Chats on Old Silver

by Arthur Hayden

CHATS ON
OLD SILVER

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BOOKS FOR COLLECTORS

With Frontispieces and many Illustrations.

CHATS ON ENGLISH CHINA.
By Arthur Hayden.

CHATS ON OLD FURNITURE.
By Arthur Hayden.

CHATS ON OLD PRINTS.
(How to collect and value Old Engravings.)
By Arthur Hayden.

CHATS ON COSTUME.
By G. Woolliscroft Rhead.

CHATS ON OLD LACE AND NEEDLEWORK.
By E. L. Lowes.

CHATS ON ORIENTAL CHINA.
By J. F. Blacker.

CHATS ON OLD MINIATURES.
By J. J. Foster, F.S.A.

CHATS ON ENGLISH EARTHENWARE.
(Companion volume to “Chats on English China.”)
By Arthur Hayden.

CHATS ON AUTOGRAPHS.
By A. M. Broadley.

CHATS ON PEWTER.
By H. J. L. J. Massé M.A.

CHATS ON POSTAGE STAMPS.
By Fred. J. Melville.

CHATS ON OLD JEWELLERY AND TRINKETS.
By MacIver Percival.

CHATS ON COTTAGE AND FARMHOUSE FURNITURE.
(Companion volume to “Chats on Old Furniture.”)
By Arthur Hayden.

CHATS ON OLD COINS.
By Fred. W. Burgess.

CHATS ON OLD COPPER AND BRASS.
By Fred. W. Burgess.

CHATS ON HOUSEHOLD CURIOS.
By Fred. W. Burgess.

CHATS ON OLD SILVER.
By Arthur Hayden.

CHATS ON JAPANESE PRINTS.
By Arthur Davison Ficke.

CHATS ON MILITARY CURIOS.
By Stanley C. Johnson.

CHATS ON OLD CLOCKS AND WATCHES.
By Arthur Hayden.

CHATS ON ROYAL COPENHAGEN PORCELAIN.
By Arthur Hayden.

CHATS ON OLD SHEFFIELD PLATE.
(Companion volume to “Chats on Old Silver.”)
By Arthur Hayden.

CHATS ON OLD ENGLISH DRAWINGS.
By Randall Davies.

CHATS ON WEDGWOOD WARE.
By Harry Barnard.

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BYE PATHS OF CURIO COLLECTING.
By Arthur Hayden.
With Frontispiece and 72 Full page Illustrations.

LONDON: T. FISHER UNWIN, LTD.
NEW YORK: F. A. STOKES COMPANY.

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COFFEE-POT.

GEORGE II PERIOD, 1741.

Maker, Peter Archambo.

Frontispiece.

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CHATS ON
OLD SILVER

BY
ARTHUR HAYDEN

AUTHOR OF “CHATS ON COTTAGE AND FARMHOUSE FURNITURE,” ETC.

WITH FRONTISPIECE AND
NINETY-NINE FULL-PAGE ILLUSTRATIONS

TOGETHER WITH
ILLUSTRATED TABLES OF MARKS

T. FISHER UNWIN LTD
LONDON: ADELPHI TERRACE

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First published	1915
Second Impression	1917
Third Impression	1919
Fourth Impression	1922
Fifth Impression	1925

(All rights reserved)

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TO
ALFRED DAVIES,
IN REMEMBRANCE
OF OUR FRIENDSHIP

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[PREFACE]

The study of old silver usually begins when the inquiring possessor of family plate sets himself the task of ascertaining the date and the probable value of some piece long in his family and possibly lately bequeathed to him.

With old china, and probably with old furniture, the taste for collecting is oftentimes an acquired one, but it is in the Englishman’s blood to ruminate over his old plate, and the hall-marks of the assay offices in London and in the provinces, in Scotland and in Ireland, have been placed thereon with aforethought. The plate closet is cousin to the strong-box, inasmuch as the coin of the realm and gold and silver plate have been subjected to stringent laws extending over a period of five hundred years. The technical word “hall-mark” has become a common term in the language synonymous with genuineness. The strictest supervision, under the parental eye of the law, has upheld the dignity of the silversmiths guarantees. Hence the pride of possession of old silver. Pictures and furniture and engravings whose ancestry is doubtful thrust themselves in the market without fear of the watchful official eye. But old silver bearing the hall-marks of ancient and honourable guilds of silversmiths, stamped at the accredited assay offices, is, with few exceptions, what it purports to be. It is a proud record and a splendid heritage.

In dealing with the subject of old silver in a volume of this size sufficient details have been given to enable the collector to identify his silver if it be in the main stream of silversmiths’ work. On the whole, except where it is necessary in certain fields to illustrate the only examples, sumptuous specimens have been avoided in the illustrations as being outside the scope of this volume and the public to whom it is intended to appeal.

The collector of old silver must have a pretty taste and a fine judgment. It is not an absolute law that age determines beauty. Hall-marks, though they denote date, do not guarantee excellence of design. Everything that bears the hall-mark of the Goldsmiths’ Hall of London is not beautiful, whether it be old or whether it be new. The connoisseur must digest the fact that the assay marks of the lion, the leopard’s head, the date-mark, and the rest, are so many official symbols, accurate as to date and sufficient guarantee as to the standard of the metal, but meaningless in regard to the art of the piece on which they stand. The assay offices are merely stamping machines. What Somerset House is to legal documents so the assay offices are to silver and gold plate, and nothing more. Hence the necessity of placing such mechanical control under Government supervision.

The excellence of a piece of plate is governed by the same laws which control all other branches of decorative art.

Rarity is a factor not especially treated in this volume. Rare specimens are not necessarily beautiful even though they be unique.

In covering so wide a field in so small a volume, much has had to be omitted. There are many volumes on old English silver plate, but in regard to research, the work of Mr. C. J. Jackson, “English Goldsmiths and their Marks,” with over eleven thousand marks, stands alone and supplants all other volumes. Every collector must regard this work as the bible of silver-plate collecting.

I have given sufficient space to marks in the present volume to indicate those used by the London and other assay offices. Some marks are given which do not appear elsewhere, and the arrangement of the tables should enable the beginner to come to a definite conclusion as to the date of his silver. In especial, the Table of variations in the shapes of shields in the hall-mark and standard-mark employed at the London Assay Office from the accession of Queen Elizabeth to the present day, is a feature not before given in so concise a form in any other volume.

The marks on silver are stamped, the design thus appears in relief, while the edges of the shield on which it appears are sunk. The reproduction of this has offered a difficulty in illustration in all volumes on old silver. To print black letters or designs on a white background, although easy, is unsatisfactory. On the contrary, to print the raised design in white on a dead black background is not a realistic presentation of the mark as it appears to the eye. After many experiments I have reproduced the marks in a manner more closely approaching their actual appearance, and less suggestive of black-and-white designs on paper.

I have to express my thanks for the kind assistance I have received in regard to photographs and wax casts and drawings of marks, and for permission to include them in this volume as illustrations, to the following: the authorities of the Victoria and Albert Museum, the British Museum, and the Royal Scottish Museum, Edinburgh. By the courtesy of the Worshipful Company of Clothworkers and the Worshipful Company of Mercers I am enabled to reproduce some fine examples from their Halls. To Lord Dillon I am indebted for his courtesy in allowing the inclusion of an interesting example in his possession.

Messrs. Crichton Brothers have afforded me access to their records, including the use of copyright photographs of specimens which have passed through their hands, and courteous assistance in reproducing examples in their possession. Messrs. Elkington & Co., and Messrs. Garrard & Co., have similarly extended to me their practical aid; Messrs. John Ellett Lake & Son, of Exeter, have enabled me to do justice to the art of the Exeter silversmith, and Messrs. Harris and Sinclair, of Dublin, have enriched my chapter on Irish silver. I have also to acknowledge the kindness of Messrs. Carrington & Co. for the Frontispiece and for the fine design of an Irish Dish Ring shown on the cover. Mr. A. E. Smith, my photographer, has given exceptional care in obtaining good results.

It is, therefore, my hope that this volume will stand as an authoritative outline history of the subject of which it treats, that it may point the way to possessors of old silver to arrive at sound conclusions as to their heirlooms, and that it may indicate to collectors the salient features of their hobby.

ARTHUR HAYDEN.

January 1915.

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[CONTENTS]

	PAGE
[PREFACE]	[11]
[LIST OF ILLUSTRATIONS]	[19]
[CHAPTER I]
THE MARKS STAMPED UPON SILVER	[23]
[CHAPTER II]
ECCLESIASTICAL PLATE	[65]
[CHAPTER III]
THE MAZER, THE STANDING CUP, THE FLAGON, THETANKARD, THE BEAKER, THE WINE CUP	[83]
[CHAPTER IV]
THE SALT CELLAR	[139]
[CHAPTER V]
THE SPOON	[177]
[CHAPTER VI]
THE POSSET-POT, THE PORRINGER	[195]
[CHAPTER VII]
THE CANDLESTICK	[221]
[CHAPTER VIII]
THE TEAPOT, THE COFFEE-POT, THE TEA-CADDY	[239]
[CHAPTER IX]
THE CASTER, THE SUGAR-BOWL, THE CREAM-PAIL,THE CAKE-BASKET	[267]
[CHAPTER X]
THE CREAM-JUG	[299]
[CHAPTER XI]
SCOTTISH SILVER	[311]
[CHAPTER XII]
IRISH SILVER	[329]
APPENDIX, CONTAINING TABLES OF DATE LETTERS.LONDON (1598-1835)	[347]
TABLE OF DIFFERENCES IN SHIELDS. LONDON(ELIZABETH TO GEORGE V)	[357]
ILLUSTRATIONS OF MARKS: LONDON, PROVINCIAL,SCOTTISH, AND IRISH	[359]
[INDEX]	[411]

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[ILLUSTRATIONS]

George II Coffee Pot, 1741. Maker, Peter Archambo.	[Frontispiece]
	PAGE
Chapter II.—Ecclesiastical Plate
Elizabethan Chalices	[67]
Elizabethan Chalice; Charles I Chalice	[71]
Charles II Cup; William III Flagons	[75]
Charles II and Queen Anne Patens	[79]
George II Communion Cup	[81]
Chapter III.—The Standing Cup, the Flagon, the Tankards, the Beakers,and the Wine Cup
Mazer, with inscription dated Exeter, 1490	[87]
The Leigh Cup and Cover, 1499	[91]
Cup and Cover, 1585	[95]
Stoneware Jug with Silver Cover and Foot, 1570	[95]
The Samuel Pepys Standing Cup and Cover, 1677	[99]
Flagon, 1572; Flagon, 1599	[105]
Tankards, Charles II, 1679, and William III, 1701	[111]
Charles II Tankards, York, 1684	[111]
Queen Anne Tankard, Exeter, 1705	[115]
Mug, 1733, and Tankard, 1748, Exeter	[117]
Beakers: James I, 1606; Charles I, 1631; Charles II, 1671	[121]
James I Wine Cup	[125]
Stuart Wine Cups; Seventeenth-century Candlestick	[129]
“Monteith” Punch-bowl, 1704	[135]
Chapter IV.—The Salt Cellar
Hour-glass Standing Salt Cellar, 1500	[143]
Bell-shaped Salt Cellar, 1601	[147]
Circular Salt Cellar, 1638	[151]
Octagonal Salt Cellar, 1679, “The Sumner Salt”	[155]
Lambeth Delft and Rouen faience Salt Cellars	[161]
Group of Small Circular Salts, Queen Anne, George II, andGeorge III	[165]
Salts with Glass Liner, George III	[167]
Group of Oblong Salts with three feet, George III	[167]
Group of Salt Cellars, George III, showing transition	[171]
Group of Salt Cellars, George III, George IV, and William IV	[173]
Chapter V.—The Spoon
Seventeenth-century Spoons	[181]
Seventeenth and Eighteenth-century Spoons	[185]
Seventeenth and Eighteenth-century Spoons	[189]
Chapter VI.—The Posset-pot and the Porringer
Commonwealth Porringer, 1653	[197]
Charles II Posset-pot and Cover, 1662; Porringer, Silver-gilt, 1669	[197]
Charles II Porringer, 1666	[201]
Charles II Posset-cup and Cover, 1679	[201]
Posset-pot and Cover, 1683	[205]
Charles II Porringer, 1672	[209]
Queen Anne Porringer, Exeter, 1707	[209]
James II Posset-cup and Cover, 1685	[213]
Staffordshire Earthenware Posset-cup, dated 1685	[213]
Plum Broth Dish and Ladle, 1697	[217]
Chapter VII.—The Candlestick
Charles I Candlestick, 1637	[223]
Lambeth Delft Candlestick, dated 1648	[223]
Charles II Candlesticks, 1673	[227]
Snuffers and Tray, 1682	[231]
Candlesticks Queen Anne, 1704, 1706; George I, 1721	[231]
Candlestick, Sheffield, 1782	[235]
Chapter VIII.—The Coffee-pot, the Teapot, the Tea-caddy
Coffee-pot, Newcastle, 1737	[243]
Teapot (Honourable East India Company), 1670	[243]
Teapot, 1745	[247]
Kettle, with Stand and Spirit-lamp, 1746	[251]
Group of Coffee-pots and Teapots	[255]
Tea-caddies, Exeter, 1718; London, 1730	[259]
George III Tea-caddies	[259]
Pair of Tea-caddies and Sugar-box, 1760	[263]
Chapter IX.—The Caster, the Sugar-bowl, the Cream-pail, the Cake-basket
William III and Queen Anne Casters, 1701 and 1712	[269]
George II Caster, Exeter, 1728	[273]
Group of Casters, William III, George II, and George III	[277]
Centre-piece, 1761	[279]
Centre-piece, 1775	[279]
Sugar-bowl, Classic Style, 1773	[283]
Sugar-bowl, Pierced Work with Glass Liners (lateEighteenth Century)	[285]
Cream-pails, 1776, 1782	[285]
Bread-baskets, 1745 to 1775	[289]
Cake-basket, 1761; Wedgwood Cake-basket	[291]
Wedgwood Earthenware Dessert-baskets	[295]
Chapter X.—The Cream-jug
Jug, Paul de Lamerie, 1736	[301]
Group of Cream-jugs, George I and George III	[305]
Group of Cream-jugs, late George III	[309]
Chapter XI.—Scottish Silver
Scottish Quaich, Edinburgh, 1705	[313]
Mug, Edinburgh, 1790	[313]
Sugar-caster, Edinburgh, 1746	[317]
Coffee-pot, Edinburgh, 1769	[321]
Tea-urn, Edinburgh, 1778	[325]
Chapter XII.—Irish Silver
Caster, Dublin (George Lyng), 1699	[331]
Loving-cup, with harp handles, Cork, 1694	[331]
Centre-piece, Dublin, 1740	[335]
Cream-jug, signed by Jonathan Buck, Cork, 1764	[339]
Cream-jug, Dublin, 1740	[339]
Cream-pail, Dublin, 1770	[343]
Appendix to Chapter I
Alphabets of Date Letters used at London Assay Office	[347-355]
Table showing variations in Hall and Standard Marks	[357]
Series of Examples of London Assay Marks	[359-385]
Series of Examples of Provincial Assay Marks	[387-399]
Series of Examples of Scottish and Irish Assay Marks	[401-409]

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[I]

THE MARKS STAMPED
UPON SILVER

I.	THE HALL-MARK
II.	THE STANDARD MARK
III.	THE DATE MARK
IV.	THE MAKER’S MARK
V.	THE HIGHER STANDARD MARK
VI.	THE DUTY MARK
VII.	THE FOREIGN MARK
	APPENDIX TO CHAPTER ([pp. 347-409])
	Illustrations of typical Marks

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