This teaspoon is part of a twelve-piece place setting designed by Prairie School architect George Maher for the lavish summer home of Ernest L. and Grace Watkins King.

This butter spreader is part of a twelve-piece place setting designed by Prairie School architect George Maher for the lavish summer home of Ernest L. and Grace Watkins King.

As a medium-sized producer of commercial wares, Shreve & Co. did not hesitate to adopt the simplified aesthetics of the reform style. Items such as this teapot were primarily made on a lathe, with hammer marks added later. The shape of this teapot was based on Japanese porcelain prototypes. This model was available with a stand and burner.

This cakeplate is a fine example of an arts and crafts style object whick looks handmade, although machines were used in its making. For example, the body of the plate was produced on a power-driven spinning lathe, not raised by hand. The hammer marks on the teapot were added later to give the vessel a handmade look.

Created especially for the 1901 Pan-American Exposition in Buffalo, New York, this vase is a superb example of the Viking-themed silver designed by George Paulding Farnham for Tiffany & Co. in the decade following the Columbian Exposition of 1893, where the first such works by the firm were exhibited.

Made in Asheville, North Carolina, by silversmith William Waldo Dodge in the midst of Prohibition, this cocktail jigger is part of a twelve-piece set that stands as one of Dodge’s few forays into the modernist idiom, as opposed to the more commercially viable Arts and Crafts or Colonial Revival styles.

Made in Asheville, North Carolina, by silversmith William Waldo Dodge in the midst of Prohibition, this cocktail shaker is part of a twelve piece set that stands as one of Dodge’s few forays into the modernist idiom, as opposed to the more commercially viable Arts and Crafts or Colonial Revival styles.

Made in Asheville, North Carolina, by silversmith William Waldo Dodge in the midst of Prohibition, this cocktail cup is part of a twelve-piece set that stands as one of Dodge’s few forays into the modernist idiom, as opposed to the more commercially viable Arts and Crafts or Colonial Revival styles.

Made in Asheville, North Carolina, by silversmith William Waldo Dodge in the midst of Prohibition, this cocktail lemon squeezer is part of a twelve-piece set that stands as one of Dodge’s few forays into the modernist idiom, as opposed to the more commercially viable Arts and Crafts or Colonial Revival styles.

Made in Asheville, North Carolina, by silversmith William Waldo Dodge in the midst of Prohibition, this cocktail tray is part of a twelve-piece set that stands as one of Dodge’s few forays into the modernist idiom, as opposed to the more commercially viable Arts and Crafts or Colonial Revival styles.