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 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 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 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 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 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 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.

This coffeepot, commissioned by publisher William Randolph Hearst in 1897, is part of a highly unusual Tiffany and Company coffee service that is covered with skulls, severed hands, and serpents. The form of the coffeepot is adapted from a sculpture of the "serpent-skirted" Aztec goddess Coatlique, discovered in Mexico City in 1790.

This sugar bowl, commissioned by publisher William Randolph Hearst in 1897, is part of a highly unusual Tiffany and Company coffee service that is covered with skulls, severed hands, and serpents. The form of the coffeepot (2007.64.1) is adapted from a sculpture of the "serpent-skirted" Aztec goddess Coatlique, discovered in Mexico City in 1790.

These tongs, commissioned by publisher William Randolph Hearst in 1897, is part of a highly unusual Tiffany and Company coffee service that is covered with skulls, severed hands, and serpents. The form of the coffeepot (2007.64.1) is adapted from a sculpture of the "serpent-skirted" Aztec goddess Coatlique, discovered in Mexico City in 1790.