A silver plate measure or creamer from the Algonquin Club of Boston. This is a wonderful piece of nineteenth Century American history in both the club it originates from, and the patrons that it would have served along its journey. Built in 1888 and designed by New York architecture firm;  McKim, Mead and White, the Algonquin Club became 'the finest and most perfectly appointed club-house in America'. It was the first purpose-built clubhouse in the City of Boston and one of the earliest in the United States.

The design of the clubhouse represents an early example of the Italian Renaissance Revival style, which, over the next two decades, became the hallmark of city club architecture in the United States.  McKim, Mead and White also went on to design the fabulous Boston Public Library in 1895. McKim himself was an active member of the club, along with the great grandson of Thomas Jefferson, and President Calvin Coolidge, the thirtieth President of the United States. The club was hosted most of Boston's elite, but it also was regarded as a somewhat less privileged and 'old fashioned' membership program. It allowed membership to be acquired through good standing, achievements and not simply lineage. Even the name derives from the National family of Native Americans which included all of the important New England tribes.

The Algonquin Club had a rich history in collecting fine art, much of which dates to when Edmund C. Tarbell chaired its art committee. Tarbell, it may be noted, painted the stunning portrait of President Coolidge which hung in the club before taking this role. Tarbell was a member of the Ten American Painters, a group that “fundamentally altered the relationship of the artist to his audience” and stressed cohesiveness in exhibition design and installation. Through Tarbell’s influence and guidance, the club’s art collection includes important works by late nineteenth and early twentieth century American and European artists. Hudson River School paintings featuring pastoral scenes of sheep and cattle by James MacDougal Hart and sporting dogs by Thomas Hewes Hinckley. Dutch genre paintings and New England maritime paintings by Marshall Johnson hung between bronzes of Native Americans by Cyrus Edwin Dallin. A circa-1870 carved and polychrome tobacco store figure of a Native American, by Julius Theodore Melchers, sat prominently placed in the main stairwell near Theodore Baur’sBust of Crazy Horse.

The piece itself is a wonderful and well made, silver plated, five ounce measure, jigger or perhaps creamer, made by American silversmiths Reed & Barton. From what has been uncovered Reed & Barton made all of the servewear for the club as a few other dinner service pieces have been uncovered. It appears that this hand-engraved artwork used on this piece is from the 1920's/30's when the earlier utlised 'AC' logo made way for the full name of the club. The condition of the piece is superb throughout. It is fully marked on the base for Reed & Barton.

Charles E. Barton and Henry G. Reed first started working together as craftsmen at a small silversmith manufacturing company. They improved their craft in the company while moving up the ranks. In 1824, the men became presidents and re-named the company as Reed & Barton. Still in existence today, they have made items for the White House along with winning the 'Medal of Excellence' at the 1876 Philadelphia Centennial Exhibition, and producing the Olympic Medals for the 1996 Atlanta games.

A wonderful piece in its own right, but a fascinating piece of America's history and of club history in the country. The 'AC' has recently undergone a huge renovation and now lives on as the "Quin". A members club for a new generation of Bostonians.