Peter Bentzon (c. 1786–after 1852) is one of the only identified silversmiths of African descent working in early America, and the only one whose pieces are known today. He was born in St. Thomas, Danish West Indies, to an unknown mixed-race mother and a white European father, likely Jacob Bentzon, a Norwegian lawyer and royal judge advocate in St. Thomas. It is speculated that his father’s connections afforded Peter the opportunity to go to Philadelphia at just eight years old, where he became an apprentice to an unknown silversmith from 1799 to 1806. He then moved to Christiansted, St. Croix to begin his career. From this time forward, he traveled extensively between Philadelphia and St. Croix.

Upon landing on the island, Bentzon initially stayed with the attorney John Daly, the only free black plantation owner in St. Croix. He soon purchased his own home and shop at 53A Company Street, where he worked for nearly ten years, and which remains there to this day.

He married Rachel de la Motta, a free woman of color, and census documents indicate that in addition to his wife and other family, he lived there with at least one slave.

In 1816, St. Croix was recovered by the Danish from the British and the new government was less tolerant of the free black and mixed-race population. It was perhaps for this reason that he relocated his family to Philadelphia, though still traveling frequently between the two places. Ship manifests show that he was a merchant and trader of various goods including sugar, coconuts, and “American manufactured” old plate – listed as American likely to avoid paying tariffs on the silver upon arrival to the country. Also indicating his travel patterns, his seven children were born in both locations.

His racial background would have been known in St. Croix, but it is thought that he passed for white in Philadelphia as is shown by the fact that he and his wife were listed as white in the 1820 census (though also included in the household was a free “colored” woman, perhaps one of their mothers). They lived in a racially diverse commercial neighborhood, and for a time moved into a property owned by Robert Dawson, of a prominent Quaker family, who were likely abolitionists. Two of his best known pieces, identical teapots, were commissioned by Rebecca Dawson (more below). In 1829 he moved back to St. Croix for unknown reasons. He then endured multiple legal troubles, for which he was acquitted, but perhaps soured his experience in St. Croix. For those reasons or due to mounting tensions prior to the slave revolt of 1848, Bentzon moved once again to Philadelphia. He and his family were listed in the 1850 census, but were not found in future census records in Philadelphia nor in St. Croix. Likewise, there is no record of his death.

There are few known silver objects by Bentzon. Though referred to as both a “jeweler” and “goldsmith” in various records, he did not likely run a large silversmith operation, given his other known trade and merchant work. His best known pieces are a teapot and a presentation cup, alongside individual flatware.

The aforementioned teapots were commissioned by Rebecca Dawson, circa 1817, as part of a full set.

The form reflects Bentzon’s Philadelphia training and its heavy weight might suggest that he did not have access to more updated equipment, such as a rolling mill, which silversmiths were using during this period to produce lighter silver. One teapot is in the collection of the Smithsonian National Museum of African American History and Culture, the other belongs to the St. Louis Museum of Art.

His other important piece is a footed presentation cup, from 1841.

This was a gift to Reverend Benjamin Lucock by the superintendent and teachers of St. John’s Episcopal Church Sunday School in St. Croix. The congregation was comprised of free people of African descent and Europeans, and Bentzon may have been a member (though his religious status fluctuated with the prevailing political powers in St. Croix.) This cup is currently in the Philadelphia Museum of Art collection. Details of the marks can be found here.

A Chatelain hook circa 1810 can be found in the Seattle Art Museum, gift of Ruth J. Nutt.

Other known pieces include: A teaspoon in the Philadelphia Museum of Art with its mate in a private collection, a pair of teaspoons in the Colonial Williamsburg collection with four matching in private collections.

Peter Bentzon was a sophisticated man of multiple identities. Apparently expedient in his movements between countries during changing political winds and for personal reasons, he spent his life divided between his two homes. Though a free man of color in St. Croix, he would not have been treated equally with Europeans. In Philadelphia, scholars suggest he likely kept his ancestry hidden and therefore might not have experienced the hardships of black Americans. Given these circumstances, it seems unlikely he would ever have developed a full sense of belonging in either country.

Most information drawn from the following sources:

Beatrice B. Garvan and David L. Barquist; with Elisabeth R. Agro, American Silver in the Philadelphia Museum of Art, Volume 1, (Philadelphia Museum of Art, 2018) p. 146-7.

and

Rachel E.C. Layton, Colonialism and the Object: Empire, Material Culture and the Museum, edited by Tim Barringer and Tom Flynn, (London: Routledge, 1998), p. 86-94.