LAUREN STANLEY NEWS UPDATE

Tiffany & Co. of New York introduced Japanesque design into its silverware in 1871. Unlike the prevailing historicism (i.e. 19^th Century revivalism), this was not a revival but rather a move in an entirely new design direction.

The exhibition was assembled under the guidance of William P. Hood, Jr., author (with Roslyn Berlin and Edward Wawrynek) of "Tiffany Silver Flatware 1845-1905 - When Dining Was an Art"  (Antique Collectors' Club, Woodbridge, Suffolk 2000)

Tiffany & Co. of New York introduced Japanesque design into its silverware in 1871. Unlike the prevailing historicism (i.e., 19th Century revivalism), this was not a revival but rather a move in an entirely new design direction. Edward C. Moore (b. 1827-d. 1891), Tiffanys chief designer and head of the silver department from 1868 until his death, was the individual responsible for this dramatic break with existing Occidental styles. Moores designs, although based on Far Eastern artifacts and books on Oriental art, represented reinterpretations and not simply copies of the originals and therefore are often termed Japanesque rather than Japanese.

Tiffanys first venture into the Japanese taste was the full-line flatware pattern Japanese, patented by Edward C. Moore April 18, 1871. This was a die-stamped pattern with naturalistic depictions of different birds in various poses in a defined field on the front of the handle terminal and of different foliage within a defined field on the terminal reverse. The birds were inspired by images on Oriental screens which Moore apparently thought were Japanese. As has been pointed out by Janet Zapata, however, most of the birds were Chinese. Japanese was the first American flatware pattern to feature multiple motifs and was a radical undertaking in view of the cost of cutting the many dies required. Specific depictions were assigned to specific handle types. For example, a flycatcher in a certain pose was reserved for the table fork. A depiction of this same bird in another pose was placed on the tablespoon handle and therefore appeared on all pieces made with this same handle (salad serving spoon and fork, fish serving fork and knife, etc.). In the standard state, the birds and foliage were shiny and set against a matte background. For additional interest, sometimes the subject matter was gilded and the backdrop ungilded, or vice versa. There was optional extra decoration on bowls, tines and knife blades in the form of elaborate engraving or gilding in different hues. Japanese sketchbooks such as Hokusais 19th Century fifteen-volume Manga were sources for engraved imagery (see illustration). All flat-handled pieces had a uniform terminal and stem shape. Except for the extra decoration as mentioned, the overall treatment was more formal and traditional than in later Tiffany Japanesque patterns.

Japanese was made in a fuller range of pieces than usual. For example, there were multiple styles of fruit knives, fruit forks, ice cream spoons, etc. Certain pieces were made in forms unique to the pattern, including the macaroni fork, fish serving sets and others.

Tiffanys second undertaking in the new style was the full-line flatware pattern Vine, introduced 1872. It was never patented, but its design has been attributed to Edward C. Moore. Vine was less formal than its predecessor, Japanese. Thirteen plant forms (various fruits, vegetables and one grain, wheat) "grew" with "controlled randomness" up the front of handles and even around to the back, the latter imparting unique three-dimensionality. The subject matter lent casualness to the pattern: that something so mundane as a tomato vine decorated something so elegant as a sterling soup ladle was whimsical. The fact that handle and stem shapes on flat-handled pieces varied also contributed to the informality. Sometimes whole pieces were gilded, but there was no added engraved decoration on blades or bowls. Apparently the designer felt that the handle decoration was sufficient and that additional "frills" would have been excessive.

Some motifs appeared on multiple pieces, but others were limited to a few items. Some pieces (salad serving forks and spoons, for example) had one of several different design motifs. As in Japanese, certain piece types were made in forms unique to the Vine pattern. These included a tiny butter spreader, a saw-back orange knife and others.

It is believed that the favorable public reception of Japanese and Vine flatware encouraged Edward C. Moore to take on the more daunting task of designing Japanesque hollowware. Die-stamped themes from Vine such gourds on the vine formed the basis for subsequent applied decoration on various pieces of tableware, vases, etc.

PLEASE NOTE: Be sure to see new hollowware listings by makersLincoln & Foss, William Adams (rare and important punch bowl); Tiffany; Cartier; Sciarrotta; John B. Jones; William B.  Kerr; Charters, Dominick & Haff, Cann & Dunn and more!!!

MEDALLION SILVER:   Check Medallion Flatware listings and hear D. ALBERT SOEFFING, author of "Silver Medallion Flatware" speak about Medallion Flatware, Phases 1 and 2!!!

Before 1859 and the exploitation of the Comstock Lode in Nevada in 1859 where we discovered our own silver, the silver used in making American goods was foreign. Most of it was brought into the country in the form of Spanish mill dollars from Mexico (hence the term "coin silver")....until about 1860 we made our silverware out of coins. After 1859, silver production from Western mines becomes ever increasing until, by the 1880s and 1890s, it was wreaking havoc with the monetary system.

After 1830, there is a large amount of handwork and craftsmanship that goes into making/manufacturing silverware. You may have a spinning machine that forms a hollowware form, but casting, repousse, chasing, and engraving techniques are used to form artistic decoration requiring highly skilled craftsmen. Much of the silverware after 1830, particularly flatware, has more handwork employed in its making than the standard products which preceded it.

Some people "pooh pooh" 19th Century American silver because of the use of machines.....but as John Gorham said, "Thank the Lord that we dont have to spend two days in making a simple ladle....all the time that it took to beat up a simple form can now be transferred for decoration and handwork."

It is important to note that 19th Century American Silver was used as a vehicle to bring art and education to those who used it. In a day where classical education was important and desired, medallion patterns (hear D. Albert Soeffing, author of "Silver Medallion Flatware", speak about Phases I & II of American Medallion Silver by entering the Medallion Flatware section and pressing Audio!!!) were more than pretty faces and acted as educational aids.

With the industrial revolution...the spread of wealth (silver was always a way of displaying wealth).....finding our own silver...and other factors....the United States was the best designer and innovative maker of silver in the world by 1870. American companies were winning all the awards and prizes at the international exhibitions.

Major firms became great forces in the industry and are the "brand-name" recognition firms of todays silver collecting market, so Tiffany and Gorham and their roles in 19th Century silver are important. But firms such as Shiebler, Dominick & Haff, Bogert, Gale, Jones Ball, Whiting, Wood & Hughes deserve attention too. There was a quote from a prominent dealer in one of the southern magazines a couple of years ago where she said something like: "Deciding to collect only Tiffany is like saying that youre only going to eat a diet of grapefruit." There were the giants Tiffany and Gorham in the industry, but there is a lot more to American silver than just those two firms. If you peruse "Silver in America 1840-1940" you will find many superb pieces by makers that went out of business at the turn of the century. Lauren Stanley refers to "Silver in America 1840-1940" as the "Bible" for this period of silver.

And 19th Century American Silver is becoming more popular and appreciated...but it is still undervalued.....good pieces are becoming more and more scares.....prices are increasing. Until about twenty (20) years ago many American Museums were not collection this area of silver. The Christies sale of Sam Wagstaffs collection in 1989.....the traveling Dallas Museum Show in 1994....single owner sales......more articles on the subject.....are bringing great attention to 19th Century American Silver. The number of collectors are greatly increasing.

It is the year 2000 and 19th Century American Silver is now basically considered 200 years old and this, too, will give the this area of silver a hike in prices! Learn more about this glorious period of American history!!!