The Silver Standard
December 2003
Collecting American silver is the same as collecting in any other area: Look for the best examples from a particular period and always check condition. People who buy American silver do so for its aesthetic appeal and workmanship or because they enjoy entertaining with it. The desirable pieces that fetch high prices are those that were conceived artistically and go beyond their use as purely utilitarian objects.Early Silver
Astute collectors and museums have long sought silver dating from the 17th to early 19th centuries. Luminaries from the Colonial period include John Hull and Robert Sanderson, John Coney, Jacob Hurd and Paul Revere from Boston; Philip Syng Jr. from Philadelphia; and, later, Myer Myers in New York and Joseph and Nathaniel Richardson in Philadelphia.
There are many pitfalls when buying silver from this period. Works by certain makers such as Syng and Revere have been reproduced, often quite accurately, including replicated marks. Sometimes counterfeiters have substituted important maker’s marks on pieces by lesser-known silversmiths to fetch higher prices. The same holds true for some English pieces, such as sugar urns that have been restamped with American marks. Since superb, genuine pieces from this period can run well into the six figures, it is important to consult with several experts before committing to a piece.
Later Silver
The desirability of certain styles and periods in American silver from the late 19th century has remained unchanged over the past 15 years. As rare pieces become harder to find and more eager “hunters” pursue them, prices will keep escalating. One continuously hot area is silver in the Japanesque style made by Gorham Mfg. Co., Tiffany & Co., Whiting Mfg. Co. and Dominick & Haff during the 1870s to ’80s. Objects from this period are characterized by applied decoration in other metals onto the silver surface. Many pieces in this style have been over-cleaned, so look closely to ascertain that the surface is not too rubbed and that sufficient detail still remains on the copper fish or gold flower.
At the end of the 1890s, Gorham introduced a line of silver called Martelé, which was formed by hammering and chasing in the Art Nouveau style. An exhibition and two books on the subject, as well as collectors avid for great pieces, have driven up prices.
In the 1880s and ’90s, several silver makers were using enamel on their silver. It is rare to find examples with the enameling intact. Sometimes a layer of enamel has been rubbed off or it has been chipped. Small repairs are acceptable, but if you suspect the piece has been entirely re-enameled, use a black light to reveal newly worked areas. Very few makers produced silver with plique-à-jour enamel (a stained-glass effect) but if you are lucky enough to find a piece, make sure the enamel in the cells is still intact.
Silver made in the repoussé process (a relief decoration produced by punching or hammering the metal to make a pattern) is an area that has been largely overlooked. Dating to the late 1880s and ’90s, the salient feature of this style is the intricate ornamentation of flowers or classical figures, which should be crisp and not rubbed. Also, if the raised areas are too high, cracks may appear, so be sure to hold the piece up to the light to detect any light shining through.
Silver from the 20th century, for the most part, has not yet reached its market peak. By the 1930s, silver played less of a role in entertaining; therefore, less was produced. Artfully conceived pieces do bring high prices, including silver that was exhibited in the 1939 World’s Fair in New York.
Flatware
If prices for hollowware have escalated, those for flatware have gone up even more proportionately, with more buyers in the market scrambling after a dwindling supply. Moreover, flatware, unlike hollowware for which you may have to pay substantial money for one item, can be bought piece by piece, allowing one to assemble a pattern over several years.
Certain classic patterns have remained popular, such as Tiffany & Co.’s Chrysanthemum and Olympian. Gorham’s Chantilly also continues to be an all-time favorite among consumers. One style that has really burgeoned in popularity in the past decade is the Japanesque, exemplified by Lap Over Edge by Tiffany, Hizen by Gorham and a style commonly known as Hammered and Applied by Whiting. Other sought-after patterns include Love Disarmed by Reed & Barton and Labors of Cupid by Dominick & Haff. Figural patterns such as Gorham’s Bird’s Nest and Narragansett—if you can find them—are well worth the hunt, but the really rare pieces could cost thousands. Market prices for flatware can accommodate a wide range of budgets, from $20 for salt spoons to tens of thousands for rare pieces.
Novelty Silver
Small novelty items made in the late 19th and early 20th centuries afford the collector a range of interesting collectibles that do not necessarily require a large pocketbook. Available in a plethora of styles and techniques, items such as belt buckles, dresser sets, sewing articles, flasks, scent bottles, paper knives, page-turners, card cases, match safes, desk items and napkin rings, to name only a few, can cost from $100 to upward of $5,000. Just about every maker produced examples, but Unger Brothers, William B. Kerr Co. and George W. Shiebler & Co. made the most interesting, often whimsical, pieces. For these items, make sure that excessive handling has not rubbed off too much of the ornamentation.
Maker’s Marks
Early American silver was marked either with the silversmith’s first and last initial, first initial and last name, or just the last name. There was no marking for silver content until after 1868 with the exception of a few companies that stamped “Sterling” on their silver. In the latter half of the 19th century, each piece should have a maker’s stamp as well as an indication of either “Sterling” or “925–1000” (the silver content in sterling). Later marks could include the name or initials of the company or a
symbol representing a particular firm.
Practical Tips
Since most hollowware and flatware from the late 19th and early 20th centuries were engraved with monograms, check the piece you are considering for evidence of a burnished-off monogram. If you detect a depressed area, run your finger over the spot to see if it is sunken where the monogram was originally engraved. Unless you love the piece or want to engrave your own initials, avoid silver with monograms removed.
Check for any dents, deep scratches, solder repair, patches covering a hole or other problems, or parts that have been replaced, such as handles, feet or finials. A good silversmith can correct some, but not all, repairs. Sometimes, parts from one piece have been soldered onto another. Known as a “marriage,” this silver should be avoided.
The best and most sought-after pieces of silver, no matter what period or style, are those where the patina hasn’t been rubbed and the detail is crisp. A golden rule: Do not over-clean your antique silver.
For more information
Argentum Antiques Ltd., San Francisco, CA. (415) 296-7757.
Bernard & S. Dean Levy Inc., New York, NY. (212) 628-7489.
Beverly Bremer Silver Shop, Atlanta, GA. (404) 261-4009.
Firestone and Parson, Boston, MA. (617) 266-1858.
Lauren Stanley Gallery, New York City. (212) 888-6732.
The McNally Company Antiques, Rancho Santa Fe, CA. (858) 756-1922.
Nelson & Nelson Antiques Inc., New York, NY. (212) 980-5825.
S.J. Shrubsole, New York, NY. (212) 753-8920.
Phyllis Tucker Antiques, Houston, TX. (713) 524-0165.
Janet Zapata is a decorative arts author and consultant, specializing in jewelry and silver.