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PEWTER AND THE
AMATEUR COLLECTOR

PLATE I— TANKARD
French: eighteenth century. Height, 8 inches; greatest diameter, 5 inches.
Marks : on the bottom, a small shield with crown above and AVS between.

PEWTER AND THE
AMATEUR COLLECTOR

BY
EDWARDS J. GALE

WITH
FORTY-THREE PLATES ILLUSTRATING THE SUBJECT

NEW YORK
CHARLES SCRIBNER'S SONS
1909

Copyright, 1909, by
CHARLES SCRIBNER'S SONS

Published November, 1909
Tke 90
909 G

PREFACE
The chief object of this book is to assist amateur
collectors of old pewter plate to a reasonable knowl
edge of the ware and to a direct understanding of
their labours. Brevity, in a strict sense, has been
deemed essential, as I especially wish to enlist the in
terest of those who temperamentally are intolerant of
study and yet earnest in their desire for results. Crit
ical discernment and a fair conformity to facts have
been striven for, but all who have written on the sub
ject of pewter probably recognise that it is the grave
yard of congruent accuracy.
Historical matter has been eliminated as far as pos
sible, further, perhaps, than is consistent with the sub
ject, but the most sanguine author, even had he not
my object in view, would hesitate to proffer the public
another work on pewter conceived on the same basis
as those which already ably cover the field of research
concerning the origin and making of the ware.
Episodes of country trips in search of little antiqui
ties and reminiscences of romantic adventures are not

PREFACE
disclosed in these pages, echoes of the collector's sighs
at eventide are not heard, and studies of local dialects
have been omitted, although I well know that such an
attitude will seem to many little short of treachery to
common precedent in America.
In the following work most of the general observa
tions on pewter plate and collecting represent personal
views and as such are open to criticism. The his
torical matter presented — unacceptably perhaps, but
with the quality of conciseness — is built on a better
foundation, and for the source of much of this I have,
with proverbial frankness and more than proverbial
sincerity, to admit indebtedness to the scholarly works
of Mr. Charles Welch, Mr. H. J. L. J. Masse, Mr.
Ingleby Wood, and Mr. Malcolm Bell.1 A glowing
tribute of gratitude is too easily set forth in words; for
these authors mine is reserved to the truer one of a
happy intimacy with and a very deep respect for their
infinite labours. No enthusiast can go far without their
aid; they have, indeed, graciously lessened the trials of
this generation of collectors as well as the work of all
future writers on the subject.
'"History of the Pewterers* Company," by Charles Welch, F.S.A.:
London, 1902,
"Pewter Plate," by H. J. L. J. Masse-, M.A.: Geo. Bell & Sons, London,
1004, " Scottish Pewter Ware and Pewterers," by L. Ingleby Wood: Edinburgh,
Morton* 1904.
" Old Pewter," by Malcolm Bell: George Newnes, London, and Charles
Scribner's Sons, New York, 1906.
vi

PREFACE
It is a pleasant duty to acknowledge the courtesy of
Mr. John H. Buck, Curator, Department of Metal
Work, Metropolitan Museum of Art; of Mr. Charles
K. Bolton, Librarian, Boston Athenaeum, and of Mr.
John H. Edmonds for certain valuable references, and
of Mr. Charles A. Stone for his interest in the subject,
without which I would have failed to make any con
sistent study of collecting old pewter. Edwards J. Gale.

CONTENTS PAGE
Preface  v
List of Illustrations  xi
CHAPTER I  i
The Ironic Position of the Amateur Col
lector
CHAPTER II  9
The Old Ware
A general historical review
List of articles made of pewter
CHAPTER III  15
The Old Ware (continued)
CompositionMethods of making
Distinctive qualities
Discriminative selecting
CHAPTER IV  40
The English Craft
Marks and marking

CONTENTS PAGE
CHAPTER V  55
American Pewter Plate
General review of its characteristics
List of makers
CHAPTER VI  76
Modern Pewter and Various Wares of the
Eighteenth and Nineteenth Centuries
Modern pewter
Britannia metal ware
White metal ware
White iron ware
Blocked tin ware
CHAPTER VII  87
The Collection
Cleaning and polishing pewter
Placing and arranging for display

ILLUSTRATIONS

Plate I — Tankard: French, eighteenth century . Frontispiece FACING PAGE
Plate II — Vase: probably English, nineteenth century . 2
Plate III — Group of English pewter  4
Plate IV — Dish and salt cellar: English, eighteenth century 8
Plate V — Measure: probably English, early eighteenth
century type  10
Plate VI — Dish and pepper pot: English, eighteenth
century  12
Plate VII — Portion of under side of large English Plate
showing hammer marks  16
Plate VIII — Portion of an English Plate showing results of
corrosion  18
Plate IX — 'Tankard : Flemish, probably seventeenth century 20
Plate X — Dish and inkstand: English, French .... 24
Plate XI — Jug: probably English, late eighteenth century 26
Plate XII — English marks  28
Plate XIII — 'Tobacco box: English, eighteenth century type 32
Plate XIV — Jug: probably English, eighteenth century . . 34
Plate XV — 'Plates: English, eighteenth century  36
Plate XVI — Box: probably Dutch, eighteenth century . . 40

ILLUSTRATIONS
FACING PAGE
Plate XVII — Flagon: English, early eighteenth century
type  42
Plate XVIII — Group of English pewter  44
Plate XIX — Jug or flagon : probably French, early eigh
teenth century  46
Plate XX — Jug: probably English, early eighteenth cen
tury  48
Plate XXI — Pepper pot: English, probably early eigh
teenth century  50
Plate XXII — Measure: English, late eighteenth century
type  52
Plate XXIII — Urn: American, nineteenth century ... 56
Plate XXIV — 'Jug: American, nineteenth century ... 58
Plate XXV — Lamp: American, nineteenth century . . . 60
Plate XXVI — American pewter, nineteenth century ... 64
Plate XXVII — Lamp: American, nineteenth century . . . 66
Plate XXVIII — 'Candlestick: American, nineteenth century 68
Plate XXIX — Candlestick: American, nineteenth century 72
Plate XXX — 'Candlestick: American, nineteenth century 74
Plate XXXI — Group of American pewter  76
Plate XXXII — Coffee pot: American, nineteenth century . 78
Plate XXXIII — Teapot: probably American, nineteenth
century  80
Plate XXXIV — Candlelamp: probably American, late
eighteenth century  82
Plate XXXV— Maker's touch: American  84
Plate XXXVI— Maker's touch: American  88
xii

ILLUSTRATIONS
FACING PAGE
Plate XXXVII— Maker's touch: American  88
Plate XXXVIII— Maker's touch: American  88
Plate XXXIX— Maker's touch and hall-marks (so-called):
American  90
Plate XL — Modern pewter spoons and porringer:
American  92
Plate XLI — Modern pewter lamp: American .... 94
Plate XLII — Britannia metal teapot: English, late eigh
teenth century  96
Plate XLIII — Britannia metal teapot: English, late eigh
teenth century  96

CHAPTER I
THE IRONIC POSITION OF THE
AMATEUR COLLECTOR
JHE collector of old pewter plate
seems always to have been in an
ironic situation. In the early days
of the latter half of the last century
the few collectors who were discerning enough
to care about the ware were in an exceptional
position, finding much of the old plate at hand,
but, regarding it historically, very little informa
tion indeed. Within the last ten years the posi
tion naturally enough is reversed; we find able
histories on the subject but, unfortunately for the
amateur, very little veritable pewter.
There are really only two reasons why those
interested in the subject to-day are not thorough
masters of it; the one, if it obtains, easily over
come, the other- less readily— the first being lack
of zeal in persistent study of literature on the
subject, now happily within the reach of all, and i

PEWTER
the second and more serious the lack of the ware
itself, for it is almost an essential factor to the
proper appreciation of pewter that the student
and the amateur should have constant personal
contact with it. Indeed, intimacy with the ware
is the first and last requisite, and serious study
of the subject from an historical point of view,
while certainly desirable, does not lessen the ob
ligation nor obviate the necessity of " living with "
the ware.
In view of the scarcity of good examples of
pewter, the position of the amateur to-day requires
perhaps a greater sense of humour than was nec
essary even in the previous generation if the
game is to be kept a pleasurable one, and the
moment it becomes irksome it becomes a burden
that had much better be dropped. A collector
obviously overburdened with his responsibilities
is one of the saddest exhibits on earth, although
only a little more so than one persistently en
tering the game without earnestness and playing
it through without any apparent desire of ad
vancing. This familiarity with the ware itself can
scarcely be too much insisted upon, and the ama
teur seldom appreciates the connoisseur's feelings

PLATE II— VASE
Probably English : nineteenth century. Height, g'/i inches: diameter at centre, 5% inches.
Marks: none.
The type in general recalls the best of the simple work of the silversmith, but the robust

ness of the curve makes it a fitting pewter-design.
simplicity is well illustrated in this vessel.

The combination of grace and perfect

THE AMATEUR COLLECTOR
in the respect, before mentioned, of living with it.
None know the result of living with a product of
the past better than collectors of early paintings,
and there are few connoisseurs so bold as to wil
fully decline permission, all too seldom granted,
to live with a picture before committing them
selves to buying it.
As to individual pieces of pewter, a like im
portance is not for a moment inferred, but as to
pewter in general the amateur will find that there
is no equivalent to actual intimacy with the ware,
and that historical knowledge of the subject and
even conscientious study of examples in museums
will suffice but little without it.
Until some investigation of the subject is
undertaken by the amateur his conception of
pewter is, generally speaking, beautifully simple;
pewter to him is only an alloy of lead and tin; he
believes all good pewter to be marked and that
ware lacking marks is not to be considered. He
believes all marks of recognised types genuine,
and leans on the small marks as a lame man on
a staff; for these assuredly are hall-marks, and
pewter bearing them must have been vouched
for by recognised authorities, if not by the gov
ernment itself I He loves the letter X, for it means 3

PEWTER
only one thing— superfine quality! It is a beau
tiful pastime, simple and fascinating, admitting
of few errors; cut an edge— if it is soft, grand!
Discern a mark, splendid ! The letter X, and the
rose and crown, stamped thereon, and the vessel
bearing such indisputable signs is a prize at any
price! The path for the earnest seeking for informa
tion concerning pewter leads naturally toward
the history of the makers of pewter plate, and the
pursuit is a complex one. The path is befogged
and the signs contradictory, but the student ad
vances, little as it at first seemed possible; and
he learns sooner or later that pewter is not neces
sarily an alloy of lead and tin, that there are at
least a score of other combinations possible in its
make-up; that doubtless it is a fact that much
good pewter bears no marks, and equally certain
does it become that makers' marks, even in old
days, were frequently counterfeited; that the
letter X does not always denote superfine qual
ity, and that hall-marks on pewter, in so far as
they infer official stamping, are in reality a sad
myth. Thus is the staff knocked from the de
pendent; thus are simple beliefs doomed and the
once complacent man rendered despondent.
4

PLATE III— GROUP OF ENGLISH PEWTER

Dish or large Plate: probably seventeenth century. Diameter, 15
inches; width of rim, 3 inches.
Marks: on back of rim, Maker's touch, obliterated.
This is a well-preserved and rare example of the early type of
dish with broad rim.
Bowl: probably early eighteenth century. Height, 3^ inches;
diameter at top, 6 inches.
Marks : on bottom, X crowned, a sprig with leaves and a flower.

Tankard, with cover: eighteenth century. Height, 6 inches.
Marks: on rim near handle, X, and VR stamped below.
Jug or Measure: eighteenth century. Height, $% inches.
Marks : on bottom, Rose and Crown and IWG.
This is a model common to the pewterers of England and
western Europe.

THE AMATEUR COLLECTOR
Yet these are substantial facts, however rudi
mentary, however disconcerting. The humour of
the situation begins with being forced to adopt
the belief that hall-marks on pewter do not sig
nify what they should, it increases in viewing
the historians' agility to get away from the sub
ject, and culminates with failure to find one law
or rule of the manufacturers, or one custom, not
subject to qualification if not to infinite variations.
The irony of the matter lies in the knowledge
that to be successful one must have facts, that
the student has gone far for facts, and that of the
seeming many unearthed few are incontrovertible.
Still, it were foolish not to master these if the
game is to become anything more than a childish
one. Whether the undertaking brings commen
surate reward depends solely on the disposition
of the investigator. That satisfactory results are
possible has been proven, that good pewter is rare
there is no doubt, that it can still be found is
evident, but some knowledge, much judgment,
and great patience are necessary to any substan
tial success in the matter.
It is natural that collectors of old pewter in
England and on the continent should have a
5

PEWTER
better field than we in America, just as they have
in the matter of silver plate, and it is evident, upon
reading any English treatise on the subject, that
examples of pewter plate can still be bought
there such as now are seldom if ever found for
sale in this country. Even in Europe, however, it
is with ever-increasing difficulty that any number
of good specimens can be brought together with
out continued research, save when a collection is
dispersed. The reason for this is not far to
seek, for, while the output for several centuries
was prolific, the nature of the alloy of which
pewter vessels were made tended toward their
easy disfigurement and consequent disuse, and
the custom of melting old plate for material with
which to make new was a common one from the
middle of the sixteenth century to about 1820;
and after that, pewter being very generally sup
planted by earthenware and china and cheaper
and more durable metal materials, it was as fre
quently, if less consistently, sold as junk; indeed,
between 1820 and 1870, it is probable that count
less tons of pewter plate were so destroyed.
Not to envy too far the present position of
European collectors, it may be recalled that be
tween 1870 and 1880 two of the earliest English
6

THE AMATEUR COLLECTOR
collectors of old pewter of home manufacture
found themselves facing these conditions, and
they "lamented" because of the scarcity of good
examples remaining. If, say in 1880, and still
leading the field, they yet "lamented," what are
we of to-day to do? There is no ratio one cares
to attempt to comprehend between the pewter
and two collectors of 1880 and pewter and the
number who are seeking it to-day.
Regarding this same custom of sacrificing old
vessels, Mr. Wood, writing of Scottish pewter,
says: "This very practice of melting down the old
ware, and the blindness of many people after
pewter had ceased to be used, and even in recent
years, to what was beautiful in line and form in
the old vessels, is responsible for the entire ab
sence of anything like a complete collection of
the different pewter vessels, typical of the work
of the Scottish pewterer of the sixteenth and sev
enteenth or even eighteenth centuries, in any of
our museums.
"It is true there has been some attempt to
form such a collection in the National Museum
of Antiquities of Scotland in Edinburgh, but
amongst the twenty odd pieces of pewter ware of
Scottish make there, only one can be safely said 7

PEWTER
to be of sixteenth century make, only one other
belongs to the seventeenth century, while the rest
of the pieces belong mostly to the latter half of
the eighteenth century.
"In the Smith Institute Museum at Stirling a
much larger and very interesting collection of
Scottish and other pewter ware is to be found,
but here again none of the specimens seem older,
as far as it is possible to judge with the informa
tion at our command, than the latter half of the
seventeenth century, and these pieces are very
few in number."

8

PLATE IV— DISH AND SALT CELLAR
Dish. English: eighteenth century. Diameter, 16^ inches.
Marks: on back, Maker's touch, obliterated ; four hall-marks illegible ; separate stamp,
MADE IN LONDON.
Salt cellar. English : eighteenth century. Height, 2 inches.
Marks: none.
A pure design executed in superfine metal.

CHAPTER II
THE OLD WARE
jLTHOUGH the early pewter of the
Oriental nations and of the Romans
may be of interest to antiquarians,
it is the purpose here to review the
history of pewter chiefly as it interests the col
lector, and that only in outline.
As early as 1074 we hear of pewter being used
for Church purposes in France, and two years
later in England, and from that time on pewter
was alternately allowed or prohibited for use in
services of the Church.
Its adoption for domestic purposes undoubt
edly pre-dates the earliest reference to it in that
respect yet found, which is in connection with
numerous pewter vessels used in 1274 at the
coronation banquet of Edward I. Probably in
Europe it was in use domestically long before
that time. 9

PEWTER
In Germany and Belgium the industry of the
making of pewter plate was of such importance
early in the fourteenth century as to necessitate
the formation of regulations concerning it, and in
England, in 1348, an association of makers of
pewter was officially established and an ordinance
passed regulating the quality of the ware and
workmanship. At Mons— in Belgium— at Ghent,
Bruges, Nuremberg, Paris, and Rouen the pew
terers' craft and guilds became of importance dur
ing this century, but it is probable that pewter
was not as yet extensively used except by the
Church, the Court, and the nobility. It appears
even at this time that old vessels were melted
for material of which to make new, and as the
century drew to a close the early and primitive
forms were doubtless modified to a type more fit
ting the constantly advancing ideas of the period.
During the first quarter of the fifteenth cen
tury the craft was plying its trade in most of the
countries of western Europe, evidence of its man
ufacture in Spain by the year 1406 appearing in
regulations of that date. In England the Pew
terers' Company was given greater recognition
and additional powers, and by the end of the cen
tury Scotland, later the home of much excellent
10

PLATE V— MEASURE
Probably English: early eighteenth century type. Height, ii inches.
Marks : none.
A form of standard measure honestly expressive of its purpose and the material used.

THE OLD WARE
pewter plate, witnessed the incorporation of Ham
mermen—which in that country included pewter
ers— in many of the larger towns. Mr. Wood, in
his historical review of the Scottish ware, states
that prior to 1493 the art of pewter-making must
have been in the hands of a few isolated makers,
and that the majority of pewter vessels used in
Scotland before that date were in all probability
imported from France, Flanders, and Holland;
and in lesser quantities from England, owing to
the relations then obtaining between the two
countries. The general use of pewter had now become
common, and was no longer confined to the
nobility nor exclusively to the wealthy class.
The next, the sixteenth, century witnessed the
introduction of the so-called decorative ware, but
happily the makers in England were slow to
adopt and quick to discard the alluring but ill-
suited methods practised from that time on by
various continental makers of great and lesser
repute. Recollecting the constant strife in State
and Church, and the consequent wilful destruc
tion during this period, as well as the constant
necessity of converting goods into money and
the now common custom of melting old vessels, 1 1

PEWTER
it is not strange that sixteenth-century pewter is
rare even in the museums.
Early in the seventeenth century pewter was
being manufactured in America, and by this time,
in England and continental Europe, efforts were
being made to widen the range of its usefulness;
candlesticks appear in an inventory of 1615, pew
ter spoons and forks in one of 1672; tea and coffee
pots came into use in the latter part of the same
century, although few may now be found dating
before the middle of the succeeding one. The
earliest date on the touch-plates, referred to
hereafter, that are still preserved at Pewter
ers' Hall, in London, is 1640. In France, the
pewterers now began to gild, silver, and even
lacquer their wares in the forlorn hope that the
wealthy classes would still be attracted by them.
Toward the end of this century there was every
where visible in the pewterers' trade the inevitable
result which the introduction of other materials,
for purposes for which pewter had predominated
for nearly four centuries, was bound to bring
about, and the supremacy of the craft constantly
lessened from this time on. White-ironsmiths in
Scotland and the makers of earthenware in Eng
land and of glass and china throughout Europe
12

PLATE VI— DISH AND PEPPER POT
Dish. English : eighteenth century. Diameter, 18 inches.
Marks: on back, HENRY HAMMERTON (1733), within device largely obliterated ;
also Rose and Crown within device ; LONDON, in rectangle.
Pepper Pot. English: eighteenth century. Height, 5 % inches.
Marks : none.
An excellent type but with not quite the style of the smaller one reproduced in
another plate at full size.

THE OLD WARE
were the entering wedge of the final dissolution
which in the next century became almost com
plete. The eighteenth century was practically the
closing era of the pewterers' trade, and yet natu
rally the preponderate portion of American pewter
is of that time, although both here and in the pro
vincial towns of other countries there were contin
ued efforts in its production fairly effective until
about 1820, and in isolated cases, with but little
result and of no practical importance, up to and
even later than 1840. Commercially it was dis
placed by earthenware, glass, and china, and
various metals or alloys of a quality which per
mitted greater ease and economy in working and
which were either better fitted for hard usage or
for plating with silver.
A general but by no means complete list of
articles manufactured in pewter is given here, but
the collector should remember that the forms of
almost every one of the articles enumerated were
of infinite variation, depending not alone on the
era and country, but on the maker's skill and
fancy, although throughout the production of all
time and countries there was happily a very gen
eral acceptance of certain types and a fine con- 13

PEWTER
servatism that characterises most of the ware with
the exception of that exotic and fortunately small
class which was treated in sculpturesque and
other weaker and supposedly ornamental manner.
PEWTER WARE
For Church Use:
Altar candle-sticks, Alms dishes, Baptismal bowls, Benitiers,
Chalices, Flagons, Lavers, Patens, Sacramental cruets.
For Drinking Purposes:
Beakers, Cups, Mugs, Tankards.
For Conveying and Measuring Liquids:
Flagons, Jugs, Measures of all types and sizes.
For Domestic Use, Other than the Above, and Chiefly for Table
Service: Bowls, Chargers, Cruets, Cup plates, Egg cups, Ewers,
Forks, Hot-water dishes, Ladles, Mustard pots, Pepper
pots, Platters, Plates, Salt-cellars, Saucers, Spoons,
Sugar basins, sifters, and sprinklers, Trenchers, Tureens,
Vegetable dishes.
Special, ditto:
Coffee-pots, Chocolate-pots, Spirit lamps, Salvers, Tea
pots, Tea-caddies, Trays.
Small Miscellaneous: Badges, Buckles, Candle boxes, Candle-sticks, Food bottles,
Herb canisters, Inkstands, Lamps, Money boxes,
Powder-puff boxes, Salt boxes, Sconces, Snuff-boxes,
Taper holders, Tobacco boxes, Toys, Vases.

H

CHAPTER III
THE OLD WARE
(continued)
jHE composition of old pewter plate
has been thoroughly reviewed by
Mr. Masse, Mr. Bell, and others in
its infinite variations, and it is obvi
ous that it is almost impossible to exclude from
the generic term many vessels of alloys that the
collector will nevertheless wish to exclude from
his collection.
It may be taken as a general basis that of the
pewter found to-day the alloy will usually consist
of tin and lead, and less frequently of tin and
copper, or of tin, copper, and antimony. There are
something like forty authentic variations recorded,
and in reality the composition as actually put
forth by makers of different times and countries
was, if of a certain similarity, constantly so vari
able as to place the whole matter in its intricacies 15

PEWTER
beyond the collector's interest, and wholly into
the hands of the analytic chemist.
Whatever the alloy used, tin always predom
inated as the chief component part.
The pewter of the Romans appears from analy
sis to have been composed of tin and lead in
varying proportions, of which the average was
approximately 75.3 parts of tin to 24.7 of lead.
As early as 1348 the Pewterers' Company of
London prescribed two qualities, the best to con
sist of tin with the addition of as much brass
(copper?) as the tin "of its own nature" would
take, the second quality being tin with about 20
per cent, of lead. Other qualities, if not at that
time allowed, were in general use later, and the
lead frequently ran as high as 40 per cent, in the
poorer alloys.
It is generally assumed that from the first
quality were made plates, platters, etc.; from the
second, standing vessels, bowls, etc.; and from the
alloys having a greater percentage of lead, cheaper
vessels for public-house use.
The simplicity of the alloy, as stated above,
held, however, only for certain times and articles;
antimony as the lesser component part was fre
quently used, the resultant alloy being of greater
16

PLATE VII
Portion of under side of a large English Plate showing the hammer marks on the curve
between the body and the rim. Such marks in some degree are present on all plates of
good workmanship. It will be found that many American plates, especially of the later
period, are devoid of like evidence of conscientious work.

THE OLD WARE
hardness and of a more brittle character and
better adapted for working into certain shapes.
Bismuth and also zinc were sometimes introduced
in addition, respectively, to the lead or antimony
used. The French pewter of the eighteenth century
consisted of tin and copper in the proportion of
ioo to 5, and of tin and lead in the proportion of
ioo to 15, and the last regulations concerning it
varied very little from the latter, being 16.5 parts
of lead to every 100 parts of tin or in certain
cases to 83.5 parts.
It would seem that American pewter of the
eighteenth century very generally approximated
the alloy of the French of the same period, al
though after 1790- 1800 it undoubtedly in many
instances fell below, and often far below, that
standard. Incidentally it may be noted that French pew
ter plate of good alloy and simple form very fre
quently appears superior to the English product
of the eighteenth century, and almost invari
ably to that of Belgium and Germany.
For the storage of wines and acids it was
essential that lead should not exceed certain
limits in the composition of pewter vessels, and 17

PEWTER
it obviously was desirable that it should be lim
ited in the alloy of which large vessels were made
if they were successfully to serve their ostensible
purpose. Of all English and continental ware
which the collector is likely to acquire, it is in
the public-house measures that lead will be found
in greatest excess, and it is evident that a certain
form of commercial sense clouded the usual
acumen of the makers in this respect.
As the marking of and marks on pewter plate
are matters closely connected with the history of
the guilds, this subject is treated in a succeeding
chapter notwithstanding the fact that it is equally
connected with the manner of making the old
ware. That pewter was made by the masters of the
craft, lovingly, is evinced equally in the beauty of
form of most of the ware and in the workman
ship displayed, a workmanship that has with
stood careless handling, for centuries, of articles
never especially cherished for the intrinsic value
of the metal of which they were made. In the
simple forms of nearly all standing vessels, with
their proportionate values and gradations, one
finds oftentimes a greater charm than in the richer
and more highly decorated utensils of silver, and
18

4-. s 9 ,
K<* ft -
***.*¦¦ ,"% ' .
f^» ' -Jfcl-' - <"** ':'- , & i&

PLATE VIII
Portion of an English Plate showing results of the heavy efflorescent-like corrosion some
times found on the ware. In this case the plate has been cleaned, and the erosion of the
Surface disclosed (here shown at actual size) illustrates the reason for rejecting articles which
are corroded beyond the degree of oxidisation normal to old and neglected ware.
The reproduction is deceptive, at first glance, in that the defects of the surface appear
to be raised, which was true of the efflorescent-like substance originally on the ware, but as
this was removed the resulting erosion was laid bare and it is in reality shallow pit marks
which show in the illustration.

THE OLD WARE
wherever a certain robustness not found in other
ware was developed, it never was accentuated to
grotesqueness; it is, indeed, in many of the stur
dier forms, which the weight and inexpensiveness
of the alloy allowed, that pewter in its most at
tractive character is found. That it could be
worked with equally satisfying results in fine
scale is demonstrated in the detail of certain
jugs, flagons, etc., and in such articles as can
dlesticks of even the later years of the decline of
the Craft.
It should be recognised that the beauty of old
pewter is unique and that the ware has specific
characteristics; it is, indeed, a true exponent of
the worth of simplicity in even minor forms and
a constant reminder that pure design and good
proportion need no superficial decoration. The
bloom of the alloy is unequalled by metals in com
mon use, for pewter has a surface texture and at
its highest polish absorbs light to a degree in
perfect balance with its reflection, which is not
the case with brass and silver. It has not only
this texture, but a colour subdued and intangibly
allied with its bloom, which is perhaps the chief
reason of its subtle influence upon even the un
initiated. 19

PEWTER
The making of pewter was, if not an art,
happily allied to it, and whether the article was
cast, or wrought wholly by hammering, the finish
was never slighted. Even in the multiple repro
duction of articles from the same mould no loss
of pride in the worthiness of results is manifest.
Doubtless, the better the mould, the less the after
work, but on all old pewter finishing by hand
was a very important part.
Such articles as could be cast in one piece
were so produced, spoons, bowls, and the bodies
of porringers being of sufficient simplicity as to
be so made. More complex forms required, as
they would if cast to-day, two or more moulds,
the resultant sections being joined together; the
line of joining may be seen on the inside of most
of such ware, but on the exterior this was oblit
erated by burnishing or covered with a raised
moulding. Unless of unusual size, plates were
cast and finished by turning and by hammering
the curve between the body and the rim. The
final polish on all ware was produced by burnish
ing. The hammering of the cast product, and espe
cially the process of hammering out large dishes,
or trenchers and chargers, direct from rolled
20

PLATE IX— TANKARD
Flemish : probably seventeenth century. Height, 7 inches ; diameter at centre, 4 inches.
Marks : on top of cover, Rose crowned.
A form of tankard closely approximated by many eighteenth century vessels ot English
make and one well illustrating the good qualities of pewter-design.

THE OLD WARE
sheets, was a matter in which true pride was taken
by the craftsman; flat ware coming from the
moulds was of such a nature that the process of
hammering was adopted in completing the desired
curve from body to edge, and this was essential
to stiffness and durability of such utensils as, like
dishes and plates, were subject to great strain ; to
a certain extent, the more hammering the better,
although over-hammering would result in a brit-
tleness of the material, this being also true of the
wholly hammered and non-cast dishes.
It is the thoroughly hammered plate that has,
when properly held and lightly struck, the true
sonorous ring — unless the alloy be inferior. In
deed, any percentage of lead in the alloy will
lessen the resonant quality and the ware will
cease to respond with the introduction of approx
imately 20 per cent, of lead as a constituent part.
To a collector, therefore, the difference between
plates of precisely similar appearance is often a
great one, owing to this variation, either of alloy
oi'jof method employed in the finishing; and quite
aside from these points, which in the selection of
flat ware are the most important, the collector
will, if making a choice of plates that are of like
alloy and workmanship, select those which have 21

PEWTER
the edge thickened on the face rather than on the
back, or rather than those having the edge, as is
frequently the case, without any circumscribing
reinforcement. This line or band, in reality one of
construction, results, true to the best principles
of art, in one of decoration, and to it frequently
is added the purely ornamental incised line on
the body of the plate.
In connection with this line or band of rein
forcement it is well to note that Mr. Wood be
lieves that plates having the band on the back
are of an older type than those having it on the
face. Stiffness— that is. due resistance to deflection
or pressure — is a quality that should be present in
flat ware of good alloy and proper workmanship,
and to a justifiable extent in ware of whatever
shape; the greater the amount of lead in the alloy
the more the ductility, resistance to pressure be
ing correspondingly minimised; also the less the
hammering the less is the material condensed to
the stiffness required in good plate-metal ware.
Great weight is not necessarily an attribute
of good pewter, although two opposing factors
are here to be considered: for example, of two
plates of like alloy, size, and pattern but of dif-
22

THE OLD WARE
ferent weight, the heavier would in general be the
better, as it would imply concentration of the
ware by hammering, a recognised benefit; but of
two plates of different alloy but like size and
pattern it well might be that the heavier would
be the inferior one, as the more lead in the alloy
the greater the weight. It is therefore a matter
for some consideration, and while experience is
the great factor, the amateur can by testing the
ware as to its quality of stiffness and its ring,
determine whether the weight is attributable to
inferior alloy or to good workmanship.
While excessive weight does not necessarily
imply fine quality but often the contrary, uten
sils seemingly deficient in weight should at
once arouse suspicion, for the weight of good
pewter plate, if a matter requiring some discern
ment, does not greatly vary, except proportion
ally, with the size of the article, so that accentu
ated deficiency beyond the normal weight of
such would lead to one of two inferences, either
that the ware is not good pewter or that it is not
old. If having generally the appearance of pew
ter but having also an abnormal lightness, the
article in question may be of Britannia metal
ware and spun, not cast, or of other alloy of more 23

PEWTER
modern inception, or even pewter of the present
day, thin and ineffectually wrought.
To the experienced one the weight and stiff
ness of any article of pewter plate almost cer
tainly foretell and mean as much as its ring, and
to feel of the alloy is almost the equivalent of a
microscopic examination.
The great amount of oxidisation found on
pewter that has been subjected to deleterious in
fluences, and even the dirt or tarnish due to neg
lect, are serious impediments to the amateur in
judging of the ware, but these conditions do not
wholly prevent a verification of the material and
but very slightly alter the ring, if, indeed, that
were ever an inherent quality, nor do they appre
ciably affect the original weight and stiffness of
the ware.
The collector will probably find it difficult to
secure much of the true ware that will be of a
period earlier than the first quarter of the eight
eenth century, although occasionally plates,
flagons, and tankards seemingly of the one pre
vious are acquired. As a general thing the pre
ponderant number of articles in recently formed
collections will be found to date from 1 740, and
this will be largely the case as regards pewter of
24

PLATE X— DISH AND INKSTAND
Dish, with handles. French: probably late eighteenth century. Diameter, n inches.
Marks: on back, an eight-point heavy star in circle, with BF before and FIN after, both
within plain rectangles.
Inkstand. English7: probably early nineteenth century. Length, 7 yi inches; height, 2 inches.
Marks: inside, on bottom — 1, Leopard's head; 2, B & V within oval; 3, X; 4, a star.
In this example one entire side is devoted to quills or pen holders and the other is sub
divided into three compartments, in one of which is the original sand-box. The feet are
well executed and of an early pattern.

THE OLD WARE
American origin, and it is practically sure to be
the case as regards measures, candlesticks, oil
lamps, tea, coffee, and chocolate pots.
Age, however desirable, is not under the cir
cumstances the chief point to be considered, that
after all being, when the judgment has matured,
to collect what one most wants — which in the
matter of pewter usually implies the most pleas
ing or the most satisfying. As the rarest pieces
are not necessarily the most pleasing, and are
oftentimes the least effective in a collection, the
amateur will probably decide for himself, if it
becomes a matter of choice, which specimens will
best repay him for the time and money expended,
but it is earnestly suggested that only practically
perfect pieces be considered in any case.
Indeed, if the amateur will strictly limit him
self to the acquisition of such, he will be saved
the regrets to which so many have been sub
jected in the light of later knowledge.
Pewter ware that has been injured by the loss
of any original constituent part, by having been
altered, by having been mended— except judi
ciously at opened joints— and especially pieces
repaired by having had holes soldered up, how
ever well done, or pieces having holes purposely 25

PEWTER
bored or otherwise, or having perceptible rents
or breaks, the author considers imperfect and
usually undesirable. On the other hand, almost
any amount of scratches, dents, and distortions,
provided the piece is intact in its entirety, will do
little or no harm, and such specimens are consid
ered practically perfect, for a workman skilled in
the matter can readily put them in a condition
closely approximating their original state with
out the addition of any foreign material or new
parts. Just the amount of oxidisation and conse
quent erosion that precludes or admits of the
desirability of a piece, is a matter almost impos
sible to define, and is one to which the amateur
should give early attention, as only from experi
ence can he really judge of the outcome, and
many of the most valuable articles will be found
having a greater or less amount of oxidisation
on the surface unless they have been well cared
for. As a general thing, oxidisation and tarnish
that is fairly thin and uniform of surface will
have done little harm and can be removed, leaving
the original surface of the alloy intact; but oxidi
sation resembling an efflorescence, that is, irreg
ularly raised in the form of a perceptible coating
26

PLATE XI— JUG
Probably English : late eighteenth century. Height, $% inches ; diameter at centre, 3% ins.
Marks: none.
This specimen reflects the influence of the silversmith's designs. The form is good but
the beaded decoration at the rim superfluous.

THE OLD WARE
with a variation of surface, will, when removed,
be found to have caused erosion of the original
surface and of the actual material, leaving it un
even and more or less covered with pit or pock
marks. The process of cleaning pewter is taken
up in another chapter.
Analytical study of the forms of pewter ware
is a matter not only practically neglected by most
collectors but one that is seldom even considered.
This is well enough if the collection is to be a
haphazard assortment consisting of pretty nearly
everything that comes to hand which resembles
pewter either in form or alloy, but a finer percep
tion is advocated, and the amateur who trains
his eyes and his brain and exerts due restraint
will eventually be possessed of a collection infi
nitely superior to those formed on cursory meth
ods and the all-acquiring habit. Whether the
ultimate purpose be a display of pewter plate for
decorative effect or the acquisition of museum
specimens, the methods employed require the same
essentials of trained faculties of analytical obser
vation and discrimination, if anything more than
a mediocre result is desired.
The study of profiles or outlines of standing
vessels is one phase of the subject just men- 27

PEWTER
tioned that the amateur would do well to interest
himself in from the start.
It may have been by premeditated intent, but
it is far more likely the result of a certain in
stinct born of successive generations applying
their craftsmanship to a like purpose, that most
pewter vessels were given a supremely effective
line of profile, whether it be of extreme delicacy
or of exceeding robustness.
In certain articles this line is almost of a pure
Greek type, and more often than not consists of
a combination of exquisitely graduated planes or
of simple curves wholly classic in spirit.
To those who really give attention to this
matter is pewter doubly enhanced, for no others
can so fully appreciate these finer points of the
ware; and beyond this additional enjoyment lies
a sense of security in the selection of various
types. With plates and larger dishes, aside from the
points before mentioned in connection with these,
it is also advisable to study the proportional rela
tion that the rim or border holds to the sunk
portion or the body, and also to note the plane of
the border and the line of the curve between it
and the body. This is a matter, seemingly trivial,
28

PLATE XII— ENGLISH MARKS
Reproduced at somewhat less than double actual size. From the back of a plate 8 %. inches
in diameter. Example of eighteenth century marks. The type varied.
i, (on left) Rose and Crown between pillars, with GRACIOUS above and STREET below.
2, (on right) Maker's touch ; device with pillars and arch ; within, a demi-ostrich with out
spread wings and horseshoe in its beak; above, RICHARD; below, KING.
3, (between) X, crowned.
4, (below) within rectangle, RD-KING, IN LONDON. (Richard King, London, Warden,
I74S-)
Hall-marks: none.

THE OLD WARE
that in reality is one of the greatest aids in mak
ing an effective collection of flat ware, which, after
all, forms the best basis upon which to build.
The rarest plates, and in this case the most satis
fying, are those having rims of a width appar
ently excessive in proportion to the diameter of
the sunk portion.
While these are unusual, the collector will
notice that of plates equal in size, with borders
of usual type, those having even a fraction of an
inch extra width of rim will be the most effective.
As to the plane of the rim, it was usual to adopt
the legitimate principle that the deeper the hol
low portion the greater the angle of the rim, but
in plates and dishes of normal depth it will be
found that the nearer the rim approaches a hori
zontal plane the finer the effect— this, to a certain
extent, depending on the curve, and the less abrupt
that is the truer the statement. The back of the
curve should always be inspected, and if multiple,
minute, and varying planes, or facets, are not in
evidence farther inquiry will usually disclose a
non-hammered product and probably one of in
ferior metal and workmanship.
In selecting candlesticks the connoisseur's at
tention is usually attracted to the base — that is,
29

PEWTER
the portion immediately below the shaft proper.
The average candlestick was beautifully modelled
above the base whether it consisted of long curves
or of a combination of smaller members, but the
base more often than not failed through over-
heaviness to co-ordinate with the shaft. Here the
ways of the collector diverge, for many of the
early specimens disclose this trait while some of
the more consistently designed candlesticks are
of a later period.
The broad sweep from the vertical shaft to
the horizontal base is also a part not success
fully worked out in most oil lamps of the early
nineteenth century, the makers seeming to prefer
two abortive arcs joined together rather than a
longer, deeper modelled, and more refined curve,
which would have given equal utilitarian and
otherwise more pleasing results.
In tankards and flagons of the seventeenth and
eighteenth centuries the profile line is usually
one of symmetry, and the vertical planes end
almost invariably in a satisfactory and subtle curve
or flare at the base. These vessels, especially
when having covers, were also successfully ter
minated at the top, the profile line, however ro
bust, being carried with a pleasing continuity to
30

THE OLD WARE
include the cover, whether of the nearly flat or of
the high domed variety and whether with or with
out the finial or knob.
The handles of these vessels of the best periods
are oftentimes of the purest design, although they
deteriorated sadly either in form or workmanship,
or both, in later days; the thumb-knob and hinge
of the covered vessels, as well as the position of
each, are worth attention, as their characteristics
varied considerably with the period and the coun
try of manufacture. In the early nineteenth-cen
tury vessels the finish of the thumb-knob seems
to have received less attention than any other part,
and as this knob was usually of good form, and
an excellent casting in itself, the final finishing
would have been but a small proportion of the
entire labour— too small a portion to so neglect-
yet the rough line marking the joint of the two
moulds used in the casting process is often found
untouched on the finished product, and an entire
absence of hand finishing about a crested or foli
ated knob is frequently noticeable in vessels of
the period referred to.
The difference in beauty of form even in such
small utensils as pepper-pots is very marked, many
of the less interesting ones having little style of
3i

PEWTER
outline and nearly flat tops, the whole being dull
and stupid compared to those of the best type,
which have an amount of grace concentrated in
their small bodies that is really remarkable. The
high domed tops of these latter usually terminate
in a small finial or knob of a wholly satisfactory
conception. Handle sockets of tea and coffee pots vary
considerably in form, and although a minor mat
ter it is well to be conscious of the difference,
since some of the pots have exceptionally well-
modelled sockets and, in such cases, usually a
well-modelled spout.
Very few tea or coffee pots will be found, how
ever, made of the alloy that may strictly be con
sidered pewter. The great proportion of these
pots, although exhibited and sold as pewter, are
either of early Britannia metal or of later similar
but inferior material.
A comprehension of the general style of suc
cessive periods is, of course, essential if the col
lector cares even approximately to ascribe a date
to specimens not so marked as of themselves to
divulge it.
Examination of the material alone, as has been
explained, is a great aid, but results, in this re-
32

PLATE XIII— TOBACCO BOX
English: eighteenth century type. Height, 6 inches ; base, 4J6 inches square.
Marks : on bottom, four hall-marks, illegible. Inside is a plain leaden weight with a knob.

THE OLD WARE
spect, only in the indefinite, although as far as it
goes satisfactory, determination of the specimen
in question being either old or otherwise.
It is no easy matter to go beyond this, as only
authentic pieces acceptably dated will serve as a
preliminary guide to the amateur, and probably
not one out of five hundred collectors has his
specimens classed either as to country or period.
As access to private collections therefore will sel
dom result in any aid in this respect to the ama
teur, he has recourse only to museums and to
such publications as have the ware therein illus
trated so classed. With regard to the latter there
is no better work than that of Mr. Bell, who has
with infinite care consistently dated most of the
many well-selected specimens shown in his book
on old pewter.
This indeed, of all matters connected with
pewter plate, is where experience chiefly counts,
and little reliance can be placed on the judg
ment of any save those qualified by mature study
of this specific branch of the subject.
The concentric lines sometimes found on the
inside of tankards, flagons, and other hollow
standing vessels, denote final finishing of that
portion by turning on the lathe; and while that 33

PEWTER
process seems to have been employed in connec
tion with the cast ware of nearly all periods, an
undue prominence of these lines will cause certain
doubts as to age of the specimen bearing them.
Years of excessive use of any article would natu
rally cause such lines to lose at least their pristine
sharpness, and continuous scouring would have
so smoothed the surface as to nearly obliterate
all traces of the original lines; and it seems prob
able indeed that in many, perhaps most, vessels
of the best periods these lines were obliterated by
the maker by more conscientious work on the
lathe, and perhaps by a process of after scraping.
However that may be, collectors will find cause
for some thought when confronted with ware
bearing such lines unless all other conditions tend
to place it beyond suspicion, for much modern
ware and a considerable portion of the less well
wrought ware of the first part of the nineteenth
century disclose these concentric lines on the
inside with suggestive prominence.
Here, as is so often the case, no one rule will
apply, and the collector has again to rely on judg
ment born of experience.
Flat ware such as plates, bowls, and porrin
gers may generally, however, if showing such
34

PLATE XIV— JUG
Probably English: eighteenth century. Height, 8 inches ; greatest diameter, 6 inches.
Marks: none.
This specimen is significant of the special possibilities of pewter-design. The body,
cover, and nose are freely modelled, the handle and purchase plain but graceful, the contour
simple yet inspiriting, and the general result satisfactory and without obvious effort,

THE OLD WARE
lines on the back, and invariably if there is any
evidence of the same on the front, be considered
as somewhat inferior, or as recently made ware;
for the process of making and finishing such
articles, if properly carried out, pre-disposes either
of the existence of these lines at all or of their
survival after the final burnishing.
A great deal is said about the possibility or
probability of specimens having been so cher
ished as to have become cabinet pieces or man
tel ornaments from the first, and it is pointed out
that such, however old, would offer less oppor
tunity to the ordinary influence of time and use,
and would therefore have the appearance of new
ware, disclosing the concentric lines of the finish
ing lathe work — if these originally existed — and
would not, on the other hand, have upon the sur
face those special and minute marks and mars
which usually develop with age and incidental use.
This is perfectly true; no doubt such specimens
exist and occasionally find their way to the mar
ket, but it obviously is foolish to accept the
theory— where such condition of the article ob
tains—unless style and quality are both signifi
cant of its probability, and this will be exceed
ingly infrequent. 35

PEWTER
With regard to decorated pewter, and ware in
imitation of silver-plate models of florid types, it
seems almost unnecessary to supplement the vig
orous opinions expressed by Mr. Bell, with which
all collectors should be in full accord; it may be
added, however, that pewter requires decoration
to about the extent demanded by a Doric column,
and can about as well as the latter be success
fully subjected to trivial ornament and extraneous
trappings. The ware was primarily the product of eco
nomic conditions: of a substance of the least pos
sible intrinsic value and of forms devised wholly
for utilitarian purposes. Its intent, composition,
and use all protest against anything but downright
reasonableness of form and such simplicity of
decorative qualities as are inherent factors to
that condition.
An English or American teapot or candlestick
or a German tankard treated with sculpturesque
adornment, or covered with florid ornamentation,
will attract or repel the amateur according to his
taste, but to those conversant with the true types
from long association, the effect is almost uni
formly one of antipathy. Even in the lesser
matter of handles the collector as he advances
36

PLATE XV— PLATES
English: eighteenth century. Diameter, %% inches.
Showing different styles of rims ; the one plain on the face, with the edge enlarged and stiffened on the back ; the other with the
edge reinforced on the face, a decorative effect being secured by a constructive feature, as so often is the case in pewter of the best period.
Marks : Plate on the left : Golden fleece within elliptical device with florid border.
Hall-marks: I, Golden fleece ; 2, lion's head, erased ; 3, Britannia; 4, S. E. with two pellets below. (Samuell Ellis, Warden, 1737.)
Plate on right ; device with pillars at either side, a lion rampant bearing a key; below, R. HITCHMAN. (Robert Hitchman,
Warden, 1752.)

THE OLD WARE
leans more and more toward those which, de
void of all decoration, but with graceful and
gratifying lines, of themselves fulfil all the neces
sities of decorative quality, and these generally
are the ones not designed in imitation of con
temporary types of the silversmith's art.
The subject of prices or the cost of pewter
plate is one not easily entered upon, nor one that
can really be carried far enough in actual detail
to be of any assistance without the possibility of
ensuing detrimental results.
As the material itself is of little value, as in
dividual pieces are small and creative of no great
decorative effect, and as few pieces are really of
great antiquity, or representative of great labour,
and as none are the product of great masters, cur
rent prices are evidently the result* not of inherent
worth, but of a valuation brought about by the
combined circumstances of a comparatively lim
ited supply and so equal a distribution of it
amongst a large number of dealers as to make
the actual supply appear even smaller than it
really is. This, in conjunction with a now sub
missive public, and the increasing number of
buyers, has resulted in an unfortunate inflation
of prices. 37

PEWTER
The situation is somewhat different to-day
from that even of ten years ago, because it is
practically useless to attempt to buy antiques
from the original owners in the country. Usually
without any knowledge of the actual worth of
such, they have heard just enough about values
in general to develop preposterous ideas and
hopes, and out of very ignorance place prohib
itive prices on articles of little value, so that
while some years ago the collector could well
afford the extra time and energy involved by buy
ing in the country, at the prices asked, he to-day
will almost invariably save both time and money
by buying in the towns, and usually by buying
of the best dealers if desiring important pieces.
Some of the romance certainly is lost; we are fac
ing, however, actual conditions, and in these pages
are contemplating the desirability of results more
than devious methods of pleasantly disposing of
time. Until the dealers see the benefit to be derived
by buying intelligently abroad and making consis
tent importations, or until interest in the subject
temporarily flags, there appears to be no basis for
the hope that prices will become relatively more
reasonable. It is to be hoped at least that dis-
38

THE OLD WARE
cerning dealers will see the advantage of making
prices proportional to the importance of individ
ual pieces, a part of the business which as yet
has received little intelligent action, and which
would result probably in a benefit to them and in
removing a burden from collectors of the more
ordinary specimens.

39

CHAPTER IV
THE ENGLISH CRAFT: MARKS ON
ENGLISH PEWTER PLATE
JHE collector, even if intolerant of the
details of the history of marks on
pewter plate, should at least be ac
quainted with some general facts, and
in America to-day we are chiefly concerned with
the history of the making and the marking of
English pewter plate; for of all the ware sent to
this country in the early days, or to be found
here to-day, by far the greater proportion is of
English origin, and furthermore that of our own
makers of Colonial times is much closer allied to
the English product than to that of any other
country. It is therefore essential to have some
knowledge of the progressive development of the
making of pewter plate in England, and the coeval
conditions by which the ancient Company of Pew
terers was fostered and permitted to become not
only an all-authoritative power in the specific
40

PLATE XVI— BOX
Probably Dutch: eighteenth century. Height over all, 6 inches; base, 2% inches square.
Marks : on top of cover, UCM on a shield with a demi-eagle.
The metal is inferior but the knobs well modelled and finished.

THE ENGLISH CRAFT
trade but a wealthy and respected association
and an influential factor in the commercial life of
the country.
That confusion of laws and their frequent
revocation arouse some doubts as to certain points
is not more than is to be expected ; the general
issue is of sufficient importance to the collector.
The earliest information respecting an asso
ciation of makers of pewter in England is in an
ordinance of the Craft of Pewterers for the year
1348, and regulations of that time enforced a
high standard of quality and workmanship upon
all makers of the ware in England.
In 1473 Edward IV granted the Craft or
Company its first charter, giving it, besides
certain legal benefits, the right to search for false
wares. From that time on the Company exer
cised control over an established and important
industry, and for the next three centuries was
granted successive rights by charter and legisla
tive enactments.
In the latter part of the fifteenth century the
Company built a hall and to this hall was
taken all confiscated ware— that is, ware found to
be below the standard, or otherwise not in ac
cordance with the regulations of the Company. 4i

PEWTER
Such ware was melted and the resultant worth of
the metal divided between the Crown and the
Company. Not only was the selling price of pewter fixed
by the Company, and standards for various alloys,
but definite weights for specific articles were es
tablished. That there was considerable variation in the
composition of pewter, both as permitted by law
and otherwise, has been hereinbefore explained.
The first compulsory enactment, requiring
pewterers to put their touches on all vessels
made by them, originated in 1503, and this statute
with various amendments continued in force for
about three centuries. It would seem, however,
that the marking of wares was a voluntary cus
tom of makers for many years previous to the
date when it was made obligatory, and it is
equally evident that the maker's touch was fre
quently omitted and occasionally counterfeited.
These marks or touches of the maker were made
by a die or punch impressed upon the pewter,
and consisted of either the initials or name of
the pewterer, or some device with or without
initials or name, in accordance with the varied
regulations of the Company.
42

PLATE XVII— FLAGON
English: early eighteenth century type. Height, 8 inches; diameter at base, 3 inches.
Marks: none.
The proportion is excellent and the gradation of outline delicate. The extreme
slenderness of this specimen is unusual and somewhat more typical of Belgian design
than English.

THE ENGLISH CRAFT
From the time that marking of pewter ware
with the maker's touch became obligatory such
touches were registered at the Company's Hall
by impressing the same upon an official plate (a
sheet of soft metal) provided for that purpose,
and these are known as touch plates. This reg
istration was compulsory, and if any change was
made in the maker's mark it was re-impressed
upon the touch plate.
Touch plates existed, therefore, from about
1500, but the early ones have been lost, five only
being extant, these covering a period from 1640
to the year 1824, when the last touch was struck
on the fifth plate of the Pewterers' Company.
Most of the early marks were small and as a
rule contained the maker's initials within the
bounds of a simple device.
The Company's regulations concerning a ma
ker's name in full appearing either within or
beside his touch varied with considerable fre
quency between the years 1670 and 1697; after
the latter date, however, the name was generally
struck in full. Like variations also occurred in
its regulations for the use of the word London,
it being finally permitted either within the touch
or struck separately. 43

/

PEWTER
In the eighteenth century some of the touches
were so amplified that even the quality of the metal
was stated, this hitherto having been prohibited,
and it was doubtless only one of the many signs
indicating the Company's loss of strict control
over the trade. The right of search, that pre
viously had been an important factor of power,
the Company now seldom exerted; it had, indeed,
been gradually forced to give this up — outside of
London — early in the preceding century.
After 1747 touches could vary in size, a by
law allowing a large touch on all large wares and
a smaller one on articles of lesser size.
Touches used by the makers other than those
specifically individual and those denoting the
town of the manufacturer consisted of the
crowned rose, and the letter X crowned or other
wise. The rose was an emblem of the Company,
and some confusion exists as to whether its use
was not at one time reserved for official marking
at the hall. In general, however, and certainly
after 1564, it could be used with permission of
the Company, and it is probable that for some
years thereafter it indicated a special class of ware,
or ware made by favoured members. This touch
of the rose and crown, more or less identical in
44

PLATE XVIII— GROUP OF ENGLISH PEWTER

Plates: eighteenth century. Diameters, 8 inches and 9 J< inches.
Marks: end plates, TOWNSEND, within device, and separate
stamp, MADE IN LONDON.
Central plate, FASSON, within device, and four small marks.
Mug in centre : eighteenth century. Height, 4% inches ;
capacity one pint.
Marks: inside on bottom, HUX (1728) in plain square.

Mugs at end: probably late eighteenth century. Height, $%
inches ; capacity one pint.
Marks : none.
Measures (smallest mugs) : nineteenth century. Height, 3%
inches; capacity half-pint.
Marks : inside on bottom, illegible ; also various official marks
around rim.

THE ENGLISH CRAFT
design, is also found on French and other conti
nental pewter.
The letter X, also struck by the makers, was
prohibited for ordinary ware and was a mark
allowed to distinguish extraordinary—/. 0., plate
metal ware.
There has been so much confusion in the mat
ter of hall-marks on pewter — that is, as to mark
ing of pewter plate by the Company officially
— that the difference in significance between
marks impressed by the makers of any plate, be
it of gold, silver or baser metals, and those struck
by legal authorities should be recognised at the
outset. The maker's mark on all plate, as has been
explained in the case of pewterers, was compulsory
and was the voucher of the maker for his ware;
but this was only a personal one and as such
might or might not, depending on the honesty of
the individual and the strictness of the interested
company in the exercise of its right of examina
tion, indicate standard quality and workmanship.
On the other hand, marks if struck at a hall —
whether hall-marks on gold and silver plate
struck by the Goldsmiths' Company or hall
marks on pewter struck by the Pewterers' Com- 45

PEWTER
pany— would signify beyond doubt official ap
proval of the ware by the company so mark
ing it, an authoritative voucher of the utmost
importance. It does not, however, seem to have been the
general practice of the Pewterers' Company to
have officially marked pewter ware, and it
therefore, must have depended upon the maker's
touch as a tolerably sure indication that wares
were of proper metal and workmanship, and in
any case on its right of search, assay, and con
fiscation. There are specific references in
the Company's records to official marks and
marking, but these are exceptional and for spe
cial cases.
The earliest record relating to the use of
marks by the Company in official capacity is of
the year 1475, and refers to the mark of the
"Broad Arrow" to be placed on confiscated ware.
As such ware was melted at the hall, it is not
probable that any so marked now exists.
A record of 1509 refers to a marking-iron, also
for official use, and during that century the offi
cial marking of pewter lids of stone pots seems
to have been undertaken in a desultory manner.
The first specific use of the term hall-mark in
46

greatest diameter, $%

PLATE XIX— JUG OR FLAGON
Probably French: early eighteenth century. Height, 8'yi inches;
inches.
Marks : inside the cover, Rose, with IVM above.
A favorite and pleasing form of vessel ; the design with slight variations was constantly
employed by the pewterers of Holland, Belgium, France, and England.

THE ENGLISH CRAFT
the Company's records occurs in the year 1552,
although certainly the marks just referred to were
such. The expression "Mark of the Hall" is
again used in a record of 1580, referring to
which Mr. Welch states: "... bringing goods
to the hall to be marked was contrary to the
usual practice." Again, in 1688, it was ordered
that wine measures of the usual form should
be kept at the hall and "marked with the hall
mark." The foregoing examples of official marking of
pewter by the Company are of antiquarian inter
est rather than of practical importance, save that
they but emphasise the fact that the custom was
not a general or comprehensive one, and that
the collector must acknowledge that the small
marks found on pewter, while resembling hall
marks found on gold and silver plate, are in
reality marks struck by the makers of the ware
and not by the Company or authorised officials.
While, therefore, they are in no legal sense
hall-marks, it is perhaps simpler to continue to
so designate them, as it is a matter of some
tradition. The practice among makers of pewter of
striking these marks, which resemble official hall- 47

PEWTER
marks of the Goldsmiths' Company as found on
gold and silver plate, was a very general one, and,
while little or no information concerning it is
given by the Company's records, it is not, on re
view of the situation, inexplicable. From time
almost immemorial purchasers of gold and silver
plate, depended on certain marks set thereon as
an official guarantee of standard purity of metal,
for in earliest times, the Goldsmiths' Company of
London, and later certain provincial assay offices,
employed a distinct mark to certify officially
to the standard metal of all such plate. Such
marks, necessary alike to satisfy the purchaser
and protect the maker, were strictly imposed by
legislation which from time to time 'regulated
the trade of the goldsmith. As the public came,
therefore, to depend upon certain well-known
marks to designate standard quality of gold and
silver plate, it is not at all unlikely that pewter
plate was found to sell more readily if bearing
a mark or marks upon which the public had
learned to depend as indicating a standard pur
ity of gold [and silver, and in a general way very
likely believed to indicate a standard for any
metal. With regard to marks on gold and silver plate,
48

PLATE XX— JUG
Probably English: early eighteenth century. Height, 4^ inches; diameter at centre, 3%
inches.
Marks : on bottom, X, within a block crown, with pellets in the angles.
The boldness of the design is unusual for so small a vessel. (Reproduced at about three-
quarters actual size.)

THE ENGLISH CRAFT
Mr. Buck states: "All plate stamped in London
thus has the following marks:
The Leopard's Head
The Maker's Mark
The Annual Letter
The Lion Passant
and from 1697 until 1720
The Lion's Head erased,
and Britannia
instead of the leopard's head and lion passant,
and in addition the duty mark of the Sovereign's
head from 1784 to 1890." Also, "Since the year
1 700- 1 the marks on provincial plate have been
the same as on London plate, with the addition
of the arms of the provincial towns." 1
From the foregoing marks, obligatory, as in
dicated, on gold and silver plate, the pewterers
practically copied most of their hall-marks, so-
called, using in general a combination of four,
struck with separate punches side by side, or
with a pair of two marks each, and the leopard's
head, the lion passant or rampant, and the figure
of Britannia are found, time and time again, as
hall-marks on pewter plate in conjunction with
either the maker's initials or some personal sym
bol. Devices representing date letters are also
1 " Old Plate," by John H. Buck, New York, 1902.
49

PEWTER
frequent but of course without meaning. Even
the marks of the provincial assay officer for gold
and silver were used by the pewterers, but when
these were the arms of the town wherein the
pewterer resided it was with better reason. The
arms of Newcastle-upon-Tyne, a shield bearing
three castles, two above and one below, may be
noticed frequently as one of four hall-marks on
pewter. Variation of the Exeter goldsmiths'
mark is exceedingly common, it being the letter X
enclosed in a circle with or without pellets in the
angles. The York mark of a seeded rose crowned
or otherwise, conjoined with a fleur-de-lis within
a circle is also found although less frequently.
It is but natural that the Goldsmiths' Com
pany should have objected to this practice of
imitating its official marks by the makers of
pewter, but apparently no vigorous steps were
taken to prohibit it until, in 1635, ft occasioned an
order from the court of the London aldermen to
the effect that pewterers should stamp their pew
ter with one stamp "as anciently hath been ac
customed." This regulation may have inter
rupted the practice; if so, it could have been but
for a short time, as the pewter of that and subse
quent years testifies.
5o

PLATE XXI— PEPPER POT
English : probably early eighteenth century. Actual size.
Marks : none.
An example of the best type, showing the amount of style that can be concentrated within
a small area, yet with an entire absence of complexity. The precise type is rare; those of less
well developed form are fairly common and are reproduced to-day.

THE ENGLISH CRAFT
It is curious that the Pewterers' Company it
self did not object to this practice of its members
striking the mark "proper to the goldsmiths,"
but the Company seems to have concerned itself
but little regarding indiscriminate use of the so-
called hall-marks provided the pewterer's touch
was also on the ware.
It is evident while hall-marks, if identified
with similar ones on admittedly good ware, may
somewhat assist the collector of pewter, that
the maker's touch is the predominant means
of identification and of vastly more importance.
It is not infrequent to find initials in a hall
mark differing from the initials, or from those
of the name, in the maker's touch, as it was
an accepted custom to strike the initials of the
dealer, if other than the maker, in the smaller
mark. Various other hall-marks commonly found on
pewter are as follows :

Rose (crowned or
otherwise)
Griffin's head
Stag's head
Horse's head
Figure of peace

A bird
Dog courant
A lamb
A cock
Catharine wheel
The golden fleece

A horse-shoe
A crown
A buckle
An anchor
Cinque foil
Heart and crown

51

PEWTER
On standard measures the official stamp of the
government inspector should be, and usually is,
found if the measure has been in use. These
marks consist generally of initials designating the
reigning sovereign, such as G. R, V. R., etc., with
the crown above, such marks frequently being
followed by the date, or a number of dates, show
ing successive official examinations but not neces
sarily indicative of the age of the vessel.
The isolated letters or initials frequently found
punched on pewter ware should not be confound
ed with hall-marks or with the maker's touch,
they being merely initials either of dealer or
purchaser struck usually, but not necessarily, by
the maker.
It is especially regrettable that the Pewterers'
Company did not follow the excellent custom of
the Goldsmiths' Company and impress upon ware
of its craftsmen a specific letter denoting the
year of its manufacture or assay. Such annual
letters have been officially struck on gold and
silver plate by the wardens of the Goldsmiths'
Company, or by official assayers, almost, if not
quite, without interruption from 1438. If collect
ors of pewter had been given some such marks
by which to determine the date of pewter plate,
52

PLATE XXII— MEASURE
English: late eighteenth century type. Height, 7 inches; diameter, 3^ inches.
Marks : on the margin, X.
One of a set. A standard measure of simple form agreeably modelled. The sweep of
the handle is especially good, but the supporting "filler" regrettable, although common to the
period.

THE ENGLISH CRAFT
their work would be considerably less and the
results more satisfying.1
SUMMARY OF THE FOREGOING TEXT ON MARKS
FOUND ON PEWTER PLATE
Marks Struck by Makers:
Maker's touch; compulsory  from 1503
(Allowed to be either large or small) . . after 1747
The letter X, crowned or otherwise, upon ex
traordinary ware  from 1503
Touch of the rose and crown; by permission from 1564
London; regulations varied, but usual for Lon
don makers  after 1670
Maker's name at length; regulations varied,
but usual  after 1697
Hall-marks (usually four in number); from
early in the sixteenth century to 1635,
when it was forbidden. (The practice was
not, however, discontinued.)
1 For identification of touches found on old pewter plate of English origin,
collectors should refer to Mass6's "Pewter Plate." In Appendix A the author
describes the touches found on the five touch-plates at Pewterers' Hall, London,
and an index to these names is also given. Another appendix contains a list
of miscellaneous marks from various sources with descriptions of the same.
There is also given a list of names of makers of pewter (Freemen of the Com
pany), many of whom are not represented on the touch-plates.
Photographic reproductions of the five touch-plates existing may be found
in Welch's "History of the Pewterers' Company."
Collectors should not too hastily conclude, however, that all touches on
English pewter are to be found in the lists above mentioned. Where identifica
tion is possible the aid derived in dating ware is of course considerable.
In Wood's "Scottish Pewter Ware and Pewterers" a list of various marks
and touches to be found upon Scottish pewter ware is given in Appendix A, and
following is a list of freemen pewterers and apprentices and a list of Scottish
pewter pieces in the principal museums of Scotland.
53

PEWTER
Marks Officially Struck:
Stamp of government on standard measures. (Most fre
quently initials of reigning sovereign, followed, though
not always, by date, or number of district or inspector.)
Marks Struck by the Pewterers' Company, Officially:
None of present-day import to the collector; the records of
the Company refer to:
Markof "Broad Arrow"; denoting confiscation . 1475
Mark of "Lily pot and strake"; denoting quality 1509
Mark of "Fleur-de-lis"; for pewter lids of stone pots 1548
"Mark of the Hall"; for pewter lids of stone pots . 1552
"Mark of the Hall"; for specified ware of limited
class  1580
"Hall-marks"; for standard wine measures kept
at the Hall  1688

54

CHAPTER V
AMERICAN PEWTER PLATE
|N America pewter was commonly used
from about 1650 to 1780 for domestic
purposes, to an extent perhaps even
greater than in England, for few even
of the wealthier people could afford silver plate,
except for special articles and exceptional oc
casions, and the various wares superseding pew
ter were naturally adopted somewhat later and
more slowly here than in Europe.
Mr. Masse, referring to its use in this country,
says: "Pewter played an important part in the
first colonial households in America, as it was
the only available ware in many cases. Boston
was the chief seat both of its manufacture and
also of the distribution of English pewter."
While the pewterers of Boston may not on
the whole have outnumbered those of other towns,
it seems probable that they made, at least during
colonial times, a large proportion of the ware
used north of New York; and although these two 55

PEWTER
places were the chief points of distribution of the
English product, the manufacture of the home
ware was not by any means confined to them.
The manufacture of pewter in America practi
cally ceased in the first quarter of the nineteenth
century, although certainly examples may be
found dating from 1825 to 1840. Commercially it
was displaced, as in other countries, by earthen
ware and by various metals of qualities which
permitted greater ease and economy in working
and which supplanted pewter in the kitchen, as
porcelain and silver electro-plated on baser metals
supplanted the pewter service of the master's
table. A great deal of English pewter plate was sent
to this country, much of it of excellent quality,
and it is not at all unlikely that many moulds,
from which colonial ware was made, were, in the
early days at least, of English origin.
' That some of the English pewter sent to this
country was not of proper quality, however, as
well as that Boston and New York were not the
only points of distribution of the imported ware,
is shown by the following extract from the rec
ords of the Pewterers' Company, London, 1726-7:
"The Substance of a Letter written from Phila-
56

PLATE XXIII— URN
American : nineteenth century. Height, 17 inches.
Marks: on bottom, R. GLEASON, in small rectangle.
The spout is of brass ; the mounts as well as the body are characteristic of the models
of the late eighteenth century. The workmanship is excellent ; metal fair.

AMERICAN PEWTER PLATE
delphia dated 12th of Decembr last was read
(23rd March), complaining of Ware made of bad
work sent from Bristoll. Referred to a Committee
to examine and report." »
The Pewterers' Company appears to have been
reluctant at this time to exert its rights so far from
home, and probably feared failure or humiliation
in the attempt, as records of a later date show
that no decisive action was taken in the matter.
The methods of makers in America were
closely allied to those, already described, of the
English, and if the alloy averaged less fine than
would have been used for corresponding utensils
in England the workmanship of the American
makers up to 1780 was almost upon a par with
the best traditions of the craft.
These early makers in general followed the
custom established by the English in 1503 and
marked their ware with a touch consisting of
various devices, and usually, but not always, with
the name struck in full within or beside the de
vice. While they established no such association
as dominated the craft in England, and were
bound by no such comprehensive rules and reg
ulations, it was natural enough that they should,
1 " History of the Pewterers' Company," vol. II, p. i86, Welch.
57

PEWTER
in a consistent, traditional way, and as a matter
of some pride, impress their touch upon their
ware and to this, especially during the earlier days,
add the conventional hall-marks so called.
The early touches show that the art of die-
cutting was well upheld by the colonial crafts
man, and the eagle is successfully essayed in all
postures, the lettering is uniformly good, and the
device of simple and dignified rendering. On
much of the later pewter, however, the touch is
more crude in character, and it finally deteriorated
to mere commercial form, the name only, in many
cases, being impressed upon the ware.
Mr. Bell, writing of the English ware, seerhs to
find much of it unmarked, and of the ware marked
only a very small proportion capable of being
identified with the touches recorded at Pew
terers' Hall, London, and a not much larger pro
portion capable of being traced by its marks to
the makers recorded in the list of Freeman at
the same hall.
Of the English ware found in this country,
however, it has] been the writer's experience that
a very large proportion bears either the touch of
the maker or hall-marks supposedly personal to
him, or both, and while in the selection of pewter
58

PLATE XXIV— JUG
American: nineteenth century. Height, 6% inches; diameter at centre, 5 J£ inches.
Marks: on bottom, DUNHAM, in plain rectangle.
A refined example of a once popular American type, many of the specimens of which are,
however, crude and without qualities justifying their presence in well considered collections.
Metal and workmanship excellent.

AMERICAN PEWTER PLATE
no regard whatever has been paid to the marks,
they have, of course, where existing, aided mate
rially in dating the ware with more or less
certainty. It is possible that English marks were
counterfeited in this country, but it is very un
likely that such was the case, until in recent
years, with the deliberate intent of deceit, and the
ware referred to bears the inimitable character
istics, not of form and quality— for these can be
duplicated, although they seldom are success
fully—but of age.
The design of pewter plate of American ori
gin is often of the best character, and the early
specimens especially denote a keen comprehen
sion of the possible development of pewter forms
and equally a recognition of the limit of elabora
tion which the material imposed. This is per
haps especially observable in the varied types of
candlesticks of the period and, with some reser
vations, in those of the oil lamps which were
pre-eminently an American product. As long as
the makers adhered to styles fitted to the material
employed the design was uniformly good, but
with any attempt to compete with the silver
smith's decorative work or the ornate forms of
various other wares it failed completely. 59

PEWTER
In selecting American pewter it seems advis
able to avoid such plates as show no signs of
having been hammered, and in much of the late
ware it is only too evident that this process was
entirely omitted, none of the multiple resultant
facets showing on the back of the curve, severe
concentric lines of the turning being more often
than not the only marks in evidence. Considera
tion of style and trial of quality of alloy are of
course essential. Considerable variation in the
form of American plates and dishes is found in
the ware after about 1780, and while those that
have a few simple mouldings on the rim are
oftentimes exceedingly attractive, a marked de
parture from standard forms seldom resulted in
a benefit, and more often than not such dishes
failed through superfluous complications of the
rim members.
The body of such hollow vessels as were usual
ly cast in two parts should be examined on the
inside, and if no trace whatever exists of the line
of joining it may be concluded, other conditions
not opposing, that the article was spun, not cast,
and as the product of such a process to be treated
accordingly, assuming that principles of collectors
may differ.
60

PLATE XXV— LAMP
American: nineteenth century. Height over all, ii inches; diameter of base, 4J£ inches.
Marks: on bottom, R. GLEASON, in plain rectangle.
One of a pair. A delightful example of skillful modelling, well conceived and executed.
Metal resonant ; workmanship good.

AMERICAN PEWTER PLATE
Teapots light of weight and lacking the char
acteristics of true pewter ware are undoubtedly
admitted to most collections, but the amateur is
advised to go slowly as regards these, and whether
or not in doubt of the alloy to guard against ac
cepting those obviously gaunt specimens wholly
lacking in style and equally those of meretricious
decoration or ostentatious form. Whatever the
alloy and the form it usually will be found that
the poorer specimens have japanned hard metal
handles, although it is not conversely true that
all with wooden handles are good or even better;
but this frequently is the case. Whether of
metal or wood, the handles and cover knobs are
usually painted or japanned black, but the most
casual examination will be sufficient to determine
what the material really is.
Tankards and flagons should show the charac
teristics already perhaps too much insisted upon;
those of inferior or late make will usually be
found to end at the top without the additional
thickening of the rim, and if spun will usually
have the bottom set up from the lower edge of
the body, this being secured by a ring inserted
below, the joint being invisible and the whole
body seemingly, but not in reality, cast. This, 61

PEWTER
however, does not apply to ware intentionally
made to deceive, for in such many of the charac
teristics of the old ware are retained, and the
spurious article therefore has to be considered in
a more comprehensive manner.
American communion services are eagerly
sought by many collectors, but there are few that
unequivocally could be classed as pewter, in the
limited sense usually accepted, and as well illus
trated by the alloy of most of the other speci
mens admitted to collections of which these ser
vices frequently comprise a part. A very large
percentage, indeed, of these services date later
than 1780 and in reality are of Britannia metal
ware, and, curiously enough, seldom display either
the virility or the refinement characteristic of the
commoner articles of pewter or even the grace
ful lines found in much of the Britannia metal
ware as manufactured in the early days by the
Sheffield makers. Weight, color, and texture
are all indicative of the use of a modern alloy
and the forms seldom reflect credit to the
makers' imagination. Either a sterility or a
confusion of ideas is apparent, curves die away
into other curves without relief of intervening
sharp mouldings or incised lines, and a fine rela-
62

AMERICAN PEWTER PLATE
tion of minor parts to the whole is generally
lacking. The importation from abroad of various wares
of alloy which contained no lead as well as of
the various Staffordshire earthenwares, and the
greater ease of spinning lighter alloys and the
consequent saving of labour, very visibly affected
the pewterers' trade after 1800, and every evidence
on the makers' part to economise in material and
workmanship is disclosed in much of the ware of
the immediate preceding, and in most of that of
the succeeding, periods.
Style deteriorated as the alloy and workman
ship successively fell below traditional standards,
the once robust forms became more and more
attenuated, while grace and refinement were lost
in a forlorn struggle to maintain actual exis
tence. Tankards grew wofully thin; handles
dwindled almost to a thread, unless, indeed, they
became a swollen and hollow sham; covers
scarcely fell of their own weight; over the face of
all spread a sickly tone of expiring life, and the
pewterer himself could hardly say whether these
were true brethren to the old ware— although
weaklings— or whether, indeed, they were of mixed
blood, so confused became the parentage of al-
63

PEWTER
loy. Pewter of the later type merged into good
Britannia metal and that quickly into inordi
nately inferior combinations; nickel and German-
silver created further havoc along the outskirts
of the opposing elements without openly mixing
as factors in the main issue; the white metal of
James Vickers, of Sheffield, possibly started the
fray, and if so with an excellent beginning, but it
was forced to devious downward courses— pass
ing electro-plate on the edge of an abyss of early
Victorian depths in which, unfortunately, the
latter never expired— and emerged only after
various internal revolutions and stages of pitiful
emaciation, portentous and triumphant in the dec
orated German wares of the twentieth century.
With regard to pewter made in America there
now exists among dealers an unfortunate and
erroneous impression as to its special value,
caused probably by the wholly irrelevant condi
tions pertaining to the prices paid for early ex
amples of colonial silver. American pewter is, on
the whole, of less value than that of England, its
range in variety of form is far from equalling
that of many other countries, and alloy and
workmanship certainly are not superior. Patriot
ism and simulated ideals can scarcely enter into
64

PLATE XXVI— AMERICAN PEWTER: NINETEENTH CENTURY
Plate : diameter, n inches.
Marks: on bottom, Maker's touch, stamped twice with X between, an eagle with
THOMAS D. above and BOARDMAN below.
The alloy is resonant and better than that frequently used by this maker.
Lamp : height, 5 inches ; diameter of base, 4^ inches.
Marks: none.
A curious example of lamp and taper holder combined. Alloy and workmanship inferior.

AMERICAN PEWTER PLATE
the subject; no one was pre-eminent among our
pewterers. One would think that the difference
in the two cases would be significant. The early
silver plate was made by men of greater or less
reputation, and individuality is frequently an at
tribute of their work. It was almost invariably
marked, and marked pieces by really able, or later
popularised, makers may be expected to com
mand higher prices, although even in regard to
these the reasonable limit appears to have been
exceeded. As has before been remarked, pewter is not a
product of rare skill of individual men, save in
one or two instances in connection with decora
tive ware, so called, and these of little or no im
portance as far as the principle is concerned. No
one maker predominated in recognised artistic
skill over another, and the ware almost univer
sally was of a certain defined type, the product of
many makers during the best period coming fre
quently from like moulds. It may become an
especial hobby to collect American pewter and
thus inflate its price beyond that of similar speci
mens of other origin, but as yet the predilection
of collectors does not seem to warrant that con
dition. In any case such specialised collections 65

PEWTER
would fail of the broader intent advocated in
these pages for the consideration of the amateur.
The following list of American pewterers,
while the most comprehensive obtainable for pres
ent use, is by no means complete, and represents
probably but a small proportion of those who
actually were masters in the trade between 1650
and 1825. As no prominent organisation of pew
terers was formed in this country, and as no one
place dominated all others, as did London in
England, as the seat of power for the formula
tion of laws governing or stimulating the craft,
there is at hand no official information regarding
the trade, nor are records of the names of pew
terers of the various towns to be found in compre
hensive form. It is no easy matter, therefore, to
bring together anything like a complete schedule
of the names of those who plied the trade in this
country. Several circumstances complicate the desired
accuracy of such a list in any case. It is a rec
ognised fact that many of the American pew
terers after 1790, and probably most who con
tinued to work after 1825, applied fhemselves
to the manufacture of Britannia metal ware, so
66

PLATE XXVII— LAMP
American: nineteenth century. Height, 8J< inches; diameter of base, 3^ inches.
Marks: on bottom, R. GLEASON, in plain rectangle.
One of a pair, with conventional lemon top (so called) and prettily modelled plain
shaft ; metal and workmanship good.

AMERICAN PEWTER PLATE
that one frequently finds not only the same name
stamped on pewter ware and on articles undeni
ably of the succeeding alloy, but in numerous in
stances the identical mark on pewter of splendid
quality and Britannia metal ware of the most in
ferior character. While accepting such names as
these as makers of pewter plate, a certain pre
caution should be used and all ware bearing
them should be examined as to alloy and not
blindly accepted because marked with a name
identified as that of a pewterer.
Again, many names have been found on
Britannia metal ware of such design as to sug
gest the probability that the makers had pre
viously been pewterers, and the failure to find
any pieces of pewter bearing the same name is
no proof that they do not exist. The writer, how
ever, has naturally been constrained under such
circumstances to omit these names from the list
here given.
An irritating condition that precludes accu
racy, both of dating and locating the pewterer,
is the omission from much of the pewter ware of
the late eighteenth and early nineteenth century
of the stamp designating the town of the maker,
and it is one which infinitely complicates intel- 67

PEWTER
ligent search for reference to the name in early
documents. A contributory cause of confusion was the
custom, apparently not isolated, of an individual
using as his mark or touch a device within which,
variously, the name or initials were used or al
together omitted, the stamp otherwise being
identical, so that for the same maker one often
times finds three different renderings of the same
touch. In many cases the makers used a large or
small stamp, as demanded by the size of the
ware. This, however, was traditional and is in no
way confusing.
Where pewter is found bearing simply the
name of a maker, without any device or second
ary stamp of residence, it obviously is dangerous
to conclude that the pewterer was an American,
unless so proved by documentary reference or
otherwise. Yet, occasionally, examples come to
hand of a type so ostensibly Colonial that it
seems unwise not to acknowledge them as Amer
ican products, even if no farther information be
obtainable as to the name. Such attribution is
far less dangerous, although wholly undesirable,
than the thoughtless conclusion that the article
68

PLATE XXVIII— CANDLESTICK
American: nineteenth century. Height, 6 inches ; diameter, 4 inches.
Marks: R. DUNHAM, in plain rectangle.
One of a pair. An example of plain short candlestick with skilfully modelled shaft and
good base. The alloy is hard and the workmanship good.

AMERICAN PEWTER PLATE
is pewter, for nine times out of ten American
ware so marked will be found to be of Britannia
metal. It should, however, be recognised that many
nineteenth century makers of Britannia metal
and of block-tin ware, so called, while naturally
preferring to be known as manufacturers of the
most modern ware of their day, and while ad
vertising as "composition workers" or "block-tin
workers," etc., produced nevertheless, from time
to time, articles of the old alloy, so that occasion
ally pewter is found bearing a name which upon
investigation is found to be that of one who is1
referred to solely as a manufacturer of "silver-
plated ware," or "Britannia metal ware," or as a
"block-tin worker," or a "composition worker."
In such cases knowledge of the ware is essential,
for it is only a little less foolish to discard pewter,
because it bears the name of a "composition
worker," than it is to accept Britannia metal
ware, because stamped with a name identified
as that of a pewterer.
In general, collectors will find American pewter
yet obtainable of so late a period that the maker's
name will appear more often than not in plain
form without any enriching and distinctive device. 69

PEWTER
This, however, is subject to the usual exceptions,
for several makers as late as 1824 used touches
of the old and standard form.
In the following list the dates opposite the
makers indicate the earliest reference found in
connection with them as active manufacturers,
and while it is quite possible that many produced
the ware at an earlier period than the time as
signed to them, it is evident, on the supposition
that some at least continued to work at their trade
for the major part of their lives, that pewter marked
with names similar to those here noted may well
be of a date later than that given on the list.
It will be noticed that there is an interim of
nearly a hundred years between the few pewterers
listed in the seventeenth century and those next
succeeding. This is due to present inadequate
information, and is not to be construed as repre
senting an actual condition of Colonial times.
AMERICAN PEWTERERS
Austin, Richard; pewterer. Boston, 16 Marlborough
Street  1796
From Boston Directory of 1796.
(Franklin St. in 1810.)
Note. — There was a Richard Austin, Master of
the Pewterers' Company, London, in 1659.
70

AMERICAN PEWTER PLATE
Badger, Thomas; pewterer. Boston, Prince Street . . 1789
From specimens of pewter plate.
Mark: Device with an eagle; above, Thomas;
below, Badger.
Also separate stamp, Boston, in rectangle with
scroll design.
In Boston Directory, 1789-1810.
Bassett, Francis; pewterer. New York, 218 Queen
Street  1786
From New York Directory of 1786.
Bassett, Frederick; pewterer. New York, 23 Queen
Street  1792
From New York Directory of 1792.
Bird, James; pewterer. New York, 75 Harmen Street . 1820
From New York Directory of 1820.
Boardman & Co., Timo.; pewterers. New York, 173
Water Street  1824
From New York Directory of 1824.
Boardman & Hart; pewterers. New York, 178 Water
Street  1828
From New York Directory of 1828.
Boardman, Thos. D.; Hartford, Conn. Probably after 1825
From specimen of pewter plate.
Mark: Device with eagle and maker's name.
On small ware an eagle with T. D. B. below.
Also separate stamp, Hartford, in plain rectangle.
The ware is frequently of an inferior quality.
The Hartford Directory of 1854 gives the suc
ceeding firm as "Boardman, T. D. & S.
britannia manf'y., 274 Main Street."
Note. — There was a Thomas Boardman, pew
terer, London, a Freeman in 1746. 71

PEWTER
Bumsteed, Thomas; pewterer. Boston  1654
From Suffolk Deeds, Vol. II, 135, and Vol. Ill,
213.
Calder, William; pewterer. Providence, R. L, 166
North Main Street  1824
From specimen of pewter plate.
Mark: Circular device with eagle and, above,
Calder; below, Provid.
Also, Calder-Providence, in small rectangle on
small ware.
In Providence Directory of 1824.
Clarke, Thomas; pewterer. Boston  1683
From Suffolk Deeds, Vol. XIII, 44-396.
Cold well, George; pewterer. New York, 23 Gold Street 1792
From New York Directory of 1792.
Comer, John; pewterer. Boston  1678
From Suffolk Deeds, Vol. XI, 40, and Vol. XIV,
373-
Danforth, Samuel. Hartford, Conn. Probably early
nineteenth century.
From specimen of pewter plate.
Mark : Device with an eagle and maker's name.
Also, Hartford, in plain rectangle.
Hall-marks: 1, S.D.; 2, eagle; 3, star (eight
points) each in oval.
Dunham, R. Boston (?)  Probably after 1825
From specimens of pewter plate of essentially
American type.
Elsworth, Wm. I.; pewterer. New York, 1 Courtland
Street  1792
From New York Directory of 1792.
72

PLATE XXIX— CANDLESTICK
American: nineteenth century. Height, 6% inches; diameter, 3^ inches.
Marks: F. PORTER— No. 1— WESTBROOK, within a circle.
One of a pair. A familiar type of plain Colonial candlestick. Alloy and workmanship fair.

AMERICAN PEWTER PLATE
Fields, Philip; pewterer. New York, 16 Bowery-Lane 1799
From New York Directory of 1799.
Gleason, Roswell. Dorchester, Mass  1830
From examples of pewter plate; also on Britan
nia metal ware.
Mark: R. Gleason, on small ware; Roswell
Gleason, on large ware.
Green, Andrew; pewterer. Boston, Temple Street . . 1789
From Boston Directory of 1 789-1 798.
Green, Samuel; pewterer. Boston, Milk Street . . . 1798
From Boston Directory of 1798-1810.
(Marlborough Place in 1825.)
Green, Thomas; pewterer. Boston, Dock Square . . . 1789
From Boston Directory of 1789.
Hamlin, Samuel E. Providence, R. I., 109 North Main
Street  1824
From specimens of pewter plate.
Mark: Circular device with eagle standing,
with anchor in oval under one wing; above,
Hamlin; below, Providence.
In Providence Directory of 1824.
Hart, Lucius; pewterer. New York, 178 Water Street . 1828
From specimen of pewter plate, also on Britan
nia metal ware.
Mark: Plain:— Hart— N. York.
In New York Directory of 1828.
Hero, Charlotte, widow; pewterer. Philadelphia, 230
No. Second Street  1796
From Philadelphia Directory of 1796.
Kirkby, William; pewterer. New York, 23 Dock Street . 1786
From New York Directory of 1786. 13

PEWTER
Lafetra & Allaire; pewterers. New York, 277 Water
Street  1815
From New York Directory of 1815.
Lock(e?), D. New York  Probably after 1825
From specimen of pewter plate, also on Britan
nia metal ware.
Mark: D. Lock, New York, in small rectangle.
M'Ewen & Son, Malcom; pewterers. New York, Water
Street and Beekman-slip  1794
From New York Directory of 1794.
Michel, Andre; pewterer. New York, 255 Broadway . 1796
From New York Directory of 1796.
Pearse, Robert; pewterer. New York, 13 Chatham Street 1792
From New York Directory of 1792.
Porter, F. Conn. (?)  Probably after 1825
From specimen of pewter plate.
Mark: F. Porter, Westbrook, No. 1.
Also made Britannia metal ware.
Richardson, George; pewterer. Boston, 4 Oliver Place 1825
From Boston Directory of 1825.
Richardson, G. Cranston, R. I. Probably early nine
teenth century.
From specimen of pewter plate.
Mark: Circular device with eagle, maker's
name, and Cranston, R. I.
Shrimpton, Henry; "brasier." Boston  1665
From Suffolk Deeds, Vol. V, 15-30.
Whether a maker or a dealer is uncertain; his
will of 1665 refers to several thousand
pounds of pewter ware and " tools for pew
ter and brasse."
74'

PLATE XXX— CANDLESTICK
American : nineteenth century. Height, 6% inches ; diameter, 3% inches.
Marks: none.
Design, metal, and workmanship good.

AMERICAN PEWTER PLATE
Skinner, John; pewterer. Boston, Newbury Street . . 1789
From Boston Directory of 1789.
Trask, John. Boston  1825
From specimens of pewter plate.
Same mark also on inferior examples of Britan
nia metal ware.
Mark: I. Trask. In plain rectangle.
Advertises as "Composition worker," 1 Rich
mond Street, in the Boston Directory of
1825.
Welch, John; "pewter ware." Boston, Union Street . . 1796
From Boston Directory of 1796.
Note. — Probably a dealer, not a maker, as he
advertises "hardware" in 1800.
Wildes, Thomas; pewterer. New York, 22 Roosevelt
Street  1832
From New York Directory of 1832.
Will, Henry; pewterer. New York, 3 Water Street . . 1786
From New York Directory of 1786.
Will, William; pewterer. Philadelphia, 66 No. Second
Street  1796
From Philadelphia Directory of 1796.
Youle & Co.; Thos.; pewterers. New York, 342 Water
Street  1811
From New York Directory of 181 1.
Youle, G.; pewterer. New York, 298 Water Street . . 1798
From New York Directory of 1798.
Youle, Thos.; pewterer. New York, 334 Water Street . 1815
From New York Directory of 1815.
Youle, widow (of Thos.); pewterer. New York, 334
Water Street  1820
From New York Directory of 1820.
75

CHAPTER VI
MODERN PEWTER AND VARIOUS
WARES OF THE XVIII AND XIX
CENTURIES
jEITHER the making of pewter as
an alloy nor the manufacture of the
ware is a lost art, but its demand for
general utilitarian purposes and the
expert craftsmanship have passed, so that from a
collector's point of view at least it is an art lost.
Modern demands would probably in any case
prohibit the old methods of manufacture, pre
vailing conditions certainly preclude in the work
men of our factories, and usually in those of our
shops, the desire that once was, and ever should
be, paramount — that is, perfection; but perfection
means all that is opposite to quantity and to
cheapness, and before these two vital necessities
the ideals — if there were such, in any case the
customs— of the sixteenth century fade in little
matters of art as well as in great.
76

PLATE XXXI— GROUP OF AMERICAN PEWTER

Plates: eighteenth century. Diameters, &% inches and %¥$
inches.
Marks: on bottom, THOMAS BADGER, within device, with
an eagle ; separate stamp, BOSTON.
Metal and workmanship good.

Lamps: nineteenth century. Height, 6*4 inches.
Marks: R. GLEASON.
Well made lamps of the simplest form.
Cups : probably late eighteenth century. Height, 3 inches.
Marks: none.

MODERN PEWTER
It is, perhaps, needless to point out the im
portant factor that neither education in the spe
cific trade, or work at it, is any longer the duty
or the desire of successive generations.
Pewter ware is still made with honest intent,
but the product is mechanical and of a very
limited class, and not such as ever will be sought
by collectors of succeeding years.
It is possible, on the other hand, that the
pewter made to-day in imitation of the old forms
will menace future generations, especially that
made from the old moulds with the makers'
marks counterfeited; such utensils given time
would very probably succeed in deceiving any
but the trained eye, but it is not likely that the
output will long be found remunerative, and in
that case its manufacture will scarcely be con
tinued, in any large scale, on the uncommercial
basis of biding its time.
An examination of this modern ware, made
with the intent to deceive, often reveals cunning
workmanship in parts purposely broken and
mended, in rents at edges, and battered forms
and partially obliterated makers' marks, but the
old spirit is lacking — handles and decorative
parts are often thin, and, if not badly cast, are 77

PEWTER
poorly finished; quality of alloy and colour espe
cially fail to equal the inherent characteristics of
the old ware, as generally, although not of neces
sity, do also style and proportion. The surface,
moreover, of such utensils, whether battered or
not, fails to reveal the minute and multifarious
evidences of years of life and use which proclaim
the genuine article and add texture to the origi
nal surface of the alloy.
It is probable that more porringers were
made between 1900 and 1905 than in the pre
ceding one hundred and fifty years, and jugs,
flagons, and, more latterly, plates, pepper-pots
and spoons are all on the market, and these may
be found not only for sale by dealers, but well
distributed in households far distant from any
railway. The Colonial sperm oil lamp is per
haps the best of all the American reproductions
and therefore the most to be regretted.
The foregoing remarks do not refer or apply
to the present-day manufacture of articles of
Britannia metal, for, aside from the fact that
there is little attempt made to reproduce the
forms of old pewter, there is no effort evinced to
deceive in the alloy or the finish ; the articles are
new and the desire is that they should so appear,
78

PLATE XXXII— COFFEE POT
American : nineteenth century. Height, 12 inches ; diameter at base, 6 inches.
Marks: on bottom, I TRASK, in plain rectangle.
The handle and knob of the cover are of wood. The domed cover and flare at the base
are well considered. The metal is non-resonant but curiously receptive of a high polish.

MODERN PEWTER
and, notwithstanding the fact that the name
pewter is generally used in connection with this
ware, it is with no intent to falsify.
A slight decrease in the output of modern
pewter, made in imitation of the old, has been ob
servable in the last year or so, and this, curiously
enough, may be attributed to some extent to the
metal workers' extreme energy in flooding the
market with spurious Sheffield plate. This phase
of industry has caused not a little sadness and
some merriment on the part of collectors who
understand the old process of rolling silver on
copper, but it has resulted, doubtless, in [a profit
to the dealers far beyond anything ever realised
by them in selling modern pewter, which com
mands relatively but a small price for the indi
vidual piece and one that represents the actual
cost of making much more nearly than is the
case with the prices obtained for the electro
silver-plated articles in question when sold for
Sheffield plate of the eighteenth century.
As reference has been made in several parts
of this work to Britannia metal ware, and with
deprecatory inference, it is only fair to the early
makers of this or closely allied alloys, as well as
79

PEWTER
to amateur collectors, to state that there is no
reason why eighteenth-century ware made of it
should not be acquired if it is bought and exhib
ited for what it is, which seldom enough is the
case, and if discretion is used as to the period
and type of the specimens obtained.
Whether a ware so closely resembling pewter
and yet undeniably differing from it should be
admitted to the pewter collection, however, is
quite another matter, and one which the amateur
to-day can decide perhaps to better advantage
than did his predecessors.
Objection to the ware has not been based
wholly on the material of which it is made; for
while this is harder and colder than pewter and
without the inherent charm of the latter, it is,
nevertheless— referring only to the early type— a
material of some virile qualities. The objection,
therefore, beyond the fact that the material is less
pleasing relatively than pewter, lies in the manner
in which it was developed. It came into exis
tence during a period of excellent design, but
close to the end, nevertheless, of that period and
only a little before an epoch that reflects the
worst art from which England has suffered since
mediaeval times. These periods are well repre-
80

PLATE XXXIII— TEAPOT
Probably American : nineteenth century. Height, 8 inches.
Marks : none.
The handle sockets and spout are well modelled. The acorn top is silver, the handle
wood. The pot consists of four separate parts including two strainers. Metal heavy and
fairly hard but non-resonant.

MODERN PEWTER
sented in contemporary work of the silversmiths,
whose designs, if not copied by workers of Bri
tannia metal, were often closely adapted by them
for use in their own wares.
This would be well enough, although of doubt
ful expediency, if the Britannia metal ware of
1770 to 1790 predominated in quantity over that
of later times; but the early ware is a very small
part of the whole, and it is nearly always the
later type that is found for sale, this being either
of florid character and unfitted to the material
used, or of a nature almost the reverse— crude in
design, large and coarse of form, and of a plain
ness which amounts to ugliness and which bears
no relation whatever to that simplicity which
delights the eye. In the latter case the alloy is
generally inferior, thin, and of unpleasant colour.
Occasionally both good material and design will
be found combined in the same article, but this
will be seldom, and in America quite exceptional,
save in certain teapots of English make of
about 1780.
It is usually asserted that Britannia metal
came into use in the year 1769-70, but it seems
doubtful if this specific name was then given the
alloy, and it is probable that the material as then 81

PEWTER
compounded at Sheffield was altogether a differ
ent thing from the metal manufactured under
that title in later or in recent years.
Mr. Masse, in his book on pewter plate-
without reference to the problematical date of the
birth of Britannia metal or application of the
name— makes the following statement:
"Communion plate is still made in Britannia
metal, and a specimen made by Messrs. Dixon &
Sons, dated 1751, is preserved in the museum at
York." This is almost twenty years earlier than the
date usually assigned to the first use of Britannia
metal. There is no reason, however, why it
should not have been made many years previous
to that time, and Mr. Masse is probably correct
in his estimation of the alloy. That the latter
resembles the Britannia metal of to-day less than
it does pewter is easily believed.
Mr. Wyllie, in his work on Sheffield plate, gives
an interesting glimpse of what in 1769-70 was
known as white metal: James Vickers, of Shef
field, having bought the receipt from a workman
at that time, advertised in 1 787 the manufacture
of various articles made of it. Mr. Wyllie, inci
dentally noting this as one of the many materials
82

PLATE XXXIV— CANDLE LAMP
Probably American : late eighteenth century. Height of frame, 5 inches.
Marks : none.
Candle lamps of a somewhat similar type were commonly made in other metals, but this
example in pewter appears rare. The glass is old. The structural requirements of such a
design properly preclude the use of so soft a metal, however pleasing the result.

MODERN PEWTER
then rapidly succeeding pewter, speaks highly of
the few articles he has seen composed of it.
This white metal was probably an alloy of
tin, antimony, copper, and zinc, while the early
Britannia metals were perhaps much the same,
with a greater proportion of tin and with the
occasional omission of the small constituent part
of zinc. The composition of Britannia metal of
the nineteenth century and of to-day is no secret
whatever; the constituents vary only in de
gree of the proportions used or in the omission
altogether of the minor parts, tin and antimony
alone being a favourite composition and our igno
rance on the subject of the exact alloy as used by
various early makers is only the result of the
unimportance of the question and an unwilling
ness to sacrifice especially fine specimens, which
are the only ones worth knowing about from a
collector's point of view.
Until further light is thrown on the matter, it
may be taken for granted, with a certain degree
of safety, whatever the name given the metal, that
collectors of pewter may consider the alloys of
the late eighteenth century, when lacking lead,
as somewhat out of the class to which they are
applying themselves and conclude, unless ex- S3

PEWTER .
amination of the ware proves to the contrary,
that the product of James Vickers, Dixon &
Sons, and James Dixon & Son is not pewter in
the sense best accepted for their purpose.
Collectors equally will recognise the great
superiority of these eighteenth-century English
alloys over those of the American makers of the
nineteenth century, for ware made in this coun
try of Britannia metal after 1800, and certainly
after 1820, is a poor apology for either pewter
or the early succeeding wares of English origin.
This American substitute is found in quantities
among the lesser dealers, and is usually offered
as pewter, but even the amateur can scarcely be
led astray so evident is the difference in quality
of alloy as well as in design.
In Scotland white-iron ware was another suc
cessor to pewter, and examples of this are some
times found, although so seldom as to make
reference to it almost an absurdity, especially as
the articles found in this country seldom have
anything like the texture of old pewter ware.
This is altogether a different thing from the
white metal manufactured in Sheffield and should
not be confused with it in any way. Mr. Wood
84

PLATE XXXV— MAKER'S TOUCH
American. Reproduced at about double actual size. From the back of a plate.
THOMAS BADGER, BOSTON (1789)
The concentric lines on the body are common to much of the American ware of
this and the succeeding period — also to reproductions. Plates of this manufacturer,
however, are usually well made and finished, and this individual plate has a well ham
mered surface at the curve between body and rim.

MODERN PEWTER
makes clear the conditions in Scotland concern
ing it in the following sentences quoted from his
book "Scottish Pewter Ware and Pewterers":
"One of the chief causes of the decline of the
Pewterers' craft in Scotland, and which accounts
for the scarcity of such craftsmen in the various
towns in the latter half of the eighteenth century,
is to be found in the introduction at an early
date in the seventeenth century of a material
then known as 'white-iron,' but now more com
monly called 'sheet-tin.' Until the end of the
first quarter of the eighteenth century it had
found little favour and made little way, but at
that time the tinsmiths or 'white-ironsmiths,' as
they are more frequently termed, began to in
crease in numbers, and eventually drove the
pewterers out of the field altogether in all the
towns, with the exception of Edinburgh. It is
not, indeed, to be wondered that this happened,
for the new material was much cheaper than
pewter and lighter to handle, while having all the
appearance of the dearer metal.
"In these days when almost everything that
can be is made of sheet-tin, the collector may
laugh at the idea of mistaking a 'white-iron'
plate or other vessel for one made of pewter. 85

PEWTER
But let him examine the first specimen of really
old sheet-tin he comes across and he will at once
be struck with the likeness that the material
bears to pewter. Such old examples of 'white
iron' are as unlike the sheet-tin articles of to-day
as chalk is to cheese, the sheet-iron of which they
were made being very much thicker and very
heavily coated with tin, while the vessels were
often given shapes similar to those of pewter
ware." In England and America block-tin or blocked
tin was the name commonly given to a like ware;
it was extensively made in both countries and in
Germany, but the character and method of tin
ning soon changed, and articles found to-day
made of it are usually of the nineteenth century
and resemble pewter in but a slight degree.

86

CHAPTER VII
THE COLLECTION
|HE question of whether pewter should
be cleaned and polished is open cer
tainly to personal interpretation and
desire, but so are various other mat
ters connected with the subject, where, neverthe
less, the judgment of those qualified by long ex
perience, not only in this but allied matters,
should perhaps carry as much weight as even
the consensus of opinion of those who merely
skim the surface of conditions pertaining either
to the original ware or the reasonable intent and
result of its existence in our homes to-day.
It has been commonly said that he who would
polish pewter would wilfully remove its chief
charm, efface the revered and hardly acquired
marks of age, destroy all romantic associations,
and, cumulatively, must therefore lack the spirit
of true appreciation of antiques. This is the best
that has been said. The more irrelevant argu
ments need not be reviewed. «7

PEWTER
In justification to those who hold other views,
it seems desirable, to point out that while no
artist, architect, or sculptor would willingly re
move the age-tone from a fresco, the touch of
centuries' sun and wind from a Greek marble, or
the marvellously acquired patina from a bronze
statue, nor clean, polish, or refurbish them, save
as a vital necessity to their continued existence,
and that while no sane man would destroy time's
effect thus miraculously enhancing many crea
tions purely artistic; one may, nevertheless,
and with equal sense, remove the rust from an
ancestor's coat of mail, keep the silver plate on
the sideboard polished, and the old knocker
clean. These were once objects of utility, al
though possessing a certain amount of beauty,
and some perceive the action reasonable, even
that something more is gained than lost by the
process. To clarify the atmosphere it may be stated
that the large majority of collectors who leave
their pewter unpolished do so for one of three
reasons: thoughtlessness, uncertainty of results,
or fear that others for proof of its genuineness may
depend upon the all too accustomed signs of dirt,
tarnish, and corrosion. For any other good reason
88

PLATE XXXVI— MAKER'S TOUCH
American. Reproduced, at about double actual size, from the back of a deep plate or
dish ii inches in diameter. THOMAS D. BOARDMAN
(Of Hartford, Conn., about 1825)
The use of the letter X by American pewterers seems not to have been customary during
the late eighteenth and early nineteenth centuries, and possibly not at any time. Research
among American examples of an early period is unfortunately limited, and definite decisions
upon many such matters are at present impossible.

PLATE XXXVII-MAKER'S TOUCH PLATE XXXVIII— MAKER'S TOUCH
American. Reproduced, at about double
actual size, from the face of a bowl.

T. D. B.
(Thomas D. Boardman, Hartford, Conn.,
about 1825)

American. Reproduced, at about double
actual size, from the face of a bowl.
DANFORTH
(Samuel Danforth, Hartford, Conn., early
nineteenth century)
Note : This maker frequently used three
hall-marks. See list of American pewterers.

THE COLLECTION
one would have to go far, for we are speaking of
table plate, and not of the sculpturesque works of
the Japanese, nor of Briot or Enderlein.
Beyond this lies what seems the indubitable
fact that the oxidisation peculiar to the alloy is
one of the most unpleasant results time donates
to any substance wrought into beautiful shapes by
man, while below this lie a rare softness of hue,
a satisfying radiance, an inimitable bloom, and a
wellnigh perfect texture.
Quite aside from the matter of polishing, that
of having pewter otherwise put into proper con
dition appears also, if one judges from various
collections, to be an open question, but with as
little or less real reason.
If practically perfect pieces, as already defined,
are the only ones acquired— as has been advo
cated — it seems foolish not to have these put into
a satisfactory condition, which, with the articles
being considered, means a judicious approxima
tion to the original form. Bent plates, edges, cov
ers, handles, and knobs should be straightened, and
large dents pressed out until the surface assumes
the original curve or proper plane. As no arti
cle requiring soldering— except possibly at parted
joints— should be acquired, no proscribed repair 's^

PEWTER
ing will be necessary, and none should be allowed.
As no new parts or foreign material therefore
are contemplated, and as the most skilful work
cannot result in giving an old vessel the appear
ance of a new one, at least to the accustomed
eye, it seems strange that any collector should pre
fer bent and distorted pieces to those more nearly
representative of their purpose and incalculably
more reasonable.
Soldering, where allowable, and the whole
matter of putting pewter ware into normal condi
tion is, however, recommended to the amateur
on the sole basis that the work shall be done by
a skilled silversmith, and moreover by one ren
dered competent by special experience in connec
tion with pewter. Many silversmiths will not
undertake the matter at all, and many more,
skilled so far as silver work is concerned, are
totally lacking in judgment regarding pewter.
As there is no great [profit in the matter, and as
they consistently and naturally enough despise
pewter, this is not to be wondered at.
There are, however, silversmiths who have
the willingness, a sense of respect of antiques,
and other qualifications necessary to perform the
work, and it is to these that many collections
90

PLATE XXXIX— MAKER'S TOUCH AND HALL-MARKS (SO CALLED)
American. Reproduced at about double actual size ; from the back of a deep plate 13 inches
in diameter. SAMUEL DANFORTH, HARTFORD. (About 1810.)
The three hall-marks here shown were sometimes omitted by this maker. The use of
hall-marks by American makers after 1780 appears to have been unusual, and this example is
rare.

THE COLLECTION
owe satisfying qualities to an extent so superior
to others as to justify the wisdom of urging the
amateur to give serious thought to the matter.
With his pewter once in the silversmith's
hands, and with sufficient warnings, the amateur
is relieved of the most tedious, uninteresting, and
even stultifying part of the pewter collector's life,
and one which none should assume if time is of
any value. The silversmith should know the
length of time required to soak the ware and the
bath necessary for the purpose; a heavy deposit
of oxidisation means a long immersion in a solu
tion of potash or in special acids; tarnish and
accumulated grease demand less time in and less
strength of the bath; but whichever the case, the
covering matter ultimately will be penetrated,
and upon applying the power-driven wire brush,
or scratch brush as it is commonly called, this
will disappear and the true surface emerge soft,
clean, and polished. Excessive oxidisation has
been referred to before, and with pieces subjected
to it the result of the process, of course, does not
hold true except in a modified way. Deep erosion
cannot be effaced without grinding down the en
tire surface, and this should not be allowed or
essayed until the amateur becomes competent to
9i

PEWTER
assume the burden of establishing his own stand
ards and principles.
It is not essential to remove minor blemishes,
and it is equally injudicious to eradicate the old
marks of knife cuts on plates or deep scratches
on any vessel, or indeed to destroy the original
surface texture in any measure, for time has here
aided the alloy, although temporarily covering it
with an unsightly coating.
So far, the putting into condition and the pol
ishing of pewter have been earnestly advocated;
beyond this each may well decide for himself.
From the scratch brush, so called, the article
may be carried to the buffing wheel, to receive
the highest finish possible, and then back again
to the scratch brush for a mitigating effect. It
should be remembered, however, that buffing will
quickly destroy the original surface by friction,
and that although the pressure applied is slight,
the speed obtained by the revolving wheel is tre
mendous, and that its soft edges can easily re
move not only the surface — for this is what it is
made for— but also the very substance of the
article itself.
Buffing pewter has been referred to as a
mortal sin, but it is probable that few thoroughly
92

PLATE XL— MODERN PEWTER SPOONS AND PORRINGER
American. Spoons, 7% inches and 6yi inches long; Porringer, 5 inches in diameter.
The large spoons were cast in an old mould and are of fair metal and workmanship and of a texture more than usually deceptive.
The initials P. R. may truly represent the modern maker, but curiously coincide with those of a famous Colonial silversmith, and un
doubtedly have their value where the ware is sold by unscrupulous dealers, to whom, rather than to the manufacturer, the excess profit
appears to fall. These are two of a large lot variously dispersed.
The small spoons are of an early pattern but inferior to the large ones in qualities of deception.
The Porringer is of a good type but should not — finished as is this specimen — deceive even the uninitiated.

THE COLLECTION
understand the process, and that fewer still have
had their pewter buffed properly by proper work
men; and as it is a delicate matter it is not sur
prising that general results have given rise to an
abhorrence of the method quite justifiable from
the limited point of view employed.
After the pewter has once been put into proper
condition and polished by the silversmith, it is
still susceptible to improvement by constant rub
bing and an occasional home polishing with any
of the standard white-metal polishes, and this
should do away with the necessity of having it
again treated by the silversmith.
As few collectors in America are fortunate
enough to possess homes of a character wholly
ideal for the housing of antiques, inherited or
otherwise, we labour under a greater disadvan
tage in the display of pewter than do some of the
English collectors, and a greater care should be
taken by us in its final display than customarily
is given to the matter by them, where, amidst
surroundings not alone representative, but actu
ally of a period coeval with the general use
of pewter, it occupies either its original posi
tion or tranquilly adapts itself to another with
out disturbing the general harmony; and in
93

PEWTER
such cases, if the collection itself is not arranged
to effect the best results, it is, after all, but one
of the minor and faulty details that scarcely
are perceived where the ensemble is so nearly
perfect. Put into modern rooms, even if these are fitted
throughout with furniture of the eighteenth cen
tury or, still the more to be regretted, housed
amongst wholly modern surroundings, the utmost
care in placing the collection and in its arrange
ment should be observed. Wherever possible it
should be associated with contemporary furnish
ings, and although the location of a collector is a
matter too generally limited by special conditions
to admit of much discussion, every collector
should be alive to the chance of placing it where
incongruities of effect will at least be minimised.
Some isolation and a very complete concentration
being desirable, each should seek to fulfil these
requisites with such favourable surroundings as
may be practicable. We cannot in America often
escape incongruities. If our furniture is old our
room is modern, the room throughout may be
old and the house new, but if all are old there is
still the lack of historical background and allied
traditions, and in a greater or less measure we
94

PLATE XLI— MODERN PEWTER LAMP
American. Height, io'A inches.
Marks : none.
Bull's-eye pattern, so called. An example of the ware as made to-day in imitation of the
old and with the intent that it shall sell as "antique." Oil has been spilled about the wick-
holders, the metal artificially dulled, and the bottom filled with plaster of Paris, held in place
by a rusty disc of tin. This and somewhat similar patterns have been reproduced for several
years.

THE COLLECTION
are accustomed to view the situation with toler
ance. The collection will not, beyond cavil, be
perfectly housed, but the amateur should never
theless exert himself in securing results as nearly
reasonable as possible.
The arrangement of the collection, once the
location is determined, will, of course, depend
somewhat on individual taste; but this should
not transgress the law which applies in a greater
respect to pewter than to many of the more
ephemeral objects sought by collectors. Balance,
as far as possible, should be preserved, a sym
metrical distribution of vessels of like or approxi
mate form is desirable, and concentration to a
degree that really requires fine discernment is es
sential, and these principles are not to be lightly
discarded even by those whose temperament runs
counter to such ideas.
The results of a well-ordered and thoughtful
arrangement are so infinitely superior to those of
a haphazard assortment that it seems unnecessary
to dwell upon the subject in detail, or to point
out the dangers of a road which already may have
been skilfully avoided by the young collector. He
may be reminded, however, that dignity and sim
plicity of arrangement entail not only a regard to
95

PEWTER
the proper building up of a background, the recog
nition of the importance of central features, the
acknowledgment of balance and symmetry; but
also admit of, and even demand, a brilliancy of
grouping and a contrasting of graceful lines with
plain surfaces, if the interest is to be sustained
in individual pieces and the decorative effect
brought to the highest point possible with the
material employed.
This forbids messiness, the overlapping of one
plate with another, the over-indulgence of mere
ingenuity, and all distracting and disorderly com
binations, too close a grouping of vessels as too
distant a spacing, and it demands assuredly uni
formity both in condition of the ware and treat
ment of the surface.
With pewter may be grouped certain objects
of other material, but the experiment is hazard
ous and should be attempted only by the expert.
Silver and Sheffield plate are its enemies, which
precludes its use for decorative effect on most
sideboards and serving tables, and it is generally
better out of the dining-room altogether if silver
is present in any quantity. Brass is equally its
foe; copper, so far as colour is concerned, may be
assorted with it, but copper vessels are usually
96

PLATE XLII— BRITANNIA METAL TEAPOT
English: late eighteenth century. Height, 5 inches.
Marks : on bottom, Maker's name.
A simple form of a now traditional type of teapot as de
veloped by the Sheffield manufacturers during the latter quarter
of the eighteenth century. Both alloy and style are superior to most
of the American-made Britannia metal ware of the same and later
periods. The alloy is very thin and fairly hard, but without tex
ture and bloom, and the general type as ill-fitted for the pewter
collection as it is — to many — freely admitted.

PLATE XLIII— BRITANNIA METAL TEAFOT
English: late eighteenth century. Height, 7% inches.
Marks: on bottom, DIXON & SON.
A specimen of conservatively decorated Britannia metal ware,
of a model well adapted to the alloy and characteristic of the
period. It is vastly superior in design and material to most of
the later ware, but far from being pewter in the sense best ac
cepted by collectors. The metal is thin and hard, but lacking the
specific attributes of pewter.

THE COLLECTION
too large of scale and lack refinement of form,
and in that respect detract from the collection.
If objects of other material than metal are dis
played in conjunction with pewter it is obvious
that they should be compatible in purpose, virility
of form, and saneness of design and approximately
of the same period.

97

YALE UNIVERSITY

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