This rectangular clay bottle has a speckled white glaze that seems to highlight the texture of the stoneware underneath. Three dripped, irregular lines of black glaze create a design on the top, spout, and widest two faces of the bottle.
Gold spoon with thin handle that widens at the end with egg-and-dart-like motif along edges
Many silver luxury items in Colonial America were imported from Europe, but by the late 17th century American silversmiths began producing spoons, tankards, and tea services for domestic use and display, many of which emulated the aesthetics of British and Northern European design and ornament. The Tariff of 1842 imposed heavy taxes on imported goods to America, such as silver, which, along with a flourishing economy following the Civil War and an increase in the demand for elegant dining silverware, led to an increase in production. As the industry grew from local workshops to large factories, American silver manufacturers, such as Kirk & Sons and Tiffany & Company were established.
During this time the role of the designer became more important in silversmithing. The prestigious New York jewelry firm Tiffany & Co. originally founded in 1837 by Charles Louis Tiffany (whose son, Louis Comfort Tiffany, became renowned for his glasswork and jewelry) employed a succession of highly influential and skilled designers, and soon became well known for creating beautiful pieces, whose elegant and timeless designs continue to remain popular even today.
Signed and dated, in pencil, l.r. margin: Nicholson / 67 Edition, in pencil, l.l. corner: 24/50 On back of print (in pencil, probably dealer notation): "EUBOEA" - 1967 PSXTX Front, blind stamp, l.l. corner: Watermark, l.r. corner: RIVES
Along the bottom of the composition are two horizontal bands with white borders. Within these bands are organic shapes bordered in dark lines. At the top half of the composition is square with white borders that showcases a heavily lined scene reminiscent of waves in the ocean. The background of the piece is highly texturized.
This abstract print is part of the portfolio, A Genesis, which included 14 additional etchings by Peterdi as well as 15 poems by John Ciardi. According to the National Collection of Fine Arts' exhibition catalog Gabor Peterdi: Forty-five Years of Printmaking, Peterdi's work consistently explores nature, man, and their interrelationships. These relationships work to evoke a sense of continuity and a reaffirmation of life.
This print is constructed of five horizontal bands of color with a semicircular shape at the top center. The bottom-most band depicts tightly clustered organic shapes with dark borders. The next band has a short, thick, curving line in the center, and a couple other dark organic lines above it. The third and middle band has some hatching and some circular shapes. The fourth band, or the second band from the top, is made up of horizontal lines, with many hatched vertical lines over top of them, reminiscent of grass. The top most band depicts a cellular-like structure, consisting of a diamond pattern. The semicircular shape at the top cuts through the top band, and juts partially into the band underneath it. The semicircle has an organic, circular line formation in the center.
According to the National Collection of Fine Arts' exhibition catalog Gabor Peterdi: Forty-five Years of Printmaking, Peterdi's work consistently reflects themes of man, nature, and their interrelationships. Additionally, his work his highly influenced by his travels to Mexico, South America, Hawaii, and Alaska. These themes and experiences work together to create sensitive images designed to evoke a sense of continuity and a reaffirmation of life.