Lot 12
An exceptional American silver and copper "Indian" vase attributed to Joseph Heinrich for Thomas G. Brown & Sons, New York, retailed by Grogan & Co., Pittsburgh, circa 1900-1915
13 July 2020, 10:00 PDT
Los AngelesSold for US$137,575 inc. premium
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An exceptional American silver and copper "Indian" vase attributed to Joseph Heinrich for Thomas G. Brown & Sons, New York, retailed by Grogan & Co., Pittsburgh, circa 1900-1915
With the marks of Thomas G. Brown & Sons and J.C. Grogan & Co., and also marked "Sterling Silver and Other Metals"
The vase features a silver and copper American Indian figure, set vertically to the front. The figure has a height of 11in (28cm). The body is formed in copper, and adorned with a silver headdress and a draped blanket. The figure wears a bear claw necklace and holds a pipe across his body. At the base of the figure is an applied buffalo head and a grouping of pine cones, needles and maize leaves. Flanking each side of the vase are applied mixed-metal shields, each with hanging feathers. The base, neck and rim have etched decoration in a Native American motifs.
Height of vase 20in (51cm), silver weight 104.6oz troy.
Footnotes
Joseph Heinrich immigrated from Germany to New York City in 1895, and established in himself as a molder and finisher of copperware. In 1897, he opened his own shop, which was located in Manhattan, across from the Flatiron Building, at 948 Broadway. Many of the works by Heinrich do not bear his mark as they were created for other silver fabricators or the maker's marks were replaced by a retailer's mark. Heinrich created pieces for firms including Gorham, Tiffany, Shreve, Crump & Low, Caldwell and Shreve & Co.
Thomas G. Brown & Sons, New York, NY, were also active silversmiths between 1881-1915. They notably made Arts & Crafts style silver objects, and created pieces for Gorham. The historic collaboration between Joseph Heinrich and Gorham is well documented in pieces that have previously been offered for public and private sale.
The historical context of this piece is central to its importance. At the dawn of the 20th Century and the final days of American Expansionism, there was a renewed interest in the concept of the 'Noble Savage'. Native American culture was being re-examined in terms of spiritual enlightenment, and there was a new desire to incorporate Native American aesthetics into designs of the Arts and Crafts period. Both the 1901 Buffalo 'Pan-American' and the 1904 St. Louis 'Louisiana Purchase' expositions had exhibits inspired by Native American design.