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拍品專文
Myer Myers returned to New York in December 1783, after having fled the city just before the British invasion in the autumn of 1776. Having lost his workshop and tools during his years as a refugee, Myers struggled to reestablish his business in the post-war period. This was particularly challenging given the shortage of patrons in the difficult economic climate, as well as Myers's inability to reconnect with his pre-war network of specialist craftsmen.
According to historian David Barquist, Myers adapted quickly to the popular neoclassical style of the Federal period, particularly in his use of bright-cut engraving. Although Myers often decorated flatware with this method, he also employed the technique in decorating larger objects, most notably the pair of Torah finials circa 1785 at Touro Synagogue, Congregation Jeshuat Israel, Newport, Rhode Island (Barquist, Myer Myers, Jewish Silversmith in Colonial New York, 2001, cat. no. 100).
Figural engraving on Myers's work is particularly rare. The only other known example is the Van Wyck waiter (Barquist, 2001, cat. no. 56), sold Sotheby's, New York, 28-31 January 1994, lot 611. The female figure on the present lot shares stylistic attributes with the waiter engraving most noticably in the use of tapered shading strokes on the figure's limbs and torso.
According to historian David Barquist, Myers adapted quickly to the popular neoclassical style of the Federal period, particularly in his use of bright-cut engraving. Although Myers often decorated flatware with this method, he also employed the technique in decorating larger objects, most notably the pair of Torah finials circa 1785 at Touro Synagogue, Congregation Jeshuat Israel, Newport, Rhode Island (Barquist, Myer Myers, Jewish Silversmith in Colonial New York, 2001, cat. no. 100).
Figural engraving on Myers's work is particularly rare. The only other known example is the Van Wyck waiter (Barquist, 2001, cat. no. 56), sold Sotheby's, New York, 28-31 January 1994, lot 611. The female figure on the present lot shares stylistic attributes with the waiter engraving most noticably in the use of tapered shading strokes on the figure's limbs and torso.