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This is the first publication in a single work of all known Chester punch marks, and continues the tradition of the standard volumes of Jackson, Grimwade, Culme and Pickford. It is also the first time that the twentieth-century Chester marks have been published. It is produced in dictionary format, in alphabetical order from 1570, the date of the earliest known mark, to 1962 at which time the Chester assay office was closed. The authors, both members of the silver society, were given unlimited access to the Chester assay office records covering 1686 to 1962, and to the Chester Goldsmith's Company records dating from the 16th century. The compendium has four sections. The preface provides an historical background and details of all extant records and copper plates. Part 1 is devoted to assay office marks, with a full set of date letter tables to assist the reader in dating wares. Part 2 covers nearly 10,000 entries for makers' marks, including pictograms and monograms. Finally, the appendices include items on assay volumes and charges, thimble makers, and Liverpool watchcase makers. Since over 2,000 of the entries have Birmingham addresses, the new work will also enhance available information on jewellers and silversmiths working in this important trade center. The format of the marks' tables and the extensive index will also allow future research into the relationships between companies and agents.

 

Collected during the last two centuries, the silver of the Counts of Coronini Cronberg di Gorizia, now constitutes one of the most prestigious collections of this Foundation. An extraordinarily rich and surprisingly diverse collection of table silver and cutlery is discussed and illustrated in this volume.The family tradition linked the Coronini to the destiny of the Hapsburg Empire, however the silver reflects only a small part of local taste and though pieces from the Trieste silversmith Bünger, Viennese silversmiths such as the Imperial Klinkosh are present in the collection, also a noteworthy nucleus of Russian, English and French examples are all represented in this collection.

As a consequence of the complex family lineage and ties which resulted from numerous advantageous marriages in the last decades of the 1800s, the international character of the collection was formed through the important bequests of the early years of the 1900s. Included amongst these are nineteenth century silver, produced in Moscow and Saint Petersburg for Count Eduard Cassini, chamberlain of Tsar Nicholas II; the trophies of the London silversmiths Hancock and Garrad, and various pieces of Old Sheffield plate; the French salt-cellers from the Imperial period one of which holds the hallmark of Napoleon's silversmith; a range of Scandinavian pieces and some Swiss and Italian examples from the Imperial period further enrich the collection, giving testimony to the occasional gifts, or careful purchases, that were made by the last Count of Coronini, Guglielmo, who was a great art lover and refined connoisseur. He continued to add to this fascinating and rich collection throughout his life, before leaving it open to the public

(ACC)

The Green Vault The Saxon treasure chamber museum of the Green Vault has always been an international collection. So this book is meant to make familiar not only visitors from the German speaking countries but also those from English and French-speaking areas with the rich treasures of the Green Vault.

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Russian Silver in America is a beautifully illustrated book which traces the history of Russian silver from before 1700 through the turbulence of the early 20th century to the American collections where much of it is found today. Hillwood Museum's Russian silver collection is the largest and most comprehensive outside Russia and curator emeritus Anne Odom provides a cultural, political and historical context in which to view this fascinating collection.
This volume surveys Russian silver production, its changing forms, styles, imagery and techniques over more than 250 years. Drawing on the collections of both the Hillwood and other US museums, the book features color plates of over 160 pieces: presentation gifts, commemorative and liturgical objects and pieces made for the court and growing merchant class, including drinking vessels, tea and coffee services, and chalices used by the former imperial family.
Odom charts the history of Russian silver through the baroque styles of the reigns of Peter and Elizabeth, the move to Rococo and Neoclassicism under Catherine and Paul, revivalist styles under Alexander I and Nicholas I, 19th-century styles up to Fabergé, modernist production, and the fate of Russian silver after the Revolutions. Running throughout is the fascinating story of how and why so much Russian silver found its way into American collections much of it sold by the Soviet
government in the 1920s and 30s as it was considered to be of no artistic value. These sales mean that much of the extant Russian silver produced after 1835 is now housed in America.
Not only does this book provide a dazzling visual history of Russian silver, it is also a vital record of 18th- and 19th-century silver production in Russia. The volume also contains an essay on marks, a bibliography and an index.

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