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About This Artwork
Salver, c. 1715
5.1 x 17.8 x 17.8 cm (2 1/4 x 7 1/4 x 7 in.); 273.6 grams
Marked on the top side of the tray, lower edge: "EW" over a fleur-de-lis in a shaped shield; engraved at the center of the tray: a unicorn head.
Restricted gift of the Antiquarian Society, 1948.107
Edward Winslow was one of the most prolific and original silversmiths of the 18th century. His work consistently redefined accepted forms for silver objects. This three-lobed platter is rare in American 18th-century design and has no known prototype. Most likely the serving surface was used to hold four small, stemmed wine glasses and was placed on the dining table after a meal.
New Haven, Gallery of Fine Arts, Yale University, Masterpieces of New England Silver, 1650-1800, June 18-September 10, 1939, cat. 199.
The Art Institute of Chicago, From Colony to Nation, April 21 - June 19, 1949, cat. 220.
Kansas City, Nelson-Atkins Gallery of Art, Antique American and English Silver, October 1-30, 1950.
The Minneapolis Institute of Arts, French, English, and American Silver, June 9 - July 15, 1956, cat. 307.
Richmond, The Virginia Museum of Fine Arts, Masterpieces of American Silver, January 15 - February 14, 1960, cat. 139.
The Milwaukee Art Center, Vignettes of the 18th Century in America: Arts and Decorations of the Colonial and Federal Periods, July 1-31, 1960, cat. 4.
The Art Institute of Chicago, The Antiquarian Society of The Art Institute of Chicago, The First 100 Years, April 23- June 19, 1977, cat. 177.
Kathryn C. Buhler, "Three Early American Salvers." Bulletin of the Museum of Fine Arts (Boston) 33, 198 (August 1935), p. 52-54 (ill.).
Helen Comstock, "Silver by Edward Winslow of Boston, 1669-1753)," The Connoisseur CVIII, 482 (December 1941), p. 205-209 (ill.).
Kathryn C. Buhler, American Silver (World Publishing Co., 1950), p. 23 (ill.).
The Antiquarian Society (Art Institute of Chicago, 1951), no. 47 (ill.).
The Art Institute of Chicago, American and European Decorative Arts from the Collections of The Antiquarian Society, 1878-1951 (Art Institute of Chicago, 1951), p. 47 (ill.).
Helen Comstock, "The Connoisseur in America: Work of the Antiquarian Society in Chicago," in The Connoisseur CXXX, 528 (October 1952) p. 148.
Richard McLanathan ed, "Colonial Silversmiths, Maters and Apprentices," (Boston: The Museum of Fine Arts, Boston, 1956), p. 29.
Meyric R. Rogers, "American Decorative Arts at The Art Institute of Chicago," The Magazine Antiques LXXIV, 1 (July 1958), p. 49-56 (ill.).
David A. Hanks, "American Silver at The Art Institute of Chicago," The Magazine Antiques XCVIII, 3 (September 1970), p. 418-422 (ill.).
Graham Hood, American Silver: A History of Style, 1650-1900 (New York: Praeger Publishers, 1971) p. 81-82 (ill.).
Michael Clayton, The Collector's Dictionary of the Silver and Gold of Great Britain and North American (New York: World Publishing Co., 1971) p. 235 (ill.). no. 462.
Harold Osborne ed, The Oxford Companion to the Decorative Arts (Oxford: Clarendon Press, 1975) p. 741 (ill.).
Milo M. Naeve, The Classical Presence in American Art (Chicago: The Art Institute of Chicago, 1975) p. 741 (ill.).
Judith A. Barter et al, American Arts at The Art Institute of Chicago: From Colonial Times to World War I (Chicago: The Art Institute of Chicago, 1998), pp. 56-58, no. 8.
Patricia E. Kane et al, Colonial Massachusetts Silversmiths and Jewelers (New Haven: Yale University Art Gallery, 1998) p. 980, (ill.).
Judith A. Barter, Elizabeth McGoey, et al, "American Silver in the Art Institute of Chicago" (New Haven: Yale University Press, 2016) cat. 9 (ill.).
By descent to Marcus Morton Jr. (1893-unknown), Baston, Massachusetts; sold to the Art Institute, 1948.