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Colonial Williamsburg's extensive collection of silver drinking vessels is the legacy of three distinct sensibilities and reflects different philosophies of collecting over six decades.
International Association of Culinary Professionals (IACP) 2010 Award Finalists in the Culinary History category. Chocolate. We all love it, but how much do we really know about it? In addition to pleasing palates since ancient times, chocolate has played an integral role in culture, society, religion, medicine, and economic development across the Americas, Africa, Asia, and Europe. In 1998, the Chocolate History Group was formed by the University of California, Davis, and Mars, Incorporated to document the fascinating story and history of chocolate. This book features fifty-seven essays representing research activities and contributions from more than 100 members of the group. These contributors draw from their backgrounds in such diverse fields as anthropology, archaeology, biochemistry, culinary arts, gender studies, engineering, history, linguistics, nutrition, and paleography. The result is an unparalleled, scholarly examination of chocolate, beginning with ancient pre-Columbian civilizations and ending with twenty-first-century reports. Here is a sampling of some of the fascinating topics explored inside the book: Ancient gods and Christian celebrations: chocolate and religion Chocolate and the Boston smallpox epidemic of 1764 Chocolate pots: reflections of cultures, values, and times Pirates, prizes, and profits: cocoa and early American east coast trade Blood, conflict, and faith: chocolate in the southeast and southwest borderlands of North America Chocolate in France: evolution of a luxury product Development of concept maps and the chocolate research portal Not only does this book offer careful documentation, it also features new and previously unpublished information and interpretations of chocolate history. Moreover, it offers a wealth of unusual and interesting facts and folklore about one of the world's favorite foods.
"This very thorough catalogue, with excellent footnotes and bibliography, firmly places the subject in its broadest context." --Apollo Covers approximately 95 pieces, representing Chelsea, Bow, Derby, Worcester, Chamberlain-Worcester, Caughley, Longton Hall, Spode, and Hilditch and Sons.
In this stunning catalog, Wees, curator of decorative arts at the Clark Art Institute, shares her extensive knowledge of silver. Robert Sterling Clark, who established the Art Institute in 1955, preferred Huguenot silver? especially that of Paul de Lamerie? so his collection, which contains typical objects from the early 16th to the mid-20th centuries, is especially rich in 18th-century examples. Wees arranges this collection according to general function ("Dining," "Lighting," etc.) and prefaces each chapter with exhaustively footnoted essays. She accompanies each item with crisp black-and-white photographs, a wealth of description, and helpful commentary. Analogous to Kathryn Buhler's standard catalog of American silver in Boston's Museum of Fine Arts, this is a wonderful tool for researching makers and hallmarks, comparing stylistic elements, or just marveling at the beauty of an extraordinary collection. While not intended to be a historical compendium, this informative, visual feast belongs in all silver reference collections and will also certainly appeal to individual collectors. 19 colour & 1,222 b/w illustrations
Published in conjunction with an exhibition organized by, and held at, the Metropolitan Museum of Art, New York, and the Los Angeles County Museum of Art, this volume examines the American (i.e. British colonial) manifestations of the European rococo style. Following an introductory chapter, separate chapters are devoted to architecture, engravings, silver, and furniture, plus iron, glass, and porcelain grouped together as factory products. Illustrated are 173 objects (many in color) that are part of the exhibition, and some 50 related objects. Annotation copyrighted by Book News, Inc., Portland, OR
First Published in 2005. Silver is unique among the decorative arts in that its raw material is both inherently valuable and infinitely reusable. Its ownership has been a social bench-mark and its form has exercised the skills of sculptors, designers, chasers and engravers, but ultimately it could be, and normally was, melted down and refashioned quite without sentiment. Because of this constant recycling, the survival of any individual object is quite random and unrelated to its uniqueness or otherwise in its period. Hitherto plate historians have focused on individual objects almost to the exclusion of the context - social or economic - from which they came but now that context is seen as crucial in understanding historic plate. So in the first section of this book each chapter considers contemporary attitudes and usage.