CHAPTER I
The following Tables are intended to be of practical use to the student of Old Silver, and they are arranged in a convenient form for reference.
I. Tables showing Date Letters used at the London Assay Office from 1598 to 1835 (pages 351-355).
II. Table showing =Differences of Shields= in Hall Marks, Standard Marks, and Date Marks of London Assay Office, from the Accession of Queen Elizabeth to the present day (page 357).
III. Series of Examples showing Types of Marks found on authentic specimens of Old Silver assayed in London during the above period (pages 359-385).
IV. Series of Examples from Silver assayed at Exeter, Chester, Norwich, York, Newcastle, Birmingham, and Sheffield (pages 387-399).
Scottish and Irish Marks are also given (pages 401-409).
I
TABLES SHOWING DATE LETTERS
Used at London Assay Office. 1598-1835
II
TABLE SHOWING DIFFERENCES IN SHIELDS
In London Hall Marks, Standard Marks and Date Marks, From Elizabeth to George V
TABLE OF LONDON ASSAY OFFICE ANNUAL DATE LETTERS.
1598-1617. 1618-1637.[5] 1638-1657. 1658-1677.
~A~ A 1598 _a_ A 1618 ~A~ A 1638 ~A~ A 1658 ~B~ B 1599 _b_ B 1619 ~B~ B 1639 ~B~ B 1659 ~C~ C 1600 _c_ C 1620 ~C~ C 1640 ~C~ C 1660 ~D~ D 1601 _d_ D 1621 ~D~ D 1641 ~D~ D 1661 ~E~ E 1602 _e_ E 1622 ~E~ E 1642 ~E~ E 1662 ~F~ F 1603 _f_ F 1623 ~F~ F 1643 ~F~ F 1663 ~G~ G 1604 _g_ G 1624 ~G~ G 1644 ~G~ G 1664 ~H~ H 1605 _h_ H 1625 ~H~ H 1645 ~H~ H 1665 ~I~ I 1606 _i_ I 1626 ~J~ I 1646 ~J~ I 1666 ~K~ K 1607 K 1627 ~K~ K 1647 ~K~ K 1667 L 1608 _l_ L 1628 ~L~ L 1648 ~L~ L 1668 ~M~ M 1609 _m_ M 1629 ~M~ M 1649 ~M~ M 1669 ~N~ N 1610 _n_ N 1630 ~N~ N 1650 ~N~ N 1670 ~O~ O 1611 _o_ O 1631 ~O~ O 1651 ~O~ O 1671 P 1612 _p_ P 1632 ~P~ P 1652 ~P~ P 1672 ~Q~ Q 1613 _q_ Q 1633 ~Q~ Q 1653 ~Q~ Q 1673 ~R~ R 1614 _r_ R 1634 ~R~ R 1654 ~R~ R 1674 S 1615 _s_ S 1635 ~S~ S 1655 ~S~ S 1675 ~T~ T 1616 _t_ T 1636 ~T~ T 1656 ~T~ T 1676 ~V~ V 1617 _v_ V 1637 V 1657 ~V~ V 1677
The shape of the shields used is shown in Table II.
TABLE OF LONDON ASSAY OFFICE ANNUAL DATE LETTERS.
1678-1696. 1696-1715. 1716-1735. 1736-1755.
~a~ A 1678 ~A~ A 1696 =A= A 1716 =a= A 1736 [A] ~b~ B 1679 ~B~ B 1697 =B= B 1717 =b= B 1737 ~c~ C 1680 ~C~ C 1698 =C= C 1718 =c= c 1738 ~d~ D 1681 ~D~ D 1699 =D= D 1719 =d= D 1739 ~e~ E 1682 ~E~ E 1700 =E= E 1720 =e= E 1740 ~f~ F 1683 ~ff~ F 1701 =F= F 1721 =f= F 1741 ~g~ G 1684 ~~g G 1702 =G= G 1722 =g= G 1742 ~h~ H 1685 ~h~ H 1703 =H= H 1723 =h= H 1743 ~i~ I 1686 ~i~ I 1704 =I= I 1724 =i= I 1744 K 1687 ~k~ K 1705 =K= K 1725 =k= K 1745 [A] ~l~ L 1688 ~l~ L 1706 =L= L 1726 =l= L 1746 M 1689 ~m~ M 1707 =M= M 1727 =m= M 1747 [A] ~n~ N 1690 ~n~ N 1708 =N= N 1728 =n= N 1748 ~o~ O 1691 ~o~ O 1709 =O= O 1729 =o= O 1749 ~p~ P 1692 ~p~ P 1710 =P= P 1730 =p= P 1750 Q 1693 ~q~ Q 1711 =Q= Q 1731 =q= Q 1751 ~r~ R 1694 ~r~ R 1712 =R= R 1732 =r= R 1752[6] ~s~ S 1695 ~s~ S 1713 =S= S 1733 =s= S 1753 ~t~ T 1696 ~t~ T 1714 =T= T 1734 =t= T 1754 ~v~ V 1715 =V= V 1735 =v= V 1755
The shape of the shields used is shown in Table II.
TABLE OF LONDON ASSAY OFFICE ANNUAL DATE LETTERS.
1756-1775. 1776-1795. 1796-1815. 1816-1835.
~A~ +a+ 1756 a +a+ 1776 A +a+ 1796 a +a+ 1816 ~B~ +b+ 1757 b +b+ 1777 B +b+ 1797 b +b+ 1817 ~C~ +c+ 1758 c +c+ 1778 C +c+ 1798 c +c+ 1818 ~D~ +d+ 1759 d +d+ 1779 D +d+ 1799 d +d+ 1819 ~E~ +e+ 1760 e +e+ 1780 E +e+ 1800 e +e+ 1820 ~F~ +f+ 1761 f +f+ 1781 F +f+ 1801 f +f+ 1821 ~G~ +g+ 1762 g +g+ 1782 G +g+ 1802 g +g+ 1822 ~H~ +h+ 1763 h +h+ 1783 H +h+ 1803 h +h+ 1823 ~I~ +i+ 1764 i +i+ 1784 I +i+ 1804 i +i+ 1824 ~K~ +k+ 1765 k +k+ 1785 K +k+ 1805 k +k+ 1825 ~L~ +l+ 1766 l +l+ 1786 L +l+ 1806 l +l+ 1826 ~M~ +m+ 1767 m +m+ 1787 M +m+ 1807 m +m+ 1827 ~N~ +n+ 1768 n +n+ 1788 N +n+ 1808 n +n+ 1828 ~O~ +o+ 1769 o +o+ 1789 O +o+ 1809 o +o+ 1829 ~P~ +p+ 1770 p +p+ 1790 P +p+ 1810 p +p+ 1830 ~Q~ +q+ 1771 q +q+ 1791 Q +q+ 1811 q +q+ 1831 ~R~ +r+ 1772 r +r+ 1792 R +r+ 1812 r +r+ 1832 ~S~ +s+ 1773 s +s+ 1793 S +s+ 1813 s +s+ 1833 ~T~ +t+ 1774 t +t+ 1794 T +t+ 1814 t +t+ 1834 ~U~ +v+ 1775 u +v+ 1795 U +v+ 1815 u +v+ 1835
The shape of the shields used is shown in Table II.
II
TABLE SHOWING DIFFERENCES IN SHIELDS IN LONDON HALL-MARKS, STANDARD MARKS, AND DATE MARKS FROM QUEEN ELIZABETH TO GEORGE V.
III
EXAMPLES SHOWING TYPES OF MARKS[7]
Found on Authentic Specimens Of Old Silver Assayed in London From the Reign of Elizabeth To the Present Day
III
LONDON MARKS
1558 to 1577
(Twenty letters are used, omitting J.)
The earlier letters of this alphabet were impressed with a stamp following the outline of the shape of the letter. Later a shield was used. The type of this date letter is Black Letter Small. Similar type was used from 1678 to 1696, and the shields are the same shape. This type was again used in the reign of Victoria from 1856 to 1875, but the shield is different.
1578 to 1597
(Twenty letters are used, omitting J; and the U is of the same form as the V, which was followed in succeeding alphabets till the year 1735.)
Roman Capital Letters are used at this period. The lion and leopard’s head are in a stamp following the outline, a practice which continued till 1678. From 1716 to 1735, in the reign of George I, a similar alphabet was used with shields of the same shape; but the first four years have the figure of Britannia and lion’s head erased, the Higher Standard Mark. In 1720 the lion and leopard’s head with a new shape of shield clearly indicate the difference.
1598 to 1617
Lombardic Capitals are used in this alphabet. The peculiarities in this series are the letter A with its crossbar (1598), the letter C (1600), which is a D reversed, and the letter G (1604).
1618 to 1637
The letters used are Small Italic. The shields are slightly longer and pointed at bottom. The noticeable letters puzzling to beginners are _b_ (1619), similar to _h_ (1625), _l_ (1628), and _s_ (1635). The _l_ (1628) is similar to the _s_ (1753).
LONDON MARKS
LONDON MARKS
THE COURT HAND ALPHABET
1638 to 1657
CHARLES I. AND COMMONWEALTH
The next alphabet used at the London Assay Office for annual date letters is of a peculiar type known as the Court Hand. Most of the letters are of a character which has not survived in modern usage and they are of a form dissimilar to any other. This Court Hand was employed from the year 1638 to 1657, that is during the latter half of the reign of Charles I and during the Commonwealth up to 1657.
This series of characters was again used from 1696 to 1715, that is to say during six years of the reign of William III, the whole of the reign of Queen Anne, and for the first two years of George I.
Two very important periods are thus covered by these two Court Hand alphabets. It should not be difficult to avoid confusing the one period with the other, as there are other factors which determine which is the latter series. The leopard’s head and the lion are, from 1697 to 1720, replaced by the figure of Britannia and the lion’s head erased.
The illustration of both series of Court Hand letters on pages 351 and 353 will enable readers to identify them more readily.
The examples illustrated on page 365 are, in conjunction with the maker’s mark, the leopard’s head, and the lion passant, for the period 1638 to 1657.
A comparison may be made with the later Court Hand characters, where examples will be found illustrated on page 373.
Among the difficulties presented by this Court Hand, the following letters are likely to give trouble in identification owing to their similarity in shape, which becomes more pronounced when the letters are worn and the details slightly obliterated. The ~a~ (1638) may be mistaken for the ~i~ (1646); the ~b~ (1639) is not unlike the letter ~h~ (1645); and the ~k~ (1647) resembles the letter ~b~ (1639), which with its peculiar form, when worn, is only distinguishable by the bar across the centre. A worn letter ~d~ (1641) is apt to resemble an ~s~ (1655).
In examining the letters under a glass, care should be taken to see that they are not upside down, as in some instances they often resemble others. The shape of the shield is usually clearly enough defined to show the pointed base.
Although these letters are so extremely puzzling, especially to beginners, it should be borne in mind in comparison with the similar Court Hand alphabet which was used later from 1696 to 1715, that the date marks are only confirmatory. In the later series there is the difference in the omission of the lion passant and the leopard’s head, replaced by the figure of Britannia and the lion’s head erased. But the character of the silver itself tells its own story in cases where date marks and standard marks happen to be wholly obliterated. A piece of Queen Anne plate differs so essentially in style from a piece of Charles I or Cromwellian that it should be impossible to fall into any error in mistaking the one for the other.
LONDON MARKS
1658 to 1696
CHARLES II, JAMES II, WILLIAM AND MARY
This period covers the late Stuart silver--Charles II, James II, and the major portion of the reign of William III.
The period represents a renaissance in the styles, and there is a noticeable rejuvenance in the specimens still preserved. For example, see candlesticks illustrated (page 227).
But it must be remembered that during the Charles I period in the days of the Civil War much of the silver was melted down to enable the king to use it in striking the coins of the realm.
Similarly in the reign of William III the old silver was called in by the Royal Mint to be melted down to convert into coin of the realm, for reasons which we have explained elsewhere. On account of the depredations of the coin-clippers much of the fine old silver of the reigns of Charles II and James II was destroyed. In consequence, the silver of the reigns of Charles I, Charles II, and James II is of considerable rarity.
With the opening of the eighteenth century, or, to be exact, from 1697 to 1720, the Higher Standard was obligatory, and with this departure, and the fashions of Queen Anne, a new period of silver is entered. Collectors are divided into schools according to their predilections. To one, nothing later than Elizabeth offers any interest. To another, early Stuart silver affords charms which no later period can supplant. Again, to others the Queen Anne period is the be-all and end-all of their ambitions in collecting.
In this alphabet the peculiarities are the letters C (1660) and E (1662), which are only distinguishable from each other by the cross-bar to the letter E. The letter G is an exceptional form (1664), and is shown on the opposite page. O (1671) is also an unusual form. Letters T (1676) and L (1668) are somewhat similar in form, and may easily be mistaken for each other in worn examples.
The letter H (1665) is illustrated as the mark on a wine-cup (page 129).
In the year 1679 an oblong shield was used for the lion, as shown on page 357. This mark is taken from the Sumner Salt in the Mercers’ Company Hall, illustrated page 155. The letter E is found on a Snuffers and Tray, illustrated page 231, and the letter F on a Porringer (1683), illustrated page 205. The letter H (1685) is shown on the opposite page.
In regard to this alphabet great changes were in the air (see Higher Standard Mark, pages 49-59), and this alphabet comes to an end with the letter t, and no later date letter than t was employed. But from March to May in 1697 the letter a of the Court Hand alphabet was used, and from May 1697 to May 1698 the Court Hand letter b was used (see succeeding alphabet).
This is the only occasion when the London Assay Office departed from the regular employment of twenty letters, from A to U, excluding the letter J.
Other Marks illustrated are =1665= (p. 129), =1669= (p. 197), =1682= (p. 231), =1683= (p. 205).
LONDON MARKS
1697 to 1715
WILLIAM III (1697-1702), QUEEN ANNE (1702-1714)
During this period there were some important Acts of Parliament which relate to Silver Plate and determine certain changes which are interesting to collectors.
In 1696-7, by 8 and 9 William III, _cap._ 8, the standard of silver plate was raised higher than that of the coinage, to stop the practice of melting down the coin of the realm and converting it into plate. From the 25th of March, 1697, the new standard became compulsory, and any silver plate made less than .959, that is, 959 parts of pure silver in every thousand, was illegal. The marks of the maker were to be the first two letters of his _surname_, and the lion passant and the leopard’s head were to be discontinued. The new standard silver was to be stamped with the figure of Britannia in place of the former mark, and the lion’s head erased in place of the latter.
In 1700, under 12 William III, _cap._ 4, Chester, York, Exeter, Bristol, and Norwich were reappointed Assay Towns with the right to stamp silver.
It was enacted that the new standard should be observed; that the maker’s mark, the variable date letter (“Roman”), the arms of the city, the lion’s head erased, and the figure of Britannia be stamped on the silver.
In 1702, 1 Anne, _cap._ 3, a similar power was conferred on Newcastle-on-Tyne.
This alphabet presents a difficulty at the outset. The letter a was only used from March to May 1697, and from thence to May 1698 the letter ~b~ was used. An example is illustrated on page 217 of this latter period. The maker, John Bodington, signs the first two letters of his surname below a bishop’s mitre.
The letter ~c~ is illustrated from a mark on a cupping-bowl, 1698, and should be compared--as should all the letters in this Court Hand alphabet--with the letter ~c~ (1640) in the series 1638 to 1657.
The letter ~c~ (1698) and ~q~ (1711) are shown opposite. The maker’s initials, +Ke+, stand for William Keith.
The letter ~d~ (1699) is given elsewhere (page 353).
The letter ~f~ (1701) is the mark on a sugar-caster illustrated (page 269). The maker, Christopher Canner, stamps the first two letters of his surname.
The letter ~i~ (1704) is unlike any modern i, and is from a Monteith illustrated (page 135). The maker, Louis Mettayer, uses the first two letters of his surname.
The letter ~k~ (1705) is equally unfamiliar. It is from a teapot and stand. The maker, Simon Pantin, signs the first letters of his Christian and surnames. In 1739 this was made compulsory by statute.
The letter ~r~ (1712) is shown on a caster illustrated (page 269).
All the marks on opposite page denote the Higher Standard--figure of Britannia and lion’s head erased.
The Higher Standard (1697-1720)
Other Marks illustrated are =1697= (p. 217), =1701= (p. 269), =1704= (p. 135), =1712= (p. 269).
LONDON MARKS
1716 to 1778
GEORGE I, GEORGE II, and GEORGE III (the first quarter of his reign).
In the sixth year of the reign of George I, in 1720, the old silver standard was revived. After 1720 the figure of Britannia and the lion’s head erased disappear from silver. In 1721 the leopard’s head and the lion passant reappear as hall and standard marks, and from this date the provincial offices again took up the assaying of silver.
In 1721 the leopard’s head was in a square shield, as shown on page 357.
In 1722 and 1723 the leopard’s head was in a circular shield. In 1724 and 1725 the shield for the leopard’s head was in an escutcheon with a rounded base (see illustration, page 357). From 1726 to 1728 the leopard’s head again is in a circular shield, and this and the previous years, 1722 and 1723, are the only occasions when the circular shield was used.
The shapes of the shields of the lion passant during this time are shown in the Table (page 357).
From 1729 to 1738 the leopard’s head is in a shield with a pointed base, and the lion is in an oblong shield.
From 1739 to 1755 the lion is in a shield which is irregular in shape following the outline. The leopard’s head from 1739 to 1750 is in a shield of elaborate shape, and the whiskers of the leopard are clearly marked in the stamp. From 1751 to 1755 the shield for the leopard’s head changes. These differences can be seen in the Table (page 357).
From 1756 to 1775 the leopard’s head has another shield. The lion from 1756 to 1895 (139 years) retains the same shaped shield.
The example given on the opposite page for the year 1717 belongs to the Higher Standard period.
The mark for 1722 is from a tea-caddy made by Bowles Nash, whose mark is a B with a star.
The example given on the opposite page for the year 1753 shows the date letter ~s~, and is noticeable as likely to be confused with the letter ~f~ 1741.
The mark for 1761 on a cake-basket with the maker’s mark, E.R. (Edward Romer) is illustrated (page 291). It will be observed that from this date the initial letters of Christian and surname of makers were now used. This was compulsory in 1739 by 12 of George II _cap._ 26.
For the year 1773 a sugar-bowl is illustrated (page 283). The marks are given on the opposite page. The makers were S. and J. Crespell.
Other Marks illustrated are =1746= (p. 251), =1761= (p. 291).
LONDON MARKS
1776 to 1835
GEORGE III, GEORGE IV (1820-30), WILLIAM IV
The most important feature in regard to marks in this period is the addition of the reigning sovereign’s head, which commenced in 1784. This Duty Mark was continued throughout the reigns of George III, George IV, William IV, and during the reign of Victoria until 1890, when the mark of the sovereign’s head was discontinued on the abolition of the duty on silver.
In regard to the collection of silver, it must be admitted that this period embraces decadent styles. The delicacy of the Stuart period with its refinement and grace, and the subsequent reticence of the Queen Anne and early Georgian styles, with their sober though essentially national character, was submerged in the first half of the nineteenth century in the Victorian era. There is an absence of originality and a feeling of dull, insipid, or overloaded ornament in most of the work of this period.
Practically with this period, from a collector’s point of view, the subject comes to an end. But there are bright spots now and again visible. There is the classic influence due to the same artistic impulse which directed Wedgwood and the Brothers Adam; but this only extended into the early years of the nineteenth century. The First Empire style came and went in furniture and silver, and only fitfully does it appear in design later than 1830.
In this period the most noticeable difference in the marks is the addition of the head of George III, in 1784, when the Duty Act was passed (24 George III).
Three examples are given from this period, 1798, 1808, and 1810; the last set of marks is taken from a silver-gilt salt with Pompeian style of ornament made by Rundell, Bridge and Rundell. This is illustrated on page 173.
In 1821 the head of George IV replaced that of his father, and from 1831 to 1836 the head of William IV was stamped as a Duty Mark.
In 1821 the leopard’s head lost its crown, and has so remained since that date. The lion at the same time had the head fuller and in profile, in which style it has continued till the present day.
LONDON MARKS
1836 to 1915
VICTORIA (1837-1901), EDWARD VII (1901-10), GEORGE V
From a collecting point of view there is not much in this last period to invite comparison either in beauty or originality with the best periods of old silver.
In order to complete the series of examples herein given a selection of marks has been made covering this period, so that the reader may recognize modern marks, especially when the design of the piece has been copied from some old specimen.
The period is important in embracing several protective measures designed to safeguard the public interests and to bring the assay offices under stricter supervision. The Report of the Select Committee of the House of Commons on the Hall-Marking of Gold and Silver Plate, etc., which was issued in 1879, should be carefully studied by those students who wish to master the complexities of hall-marking.
In 1876 it was enacted (39 and 40 Vict. _cap._ 35) that all foreign plate, before its sale in England, should be assayed here and bear the letter F in an oval escutcheon. Amended by 4 Edward VII, _cap._ 6, 1904.
In regard to forgery of silver plate there is ample provision to bring the offenders to book. By Vict. 7 and 8, _cap._ 22, sections 5 and 6, penalties are provided for those altering and adding to plate, and possessing, selling, or exporting such plate without fresh assay; a fine of £10 can be imposed for each article so found in a person’s possession without lawful excuse.
From 1837 the head of Queen Victoria appears as a Duty Mark, and till 1875 the leopard’s head, still uncrowned, is of a different form (see Table, page 357).
In this period the shape of the shield for the date letter, which had remained the same since 1756, was now for the last time used. Its new shape is shown in the following period.
The shape of the date shield was changed with the letter B in 1877. In 1876, with the letter A, the shield of the leopard’s head was changed, and the face became more feline with whiskers (see Table, page 357). In 1876 another new mark was added, the letter F, in an oval escutcheon, which was compulsory by law to be stamped on all foreign silver assayed at any office in the United Kingdom.
In 1890 the sovereign’s head disappears, as the duty on silver was then abolished.
In this last period of all it will be observed that the shields of the date letter and the leopard’s head both change their shapes, and have three lobes.
FOOTNOTES:
[5] These and subsequent alphabets follow entries in the minutes of the Goldsmiths’ Company, and were verified from pieces of plate by Mr. Octavius Morgan. (See p. 38.)
[6] These letters have been verified by me from pieces of old silver.--A. H.
[7] _The Position of Marks._ Marks are not placed on old silver in a straight line. They are shown in this manner in this volume for convenience, and are the author’s own arrangement. They are in practice irregularly stamped, sometimes in a circle and sometimes upside down. It must be borne in mind that the maker put his mark on first prior to sending the piece to the Assay Office. The remaining marks were stamped thereon under the direction of the Wardens. Although the maker’s mark was stamped first, some of the other marks were often placed on each side of it.
IV
EXAMPLES OF PROVINCIAL MARKS
EXETER CHESTER NORWICH YORK NEWCASTLE BIRMINGHAM SHEFFIELD
PROVINCIAL MARKS
EXETER
Although the records show that Exeter was among the Assay Offices appointed in 1700 by 12 and 13 William, _cap._ 3 and 4, it is evident that silver was assayed here by the city guild of goldsmiths, as some of the marks found on old silver, indubitably of Exeter origin, belong to the sixteenth century.
We are enabled, by the kindness of Mr. J. H. Ellett Lake of Exeter, to give a very representative selection of Exeter marks, and, in addition, to give illustrations of the pieces themselves in this volume.
It will be seen that the earlier marks date from 1572, and the X surmounted by a crown was the city or hall-mark up to a period as late as 1640. In the early eighteenth century, subsequent to the Act of William III, the hall-mark becomes a castle with the shield divided by a vertical line.
In 1773 a Report was made by a Committee of the House of Commons, who held an inquiry and took evidence as to the manner of conducting the Assay Offices in London, York, Exeter, Bristol, Chester, Norwich, and Newcastle. The Assay Master at Exeter, in describing the method employed at his office, stated that the hall-mark was a castle, and the date letter for 1772 was Z, in Roman character, and that A was to be the letter for the next year, and that the whole alphabet was gone through.
But J, apparently, was never used at Exeter, and in later alphabets no letter after U was used, e.g. A to U (1797 to 1816), etc.
EXETER MARKS
It is not possible in a volume of this size to give all the date letters of provincial offices, but the following may be of use as indicating the letters used at Exeter:--
~A~ to ~Z~ (1701 to 1724) }in pointed shield. ~a~ to ~z~ (1725 to 1748) } ~A~ to ~Z~ (1749 to 1772) in square shield. ~A~ to ~Y~ (1773 to 1796). The letter I was used for two years, 1781 and 1782. ~A~ to ~U~ (1797 to 1816) in square shield. ~a~ to ~u~ (1817 to 1836) in square shield with four corners cut off. ~A~ to ~U~(1837 to 1856) ditto ditto. ~A~ to ~U~ (1857 to 1876) ditto. ~A~ to ~F~ (1877 to 1882), when the office closed. Square shield with oval base.
In regard to the marks illustrated on opposite page it will be seen that the Higher Standard Mark was used at Exeter after 1701. Examples are shown, 1706 and 1714. Collectors have sometimes stumbled into the belief that no silver was allowed by law to be assayed at any other office than London during the period 1697 to 1720. But it is only between 1697 and 1701 that the provincial offices were practically closed. From 1701 till 1720 such offices did assay and mark silver plate with the figure of Britannia, and the lion’s head erased.
Other Exeter Marks illustrated are =1705= (p. 115), =1707= (p. 209), =1728= (p. 273), =1729= (p. 81), =1733= (p. 117).
PROVINCIAL MARKS
CHESTER, NORWICH, AND YORK
The old cathedral cities were the centres of art, therefore it is not surprising to find assay offices established there from the earliest times. Besides Exeter, which we have considered, there were assay offices at Chester, Norwich, and York. It is remarkable that no assay office appears to have existed at Canterbury, nor at Salisbury, nor at Winchester.
Chester has a long history in connexion with the coinage and with assaying silver. In the sixteenth century there is a record of the assay of silver there, and Charles I struck some of his silver coinage there in 1645 with the mint mark of the three wheatsheaves of the city.
Norwich was mentioned as one of the assay towns in 2 Hen. VI, _cap._ 17, in 1423, which honour it shares with York and Newcastle as being of such ancient lineage. The corporation of Norwich possesses several pieces of plate of the Elizabethan period, with the city arms, a lion, and a castle as a hall-mark. A Tudor rose with a crown above is the standard mark. The office ceased early in the eighteenth century.
York is another office which is now extinct. At the end of the eighteenth century it was not mentioned among the other assay offices, but in the middle of the nineteenth century it had recommenced but did little business, and no plate seems to have been assayed there since about 1870.
The =Chester= hall-mark down to 1697 is the city arms, viz. a dagger erect between three sheaves of wheat. In 1701 the mark became three demi-lions with wheatsheaves, when Chester was reappointed as one of the assay offices in the reign of William III. The shield was again changed after 1775 to the older form with the dagger which is still in use at the Chester assay office.
We give on the opposite page an example of the mark in 1775, with the three demi-lions superimposed on the shield with the three wheatsheaves. The later mark, of the year 1800, shows the dagger with the wheatsheaves. It will be observed that these marks have the leopard’s head and the lion passant, the hall-mark and the standard-mark of the London office.
The present marks used at the Chester Assay Office, together with the maker’s initials, are the lion passant, the City arms, and the date letter. The letters now in use are Italic capitals commencing with ~A~ in 1901. The letter for 1915 is ~P~.
* * * * *
An example is given of ~Norwich~ marks stamped on a tall wine-cup, about 1620, of the James I period. The castle and lion is the hall-mark. A Tudor rose surmounted by a crown is also found on Norwich silver as the standard mark. The mark of the orb and cross given opposite is the mark of Peter Peterson the maker.
* * * * *
The ~York~ mark prior to 1700 is of a peculiar composite character. It is now held to represent half leopard’s head and half fleur-de-lis conjoined. The example shown is on a flagon in the possession of the Corporation of York, and was made by Marmaduke Best, whose initials are stamped; the letter ~R~ is the date letter for 1674. The other example, about 1800, shows the hall-mark with the St. George’s cross and the five diminutive lions. The date-mark was obliterated on this specimen. The maker’s mark is N.G. The duty mark was too worn to reproduce. It will be noticed, as at Chester, the leopard’s head and lion passant are included in the marks.
CHESTER
NORWICH
YORK
PROVINCIAL MARKS
Newcastle-on-Tyne (1702-1884)
Birmingham, Sheffield (1773 to present day)
Newcastle is cited in the Acts of 1423 and 1462 as one of the cities appointed to assay silver. By the Act relating to the Higher Standard, and making it illegal to assay silver elsewhere than London, there is a hiatus after 1696. But the provincial assay offices did not long remain compulsorily idle. They petitioned the House of Commons, and obtained redress. In 1702, 1 Anne, _cap._ 3 was specially applicable to Newcastle-on-Tyne, and this Act reappointed the town for assaying silver, and it is there on record that “there is, and time out of mind hath been, an ancient Company of Goldsmiths, which, with their families, by the said penalty are like to be ruined, and the trade utterly lost in the said town.”
The ~Newcastle~ date letters are as follows:[8]--
1702 to 1720, ~A~ to ~Q~. In circular shields. Except ~A~, which is in a square shield. Letters used in no order. 1721 to 1739, ~a~ to ~T~. Old English capitals, except ~a~ and ~T~. Circular shields, except ~R~ and ~T~. 1740 to 1758, ~A~ to ~T~. Roman capitals in shield with pointed base. 1759 to 1790, ~A~ to ~Z~. Italic capitals ditto ditto 1791 to 1814, ~A~ to ~Z~. Roman capitals. Shield hexagonal in shape. 1815 to 1838, ~A~ to ~Z~. Block capitals. Square-shaped shield with top corners cut off. 1839 to 1863, ~A~ to ~Z~. Roman capitals. Hexagonal shield. 1864 to 1883, ~a~ to ~u~. Small Roman type. Oval shield. Office closed in 1884.
The complete Newcastle marks are the Lion passant, the Leopard’s Head, the Town or Hall Mark of Three Castles, the Date Letter, the Maker’s Mark, and the Duty Mark of the Sovereign’s Head (till 1890).
Birmingham and Sheffield were both granted the rights to assay silver in 1773 by 13 Geo. III, _cap._ 52.
The Birmingham marks are an Anchor, a Lion passant, a Date Letter, and the Maker’s Mark, and the Duty Mark till it was abolished in 1890.
The date alphabets for ~Birmingham~[1] are:--
1773 to 1798, ~A~ to ~Z~. Roman capitals. 1798 to 1824, ~a~ to ~z~. Small Roman. 1824 to 1849, ~A~ to ~Z~. Old English capitals. 1849 to 1875, ~A~ to ~Z~. Roman capitals. 1875 to 1900, ~a~ to ~z~. Old English small. 1900 to 1924, ~a~ to ~z~. Small Roman.
The Office Year begins 1st July and ends 30th June.
The ~Sheffield~[9] marks are the Lion passant, a Crown, the Date Letter, the Maker’s Mark, and the Sovereign’s Head as the Duty Mark till abolished in 1890.
From 1773 to 1823 the date letters were taken at random. From 1824 to the present day they run in regular order from A to Z.
On small pieces of silver the crown and date letter are on one punch.
The alphabets for Sheffield are:--
Letters omitted-- 1824 to 1843, ~a~ to ~z~. i, j, n, o, w, y. 1844 to 1867, ~A~ to ~Z~. J and Q. 1868 to 1892, ~A~ to ~Z~. I. 1893 to 1917, ~a~ to ~z~. j.
The Newcastle marks, 1737, are drawn from a coffee-pot (illustrated page 243). The Date Letter is ~R~ in old English capital type.
The Birmingham marks (reproduced opposite) are in date 1804 and 1889. It will be seen that the Duty Mark of Sovereign’s Head is in a broken oval shield.
The Sheffield marks are from candlesticks, that of 1773 being made by Samuel Roberts & Co.
NEWCASTLE-ON-TYNE
BIRMINGHAM
SHEFFIELD
FOOTNOTES:
[8] For details concerning these marks I am indebted to Thomas Taylor, Esq., of Chipchase Castle, and to Basil Anderton, Esq., Public Librarian, Newcastle-on-Tyne.--A. H.
[9] I am indebted for these marks to the courtesy of the Assay Master, Birmingham, and to the Assay Master, Sheffield.
V
EXAMPLES OF SCOTTISH AND IRISH MARKS
EDINBURGH GLASGOW
DUBLIN CORK
SCOTTISH SILVER
Scottish marks are in a field by themselves. The art of the silversmith has always been on a high level in Scotland, and the statutes governing the marks are many in number, and extend over a long period from as early as the fifteenth century. Besides Edinburgh and Glasgow, the number of Scottish hall-marks is legion. The following towns are known to have marked and presumably assayed silver: Stirling, Perth (sometimes having mark of lamb and flag, and sometimes double-headed spread-eagle), Inverness, Dundee (marked with design of town arms, a pot of lilies), Aberdeen, and Banff.
_Edinburgh_ used the thistle as the Standard Mark after 1759. Before that date the Assay Master’s initials were used. The Hall Mark is a castle with three towers, and has been in use since the fifteenth century. The Date Mark, letters A to Z (omitting J), has been regularly employed since 1681. The Maker’s Mark has been used since 1457. The Duty Mark of the sovereign’s head was added from 1784 to 1890.
_Glasgow_, whose patron saint is St. Kentigern (known also as St. Mungo), has for a Hall Mark a tree with a bird perched on summit, a bell suspended from the boughs, and transversely across trunk a salmon with a ring in his mouth; the latter alluding to the miracle of the recovery in the fish’s mouth of the lost ring of the Queen of Caidyow. The Standard Mark is a lion rampant, used after 1819, and the Maker’s Mark his initials. The Duty Mark of the sovereign’s head was used as at Edinburgh.
SCOTTISH MARKS
The Edinburgh marks of the date 1705 shown on the opposite page are from an old Scottish Quaich (illustrated page 313). Robert Inglis was the Maker, and the Assay Master was James Penman, and their initials are on separate stamps. The letter ~A~ is the date letter for 1705.
The mark for 1750 shows the letter ~_V_~ in italic capitals, and the Assay Master’s initials are H.B, and the Makers’ are signified by K & D.
An Edinburgh mug is marked with the letters A.U and I K, standing for Alexander Ure, the Maker, and James Kerr, the Assay Master. The date letter is K, probably representing the year 1790.
A sugar-caster, 1746 (illustrated page 317), has the Maker’s initials E.O. and the Assay Master’s initials H.G. (for Hugh Gordon). The castle is also stamped as the Hall Mark, and the date letter ~_R_~ in italic capitals.
A coffee-pot made by Patrick Robertson, 1769 (illustrated page 321), has the marks shown opposite. The thistle is the Standard Mark; the castle is the Hall Mark; P.R. is the Maker’s Mark; and the letter ~P~ for the date. Another of Patrick Robertson’s pieces--a fine tea-urn in classic style--is illustrated page 325. The date letter for this is Z, indicating the year 1778.
Two Glasgow marks are shown opposite. One is before 1819, before the lion rampant was used; and the other shows the lion rampant, the Standard Mark of Glasgow still in use. The Duty Mark Stamp is the head of George IV. F is the date letter for 1824.
EDINBURGH
GLASGOW
IRISH SILVER
Irish silver offers some complications in regard to its markings, and it is especially interesting in its character.
Dublin is the centre of the silversmiths’ work in Ireland, and officially the Dublin Goldsmiths’ Company holds the exclusive right of assaying and marking Irish silver; but, as we shall show, there was excellent silver made elsewhere in Ireland, notably at Cork, and in the chapter devoted to Irish silver some fine specimens are illustrated.
The Standard Mark is the harp, and was used with the crown added to it, in the year 1637, under the terms of a charter granted by Charles I to the Goldsmiths of Dublin.
As we have seen, in England from 1784 to 1890 the head of the sovereign was added as a mark to denote that duty had been paid. But in Ireland a Duty Mark was in force as early as 1730, viz. the figure of Hibernia. In 1807, in the reign of George III, the duty was raised; and it was enacted 47 Geo. III that the king’s head should be stamped as a Duty Mark. This was continued till 1890, as in England, but at the same time the old Duty Mark of the figure of Hibernia was retained, and has still been used since 1890. The figure of Hibernia may be practically regarded as a Hall Mark, although it was first adopted to denote that duty had been paid.
The Maker’s Mark, in the early days a device, and later initials, follows the practice of assay offices in England. The date letter was used from the middle of the seventeenth century. The present series of letters from 1896 to 1920 covers the alphabet from A to Z (omitting J) in old English capitals.
IRISH MARKS
_Dublin._ 1699. The marks of this date shown opposite are from a caster (illustrated page 331). The maker is George Lyng. This was of the period prior to the adoption of the figure of Hibernia.
_Dublin._ 1706. These marks are taken from a cup with harp handles. The harp with crown is in a gracefully shaped shield. The Maker’s initials are E.B., and the date letter S.
_Dublin._ 1770. In these marks, drawn from a cream-pail (illustrated page 343), the figure of Hibernia appears. It will be noted that this is prior to the addition of a Duty Mark in England (in 1784), and prior to the further addition of a second Duty Mark in Ireland (in 1807), when the head of George III denoted that duty had been paid. The Maker of this piece was Will Haynes. The date is about 1770, but undecipherable.
The present Dublin alphabet ~A~ to ~Z~, Old English capitals (omitting J), commenced in 1896. The date letter for 1915 is ~U~. These letters are in the same order as the London alphabet from 1896, but the latter is small Roman, and commences again at ~A~ in 1916, whereas the Dublin alphabet continues to Z in 1920.
* * * * *
_Cork._ 1694. This series of marks shown opposite includes the mark of Robert Goble, of Cork, the maker. The two castles on different stamps appear on Cork examples, and the galley with sails.
_Cork._ 1764. These marks are drawn from a cream-jug (illustrated page 339), with fine chased and repoussé work, signed by Jonathan Buck in full, and having as a mark a buck, together with the word STERLING, which was sometimes used on Cork and other Irish silver.
DUBLIN
CORK
INDEX
Addison, _Spectator_, quoted on salt spoon, 153
Alphabets of London date marks (1598-1835), 359-385
American silversmiths, 47
Anathema Cup, the (1481), Pembroke College, 90, 94
Apostle spoons, list of apostles with their emblems, 183; prices, 187, 193
Assay offices, early, 27; eighteenth century, 28
Basket work in silver, 276, 282; bread and cake baskets, 293
Beaker, the Stuart, 119; illustrations of the, 121
“Beer Lane,” engraving by Hogarth, 132
Bell-shaped salt cellar, illustrated, 147
Below the salt, table customs, 141
Birmingham Marks illustrated, 398, 399
Bodington, John, silversmith (1697), 216
Bowl, plum broth (1697), illustrated, 217
Boxes for sugar, 261
Bread-basket, the, 293
Britannia mark, forgeries of, 220
Britannia mark, when found on silver, 51; used when silver is _not_ higher standard, 58, 61
Buck, Jonathan, silversmith, Cork, specimen illustrated, 339
Busfield, William, silversmith, York, 113
Caddy spoons, 194
Cake basket, the, 293
Candle holders, part of centre-pieces, 276
Candlestick, brass, seventeenth-century, illustrated, 129
Candlesticks, silver-- Charles II examples illustrated, 227 Early eighteenth-century examples illustrated, 231 Early Stuart type, 225 Lambeth delft example (1648) illustrated, 223 Sheffield example (1782) illustrated, 235
Casters, 271-276
Casters illustrated-- George II (Exeter), 273 Group (Queen Anne and George III), 277 Irish (1699), 331 Scottish (1746), 317 William III and Queen Anne, 269
Catherine of Braganza popularizes tea-drinking, 254
Centre-piece, the, 276
Chalice, the, Elizabethan forms, 73, 74; the Exeter pattern, 73
Charles I statue, Charing Cross, its secret burial, 107
Charles II and Lord Mayor, piquant story of, 44
Chester Marks illustrated, 395
CHRONOLOGICAL LIST OF SPECIMENS ILLUSTRATED--
Henry VII 1490 Mazer, 87 (1485-1509) 1499 Leigh Cup, Mercers’ Company, 91 1500 Hour-glass standing salt, 143
Elizabeth 1570 Stoneware jug with silver mounts, 95 (1558-1603) 1572 Flagon, 105 1572 Chalice and cover, 67 1573 Chalice and cover, 71 1575 Chalice and cover, 67 1585 Standing cup and cover, 95 1599 Flagon, 105 1601 Bell-shaped salt cellar, 147
James I 1606 Beaker, 121 (1603-1625) _c._ 1620 Tall wine cup (no date letter), 125
Charles I 1631 Wine cup, 129 (1625-1649) 1631 Beaker, 121 1637 Candlestick, 223 1638 Salt cellar, Mercers’ Company, 151 1640 Chalice and cover, 71 1648 Apostle spoon (St. Andrew), 185
Commonwealth 1651 Spoon, slipped in the stalk, 181 (1649-1660) 1652 Spoon, seal-top, 185 1653 Porringer, 197 1660 Spoon, Puritan, 181
Charles II 1660 Cup, 75 (1660-1685) 1662 Posset-cup and cover, 197 1665 Spoon, flat stem, 181 1665 Wine cup, 129 1666 Porringer, 201 1669 Porringer, 197 1670 Teapot, 243 1671 Beaker, 121 1672 Porringer, 209 1673 Candlesticks, 227 1674 Apostle spoon (St. Simon Zelotes), Exeter, 189 1677 Pepys standing cup, 99 1679 Spoon, lobed end, 189 1679 Tankard, 111 1679 Caudle cup and cover, 201 1679 Octagonal salt cellar (Mercers’ Company), 155 1680 Patens, 79 1682 Snuffers and tray, 231 1683 Posset-pot and cover, 205 1684 Tankards (York), 111 1685 Posset-pot and cover, 213
William III 1692 Flagons, 75 (1689-1702) 1694 Loving-cup (Cork), 331 1697 Dish and ladle, 217 1699 Caster (Dublin), 331 1701 Caster, 269 1701 Tankard, 111
Anne 1702 Spoon trefoil top, rat’s-tail (Exeter), 189 (1702-1714) 1702 Lavabo bowl, 79 1703 Spoon, trefoil top (Newcastle), 185 1703 Spoon, trefoil top, 185 1704 Candlestick, 231 1704 “Monteith” punch-bowl, 135 1705 Tankard (Exeter), 115 1705 Scottish quaich, 313 1706 Candlestick (Exeter), 231 1707 Porringer (Exeter), 209 1712 Caster, 269 1712 Trencher salt cellar, 165 1714 Paten (Exeter), 79
George I 1718 Tea-caddy (Exeter), 259 (1714-1727) 1721 Candlestick, 231 1726 Cream-jug, 305
George II 1728 Caster (Exeter), 273 (1727-1760) 1729 Small communion cup and cover, 81 1730 Tea-caddy, 259 1730 Coffee-pot, 255 1730 Trencher salt cellar, 165 1733 Mug (Exeter), 117 1736 Jug, helmet-shaped, 301 1737 Coffee-pot (Newcastle), 243 1740 Centre-piece (Dublin), 335 1740 Cream-jug (Dublin), 339 1741 Coffee-pot, _Frontispiece_ 1745 Teapot, 247 1746 Kettle and stand, 251 1746 Caster (Edinburgh), 317 1747 Caster, 277 1748 Tankard (Exeter), 117 1758 Trencher salt cellar, 165 1760 Tea-caddies and sugar box, 263 1760 Irish potato-ring, _Design on cover of volume_ 1740-1775 Bread-baskets, 289
George III 1760 Caster, 277 (1760-1820) 1761 Centre-piece, 279 1761 Cake-basket, 291 1764 Cream-jug, 305 1764 Cream-jug (Cork), 339 1765 Circular salt cellar with club feet, 165 1769 Salt cellar with glass liner, 167 1769 Coffee-pot (Edinburgh), 321 1770 Cream-pail (Dublin), 343 1771 Salt cellar, perforated work, 173 1771 Caster, 277 1773 Sugar-bowl, 283 1775 Coffee-pot, 255 1775 Tea-caddy, 259 1775 Centre-piece, 279 1776 Cream-pail, 285 1778 Tea-urn (Edinburgh), 325 1779 Cream-jug, 305 1780 Cream-jug, 305 1781-1790 Salt cellars, tureen form, 171 1782 Candlestick (Sheffield), 235 1782 Cream-pail, 285 1784 Tea-caddy, 259 1785 Salt cellar, circular, 165 1785 Salt cellar with glass liner, 167 1786 Salt cellar, cloven-hoof feet, 167 1786 Sugar-bowl, 285 1789 Salt cellar with club feet, 167 1789 Salt cellar, circular, 171 1790 Cream-jug, 309 1790 Mug (Edinburgh), 313 1791-1797 Salt cellar, boat-shaped, 171 1790-1800 Coffee-pots and teapots, 255 1800 Cream-jug, 309 1803 Salt cellar, washing tub form, 173 1804 Cream-jug, 309 1809 Cream-jug, 309 1810 Salt cellar, Pompeian design, 173
George IV 1818 Salt cellar, tureen form, 173 (1820-1830)
William IV 1832 Salt cellar, circular, 173 (1830-1837)
Classic influence, when at its height, 287
Clipped coins called in, panic in 1696, 57
Coffee-drinking, women’s petition to Parliament, 245
Coffee-pots, 250
Coffee-pots illustrated-- George II (1741), _Frontispiece_ Group George II and George III, 255 Newcastle (1737), 243 Scottish (1769), 321
Coin clipping, attempt to stamp out, 52
Coiners, heavy penalties for, 53
Communion cup and cover (Exeter), 78
Copper tokens, seventeenth century, with goldsmith’s name, 44
Cork Marks illustrated, 409
Cream-jug, the, 303
Cream-pail, the, 288
Cups, standing, 90
Date letters of London Assay Office (1598-1835), 359-385
Date marks, eccentricities of alphabets, 36; explanation of, 34-39
Delft salt cellars, Lambeth, Rouen, illustrated, 161
Dish, plum broth (1697), illustrated, 217
Dish ring or stand, Irish, 342
“Dollar” found on Irish silver, 334
Dollars, Spanish, legal tender with head of George III stamped on them, 337
Dryden receives bad coins from his publisher, 54
Dublin Marks illustrated, 409
Dutch silver--brandy cup in form like quaich, 316
Duty mark, the, explanation of, 60
Ecclesiastical plate, 65-78
Edinburgh Marks illustrated, 405
Edinburgh tea-table customs, 303
Earthenware emulating silver, 169, 249, 262, 294
East India Company, teapot presented to, 241; import of tea and teapots by, 249
Eighteenth-century Assay Offices, 28
Eighteenth-century beverages, 253; salt cellars, types of, 157
Elizabethan flagons, 107
Elston, John, silversmith, Exeter, 78
Exeter Marks illustrated, 81, 115, 117, 209, 273, 391
Exeter silver plate illustrated-- Chalices, Elizabethan, 67, 71; Charles I, 71 Communion cup, George II, 81 Mug, George III, 117 Spoons, 189 Tankard, Queen Anne, 115; George II, 117
Flagons, sixteenth-century, 107
Flaxman, John, teapot designed by, 250
Foreign mark, the, 62
Forgeries, 220
Fraud, cutting out old marks, 275
Fraud, possibilities of, in marks, 63, 359
French influence in late eighteenth century, 287
Gamble, Ellis, goldsmith, master of Hogarth, his shop card, 45
Gibson, George, silversmith, York, 113
“Gin Street,” engraving by Hogarth, 132
Glasgow Marks illustrated, 405
Glasgow silver. Marks, 404; quaich (1665) illustrated, 313
Glassworker, designs of the, utilized in silver, 212
Goble, Robert, silversmith, Cork, specimen illustrated, 331; marks illustrated, 409
Goldsmiths’ Company, London, early power of, 26; the true function of, 35; salt cellars in possession of, 146
Hall-marks, explanation of, 25-30
Hall-marks of various Assay Offices, 28
Handle, the, of posset-pot and porringer, 207
Hanway, Jonas, condemns tea, 254
Harp handles in Irish silver, 338; cup illustrated, 331
Hibernia, figure of, as a mark, 33, 334
Higher standard mark, explanation of, 49-59
Hogarth, William, apprenticed to goldsmith, 45; his satires on drinking, 132
House of Commons Select Committee on Hall-marking of Plate, 25, 27, 153
Hour-glass form of salt cellar illustrated, 143
Individuality of craftsmen’s work extinguished, 43
Initials of makers, 43
Innholders’ Company salt cellars, 146
Ions, I., silversmith, Exeter, 74
Irish goldsmiths, 47
Irish makers’ names, 345, 346
Irish plate illustrated-- Caster, 331 Centre-piece, 335 Cream-jugs, 339 Cream-pail, 343 Loving-cup, 331 Potato-ring, _Cover of volume_
Irish silver, 329
Irish standard mark, 33
Irish towns where silver was wrought, 337
Jug, stoneware (1570), with silver mounts, 101
Lambeth delft salt cellar, 163
Lamerie, Paul de, mark illustrated, 251
Lantern-shaped teapot (1670) illustrated, 243
Lavabo bowl illustrated, 79
Leigh standing cup, the, 93
“Lima” found on George II gold coins, 337
Lion’s head erased mark, when found on silver, 51
Locke, “Further Considerations Concerning the Raising the Value of Money,” 55
London hall-marks-- Marks illustrated, 129, 135, 197, 205, 217, 231, 251, 269, 291, 349-385 Table of date letters (1598-1835), 351-355 Table showing differences in shapes of shields, 357
Longfellow: poem on Paul Revere, silversmith, 48
Louis Seize style in table ornaments, 287
Loving-cup, the, and its ceremonial, 94
Lowndes’ “Essay for the Amendment of the Silver Coins,” 53, 55
Lustre ware (Staffordshire) emulating silver, 249
Makers’ marks, explanation of, 40
Makers’ names, Irish silver, list of, 345, 346
Marks illustrated-- Birmingham, 399 Chester, 395 Cork, 409 Dublin, 409 Edinburgh, 405 Exeter, 391 Glasgow, 405 London, 351-385 Newcastle, 399 Norwich, 395 Sheffield, 399 York, 395
Marks on silver--a trade secret, 38
Marks stamped on silver, various, 23-63
Marks, the position of, as stamped on silver, 359; to prevent fraud, 275; used by various assay offices, 29; where placed on spoons, 193
Mazer, the fifteenth century, 86
Mercers’ Company, Leigh Cup (1499) illustrated, 91
Monteith punch-bowl illustrated, 135
Mordaunt, Charles, Earl of Peterborough, 134
Morgan, Octavius, his pioneer work on marks, 38
Mug, the, 119
Newcastle-on-Tyne, date letters employed at, 36, 37; illustrated, 397-399
Newcastle-on-Tyne silver plate illustrated-- Coffee-pot, 243 Spoon, 185
Nineteenth century, early, types of salt cellars, 157
Norwich Corporation salt cellar, 149
Norwich mark illustrated, 395
Norwich silver plate illustrated-- Tall wine cup, 125
Paten, the, its form, 69
Pepys, Samuel, buries his silver plate at Bethnal Green, 127
Pepys standing cup and cover, the, 101
Peterborough, Earl of, his exploits, 134
Peterson, Peter, silversmith, Norwich, 123
Provincial Assay Offices reappointed, 50
Provincial offices ceased marking silver for five years, 29, 50
Porcelain teapots the prototypes of silver, 246, 249
Porringer, the, 195-220
“Portobello,” found on English silver coins, 334
Posset-pot, the, 195-220
Posset-pot, sixteenth-century Exeter College, Oxford, 203
Potato-ring, Irish, 342
Potter, the eighteenth-century, and the silversmith, 169, 249, 262, 294
Pottery, seventeenth-century example of posset-cup, 211
Prices-- Beakers, 137 Candlesticks, 229, 237 Casters, 297 Coffee-pots, 262 Cream-jugs, 308 Cups, standing, 137 Dish rings, 346 Elizabethan jug, 101 Goblets, 138 Irish silver, 346 Jug, stoneware, silver mounts, 101 Loving-cups, 137 Mazers, 89 “Monteith,” 138 Porringers, 219, 220 Posset-pots, 219 Potato-rings, 346 Punch-bowls, 138 Quaich, 320 Salt cellars, 145, 149, 159, 170, 175 Spoons, apostle, 187, 193; caddy, 194; seal-top, 194 Standing cups, 137 Sugar-bowls, 297 Tankards, 137 Tea-caddies, 261, 265 Tea-kettles, 265 Teapots, 265 Wine cups, 138
Punch-bowl, the, 128
Punch-bowl, historic American, 47
Puritans, destruction of objects of art by, 70
Quaich, the Scottish, 316
Queen Anne forgeries posset-pots, 220
Radcliff, J. R., silversmith, Exeter, 74
Revere, Paul, celebrated American silversmith, 48
Richards, Edmund, silversmith, Exeter, 216
Ring, potato or dish, Irish, 342
Romer, Edward, silversmith, 294
Salt cellars, 139; classified list of types, 154, 157
Salt cellars-- Norwich Corporation, 149 Christ’s College, Cambridge, 158; illustrated, 143 Clothworkers’ Company, 146 Goldsmiths’ Company, 146 Ironmongers’ Company, 146 Innholders’ Company, 146 Mercers’ Company, 159; illustrated, 151, 155 Skinners’ Company, 146 Vintners’ Company, 146
Scott, Sir Walter, quoted as to tea-leaves, 304
Scottish silver, 311-327
Scottish silver plate illustrated-- Caster, 317 Coffee-pot, 321 Mug, 313 Quaich, 313 Tea-urn, 327
Scottish standard mark, 35
Seventeenth-century tankards, 110
Shapes of shields, differences in, table showing, 357
Sheffield Marks illustrated, 398, 399
Sheffield “silver plated” or silver plate, definition, 234
Sheffield silver plate illustrated-- Candlestick, 235
Shields, table showing differences in London Hall-marks, 357
Shute, William, silversmith, marks illustrated, 361
Silver mountings for wood vessels, 86; for earthenware, 86, 98, 101, 109
Skinners’ Company salt cellars, 146
Somerset House, the battle of, 107
Spanish dollars legal tender with head of George III stamped on them, 337
Spoons-- Apostle, 180, 183; illustrated, 185, 189; prices, 187 Fiddle pattern, 192 Flat stem, 188; illustrated, 181 Maidenhead, 187 Rat-tail, 191; illustrated, 189 Seal-top, 187; illustrated, 185; prices, 194 Slipped in the stalk, 188; illustrated, 185 Trifid, 188; illustrated, 185
Spoons, placing of marks on, 193
Staffordshire silversmith’s designs, 294
Staffordshire lustre ware emulating silver, 249
Staffordshire potter’s emulation of silver plate, 169, 249, 262, 294
Standard Marks, 31-33
Standard work on marks, 34
Standing cups, 90
Standing salt cellars, 154
“Sterling” found on Cork silver, 334
Stoneware jug, the, Elizabethan, with silver mounts, 98, 101
Strong, James, silversmith, Exeter, 78
Sugar-bowls, 287
Sugar, silver boxes for, 261
Sumner salt cellar, the, illustrated, 155
Symonds, Pentecost, silversmith, Exeter, 78
Table customs, “below the salt,” 141
Tankards, seventeenth-century, 110
Tea advertisement, a quaint seventeenth-century, 242
Tea-caddies, 258; evolution to cabinet-maker’s style, 261
Tea-drinking, excessive, 254
Teapot, the earliest known silver (1670), 241
Teapots, 241
Tea-strainers, 304
Tea-table manners, eighteenth-century, 303
Tea-urn, Scottish, 1778; illustrated, 325
“Tiger” ware, Elizabethan, with silver mounts, 98
Tokens, copper (seventeenth century) with goldsmiths’ names, 46
Town marks found on Scottish silver, 315
Trencher salt cellars, 157
Turner cup, the (1679), York Corporation plate, 102
“Vigo” found on Queen Anne’s guineas (1703), 337
Vyner, Sir Robert, piquant story of, 44
Wedgwood wooden models of silversmith’s designs, 250
Wesley, John, condemns tea, 254
West Malling jug, the Elizabethan (1581), 101
Wine cup, the Stuart, 123
Wine cup, illustrations of-- James I, 125 Charles II, 129
Women’s petition to Parliament against coffee, 245
William III and the debasement of the coin, 49
York Corporation plate, 102
York Marks illustrated, 395
York silver plate illustrated-- Tankards (Charles II), 111 Marks, 395
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_Notes and Queries._
=Chats on Old Copper and Brass.= By FRED W. BURGESS. With a coloured frontispiece and 86 other Illustrations.
Cloth, 9s. net.
“Mr. F. W. Burgess is an expert on old copper and bronze, and in his book there is little information lacking which the most ardent collector might want.”
_The Observer._
“Italian bronzes, African charms, Chinese and Japanese enamels, bells, mortars, Indian idols, dials, candlesticks, and snuff boxes, all come in for their share of attention, and the reader who has mastered Mr. Burgess’s pages can face his rival in the auction-room or the dealer in his shop with little fear of suffering by the transaction.”
_The Nation._
=Chats on Household Curios.= By FRED W. BURGESS. With 94 Illustrations.
Cloth, 9s. net.
“Mr. Burgess gives much information about such attractive antiques as old glass and enamels, old leather work, old clocks and watches, old pipes, old seals, musical instruments, and even old samplers and children’s toys. The book is, in short, an excellent and comprehensive guide for what one may call the general collector, that is, the collector who does not confine himself to one class of antique, but buys whatever he comes across in the curio line, provided that it is interesting and at moderate price.”
_Aberdeen Free Press._
=Chats on Japanese Prints.= By ARTHUR DAVISON FICKE. With a coloured frontispiece and 56 Illustrations.
Cloth, 9s. net.
“Mr. Ficke writes with the knowledge of the expert, and his history of Japanese printing from very early times and his criticism of the artists’ work are wonderfully interesting.”
_Tatler._
“This is one of the most delightful and notable members of an attractive series.... A beginner who shall have mastered and made thoroughly his own the beauty of line and the various subtlety and boldness of linear composition displayed in these sixty and odd photographs will have no mean foundation for further study.”
_Notes and Queries._
=Chats on Old Clocks.= By ARTHUR HAYDEN. With a frontispiece and 80 Illustrations. 2nd Ed.
Cloth, 9s. net.
“A practical handbook dealing with the examples of old clocks likely to come under the observation of the collector. Charmingly written and illustrated.”
_Outlook._
“One specially useful feature of the work is the prominence Mr. Hayden has given to the makers of clocks, dealing not only with those of London, but also those of the leading provincial towns. The lists he gives of the latter are highly valuable, as they are not to be found in any similar book. The volume is, as usual with this series, profusely illustrated, and may be recommended as a highly interesting and useful general guide to collectors of clocks.”
_The Connoisseur._
=Chats on Old Silver.= By ARTHUR HAYDEN. With a frontispiece, 99 full-page Illustrations, and illustrated table of marks.
Cloth, 9s. net.
“Mr. Hayden’s ‘Chats on Old Silver’ deals very thoroughly with a popular branch of collecting. There are a hundred full-page illustrations together with illustrated tables and charts, and the student of this book can wander round the old curiosity shops of these islands with a valuable equipment of knowledge.... Altogether we have here a well-written summary of everything that one could wish to know about this branch of collecting.”
_The Sphere._
“The information it gives will be of exceptional value at this time, when so many families will be forced to part with their treasures--and old silver is among the most precious possessions of the present day.”
_Morning Post._
=Chats on Old Miniatures.= By J. J. FOSTER, F.S.A. With a coloured frontispiece and 116 other Illustrations.
Cloth, 9s. net.
This book presents in a concise and popular form a variety of valuable information on the collection and preservation of miniatures, on the leading English and French artists, and on the specimens exhibited in public galleries.
“Mr. Foster is truly a guide, philosopher and friend. He tells us not only how to judge and how to buy miniatures, but how to take proper care of them.... The splendid photographs by which the book is enriched adds in a great measure to its attractiveness and utility.”
_Aberdeen Free Press._
=Chats on Old Lace and Needlework.= By MRS. LOWES. With a frontispiece and 74 other Illustrations.
Cloth, 9s. net.
Written by an expert and enthusiast in these most interesting branches of art. The low price at which the work is issued is exceptional in dealing with these subjects, and it is remarkable in view of the technical knowledge displayed and the many photographic illustrations which practically interleave the book.
“In commendable, clear and concise style Mrs. Lowes explains the technical features distinguishing each example, making the book the utmost value in identifying samples of old lace.”
_Weldon’s Ladies’ Jour._
=Chats on Oriental China.= By J. F. BLACKER. With a coloured frontispiece and 70 other Illustrations.
Cloth, 9s. net.
Will be of the utmost service to collectors and to all who may have old Chinese and Japanese porcelain in their possession. It deals with oriental china from the various standpoints of history, technique, age, marks and values, and is richly illustrated with admirable reproductions.
“A treatise that is so informing and comprehensive that it commands the prompt recognisation of all who value the choice productions of the oriental artists.... The illustrations are numerous and invaluable to the attainment of expert knowledge, and the result is a handbook that is as indispensable as it is unique.”
_Pall Mall Gazette._
=Chats on English Earthenware.= A companion volume to “Chats on English China.” By ARTHUR HAYDEN. With a coloured frontispiece, 150 Illustrations and tables of over 200 illustrated marks.
Cloth, 9s. net.
“To the ever-increasing number of collectors who are taking an interest in old English pottery ... will be found one of the most delightful, as it is a practical work on a fascinating subject.”
_Hearth and Home._
“Here we have a handbook, written by a well-known authority, which gives in the concisest possible form all the information that the beginner in earthenware collecting is likely to need. Moreover, it contains one or two features that are not usually found in the multifarious ‘guides’ that are produced to-day.”
_Nation._
=Chats on Autographs.= By A. M. BROADLEY. With 130 Illustrations.
Cloth, 9s. net.
“Being an expert collector, Mr. Broadley not only discourses on the kinds of autograph he owns, but gives some excellent cautionary advice and a valuable ‘caveat emptor’ chapter for the benefit of other collectors.”
_Westminster Gazette._
“It is assuredly the best work of the kind yet given to the public; and supplies the intending collector with the various sources of information necessary to his equipment.”
_Manchester Guardian._
=Chats on Old Pewter.= By H. J. L. J. MASSÉ, M.A. With 52 half-tone and numerous other Illustrations.
Cloth, 9s. net.
“It is a remarkably thorough and well-arranged guide to the subject, supplied with useful illustrations and with lists of pewterers and of their marks so complete as to make it a very complete and satisfactory book of reference.”
_Manchester Guardian._
“Before setting out to collect old pewter it would be as well to read Mr. Massé’s book, which is exhaustive in its information and its lists of pewterers, analytical index, and historical and technical chapters.”
_Spectator._
=Chats on Postage Stamps.= By FRED J. MELVILLE. With 57 half-tone and 17 line Illustrations.
Cloth, 9s. net.
“The whole book, with its numerous illustrations of excellent quality, is a _vade mecum_ for stamp collectors, even though their efforts may be but modest; we congratulate Mr. Melville on a remarkably good guide, which makes fascinating reading.”
_Academy._
“There is no doubt that Mr. Melville’s book fills a void. There is nothing exactly like it. Agreeably written in a popular style and adequately illustrated, it is certainly one of the best guides to philatelic knowledge that have yet been published.”
_World._
* * * * *
T. FISHER UNWIN LTD., 1 ADELPHI TERRACE, LONDON, W.C.2
* * * * *
[Transcriber’s Note: The following corrections have been made to this text.
Page 56: possesser changed to possessor--possessor of such coin.
Page 78: marker’s changed to maker’s--the maker’s mark is E. G.
Page 86: peple changed to people--more wealthy people.
Page 98: dittograph “to” removed--to the son.
Page 114: finals to finials--finials of the handle.
Page 215: hugh to huge--huge appendages.]