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Early American Silver in The Metropolitan Museum of Art
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American Silversmiths and Their Marks
"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." — Charles Messer Stow in the Introduction. Forsaking the flourishes and ornamentation favored by their European contemporaries, early American gold- and silver smiths pioneered a new American aesthetic sensibility in creating for their well-heeled clients finely worked, luxurious metalware for the table, which was marked by a simplicity and forthrightness of design. These accomplished artisans have left us not only a stunning legacy of priceless silverware but also an opportunity to examine the...
The Silversmith in Eighteenth Century Williamsburg
Colonial silversmiths were skilled at their craft, but many employed other talents! Read about these surprisingly versatile artisans, the silver objects they created, and the other interests they pursued.
Counterfeiting in Colonial America
Counterfeiting flourished in colonial America and Scott brings to life the many colorful figures who indulged in this nefarious practice.
Early Connecticut Silver, 1700–1840
The preeminent study of Connecticut’s silvercraft, back in print with a new introduction
Women Healers
In her eighteenth-century medical recipe manuscript, the Philadelphia healer Elizabeth Coates Paschall asserted her ingenuity and authority with the bold strokes of her pen. Paschall developed an extensive healing practice, consulted medical texts, and conducted experiments based on personal observations. As British North America’s premier city of medicine and science, Philadelphia offered Paschall a nurturing environment enriched by diverse healing cultures and the Quaker values of gender equality and women’s education. She participated in transatlantic medical and scientific networks with her friend, Benjamin Franklin. Paschall was not unique, however. Women Healers recovers numerous w...
In Public Houses
In this study of the role of taverns in the development of Massachusetts society, David Conroy brings into focus a vital and controversial but little-understood facet of public life during the colonial era. Concentrating on the Boston area, he reveals a popular culture at odds with Puritan social ideals, one that contributed to the transformation of Massachusetts into a republican society. Public houses were an integral part of colonial community life and hosted a variety of official functions, including meetings of the courts. They also filled a special economic niche for women and the poor, many of whom turned to tavern-keeping to earn a living. But taverns were also the subject of much cr...
John Singleton Copley in America
A lavish, illustrated volume published to accompany an exhibition of Copley's work that will be traveling to several cities during 1996. The focus is on the paintings, miniatures, and pastels that Copley, the supreme portraitist of the colonial era, produced before he moved to London in 1774. Four principal essays place the work in historical and social context and bring new critical methods to bear upon the study of portraits and portraiture; four shorter essays treat various aspects of Copley's art and techniques. Catalog entries detail the sitters' lives and the ways in which Copley enhanced his subjects' status and presence. 10x12.25" Annotation copyright by Book News, Inc., Portland, OR
Albany Institute of History and Art
Founded in 1791, the Albany Institute of History and Art is one of the nation's oldest cultural institutions. Today, it boasts outstanding collections largely focused on New York State's Upper Hudson Valley. These include Hudson River School landscape paintings, portraits by Ezra Ames and Charles Loring Elliott, sculpture by Erastus Dow Palmer, landscape and interior paintings by Walter Launt Palmer, and Albany –made silver and other crafts. This comprehensive overview of the Albany Institute of History and Art's American art and decorative-arts collections, presents color plates and essays on about 130 objects (of a total exceeding 20,000). Dating from the beginning of the seventeenth century to the 1990s, each object in this volume was chosen for its national significance, artistic merit, and relevance to the Institute's mission: collecting and interpreting the art, history, and culture of New York State's Upper Hudson Valley through four centuries.
