the best opportunity for tracing the process of Americanization at work. The city’s earliest silversmiths, of course, were Dutch. Then came the English and the French Huguenots. Not one of these alien craftsmen continued the traditions learned in his apprenticeship in Europe. All succeeded in producing something typically American.

When the rococo and chinoiserie fashions flourished in the England of George II, New York silver remained simple, strong, almost stark. When England tired of fussy design toward the end of the eighteenth century and turned to the classics for inspiration, New York silversmiths, and those in the other centers, too, accepted the forms, but made modifications of ornament into a simplicity dictated by the American ethos.

All these suggestions as to the importance of the silversmith, with many others, are to be found in this book, which itself is the most complete study of American silver and its makers yet achieved. Mr. Ensko reckons American silver a manifestation of the American ethos, for he is convinced that it embodies the ingenuity, the spirit and all the other intangible factors that have made America what it is. He believes also that a study of the subject will quicken consciousness to grasp the need for preserving the American ethos, and in this I heartily concur.

CHARLES MESSER STOW.

Chapter I

NAMES OF EARLY AMERICAN SILVERSMITHS 1650-1850

THIS LIST of early American silversmiths has been compiled for the convenience of those desiring to know more about the craftsmen who fashioned early American silver. To facilitate reference the names have been listed in alphabetical order. All sources of available information have been used with a considerable amount of critical correction. In keeping with the original intention of this book only silversmiths and allied craftsmen who can be identified with known examples of their workmanship have been included in this list. With the names of silversmiths are earliest working dates; hyphenated double dates indicate births and deaths; and locations of business mentioned are followed by records of marriages, freemanships, apprenticeships, and other pertinent information.

To appreciate and understand the pieces of early American silver illustrated in this chapter it is necessary to know the lines and forms, and the styles of decoration of the various periods represented. This is not difficult if we keep in mind the influence of the early Chinese designs and the evolution into the Grecian shapes. In some instances we find the English and Continental prototypes of slightly later date, especially in the beginning of the eighteenth century, but generally speaking the designs and workmanship are more or less contemporary.

Presenting a simple picture of this development in the eighteenth century we note a globular bowl of 1725 changing into the elongated pear-shape of about 1750, and to the Grecian vase form of 1775. This considerable change in a span of fifty years is also to be found in the square tray conforming to the later fashionable curved outlines; the straight-sided, flat-top tankard acquiring a bulbous body and stepped-domed cover; all reflecting the general tendency to greater height and tapering line. For further study and educative interest the author refers the student to the bibliography included in this book.

A

JOHN W. ABBOTT

1790-1850

Portsmouth, N. H., 1839, at Market Square.

FRANCIS M. ACKLEY

1797

New York at 95 Warren Street; Bowery Lane; Henry Street; until 1800.

JOHN ADAM, JR.

1780-1843

Alexandria, Va., advertised after 1800. Was also noted Musician and Artist.

PYGAN ADAMS

1712-1776

New London, Conn., 1735. Son of Rev. Eliphalet Adams. Married Ann Richards, May 5, 1744. Capt. Adams held prominent public offices. General Assembly, 1753-1765. Died in New London.

WILLIAM L. ADAMS

1831

New York at 620 Greenwich Street; 10 Elm Street in 1835. Noted politician. President of the Board of Alderman, 1842-3. In Troy, 1844-1850.

EDWIN ADRIANCE

1809-1852

St. Louis, Ill., 1835. Born in Hopewell, N. Y. Son of Abraham Adriance and his Wife Anna Storm. Married Elizabeth O’Connor. Firm of Mead, Adriance & Co.; Mead & Adriance 1831.

GEORGE AIKEN

1765-1832

Baltimore, Md., in Calvert Street in 1787; 118 Baltimore Street in 1815. Married Sarah Lerct McConnell 1803.

JOHN AITKEN

1785

Philadelphia, Pa., at 607 Second Street, 48 Chestnut Street 1791. No record after 1814. Advertised as, Gold and Silversmith, Clockmaker, Musical Instrument Manufacturer and Copper-Plate Engraver.

JOHN B. AKIN

1820-1860

Danville, Ky., 1850.

CHARLES ALDIS

1814

New York at 399 Broadway; 23 Elm Street in 1815.

ISAAC ALEXANDER

1850

New York at 422 Grand Street.

SAMUEL ALEXANDER

1797

Philadelphia at South Second Street until 1808. Firm of Wiltberger & Alexander.

ALEXANDER & RIKER

1797

New York, at 350 Pearl Street until 1798.

ALLCOCK & ALLEN

1820

New York.

CHARLES ALLEN

1760

Boston, Mass.

CUPS

STANDING CUPS