Before the rulers of Ur, who lived 6,000 years ago, held silver utensils in their hands, they ate out of silver bowls, or so the remnants of silver holloware—and lack of silver flatware—found in their tombs would suggest. Silver flatware designed to bring whatever was in those ancient bowls to royal mouths came later—a container for one’s meal was the obvious first step. Unearthed evidence also reveals that the ancient Greeks hammered silver into the shapes of bowls, as did the Etruscans, Egyptians, and Romans. But for most contemporary collectors of antique sterling silver bowls, such facts are little more than history lessons, since the pieces and fragments from those eras are the stuff of museums. More available are the European sterling silver pieces created from the 17th century to the present. From the beginning, the techniques for hammering silver into shapes were similar from region to region. In sinking, a sheet of silver was hammered into a form, often carved from the stump of a tree. The silversmith would begin by hammering around the edge of the form, moving toward the center of the sheet slowly in concentric circles. Because of this, sunk bowls were usually thicker on the bottom than the sides, which helped stabilize ones with round bottoms. Raising took the opposite approach, although it was more commonly used for deep objects such as pitchers and tea pots. Both techniques were followed by planishing, in which a wide, slightly rounded planishing hammer was painstakingly used to smooth the outside of the sunk or raised surface. Sometimes the honeycomb-like marks of the hammered were disguised by polishing and burnishing, although during the Arts and Crafts era, there was no attempt to hide the hand of the silversmith at all. Decorative effects on silver bowls ranged from enameling and niello, which were used to add color to a piece, to engraving and bright-cutting, which was like engraving but was, despite its name, more like scratching the surface than cutting it. Pricking produced almost pointillistic designs, chasing was favored by artists wishing to depict scenes and landscapes on their bowls, and repoussé was perhaps the most demanding technique of all—to create repoussé patterns on the outside of a bowl, the smith had to hammer his design into the piece from the inside. Other examples of decoration include openwork effects, which were achieved by piercing a bowl with a punch, fine saw, or both to create lace-like patterns. While these techniques were almost universal, the types of bowls produced varied widely. For example, brandy bowls, which had two horizontal handles projecting from their rims, were particular to 17th-century Holland—the brandy was sipped warm. A close cousin of the brandy bowl is the single-handled porringer, which was popular in the American colonies but was known as a bleeding bowl in England where it originated. Despite their grisly name, bleeding bowls were used to eat out of. Punch bowls were perhaps more universal, but the bright-cut or engraved designs on their surfaces were not. Dutch punch bowls, for example, might feature images of tulips while English ones might be decorated with coats of arms featuring dragons and castles. A monteith was like an extremely fancy footed-and-handled punch bowl, whose rims were crowned with excessively scalloped and decorated crowns. These remarkable bowls were filled with ice and used to cool glasses. Later examples had removable crowns so the bowls beneath them could be used for, you guessed it, punch. Finally there were bowls for silver tea services. Of course these included a sugar bowl, whose contents were often dropped into a teacup using a pair of sterling silver sugar tongs. In the mid-1700s, tea services also included something called a slop bowl, which was the receptacle into which one would pour the cold tea sitting at the bottom of a cup before refilling it with fresh, hot liquid. Now that’s civilized!