YALE UNIVERSITY
ART LIBRARY

frontispiece.]

I. The Studley Bowl. Late 14th century.
Given by Harvey Hadden, Esq.

VICTORIA AND ALBERT MUSEUM
DEPARTMENT OF METALWORK
CATALOGUE OF
ENGLISH SILVERSMITHS' WORK
(WITH SCOTTISH AND IRISH)
CIVIL AND DOMESTIC
INTRODUCTION BY W. W. WATTS, F.S.A,

LONDON: PRINTED UNDER THE AUTHORITY
OF HIS MAJESTY'S STATIONERY OFFICE 1920

Publication No. 132 M.
First printed, July ig20.
Crown Copyright Reserved.

0^

^^ V

<\V

O'

This Catalogue may be obtained either direct from the Museum or through any
bookseller, price 4/. od. net (by post 4s. 4^d.). t :.::,: js. ^- . (by post 6s,)
3(51)7801 Wt 47211-861/1983 15008/20 E&S

PREFATORY NOTE
THE Collection of English Silver in the Museum aims at
representing the history and development of the silver
smith's art in this country. It is, unfortunately, by no
means adequate for this purpose ; many of the well-known
forms referred to in the Introduction are not as yet represented.
Mediaeval pieces are almost unobtainable ; but it is possible to
find the productions of the sixteenth, seventeenth, and eighteenth
centuries. The collection waits for the munificence of donors
who will enrich it with such objects as a font-shaped cup and a
ewer and dish ofthe sixteenth century ; a steeple-cup and punch
bowl of the seventeenth century; and fine pierced work of the
eighteenth century. It needs fuller representation, too, of the
rich work of Paul Lamerie and his contemporaries : the plain
silver of the beginning of the eighteenth century is now repre
sented by Mr, Harvey Hadden's opportune gift (Nos. 200 to 224),
Meanwhile, the student and collector are referred to the series of
reproductions in electrotype which are exhibited in cases con
tiguous to the original pieces, by means of which they will
be able to trace the progress in form and ornament of this
national art.
The few examples of Irish silver in the collection are
described at the end ; the only specimens of Scottish plate are
the four salt-cellars of 177 1-2, bequeathed by Sir Edgar R. S.
Sebright, Bart,
Spoons, forks, and small implements are not included here,
but will be dealt with in another catalogue.
The few examples of English church-plate in the Museum
will be included in a catalogue of Ecclesiastical silversmiths' work.
The introduction to the catalogue has been written by
Mr. W. W. Watts, Keeper of the Department ; the descriptions
of the objects have been written by Mr. H. P. Mitchell, Assistant-
Keeper in the Department. CECIL H. SMITH,
July 1920,

P

CONTENTS. PAGE
LIST OF PLATES  v
INTRODUCTION  . . i
CATALOGUE I. English ........... 27
II. Scottish ........... 64
III. Irish  65
SUPPLEMENT— The Harvey Hadden Gift, 1919 . . .67
BIBLIOGRAPHY  71
INDEX  .... 72

LIST OF PLATES.

About 1560

PlateFrontispiece. The Studley Bowl. Late 14th century
I. The Rokewode Mazer. End of 14th century .
The Cromwell Mazer. Second half of 15 th century .
Jug. Rhenish stoneware with silver-gilt mounts. 1556-7
Jug. Rhenish stoneware with silver-gilt mounts.
Standing Salt. 1563-4 ....
Caster. 1563-4 .....
Dish on foot. 1564-5 ....
Goblet. Agate with silver-gilt mounts. 1567-8
Jug. Rhenish stoneware with silver-gilt mounts.
Cup. 1578-9 
Jug. Rhenish stoneware with silver-gilt mounts.
Wine-jug. Chinese porcelain with silver-gilt mounts. 1585-6
Ewer. Chinese porcelain with silver mounts. Late i6th century
The Mostyn Salt. 1586-7 ... . .
"Bell" Salt. 1594-5 
The Dyneley Casket. Alabaster with silver-gilt mounts. About
x6ii-2 ...

About 1570
1579-80 .

2.
3-
4- 5-
6. 7-8.
9-
ID. II.12.13- 14
15- 16. Standing Cup and Cover.
17. Standing Cup. 161 7-8 .... . .
Standing Cup. 1623-4 .......
Tankard. Serpentine marble mounted in silver. About 1620
Flagon. Serpentine marble mounted in silver-gilt. About 1630
Sweetmeat Dish. 1633-4
Cup. 1637-8 ....
Beaker. 1653-4
22. Caudle-cup and Cover. 1658-9
Caudle-cup and Cover, i 660-1
23. The Moody Salt. 1664-5
24. Salver on Foot. 1664-5
25. Cup and Cover. 1669-70
26. Tea-pot. i 670-1
Coffee-pot. 1681-2

i»19
2021

Catalogue No. I
23
7

12 13
14 16
17
20
21252627 29
3436
38
40 39
424346 50
51525455 5657
66

1610

LIST OF PLATES— ««/. Catalogue
Plate. No.
27. Tankard. 1673-4 • • • .... 60
28. Garniture for a Cabinet or Chimney-piece. 1675-6 . . .61
29. Porringer and Cover. 1676-7 ....... 62
30, Candlestick. 1682-3 . . . ... 68
Porringer. 1683-4 ... • 7^
31. The Calverley Toilet Service. 1683-4 • • -69
32. Salver on Foot (part of the Calverley Toilet Service). 1683-4 • • 69
33. Toilet Box. 1683-4 • ¦ 7°
34. Caster. 1692-3 . . . . -11
Snuffers and Stand. 1695-6 . . .80
35. Ewer. 1700-1 . 84
Salt-cellar. 1695-6 81
36. Tankard. 1702-3
Porringer. 1705-6
37. Sconce. 1703-4
38. Tea-pot. 1718-9
Spice-box. 1728-9 .
39. Waiter. 1727-8

8688
87
¦ 93
too 99
Candlestick, 1718-9 . . . . 226 9596
97
lOI
• 94
¦ 103104
105
107"5135
1x6
. 117 131
. 125 122147
51. Urn with Stand. 1767-8 ........ 133

40.

Bowl. 1719-20

41.

Two-handled Cup and Cover. 1719-20

42.

Coffee-pot. i 720-1

43-

Salt-cellar. 1728-9

Taper-stick. 1718-9

Salt-cellar. 1730-1

44.

Salver. 1733-4

45-

Cup and Cover. 1736-7

46.

The Newdegate Centrepiece. 1743-4

47-

Coffee-pot. 1753-4

Coffee-pot. 1769-70

48.

Set of Three Tea-caddies. 1753-4 •

49.

Salver. 1753-4

SO-

Candlestick. 1767-8

Candlestick. 1762-3
Candlestick. 1759-60 .
Candlestick. (Sheffield) 1774-5
LIST OF PLATES— ««A

1769-70

1771-2 1774-S

S6.57-58.

59

Plate.
52. Two-handled Cup and Cover.
53. Vase and Cover. 1770-1
Sugar-basin. 1774-5
54. Two-handled Vase and Cover.
55. Two-handled Vase and Cover.
Chocolate-pot. 1777-8 .
Hot-water Jug. 1777-8 .
Sauce-boat and Cover. 1788-9
Milk-jug. 1785-6 .
Vase and Cover. 1772-3
Vase and Cover. Late i8th century
Candlestick. (Sheffield) 1 791-2
Candlestick. 1783-4
Candlestick. (Sheffield) 1782-3
Candlestick. 1 (Sheffield) 1778-9
Candlestick. (Sheffield) 1773-4
60. Two-handled Vase and Cover. 1805-6
61. Two-handled Vase. 1810-11 .
62. Mace of the Trade-guilds of the City of Cork.
63. Dish-ring. (Dublin) about 1760
64. Tureen and Cover. (Dublin) 1791 ,

Catalogue

No.

• 134

136

148
138
146
155
156
170
168
139
161
173
167
i6s
157
143
176
179
Dated 1696
191
193
197
CATALOGUE OF
ENGLISH SILVERSMITHS' WORK
CIVIL AND DOMESTIC
INTRODUCTION
IN studying the history and development of any branch of art
it is of importance to be acquainted with the history of the
country which produced it, to realise that it was affected by
changes of any kind, whether political, ecclesiastical, or social,
by alterations in men's habits and customs, and by the vagaries of
fashion, and to expect that it will invariably reflect the spirit
of the age in which it was practised. This is particularly true of
the art of the silversmith in England. It flourished in times of
peace ; but war, and especially civil war, was fatal not only to the
production of new plate, but also to the preservation of that which
already existed. The long Wars of the Roses must have involved
the melting down of many magnificent pieces of mediaeval work
in silver, the beauty of which can only be dimly guessed at
from contemporary records. The disastrous civil war which
marked the close of the reign of Charles I demanded the sacrifice
of much fine plate : twelve Oxford colleges contributed no less
than 1610 lb. weight of plate, and 701 lb, were added by the
county ; much of the Regalia in the Tower of London was also
disposed of for the same purpose. To the Reformation, with its
attendant pillage and destruction, must be attributed the loss of
nearly the whole of the ecclesiastical plate of the country — in all
probability the finest productions of the silversmith's art. A
tempting offer of a high price for silver intended for conversion
into coin caused the disappearance of much plate in 1 697 ; and
s (51)7801 A

the growing custom of furnishing the table with large numbers of
spoons, forks, and plates accounts for the melting down of much
more of finer quality and greater interest than these objects for
more homely use. The imperious demands of ever-changing
fashion led public bodies and private owners to sell their old plate
or to have it re-fashioned to suit the taste of the moment.
On the other hand there were periods of peace and quiet
prosperity, when time was found to replenish the cupboards and
plate-chests of the wealthy, as well as of corporate bodies
throughout the country, as, for example, the reign of the Tudor
sovereigns, whose inordinate love of display led them to set an
example of lavish magnificence which was quickly followed by
the nobility ; the restoration of Charles II, a period of luxurious
extravagance which found expression in silver furniture and huge
pieces of plate ; or the eighteenth century, when love of display
gave place to some extent to a desire for domestic comfort, a
change witnessed to by the large number of vessels produced
for daily use.
The English silversmith of Anglo-Saxon and mediasval
times was a craftsman who combined striking originality of
design with skill in execution. That he was no mean rival to his
Continental brothers is proved by the Popes' patronage of Anglo-
Saxon craftsmen in silver^; and at a later time Matthew Paris
relates that Pope Adrian IV (i 154-9), in his admiration for
two gold and silver candlesticks, sent to him as a gift by his
fellow-countryman the Abbot of St. Albans, praised them
" singulariter ac mirifice," and thereupon solemnly presented
them to St. Peter's as a perpetual memorial of the English
protomartyr.^ The English craftsman of later periods, with
his keen powers of observation, was quick to perceive what
was good in the designs which came to him from the
Continent, and he did not hesitate to profit by what he
' Archseologia, LXI, p. 359,
'Matthew Paris, Gesta Abbatum monasterii S. Albani, ed, Riley, (Rolls Series),
I, p. 132.

saw ; but his work retains its own character and remains
unmistakably English. It is iriiportant to bear this in mind
in connexion with the influences on his art from Germany in
the sixteenth century, and from France at the end of the seven
teenth, and with the revival of classical form in the latter half of
the eighteenth century.
The progress and development of the craft during the last six
or seven centuries is fairly clear. As early as the year 1 1 80 a Guild
of Goldsmiths existed in London ; its quarters were originally
in Foster Lane, then called Goldsmiths' Row, where Goldsmiths'
Hall still stands. Edward III incorporated the Guild by Letters
Patent, under the name of the "Wardens and Commonalty
of the Mystery of Goldsmiths of the City of London," and
decreed that all silver plate was to be sold in the street of Cheap
or at the King's Exchange. The Guild of Goldsmiths gradually
became a powerful fraternity, enjoying great privileges and
honoured with many royal charters ; its members arranged
pageants when royal visitors came to the city, or when one of
their number became Lord Mayor. The goldsmiths' shops were
" a most glorious sight to behold," and an Italian visitor at the
beginning of the sixteenth century remarked that all the shops
of Milan, Rome, Venice, and Florence, could not equal in mag
nificence the quantity of silver he had seen exposed for sale in
London. Guilds existed also in several of the ancient pro
vincial towns, as at York, Exeter, Chester, and Norwich.
The activity of the craftsmen of the second half of the
sixteenth and of the seventeenth and eighteenth centuries is
amply testified by the plate of those periods still existing through
out the country. Down to the eighteenth century the gold
smiths were the bankers of the community, and the older firms
of bankers still existing had their origin in a goldsmith's shop.
THE ANGLO-SAXON PERIOD.
THERE is considerable evidence that in Anglo-Saxon times the
art of the goldsmith had arrived at a high standard of perfection.

The Alfred jewel in the Ashmolean Museum, Oxford^ ; the
Alhstan ring in this Museum, No. 627-1871, and the ring of
Ethelwulf in the British Museum, witness to the ability and
taste of the Anglo-Saxon craftsman. The abbey of Croyland
was enriched with gold chalices and a gold cup by Wiglaf, king of
Mercia, in the ninth century ; while later in the century it is
related that the monks threw chalices and other treasures into a
well in order to prevent them falling into the hands ofthe Danes.
The monastery of Ely was ruled from the tenth to the twelfth
century by abbots famous for their work in the precious metals.
The abbot Brithnodus, who died in 981, had four images made
covered with gold and silver and precious stones ; his successors
enriched the monastery with similar gifts. When the last resis
tance of the Anglo-Saxons in the Isle of Ely had been overcome,
the monks offered to William the Conqueror a large sum of
money obtained by stripping the monastery of its treasures, includ
ing the work of Brithnodus.^ Other religious houses in this
country, such as those at St. Albans, Winchester, Canterbury,
Lindisfarne, and Evesham, were famed for their goldsmiths' work

THE GOTHIC PERIOD.
THE old inventories abound with references to plate given or
bequeathed by wealthy owners, and to the marvellous display of
plate at feasts. The catalogue of the possessions of Edward I
includes plate as follows : — Thirty-four pitchers of gold and silver
for water and wine, gold cups, silver-gilt cups, over a hundred
cups of silver, besides silver plates, dishes, salts and other
vessels.'' The same monarch presented to his daughter on her
marriage with the Duke of Brabant a set of plate which included
forty-six silver cups with feet, for drinking ; six wine-pitchers,
' A reproduction is in the Museum, No. 1901-195.
' Texier, "Dictionnaire d'Orfevrerie Chretienne," s.v. Brithnodus, Ely.
' See Liber Quotidianus Contrarotulatoris Garderobae. Anno Regni Regis
Edwardi Primi Vicesiino Octavo. Ed. John Topham for Society of Antiquaries
1787.

5
four ewers for water, four basins with gilt escutcheons, six great
silver dishes for entremets, one hundred and twenty smaller dishes,
one gilt salt for her own use, seventy-two spoons, and three
silver spice-plates with a spice-spoon. Similarly, the houses of
the nobleman or the wealthy merchant were furnished with a mag
nificence of plate, which was on great occasions displayed on the
sideboard, or, as it was appropriately termed, the cup-board, and
served to indicate the wealth of the owner, and, by the number of
its stages, his rank. It must be borne in mind that much plate
produced during this period was for show, and not for utility ;
its elaborate decoration precluded its use, and therefore it was
displayed on the sideboard, while simpler objects served for the
table. Very few pieces of plate have survived from the fourteenth
century, and no secular plate whatever exists of earlier date.
Perhaps the best known is the fine standing cup and cover
belonging to the Corporation of King's Lynn, of silver-gilt richly
decorated with translucent enamel. Locally it is said to have been
the gift of King John ; but it clearly dates from the fourteenth
century, as is evidenced by the style of design and the costume of
the figures on the bowl, A remarkably beautiful specimen is the
silver-gilt bowl and cover made for domestic use, but formerly in
the possession of Studley church, Ripon ; the decoration consists
of leafy wreaths bearing the characters of a black-letter alphabet,
each springing from a short stalk ; its beauty of form and propor
tion, as well as the skill exhibited in the execution of the details
of the ornament, enable us to realise the degree of perfection
reached by the mediaeval craftsman. It is now in the Museum
(No. I, Frontispiece), one of its greatest treasures, and the
earliest piece of English silver in the collection. These two objects,
together with certain others in the possession of the colleges
of Oxford and Cambridge, can only increase our regret at the
disappearance of so much belonging to one of the finest periods of
art in England,
Of the fifteenth century, the chief survivals of secular plate
are in the form of salt-cellars, mazer-bowls, cups, and spoons.

The salt-cellar was one of the most important objects in mediaeval
times ; it occupied a prominent place on the dining-table. The
form of the salt during the fifteenth century was, roughly
speaking, that of an hour-glass ; a beautiful example exists at New
College, Oxford,^ and a still more superb and elaborate salt is
preserved at Corpus Christi College, Oxford — a magnificent
creation of the silversmith's art, with subtle and intricate work
manship. The mazer-bowl was one of the ordinary drinking-
vessels of the middle ages ; it was a shallow bowl made of
wood, the edge being frequently embellished with a deep rim .of
silver-gilt sometimes bearing an appropriate inscription, and the
inside with a medallion or boss called the " print." The number
still in existence is inconsiderable in comparison with the frequent
references in wills and inventories. Harbledown Hospital, Canter
bury, possesses a group of these interesting vessels, one specimen
dating from the reign of Edward II ; others are to be found at
St. John's Hospital, Canterbury ; Corpus Christi College, Cam
bridge ; All Souls'^ and Oriel Colleges, Oxford ; and in public and
private collections. The prints inside these bowls have various
devices : the Virgin and Child, the sacred monogram, or an
heraldic device, engraved in silver, and frequently showing traces
of the original enamelling. Samuel Pepys refers to a mazer-bowl
on his visit to Saffron Walden on 27 February 1660 : "They
brought us a draught of their drink in a brown bowl, tipped with
silver, which I drank off, and at the bottom was a picture of the
Virgin with the Child in her arms, done in silver." The Museum
collection includes three mazer-bowls, the earliest (No. 2,
Plate i) dating from the end of the fourteenth century ; it is
furnished with a silver-gilt rim engraved with a rhyming inscrip
tion in southern English of the period, and the print in the centre
bears the sacred monogram.. A fine example of the fifteenth-
century type is shown in Plate 2 (No. 3).
The few standing cups of this period which survive have
a common form : the foot is splayed out trumpet-wise, the
A reproduction is in the Museum, No. 1S80-55 ; ' No. 1880-62.

7
bowl resembles an inverted bell, and the cover rises in pyra
midal fashion and terminates in an appropriate device. The
" Foundress's Cup " at Christ's College, Cambridge, is perhaps the
most noble example of this period ; it dates from 1440. New
College, Oxford, possesses a cup of about 1480,^ of exquisite
workmanship ; Pembroke College, Cambridge, possesses an entirely
plain example in the " Anathema " Cup.' The " Leigh " Cup
of the Mercers' Company" is an unusually elaborate piece of the
same form dating from the last year of the fifteenth century.
Coco-nuts and ostrich eggs had been mounted as cups as
early as the thirteenth century, and, judging from the frequent
mention of such vessels in wills and inventories, they were
undoubtedly highly prized by their owners. The coco-nut or egg
formed the body of the cup ; this was supported on a stern
generally of silver-gilt, which was expanded to form the foot ; the
rim of the cup was strengthened with a wide band of metal, and
was connected with the stem below by bands passing over the
surface of the body ; the cover was of silver-gilt. Cambridge
possesses three coco-nut cups of the fifteenth century, two at
Gonville-and Caius College and one at Corpus Christi College;
Oxford also possesses several, the two at New College * being
furnished with the most elaborate mounting. The use of horn
for drinking-vessels had been recognized from far earlier times ;
the three most notable examples existing are at Queen's College,
Oxford ^ — said to have been given in honour of Philippa, Queen
of Edward III, in 1340 — the second at Corpus Christi College,
Cambridge,^ and the third in the possession of Christ's Hospital,
Horsham ; all are mounted in silver-gilt.
THE SIXTEENTH CENTURY.
THE art of the silversmith attained to a very high level during
the reigns of the Tudor sovereigns. The records of the time
enable us to form some idea of the magnificence of the period.
' A reproduction is in the Museum, No. 1880-53 ; ' No. 1880-35 ; ' No. 1880-105 ;
* No. 1880-56 (one) ; ' No. 1880-52; ' No. 1880-68.

Henry VII, on the occasion of the marriage of his son Arthur,
displayed two large cupboards of gold plate set with precious
stones ; he left to his successor plate in gold and silver of the
value of about twenty millions of money, much of which
remained in the Tower until the exigencies of war compelled
Charles I to dispose of it. Henry VIII prepared a cupboard
of seven stages of gold plate for his queen Anne Boleyn.
Cavendish, the biographer of Cardinal Wolsey, states that for
the banquet given to the Embassy from France " there was a
cupbord in lengthe of the bredthe of the nether end of the
same chamber, of vi desks highe, full of gilt plate , , ,
and uppon the nethermost deske, garnysshed all with plate of
clean gold , . , This cupbord was barred in round abought
that no man myght come nyghe it ; for ther was none of the
same plate occupied or sterred duryng this feast, for ther was
sufficient besids."* An immense amount of plate was sent to
Winchester on the occasion of Queen Mary's marriage with
Philip of Spain. With Elizabeth came increased extravagance ;
she was accustomed to expect presents of plate on her birthday
or on the occasion of visits to her courtiers. The Earl of
Arundel in 1559 presented her with the cupboard of plate
which had been displayed on her visit to Nonsuch ; she herself
sent a cupboard of plate to James VI of Scotland on the occasion
of the baptism of his infant son Henry, Nor was this spirit of
luxury confined to royalty. William Harrison, the contemporary
historian, writes : " Certes in noblemen's houses it is not rare to
see abundance of arras, rich hangings of tapestry, silver vessel,
and so much other plate as may furnish sundry cupboards to the
sum oftentimes of a thousand or two thousand pounds at the
least. . . , Likewise in the houses of knights, gentlemen, mer
chantmen, and some other wealthy citizens, it is not geson to
behold , , . costly cupboards of plate, worth five or six hundred
' See "The Life of Thomas Wolsey, Cardinal Archbishop of York." Written
by George Cavendish. Transcribed by F. S. Ellis and printed by William
Morris, at the Kelmscott Press, 1893, pp. 102, 103.

9
or a thousand pounds to be deemed by estimation 
and many farmers . . , have, for the most part, learned also to
garnish their cupboards with plate," The conquest of Mexico
and Peru by Spain had resulted in an immense quantity of silver
being brought into Europe, of which England appropriated her
share. So common did it become that the wealthier classes
began to tire of it ; to quote Harrison again : " It is a world to
see in these our days, wherein gold and silver most aboundeth,
how that our gentility, as loathing those metals (because of the
plenty) do now generally choose rather the Venice glasses, both
for our wine and beer, than any of those metals or stone wherein
before time we have been accustomed to drink,"
The workmanship of this period varies considerably, but as
a rule it is characterized by extreme richness, leading occasionally
to perplexing elaboration ; the general prevalence of gilding in
dicates the gratification of the desire for magnificent display.
The repousse work is executed with subtle delicacy, and where
chasing is resorted to it is worked in a bold and effective
manner ; the Tudor silversmith was undoubtedly a master of
every method of decoration ; he could, however, if so disposed,
dispense with all and devote his whole energy to beauty of form
with marked success.
The Gothic tradition survived during about the first twenty
years of the century, A group of beautiful examples at Christ's
College, Cambridge, and others in the possession of the Iron
mongers' and Armourers' Companies, show no signs ofthe change
of style which was to dominate the art of the English silversmith
for three-quarters of a century. Certain cups of font shape,
with shallow bowls and trumpet-shaped feet, date from this
period of transition, the opening years of the sixteenth century ;
one at least is in use as a communion-cup, others are in the
possession of corporate bodies or in private collections; one of
the most beautiful is that belonging to Corpus Christi College,
Oxford,^ which dates from 15 15.
' A reproduction is in the Museum, No. 1880-63.

lO

After the first quarter of the century the influence of
German design appears and predominates until nearly the end
of the reign of Elizabeth. Hans Holbein, who was attached
to the court of Henry VIII, designed a fine standing cup for
presentation to Jane Seymour*; the designs of his fellow-country
men and especially those of the schools of craftsmen at Augsburg
and Nuremberg,^ were eagerly sought after, and were carried out
by English silversmiths or by Germans settled in this country.
The latter enjoyed many advantages in London, together with
the members of the Hanseatic League, until Elizabeth, at the
end of the century, deprived them of their privileges. It is clear
that in the domain of the silversmith's art there was a prevailing
fashion for German design, strongly modified by English taste.
Notable features of the decoration are bold strapwork enclosing
masses of fruit, lion and human masks, dolphins, etc., worked in
repousse and chasing, other parts of the surface being richly
engraved with foliage in the manner of the South German
masters of design ; charming bands of stamped ornament com
plete the rich effect. The tazza. No, 14 (Plate 6), is a
typical example of this work.
During the latter part of the century the hour-glass form
of salt-cellar gave way to one of cylindrical or four-sided plan ;
the foot swells out below and the lip above in a similar manner ;
the cover usually rises in a dome-like shape and is frequently
surmounted by a figure of a warrior ; some are richly decorated,
others quite plain. Fine examples are in the Tower of London '
and in the possession of the Vintners' Company — these two
possibly by the same hand ; the Corporation of Norwich owns
an unusually bold example,* and the Goldsmiths' Company of
London possesses an example,^ the lower part of which is formed
of crystal enclosing a figure of Neptune ; all these date from the
' His original drawing is in the Ashmolean Museum, Oxford.
* Designs of this period may be studied in the Department of Engraving,
Illustration, and Design.
' A reproduction is in the Museum, No. 1865-82; 'No. m. 1912-3 ; ° No.
1880-113.

II

reign of Elizabeth. The Museum is fortunate in possessing no
less than six cylindrical salts varying in height from 3 J to 16
inches and dating from 1560 to 1586, The largest of these
(No. 27, Plate 13), believed to have been formerly at Mostyn
Hall, Flintshire, a magnificent specimen of silversmith's work of
the period, is completely covered with rich masses of strapwork,
fruit, and lions' heads. A smaller salt and a caster from the same
source are shown on Plate 5 (Nos. 12, 13).
Towards the end of the century appear what are referred
to in inventories as " bell " salts ; they are circular in plan,
expanding towards the base, which rests on three claw-and-ball
feet. The decoration is as a rule chased, the surface divided by
bands of strapwork into compartments which are filled with
conventional foliage. A typical example is in the Museum
(No. 29, Plate 14), found in a rabbit-burrow at Stoke
Prior, near Leominster. This form of salt-cellar does not occur
after 1620,
In addition to the font-shaped cups already referred to,
the reign of Henry VIII produced many cups of unusual beauty,
several of which have fortunately survived. A remarkable
example is preserved at Christ's College, Cambridge, dating
from 1 52 1. The form is reminiscent of that of an earlier period,
and the whole of the surface decorated with a scale pattern ; the
cover is surmounted by a finial with a shield of arms enamelled
on its upper surface. The well-known cup ' presented to the
Barber-Surgeons' Company by Henry VIII in 1523 bears on its
cover the rose, portcullis, and' fleur-de-lys, and is surmounted by
the royal arms ; four bells hang from the bowl. Of unique im
portance is the magnificent cup and cover "' belonging to the
parish church of Cirencester, and said to have been made for
Queen Anne Boleyn ; it is of wine-glass form, the cover, base,
and lower part of the bowl decorated in repousse with gadroons,
the rim with a rich band of Holbeinesque foliage ; the cover is
surmounted by the Boleyn badge. It bears the London hall-
1 A reproduction is in the Museum, No. 1876-1 ; ' No. 1906-131.

12
mark for 1535; the form is obviously derived from a design in
the " Kunstbiichlein " of Hans Brosamer of Fulda.
To the reign of Elizabeth we owe the tall standing cups,
the form and details of which were modified versions of similar
vessels made in Holland and South Germany, A prominent
example is the large Cup and Cover* presented to Corpus
Christi College, Cambridge, by Archbishop Parker in 1569;
a second may be seen in the elaborate crystal and silver-gilt Cup
and Cover presented to the Goldsmiths' Company by Sir Martin
Bowes in 1561. Each of these vessels consists of a cylindrical
bowl mounted on a high stem and foot, the cover surmounted
by a classical figure. Another favourite form for a standing cup
was that of a double gourd, the stem in the shape of a tree-
trunk. A typical example is in the possession of the Broderers'
Company,' A noticeable feature of this period is the enriching of
Venetian glass, English, German and Turkish pottery, and
Chinese porcelain with elaborate mounts of silver-gilt. The
development of trade with the near and far East had resulted in
the introduction into England of many fine pieces of pottery and
porcelain, and the English silversmith was not slow to seize
the opportunity for their further adornment. The Chinese
porcelain Wine-jug (No. 25, Plate ii) affords a good
illustration. Rock-crystal, agate, serpentine, and other stones
reputed to have magic powers were also eagerly sought after for
this purpose. The Museum collection contains a finely-mounted
agate Cup (No. 16, Plate 7), an alabaster Casket (No. 34,
Plate 15), and a serpentine Tankard (No. 39, Plate 18).
Coco-nuts and ostrich eggs, which had been mounted as cups
as early as the thirteenth century, were still prized throughout
the Tudor period.
Among the most popular products of the silversmith's art
of this century are the stoneware jugs mounted in silver-gilt.
From about 1 540 to the close of the century they were made
'A reproduction is in the Museum, No. 1880-69; ' No. 1880-94.

13
in large numbers, and there is no evidence that they were held
in great repute, William Harrison writes, " As for drink, it is
usually filled in pots, goblets, jugs, bowls of silver, in noblemen's
houses : also in fine Venice glasses of all forms, and for want of
these elsewhere, in pots of earth of sundry colours and moulds,
whereof many are garnished with silver, or at the leastwise in
pewter," These vessels vary in height from six or seven to
about twelve inches ; the body is globular with a cylindrical
neck ; the ware is generally German (Rhenish) and more rarely
English, usually with a mottled glaze ("tiger-ware"), but some
times enamelled in brown, yellow, purple, and blue ; occasionally
the whitish clay of Siegburg is used. The metal mounts are
as a rule applied to the neck, foot, cover and handle ; a deep
band of silver-gilt encircles the mouth, often delicately engraved
with festoons or conventional floral designs and strapwork, and
on later examples decorated in repousse with lions' heads and
masses of fruit ; the cover is flat or dome-shaped similarly
enriched ; round the foot runs a circlet of similar work edged
with stamped mouldings. The purchase of the handle is fre
quently in the form of a winged cherub's head, two acorns, a
shell, or a double- tailed mermaid. A fine group of these jugs
may be studied in the Museum collection (see Plates 3, 4, 8, 10),
Tankards of silver made their appearance in the sixteenth
century ; the form is clearly founded on the wood or horn vessel
which had existed previously ; the decoration followed the pre
vailing fashion of the time. A good specimen belongs to
Corpus Christi College, Cambridge,*
For beauty and magnificence of effect nothing surpasses the
superb ewers and dishes of the Elizabethan age. The use of
the fingers at meals before the introduction of forks made it
imperative that they should be washed not only before and after
but during the course of the meal ; the ewer and basin therefore
played a prominent part in the feast, and upon them was lavished
all the skill of the silversmith. The ewer was of bold outline,
' A reproduction is in the Museum, No. 1880-77.

f4
the body ofthe earlier examples straight-sided and tapering/but
in the later ones pear-shaped with mouth expanding into a
heavy lip, while from the other side rose the curved handle ;
the dish was shallow with a raised boss in the centre on which
to place the ewer. Both objects are frequently covered with
ornament, every method at the command of the craftsman being
employed to obtain the effect of highest magnificence. Among
the finest examples are those in the Royal Collection at Windsor
Castle* and one of unusual design belonging to the City of
Norwich ; ' others are in the possession of livery companies of
the City of London, and private owners.
THE SEVENTEENTH CENTURY.
THE early years of the seventeenth century were beneficial to
the arts. James I showed his interest in the art of the goldsmith
by bringing to London George Heriot, who had made a reputa
tion in Scotland. The influence of German and Dutch design,
so marked in the previous century, began to wane, and although
it may be traced for a time, there was a tendency to greater free
dom and a more English style ; few periods can produce more
striking productions in silver than the first forty years of this
century. The outbreak of the Civil War proved disastrous to
the arts generally and to the silversmith's art in particular ; not
only was it prejudicial to the making of new plate, but the
inexorable demands of Charles I for money for his war-chest
resulted in the melting down of many superb pieces of plate, the
treasured possessions of many generations. The period of the
Commonwealth was not favourable to an art which might be
considered a luxury ; and what little plate was produced reflects
the stern spirit of the times, being simple in form and lacking in
fineness of execution. But with the accession of Charles II thCre
came a mighty reaction. The regalia and a large quantity of
plate had to be prepared for the delayed coronation ; the great
municipal bodies began to provide themselves with the outward
' Reproductions are in the Museum, 1868-85, 86; ' 1861-I, 2,

J5
symbols of their authority ; the livery companies of the City of
London gave orders for costly loving cups and other plate to
demonstrate their wealth and prosperity ; the Church was fired
with an earnest wish to conduct her services " decently and in
order," and to this end the art of the silversmith was enlisted for
the making of communion plate and " ornaments " for the Altar,
The diaries of John- Evelyn and Samuel Pepys make frequent
reference to the extravagant love of display prevalent under
Charles II .; the former mentions a " great looking-glasse and
toilet of beaten and massive gold " belonging to the Queen, the
" greate vases of wrought plate, tables, stands, chimney furniture,
sconces, branches, braseras, etc., all of massive silver, and out of
number " belonging to the Duchess of Portsmouth. Pepys
succumbed to the prevailing desire for luxury : " we eat," he
writes, " with great pleasure, and I enjoyed myself in it ; eating
in silver plates, and all things mighty rich and handsome about
me." To this period belongs the silver furniture at Windsor
Castle,* Knole Park,^ Ham House, and elsewhere ; the beautiful
garniture of three vases from the Ashburnham collection now in
the Museum (No. 6i, Plate 28) ; and the huge wine cisterns
and fountains still preserved in the houses of the older nobility.
This somewhat over-elaborate style, strongly reflecting that of the
same period in France, continued without great interruption until
the close of the reign of Charles II.
The Stuart period was indeed a period of strong contrasts
— a fact which is clearly demonstrated in the methods em
ployed by the silversmith and the quality of his work. Under
James I the rich style of the Tudor period continued, though
always with a tendency towards greater breadth of treatment ;
the two processes of chasing and repousse were commonly
employed side by side. Under Charles I there was a reaction
to simplicity. Throughout the Cromwellian period the work
was crude and coarse, as if the craftsman felt himself unable
to rise above mediocrity. But at the Restoration the encourage-
'¦' Reproductions are in the Museum.

i6
ment given to his art seemed to draw out all his powers ; with
hammer, chasing-tool, or graver he was equally at ease. He
certainly ran riot in ornamentation, and was inclined to overlook
the importance of blank spaces in his designs ; but his work was
executed with consummate knowledge and skill, and with a
boldness rivalling the work of previous centuries (see the cup.
No. 56, Plate 25). A common motive in decoration was the
acanthus leaf, successfully used for large objects such as silver
tables, toilet services, mirror-frames, etc. ; this may be advan
tageously studied in the toilet-service No. 69 (Plates 31, 32), and
in the reproductions of large silver objects from Windsor Castle
and Knole Park, A second common form of decoration con
sisted of animals and large flowers such as tulips, freely
hammered in relief and boldly chased, as seen on the salver
No. 55 (Plate 24).
Towards the end of the century the ostentatious effect and
elaboration of design gave way to a reaction in favour of a
soberer style of work, of which the flat-topped tankard may serve
for an example. Nor must we forget the introduction of engraved
subjects in Chinese style, figures and landscapes, in vogue during
the reigns of Charles II and William III ; the tankard No. 58
and the toilet-box No. 70 (Plate 33) are good examples of
this work. The cylindrical and bell-shaped salts of Tudor times sur
vived for a considerable part of this century ; but the large
salt-cellar was gradually losing its position of honour, and by the
close of the century it had disappeared. The Restoration period,
however, produced a ceremonial salt-cellar the form of which
recalls the hour-glass type of an earlier century ; it has a narrow
waist, the foot and upper part expanding to a considerable size ;
in plan it is round or square. Most examples known, such as
those belonging to the Clothworkers' Company, the Corpora
tion of Portsmouth, and Winchester College, are plain except
for the mouldings. The example in the Museum (No, 54,
Plate 23) has the unique distinction of acanthus decoration in

I?
repousse. Other notable pieces are among the regalia in
the Tower, enriched with the large flower decoration pre
valent during the reign of Charles II. Nor must mention be
omitted of the remarkable salt in crystal and silver-gilt referred
to by Pepys, and now in the possession of the Goldsmiths'
Company. The most attractive cup of the first quarter ofthe century was
the steeple cup, so named from the tall finial which surmounted
the cover. The foot is bell-shaped, the stem of baluster form
with three or four brackets ; on this rests the bowl ; the decora
tion is engraved, chased, or repousse in low relief, floral decora
tion generally being employed. Such cups vary from about
1 1 inches to the tall example at St, Ives which is no less than
33 inches in height. Livery Companies ofthe City of London,
certain colleges of Oxford and Cambridge, the Corporations of
various towns, are the fortunate possessors of such cups * ; and not
infrequently they are found in churches in use as chalices. A
somewhat different type, with decoration on a smaller scale, is seen
in a tall covered cup in the Museum (No. 36, Plate 16).
Small wine-cups without covers are also to be found raised on
slender stems ; some are low and shallow, others of goblet form ;
the stem is usually in the form of a finely-moulded baluster. The
drinking-cups of the first half of the century were often plain, or
merely engraved with ornament, beauty of outline being their
predominant feature ; the Museum collection includes several
examples (Nos. 38, 40, and 44 to 46, Plates 17, 21). By
the middle of the century huge loving-cups had made their
appearance, capacious vessels of almost cylindrical form with a
moulded baluster stem resting on a wide-spreading foot ; those
of the Cromwellian period are plain, those of the Restoration
covered with exuberant ornament, as exemplified in the cup and
cover presented to the Clothworkers' Company by Samuel Pepys
in 1677.^
' Reproductions are in the Museum, Nos. 1880-70, 71, 82.
' A reproduction is in the Museum, No. 1879-6.
s (51)780': ^

Caudle and posset cups for hot drink were common through
out the century — a two-handled cup with a cover, of bulging
body and narrower neck, frequently decorated in relief with the
large animals and flowers characteristic of the period of Charles II ;
a typical example is in the collection (No. 52, Plate 22).
These vessels gave way to the porringer, an object of severer
outline, sometimes plain, but frequently enriched near the foot
with a band of acanthus leaves in relief, as for example No. 62
(Plate 29). Another method of decoration was that known
as " cut-card " work, the decoration being cut out from a
separate sheet of metal and applied ; a third consisted of
engraving of Chinese figures and foliage ; and a fourth, the
commonest of all, makes its appearance at the end of the century,
with gadrooned and fluted ornament on the lower part of the
vessel, as seen in the example No. 83, and a few years later
in No. 88 (Plate 36). Finely engraved coats of arms are
also a prominent feature ; well-executed specimens may be seen
on the porringer No. 71 (Plate 30), and the tankard No. 60
(Plate 27).
The flagons of the early part of the seventeenth century are
for the most part of tall, cylindrical form with chased or
repousse decoration ; the latter half of the century saw the large
plain examples for church use. The Restoration brought with
it a tankard for domestic use, of cylindrical form with flat lid,
varying in height from six to eight inches, sometimes plain,
or with decoration similar to that on the porringers described
above. A good plain example may be studied in the collection
(No. 60, Plate 27).
Saucers or dishes for sauce or sweetmeats, with rather primi
tive and conventional decoration embossed on silver of unusual
thinness, were produced from 1630 to the early years of the
reign of Charles II ; the two specimens No. 49 and No. 43
(Plate 20) illustrate this group.
Silver candlesticks for domestic use earlier than the reign of
Charles II are extremely rare ; those that are known would

19
appear to follow the forms prevalent in the Low Countries.
Examples in brass and earthenware have survived from this
period, but probably changing fashions may account for the
rarity of the silver pieces. The latter part of the century shows
a candlestick in the form of a fluted column with square or
hexagonal foot (No, 68, Plate 30), a form also prevalent on
the Continent. Punch-bowls for the newly-introduced beverage are found
from the reign of Charles II onwards ; the variety known as a
Monteith has a scalloped rim and often a fluted body with lion-
head handles.
The introduction of tea, coffee, and chocolate demanded
special vessels ; the earliest tea-pot known, a tapering vessel with
conical lid, is in the possession of the Museum, and dates from
1670 (No. 57, Plate 26). Its form suggests that it was used
also for coffee. The earliest known coffee-pot (No. 66), shown
on the same plate, dates from 1681.
Last of all, notice must be taken of the municipal insignia
of office, which are frequently superb specimens of the silver
smith's art. Most of the " great " Maces still existing date from
the Restoration of Charles II, and with slight differences they
follow the same plan. The shaft, which is usually chased with
bold floral ornament, is divided by bosses or knops with acanthus
leaf or gadrooned enrichments ; the foot bulges out into an urn-
shaped termination. The head is supported on brackets springing
from the shaft ; it is divided into compartments containing
national emblems, such as the crowned rose, thistle, harp, and
fleur-de-lys ; above this rises an open crown with orb and cross.
Maces of this period are most elaborate in their design and
execution, all three processes of repousse, chasing, and engraving
being employed on the same object, each with consummate skill
and richness of effect. In the Museum may be seen two
original maces (Nos. 79, 190) and a group of reproductions.

20

THE EIGHTEENTH CENTURY.
BEFORE the end of the seventeenth century it had become
evident that the desire for ostentatious display was passing away,
and the early years of the eighteenth century witnessed the return
of the English craftsman to a simpler and more severe style ; he
showed his preference for beauty of form and simplicity of decora
tion, guided by an intelligent appreciation of the character and
possibilities of the material upon which he worked.
The arrival of French silversmiths who had left their country
through the revocation of the Edict of Nantes in 1685, and for
other reasons, had a powerful influence upon the art of the
silversmith in this country. The fine work of the reign of Queen
Anne depended largely for its beauty upon its plain surface,
delicate outlines, effective facetings, and simple mouldings, and at
no time has plain silver reached a higher point than in these
unassuming productions, marking a reaction from the showy work
of the previous age. But it was hardly to be expected that the
craftsman should be content with the use of only one of the
processes at his command ; plain cast or hammered silver was
indeed artistic, but the decorative French work of the reign
of Louis XIV could not fail to influence him and to fill him with
the desire for similar effect. The continued arrival of French
refugees and their descendants, and among them Paul Lamerie —
craftsmen with marvellous powers of delicate decoration — resulted
in the sway of French design over English work, a sway which
prevailed until the middle of the century.
It is comparatively easy to trace the development of the
French style; Lamerie, who came in 17 12, and his fellow-
countrymen, contented themselves at first with the purer and more
restrained manner of Louis XIV, well exemplified in the deli
cately engraved bowl by Isaac Liger (No. 95, Plate 40). But it
would seem that, desiring greater scope for their technical skill,
and drawn into the prevailing fashions of the Louis XV period,
they gradually abandoned the simplicity of their earlier efforts and

21

adopted the somewhat exuberant and fantastic rococo style. The
Newdegate Centrepiece by Paul Lamerie (No. 107, Plate 46) is
a fine example of this manner, in masterly execution. Lamerie died
in 175 I, and it may almost be said that the French style in silver
smiths' work died with him.
Later in the century attention was directed to the beauty
of classical forms, partly through the excavations at Pompeii and
Herculaneum, the result being that the art of the potter and
silversmith received a great impetus. The productions of Wedg
wood appealed to those who delighted in beauty of outline and
simplicity of treatment ; the silversmith, who had fallen under
the same spell, produced works remarkable for the grace of their
form and the pleasing application of delicate ornament.
Prominent among the methods employed in this century
was that of piercing ; rarely found in the seventeenth century,
it reached its highest perfection in the middle and second half of
the eighteenth. The forms of vessels in use in the previous century now
showed a very decided development. The tall loving-cup with
its capacious bowl, baluster stem, and spreading foot, made way
for a two-handled cup, which has remained popular ever since ;
the body is somewhat urn-shaped, generally divided in two by a
horizontal moulding round the centre ; it rests upon a low
circular moulded foot ; the cover is dome-shaped. It is found in
all styles, from the plain example in the Museum collection
(No. 96, Plate 41), to the more elaborate piece (No. 105,
Plate 45), and finally to such examples as two cups belonging to
the Goldsmiths' Company,* which are covered with a profusion of
elaborate ornament. A remarkably fine specimen in the Museum
(No. 1 34, Plate 52), shows the flowing outline of later years. In
the latter part of the century the cup was modified in accordance
with the prevailing classical taste (see Nos, 1 38, 1 46, Plates 54, 55).
The fluted and gadrooned porringer persisted until the end
of the reign of George I ; tankards were furnished with a domed
' Reproductions are in the Museum, Nos, 1880-109, no.

11
cover, as seen in the example No. 86 (Plate 36), instead of the
flat lid of the seventeenth century, and after the middle of the
century the body becomes bulbous.
An interesting form of ewer appeared about the year 1700,
of soHd make and fine finish. The body is of inverted helmet
shape, the upper part enriched with a moulding and the lower
with ornament in Louis XIV style ; beneath the spout is
a mask ; the handle is formed by a terminal figure bending
backwards towards the mouth of the ewer. These ewers, of
which the Museum possesses one (No. 84, Plate 35), have
very solid cast details, the work being afterwards exquisitely chased.
Later forms show a free departure from this model.
The candlesticks of the reigns of Queen Anne and George I
are plain, the stem baluster-shaped, the foot often polygonal and
faceted, the upper part with mouldings but without a nozzle.
The tendency to elaboration of ornament is seen in subsequent
examples. A later form exhibits shell ornament as one of its leading
features. After 1760 we find the pattern of a fluted column
on a square base, with a Corinthian capital supporting the nozzle ;
and another type with square base decorated with rams' heads and
festoons, the stem expanding above to the socket, which is circular
or vase-shaped. (See the varieties on Plates 39, 43, 50, 59).
The tall standing salt-cellar had disappeared, and small
trencher salts were now considered sufficient ; in the earlier part
of the century they were cast with plain mouldings, often
octagonal, with alternately straight and incurved sides and an
oval cavity. Then followed the circular salt-cellar on three small
feet, and later the oval or circular frame of finely-pierced silver
furnished with a glass receptacle.
The growing popularity of tea, coffee, and chocolate called
for vessels for their use. The conical-lidded coffee-pot was
modified early in the century ; the cover became dome-shaped, the
body more cylindrical, the handle was placed opposite the spout
instead of at right angles to it. The middle of the century saw a
vessel with flowing outline and spout, at first plain, and afterwards

23
with profuse decoration; both kinds are in the Museum collection
(Nos. 115, 135, Plate 47).
Tea-pots of the early part of the century are globular with
straight spout, or bulbous (frequently polygonal) with domed
cover and curved spout, such as the example No. 93 (Plate 38);
cylindrical and oval vessels are found in the time of George III.
Tea-kettles of the first quarter ofthe century follow the Queen
Anne style, and are often polygonal in shape ; the tea-urns which
took their place were first of rococo and later of purely classical
form and style of decoration. Tea-caddies in sets of three were
produced in large numbers, the earlier examples rectangular or
octagonal, the latter ones vase-shaped (see the set No. 1 1 6,
Plate 48), and upon them was lavished no small skill of the
silversmith ; casters in sets of three, and cream-jugs similarly
followed the changing fashions of the day.
The latter half of the eighteenth century witnessed the
production of masses of silver for domestic use, all in the prevalent
classical style. Such pieces as the admirable chocolate-pot
No. 155 (Plate 56), exhibit the utmost refinement of design
and workmanship. Other good examples are shown in Plates
53 to 59.
The fine pierced work which has already been referred to
now reached its highest development ; piercing in combina
tion with chasing resulted in great richness of appearance ; a
pleasing example on a small scale is the sugar-basin No. 148
(Plate 53). Bread-baskets, cake-baskets, cruet-stands, and snuffer-
trays, are to be found of endless variety of design, and exhibit
the extreme skill of the silversmith. Tureens, sauce-boats, centre
pieces, and epergnes, not relegated to sideboards, but placed upon
the dining-table, called forth still further the inventive powers of
the craftsman. To sum up, the century had opened with the chaste work of
the period of Queen Anne, afterwards making way for richer and
more elaborate designs, until the climax of extravagant rococo
decoration was reached at the middle of the century; the latter part

24
ofthe century found the craftsman clinging exclusively to classical
models, and finding in these all that he required for the expression
of his genius and ability. The productions of this period are
more adequately represented in the Museum collection than any
other. Finally, the pompous manner of the early years of the nine
teenth century, illustrated by the two-handled vases No. 179
(Plate 61), brought to an end the historic sequence of styles in
English silversmiths' work. W. W, Watts.

25

NOTE

THE objects described in this catalogue are exhibited in a group of cases
towards the north end of the South Court (Room 39). The arrangement
both in the catalogue and (approximately) in the cases is chronological, and
the clue to the position of an object is accordingly supplied by its date.
A group of English and Irish silver presented by Mr. Harvey Hadden in
1919, received too late for insertion in the body of the catalogue, is described
in the Supplement on p. 67, etc.
A few pieces forming part of the Murray Bequest and the Waldo-Sibthorp
Gift are exhibited apart, the former in Room 136, the latter in a case on the
west side of Room 39. These pieces bear numbers in the Supplement (225 to
230), but the descriptions appear in proper chronological order in the body of the
Catalogue. The group of Irish Silver is shown in a case on the west side of Room 39.
The reproductions referred to in the Introduction are shown in Rooms 36
and 37, adjoining Room 39.

27

CATALOGUE, I.— ENGLISH,
1, Bowl and Cover (The Studley Bowl). Gilt; both parts chased and
engraved with a black-letter alphabet, preceded by a cross and concluded
with the symbol for et, the word est, and the contractions for the final
syllable ur and the prefix con or cum, as used in Latin MSS. of the period,
all springing from leafy wreaths. The knob of the cover bears the letter a.
Late 14th century.
Formerly the property of Studley Royal Church, near Ripon.
Given by Harvey Hadden, Esq. M.1-1914.
The ground of the decoration is engraved with hatching. The foot, formed of open rings,
and the cover, are bordered with enriched mouldings. It is to be noted that the alphabet is
for Latin inscriptions; hence the omission of the letter w. H. 5.6 in.
See Society of Antiquaries, Proceedings, 2nd Series, xxiii, p. 46. See also Archaeological
Journal, Lxi, p. 75; Jackson, History of English Plate, 1911, p. 124; Fallow and McCall,
Yorkshire Church Plate, II, 1915, p. 222.
{Frontispiece.)
2, Mazer Bowl (The Rokewode Mazer). Maple- wood mounted in silver-gilt,
the rim inscribed with the verse : —
-|- Hold 5owre tunge and sey fe best
and let 5owre neySbore sitte in rest
Hoe so lustype god to plese
let hys ney5bore lyve in ese
In the middle a raised boss or "print" engraved with the sacred mono
gram ibc.
End of the 14th century. (The foot restored.)
Given by a Body of Subscribers. M.165-1914.
The inscription, in Southern English of the period, the speech of Chaucer, is enclosed between
lines forming two banderoles on the rim. The foot is largely restored in composition and
strengthened with a modern silver lining. Diam. 6.35 in.
Formerly in the possession of John Gage Rokewode, F.R.S., Director of the Society of
Antiquaries. From the H. D. Ellis Collection.
See Albert Way's edition of the Promptorium Parvulorum, 1865, p. 328. See also W. H.
St. John Hope on Mazers in Archaeologia, l, p. 149; and Jackson, History of English Plate,
1911, p. 612.
(Plate J.)

2 8
Mazer Bowl (The Cromwell Mazer). Maple-wood mounted in silver-gilt.
In the middle a boss or "print" engraved with the Virgin and Child en
throned, originally enamelled, enclosed in a simple border.
Second half of 15th century.
Purchased under the Francis Reubell Bryan Bequest. m.i 29-1914.
The spreading lip-mount is enriched with mouldings and an engraved border of rayed orna
ment. Diam. 8.2 in.
Formerly in the possession of the Lambert family at Hull, descended from Oliver Cromwell's
general of that name. On the bottom are remains of a label with an inscription which appears
to read "Rd Cromwell left this with me and likewise the . . ."
From the H. D. Ellis Collection.
See Jackson, History of English Plate, 191 1, p. 624.
{Plate 2.)

4. Mazer Bowl (The Chalker Mazer). Maple-wood mounted in silver-gilt.
In the middle a silver boss or "print" engraved with the Trinity, originally
enamelled, the mount inscribed " robett CbalKcr JbeSUS" and enclosed in
a rayed border.
About 1480. 45-1874.
The spreading lip-mount is enriched with mouldings and an engraved border of rayed orna
ment. Inscribed on the bottom P* P T 1578 R. Diam. 7.7 in.
See W. H. St. John Hope on Mazers, in Archaeologia, l, p. 162.

5, Casting-bottle. For pepper or spice. An Oriental rock-crystal bottle
mounted in silver-gilt, chased and repousse.
About 1540. M.78-1910.
The bottle is four-sided, boldly notched on the angles, with round neck. The mounts include
a circular foot with stem supporting a bowl-shaped upper member; straps and collar with
chain and hook, and cover with pierced cap. Decoration of acanthus foliage and gadrooning;
a scalloped flange encircles the stem. H. 5.3 in.

6, Flask. Pilgrim-bottle shape, chased and repousse.
Mark, a cusped I in a border.
'i London date-letter for 1546-7. (The stopper, chain, and engraved crest
are later additions.) 451-1865.
Decoration of cartouche-work and bunches of fruit, with lion-masks on the shoulders holding
loops for the chain. Circular foot. H. 4.8 in.
If the mark is, as suggested, the London date-letter for 1546-7, it is a variation of the letter
usually employed for that year.

29
Jug. Rhenish stoneware with mottled glaze, mounted in silver-gilt. On the
lid an enamelled boss with a merchant's mark. The mounts English. Maker's
mark, CA in monogram.
London hall-mark for 1556-7.
Bequeathed by Edward S. Clarke, Esq. M.106-1913.
The mounts include plain lid, neck-band, and moulded foot bordered with leaves. The lid
hinged to a handle-mount finishing in a leaf, surmounted by a thumbpiece of foliated scrolls.
H. 7.4 in.
{Plate 3.)

8. Jug. Rhenish stoneware with mottled glaze, mounted in silver-gilt, repousse,
chased, and engraved. On the lid Hercules subduing Cerberus. The mounts
English. (No marks.)
About 1560. 21 19-1855.
The mounts include a lid with a border of strapwork and fruit in relief surrounding the figure-
subject, neck-band and handle engraved with arabesque foliage, and moulded foot bordered
with leaves and attached by caryatid straps to a collar encircling the base of the neck. Thumb-
piece of foliated scrolls. The figure-subject, repousse in high relief, is encircled by the
inscription : — hercvles vt vicitmonstroso corpore cerbrvm : tartareas chr[ist]vs favces
SIC morte svbegit. H. 6.2 in.
From the Bernal Collection.
{Plate 4.)
9, Jug. Rhenish stoneware with mottled glaze, mounted in silver-gilt, repousse,
chased, and engraved. The mounts English. (No marks.)
About 1560. 140-1882.
The mounts include lid repousse with cartouche-work, masks, and fruit; neck-band engraved
with arabesque foliage; and moulded foot bordered with leaves. The lid has a moulded
finial, and is hinged to a handle-mount finishing in a leaf; thumbpiece of foliated scrolls
issuing from masks. H. 6.4 in.
10, Jug. Rhenish stoneware w;ith mottled glaze, with silver neck-mount cast
in relief. The mount English. (No marks.)
About 1560. 8498-1863.
Decoration of masks enclosed by serpents, and curling stems bearing fruit and leaves, cast
from repeating stamps. Inscribed with initials I C. H. 7 in.
11, Jug. German turquoise-enamelled earthenware, mounted in silver-gilt,
chased and repousse. The mounts English. (No marks.)
About 1560. 144-1894.
The mounts include lid repousse with skulls and bunches of fruit, neck-band cast v/ith a
repeating strapwork pattern, and foot enriched with ovolo-moulding in low relief. The lid
has a knob finial, and is hinged to a handle-mount finishing in a leaf, surmounted by a thumb-
piece formed as a double-tailed mermaid. H. 6.3 in.

3°
12. Standing Salt and Cover. Gilt; chased and repousse, with cast details.
Maker's mark, a crescent and three stars. London hall-mark for 1563-4.
(Part of the Mostyn Hall Plate.) 147-1886.
Cylindrical, with enriched mouldings above and below; decorated with bunches of fruit and
leaves, and applied heads of warriors ; the cover surmounted by a nude female figure with
shield and sword. On four lion-mask feet. H. 6 in.
{Plate 5.)
[The five pieces numbered 146 to 150-1886 (12, 13, 15, 19, 27), dating between the
years 1563 and 1587, are supposed to have been formerly in use at Mostyn Hall, Flintshire.
They are understood to have been stored for a long period in a chest in the custody of the
bankers of the Mostyn family, from whom they were acquired by purchase in 1886.]

13. Caster for pepper or spice. Gilt; chased and repousse. Maker's mark
undecipherable. London hall-mark for 1563-4.
(Part of the Mostyn Hall Plate.) 150-1886.
In the form of a covered cup on foot, terminating in a pierced cap. Decorated with strapwork
and bunches of fruit. The rim of the bowl is notched, apparently for securing a removable
cresting or finial. H. 4.2 in.
See note on No. 147-1886 (12).
{Plate 5.)

14. Dish on Foot (tazza). Gilt; repousse, chased, and engraved; in the centre
of the bowl the bust of a warrior. Maker's mark, A with a pellet.
London hall-mark for 1564-5. M.352-1912.
The bowl engraved with arabesque foliage and strapwork ; the domed foot repousse with masks
in cartouches and bunches of fruit; the stem decorated with fluting, and encircled by a chased
moulding. Engraved under the bowl with arras and initial of Charles, 3rd Earl of Harrington
(d. 1829). Diam. 7.65 in.
From the J. E. Taylor Collection.
{Plate 6.)

15. Standing Salt and Cover. Gilt; chased and repousse. Maker's mark, a
crescent and three stars (body), TA with a porcupine .^ (cover).
London hall-mark for 1566-7 (body), 1571-2 (cover).
(Part of the Mostyn Hall Plate.) 148-1886.
Cylindrical, with enriched mouldings above and below; decorated with strapwork, masks, and
bunches of fruit; the cover surmounted by a warrior with spear and shield. H. 5.3 in.
See note on No. 147-1886 (12).

31
16. Goblet. An Oriental agate cup mounted in silver-gilt, chased and repousse,
with cast details. Maker's mark, ER in monogram.
London hall-mark for 1567-8. 38-1867.
The mounting includes a rim bordered with leaves, and a foot composed of spreading base,
stem of vase form, and bowl-shaped upper member raised on claws. Decoration of strapwork,
lion-masks, and fruit; the base garnished with snails and crabs, and supported on four dolphins.
H. 7.8 in.
See Arundel Society, Chromolithographs of the principal objects of art in the South Kensington
Museum, 1868-1870, plate X.
{Plate 7.)
17, Jug. Rhenish stoneware with mottled glaze, mounted in silver-gilt, repousse,
chased, and engraved. The mounts English. (No marks.)
About 1570. M.372-1910.
The mounts include a lid repousse with cartouches, masks, and fruit, surmounted by a warrior
with flag and shield; neck-band engraved with strapwork and arabesque foliage; and foot-
mount bordered with leaves, and repousse with cartouches and flowers. The lid hinged to a
handle-mount finishing in a leaf, surmounted by a thumbpiece of foliated scrolls issuing from
masks. Pricked with the initials I LA. H. 10.5 in.
{Plate 8.)
18. Jug. Rhenish stoneware with mottled glaze, mounted in silver-gilt, chased
and repousse. The mounts English. Maker's mark WC (.^ William Cater)
with a grasshopper.
London hall-mark for 1576-7. 215-1869.
The mounts include lid, neck-band, and foot. Decoration of cartouches, masks, and bunches
of fruit. The lid has a moulded finial, and is hinged to a handle-mount finishing in a leaf;
thumbpiece of two acorns. H. 10.9 in.
19. Standing Salt and Cover. Gilt; chased and repousse. Maker's mark, a
spray of leaves.
London hall-mark for 1577-8.
(Part of the Mostyn Hall Plate.) 149-1886.
Cylindrical, with enriched mouldings above and below; decorated with cartouche-work and
bunches of fruit. Moulded finial on cover. H. 3.2 in.
See note on No. 147-1886 (12).
20. Cup. Plain, with baluster stem. Maker's mark, S on a cross.
London hall-mark for 1578-9.
(Part of the Stoke Prior Treasure.) 289-1893.
Shallow rounded bowl; the foot bordered with a plain moulding. H. 5.7 in.
{Plate p.)
[The seven pieces numbered 283 to 289-1893 (cat. nos. 29, 3 1, 48, 44 to 46, 20), dating between
the years 1578 and 1640, were found on the i6th December 1891 in ferretmg for rabbits in
the bank of a hedge at Stoke Prior, near Leominster, Herefordshire. They were purchased as
treasure trove in 1893.]

32
21, Jug. Rhenish stoneware with mottled glaze, mounted in silver-gilt, chased
and repousse. The mounts English. Maker's mark, BR in monogram with
two pellets.
London hall-mark for 1579-80. 2120-1855.
The mounts Include lid surmounted by a lion sejant, neck-band, and foot. Decoration of
cartouches, strapwork, lion maslcs, and bunches of fruit. The lid hinged to a handle-mount
surmounted by a thumbpiece of two acorns. H. 10.2 in.
From the Bernal Collection.
{Plate 10.)
22. Standing Salt and Cover. Gilt ; chased and repousse. Made by
T. Mathew.
Tregoney (Cornwall) hall-mark; about 1580. (Finial of cover and rim of
foot wanting.) 443-1884.
Cylindrical, decorated with cartouches, masks, and bunches of fruit. Domed cover. H. 5.5 in.
23, Jug. Rhenish stoneware with mottled glaze, mounted in silver-gilt, chased
and repousse. The mounts English. Maker's mark, I YEDS.
Exeter hall-mark ; about 1580. 2121-1855.
The mounts include lid, neck-band, and foot. Decoration of cartouche-work, masks, and
bunches of fruit. The lid has a moulded finial with rayed button, and Is hinged to a handle-
mount pricked with the Initials IMA in a shield. Thumbpiece a winged mermaid. H. 9.5 in.
From the Bernal Collection.
24, Jug. White Siegburg stoneware with reticulated surface, mounted in silver,
repousse, chased, and engraved ; the neck-band cast in low relief. The
mounts English. Maker's mark, three trefoils slipped in a shaped shield.
About 1580. 130-1908.
Three masks In stoneware are applied to the neck. The mounts include a lid repousse with
cartouches, masks, and bunches of fruit ; neck-band cast with a repeating pattern of
strapwork; and foot decorated with enriched mouldings. The lid has a moulded finial with
rayed button, and is hinged to a handle-mount finishing in a leaf and engraved with birds
and foliage. Thumbpiece a winged mermaid. H. 9.3 In.
By the same maker as the Wine-jug, No. 7915-1862 (25). {See note on that object.)
25. Wine-jug. An octagonal jug of Chinese blue and white porcelain of the
16th century, mounted in silver-gilt, repousse, chased, and engraved ; the
foot cast in low relief. The mounts English. Maker's mark, three
trefoils slipped in a shaped shield.
London hall-mark for 1585-6. (The neck and spout repaired with additional
mounts in the 17th century.) 7915-1862.
Melon-shaped body with curved spout and handle, painted with boys at play, flowers, clouds,
and emblems. The mounts include a hinged lid repousse with cartouches, masks, and fruit,
and finished with a baluster-knob; neck and handle-mounts engraved with foliage, beasts of
the chase and birds ; and foot cast with repeating panels of birds and bunches of fruit,
and enriched mouldings. Thumbpiece a winged mermaid. H. 10 in.
The mounts are by the same silversmith as those of the celebrated group of porcelain bowls
formerly at Burghley House.
See also Jug No. 130-1908 (24).
See S. W. Bushell, Chinese Art, 1909, vol. ii, p. 33 (and figs. 21-24 for the Burghley House
pieces).
{Plate I J.)

33
26. Ewer. Blue and white Chinese porcelain of the period of the Emperor
Wan-Li (1573-1619), mounted in silver, engraved, the foot cast in relief
with ornament from a repeating stamp. The mounts English. Maker's
mark, RP with an escallop.
Late i6th century.
Given by Louis C. G. Clarke, Esq. M.220-1916.
A porcelain biberon of a form made for the Persian market, the bulbous body painted with
horses, the head of a sceptre, and bunches of peony, the neck with palm-leaves. The mounts
include a curved handle engraved with arabesque foliage, domed lid, straight spout ending
In a wolf's head, and moulded foot decorated with leaves and fruit in low relief, all united
by moulded straps with hinge-joints. The lid has a moulded finial and floral thumbpiece,
and shuts on a scalloped lip-mount. The handle Is pricked with Initials B.S.H. H. 9.1 in.
From Bell Hall, Belbroughton, Worcestershire.
The stamp with which the foot is decorated occurs also on other English mounts of the
period (e.g., a porcelain bowl In the Swaythling Collection). A similar wolf's-head termina
tion to the spout occurs on a porcelain jug In private possession, the mounts of which bear
the London hall-mark for 1584, with the sarae maker's mark as the Burghley House pieces.
(See note on No. 25.)
{Plate 12.)
27. Standing Salt and Cover (The Mostyn Salt). Gilt; elaborately chased
and repousse; the cover surmounted by a vase (the finial wanting). Maker's
mark, T in a pearled border.
London hall-mark for 1586-7.
(Part of the Mostyn Hall Plate.) 146-1886.
Cylindrical; decoration of strapwork and cartouches with masks, fruit, birds, and beasts.
Domed cover. On three ball-and-claw feet. H. 16.2 in.
See note on No. 147-1886 (12).
{Plate I J.)
28, Cup. Gilt, with chased decoration. (No marks.)
About 1590. 550-1902.
Wine-glass shape. Decoration of strapwork enclosing conventional roses and a shield with
the initials W C A. H. 6.1 in.
From the Dunn-Gardner Collection.
29. "Bell" Salt and Cover. Gilt, with chased decoration. Maker's mark,
NR linked with four pellets.
London hall-mark for 1594-5.
(Part of the Stoke Prior Treasure.) 283-1893.
Bell-shaped. Decoration of strapwork enclosing flowers and foliage. In three sections bordered
by enriched mouldings, the bottom section resting on three ball-and-claw feet, the top one
surmounted by a pierced knob. Engraved with the crest of Fox, co. Hereford, and Initials
EAF. H. 9.2 In.
See note on No. 289-1893 (20).
{Plate 14.)
s (51)7801 ^

34
30. Bowl. Ten-sided ; walnut wood mounted in silver, cast in relief, originally
gilt. Maker's mark, IH.
London hall-mark for 1595-6. (The wooden bowl is modern, replacing one
of Chinese porcelain.) 163-1879.
Mounted with foot and rim decorated with enriched mouldings, united by five straps in the
form of female demi-figures. Diam. 12.5 in.
From the J. C. Robinson Collection.
31. "Bell" Salt and Cover. Gilt, with engraved decoration. Maker's mark
undecipherable. London hall-mark for 1596-7.
(Part of the Stoke Prior Treasure). 284-1893.
Decoration of broken lines and conventional leaves. On the top a ring-handle. H. 3.9 in.
See note on No. 289-1893 (20).
32. Jug. Rhenish stoneware with mottled glaze, mounted in chased silver.
The mounts English. Maker's mark only, DV.
About 1600. 214-1869.
The mounts Include lid, neck-band, and foot. Decoration of bunches of fruit, flowering
scrolls, and a shield with initials ILE. The foot cast in relief from repeating stamps.
The lid has a rayed button on the top, and Is hinged to a handle-mount finishing In a leaf.
Thumbpiece a winged mermaid. H. 12.1 in.
33. Cup. Gilt, with chased decoration. Maker's mark, WM in monogram.
London hall-mark for 1604-5. 551-1902.
Bowl with spreading mouth decorated round the lower part with vine-scrolls and guilloche;
baluster stem, and domed foot enriched with acanthus foliage. (The stem imperfect.) H. 9.4 in.
From the Dunn-Gardner Collection.
An outline drawing of the cup with the stem restored is given in Jackson, History of English
Plate, 1911, p. 700.
34. Casket (The Dyneley Casket). Alabaster, mounted in silver-gilt, cast
in low relief. Maker's mark, a trefoil slipped in a shaped shield.
About 1 610. (Fitted with four modern silver-mounted glass bottles.) 24-1865.
Cylindrical, with domed lid surmounted by a finial. Mounted in bands cast with repeating
roses and cartouches, on four ball-and-claw feet. H. 7.7 In.
Formerly the property of the Dyneleys of Bramhope Manor, co. York, and traditionally said to
have been given hy Henry Vllt to a member of the family with the assurance that so long as
It reraained In their possession there would not be wanting an heir male.
This and the serpentine tankard, No. 52-1912 (39), are by a maker whose work Is remarkable
for decoration in relief cast from repeating stamps. His mark appears with the London
hall-mark for 1623 on the mounting of an ostrich-egg cup In the Swaythling Collection.
{Plate 15.)

35
35, Coco-NUT Cup and Cover. Mounted in silver, repousse, chased, and
engraved. On the lip-mounts the arms of Denys, co. Devon, knd Vyell,
CO. Cornwall, with initials MD. (No marks.)
About 1610. 168-1865.
The mounts Include a domed foot decorated with cartouche-work and fruit; a baluster stem
engraved with leaves ; straps In the form of terminal figures rising from scroll brackets ; and a
lip-mount engraved with guilloche. The cover is mounted with a cutwork rim and surmounted
by a triangular finial. H. 15.4 in.
33, Standing Cup and Cover. Gilt; decorated with applied vine-scrolls alter
nating with bands of engraved hunting-scenes. Maker's mark, a scythe (?)
London hall-mark for 1611-12. 5964-1859.
Deep bowl, baluster stem, and domed foot. The cover Is surmounted by -i. vase of flowers.
H. 18.6 In.
"It was till lately In the possession of an ancient Lincolnshire family." (.See Arundel Socletyf
Chromolithographs of the principal objects of art in the South Kensington Museum, 1868-1870,
plate I.)
A standing cup by the same maker and of the same date, with similar applied decoration, was
In the Plomcr-Ward Collection, dispersed in 1914. It is now at Christ's College, Cambridge.
{See Country Life, xlvii, p. 348.) Another example (without marks), similarly decorated, but
with the bowl made of crystal, is the property of Tong Church, Shropshire. {.See Proceedings
of the Society of Antiquaries, 2nd Series, xvi, p. 162.)
{Plate 16.)
37. Cup. Embossed and chased. Maker's mark, w.
London hall-mark for 1617-18. (A baluster-stem wanting.) 232-1891.
Shallow bowl and spreading foot. Decoration of strapwork and conventional flowers, with
panels of diamond diaper on the bowl. Pricked with initials M*H. Inscribed In recent times
with a forraer owner's name "Matt"- H. Bloxam." H. 2.2 in.
38. Standing Cup. Engraved, with baluster stem. Inscribed "The guift of
William Loude 1617." Maker's mark, TE linked.
London hall-mark for 1617-18.
(Part of the Plate of the Court Leet of St. Andrew's, Holborn.)
Given by Tufnell Burchell, Esq. 141-1901.
Wine-glass shape. Decoration of strapwork and foliage with bunches of grapes. On the
under side of the foot "11 "^ 6 ''""". H. 9.1 in.
See also Nos. 142-igoi (40) and 808-1897 (79)-
{Plate 17.)
39. Tankard. Green serpentine marble mounted in silver, engraved and cast
in low relief. Maker's mark only, a trefoil slipped in a shaped shield.
About 1620.
Purchased under the Francis Reubell Bryan Bequest. m. 52-1912.
The mounts Include a hinged domed lid with finial; handle; spreading foot; a broad band at
the lip and a narrow band round the middle, enriched with cartouche-work, masks, fruit, and
flowers, cast frora repeating staraps. The lid engraved with foliage springing fro.m grotesque
heads and supporting cherub-heads. The thumbpiece is cast with a femah deml-figure,
H. 8.1 in.
By the same maker as the Dyneley Casket, No. 24-1865 (34),
{Plate 18.)

36
40. Standing Cup. Plain, with baluster stem. Pricked with the inscription :
"The gift of John Crane to the quest house ¦ w" lo oz 9 dw" ' 1621." Maker's
mark, RS with an anchor.
London hall-mark for 1623-4.
(Part of the Plate of the Court Leet of St. Andrew's, Holborn.)
Given by Tufnell Burchell, Esq. 142-1901.
Wine-glass shape. H. 9.4 in.
See also Nos. 141-1901 (38) and 808-1897 (79).
{Plate 17.)
41, Cup. The body formed of the rind of a gourd decorated with a border
inlaid with green lacquer. Inscribed at a later date "Ex dono Roberti
Sparham 1659."
First half of 17th century. 175-1898.
Mounted with bands (one bearing a shield of arms, a chevron between 3 crosses crosslet) ou
three claw-legs and a ring foot, the latter cast with a repeating pattern In low relief
H. 7.5 In.
42. Flagon. Green serpentine marble mounted in silver-gilt. Maker's mark)
WR with an arch.
About 1630.
Given by Sir Charles J. Jackson, F.S.A. m. 92-1914.
Cylindrical, expanding towards the foot. The mounts, engraved with line-borders, include a
flat lid with scroll-form thumbpiece, handle attached to the lip-mount and to a band encircling
the body, and spreading foot. H. 8.4 In.
The same maker's mark is found on a dish with London hall-mark for 163 1-2, in private
possession. (See Jackson, English Goldsmiths and their Marks, 1905, p. 118.)
{Plate 19.)

43. Sweetmeat Dish. Circular, with scalloped edge and shell handles ; em
bossed. Made by W. Maundy.
London hall-mark for 1633-4. m. 561-1911.
Decoration of flowers in radiating compartments, surrounding a central group of seeded orna
ments, and a shield pricked with the initials ALI. Diam. 6.6 in.
From the Tipping Collection.
{Plate 20.)
44. Cup. Plain, with baluster stem. Maker's mark, IG with a covered cup (!').
London hall-mark for 1637-8.
(Part of the Stoke Prior Treasure.) 286-1893.
Wine-glass shape. H. 6.2 in.
See note on No. 289-1893 (20).

37
45, Cup. Plain, with baluster stem. Maker's mark, WC with a heart.
London hall-mark for 1637-8.
(Part of the Stoke Prior Treasure.) 287-1893.
Wine-glass shape. H. 6.6 in.
See note on No. 289-1893 (20)
46. Cup. Plain, with baluster stem. Maker's mark, RG with a heart.
London halL-mark for 1637-8.
(Part of the Stoke Prior Treasure.) 288-1893.
Wine-glass shape. Pricked with a crest of Fox. H. 5.2 In.
See note on 289-1893 (20).
{Plate 21.)
47, Bleeding-bowl. Plain, with pierced handle. Maker's mark, GC with a
mullet (.?).
London hall-mark for 1638-9. 113-1864.
Handle trefoil-shaped. Diam. 3.3 in.
48, Salt-cellar (" Trencher Salt"). Plain, circular. Maker's mark, HB
linked, with a mullet (.?).
London hall-mark for 1639-40.
(Part of the Stoke Prior Treasure.) 285-1893.
Concave side. Diam. 2.5 in.
See note on No. 289-1893 (20).
49. Sweetmeat Dish. Circular, embossed. (No marks.)
Middle of 17th century. (Two handles wanting.) 729-1904.
Decoration of a large rosette surrounded by conventional flowers In radiating compartments.
Engraved with the arms and crest of May (a lady's shield). On the back the initials E A I A M.
Diam. 7.9 in.
50, Beaker. Engraved with strapwork and foliage. Maker's mark, E'Twith
a crescent.
London hall-mark for 1653-4.
Bequeathed by the Rev. John Evelyn Stacye. 904-1905.
Moulded base. Inscribed on the bottom T*S. H. 3.7 in.
{Plate 21.)
51, Caudle-cup and Cover. Chased and repousse, with cast handles. Maker's
mark, SA in monogram with a mullet.
London hall-mark for 1658-9. 52-1865.
Decoration of tulips; handles In form of female terminal figures; baluster knob on cover.
H. S.6 in.
{Plate 22,)

38
52, Caudle-cup and Cover. Gilt; chased and repousse, with cast handles;
the button of the cover engraved with the arms of Stoteville (.''). Maker's
mark, GS with a shepherd's crook.
London hall-mark for 1660-1. 7242-1861.
Decorated with tulips and other flowers; the arms enclosed in feather mantling; handles in the
form of female terminal figures. H. 6.1 In.
{Plate 22.)

53, Sweetmeat Dish. Circular, embossed. Maker's mark, HN with a dove
and olive-branch (.?).
London hall-mark for 1662-3. 409-1907.
Decoration of a rosette surrounded by a band of conventional flowers. With two wire handles.
Pricked with initials I W E. Diam. 3.4 in.

54. Standing Salt (The Moody Salt). Square, chased, and repousse, surmounted
by four scrolls to support a napkin. Maker's mark, WH with a cherub's
head.
London hall-mark for 1664-5.
Purchased under the Francis Reubell Bryan Bequest. m. 347-191 2.
Contracted in the middle; decorated with acanthus foliage; on four shell-feet. Pricked with
initials VAM. H. 7.4 in.
Formerly the property of the Moody family.
{Plate 23.)

55, Salver on Foot. Circular, chased and repousse ; the centre engraved with
the arms of Rokeby impaling Danby. Maker's mark, D'R with two stars.
London hall-mark for 1664-5. 549~i874.
On lhe border, animals and a running spray of flowers and leaves; the arms are enclosed In
feather mantling. Trumpet-shaped foot. Diam. 14.5 In.
From the Bond Collection.
{Plate 24.)

56. Cup and Cover. Partly gilt; C3'lindrical, cased in openwork, chased and
repousse; two-handled. Maker's mark, CG in monogram, with the sun.
London hall-mark for 1669-70. 290-1854.
Openwork of acanthus foliage with an eagle and a peacock. Moulded finial rising from a flower
on the cover; scroll handles. On three ball-and-claw feet. H. 7.1 In.
(Plate 25.)

39
57, Tea-pot. Tapering shape, with conical lid. Engraved with the arms of
the East India Company and of George, Lord Berkeley, recorded by an
inscription as having presented it to the Company in 1670. Maker's mark,
X J_t>
London hall-mark for 1670-1. 02641.
Bowed handle ending below In a shield, covered with leather In later times. Short straight
spout at right angles to the handle. The Inscription reads : — "This Siluer tea-Pott was
presented to y* Com"° of y" East India Cumpany by y' Right Hono"" George Lord Berkeley
of Berkeley Castle A member of that Honourable & worthy Society and A true Hearty Louer
of them 1670." H. 13.5 in.
This is the earliest known example of an English tea-pot in silver. The shape suggests that it
was also used for coflFee.
(Plate 26.)
58. Tankard. Chased with decoration in the Chinese style ; flat lid. Engraved
with arms and crest of Gibbons. Maker's mark, RH with a cinquefoil (on
body), DC with a rose (on lid).
London hall-mark for 1670-1 (body), 1671-2 (lid). 36-1865.
Decoration of figures, a fountain, palm-trees, and birds. Foliated mantling to the coat of arms.
Double knob thumbpiece. H. 6 in.
59. Porringer. Chased with birds and foliage. (Marks obliterated.)
Second half of 17th century. m. 335-1910
Shallow, with scroll handles. On one side the initials MP. H. 2.2 in.
60, Tankard. Plain, with flat lid. Engraved with the arms of Eyre impaling
Pakington, in a lady's shield. Maker's mark, OS with a trefoil and three
pellets.
London hall-mark for 1673-4.
Bequeathed by the Rev. John Evelyn Stacye. 905-1905.
Double knob thumbpiece ; narrow moulded base. H. 6.5 In.
The arms, enclosed In feather mantling, are no doubt those of Mrs. Anthony Eyre, elder
daughter of Sir John Pakington and his wife Dorothv (d. 1679), the reputed author of "The
Whole Duty of Man."
(Plate 27.)
61. Garniture for the decoration of a cabinet or chimney-piece. A Vase with
cover and a pair of covered Flasks. Gilt; chased and repousse with foHage
and fruit. Maker's marks : WW with a fleur-de-lys and two pellets (on vase),
AM in monogram, crowned (on flasks).
London hall-mark for 1675-6.
Given by Harvey Hadden, Esq. M.46 to 46^-1914.
The vase of Chinese form, tapering downwards from the shoulder, with domed cover sur
mounted by a melon-shaped knob. The flasks pear-shaped, hammered with gadroons round
the lower part, and standing on a foot bound with a spiral fillet; gadrooned covers. H., vase
14.2 In., flasks 13.4 In.
From the Ashburnham Collection.
(Plate 28.)

40
62. Porringer and Cover. Chased and repousse with acanthus foliage; the
handles cast. Maker's mark, KS with two mullets.
London hall-mark for 1676-7. 51-1865.
Decoration of a band of vertical leaves round the lower part of the body, and a rosette of
twisted foliage on the cover. Knob of cover formed as a melon surrounded by leaves. Handles
of scroll form modelled with terminal figures. H. 6.8 In.
(Plate 29.)
63, Snuffers and Tray. The tray shaped to fit the snuffers. Maker's mark,
WS with rosettes and annulets (on tray), IC with a tower (on snuffers).
London hall-mark for 1677-8 (on tray only). 151, 151^-1870.
The tray has a leaf-shaped handle and three knob feet; the snuffers have oval handles and box
with Incurved corners. Both engraved with the cypher ID between palm-branches. L.
tray 9.9 in., snuffers 6.9 in.

64, Bleeding-bowl. Plain, with cast openwork handle. Maker's mark, WS
with a rose.
London hall-mark for 1677-8. 111-1864.
Handle of trefoil form enclosing a shield. Under the handle the initials AH. Diam. 5.4 in.
65. Tankard. Plain, with flat lid. Maker's mark, DG with two fleurs-de-lys.
London hall-mark for 1680-1.
Bequeathed by George Mitchell, Esq. 287-1878.
Double scroll thumbpiece. Moulded base. On the handle the Initials IC, and remains of others
obliterated. H. 6 in.

66, Coffee-pot. Tapering shape, with conical lid. Inscribed: — "The Guift of
Richard Sterne Eq' to y° Honorable East-India-Comp"" :" with the arms of
Sterne. Maker's mark, G G(.'' George Garthorne).
London hall-mark for 1681-2. 02640.
Scroll handle, covered with leather in later times. Straight spout opposite the handle. The
arms are enclosed in feather mantling. This is the earliest known example of an English
silver coffee-pot. H. 9.7 in.
See note on No. 02641 (57).
(Plate 26.)
67, Snuffers and Tray-. The tray oblong, with pierced handle. Maker's
mark, PK with a star (on tray), BW with scrolls (on snuffers).
London hall-mark for 1682-3 (on tray only). 115, 115^-1864.
The tray has a moulded rim and four scroll feet. The snuffers have circular handles and box
with incurved corners, and are inscribed with the Initials ISE. L., tray 9 in., snuffers 7.2 in.

41
68, Pair of Candlesticks. Fluted columns rising from square plainly moulded
feet. Maker's mark, RM in monogram (.'' Richard Morrell).
London hall-mark for 1682-3. M.562, 562(2-1911.
The columns are round, cabled in the lower part of their fluting, with square plinth and abacus.
Engraved with an heraldic crest, a lion's gamb erased holding an acorn. H. 7.1 in.
(Plate 30.)

69. Toilet Service (The Calverley Service). Chased and repousse, with panels
of figure-subjects of classical deities cast in relief . It comprises mirror-frame,
pair of salvers on feet, pair of oblong caskets (one wanting), two pairs of
round. boxes, a pair of two-handled covered bowls, a pair of small covered
vases, and a pincushion. Maker's mark, WF with a knot and cinquefoil.
London hall-mark for 1683-4.
Bequeathed by Sir Walter Calverley Trevelyan, Bart. 240 to 240W-1879.
Decoration of acanthus foliage, Interspersed on the mirror-frame and caskets with figures of
boys, and on the pincushion with masks and fruit. The cast panels of figure-subjects are
inserted In the cresting of the mirror-frame, the centres of the salvers, and the covers of the
caskets, boxes, and bowls. Mirror-frame, H. 20.3 in.
(Sir George Trevelyan, 3rd baronet, married In 1733 Julia, only daughter of Sir Walter
Calverley, Bart., of Calverley, co. York.)
(Plates 31, 32.)

70, Toilet Box. Oval, chased with ornament in the Chinese style. Maker's
mark, I S in monogram in a pearled border (^. John Sutton).
London hall-mark for 1683-4. 53-1865.
With hinged lid, hasp, snake-handle, and four scroll feet. Decoration of a seated figure, a
pagoda, birds, and trees. On the bottom the pricked initials S S A. L. 8.4 in.
(Plate 33.)

71, Porringer. Engraved with the arms of Pengelly impaling Baines. Maker's
mark, IR(.') in monogram.
London hall-mark for 1683-4.
Bequeathed by the Rev. T. W. Webb. 238-1885.
Reeded scroll handles ; rounded bottom without foot. Formerly the property of Sir Thomas
Pengelly, Chief Baron of the Exchequer 1726-1730. The arms are enclosed In richly foliated
mantling. On the bottom the initial P. H. 3.8 in.
(Plate 30.)

42
72. Porringer and Cover. Chased and repousse with acanthus foliage; the
handles cast. Maker's mark, OS (on body), TM in monogram (on cover).
London hall-mark for 1683-4 (body), 1679-80 (cover). 556-1874.
Decoration of a band of vertical leaves round the lower part of the body, and a rosette of
twisted foliage on the cover. Knob of cover formed as a flower In a nest of leaves. Handles
of scroll form bearing female heads. On one side feather mantling is engraved to enclose
a coat of arms, now obliterated. The inside gilt. H. 6.4 in.
Frora the Bond Collection.

73. Bleeding-bowl. Repousse with a rose ; cast openwork handle. Maker's
mark, ID crowned.
London hall-mark for 1684-5. 469-1864.
Handle of scrollwork. Inscribed "Ex dono Anna; Aris Virg: Chariss : sorori Eliz: Eston
1686." Diam. 5.2 in.

74, Tankard. Plain, with flattened dome lid. Marks, Catherine-wheel, M : B.
Probably of Yorkshire make.
Late 17th century. 124-1908.
Double scroll thumbpiece. Moulded base. H. 6.4 in.

75. Caster. Cylindrical, banded with mouldings, with pierced cover (the finial
wanting). Maker's mark, HE linked, crowned.
London hall-mark for 1689-90. 551-1874.
On the bottom the initials W B E. On the side, a rococo cartouche with a coat of arms
(Bethell Irapaling Alwyn i) and crest, added later. H. 5.9 in.
From the Bond Collection.

76, Bleeding-bowl. Plain, with cast openwork handle. Maker's mark, 1 1
with a mullet(?). (No hall-mark.)
About 1690. 112-1864.
Handle of scrollwork, inscribed with initials ISE. Diam. 4.3 in.

77, Caster. Cylindrical, the cover pierced with vases of flowers and sur
mounted by a finial with openwork rosette. Maker's mark, LB crowned, with
two ermine-spots.
London hall-mark for 1692-3.
Given by Mr. and Mrs. W. W. Simpson through the National Art-Collections
Fund. M.147-1913.
Banded with mouldings; gadrooned base to body and cover. On the side an heraldic crest (a
deml-lion holding an escallop) with foliated mantling. H. 6.1 in.
(Plate 34.)

43
78, Mug. Hammered with twisted fluting and gadrooning. Maker's mark,
SL in monogram.
London hall-mark for 1693-4.
Bequeathed by the Rev. John Evelyn Stacye. 906-1905.
Banded with horizontal groovlngs above ; moulded base and lip ; fluted handle. On the front
the Initials C P I. H. 3.5 in.
79, Mace of the Court Leet of St. Andrew's, Holborn. Partly gilt. On
the head, an applied figure of St. Andrew, and inscriptions recording the pieces
of plate contributed to make the mace. Surmounted by a crown enclosing
the royal arms of William III. Made by Benjamin Pyne.
London hall-mark for 1694-5.
Given by William Burchell, Esq. 808-1897.
Plain shaft with bowl-shaped toot-knop terminating in an acorn, and four brackets of scrolls
and demi-figures under the head. Inscribed as follows: — On the head: "Mr: Richard Cade
Foreman of the Inquest l6i2 gaue one Boule Weighing 8 oz. Mr: William Penington Fore
man i6i6 gaue one Boule Weighing 8 oz. Mr John Roberts Foreman 1618 gaue one Boule
Weighing 9 oz. Mr: Robert Jones Foreman 1619 gaue one Boule Weighing 8 oz J^. Mr:
William Chester Foreman 1620 gaue one Cup one Salt Weighing 10 oz. Mr : John Scott Cooke
gaue one Wine Cup Weighing 4. Mr: George Read Foreman 1630 gaue a Salt & Cover
Weighing 23 oz. Mr William Jolly Foreman 1667 gaue one Mace Weighing ro 31"=: All
the aboue named Plate being put into this Mace for the Vfe of y" Inquest of St : Andrews
Holborne Aboue Barrs. This Mace was Guilt & a New Case made for it. At the Charge of
Cap'' Francis Parr then Foreman of y° Court-leet in the Year 1706." On the shaft: "This
Mace was Regilt & repair'd 1823. John Chappell, Foreman." On the foot-knop : "Cap:
Francis Parr gaue foure pound six Shillings, towards y' Makeing this Mace 1695. Mr. Richard
Davison gaue foure pound six Shillings, towards y' Makeing this Mace 1695. This Mace
Weighs : 86 oz. Mr. Henry Panton : Foreman 1695." L. 42.7 In.
See also No. 141-1901 (38) and 142-1901 (40).
80, Snuffers and Stand. Upright, with octagonal foot and gadrooned borders.
Maker's mark, TB with a crescent.
London hall-mark for 1695-6. 385, 38512-1871.
The stand has a baluster stem, scroll handle, and a socket for a pick-wick (wanting). Snuffers
with round handles and scroll stems. H. 7 in.
(Plate 34.)
81, Salt-cellar. Circular, hammered and chased. Maker's mark, ET with
two pellets.
London hall-mark for 1695-6.
Given by Mr. and Mrs. W. W. Simpson through the National Art-Collections
Fund. M. 182-1913.
Pedestal shape, with a corded moulding above and below, and a stamped border of acorns and
leaves round the side. Inscribed with initials KB R M. H. 2.5 In.
(Plate 35.)
82. Bleeding-bowl. Plain, with cast openwork handle. Made by Wm. Keatt.
London hall-mark for 1698-9.
Given by Mr. and Mrs. W. W. Simpson through the National Art-Collections
Fund. M.183-1913.
Handle of scrollwork, engraved with the cypher I B. Diam. 5.3 in.

44
83. Porringer. Hammered with twisted fluting and gadrooning. Made by
Joseph Stokes.
London hall-mark for 1699-1700. M.483-1911.
Above, a corded moulding; stamped borders of acorns and flowers; scroll handles. On the
bottom the initials W L M. H. 3.1 In.

84, Ewer. Gilt; helmet-shaped, with cast details and "cut-card" work
applied. On the front a coat of arms engraved in a cartouche. Made by
David Willaume.
London hall-mark for 1700-1.
Given (Bond Collection). 822-1890.
The lower part of the body decorated with leaves and a band of shells and strapwork ; the upper
part with a corded moulding and a mask. Handle in the form of a double-tailed mermaid
(crushed); foot moulded and gadrooned. -The arms: Ermine, on a fess three towers
(?HIggins, CO. York). H. 8.1 in.

(Plate 35.)

85, Tankard. Hammered with twisted fluting and gadrooning. Made by
John Downes.
London hall-mark for 1701-2.
Bequeathed by the Rev. John Evelyn Stacye. 907-1905.
Above, a corded moulding, and in front a foliated cartouche enclosing a coat of arms (Azure,
5 bars engrailed or, over all a fleur-de-lys). Stamped and chased borders. Domed lid;
double scroll thumbpiece. On the handle the initials I AM. H. 6.9 in.

86, Tankard. Plain, with domed lid. Made by John Sutton.
London hall-mark for 1702-3. 286-1878.
Bequeathed by George Mitchell, Esq.
Double scroll thumbpiece; moulded base. The inside gilt. H. 6.2 in.
(Plate 36.)

87, Pair of Sconces. The plaques repousse, pierced, and chased. Made by
John Rand.
London hall-mark for 1703-4.
Given (Bond Collection). 816, 816^-1890.
The plaque of each in the form of a cartouche decorated with birds' heads and flowers, and
surmounted by cupids supporting a flaming urn. Scroll branch; circular grease-pan with
gadrooned edge. Engraved with the arms of Sebright (a later addition). Plaque, H. 8.1 in.
(Plate 37.)

45
88. Porringer. Hammered with twisted fluting and gadrooning ; on the front
a cartouche with inscription " The Company of Porters." Made by John
Sutton.
London hall-mark for 1705-6. 3635-1856.
Above, a corded moulding; stamped borders of acorns and flowers; scroll handles. H. 4.5 in.
(Plate 36.)
89, Porringer. Plain, with scroll handles. Made by Stocker and Peacock in
the Strand.
London hall-mark for 1706-7.
Given by R. A. Kirby, Esq. m. 39-1910.
The Inside gilt. On the front the initials I S F ; on the bottora C F. On the back, two coats
of arms with crests and mottoes, and the inscription "From ann m. faugoin. Daughter -of
FELIX faugoin esq^° to her Nephetv james highett esq""*" (all added later). H. 4.2 in.
90, Porringer. Hammered with twisted fluting and gadrooning ; on the front
a cartouche. Made by Seth Lofthouse.
London hall-mark for 1711-12.
Given by Alice Prowde Ellis. m. 44-1915.
Decorated with a corded moulding and stamped bordeis of leaves. The cartouche Inscribed
with the Initial B. Gadrooned foot; scroll handles. H. 5.1 in.

91. Caster. Octagonal ; plain, with pierced cover. Made by John Wisdom.
London hall-mark for 1713-14. 410-1907.
The cover pierced with floral patterns and surmounted by an octagonal finial. H. 6.3 in.

92, Bell. Gilt ; plain. From the canopy borne by the Barons of the Cinque
Ports at the Coronation of King George I. Made by Francis Garthorne.
London hall-mark for 1714-15.
Bequeathed by Sarah Countess of Waldegrave. 495-1873.
Inscribed inside "george 2"*° 1727." The handle pierced with a semicircular opening.
H. 2.8 in.
Lady Waldegrave's first husband, Mr. E. Milward, was a Baron of the Cinque Ports.
See also Nos. 496, 497-1873 (123, 184).
225. Coffee-pot. Plain, with domed lid. Made by Thomas Folkingham.
London hall-mark for 1715-16.
Given by Colonel F. R. Waldo-Sibthorp. 1883-1898.
Tapering body with moulded base; straight spout; turned finial on lid. Wooden handle
(renewed). H. 6.2 In.

46
93, Tea-pot. Octagonal; plain, with domed lid. Makers' marks of Jonathan
Lambe and Thomas Tearle.
London hall-mark for 1718-19.
Given by Mr. and Mrs. W. W. Simpson through the National Art-
Collections Fund. M.166-1914.
Bulbous body and moulded foot; curved spout. Wooden handle (renewed). H. 6.6 In.
(Plate 38.)

226, Pair of Candlesticks. Cast; hexagonal, with baluster stem. Made by
David Green.
London hall-mark for 1718-19.
Given by Colonel F. R. Waldo-Sibthorp. 1874, 1874^-1898.
Banded with mouldings. Engraved with the crests of Sibthorp and Waldo (modern addi
tions). H. 6 in.
(Plate 39.)
94 Taper-stick. Cast; hexagonal, with baluster stem. Made by Hezekiah
Mountfort.London hall-mark for 1718-19. 141-1907.
Banded with mouldings. Underneath the foot, the pricked initials ISM. H. 4.9 in.
(Plate 43.)

95, Bowl. Chased and engraved ; the side divided by radiating ribs into four
teen scallops. In the centre a coat of arms (Parsons impaling another),
added about the middle of the 18th century. Made by Isaac Liger.
London hall-mark for 1719-20. m. 501-1911.
Decorated with a border of trellls-work, foliage, and shells, delicately chased and engraved',
and shells at the junctions of the scallops. Diam. 8.3 in.
From the Tipping Collection.
(Plate 40.)
96, Two-handled Cup and Cover. Urn-shaped; plain, with "harp" handles.
Engraved with the arms of Owen impaling Craven (.?), in a foliated cartouche.
Made by Richard Bayley.
London hall-mark for 1719-20. m. 348-1912.
Banded with mouldings; cover finishing In a turned knob. On the cover the crest of Owen.
H. 10.3 in.
(Plate _4i.)

47
97. Coffee-pot. Octagonal ; engraved with a cypher of the inidals M H in a
foliated cartouche, and an heraldic crest added later. Made by Samuel
Wastell. London hall-mark for 1720-1.
Given by Sir John F. Rotton, K.C., through the National Art-Collections
Fund. M. 154-1915.
Tapering body with moulded base; doraed lid with eight-sided finial; curved spout; wooden
handle. Crest : — A sinister arm vested holding a bow, the whole between two wings. H. 10 in.
(Plate 42.)
98. Jug. Bulbous body engraved with a coat of arms (Wright impaling another)
in a cartouche. Made by Simon Pantin.
London hall-mark for 1721-2.
Given by Donald Gunn, Esq. m. 94-1914.
Moulded foot, scroll handle. A small spout has been haramered in the lip. H. 7.8 In.
99, Waiter. Square, with rounded corners ; engraved with a cypher of the
initials M H in a foliated cartouche, and an heraldic crest added later. Made
by John Tuite.
London hall-mark for 1727-8.
Given by Sir John F. Rotton, K.C., through the National Art-Collections
Fund. M. 155-1915.
Moulded edge; on four feet. Crest: — A sinister arm vested holding a bow, the whole between
two wings. W. 6.1 in.
(Plate 39.)
100, Spice-box. Octagonal, on four claw-feet. Engraved with the royal cypher
G R within the Garter, crowned. Maker's mark, AT with sun and escallop.
London hall-mark for 1728-9.
Given by Mr. and Mrs. W. W. Simpson through the National Art-
Collections Fund. M.181-1913.
Sarcophagus-shaped, with two lids hinged in the middle, and central compartment enclosing
a steel nutmeg-grater, with cover. Enriched with plain mouldings. The Inside gilt. L. 4.7 in.
(Plate 38.)
101, Set of four Salt-cellars. Gilt inside; the feet cast and chased, the
bowls decorated with applied leaves. Made by Louis Cuny.
London hall-mark for 1728-9.
Bequeathed by Sir Edgar R. S. Sebright, Bart. M.13 to I3(r-I9i8.
Circular, with moulded necking; the bowl decorated with eight vertical leaves, the foot with
an ogee moulding enriched with foliage. Engraved with the crest of Sebright. Diam. 3.55 in.
(Plate 43.)

48
102. Caster. Cylindrical, with pierced cover. Made by John Smith.
London hall-mark for 1730-1. 32-1884.
Moulded base and rim of cover. H. 3 In.

103. Set of four Salt-cellars. Gilt inside; the feet cast and chased, the bowls
decorated with applied leaves. Made by Paul Crespin.
London hall-mark for 1 730-1.
Bequeathed by Sir Edgar R. S. Sebright, Bart. M.14 to 14(7-1918.
Circular, the necking enriched with flowers ; the bowl decorated with twelve vertical leaves,
the foot with an ogee moulding enriched with foliage. Engraved with the crest of Sebright.
Diam. 3.35 to 3.4 In.
(Plate 43.)

104, Salver. Square; chased and engraved, with shaped rim. Made by Henry
Herbert. London hall-mark for 1733-4.
Given (Bond Collection). 837-1890.
Decoration of a rococo border with filling of trellis-work and shells, and angle-medallions
containing male and female busts ; In the centre a cartouche. Moulded rim,, cast and chased
with leaf and shell ornaments; four claw feet. W. 13.8 In.
(Plate 44.)

105, Two-handled Cup and Cover. Urn-shaped, with applied straps of scroll
work and foliage in relief, and details cast and chased. Made by Edward
Vincent.
London hall-mark for 1736-7.
Given (Bond Collection). 819-1890.
Domed cover finishing in a moulded knob. Handles of double-scroll form. H. 12.3 in.
The style of decoration borrowed from French work of the early i8th century.
(Plate 45.)

106, Badge. Cast and chased ; in the centre an oval medallion with a gilt anchor,
entwined with a cable, in relief on a painted red ground. Formerly worn on
the full-dress livery of the crew of the Admiralty barge. Madeby Wm. Lukin.
London hall-mark for 1 73 6-7.
Given by the Lords Commissioners of the Admiralty. 8879-1863.
Shaped border of dolphins, shells, and trophies. In high relief. On the back, loops for attach
ment. Inscribed "N° 16." H. 10 in.

49
107. Centrepiece for a Table. (The Newdegate Centrepiece.) An oval bowl
on four feet, surmounted by a dish and surrounded by four trays on branches.
Engraved with the arms of Newdegate impaling Conyers. Made by Paul
Lamerie. London hall-mark for 1743-4.
Purchased with the assistance of donations from the Worshipful Company
of Goldsmiths, the National Art-Collections Fund, Sir Otto Beit,
G. C. Bower, Esq., Louis C. G. Clarke, Esq., Sir John F. Ramsden, Bart.,
and A. S. Marsden Smedley, Esq. m. 149-1919.
It consists of a bowl decorated with landscapes, cherub-heads, flowers, and cartouche-work,
raised on an oval base with four feet bearing lion-masks, and supporting an oval dish with
shaped edge. Four curved branches springing from the feet carry four shaped circular trays
arranged round the central bowl. The borders of the dish and trays are richly decorated
with flowers, shells, and scrollwork, cast and chased In high relief, with inner borders of
flowers and rococo scrolls in flat chasing. The trays are supplied with feet to serve as waiters,
and four studs with scrollwork heads are provided to fill the sockets for the branches when
the trays are removed. Inside the bowl Is the inscription, " The Gift of y° R' Hon''''^ Sophia
Baroness Lempster to S' Roger & Lady Newdigate, A:D: 1743." In this year Sir Roger
Newdegate married Sophia Conyers, a grand-daughter of Lord Lempster, and the dish and
trays are engraved with the arms of the families' impaled, within floral cartouches. H. 9.8 In.,
L. 21 in., W. 20 In.
(Plate 46.)

108. Set of three Tea-caddies. Vase-shaped; one large and two smaller;
chased and repousse with leaves. Maker's mark obliterated.
London hall-mark for 1747-8.
(From the Bond Collection, No. 841-1890 given.) 504,504^-1875; 841-1890.
Gadrooned edges; the covers surmounted by cast bunches of fruit and leaves, and fiowers and
leaves. H. 5.8 in. and 7.2 in.

109. Coffee-pot. Chased and repousse with rococo scrolls and flowers. Made
by Thomas Whipham.
London hall-mark for 1748-9.
Given (Bond Collection). 827-1890.
Tapering body; curved spout; lid surmounted by a knob of fruit; wooden handle. Engraved
with the arms of Keppel Impaling others, with crest and motto (all a modern addition).
H. 9.5 In.
110. Pair of Salt-cellars. Plain, on three feet. Made by David Hennell.
London hall-mark for 1749-50.
Bequeathed by the Rev. John Evelyn Stacye. 915, 9i5a-i905.
Circular, bowl shape. Diam. 2.7 in.
s (51)7801 ^

5°
111, Pair of Sauce-boats. Plain, with scroll handle. Maker's mark, ...K.
London hall-mark for 1750-1.
Given by the National Art-Collections Fund from the bequest of W. W.
Simpson, Esq. M.171, 171^-1917.
Three shell-feet with attachment of twisted fluting; shaped edge. Engraved with a crest, a
plover with a branch In Its beak. L. 7 in.
112. Pair of Sauce-boats. Plain, with scroll handle. Engraved with the crest
of Stacye. Maker's mark, BE (?).
London hall-mark for 175 1-2.
Bequeathed by the Rev. John Evelyn Stacye. 913, 913^-1905.
Wide and shallow; shaped edge; three curved feet with shell attachments. L. 6.75 in.
113. Pair of Waiters. Shaped circular rim; the centre engraved with the arms
of Stacye in a rococo cartouche. Made by Dorothy Mills.
London hall-mark for 1752-3.
Bequeathed by the Rev. John Evelyn Stacye. 916, 916^-1905.
Rim enriched with scrollwork and shell ornaments applied ; three scroll feet. Diam. 7 in.
1 14, Tea-kettle, with Stand and Lamp. Chased and repousse with rococo
scrollwork and flowers ; the stand decorated with cast openwork. Engraved
with the arms of Stacye in a rococo cartouche. Made by Wm. Grundy.
London hall-mark for 1753—4.
Bequeathed by the Rev. John Evelyn Stacye. 918-1905.
Body contracted below; swing handle with scroll sides and ivory grip; knob of lid In form of a
bunch of fruit. Stand with three scroll legs on shell feet. H. 13.8 in.
115. Coffee-pot. Plain, engraved with the arms of Stacye in a rococo cartouche.
Maker's mark undecipherable.
London hall-mark for 1753-4.
Bequeathed by the Rev. John Evelyn Stacye. 919-1905.
Pear-shaped body; fluted spout ending In a dolphin-head ; moulded foot, lid, and finial ; wooden
handle. H. 9.7 in.
(Plate 47.)
116, Set of three Tea-caddies. One large and two smaller; vase-shaped,
repousse with vertical gadrooning ; the handles cast. Made by Daniel Piers.
London hall-mark for 1753-4. 561, 561a, 562-1874.
Four scroll handles springing from shell ornaments applied round the shoulder; gadrooned
edges; covers surmounted by flame-like finials. H. 7.3 In. and 8.9 In.
From the Bond Collection,
(Plate 48.)

51
117, Salver. Shaped circular rim ; the centre engraved with the arms of Stacye
in a rococo cartouche. Made by Wm. Peaston.
London hall-mark for 1753-4.
Bequeathed by the Rev. John Evelyn Stacye. 917-1905.
Rim enriched with scrollwork and shell ornaraents applied; three scroll feet. Diam. 12.5 In.
(Plate 49.)

118, Inkstand. Shaped oblong tray with vessels for ink and sand, and a third
socket for a bell (wanting). Engraved with the crest of Dunn with a
bishop's mitre. Made by Wm. Grundy.
London hall-mark for 1754-5.
Given by the Rev. R. Brooke. 901-1864.
Rim enriched with a moulding and shell ornaments applied ; four scroll feet. L. 10.7 In.

227. Sweetmeat-basket. Pierced, and decorated with an applied border of
flowers and scrollwork cast and chased. Made by S. Herbert and Co. of
Foster Lane.
London hall-mark for 1755-6.
Murray Bequest. M.io79-iqio.
Oval, with swing handle and four rococo feet. L. 5.8 In.

119. Mug. Plain, with scroll handle. Made by Samuel Wood.
London hall-mark for 1755-6. m. 46-1909.
Bulging body, the Inside gilt; moulded foot. On the front the initials G C C. H. 5.1 in.

120, Mug. Engraved with a pastoral scene, and in front with the arms of Cock
and a pictorial shield. Made by W. Shaw and W. Priest.
London hall-mark for 1757-8.
Given by Captain C. D. Rotch. m. 18-1918.
Moulded foot; swelling body; scroll handle. H. 5.6 In.

121, Salver. Shaped circular rim; the centre engraved with the arms of Strode
impaling Parker, in a rococo cartouche. Made by Richard Rugg.
London hall-mark for 1759-60. 869-1901.
Rim enriched with gadrooned edge and shell ornaments applied; three claw feet. Diam.
13.S in.

52
122. Pair of Candlesticks. Baluster stem and shaped square base; cast and
chased. Made by Hyatt and Semore in St. Martin's-le-Grand.
London hall-mark for 1759-60.
Given (Bond Collection). 815, 8i5ffl-i890.
Decoration of mouldings and shell ornaments ; corded edges ; shaped square nozzle. H. 10.5 in.
(Plate 50.)
123. Bell. Gilt; chased with leaves and flowers. Froni the canopy borne by
the barons of the Cinque Ports at the Coronation of King George III. Made
by John Swift.
London hall-mark for 1761-2.
Bequeathed by Sarah Countess of Waldegrave. 496-1873.
Inscribed inside "george 3""^ 1760." Ring handle at the top. H. 3.1 in..
See also Nos. 495, 497-1873 (92, 184).
124, Coffee-pot. Chased and repousse with flowers, flutings, and rococo
decoration ; the foot and spout cast and chased. Made by Wm. Tuite.
London hall-mark for 1762-3. 494-1875.
Pear-shaped body; lid surmounted by a rococo finial; wooden handle. On one side a cartouche
for a coat of arms. H. 18.2 in.
From the Bond Collection.
125, Pair of Candlesticks. Baluster stem and square base; cast and chased.
Maker's mark, H*I or I*H (John Horsley.?).
London hall-mark for 1762-3. 892, 892^-1892.
Decoration of gadrooning and twisted fluting; stepped base; square nozzle. Engraved with
an heraldic crest (out of a ducal coronet, upon the capital of a pillar, an eagle on the nest?), a
modern addition. H. 9.9 In.
(Plate 50.)
126. Tea-caddy. A vase with pear-shaped body, chased and repousse, and
scrollwork handles. Maker's mark, A"S.
London hall-mark for 1762-3.
Given (Bond Collection). 818-1890.
Decoration of gadroons, undulating ornament, and bosses. The handles spring from scrolls
and leaf-ornaments applied to the shoulder; domed cover with flame-like finial. H. 8.2 In.
127. Pair of Candlesticks. A Corinthian column on a square base decorated
with flowers and foliage in relief. Made by Louis Black.
London hall-mark for 1763-4.
Given (Bond Collection). 805, 805^-1890,
Square nozzle ; gadrooned edges. H. 13.8 in.

53
128. Coffee-pot. Chased and repousse with flowers, flutings, and rococo scroll
work; the spout cast and chased. Maker's mark,.DW WH.
London hall-mark for 1764-5.
Given (Bond Collection). 824-1890.
Pear-shaped body; lid surmounted by a floral finial; wooden handle. On one side a cartouche
repaired with a plate let in. H. 12 in.
129, Reading-candlestick for two lights. With adjustable slide, extin
guisher, and rest for snuffers. Made by Jonathan Alleine.
London hall-mark for 1766-7.
Given by Captain C. D. Rotch. m. 2-1918.
An upright rod, rising from a moulded foot with Incurved corners, surmounted by a pine-cone
knob with swing-handle. Two candlesticks with handles and nozzles hook on to a frame,
which slides on the rod and carries the extinguisher and snuffer-rest. Engraved with the
crest of Hay, Earl of KInnoull. H. 16.6 In.

130. Set of three Tea-caddies. Vase-shaped; one large and two smaller:
repousse with twisted gadrooning; the handles cast. Maker's mark, ER
(Emick Romer?).
London hall-mark for 1767-8. 384 to 384^-1871.
Two scroll handles springing from shell ornaments applied to the shoulder back and front.
The edges of feet and covers gadrooned, and the latter surmounted by turned finials. H. 7.3 In.
and 6.2 in.

131. Pair of Candlesticks. Baluster stem and shaped hexagonal base; cast
and chased. Maker's mark, E"C (Ebenezer Coker?).
London hall-mark for 1767-8.
Given (Bond Collection). 811, 8iia-i890.
Decoration of shells, fluting, and gadrooning; shaped hexagonal nozzle. H. 11 in.
(Plate 50.)
132. Set of three Tea-caddies and Case. Four-sided, chased and repousse,
with cast openwork feet. Maker's mark, S W. The case covered with
black shagreen, and mounted in silver. Maker's mark, C'N.
The caddies, London hall-mark for 1767-8 ; the case first half of 18th century.
Given by Mr. and Mrs. W. W. Simpson through the National Art-
Collections Fund. M.184 to 184C-1913.
One caddy slightly wider than the others; they are bulged above, contracted below, and have
covers with a leaf-scroll handle. Decoration of flowers, leaves, and curved ribs. H. 5.4 in.
The case mounted with openwork lock, handle, and hinges, and four ball-and-claw feet.
L. II. 9 in. Key with quatrefoil silver bow.

54
133, Urn with Stand. Repousse with Chinese figure-subjects; the base of the
foot cast in openwork. Made by Thomas Whipham and Charles Wright.
London hall-mark for 1767-8. (The cover a restoration.)
Given by Captain C. D. Rotch. m. 4-1918.
Bulging body, with two scroll handles, and tap with ivory handle. The figure-subjects repre
sent a servant bringing tea on a tray to a gentleman seated under an umbrella, and two
figures playing on musical instruments. The rest of the decoration Is of rococo and floral
character. A coat of arms Is engraved on the front. The cover terminates in a flame finial.
H. 21 In.
(Plate 51.)

134, Two-handled Cup and Cover. Gilt; urn-shaped, chased and repousse
with sprays of flowers. Made by Walter Brind.
London hall-mark for 1769-70. 46-1864.
Both cup and cover of wavy contour with gadrooned edges; double-scroll handles; cover
surmounted by a rococo finial. Engraved with the arms of Preston, co. Perth (a raodern
addition). H. 17. 1 in.
(Plate 52.)

135, Coffee-pot. Chased and repousse with rococo decoration interlaced with
sprays of laurel ; the spout cast and chased. Made by John Swift.
London hall-mark for 1769-70. 393-1864.
Pear-shaped body with twisted fluting and gadrooning round the lower part; lid surmounted
by a rococo finial ; gadrooned edges ; ivory handle. On one side a cartouche for a coat of arms.
H. 11.5 in.
(Plate 47.)

228, Sugar-basin. Wirework, with applied openwork of birds and sprays of
flowers. With blue glass liner. Made by Thomas Foster.
London hall-mark for 1769-70.
Given by Colonel F. R. Waldo-Sibthorp. 1906-1898.
Circular foot; twisted swing handle. H. 3.4 in.

136, Vase and Cover. Decorated with applied garlands, foliage, and medallions.
Made by J. Parker and E. Wakehn, of Panton Street.
London hall-mark for 1770-1. 564-1874.
Acanthus-leaf handles ending In volutes rise from the shoulders. Circular foot and cover, cast
and chased with acanthus borders, the latter surmounted by an acorn-knob. H. 9 in.
Frora the Bond Collection.
(Plate 53.)

55
137. Two-handled Vase and Cover. Chased and repousse with garlands and
foliage; the cover fluted. Maker's mark, C W (Charles Woodward?).
London hall-mark for 1771-2. 751-1877.
Scroll handles cast and chased with acanthus leaves ; trurapet-shaped cover surmounted by a
rococo finial; foot bordered with lozenge-and-oval ornament. H. 15 in.
From the Bond Collection.
See note on No. 752-1877 (149).
138. Two-handled Vase and Cover. Chased and repousse with acanthus-
leaves, garlands, and a floral scroll. Made by L. Courtauld and G. Cowles,
of Cornhill.
London hall-mark for 1771-2.
Given (Bond Collection). 804-1890.
Scroll handles cast and chased with foliage ; spirally fluted foot ; cover in two stages surmounted
by an acorn-knob. Pearled edges. H. 14.7 in,
(Plate 54.)
139, Vase and Cover. Gilt; cast and chased, with details applied. Oviform,
the surface diversified with vertical stripes alternately plain and matted.
Maker's mark, LA (John Arnell.?).
London hall-mark for 1772-3. 55-1865.
Handles in the form of satyrs' heads with raras' horns; the cover surmounted by the figure of
a boy; the lip enriched with festoons of drapery in relief; the sides of the square foot with
festoons and oval medallions. H. 8.3 In.
A very similar design occurs In a well-known model in Wedgwood's black basalt ware
{see No. 131- 1878 in this Museum).
(Plate 58.)
140, Tea-caddy. Vase-shaped ; chased and repousse with acanthus-leaves and
garlands. Maker's mark, PC. (John Carter.?).
London hall-mark for 1772-3.
Given (Bond Collection). 831-1890.
The shoulder bordered with fluting; square foot; cover in two stages surmounted by an acorn-
knob. H. 8.5 In.
141, Cruet-stand. Pierced, with five cut-glass bottles with engraved silver
mounts. Made by J. and T. Daniel.
London hall-mark for 1772-3.
Given by R. F. Norton, Esq., K.C. M.134-1916.
A five-lobed frame of openwork foliage with gadrooned edge, standing on five curved feet.
An openwork loop handle rises from a pierced drum In the middle. Two of the bottles have
silver scroll handles and hinged lids; the other three, domed silver tops (two pierced) with
twisted finials. Engraved with a crest, a lion's head erased. H. 9.9 in.: bottles, H. 6.5 in.
to 7.2 in.

56
142. Coffee-pot. Chased and repousse with acanthus-leaves, garlands, and
flutings. Maker's mark, C W (Charles Woodward?).
London hall-mark for 1773-4. 753~i877-
Shoulder of wavy outline; rococo spout; domed lid finished with a gadrooned knob; pearled
lip. Ebony handle. H. 13.4 In.
See note on No. 752-1877 (149).
From the Bond Collection.

143, Set of four Candlesticks. Stamped in relief; an Egyptian papyrus
column on a square base decorated with rams' heads and garlands. Made
by Samuel Roberts & Co.
Sheffield hall-mark for 1773-4.
Bequeathed by James Archibald Slater, Esq. 843 to 843C-1905.
NIne-lobed nozzle; pearled edges. Engraved with the monogram T M E. H. 12.8 in.

(Plate 59.)

144. Pair of Sauce-boats. Oval, decorated with applied garlands and medal
lions; the feet cast and chased. Made by S. and J. Creswell.
London hall-mark for 1773-4.
Given (Bond Collection). 840, 840^-1890.
A reeded loop-handle at either end ; pearled edge. The Inside gilt. (No cover.) L. 9 in.

145, Hot-water Jug. Chased and repousse with acanthus-leaves and garlands.
Maker's mark, PC (John Carter.?).
London hall-mark for 1773-4. 758-1877.
On the front a lion-mask applied; the lid surmounted by a pineapple knob; pearled edges;
wooden handle with acanthus-leaf attachments; square foot. H. 12.7 in.
From the Bond Collection.

146. Two HANDLED Vase AND CovER. Chased and repousse with leaves and
festoons of drapery hanging from applied satyr-masks. Maker's mark,
W-C (Wm. Cripps.?).
London hall-mark for 1774-5. 493-1875.
Conical cover with urn-shaped finial; scroll handles enriched with acanthus foliage; arcaded
decoration on lip; pearled edges; the inside gilt. H. 16.7 in.
From the Bond Collection.
(Plate 55.)

57
147, Pair of Candlesticks. Stamped in relief; a square base supporting a
fluted stem surmounted by a cylindrical vase. Made by Geo. Ashforth
and Co.
Sheffield hall-mark for 1774-5.
Given (Bond Collection). 832, 832.2-1890.
Decoration of garlands, flutings, rams' heads, and medallions; enriched borders; circular
nozzle. H. 11.5 in.
(Plate 30.)
148, Sugar-basin. Pierced, chased, and repousse. With blue glass liner. Made
by Burrage Davenport.
London hall-mark for 1774-5. 756-1877.
Vase-shaped ; decoration of acanthus-leaves and garlands In relief on an openwork ground of
parallel slits. Corded swing handle; pearled edges. H. 5.4 in.
From the Bond Collection.
(Plate 33.)

149, Coffee-pot. Chased and repousse with acanthus-leaves, garlands, and
flutings. Maker's mark, C W (Charles Woodward?).
London hall-mark for 1776-7. 752-1877.
Shoulder of wavy outline; spout of scroll form; lid finished with an urn-shaped knob; pearled
edges; wooden handle. H. 13.6m.
From the Bond Collection.
This coffee-pot and No. 753-1877 (142) are by the same hand. Both exhibit an adherence to
rococo tradition, both In form and In certain of the details (note the spouts and the attach
ment of the handles), unusual at so late a date. The Vase and Cover No. 751-1877 (137) is
by the same silversmith, and bears a marked resemblance of style to them. The maker was
probably an old man and his taste somewhat old-fashioned (Charles Woodward of Tooley
Street entered his mark at Goldsmiths' Hall in 1741).

150, Pair of Sauce-boats and Covers. Oval, decorated with applied garlands
and medallions. Made by Thomas Evans.
London hall-mark for 1776-7.
Given (Bond Collection). 839, 839^-1890.
Scroll ends ; oval foot ; pearled edges. The cover surmounted by an urn-shaped knob. L. 8.6 in.

151, Pair of Tea-caddies. Vase-shaped; chased and repousse with acanthus-
leaves and festoons of drapery hanging from applied rams' heads. Made by
Pierre Gillois.
London hall-mark for 1776-7. 575, 575^-1874.
Cover in two stages cast and chased with acanthus borders, and finished with an acorn-knob.
Ring handles hang from two of the rams' heads. H. 7.5 in.
From the Bond Collection.

58
152, Tea-caddy. Vase-shaped; chased and repousse with acanthus-leaves and
garlands. Made by Pierre Gillois.
London hall-mark for 1776-7. 576-1874.
Applied lion-masks with ring handles at the sides ; cover surmounted by an acorn finial ; square
foot. H. 7.2 In.
From the Bond Collection.
153. Sugar-basin. Pierced, chased, and repousse. With blue glass liner.
Maker's mark, A C (?).
London hall-mark for 1776-7. 755~^^77-
Vase-shaped, with wavy edge. Decoration, of leaves and festoons of drapery, with filling-in
of openwork. Openwork swing handle, pearled edges. H. 3.7 in.
From the Bond Collection.
154, Urn. Vase-shaped ; chased and repousse with garlands depending from oval
medallions. Maker's mark obliterated.
London hall-mark for 1777-8.
Given (Bond Collection). 825-1890.
Two handles terminating in volutes rise from the shoulder; square foot resting on four balls;
cover surmounted by a foliage knob. Pearled edges; Ivory handle to tap. H. 13.2 in.
155. Chocolate-pot. Oviform body, chased and repousse with foliage and
festoons of drapery ; supported on a triangular base by three curved legs
terminating above in applied satyr-masks. Made by Henry Greenway.
London hall-mark for 1777-8. 460-1875.
Round the shoulder a border of rosettes; the lid finished with a foliage knob; pearled edges;
curved handle with foliage terminations, the grip wrapped with wicker-work. H. 12.8 in.
A piece of exceptionally pure style and fine workmanship. The jug. No. 826-1890 (156), is
a simpler example by the same maker.
(Plate 36.)
156, Hot-water Jug. Chased and repousse with leaves and festoons of drapery.
Made by Henry Greenway.
London hall-mark for 1777-8.
Given (Bond Collection). 826-1890.
On the front a laurel-wreath hanging from a bow; the lid surmounted by a foliage knob;
pearled edges; wooden handle with acanthus-leaf attachments; round foot. H. 12.5 in.
See note on No. 460-1875 (155).
(Plate 57.)
157. Pair of Candlesticks. Stamped in relief; a square base supporting a
fluted column surmounted by a vase. Maker's mark, PS (John Smith?).
Sheffield hall-mark for 1778-9. 386, 386^-1871.
Decoration of festoons of drapery and leaves; pearled edges; circular nozzle. H. 8.1 In.
(Plate 59.)

59
158, Tea-caddy. Vase-shaped; chased and repousse with acanthus-leaves and
garlands. Maker's mark, T H (Thomas Heming.?).
London hall-mark for 1778-9. 503-1875.
Applied lion-masks with ring handles at the sides ; cover surmounted by a foliage knob ; square
foot. H. 9.1 in.
From the Bond Collection.

159, Sugar-basin. Vase-shaped, pierced and engraved, with blue glass liner.
Made by John Swift (.?).
London hall-mark for 1778-9.
Henry L. Florence Bequest. m. 216-1917.
Pierced in a design of a floral scroll between borders of horizontal slits. Beaded edges ; swing
handle. H. 4.3 in.
160, Snuffer-tray. Of wavy outline, the border pierced and engraved with a
wreath. Made by William Plummer.
London hall-mark for 1779-80. 559-1897.
Scroll handle; pearled edge. L. 8.5 in.
From the Montague Taylor Collection.

161, Vase and Cover. Oviform; a coco-nut mounted in silver-gilt with leaves
and festoons of drapery, with pendent cameos of Omphale and the Three
Graces in Wedgwood's blue jasper ware. (No marks.)
Late 18th century. 815-1891.
Two handles with acanthus termination rise from the sides; acorn finial to cover; square foot.
The core of the cover and of the foot are of walnut-wood. Silver lining. H. 7.7 in.
From the Zouche Collection.
(Plate 58.)
1 62, Hot-water Jug. Chased and repousse with garlands and oval medallions;
decorated with a band of "bright-cut" engraving. Maker's mark, W. . . .
London hall-mark for 1 780-1.
Given (Bond Collecrion). 830-1890.
Lid finished with an urn-shaped knob; pearled edges; ivory handle. H. 12.2 in.

163. Snuffers. Engraved. Made by William Abdy.
London hall-mark for 1781-2. 559^-1897.
Open stems ; three knob-feet. L. 6.7 in.
From the Montague Taylor Collection.

6o
164. Cream-jug. Chased and repousse. Made by Thomas Satchwell.
London hall-mark for 1781-2.
Given by Mrs. Elizabeth South. 71-1908.
Of wavy contour; decoration of scrolls, flowers, and leaves; scroll handle; circular foot. On
the front a cartouche enclosing the initials T S C. H. 4.6 in.

165. Pair of Candlesticks. Gilt; stamped with fluting; a circular base sup
porting a tapered stem surmounted by a vase. Made by John Winter & Co.
Sheffield hall-mark for 1782-3. 346, 346«-i894.
Pearled edges ; circular nozzle. H. 10.8 in.
(Plate 59.)

166, Sugar-basin. Pierced and engraved. With blue glass liner. Maker's mark
TD (Thomas Daniell?).
London hall-mark for 1782-3. 754-1877.
Vase-shaped ; pierced with borders of leaves, medallions with vases, and vertical slits ; swing
handle; pearled edges. H. 4.5 In.
Frora the Bond Collection.

167, Pair of Candlesticks. Stamped in relief; a Corinthian column on a square
base decorated with heads and garlands. Made by William Abdy.
London hall-mark for 1783-4.
Given (Bond Collection). 828, 82842-1890.
Base bordered with bossed mouldings; nozzle with curved sides similarly decorated. H. 7.5 in.
(Plate 59.)

168, Milk-jug. Gilt; hammered with shallow fluting. Made by Robert Hennell
London hall-mark for 1785-6. 757-i877-
Square foot; rising handle; pearled edges. H. 7.1 in.
Frora the Bond Collection.
(Plate 58.)

169. Taper-stick. Stamped in relief; a square base supporting a tapered stem
surmounted by a vase. Made by John Parsons & Co.
Sheffield hall-mark for 1787-8 (.?). 387-1871.
Decoration of leaves and fluting; pearled edges; circular nozzle. H. 8.1 In.

6i
170, Pair of Sauce-boats and Covers. Oval, decorated with applied garlands
and medallions; the lid chased and repousse with leaves. Made by Henry
Cowper.
London hall-mark for 1788-9. 578, 578^-1874.
Applied lion-masks with ring handles at the ends ; oval foot ; reeded edges. The medallions
bear a warrior's head. The cover surmounted by an urn-shaped knob. L. 7.5 In.
From the Bond Collection.
(Plate 57.)
171, DisH-CROSS. With openwork supports and centrepiece. Marks, S'B and
lion passant.
Late 18th century.
Given by Captain C. D. Rotch. m. 95-1916.
Formed of four bars attached to two rotating rings In the centre, each bar furnished with a
sliding support terminating above In an openwork palmette and below in a foot of similar
form. In the centre a pierced medallion. L. 13.3 in.
172. Tea-pot and Stand. Tea-pot octagonal, decorated with a diaper of rayed
spots. Made by Robert Hennell. Stand oval, engraved with a border of
leaves and a wreath. Maker's mark, I H (John Harris?).
London hall-mark for 1789-90 (tea-pot), 1796-7 (stand).
Given by Somers Clarke, Esq., F.S.A. 644, 64412-1902.
Domed lid finished with an oval knob; straight eight-sided spout. Engraved with the crest
of Clarke. The stand rests on four feet. Tea-pot, H. 5.9 in.; stand, L. 6.8 in.
173, Pair of Candlesticks. Stamped in low relief; a square base supporting a
tapered stem surmounted by a vase. Made by John Parsons & Co.
Sheffield hall-mark for 1791-2. m. 14,14^-1910.
Decoration of garlands and enriched borders. Circular nozzle. H. 12. i In.
(Plate 59.)
174. Tea-pot and Stand. Oval, engraved with bands of floral scroll and enriched
borders. Made by Henry Chawner.
London hall-mark for 1791-2.
Given by Miss Maria Willis. 1317, 1317^-1900.
Convex side; straight eight-sided spout; wooden handle and blackened ivory knob. Engraved
with an heraldic crest (on a serpent a falcon with wings expanded) with motto and Initials JAS.
The stand rests on four feet. Tea-pot, H. 6 In. ; stand, L. 6.6 in.
229. Sugar-basin. Octagonal, with reeded edge. Made by R. and D. Hennell.
London hall-mark for 1795-6.
Murray Bequest. m. 1075-1910.
The inside formerly gilt. On low foot. Engraved with the crest of Murray, co. Midlothian.
Diam. 3.4 In.

62
175, Tea-pot. Oval, with bulging side. Made by Peter, Ann, and William
Bateman.
London hall-mark for 1802-3.
Henry L. Florence Bequest. m. 217-1917.
Decorated with repousse bands and narrow engraved borders. Ebony handle; green ivory
knob. H. 7.3 In.
176. Two-handled Vase and Cover (The Trafalgar Vase). Decorated with
applied figures of Britannia triumphant, and a warrior slaying a three-
headed serpent, with inscription britons strike home ; on the cover the
British Lion. Designed by John Flaxman, R.A. Maker's mark, D'S B'S.
London hall-mark for 1805-6.
Given (Bond Collection). 803-1890.
Further enriched with acanthus-leaves and acorns round the base of the vase, floral borders,
and a laurel-wreath on the cover. The handles rise frora the sides and terminate above in
corded volutes enclosing a rose. H. 17 In.
One of a group made for presentation by Lloyd's Patriotic Fund to the admirals and captains
of the British Fleet at the Battle of Trafalgar, 21 October 1805.
(Plate 60.)
177. Hot- WATER Jug. Enriched with a wreath of vine and olive round the body,
and a band of conventional ornament round the neck, cast and chased.
Maker's mark, D'S B'S.
I^ondon hall-mark for 1805-6. 394-1864.
Of bulbous shape on circular foot. H. 11.6 In.
178. Tea-urn. Enriched with a band of palmette and lotus ornament, cast and
chased. Supported on a pedestal with four claw feet. Made by Paul Storr.
London hall-mark for 1809-10. 244-1869.
Of squat forra with two loop handles attached by lion-masks ; the cover surmounted by a
floral knob. Further decorated with gadrooning, a guilloche moulding on the base, and enriched
borders on the cover. Dolphin spout with ivory handle. Fitted with a covered receptacle for
a heating iron. Engraved with the arms of Easthope, co. Surrey (a later addition). H. 14.7 In.
179. Pair of two-handled Vases. Gilt, enriched with a band of palmette and
lotus ornament, cast and chased. Applied decoration consisting of the royal
arms on one side, and the Coronation medal of William IV and Queen Adelaide
enclosed in an oak-wreath on the other, has been added subsequently.
Designed by John Flaxman, R.A. Made by Paul Storr.
London hall-mark for 1810-11.
Given (Bond Collection). 833, 833^-1890.
Crater-shaped, with two loop-handles below attached by lion-masks. Gadrooned borders.
H. 9.5 in.
Presented by William IV to Sir George Nayler, Garter KIng-of-arms 1822-1 83 1.
(Plate 61.)

63
180. Mug. Barrel-shaped, with reeded bands. Maker's mark, EF (?).
London hall-mark for 1811-12.
Bequeathed by the Rev. John Evelyn Stacye. 926-1905.
Engraved with the initials I S. The Inside gilt. H. 2.7 in.
181. Two-handled Vase and Cover. Gilt; chased and repousse with gadrooning,
and enriched with an applied wreath of thistle. Maker's mark, WE (i*).
London hall-mark for 1816-17.
Given (Bond Collection). 834-1890.
Crater-shaped, with two loop handles below attached by masks. The knob of the cover of
fruit and leaves. H. 9.7 In.
Further decoration of floral scrollwork with a cartouche and a mask, chased and repousse,
added later.
182. Pair of two-branched Candelabra. Each in the form of a winged female
figure on a circular pedestal, carrying on her head a basket of flowers, from
which spring two scroll-form branches. Maker's mark, J A (John Angell?).
London hall-mark for 1819-20.
Given (Bond Collecdon). 836, 8360-1890.
A flame-ornament rises from the junction of the branches. Grease-pans formed of leaves;
circular nozzles. H. 15.9 in.
183. Pair of Sauce-tureens and Covers. Oval, two-handled, decorated with
applied oak and acanthus foliage, cast and chased. Made by Paul Storr.
London hall-mark for 1819-20. 472> 473-1864.
Further enriched with ribbed decoration and shell-and-leafwork feet and borders. With
removable liners. L. 9.8 in.
184. Bell. Gilt; surmounted by the rose, thisde, and shamrock, with the royal
crown and motto, cast and chased. From the canopy borne by the Barons
of the Cinque Ports at the Coronation of King George IV. Maker's mark,
TRIP London hall-mark for 1820-1.
Bequeathed by Sarah Countess of Waldegrave. 497-1873.
Inscribed Inside "GEORGE 4'^" 1820." Decorated In relief with rococo ornament. H. 5 In.
See also Nos. 495, 496-1873 (92. 123)-
185, Salver. The border cast and chased in openwork, the design repeating in
'eight divisions. Engraved with a coat of arms. Maker's mark, JA (John
Angell?). London hall-mark for 1823-4.
Bequeathed by Lionel Van Oven, Esq. 62-1905.
Border of scrollwork and vine-foliage, interspersed with heads and animals. On four feet in
the form of a lion's head and scrollwork. The arms :— Quarterly : i and 4, Argent, a castle;
2 and 3, per pale ermine and ermines; on a chief dancetty or, a lion passant. Crest, a tower.
Motto, STUDIIS ARTIBUSQUE HONESTIS. Diam. I9.5 m.

64
186, Snuffers and Tray. Decorated in relief with shellwork and foliage.
Maker's mark (on snuffers), T'R (Thomas Robins?); (on tray) I H (John
Hawkins?). London hall-mark for 1823-4.
Transferred from the Aiuseum of Practical Geology. 57i8, 5718(2-1901.
Snuffers with three knob-feet and spring shutter to the box. L. 7.5 in. Tray oblong with
shaped edge. L. 9.5 in.

187, Two-handled Vase and Cover. Gilt; chased and repousse with a yacht-
race, foliage, and flowers, and further enriched with an applied vine-wreath.
On the cover, a sailor beside an anchor. Inscribed Weymouth Regatta
1827. Made by Rebecca Emes and Edward Barnard.
London hall-mark for 1827-8,
Given (Bond Collection). 845-1890.
Crater-shaped, with two loop handles below elaborately chased with flowers. H. 15.5 In.

188. Tea-caddy. Four-sided, decorated with peasant scenes in relief. Made by
J. C. Edington.
London hall-mark for 1831-2.
Given (Bond Collection). 812-1890.
Base of floral openwork, rising into open scrolls at the angles. Hinged lid with flower knob.
Engraved with the crest of Bond and initials J E B. H. 5.5 In.

189. Tea-pot. Decorated with drinking scenes in high relief; on the lid a man
seated smoking his pipe. Maker's mark, E'F.
London hall-mark for 1833-4.
Given (Bond Collection). 808-1890.
Squat shape, on four feet in the form of the half-figure of a man ending in a shell. H. 7.5 in.

II.— SCOTTISH.
190, Set of four Salt-cellars. Pierced and engraved. Made by Patrick
Robertson.
Edinburgh hall-mark for 1771-2.
Bequeathed by Sir Edgar R. S. Sebright, Bart. M.15 to 15C-1918.
Oval, on four ball-and-claw feet; the piercing of foliage and birds; wavy gadrooned edge.
Two have clear glass liners. L. 3.2 in.

6s
III.— IRISH.
191, Mace of the Trade-guilds of the City of Cork. The head surmounted
by a royal crown enclosing the arms of William and Mary, and chased and
repousse on its eight sides with the arms of the Guilds. The central knop is
chased in relief with the Cardinal Virtues, the foot-knop with the arms of the
city of Cork. Inscribed "This mace was made at y^ Charge of y^ whole
sosiety of Gouldsmiths Robert Goble Mt' W"^ Hughet W" Haruy Wardens
1696." Made by Robert Goble, Master of the Cork Goldsmiths, 1695-6.
Cork hall-mark ; dated 1696. 31-1869.
Stem spirally ribbed; knops enriched with masks and foliage. The guilds represented have
been Identified as those of the Goldsmiths, Pewterers, Founders, Saddlers, Glaziers, Merchant
Taylors (?), Tin-plate Workers, and Tobacco-pipe Makers. L. 37.8 in.
See Journal of the Royal Historical and Archaeological Association of Ireland, 4th Series,
Vol. vii. See also Jackson, English Goldsmiths and their raarks, 1905, p. 629.
(Plate 62.)
192, Two-handled Cup. LTrn-shaped; plain, with "harp" handles.
Dublin hall-mark for 1732-3.
Given by Mr. and Mrs. W. W. Simpson through the National Art-
Collections Fund. M. 186-1 91 3.
Banded with mouldings. Engraved with the arms of Robinson (a later addition). H. 5.9 In.
193. Dish-ring. Pierced and chased. Made by Isaac D'Olier.
Dublin hall-mark; about 1760. 54-1865.
Decoration of rococo scrollwork Interspersed with cartouches, a bird, and a dolphin. Diam.
8.4 in.
(Plate 63.)
194, Sauce-boat. Chased and repousse with birds in landscapes. Made by
Matthew West.
Dublin hall-mark; second half of 18th century.
Given by Mr. and Mrs. W. W. Simpson through the National Art-
Collections Fund. M.185-1913.
On three curved feet; ribbed edge; scroll handle. L. 6 in.
195, Sauce-boat. Hammered with curved flutings. (Maker's mark obliterated.)
Dublin hall-mark ; second half of i8th century. M.424-1910.
On three curved feet with gadrooned attachments; ribbed edge; scroll handle. The initials
G'S inscribed on the bottom. L. 8.4 in.
230. Cup. Egg-shaped, decorated with applied acanthus-leaves. Made by
James Graham.
Dublin hall-mark; about 1780.
Given by Colonel F. R. Waldo-Sibthorp. 1905-1898.
Gilt inside. The foot cast and chased with twisted gadrooning. H. 4.5 in.
s 51(7801) E

66
196. Sauce-tureen and Cover. Oval, with rising loop handles.
Dublin hall-mark for 1787.
Given by Cecil F. Crofton, Esq. M.19-1918.
The foot and edge gadrooned; the handles chased with foliage; the domed cover surmounted
by a spray of leaves with a nut. Engraved with the crest of Gill, co. Devon, with motto
IN TE DOMINE SPES NOSTRA (replacing an earlier coat of arms), within garlands and palm-
branches. Inscribed Inside the cover given by Cecil crofton 1918. L. loin.

197, Tureen and Cover. Oval, two-handled, chased and repousse with garlands.
Made by Joseph Jackson.
Dublin hall-mark for 1791.
Given (Bond Collection). , 829-1890.
Rising handles at the ends enriched with leaves. Cover chased and repousse with leaves and
surmounted by a twisted knob. Gadrooned borders. L. 10.7 in.
(Plate 64.)

198. Tea-pot. Chased and repousse with rococo scrollwork and Chinese ornament.
Made by George Wheatley.
Dublin hall-mark for 1796.
Given (Bond Collection). 820-1890.
On four feet with lion-mask attachments. The cover surmounted by the figure of a Chinaman.
H. 5.2 in.
199. Two-handled Vase and Cover. Chased and repousse; the handles in the
form of cornucopiae. On one side an applied group of figures representing the
rescue of Ireland from intolerance ; on the other the inscription "the general
BOARD OF The Catholics of Ireland to the Hon'''* Leicester FitzGerald
Stanhope The distinguished Friend of religious liberty." Maker's mark.
IK. Dublin hall-mark for 1812.
Bequeathed by Lady Anna C. Chandos-Pole. 11.179-1914.
Decoration of foliage and gadrooning; round the lip a vine-wreath and egg-and-dart moulding.
The cover Is surmounted by the crest of Stanhope. H. 20.3 in.

67

SUPPLEMENT.

HARVEY HADDEN GIFT, 19 19,
200, Snuffer-tray. Oblong-octagonal, with pear-shaped handle. Made by
Henry Penstone.
London hall-mark, about 1700.
Given by Harvey Hadden, Esq. m. 170-1919.
Plain moulding round edge ; on four knob feet. The handle is attached by scrolls, and engraved
with a crest (a talbot's head) and motto e cura quies. L. 6.45 in.
201, Coffee-pot. Circular, plain, with domed lid. Made by Isaac Dighton.
London hall-mark for 1705-6.
Given by Harvey Hadden, Esq. M.165-1919.
Tapering shape, with moulded base and curved spout with hinged cap. The lid has a moulded
knob and double-scroll thumbpiece. Engraved with a monogram gap (replacing earlier
engraving) enclosed in a foliated cartouche. Ebony handle. H. 9.4 In.
202, Tea-pot and Stand (with lamp). Circular, with bulbous body; the lid
decorated with applied leaves. Engraved with the arms of Plomer. Made by
Simon Pantin.
London hall-mark for 1705-6.
Given by Harvey Hadden, Esq. M.172 to 172&-1919.
Faceted spout with hinged cap; domed lid finished with a wooden knob; ebony handle. The
arms, differenced with a label, are enclosed In an oval cartouche decorated with foliage and
birds. Inscribed on the bottom "The Gift of M^: Mary Bennet." The stand has three scroll-
form legs resting on wooden knobs (one renewed), enclosing the lamp. H. (tea-pot) 5.8 in.,
(stand) 2.6 in.
203, Pair of Salt-cellars. Twelve-sided. Made by Matthew Cooper.
London hall-mark for 1707-8.
Given by Harvey Hadden, Esq. M.173, 173^-1919.
Plain, with bulging side. W. 2.6 in.
204, Pair of Candlesticks. Circular, with octagonal stem. Made by Simon
Pantin.London hall-mark for 1708-9.
Given by Harvey Hadden, Esq. M.171, I7ifl-i9i9.
Moulded foot and baluster stem. H. J.S to 5.6 in.

6§
205, Caster. Octagonal, the cover boldly pierced in two alternating designs.
Makers' marks. Fa (Thomas Fawler) and W I (.'').
London hall-mark for 1708-9.
Given by Harvey Hadden, Esq. m. 181-1919.
Plain, with moulded foot, shoulder, and finial. Engraved with a coat of arms in foliated
eartouche : — (apparently) Or, a chevron between 3 birds. Impaling Argent, a chevron between
3 leopards' faces. H. 9.2 in.
2O6. Pair of Candlesticks. Octagonal, with moulded foot. Engraved with
the crest and motto of Scott, co. Stafford. Made by Joseph Bird.
London hall-mark for 1710-11.
Given by Harvey Hadden, Esq. M.169, 169^-1919.
Baluster stem and banded socket. The motto regi ¦ patri./eque ¦ fidelis is inscribed on
a strap enclosing a baronet's augmentation. H. 6.7 in.
207. Two-handled Cup and Cover. Plain, engraved with the arms of Arden
impaling another. Made by Matthew Lofthouse.
London hall-mark for 1710-11.
Given by Harvey Hadden, Esq. m. 179-1919.
Scroll handles and low circular foot. Domed cover finished with a moulded knob. The arms
are garnished with foliated mantling, with helmet and crest. H. 7 in.
208. Bedroom Candlestick. Circular, with pear-shaped handle, and extin
guisher. Engraved with a lady's coat of arms (Taylour, co. Salop) and
monogram P T. Made by Jos. Bird.
London hall-mark for 1711-12.
Given by Harvey Hadden, Esq. M.185, i85a-i9i.9.
The stem pierced with a slit for snuffers (wanting). The extinguisher has a scroll handle
and a hook to hang it to the stem ; it Is inscribed with the letter m. L. 7.7 In.
209, Taper-stick. Octagonal, with faceted foot. Made by Matthew Cooper.
London hall-mark for 1714-15.
Given by Harvey Hadden, Esq. m. 182-1919.
Moulded baluster stem and socket. H. 4.5 in.
210, Set of Three Casters. Bulbous shape; one large and two smaller. En
graved with the arms of Bellasis. Made by Simon Pantin.
London hall-mark for 1716-17.
Given by Harvey Hadden, Esq. M.178 to 178J-1919.
The body encircled by a moulding; the cover pierced in five compartments and surmounted
by a moulded finial. The arms are enclosed in a foliated cartouche. H. 8.4 In. and 6.1 in.
211, Coffee-pot. Octagonal, plain. Made by Richard Bayley.
London hall-mark for 1716-17.
Given by Harvey Hadden, Esq. m.i 84-1919.
Tapering, with moulded base, and domed cover finished with a banded knob. Curved spout
ornamented with small volutes ; ebony handle. The Initials emb are Inscribed on the bottom.
H. 9.6 in.

69
2l2, Caster. Octagonal, engraved with a cypher. Made by James Fraillon.
London hall-mark for 1717-18.
Given by Harvey Hadden, Esq. m. 163-1919.
Bulbous body; moulded foot. The cover Is pierced in two alternating designs and ends in a
moulded finial. Cypher of the initials r r a. H. 7.1 in.
213, Two-handled Cup and Cover. Plain, engraved with the arms of Pace
impaling Wallington(?). Made by William Darker.
London hall-mark for 1718-19.
Given by Harvey Hadden, Esq. m. 177-1919.
The body banded with a moulding; circular foot; scroll handles. Doraed cover with moulded
knob. The arms are enclosed In an oval foliated cartouche ; the crest Is engraved on the cover.
H. 9 in.
214, Pair of Dishes. Circular, with scalloped edge, engraved with a cypher.
Made by Simon Pantin.
London hall-mark for 1719-20.
Given by Harvey Hadden, Esq. M.164, 164^-1919.
The rira divided by ridges into sixteen wavy scallops. Cypher of the initials s d c.
215. Caster. Octagonal, with moulded foot and shoulder. Made by Anthony
Nelme. London hall-mark for 1719-20.
Given by Harvey Hadden, Esq. m. 175-1919.
The cover is circular, pierced In eight divisions and finished with an octagonal knob. Engraved
with a crest (a fleur-de-lys), and a cypher of the initials f h t(.'). H. 7.8 in.
216. Pair of Candlesticks. Square foot with incurved corners. Engraved with
the arms of Plomer. Made by Paul Lamerie.
London hall-mark for 1719-20.
Given by Harvey Hadden, Esq. M.176, 176^-1919.
Moulded foot with circular depression; baluster stem, partly circular and partly octagonal.
The arms are In a foliated cartouche. H. 6.4 in.
217. Pair of Candlesticks. Hexagonal. Engraved with the arms of Rolfe,
with Atwood in pretence. Made by David Green.
London hall-mark for 1720-1.
Given by Harvey Hadden, Esq. M.174, 1743-1919.
Moulded foot and baluster stem. H. 6.-] In.
218. Snuffer-tray. Dumb-bell shape, with moulded edge. Made by Paul
Crespin.
London hall-mark for 1722-3.
Given by Harvey Hadden, Esq. M.166-1919.
Curved handle; four moulded feet. Engraved with a cypher In a cartouche (obliterated)..
L. 7.3 in.

70
219, Pair of Tea-caddies. Octagonal, plain. Made by Bowles Nash.
London hall-mark for 1722-3.
Given by Harvey Hadden, Esq. M.180, iSoa-igig.
Moulded base and shoulder ; circular cover. Sliding bottom, inscribed with initials raw.
With lead liners. H. 4.6 in.
220, Pair of Waiters. Square, with indented corners. Engraved with a lady's
coat of arms (Graves impaling Parnell). Made by Ed. Cornock.
London hall-mark for 1725-6.
Given by Harvey Hadden, Esq. M.162, 162^-1919.
Moulded edge; low indented feet. The arms are In a foliated cartouche. 5.45 in. square
(No. 162 mis-shaped).
221. Cream-jug. Plain, with circular foot. Maker's mark, T . . .
London hall-mark for 1725-6.
Given by Harvey Hadden, Esq. M.i83-I9l9.
Bulbous shape, with scroll handle. H. 3.3 in.
222. Pair of Waiters. Circular, on foot ; engraved with a crest. Made by
Joseph Walker.
Dublin hall-mark for 1704-6.
Given by Harvey Hadden, Esq. M.167, 167(2-1919.
Moulded edge; trumpet-mouth foot. Inscribed with initials i d h. Crest, a lion rampant.
Diam. 5.7 in.
223. Jug. Bulbous shape, with hinged lid and scroll handle. Made by Joseph
Walker.Dublin hall-mark for 1710-12.
Given by Harvey Hadden, Esq. m. 186-1919.
The body Is encircled by a moulding; circular foot. Lid with moulded finial; spout ending
below in an ornamental drop. Engraved with a coat of arms : — Argent, 9 mullets gules, 3,3,2,
and I ; with foliated mantling and crest, an arm in armour embowed grasping a sword. On the
side (added later) another crest, a cubit-arm holding a fleur-de-lys ; In a strap inscribed with
the motto audaces fortuna juvat. H. i 2 In.
224, Pair of Dishes. Circular, with scalloped edge. Made by David King.
Dublin hall-mark for 1715-16.
Given by Harvey Hadden, Esq. M.168, 168^-1919.
The rim is divided by ridges Into sixteen scallops. Engraved with a crest, a standing figure of
Neptune. Diam. 4.8 In.

225 (after 92).

226 (

, 93).

227 (

, 118).

228 (

, 135)-

229 (

, 174)-

230 (

, 195)-

71

WORKS OF REFERENCE.
CONTEMPORARY descriptions of English plate abound in
inventories of various periods. Numbers of these have been pub
lished and may be found in such collections as Palgrave's Ancient
Kalendars and Inventories of the Exchequer (royal plate) ;
Halliwell's Ancient Inventories (sixteenth and seventeenth
centuries) ; Archceologia (including the important inventory of
Sir John Fastolfe, d. 1459, in vol. xxi) ; the Archaeological
Journal (including the inventory of plate given by William of
Wykeham to Winchester College, in vol. x) ; etc. Ancient wills,
such as those published by Sir N. H. Nicolas under the title
Testamenta Vetusta, and by the Surtees Society under the title
Testamenta Eboracensia, furnish another source of contemporary
information. W. Harrison in his Description of England, pub
lished originally in 1587 (edited by Withington and Furnivall
under the title Elizabethan England), gives an interesting view
of the use of domestic plate in the second half of the sixteenth
century. References to numerous other authorities and extracts
from wills and inventories will be found in the works of
Cripps and Jackson cited below.

The principal works devoted to the illustration and description of English
gold and silver plate (civil and domestic) are : —
Burlington Fine Arts Club. — Exhibition of a Collection of Silversmiths' Work
of European origin. (Illustrated catalogue.) 1901.
Cripps, W. J. — College and Corporation Plate. 1881.
— Old English Plate. 9th ed. 1906.
Davenport, C. J. H. — ^The English Regalia. 1897.
Ellis, H. D. — ^A short description of the ancient Silver Plate belonging to the
Worshipful Company of Armourers and Brasiers. 1892.
— A supplemental description (to the foregoing). 1910.

72
Foster, J. E., and Atkinson, T. D. — An illustrated catalogue of the Loan Collec
tion of Plate exhibited in the Fitzwilliam Museum [Cambridge],
May 1895. 1896.
Gardner, J. Starkie. — Old Silverwork, chiefly English, from the xvth to the
xviiith centuries. A catalogue of the . . . Collection exhibited
in 1902 at St. James's Court, London. (With introductory
treatise.) 1903.
Hope, W. H. St. John. — On the English mediaeval drinking bowls called Mazers.
(In Archaeologia, vol. 50.) 1887.
Jackson, C. J. — An illustrated history of English Plate. 2 vols. 1911.
Jewitt, Ll., and Hope, W. H. St. John. — ^The Corporation Plate and Insignia of
Office of the Cities and Corporate Towns of England and Wales.
2 vols. 1895.
Jones, E. Alfred. — Old English Gold Plate. 1907.
— The old Royal Plate in the Tower of London. 1908.
— Illustrated catalogue of the Collection of old Plate of J.Pierpont
Morgan, Esquire. 1908.
— ^The old English Plate of the Emperor of Russia. 1909.
— ^The old Plate of the Cambridge Colleges. 1910.
— ^The Gold and Silver of Windsor Castle. 191 1.
Macquoid, p. — The evolution of form and decoration in English Silver Plate.
(In Burlington Magazine, vol. i.) 1903.
— ^The Plate Collector's Guide (arranged from Cripps's Old
English Plate). 1908.
Moffat, H. C— Old Oxford Plate. 1906.
Shaw, H., and Meyrick, Sir S. R. — Ancient Plate and Furniture from the Col
leges of Oxford and the Ashmolean Museum. 1837.
The assaying and marking of gold and silver in England, and the history
and marks of English gold and silversmiths, are dealt with in : —
Chaffers, W. — Gilda Aurifabrorum. New ed. 1899.
— Hall-marks on Gold and Silver Plate. 9th ed. 1905.
Cripps, W. J. — Old English Plate. 9th ed. 1906.
Herbert, W. — The history of the Twelve great Livery Companies of London.
2 vols. 1836-7.
Jackson, Sir C. J. — English Goldsmiths and their Marks. 1905. (The subject
is here carried further than in any other work.)
Price, F. G. Hilton. — A handbook of London Bankers, with some account of their
predecessors the early Goldsmiths. 1890-1.
Prideaux, Sir W. S. — Memorials of the Goldsmiths Company. 2 vols. 1896-97.

73

INDEX.
References in ordinary type are to pages, those in heavy type to catalogue numbers.

Adrian IV, Pope, 2.
Alfred Jewel, 4.
Alhstan Ring, 4.
Anglo-Saxon Period, 3.
Anne, style of, 20.
Armourers' Company, g.
Badge, 106.
Barber-Surgeons' Company, 11.
Beaker, 50,
Bells, 92, 123, 184.
"Bell" salts, 11, 29, 31,
Bleeding-bowls, 47, 64, 73, 76, 82.
Boleyn Cup, 11.
Bowls, I, 30, 95; see also Mazer-
bowls, Bleeding-bowls.
Bread-baskets, 23.
Brithnodus, Abbot, 4.
Broderers' Company, 12.
Brosamer, Hans, 12.
Cake-baskets, 23.
Cambridge Colleges, 6, 7, 9, 11, 12, 13,
17- _
Candlesticks, 18-19, 22, 68, 122, 125,
127, 129, 131, 143, 147, 157, 165,
•67, 173, 182,204,206, 208, 216,
217, 226,
Canterbury, 4, 6.
Casket, 34.
Casters, 13. 75. 77. 9». 102, 205,310,
212, 215.
Casting-bottle, 5-
s (51)7801.

Centrepieces, 23, 107,
Chinese style, 16, 18.
Chocolate-pots, 19, 23, 155,
Christ's Hospital, 7.
Cirencester, Boleyn Cup, 11.
Classic influence, 21.
Clothworkers' Company, 16, 17.
Cofi"ee-pots,i9,22,66,97, 109. ''5. '24.
128, 135, 142, 149,201, 211,235.
Commonwealth, 14.
Cream-jugs, 164, 321,
Croyland Abbey, 4.
Cruet-stands, 23, 141-
" Cup-boards " of plate, 5, 8.
Cups, 20, 28, 33, 37.41. 44-46, 230.
 caudle, 18, 51, 52.
 coco-nut, 7, 12, 35.
 font-shaped, 9.
 loving-cups, 15, 17.
 ostrich-egg, 7, 12.
 posset, 18.
 standing, 6, 12, 21, 36, 38, 40,
 steeple, 17.
 two-handled, 56, 9^. 105, «34.
192, 207, 213,
 wine, 17.
 (See also Goblet.)
" Cut-card " work, 18.
Destruction of plate, 1,14-
Dish-cross, 171,
Dishes, 14. 214. 224.
Dish-ring, I93-
Drinking-horns, 7.

74

Edward I, 4.
Eighteenth Century, 20.
Ely Monastery, 4.
Epergnes, 23.
Ethelwulf Ring, 4.
Evelyn, John, 15.
Evesham, 4.
Ewer and Basin, 13-14.
Ewers, 22, 26, 84.
Flagons, 18, 43.
Flasks, 6, 61.
French influence, 20.
Furniture, silver, 15.
Garniture, 61.
German influence, 10.
Glass, silver-mounted, 12.
Goblet, 16.
Goldsmiths' Company, 3, 10, 12, 17, 21.
Gothic Period, 4.
Guilds, provincial, 3.
Ham House, 15.
Harbledown Hospital, mazers, 6.
Heriot, George, 14.
Holbein, design by, 10.
Inkstand, 118.
Irish Silver, 65, 70.
Ironmongers' Company, 9.
Jugs, 98, 145, 156, 162, 177, 223.
 stoneware or earthenware, 7-11,
17, 18, 21, 23, 24, 32.
 wine, 25.
 (See also Ewers.)
King's Lynn Cup, 5.
Knole Park, 15, 16.

Lamerie, Paul, 20, 21, 107, 216.
Liger, Isaac, 20, 95.
Lindisfarne, 4.
Loving-cups, 15, 17.
Maces, 19, 79, 191.
Mazer-bowls, 6, 2-4.
Mercers' Company, 7.
Milk-jug, 168.
"Monteith," 19.
Mugs, 78, 119, 120, 180.
Nineteenth Century, 24.
Norwich, 10, 14.
Oxford Colleges, 6, 7, 9, 17.
Paris, Ivlatthew, 2.
Pepys, Samuel, 6, 15.
Porringers, 18, 21, 59, 63, 71, 72, 83,
88-90.
Portsmouth, 16.
Pottery and porcelain, silver-mounted,
13, II, 25, 26; see also Stone
ware.
Punch-bowls, 19.
Regalia. 1, 14, 17.
Royal Collection, 14.
Saffron Walden, mazer, 6.
St. Albans, 2, 4.
St. Ives, 17.
Salt-cellars, 6, 10, 11, 16, 22, 12, 15,
19, 22, 27, 29, 31, 48, 54, 81,
loi, 103, no, 190, 203.
Salvers, 55, 104, 117, i2i, 185.
Sauce-boats and tureens, 23, iii, 112,
144, 150, 170, 183, 194, 195,
196, 218,

15

Sconces, 87.
Scottish Silver, 64.
Seventeenth Century, 14.
Sixteenth Century, 7.
Snuffers and Trays, etc., 23, 63, 67, 80,
160, 163, 186, 200, 218.
Spice-box, 100.
Stones, semi-precious, silver-mounted,
12.
Stoneware, silver-mounted, 12, 7-10,
17, 18, 31, 23, 24, 32.
Stuart Period, 14.
Studley Bowl, 5, i.
Sugar-basins, 148, 153, 159, 166, 228,
229,
Sweetmeat-basket, 227,
Sweetmeat-dishes, 18, 43, 49, 53.

Tankards, 13, 16, 18, 21, 39, 58, 60,
65. 74. 85, 86,
Taper-sticks, 94, 169, 209.
Tazza, 14.

Tea-caddies, 23, 108, 116, 126, 130,
132, 140, 151, 152, 158, 188,219.
Tea-kettles, 23, 114.
Tea-pots, 19, 23,57. 93. »72, I74. «75.
189, 198, 202.
"Tigerware "Jugs, 13. (See also Stone
ware.)
Toilet-box, 70.
Toilet-services, 15, 16, 69.
Tower of London, 10, 17.
Tudor Period, 7.
Tureens, 23, 197.
Urns, 133, 154, 178.
Vases, 61, 136-139, 146, 161, 176,
179, 181, 187, 199.
Vintners' Company, 10.
Waiters, 99, 113, 220, 323.
Winchester, 4.
Winchester College, 16.
Windsor Castle, 14, 15, 16.
Wine-jug, 25.

Plate i.

2. The Rokewode AI.v/er. End of 14th century.
GnEN BY A Body of Subscribers.

Plate 2.

,pi^Jli'»««HJIWJ;^U».WJJ|ii!!)/,l

3. The Cromwell Mazer. Second half of 15th century.
Francis Reubell Bryan Bequest.

Plate 3.

7. Jug. Rhenish stoneware with silver-gilt mounts. 1556-7.
Bequeathed by Edward S. Clarke, Esq.

Plate 4.

8. Jug. Rhenish stoneware with silver-gilt mounts. About 1560.

Plate 5.

I
vo

w
hen<

to og
s<:

Plate 6.

14. Dish on foot. 1564-5.

Plate 7.

[6, Goblet. Agate with silver-gilt mounts, 1567-8.

Plate 8.

17. Jug. Rhenish stoneware with silver-gilt mounts. About 1570.

Plate 9.

20. Cup. 1578-9.

Plate id.

21. Jug. Rhenish stoneware with silver-gilt mounts. 1579-80.

Plate ii.

25. Wine-jug. Chinese porcelain with silver-gilt mounts. 1585-6.

Plate 12.

26. Ewer. Chinese porcelain with silver mounts. I^ate i6th century
Given by Louis C. G. Clarke, Esq.

Plate 13.

27. The AIostyn S.-vlt. 1586-7.

Plate 14.

29. "Bell" Salt. 1594-5.

Plate 15.

i

^A

;^;s;^

34. The Dyneley Casket. Alabaster with silver-gilt mounts. About 1610.

Plate i6

36. Standing Cup and Cover. 1611-12.

Plate 17.

38. Standing Cup. 1617-8. 40. Standing Cup. 1623-4.
Given by Tufnell Burchell, Esq.

Pl.ate 18.

»'<^iswB-.iA^^?St«!!>»RW!rifS#*:*t^^

39- T.\nkard. Serpentine marble mounted in silver. About 1620.
Francis Reubell Bryan Bequest.

Plate 19.

utuili^ii

42. Flagon. Serpentine marble mounted in siher-gilt. About 1630.
Given by Sir Charles J. Jackson, F.S.A.

Plate 20.

I

Q <
wSHWw
C/3

>-J

46. Cup. 1637-

50. Beaker. 1653-4.
3equeathed by the Rev. J. E. Stacye.

Plate 2;

51. Caiidle-cup .and Co\er. 165S-9.

52. C.VL'DLE-CUP and CoVER. 1660-I.

Plate 23..

'H.^mm^m^m^^

54. The Moody Salt. 1664-5.
Francis Reubell Bryan Beqltest.

Plate 24.

55. Salver on foot. 1664-5.

Plate 25.

56. Cup and Cover, 1669-70.

^

57. Tea-pot. 167c-

Coffee-pot. 16S1-2.

r^'

>HM

60. Tankard. 1673-4.
Bequeathed by the Rev. f. E. Stacye.

6i. Garniture for a cabinet or chimney-piece. 1675-6.
Given by Harvey Hadden, Esq.

>

62. Porringer and Cover. 1676-7.

Plate 30.

68. Candlestick. 1682-3.

71. Porringer. 1683-4.
Bequeathed by the Rev. T. \V. Webb.

^

Plate 31.

m

vu

oi

pq
w
t-?
u
<:
1^
Pi
UI
C/J
> w
l-H
H
w
0
0
^
H
*^
C^
r-^
rri
W
^J
fH
B^
W
0
r*
W
J
1;
H
U
W
U>
w
u
W
(TN
vo
Plate 32.

69. Salver on foot (part of the Calverley Toilet Service). 1683-4.
Bequeathed by Sir W. C. Trevelyan, Bart.

Plate 33.

o
CQ E-W
O
6

1 wwws

77. Caster. 1692-3.
Given by Mr. and Mrs. W. W. Simpson
THROUGH the NATIONAL ArT-CgI.LECTIONS FuND.

^ r

80. Snuffers and Stand. 1695-6.

Plate 35.

84. Ewer. 1700-1.
Given (Bond Collection).

81. Salt-cellar. 1695-6.
Given by Mr. and Mrs. W. W. Simpson through the National Art-Collections Fund.

Pl\te 36.

86. Tankard. 1702-3.
Bequeathed by George Mitchell, Esq.

88. Porringer. 17015-6.

Plate 37.

J

87. Sconce. 1703-4.
Given (Bond Collection).

Plate ;8.

<)3. Te.\-pot. 1718-19.
Given by Mr. and Mrs. W. W. Simpson through the National Art-Collections Fund

.,-..?j.^*«i

100. Spice-box. 1728-9.
Given by Mr. and Mrs. W. \V. Simpson through the National Art-Collections Fund.

>-Iw
vO

99. \\'aiter. 1727-8.
CinEN BY Sir J. F. Rottox, K.C.
through THE National Art-Collections Fund.

226. Candlestick. 1718-19.
Given by Col. F. R. Waldo-Sibthorp.

Plate 40.

95. Bowl. 1719-20.

Plate 41.

96. Two-hanDled Cup and Cover. 1719-20.

Pl.xtI'; 42

97. Coffee-pot. 1720-1.
(ii\E\ BY Sir j. F. Rotton, K.C. through the National Art-Collections Fi'nd.

m^:m:^mM^

r>

loi. S.vlt-cellar. 1728-9.
Bequeathed by Sir E. R. S. Sebright, Bart

94. Taper-stick, i 718-19.

103. Saltcellar. 1730-1.
Bequeathed by Sir E. R. S. Sebright, Bart-

Plate 44.

104. Salver. 1733-4.
Given (Bond Collection).

Plate 45.

105. Cup and Cover. 1736-7.
GnEN (Bond Collection).

>0^

107. The Newdegate Centrepiece. 1743-4.
Purchased with the assistance of a Body of Subscribers.

IIS- Coffee-pot. 1753-4.
Bequeathed by the Rev. J. E. Stacye.

'T3>M

135. Coffee-pot. 1769-70.

Plate 48.

I

Qa<;o<MW waX

w
CO

Plate 49.

117. Sai.ver. 1753-4.
5equeathed BY' the Rev. J. E. Stacye.

'^iiK m^fU-^

•^^,

f I f

a^^A

«^

«">! i

Cm O

131. 1767-8.

125. 1762-3.

122. 1759-60. 147. (Sheffield) 1774-5.

Candlesticks.
Given (Bond Collection), except No. 125.

Plate 51.

f-^'-^

133. Urn with Stand. 1767-8
Given by Captain C. D. Rotch.

Plate 52.

. '( ¦''

¦Jap ! (t^ -' •' -¦

134. Two-handled Cup and Cover. 1769-70,

H tn

136. Vase and Cover. 1770-1.

148. Sugar-basin. 1774-5.

Plate 54.

138. Two-handled \'ase and Cover. 1771-2.
Given (Bond Collection).

Plate 55.

146. Two-handled Vase and Cover. 1774 5-

Plate 56.

155. Chocolate-pot. lyyj-S

en

170. Sauce-boat and Cover. 1788-9.

156. Hot-water Jug. 1777-
GivEN (Bond Collection).

>

i68. Milk-jug.
1785-6.

139. Vase and Cover.
1772-3.

161. Vase and Cover.
Late i8th century.

nnHT

.*!W

[^l-^^lIlnln|ll^^l^^^lllllll_.

167. 1783-4. 157. (Sheffield) 1778-9.
173- (Sheffield) 1791-2. 165. (Sheffield) 17S2-3. 143. (Sheffield) 1773-4.
Candlesticks.
No. 167 given (Bond Collection) ; No. 143 bequeathed by J. A. Slater, Esq.

Plate 60.

j.i >i*i

176. The Trafalgar Vase. 1805-6.
Given (Bond Collection).

Plate 6i.

i«»i^S

179. Two-handled Vase. 1810-11.
Given (Bond Collection).

Plate 62.

"^^^^rsS^^

191. Mace of the Trade-guilds of the City of Cork. Dated 1696.

Plate 63.

o
vo

3O

Q

Plate 64.

Ov

Xi 3 ¦
Q ?

OS ^
> r°
o ^ -z.
S o

On

^^^^^

YALE UNIVERISTY LIBRARY

3 9002 02711 1344