IRISH SILVER
The ancient art of the silversmith--The seventeenth
century--The inventiveness and originality of the Irish
craftsman--Eighteenth-century marks--The figure of Hibernia--The
Harp and Crown--The Potato or Dish Ring.
There is no doubt that the art of the goldsmith and silversmith
was practised at a very early period in Ireland, as the various
ornaments discovered in excavation clearly prove. There is something
characteristic in this early Irish metal work, as especially noteworthy
in its ripe and accomplished art as is the illumination in the Book of
Kells. Old records show that goldsmiths were working in Dublin in the
thirteenth century, though there is no mention of the actual formation
of a guild or company till 1498. Apparently these early records do not
determine what marks were in use. It is not till 1605 that mention
is made of a maker’s mark and a town mark on Dublin plate. In 1637 a
charter was granted to the goldsmiths of Dublin by Charles I, and it
was laid down that no gold or silver was to be of less fineness than
the standard of England. From 1638 onwards there appears to have been
a date letter, though in some cases its use was erratic, the same stamp
being used for succeeding years.
In 1729 the Irish Parliament enacted that plate should be assayed by
the assay master and bear the maker’s stamp, the harp crowned, and the
date letter. In 1730, by the order of the Commissioners of Excise, a
fourth stamp was added, the figure of Hibernia, to denote that the duty
had been paid. In 1807 the sovereign’s head was ordered to be placed
on all plate as a duty mark, and the figure of Hibernia was allowed to
remain, so that till 1890, when the duty was taken off silver, the two
duty marks ran together. But Hibernia may be regarded as a hall-mark,
though that was not its original purpose.
The city of Cork never had a date letter. Prior to 1715 the city arms,
a ship in full sail between two castles, was used together with the
maker’s mark, which latter embodied some heraldic device. Later the
only mark used at Cork was the maker’s initials and the word STERLING,
or the word DOLLAR; this took the place of the town mark. The official
guide to the Irish metal work at the Dublin Museum, to which we are
indebted for much information, states that “Immense quantities of
silver were manufactured in Cork during the eighteenth century, but
comparatively little remains at the present day, most of it having been
melted down as the fashions changed.”
[Illustration: CENTREPIECE. DUBLIN, 1740.
Maker, Robert Calderwood.
(The design of a Potato Ring by same maker is shown on cover of this
volume.)
(_At the Metropolitan Museum, New York._)]
The word “dollar” alludes to the silver that was used for plate, much
of it being obtained from Spanish dollars. This is parallel to the
usage on the coinage. The word “Portobello” is found on English
silver coined about the year 1739 from silver taken at Portobello by
Admiral Vernon; and the word “Lima” on George II gold coins, signifying
that they were from bullion captured from the Spaniards at that place.
Anne’s guineas, of 1703, have the word “Vigo,” relating to Sir George
Rooke’s captures. At the end of the eighteenth and beginning of the
nineteenth century, silver coins were so scarce that Spanish dollars
were made legal tender with the head of George III stamped on them.
In the early nineteenth century the Dublin marks appear added to the
Cork mark STERLING. The following are among some of the Cork marks
found: STERLING and maker’s mark, C. T. (Carden Terry) about 1780.
STERLING and maker’s mark
C T
I W
(Carden Terry and John Williams), about 1800.
And there is Robert Goble, 1694, a piece of whose delightful work we
illustrate with marks; the Cork mace at the Victoria and Albert Museum,
a specimen of beautiful craftsmanship, is marked with the Cork castle
and ship, and the letters R. G. There is also Jonathan Buck, 1764, and
a fine cream-jug of his superb work is illustrated (p. 339).
Besides Dublin and Cork there were other places at which silver was
assayed and marked: at Limerick, in the seventeenth century, with the
mark of the _fleur-de-lis_; Youghal in the seventeenth century, with
the town mark of a single-masted ship. In 1783 a small village near
Waterford, termed New Geneva, owing to a company of Geneva watch-makers
having settled there, had an assay office for a few years, mainly
for watch-cases. The harp was used in their mark. Clonmel, Waterford,
Mullinger, Kinsale, Kilkenny, and Drogheda all made plate which was
assayed at Dublin.
The oldest piece of Irish hall-marked plate now existing is a flagon in
Trinity College, Dublin, bearing the Dublin hall-mark for 1638.
The caster (illustrated p. 331) is in date 1699, and bears the Dublin
hall-marks for that year and the maker’s initials G. L. (George Lyng).
Marks illustrated page 409. This example is interesting as showing
the type of art existing contemporary with English work. The grace
and elegance of this caster stamp it as being the work of a practised
artist, and though doubtless English fashions did affect the class of
articles made, the native skill in the subtle use of ornament and the
perfection of symmetry was in strong evidence across the Irish Channel.
A loving-cup with two handles, in harp form, was made by Robert Goble,
of Cork, about 1694, (illustrated p. 331). These cups are peculiarly
Irish and were made nowhere else, except when the English silversmith
or the Sheffield plateworker copied them. The harp to this day has
remained symbolic of Erin, and Beleek teacups of delicate egg-shell
porcelain sometimes have a harp handle.
Throughout the eighteenth century a great number of these two-handled
harp cups were made. They have a fine bold form and evidently fulfil
the object for which they were made. The marks as shown in the specimen
illustrated are usually at the top of the body near the rim.
[Illustration: CREAM-JUG. CORK, 1764.
Fine chased and repoussé work. Signed under lip, “Jonathan Buck, 1764.”
(Marks illustrated p. 409.)]
[Illustration: CREAM-JUG. DUBLIN, _c._ 1740.
Maker, John Hamilton. Finely chased and embossed decoration.
(_By courtesy of Messrs. Harris & Sinclair, Dublin._)]
In the year 1740, when Frederick of Prussia seized the rich country of
Silesia, young Oliver Goldsmith sat at the feet of his schoolmaster,
that old soldier of fortune, Thomas Byrne, who had served with our army
in Spain. He listened to “the exploits of Peterborough and Stanhope,
the surprise of Monjuich, and the glorious disaster of Brihuega,” and
he lent an ear to the stories of “the great Rapparee chiefs, Baldearg
O’Donnell and galloping Hogan.” At fifteen he entered Trinity College,
Dublin, as a poor scholar. To-day he rests on College Green, one of
Ireland’s proud monuments. At this date the silversmith was doing great
things; the Metropolitan Museum at New York has a fine centre-piece of
these far-off days. It will be seen in the illustration (p. 335) to
what refinement the art of the Dublin silversmith had attained. The
maker is Robert Calderwood, and in such a specimen claims recognition
for craftsmanship of a very high order. His mark is R. C. with a small
crown between the letters, and his work is always prized by collectors.
A cream-jug, made by John Hamilton, of Dublin about the same date
(illustrated p. 339), may be compared, to the advantage of the Irish
craftsmen, with work of the same period wrought in England or Scotland.
There is a suggestion in the handle of the old harp design of the
loving-cup, but the rich chasing and exquisite ornamentation of the
body exhibit the finest touches of the silversmith’s art.
On the same page a fine cream-jug made by Jonathan Buck of Cork, in
1764, is illustrated, and the marks are given on page 409. It is
minutely signed in full under the lip, “Jonathan Buck, 1764.” The mark
has a buck in a shield. The handle in this piece still lovingly adheres
to the harp form, delightfully adapted to this graceful vessel. We may
conjecture that this was a wedding gift to some bride, as the figures
of the goddess Venus and Cupid are in fine relief. Such an example is
unique with its elaborate chased and repoussé work.
The cream-pail (illustrated p. 343) is of Dublin make, about 1770.
There is strong classic influence. The drapery, the medallion rosette,
and the key pattern of the incised work, all tell of the prevailing
fashion. It is as classic as the doorways on the Quays at Dublin. But
there is a robustness in Irish classicism which establishes it as
something not merely copied as a prevailing fashion but embodied in
the handiwork of the craftsman. Perhaps the Latinity of the old faith
imparted a cosmopolitan kinship to the metal-workers and carvers and
art craftsmen of Ireland. They always realized to the full continental
fashions when the wave of importation reached their shores. The
delights of Gallic or Italian artists became at once acclimatized.
The potato ring or dish stand is a form of Irish silver not made
elsewhere. They were rings of metal upon which old Oriental bowls were
placed to prevent the hot vessel injuring the polished surface of the
mahogany table. They were possibly used later to support wooden bowls
for holding potatoes. Genuine Irish examples are always circular. They
belong to the late eighteenth and early nineteenth century. Bowl and
dish were synonymous terms in those days, hence they are sometimes
called “Dish Rings.” There are three types: (1) The plain pierced. (2)
Pierced work, ornamented with flowers and birds and pastoral scenes.
(3) Basket work formed of round wire twisted, or flat square wire
strips interlaced.
[Illustration: CREAM-PAIL. DUBLIN, _c._ 1770.
Maker, Will Hughes. Contemporary ladle by another maker.
(Marks illustrated p. 409.)
(_By courtesy of Messrs. Harris & Sinclair, Dublin._)]
On the cover of this volume is illustrated an example of a typical
Irish dish ring, kindly lent by Messrs. Carrington & Co. This is in
date about 1760, the last year of the reign of George II. The maker
is Robert Calderwood. It is representative of the pierced type,
having exquisite chased work with birds and flowers. Such pieces are
only found, as a rule, in well-known private collections or on the
shelves of museum cases. The year before it was fashioned in Dublin,
General Wolfe had captured Quebec, and in September 1760 Montreal had
capitulated, completing the conquest of Canada.
The following Makers’ Marks will be of interest to those possessing
old Irish silver as of use in determining dates of Dublin silver; and
specimens bearing these initials are to be seen in the Dublin Museum:--
1655, D. B. (Daniel Bellingham); 1657, I. S. (John Slicer); 1680, W. L.
(Walter Lewis); 1715, J. T. (John Tuite); 1716, J. W. (Joseph Walker);
1717, I. H. (John Hamilton); 1724, M. W. (Matthew Walker); 1725, I.
S. (John Sterne); 1743, R. H. (Robert Holmes); 1748, W. W. (William
Williamson); 1748, W. K. (William Knox); 1750, C. S. (Christopher
Skinner); 1760, G. B. (George Beere); 1763, I. L. (John Laughlin);
1765, S. W. (Stephen Walsh); 1765, W. T. (W. Townshend); 1770, D. K.
(Darby Kehoe); 1771, C. H. (Capel Harrison); 1772, T. L. (Thomas
Lilly); 1773, C. T. (Charles Townshend); 1775, T. J. (Thomas Jones);
1776, R. W. (Robert Williams); 1780, I. N. (John Nicklin); 1790, W. L.
(William Law); 1802, R. B. (Robert Breading); 1819, I. L. B. (James le
Bas).
SALE PRICES
POTATO OR DISH RINGS.
Large prices have been paid for these examples of Irish silver
with scroll work, pastoral scenes, fruit, and flower subjects, and
pierced trellis decoration.
They realize prices varying from £50 to £250, and fine early
examples bring even more. The following prices have been given for
examples: 1757, £129; 1760, 230s. per oz., £98; 1772, 188s. per
oz., £136; 1786, 200s. per oz., £164.
APPENDIX
TO
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.
[Illustration]
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
[Illustration: ~A~ to ~V~]
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.
[Illustration: ~A~ to ~V~]
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.
[Illustration: A to V]
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).
[Illustration: ~_a_~ to ~_v_~]
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
[Illustration: 1564]
[Illustration: 1578]
[Illustration: 1606 BEAKER (illustrated p. 121).]
[Illustration: 1631 Maker, William Shute.]
[Illustration: 1637 CANDLESTICK (illustrated p. 223).]
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.
[Illustration: ~a~ to ~u~
1638 to 1657]
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.
[Illustration: 1638 SALT CELLAR (illustrated p. 151).]
[Illustration: 1640]
[Illustration: 1648 APOSTLE SPOON (illustrated p. 185).]
[Illustration: 1653 PORRINGER (illustrated p. 197).]
[Illustration: 1654]
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.
[Illustration: ~A~ to ~U~
1658 to 1677]
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).
[Illustration: ~a~ to ~t~
1678 to 1696]
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.
[Illustration: 1660 CUP (illustrated p. 75).]
[Illustration: 1664]
[Illustration: 1675]
[Illustration: 1685]
[Illustration: 1692]
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.
[Illustration: ~a~ to ~v~
1697 to 1715]
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)
[Illustration: 1698
Maker, William Keith.]
[Illustration: 1705
Maker, Simon Pantin.]
[Illustration: 1707
Maker, Robert Cooper.]
[Illustration: 1709
Maker, Seth Lofthouse.]
[Illustration: 1711
Maker, William Keith.]
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.
[Illustration: ~A~ to ~V~
1716 to 1735]
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.
[Illustration: ~a~ to ~u~
1736 to 1755]
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.
[Illustration: ~A~ to ~U~
1756 to 1775]
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.
[Illustration: 1717]
[Illustration: 1722
Maker, Bowles Nash.]
[Illustration: 1751
Maker, Benjamin Gignac.]
[Illustration: 1753]
[Illustration: 1773 SUGAR-BOWL (illustrated p. 283).]
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.
[Illustration: ~a~ to ~u~
1776 to 1795]
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).
[Illustration: ~A~ to ~U~
1796 to 1815]
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.
[Illustration: ~a~ to ~u~
1816 to 1835]
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.
[Illustration: 1779]
[Illustration: 1798]
[Illustration: 1808]
[Illustration: 1810 SALT CELLAR (p. 173).]
[Illustration: 1826]
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.
[Illustration: ~A~ to ~U~
1836 to 1855]
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).
[Illustration: ~a~ to ~u~
1856 to 1875]
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.
[Illustration: ~A~ to ~U~
1876 to 1895]
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.
[Illustration: ~a~ to ~u~
1896 to 1915]
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.
[Illustration: 1835
Maker, William Eames.]
[Illustration: 1845
Maker, R. Garrard.]
[Illustration: 1873]
[Illustration: 1891
Maker, S. C. Harris.]
[Illustration: 1915]
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.
[Illustration: 1575 CHALICE (illustrated p. 67).]
[Illustration: 1640 CHALICE (illustrated p. 71).]
[Illustration: 1706 Maker, John Elston.]
[Illustration: 1714 Maker, Pentecost Symonds.]
[Illustration: 1748 TANKARD (illustrated p. 117).]
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
[Illustration: 1775 Maker, Richard Richardson.]
[Illustration: 1800]
NORWICH
[Illustration: _c._ 1620 WINE CUP (illustrated p. 125).]
YORK
[Illustration: 1674 Maker, Marmaduke Best.]
[Illustration: _c._ 1800]
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
[Illustration: 1737 COFFEE-POT (illustrated p. 243).]
BIRMINGHAM
[Illustration: 1804]
[Illustration: 1889]
SHEFFIELD
[Illustration: 1773 Maker, Samuel Roberts & Co.]
[Illustration: 1778]
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
[Illustration: 1705 QUAICH (illustrated p. 313).]
[Illustration: 1750]
[Illustration: 1769 COFFEE-POT (illustrated p. 321).]
GLASGOW
[Illustration: 1713]
[Illustration: 1824]
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
[Illustration: 1669 CASTER (illustrated p. 331).]
[Illustration: 1706 Maker, Edward Barrett.]
[Illustration: _c._ 1770 CREAM-PAIL (illustrated p. 343).]
CORK
[Illustration: _c._ 1694 LOVING-CUP. Maker, Robert Goble. (illustrated
p. 331).]
[Illustration: 1764 CREAM-JUG. Maker, Jonathan Buck. (illustrated p.
339).]
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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=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.]