Of the many continuities in British history and commerce, hallmarks are notable: first used in the thirteenth century (and with some form of regulation prior to that), they continue to the present day, with many changes along the way but with the fundamental principle maintained. The most serious threat to their existence seems to have come very recently from the European Economic Area, but that has apparently been warded off by concerted action in the UK and continental Europe. Will Brexit have any effect? In the unlikely event that it does, there seems no doubt that future editions of this standard little handbook will cope with that too.
Whether for reasons of collecting or investment (or both), silver maintains a strong hold in the antiques market place and has done for a few hundred years. The marks guarantee the integrity of the product and, since at least the eighteenth century, have also identified the silversmiths responsible for particular items. Obviously, it is essential for any purchaser or interested party to be able to identify what they are seeing, and this little handbook makes that a fairly straightforward business.
An excellent 12-page introduction Understanding Hallmarks succinctly explains all one needs to know about the history and use of the marks. Coming right up-to-date, it also points out the three metals so identified (silver, gold and platinum) have now been joined by a fourth, palladium. The main text comprises reproductions of every known mark with (sometimes approximate) dates of its use and, from about the eighteenth century onwards, for the major centers the identity of the silversmith using it. There are also brief notes to the more modern identified marks and their users: such as, “Particularly interesting Art Deco” for Cyril Shiner of Birmingham in the twentieth century, or “Large variety of plate” for most of the users of marks in Chester in the eighteenth and nineteenth centuries. The marks in the longer sections with most information are arranged alphabetically by the mark: thus “A.& Co. Ltd.” for Asprey and Co Ltd. is followed by “AB” for Abraham Buteux post-1721 sterling mark and with the annotation “Fine Huguenot maker”. Then, “ABGB, Alice & George Burrows, Early 19th C” is noted as “Good, run-of-the-mill makers”.
Following the introduction the main text is arranged by major centers, with London followed by Birmingham, Chester, Dublin, Edinburgh, Exeter, Glasgow, Newcastle, Norwich, Sheffield and York. The final three sections feature English, Scottish and Irish provincial marks. I learn from the Scottish section that for about 30 years from the late eighteenth to the early nineteenth centuries, Paisley and Dumfries each had local marks. The volume is completed by a bibliography.
The contents are complete and accurate and are arranged to facilitate quick access for identification of items. ACC Art Books is the book publishing arm of the Antique Collectors’ Club. Anyone who knows their output will expect an elegant, attractive product and will not be disappointed. This is just about a pocket edition, albeit a rather sturdy one, printed very clearly with reproductions of the marks, on art paper. Originally published in 1991, this edition brings all the content up to date and incorporates new research on older marks, as well as records important developments in the hallmarking system. The number of reprints during the intervening years attests the popularity and usefulness of this book. While libraries might have doubts about including pocket books in their reference collections, this is still a comprehensive, accurate and very accessible title, at a very modest price, which will serve on the shelf and in the pocket.
