Southern Coin Silver
Most silver articles made in America before 1870 are of the coin standard, which averages 900 parts unadulterated silver for every 1000. The term coin silver comes from the practice of melting down coinage and re-purposing the metal into silver ware. Various silversmiths in urban communities hand made bits of flatware and hollowware, normally marking them with their trade mark. These imprints show up either impressed into the metal's surface, or stamped in a way that recessed them into the metal's surface similar to engraving. The impressed mark is older, however both were see used starting around 1840. By 1860 most all silver imprints were etched. Secondary imprints, called pseudo or trade marks, may be found on Southern silver. A kings head reminiscent of English silver, single letters of the letter set, a lion, and so forth. These imprints were utilized by silver vendors to advertise their wares, frequently reminiscent of the imprints on quality silver from England and the Continent.
Characterizing Southern silver involves analyzing regional history and geology. The Confederate States of America were Virginia, North Carolina, South Carolina, Georgia, Florida, Tennessee, Alabama, Louisiana, Mississippi, Texas, and Arkansas. Kentucky and Maryland were fringe states, and both suffered incredible turmoil regarding secession. The Museum of Early Southern Decorative Arts in Winston-Salem, NC, distinguishes articles made in Kentucky and Maryland as being Southern, however most Southern coin silver collectors exclude Maryland. One hypothesis for this prohibition refers to the city of Philadelphia's impact and influence on Maryland silversmiths.
The South essentially had fewer silversmiths in operation than the North. There were a little over 283 silversmiths working in NY between 1800-1810, while Charleston, SC had just 79. The South likewise had its fair share of calamities, such as hurricanes and great fires to take their toll on its wares. Wars displaced much Southern silver. Milby Burton, in his book South Carolina Silversmiths, 1670 to 1860, discusses the plunder, estimated at 300,000 pounds sterling, taken from Charleston by the British throughout the War for Independence.
Investigating secondary marks uncovers the highly debatable issue of determining the retailer from the maker. During the course of the industrial revolution, Southern merchants discovered it more productive to import wares made by Northern silversmiths. These Southern retailers frequently added to the pieces their own marks. This illustrates why engravings noting Southern families and organizations are found on articles made by firms like Gorham. While collectors ideally strive for pieces crafted in the South, Southern retail pieces are often very collectible.
Many consider relative rarity the key to valuing coin silver. The supply essentially can't stay ahead of the demand. Most keen collectors will ignore poor condition if the form, imprint or characteristics are essentially unknown or obscure. Like most other fields of collecting, always invest in the highest quality items you can afford. Keep a journal with notes on provenance and sources of items in your collection. Museum quality pieces need museum quality care. Have repairs made by an expert familiar specifically with antique coin silver.
Most silver articles made in America before 1870 are of the coin standard, which averages 900 parts unadulterated silver for every 1000. The term coin silver comes from the practice of melting down coinage and re-purposing the metal into silver ware. Various silversmiths in urban communities hand made bits of flatware and hollowware, normally marking them with their trade mark. These imprints show up either impressed into the metal's surface, or stamped in a way that recessed them into the metal's surface similar to engraving. The impressed mark is older, however both were see used starting around 1840. By 1860 most all silver imprints were etched. Secondary imprints, called pseudo or trade marks, may be found on Southern silver. A kings head reminiscent of English silver, single letters of the letter set, a lion, and so forth. These imprints were utilized by silver vendors to advertise their wares, frequently reminiscent of the imprints on quality silver from England and the Continent.
Characterizing Southern silver involves analyzing regional history and geology. The Confederate States of America were Virginia, North Carolina, South Carolina, Georgia, Florida, Tennessee, Alabama, Louisiana, Mississippi, Texas, and Arkansas. Kentucky and Maryland were fringe states, and both suffered incredible turmoil regarding secession. The Museum of Early Southern Decorative Arts in Winston-Salem, NC, distinguishes articles made in Kentucky and Maryland as being Southern, however most Southern coin silver collectors exclude Maryland. One hypothesis for this prohibition refers to the city of Philadelphia's impact and influence on Maryland silversmiths.
The South essentially had fewer silversmiths in operation than the North. There were a little over 283 silversmiths working in NY between 1800-1810, while Charleston, SC had just 79. The South likewise had its fair share of calamities, such as hurricanes and great fires to take their toll on its wares. Wars displaced much Southern silver. Milby Burton, in his book South Carolina Silversmiths, 1670 to 1860, discusses the plunder, estimated at 300,000 pounds sterling, taken from Charleston by the British throughout the War for Independence.
Investigating secondary marks uncovers the highly debatable issue of determining the retailer from the maker. During the course of the industrial revolution, Southern merchants discovered it more productive to import wares made by Northern silversmiths. These Southern retailers frequently added to the pieces their own marks. This illustrates why engravings noting Southern families and organizations are found on articles made by firms like Gorham. While collectors ideally strive for pieces crafted in the South, Southern retail pieces are often very collectible.
Many consider relative rarity the key to valuing coin silver. The supply essentially can't stay ahead of the demand. Most keen collectors will ignore poor condition if the form, imprint or characteristics are essentially unknown or obscure. Like most other fields of collecting, always invest in the highest quality items you can afford. Keep a journal with notes on provenance and sources of items in your collection. Museum quality pieces need museum quality care. Have repairs made by an expert familiar specifically with antique coin silver.