Sep

27

17th Century French Antiques

September 27, 2009 | Leave a Comment

France
Meanwhile across the Channel, the French were enjoying an even more
glittering period under Louis XIV. As in England and Holland, the
exotic imports of the East India companies stimulated both household
and sartorial fashions and gave the French, in particular, a taste for
richly embroidered silks. Louis XIV himself had a huge band of em-
broiderers working for his entourage at Versailles, and anybody who
was anybody spent vast sums of money on lace and embroidery for their
clothes. Some even sent materials to China to be embroidered with
oriental motifs.
The chain-stitch embroidery known as tambour work, another Chinese
import, was a favourite occupation with French needlewomen from the
end of the 17th century, and the habit spread to othercountries, especially
England, in the mid-18th century. On the whole, the best French
embroidery was done by professionals. Many of these were Huguenots
and after the Revocation of the Edict of Nantes in 1695 a great number
ol them fled to England, Germany, Switzerland and Holland where they
soon set up successful workshops. Ironically, a proportion of their
embroideries found their way back to fiance
Louis XIV’s minister. Colbert, himself a mercer’s son. worked haul
to establish France’s pre-eminence on all fronts, and especially in the
textile industry. As well as encouraging French lace and tapestry he
helped to promote linen manufacture at Cambrai, Valenciennes, St
Quentin and Lille. Most important of all - for it was probably the most
successful - the silk industry of Lyons became supreme in the late 17th
century. The colourful garlands of flowers woven on rich cream grounds
were as luxurious as any embroidered materials, and they soon became
fashionable for the best-dressed people all over Europe.
Chintz made its first appearance in Europe around the turn of the
century and was immediately popular because of the brilliance and
fastness of its colours. From 1640 the supply of chintz became an im-
portant branch of the East India Company’s trade and by 1680 demand
was enormous. Prohibition of chintz imports by France in 1686 and Eng-
land in 1700 caused trade to fall but chintz still reached both countries
in substantial quantities. Before 1650 chintz was used only as a furnish-
ing fabric but by the 1670s it is frequently mentioned as a costume fabric.
One of the major influences exerted by East India Company imports
of printed cottons and chintzes was, surprisingly enough, on the wool
embroidered bed hangings so essential to keep out winter draughts in
northern Europe and America. Again, these were mainly the province
of the domestic embroideress, who worked the bed-curtains and
valences the pelmet-like hangings round the roof of a four-poster bed
in coloured crewel wools on a linen or cotton ground. Her designs for
these crewel or Jacobean embroideries, worked in long and short, chain
and stem stitches with French knots and a variety of fillings, were
frequently taken from oriental originals.
The Tree of Life pattern was much favoured. In this, a swirling tree
laden with improbable fruit and flowers springs from a rocky base.
Among and beneath its branches hover birds of paradise and all kinds
of animals - lions, squirrels, stags, rabbits and insects - which were
usua ly taken not from oriental sources but from the needlework pattern
books which had been in current use for most of the century.
America
In the late 17th century, life in the American colonies was beginning to
grow less spartan than it had been in the days of the early settlers, and
with increasing comfort came an emphasis on domestic embroidery.
American wool hangings were at first confined to repeating motifs
worked in a single colour, but by the end of the 17th century these had
progressed to colourful crewel embroideries similar to those made in
north rn Europe.
Embroidery
Americans, as well as Europeans, used knotted pile Turkey work for
covering cushions, chairs and other furniture in the late 17th century.
Carpets and rugs of Turkey work had originally been imported to
Europe from the Near East by the East India companies, and they soon
became popular for their hardwearing properties and colourfulness.
They were made by pulling wool through canvas or coarse linen stretched
on a loom and then cutting it to form a pile. The technique lent itself to
formal geometric designs and heraldic motifs in bright colours and was
soon made on a commercial scale in Europe. Like many professional
crafts, it was also done by persevering ladies at home, and in America
Turkey work was more often done domestically than by professionals.
Japanese Swords
Japanese swords made from about 1600 are known as ’shinto’ (new
swords), and most of the blades still in existence are shinto. This class of
swords includes the Katana, with a blade length of 53-76 cm (21-30 in),
and the wakizashi with a blade length between 30-60 cm (12-24 in).
Various knives and daggers such as yoroi-ioshi, a short fighting knife
used to pierce armour, were smaller versions of the swords.
The two swords of a samurai were called daisho; the katana, allowed
only to samurai, could be replaced with the shorter wakizashi and a
dagger, tanto or yoroi-toshi. On rare occasions members of other classes
could carry the short sword and dagger. Also, free peasants (goshi)
might carry swords at their own risk. The sword and dirk were carried in
the waist sash. Although the long hilt on Japanese swords allows two-
handed use they were usually used single-handed with a slashing action
rather than a thrust, though the point was used with daggers and knives.
Samurai women were not allowed to handle a sword, but they were
trained in the use of other weapons such as the halberd. Samurai
dominance over other classes was often despotic: sword blades were
tested on criminals and even passers-by as well as on iron bars and hay
bales.
All the famous swordsmiths were of samurai rank. Smiths were
regarded as artists rather than artisans, and founded dynasties and rival
schools of swordmakers, some of which lasted for centuries. The
Japanese also invested the sword with a religious quality - it was the
’soul of the samurai’. Japanese ideas about swords reflect the mixture of
Shinto, the indigenous beliefs, and imported Buddhist ideas: swords
were thought to have magical qualities, and to be made of the Five
Elements, earth, fire, water, wood and metal. Smiths tended to lead
moderate, even ascetic lives; forging was complex and took weeks of
skilful work.
The iron and steel from which the blades were made was obtained
from local supplies of ferrous ores and a ferruginous sand, although
from the 17th century some imported steel was used. There were two
basic methods for making blades, one for blades made only of steel, the
other for blades made of a combination of iron and steel.
In the first method two pieces of steel of different grades were placed
on tbp of each other and welded to form a billet. An iron bar was then
welded to this to act as a handle. The billet was then folded on itself,
welded again and hammered out to its original length. The whole process
was then repeated at least fifteen times. A special fire was used made from
a type of pine charcoal and before each firing a mixture of clay and straw-
ash was used to coat the blade, care being taken not to touch the metal
with the hands. Occasionally three or four of these billets would be
welded together and the above process repeated five times, producing
more than four million layers. This method was called muku-gitai or
muku-tsukuri (’pure forging’ or ‘unalloyed make’).
There were several methods of making blades from iron and steel but
they all consisted of a soft iron core enclosed by a piece or pieces of hard
steel. The core metal (shintetsu) was subjected to the folding and welding
process followed by hammering out some dozen times. The outer metal
(uwagane) was made from pieces of steel, from which the slag had been
removed, which were forged into a bar, notched, and then folded, welded
and reforged some 15 times. A common method of combining the two
was to form the uwagane into a V-shaped bar into which the shintetsu
was inserted and welded and the whole then put through the blade-
making process again.
Many of the blades of this period exhibited a wood-grain effect called
mokume made by one of two methods, hada-gitai and masume-tsukuri.
Both methods began with the finished billet and in the former method
the bar was randomly dented and gouged and then flattened by hammer-
ing or grinding so that the various layers of the bar were revealed. The
second method involved hammering the bar on its edge until it became
the face so revealing the layers of metal which look like wood-graining.
Since the makume effect disappeared on tempering it is not visible on
the tempered edge.
When forging the hard edge on a sword blade, an almost religious
ritual was followed. The smith and his assistant wore special robes
indicating their social rank; the smithy was locked and Shinto rites were
performed to make it into a shrine with plaited straw hangings and paper
flags to prevent the entry of evil spirits.
[To produce a hard edge on a sword blade it was covered with wet clay
in which a line was drawn about 12 mm (£ in) from the edge. The clay
was removed between the line and edge and the remainder allowed to
harden, the blade was then placed in the furnace and watched for the
right colour change. The blade was then removed, the clay taken off
and the blade quenched. This process produced a hardened, decorative
cutting edge (yahibd) with a milky white colour where the exposed steel
had crystallized.
ktharacteristic designs were used when drawing the line of the yahiba.
These included a jagged line signifying a horse’s tooth, and a stepped
line indicating a road up the mountains. These patterns (hamon) may
be used to date and value a sword and place it in its tradition or school.
The blade was sharpened and polished over several weeks to produce
a mirror finish. The effect of the repeated folding and welding of the

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Sep

27

Antique 17th Century Jewellery, Embroidery, Fashion

September 27, 2009 | Leave a Comment

Diamond history of a different kind was also made in this century. In
I655 the Great Mogul diamond was discovered at the Gani mines in
India. It has been estimated that it weighed some 800 carats. Towards
the end of the century the Mogul sent the diamond to a Venetian cutter,
Sio Borgis, who unfortunately reduced the stone to 280 carats, a
fe for which he was punished by having all his property confis-
jlt is not known what became of this remainder of the diamond,
i first imitation diamonds were also made in this century although
t some uncertainty as to who first made them. George Ravenscroft,
r|of the Savoy Glass House in London is commonly credited with
covery, but Villiers in his Journal d’un Voyageur a Paris mentions
isieur d’Arre who was making counterfeit diamonds, emeralds,
rubies, and topazes before 1675 which was the date of Ravenscroft’s
disci very. His imitation was a ‘paste’ glass based on lead oxide, which
had a high refractive index and when cut looked like the genuine stone.
Ihe mitation was widely used following its discovery.
The new emphasis on stones rather than goldwork and enamel has,
how ever, had an unfortunate outcome: succeeding generations must have
cove ted the gems more than the settings, for relatively few pieces of good
17th century jewelry have survived the melting pot, compared with the
products of the previous century.
I namelling also flourished during this period, though in a different
style. Indeed some of the finest examples of this type of decoration are
to be round in the 17th century. The general trend was towards the use
of enamelling to enrich and enhance the settings of the stones themselves,
rather than to be an essential feature of the design. Watch and miniature
cases *are an obvious exception and it is in this form that the enameller
excelled. Early designs incorporate the moresque decoration so popular
during the previous century, combined with elaborately interlaced
Gold miniature case, enamelled in black
and while c.1620.
Jewelry
tendril scrolls and strapwork motifs, executed in light-coloured enamel
en silhouette against a dark background. Occasionally the effect was
reversed, a dark decoration against a light background, through the use
of niello. Perhaps the most important of all the designers of silhouette
enamels is JeanToutin, who was working in Chateaudun during the first
decades of the 17th century.
Designs for predominantly gem-set jewelry showed a departure, in
spirit and motifs, from the Mannerist style. The Baroque love of natural-
istic ornament evident in all the arts, especially ceramics and furniture,
was quickly adopted in jewelry as well. Brooches and pendants were
soon designed as elaborate foliate scrolls, buds and flowerheads, often
supporting several pear-shaped drops, the whole richly set with various
gems, often in pea pod-like settings. The reverse of the mount was
delicately engraved.
Enamelwork, too, found inspiration in leaves and flowers as a source
of decorative motifs. By the second half of the 18th century, designers
such as Petitot, Vauquer and Legare had perfected the technique
of painted enamel, where the medium is applied in the manner of paint
on to an enamelled ground of uniform colour, usually white though
occasionally pale blue, yellow or black. Through this technique, which
allows a far greater degree of delicacy than the more common champleve
process, flower designs achieved a naturalism and beauty hitherto un-
known and seldom rivalled. A further innovation was to model the
leaves and flowers in relief by building up contoured layers in the enamel
ground. In some instances, the ground was cut away leaving the enamelled
blooms alone, and thereby adding even greater realism.
This type of naturalistic flower decoration found its way on to most
items of jewelry, not only the pendants and watch cases already men-
tioned, but also rings, necklace links, earrings and the immensely
popular aigrette. This last jewel, a hair ornament which usually took the
form of a spray of flowers or feathers richly set with a cluster of stones,
seems to have been de rigeur at all ceremonial occasions. Sadly, few have
survived other than in engravings.
Yet another new enamelling technique called email en resille sur verre
was practised by some skilled French enamellers. After engraving a
design on glass, the cavities were lined with gold foil and filled with a
low melting point enamel. Because of difficulties in ensuring sufficient
heat to melt the enamel without cracking or melting the glass, the tech-
nique gradually lost favour. Miniature cases were sometimes decorated
in this way and some belts enamelled with hunting scenes are in the
Victoria and Albert Museum and the Wallace Collection.
In dress design, the profusion and mixture of patterns and motifs that
characterized the late 16th century were gradually abandoned for a
more luxurious and dignified style in rich silks and brocades exemplified
in the portraits by Van Dyck. The jewels themselves, rather than tending
to be lost among the plethora of decoration and ornament, as was the
case in the previous century, focused the attention glimmering with rich
colour. Many jewels were worn en parure, with matching brooch,
pendant and earrings.
An unusual and gloomy fashion was memento mori, which comple-
17th Century
merited the mourning jewelry popular since the 16th century. Fashion-
able mainly in England, they often consisted of coffin-shaped pendants
with a death’s head in enamel. One such pendant found at Torre Abbey,
Devon, has the cover of the coffin decorated with champlevk. enamel in
black while the coffin contains a white enamelled skeleton. Round the
sides is the inscription Through the Resurrection of Christe we be all
sanctified’. Such memento mori became memorials to the death of
specific people. A large number of such jewels, for instance, were made
to pommemorate the execution of Charles I.
England
After the accession of James I in 1603, embroidery in England continued
foqa while in Elizabethan styles. Spanish work was still popular, applique
waplin fashion and developed into stumpwork, while chinoiserie was in
vogue for a few years. Bird and flower motifs in petit point and appliqued
to the cloth were common decorations and designs were based mostly
on kcroll patterns sometimes with gold and silver thread couching
accompanying them. ‘Yellow silk’ embroidery evolved at this time and
cowjisted of padded panels with heraldic devices embroidered in yellow
ivory-coloured satin, which gave a quilted look when they were
fcd.
Id herbals were still widely used for design ideas as were such books
nsectorum by Thomas Moufet, published in 1607 and Simpson’s
FlAAers, Fruits, Birds and Beasts.
By the later years of the 17th century, the making of samplers had
become part of the needlework education of young girls, who would
often make several - perhaps a coloured sampler of stitches, motifs and
alphabets, a whitework sampler showing cut and drawn work and em-
broidery suitable for household linen, and finally an embroidered picture
sket in which she was able to display her most flamboyant skills.
I well into the 18th century samplers were a rich source of stitches
designs and in many cases they provide an impressive record of
ividual performance.
time, however, design books became more widely available and
adult embroideresses made samplers for their own use. Although
continued as part of the educational curriculum for girls they soon
e debased into exercises ‘in neatness and perseverance’. They
ed fewer and fewer different stitches until by the I9th century they
nearly always worked entirely in cross-stitch. As well as an alphabet
sometimes a child’s name, age and the date, they included motifs
as flowers, animals, houses and birds and, nearly always, a pious
. The whole picture - for this is what the sampler had become - was
ally surrounded by a decorative border and was clearly designed
framed and hung up for all to see.
e later 17th century in England was remarkable for its vibrant
Mid-17 th century motif popular on
embroidered curtains and hangings.
Embroidery
pictorial embroidery. The period after Charles II’s restoration in 1660
was one of unashamed luxury, colourful splendour and sensuous ex-
cesses of all kinds, and the extravagance of the time is reflected in the
array of late Stuart needlework pictures, mirror frames, caskets and
keepsakes which have survived to the present day. Some were em-
broidered in coloured silks in the flat, while others were done in three-
dimensional stumpwork, with figures, flowers, fruits and other motifs
raised and padded: details of costume-like collars and cuffs were fre-
quently semi-detached and made of needlepoint lace. Although many
of the designs were Biblical - the Finding of Moses, Esther and Ahasuerus
and the Judgement of Solomon were among the favourites - the figures
all wear elaborate Stuart costume. In the background fanciful castles,
huge caterpillars, birds, butterflies, cows, lions and flowers, mostly
taken from the popular design books of the time, jostle for space with
total disregard for the rules of proportion. Their colourful naivety is
charming, and the stitchery, often punctuated with sequins and seed
pearls, is breathtaking.
Pictorial panels, however embroidered, were put to a variety of uses.
Most frequently they were used to cover the wooden boxes which held
the owner’s jewelry and trinkets. The scenes around the sides of the box
were often from the life of a particular Biblical figure. In some cases the
edges of the panels are finished with braid or held with lacquer. The
inside of the door is usually decorated with highly formalized flower
motifs in laid work. Only the larger boxes were embroidered inside. A
particularly beautiful example, now in the Victoria and Albert Museum,
was made by Martha Edlin in 1671, when she was only 11, and shows the
Seven Virtues, Music and the Four Elements. The rest of her work made
as a child accompanies the box and it seems that box embroidery was the
first task set a child once she had mastered the basic techniques.
Embroidered mirror-frames are not uncommon, the motifs usually
comprising a figure, often cameoed, on each side of the mirror and the
rest of the frame filled with flowers, birds, insects and so on. Mirror-
frames in beadwork were also made.
Although leather and cloth bookbinding were becoming more com-
mon, embroidered binding remained popular until the end of Charles
II’s reign. Heraldic, floral and pictorial motifs were worked in petit
point on canvas, or chain and split stitches on silk, satin and velvet. A
large number of such books have survived, the most renowned being
those by the nuns of Little Gidding after 1650 and now in the British
Museum.

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Sep

16

CANDLES STICKS - CARPETS AND RUGS - CLOCKS AND WATCHES - COINS AND TRADE TOKENS: GENERAL - EMBROIDERY - FURNITURE

September 16, 2009 | Leave a Comment

CANDLES STICKS—see Brass

CARE OF ANTIQUES—see Restoration

CARPETS AND RUGS Campana, M. Oriental Carpets. 1969

Dilley, A. U. Oriental Rugs and Carpets. New York, 1931 (1960) Edwards, A. C. The Persian Carpet. 1953

Erdmann, K. Seven Hundred Years of Oriental Carpets. 1961 (1970) Hawley, W. A. Oriental Rugs, Antique and Modern. New York, 1913 Hopf, A. Oriental Carpets and Rugs. 1962 (1969) Jacoby, H. How to Know Oriental

Carpets and Rugs. 1963

Kendrick, A. F. and Tattcrsall, C. E. C. Handwoven Carpets, Oriental and

European. 2 vols. 1922 Liebham, P. Oriental Rugs in Colour. New York, 1963 Martin, F. R. A History oj Oriental Carpets before 1800. 1908 May, C. D. How to Identify Persian and other Oriental Rugs. 1952 (1968)

Mumford, J. K. Oriental Rugs. 1901; The Yerkes Collection of Oriental

Carpets. 1910

Sarrc, F. and Trenkwald, H. (trans, by A. F. Kendrick) Old Oriental Carpets.

2 vols. Leipzig, 1926 Schurmann, U. Caucasian Rugs. 1965

Tattersall, G. E. G. Handwoven Carpets, Oriental and European. 2 vols.

1922; The Carpets of Persia. 1931 Tattersall, C. E. C. and Reed, S. A History of British Carpets. Leigh-on-Sca,

1934 (1966) Thatcher, A. B. Turkoman Rugs. 1940

Von Bode, W. and Kcihnel, E. (trans, by C. G. Ellis) Antique Rugs from the Near East. Braunschweig, 1958

CARRIAGES AND WAGGONS

Arnold, J. The Farm Waggons of England and Wales. 1969

Damase, J. Carriages. 1968

Tubbs, D. B. Horseless Carriages. 1969

CHESSMEN

Copley, F. S. Improved Geometrical and Universal Chessmen. Statcn Island, 1864

Graham, F. L. Chess Sets. 1969 Hammond, A. A Book of Chessmen. 1950

Ilarbeson, J. F. Nine Centuries of Chessmen. Philadelphia, 1964 Liddell, D. M. and others. Chessmen. New York, 1937 Mackett-Beeson, A. E. J. Chessmen. 1968 Murray, H. J. R. A History of Chess. 1913 Wichmann, H.

and S. Chess and Chessmen. 1964

CHRISTMAS AND GREETINGS CARDS

Buday, G. The History of the Christmas Card. 1954 (1965)

Chase, E. D. The Romance of Greeting Cards. Cambridge, Mass., 1926

Laver, J. Victoriana (pp. 97-106). 1966

CLOCKS AND WATCHES

Baillie, G. H. Watchmakers and Clockmakers of the World. 1947 (1966); Clocks and Watches: an historical bibliography. 1951

Bcntlcy, W. J. The Plain Man’s Guide to Antique Clocks. 1963

Britten, F. J. Old Clocks and Watches and Their Makers. 1899. (The seventh edition of this classic, with new illustrations, was issued in 1956 with the material largely rewritten by G. H. Baillie, C. Clutton and C. A. Ilbert

and was reprinted with corrections in 1969); The Watch and Clockmaker’s Handbook, Dictionary and Guide. 1955

Breguet, C. A. L. Briguel—Horologer. 1964

Bruton, E. The True Book about Clocks. 1957; Clocks and watches, 1400-1900. 1967

Chamberlain, P. It’s About Time. 1941 (1964). (A book about watches and watchmaking.)

Clutton, C. and Daniels, D. Watches of Europe and America. 1965 Cumhaill, P. W. Investing in Clocks and Watches. 1967

books  for reading  and reference

Dawson, P. G. The Design of English Domestic Clocks. 1956 De Carle, D. Watch and Clock Encyclopaedia. 1959; Clocks and their Values. 1968.

Drepperd, C. W. American Clocks and Clockmakers. Boston, 1958 Edey, W. French Clocks. 1968

Edwards, E. L. The Grandfather Clock. 1952 (1956)

Fleet, S. Clocks. 1961

Goaman, M. English Clocks. 1967

Gordon, G. F. C. Clockmaking, Past and Present. 1949

Hayden, A. Chats on Old Clocks. 1918

Hill, R. R. Early British Clocks. 1949

Jordan, B. and von Bertele, H. The Book of Old Clocks and Watches. 1964 Joy, E. T. The ‘Country Life’ Book of Clocks. 1967 Lee, R. A. The Knibb Family—Clockmakers. 1964

Lloyd, H. A. Some Outstanding Clocks over Seven Hundred Years, 1250-1950. 1958; The Collector’s Dictionary of Clocks. 1964; Old Clocks. 1965

Morpurgo, E. Precious Watches. 1966

Palmer, B. The Book of American Clocks. New York, 1950; A Treasury of

American Clocks. New York, 1968 Peate, I. C. Clock and Watch Makers in Wales. Cardiff, 1960. Robertson, J. D. The Evolution of Clockwork. 1931 Smith, J. Old Scottish Clockmakers. 1921

Symonds, R. W. A History of English Clocks. 1947; The Life and Work of

Thomas Tompion. 1951 (1969) Tait, H. Clocks in the British Museum. 1968 Tyler, E. J. European Clocks. 1969

Ullyett, K. British Clocks and Clockmakers. 1947; In Quest of Clocks.

1950 (1962); Watch Collecting for Amateurs. 1969 Wenham, E. Old Clocks. 1951 (1965) Willard, J. W. Simon Wiltard and his Clocks. 1969

COINS AND TRADE TOKENS: GENERAL

Bcyne, W. Trade Tokens issued in the Seventeenth Century. 2 vols. 1891

Brown, L. Coin Collecting. 1962

Carson, R. A. G. Coins. 1962

Chamberlain, C. C. Guide to Numismatics. 1960

Craig, W. D. Coins of the World, 1750-1850. Wisconsin, 1966

Davis, W. J. Nineteenth-Century Token Coinage. 1906

Einzig, P. Primitive Money. 1957

Johnson, R. F. Coin Collecting. 1969

Linecar, H. W. A. Beginner’s Guide to Coin Collecting. 1966; Coins. 1967 Narbeth, C. The Coin Collector’s Encyclopaedia. 1968 Linecar, H. W. A. Beginners Guide to Coin Collecting. 1967 Portcous, J. Coins. 1964

Rayncr, P. A. Coin Collecting for Amateurs. 1967

COINS AND TRADE TOKENS: SPECIAL AREAS Andrews, A. Australasian Tokens and Coins. Sydney, 1921 Askew, G. The Coinage of the Roman Empire. 1951 Brooke, G. C. English Coins. 1932 (1955)

Charlton, J. E. Catalogue of Canadian Coins, Tokens and Paper Money.

Toronto, 1960 Craig, J. The Mint. Cambridge, 1953 Grant, M. Roman History from Coins. Cambridge, 1958

Grucbcr, II. A. Handbook oj the Coins of Great Britain and Ireland in the

British Museum. 1899 Linecar, H. W. A. Crown Pieces of Great Britain and the Commonwealth.

1962

Mack, R. P. The Coinage oj Ancient Britain. 1953

Mathias, P. English Trade Tokens. 1962

North, J. J. English Hammered Coinage. 1960

Oman, C. The Coinage of England. Oxford, 1931

Rowe, C. M. Salisbury’s Local Coinage. 1966 (1968)

Schlumbcrger, H. Gold Coins of Europe since 1800. 1900

Seaby, II. A. (Ed.) Notes on English Silver Coins (1066-1648). 1948

Seaby, II. A. Standard Catalogue of the Coins of Great Britain and Ireland.

Published annually. Seaby, H. A. and Kozolubski, J. Greek Coins and their Values. 1959 Seaby, H. A. and Rayner, P. The English Silver Coinage from 1649. 1968 Seaby, P. J. The Story of the English Coinage. 1952

Stewart, I. II. The Scottish Coinage. 1955

Sutherland, A. Numismatic History of New Zealand. Wellington, 1941 Wang, Yu-Ch’uian. Early Chinese Coinage. American Numismatic Society, New York, 1951

Waters, A. W. Notes on Eighteenth-Century Tokens. 1954; Notes on Nineteenth-Century Tokens. 1957

COPPERWORK

Burgess, F. W. Chats on Old Copper and Brass. 1954 Hamilton, H. The English Brass and Copper Industries to 1800. 1926 Wills, G. Collecting Copper and Brass. 1962; The Book of Copper and Brass. 1968

COSTUME—sec also Fashion Plates and Monumental Brasses Boucher, F. A History of Costume in the West. 1966

Bradfield, N. Women’s Dress, 1730-1930. 1968; Costume in Detail. 1969 Bradshaw, A. World Costumes. 1962

Brooke, I. English Children’s Costume Since 1775. 1930; A History of

English Costume. 1937 (1968) Bruhn, W. and Tilke, M. A Pictorial History of Costume. 1955 Buck, A. Victorian Costume and Costume Accessories. 1961 Calthrop, D. C. English Costume. London, 1907. (Also published in

four

parts—Early English, Middle Ages, Tudor and Stuart, Georgian.) Contine, M. Fashion. 1965 (1967)

Cunnington, C. W. English Women’s (,’lothing in the Nineteenth Century. 1937; The Art of English Costume. 1948; Handbook of English Medieval Costume. 1952; Handbook of English Costume in the Sixteenth Century.

1954; Handbook of English Costume in the Seventeenth Century. 1955; Handbook of English Costume in the Eighteenth Century. 1957; Handbook of English Costume in the Nineteenth Century, 1959; A Picture History of

English Costume. 1960

Cunnington, C. W. and P. The History of Underclothing. 1951; Handbook of English Medieval Costume. 1969

Cunnington, P. and Lucas, C. Occupational Costume in England. 1968

Cunnington, P. and Mansfield, A. English Costume for Sports and Indoor Recreation. 1969

Fairholt, F. W. Costume in England. 1846

Gibbs-Smith, C. H. The Fashionable Lady in the Nineteenth Century. 1960

hooks FOR READING AND REFERENCE
Hartley, D. Medieval Costume and Life. 1931

Hill, M. H. and Buckncll, P. A. The Evolution oj Fashion: Pattern and Cut, 1066-1930. 1967

Holmes, M. R. Stage Costumes and Accessories in the London Museum. 1968

Houston, M. G. Medieval Costume in England and France. 1939

Laver, J. Taste and Fashion from the French Revolution until today. 1937;

Costume Through the Ages. 1963 Lister, M. Costume, An Illustrated Survey from Ancient Times to the

Present Day. 1967 Martin, P. European Military Uniforms. 1963 (1968) Maxwell, S. and Hutchinson, R. Scottish Costume. 1958

McQuoid, P. Four Hundred Years of Children’s Costume from the Great

Masters, 1400-1800. 1923 Moses, F. Modern Costume. 1823 Planchd, J. R. A Cyclopaedia of Costume. 1876-79 Rhead, C. W. Chats on Costume. 1906 Waugh, N. The Cut of Women’s Clothes, 1600-1930. 1968

Yarwood, D. English Costume from the Second Century B.C. to 1960. 1952 (1967)

DAGGERS—sec Edged Weapons

DOLLS—sec also Toys

Early, A. K. English Dolls, Effigies and Puppets. 1955

Fraser, A. Dolls. 1963

Hillier, M. Dolls and Dollmakers. 1968

Johnson, A. Dressing Dolls. 1969

Low, F. H. Queen Victoria’s Dolls. 1894

Noble, J. Dolls. 1968

St George, E. Dolls of Three Centuries. 1951

Singleton, E. Dolls. 1927

Von Boehn, M. Dolls and Puppets. 1965

White, G. Dolls of the World. 1962; European and American Dolls. 1966 DOLLS’ HOUSES

Benson, A. G. and Weaver, Sir Laurence. The Book of Queen Mary’s Dolls’

House and the Book of Queen Mary’s Dolls’ House Library. 1924 Grant, J. The Doll’s House. 1934 Greene, V. English Dolls’ Houses. 1967 Jacobs, F. G. A History of Dolls’ Houses. 1954 Latham, J. Dolls’ Houses. 1969

DRUG JARS

Howard, G. E. Early English Drug Jars. 1931

DUMMY BOARD FIGURES

Scott, A. and C. Dummy Board Figures. 1966

EDGED WEAPONS (Bayonets, Daggers and Swords) Altmayer, J. P. American Presentation Swords. Alabama, 1958 Atwood, J. The Dagger and Edged Weapons of Hitler’s Germany. Berlin, 1965

Aylward, J. D. The Small Sword in England. 1960 Bosanquet, H. T. The Naval Officer’s Sword. 1955

Burton, R. F. Book of the Sword. 1884

Carrington-Piercc, P. A Handbook of Court and Hunting Swords, 1660-

1820. 1937

Dean, B. Catalogue of European Court and Hunting Swords. New York,

1929; Catalogue of European Daggers. New York, 1929 Ellacott, S. E. Armour and Blade. 1962

Ellis-Davidson, H. R. The Sword in Anglo-Saxon England. Oxford, 1962

Ffoulkes, C. T. Sword, Lance and Bayonet. 1967

German, M. C. A Guide to Oriental Daggers and Swords. 1967

Hawley, W. M. Japanese Sword Smiths. California, 1966

Hayward, J. F. Swords and Daggers. 1951

Henderson, J. Sword Collecting for Amateurs. 1969

Hutton, A. Fixed Bayonets. 1890; The Sword and the Centuries. 1901

Joby, H. L. Japanese Sword Mounts. 1910

Knutsen, R. M. Japanese Polearms. 1963

Latham, R. J. W. British Military Swords. 1966; British Military Bayonets.

1967

Norman, A. V. Small Swords and Military Swords. 1967

Oakeshott, R. E. Archaeology of Weapons. 1960; The Sword in the Age of Chivalry. 1964

Peterson, H. L. American Knives. New York, 1958; American Indian Tomo-hawks. New York, 1965; Daggers and Fighting Knives of the Western

World. 1968

Rawson, P. S. The Indian Sword. Copenhagen, 1969

Robinson, B. W. Primer of Japanese Sword Blades. 1955; The Art of the

Japanese Sword. 1961 Stephens, S. J. Bayonets. 1968 Valentine, E. Rapiers. 1968 Wagern, E. Cut and Thrust Weapons. 1967 Wayne, B. Exercise of Broadsword. Washington, 1850 Webster, D. B. American Socket

Bayonets, 1717-1873. Ottawa, 1964 Wilkinson, F. Swords and Daggers. 1967

Wilkinson Latham, R. J. British Military Swords from 1800 to the Present

Day. 1966; British Military Bayonets. 1967 Yumoto, J. M. The Samurai Sword. Tokyo, 1958

EMBROIDERY

Campbell, C. Linen Embroideries. 1935

Church, E. R. Artistic Embroidery. New York, 1880

Dolby, A. Church Embroidery. 1867

Higgin, L. Handbook of Embroidery. 1880

Johnstone, P. Byzantine Tradition in Church Embroidery. 1967; Greek

Island Embroidery. 1961 Jourdain, M. A. English Secular Embroidery. 1910 Kendrick, A. F. English Embroidery. 1905

Morris, B. History of English Embroidery. 1954; Victorian Embroidery. 1962 Wheeler, C. The Development of Embroidery in America. New York and London, 1921

ENAMELS—ENGLISH

Brown, W. N. The Art of Enamelling on Metal. 1900 Cunynghame, H. The Art of Enamelling on Metals. 1906 Hughes, T. and B. English Painted Enamels. 1951 Ilford, Lord. Staffordshire Coloured Enamels. 1965

books for reading and reference

Mew, E. Batter sea Enamels. 1926

Turner, W. Transfer Printing on Enamels, Porcelain and Pottery. 1907 ENAMELS—EUROPEAN

Gauthier and Marcheaux, M. Limoges Enamels. 1962

ENAMELS—ORIENTAL

Bowes, J. L. Japanese Enamels. 1884

Garner, II. M. Chinese and Japanese Cloisonni Enamels. 1962

FAKES AND FORGERIES, AND THEIR DETECTION

Arnau, F. Three Thousand Years oj Deceptions in Art and Antiques. Dussel-

dorf, 1959; London, 1961 Cescinsky, H. The Gentle Art of Faking Furniture. 1931 (American reprint,

1968)

Kurz, O. Fakes: A Handbook for Collectors and Students. 1948 (Revised edition, 1969)

Savage, G. Forgeries, Fakes and Reproductions: A Handbook for Collectors. 1963

Schiilier, S. Forgers, Dealers and Experts. 1960

Tillcy, F. Ultra-Violet Fluorescence and Micro-Analysis of English Porcelain. 1957

FANS

Cust, L. Fans and Fan-Leaves. 1893 Maclver, P. The Fan Book. 1920 Rhead, G. W. The History of the Fan. 1910 Salwey, C. M. The Fans of Japan. 1894

Schreiber, Lady Charlotte. Fans and Fan-Leaves: English. 1888; Fans and

Fan-Leaves: Foreign. 1890 Uzanne, O. The Fan. 1884

FASHION PLATES

Holland, V. Hand Coloured Fashion Plates, 1770-1899. 1955 Lavcr, J. Fashion and Fashion Plates, 1800-1900. 1943; Costume Illustration, The Nineteenth Century. 1947

FIREARMS

Akehurst, R. Sporting Guns. 1968; Game Guns and Rifles. 1969 Atkinson, J. A. Duelling Pistols. 1964 Baker, E. Remarks on Rifle Guns. 1825

Baxter, D. R. Superimposed Load Firearms, 1360-1860. Hong-Kong, 1966

Blackmore, H. L. British Military Firearms, 1650-1850. 1961 (1967); Firearms. 1964; Guns and Rifles of the World. 1965

Blair, C. European and American Arms, c 1100-1850. 1962; Pistols of the World. 1968

Blanch, H. J. A Century of Guns. 1909

Boothroyd, G. Gun Collecting. 1961

Bowman, H. Antique Guns. New York, 1953

Busk, H. The Rifleman’s Manual. 1858

Carey, A. M. English, Irish and Scottish Firearms Makers. 1967 Carman, W. Y. History of Firearms. 1955

Chapel, C. E. U.S. Martial and Semi-Martial Single-shot Pistols. New York, 1962

Dowell, W. C. The Webley Story. Leeds, 1962

Dunlap, J. American, British and Continental Pepperbox Firearms. California, 1964

Edwards, W. B. The Story of Colt’s Revolver. Harrisburg, 1953 Ellacott, S. E. Guns. 1955

Ffoulkes. The Gunfounders of England. Cambridge, 1937 Folkard, H. C. The Wild Fowler. 1864 Forsyth, J. The Sporting Rifle. 1867 Frecmantle, T. F. The Book of the Rifle. 1901

George, J. N. English Pistols and Revolvers. Onslow County, North Carolina,

1938; London, 1963; English Guns and Rifles. Pennsylvania, 1947 Glcndenning, I. British Pistols and Guns, 1640-1840. 1951 (1969) Gyngell, D. S. II. Armourers’ Marks. 1959 (1960) Hastings, M. English Sporting Guns.

1969

Hayward, J. F. European Firearms. 1955; The Art of the Gunmaker. Vol.

I 1500-1660: Vol II 1660-1830. 1962-3 Held, R. The Age of Firearms. New York, 1957; London, 1959 Jackson, II. J. European Hand Firearms of the Sixteenth to Eighteenth

Centuries. 1959

Kaulfman, H. J. The Pennsylvania-Kentucky Rifle. Harrisburg, 1960 Lavin, J. A History of Spanish Firearms. 1965

Lenk, T. The Flintlock, Its Origin and Development. Stockholm, 1939; London,1965

Lister, R. Antique Firearms: Their Care, Repair and Restoration. 1963 1 .”v.in. H. C. Underhammer Guns. Harrisburg, Pennsylvania, 1960 Ncal, W. K. Spanish Guns and Pistols. 1955

Ncal, W. K. and Back, D. H. L. The Mantons: Gunmakers. 1967; Forsyth

& Co., Patent Gunmakers. 1969 Partington, J. R. A History of Greek Fire and Gunpowder, Cambridge,

1960

Peterson, H. L. (Ed.) Encyclopaedia of Firearms. 1964 (1967); The Book of

the Gun. 1963 (1967) Pollard, H. B. C. History of Firearms. 1926 Pope, D. Guns. 1965

Reynolds, E. G. B. The Ue Enfield Rifle. 1960 Ricketts, H. Firearms. 1962

Riling, R. Guns and Shooting: A Bibliography. New York, 1951; The Powder

Flask Book. New Hope, Pennsylvania, 1953 Roads, C. H. The British Soldiers’ Firearms, 1850-1864. 1964 Servcn, J. E. Colt Firearms. California, 1954 (1959)

Smith, W. H. B. Gas, Air and Spring Guns of the World. Pennsylvania, 1957

Taylcrson, A. W. F. The Revolver, 1865-1888. 1966; Revolving Arms. 1967 Taylerson, A. W. F., Andrews, R. A. N. and Frith, J. The Revolver, 1818-1865. 1968

Walsh, J. H. The Modern Sportsman’s Gun and Rifle. 1882 Wilkinson, F. Small Arms. 1965 (1966); Flintlock Pistols. 1969 Winant, L. Early Percussion Firearms. New York, 1959; London. 1961; Fire arms Curiosa. New

York, 1955 (1961); Pepperbox Firearms. New York, 1952

FIRE MARKS

Fothergill, G. A. Fire Marks from 1680. 1911

Williams, B. Fire Marks and Insurance Office Fire Brigades. 1927; Specimens of British Fire Marks. 1934

hooks   for reading and reference

FIREPLACES

Kelly, A. The Book of English Fireplaces. 1969

William, T. Designs o\ Monuments and Chimney Pieces. 1843

FURNITURE—GENERAL

Aronson, J. The Encyclopaedia of Furniture. Third cdtn., 1966 Binstead, II. E. English Chairs. 1923

Blake, J. P. and Hopkins, A. E. R. Old English Furniture. 1930 Boger, L. A. The Complete Guide to Furniture Styles. 1961 Boynton, L. English Furniture. 1969

Davies, L. T. and Lloyd-Johnes, N. J. Welsh Furniture. 1950 Dean, M. English Antique Furniture. 1968

Edwards, R. A History of the English Chair. 1951 (1965); The Shorter

Dictionary of English Furniture. 1964 Fastncdge, R. English Furniture Styles from 1500 to 1830. 1955 (1962) Foley, E. Book of Decorative Furniture: 2 vols. 1910-11

Cloag, J. A. Short Dictionary of Furniture. 1952 (Revised and enlarged

edition, 1969); The Englishman’s Chair. 1964 Gordon, II. Old English Furniture. 1948

Haydcn, A. Chats on Cottage and Farmhouse Furniture. 1912 (1950) Hayward, II. (Ed.) World Furniture. 1965 Heal. A. The London Furniture Makers, 1660-1840. 1953 Henderson, J. Furniture. 1967

Honour, H. Cabinet Makers and Furniture Designers. 1969 Hughes, B. The Pocket Book of Furniture. 1968 Hughes, T. Old English Furniture. 1949

Joy, E. T. English Furniture. 1962; ‘Country Life’ Book of Furniture. 1964 (1969)

Litchfield, F. Illustrated History of Furniture. 1922

Macquoid, P. A History of English Furniture : 4 vols. 1904

Macquoid, P. and Edwards, R. The Dictionary of English Furniture from

the Middle Ages to the late Georgian Period: 3 vols. 1924-27 (1954) Menzies, W. G. Period Furniture for Everyman. 1939 (1950) Mercer, E. Furniture, 700-1700. 1969 Negus, A. Going for a Song: English Furniture. 1969

Pendcrel-Brodhurst, J. G. J. and Layton, E. J. Glossary of English Furniture. 1925 (1954)

Ramsey, L. G. G. (Ed.) Antique English Furniture. 1961

Ramsey, L. G. G. and Comstock, II. (Eds.) The Connoisseur Guide to

Antique Furniture. 1957 (1969) Symonds, R. W. The Present State of Old English Furniture. 1927; English

Furniture from Charles II to George II. New York, 1929; Old Furniture.

1939 (1964)

Wanscher, O. The Art of Furniture: 5,000 years of Furniture and Interiors.

Copenhagen, 1966; English Translation, London, 1968 Wenham, E. The Collector’s Guide to Furniture Design. 1928; Old Furniture.

1964

Wheeler, G. O. Old English Furniture. 1909 FURNITURE—AMERICAN

Andrews, E. D. and F. Shaker Furniture. New Haven, 1950 Bjerkoe, E. II. The Cabinetmakers of America. Garden City, New York, 1957

Burton, E. M. Charleston Furniture, 1700-1825. Charleston, 1955 11

Carpenter, R. E. Jr. The Arts and Crafts of Newport, Rhode Island, 1640-

1820. Newport, 1954 Comstock, H. American Furniture: Seventeenth, Eighteenth and Nineteenth

Century Styles. New York, 1962 Downs, J. American Furniture of the Queen Anne and Chippendale Styles.

New York, 1952 Ilinklcy, F. L. A Directory of Antique Furniture, New York, 1953 Hipkiss, E. J. The M. and M. Karolik Collection of Eighteenth Century

American Arts. Boston, 1941 Horner, W. M. Jr. Blue Book, Philadelphia Furniture. Philadelphia, 1935 Iverson, M. D. The American Chair, 1630-1890 New York, 1957 Kettell, R. EL The Pine Furniture of Early New England.

New York, 1929

(1956)

McClelland, N. Duncan Phyfe and the English Regency, 1795-1830. New York, 1939

Miller, E. G. American Antique Furniture. 2 vols. 1967

Montgomery, C. F. American Furniture. The Federal Period, 1788-1825.

New York, 1966; London, 1967 Nagel, C. American Furniture, 1650-1850. 1949

Ormsbee, T. H. Early American Furniture Makers. New York, 1930; The

Windsor Chair. New York, 1962 Otto, C. J. American Furniture of the Nineteenth Century. New York, 1965 Sack, A. Fine Points of Furniture: Early American. New York, 1950 (1963) Williams, II. Country Furniture of Early

America. 1964

FURNITURE: EARLY ENGLISH DESIGN BOOKS

Chippendale, T. Gentleman and Cabinet Maker’s Director. 1754; Re-issued

in London and New York, 1957 Hepplewhitc, A. & Co. Cabinet Maker and Upholsterer’s Guide. 1788 Hope, T. Household Furniture and Interior Decoration. 1807 Ince, W. and Mayhew, T. Universal System of Household

Furniture. 1762-3;

Reprinted 1960

Manwaring, R. Cabinet and Chairmaker’s Real Friend and Companion. 1765;

Reprinted 1954

Sheraton, T. Cabinet-Maker and Upholsterer’s Drawing Book. 1791-4; The Cabinet Directory. 1803

Smith, G. Cabinet-Maker and Upholsterer’s Guide. 1826; Designs for Household Furniture and Interior Decoration. 1808

FURNITURE—ENGLISH BEFORE 1800 Brackett, O. Thomas Chippendale. 1924

Ccscinsky, II. English Furniture of the Eighteenth Century. 3 vols. 1911-12 Coleridge. A. Chippendale Furniture: The Work of Thomas Chippendale and

his Contemporaries in the Rococo Taste: e. 1745-1765. 1968 Edwards, R. Sheraton Furniture Designs.  1949; Hepplewhitc Furniture

Design. 1955

Edwards, R. and Jourdain, M. Georgian Cabinet Makers. 1944; Revised

Edition London and New York, 1963 Ellwood, G. M. English Furniture and Decoration, 1680-1800. 1933 Fastnedge, R. Hepplewhite Furniture Design. 1954; Sheraton Furniture. 1961 Harris, E. The Furniture of Robert

Adam. 1963

Hayward, C. II. English Period Furniture, 1580-1800. 1936; Period Furniture Designs. 1968

Jourdain, M. English Decoration and Furniture of the Early Renaissance,

1500-1650. 1924; The Work of William Kent. 1948 Lenyon, P. Furniture in England from 1660-1760. 1914 (1925) Musgrave, G. Adam and Hepplewhite Furniture. 1965 Nickerson, D. English Eighteenth-Century Furniture.

1963 Rogers, J. C. English Furniture. 1923 (1968)

Strange, T. A. Eighteenth-Century Furniture, Woodwork and Decoration.

1958

Symonds, R. W. Old English Walnut and Lacquer Furniture. 1923; English Furniture from Charles II to George II. 1929; The Ornamental Designs of Chippendale. 1949; Chippendale Furniture Design. 1954; Furniture

Making in the Seventeenth and Eighteenth Century in England. 1955; Veneered Walnut Furniture. 1952 Tipping, H. A. Old English Furniture of the Cabriole Period. 1922 Ward-Jackson, P. J. English Furniture Designs of

the Eighteenth Century. 1959

Watkin, D. Thomas Hope and the Neo-Classical Idea. 1968 Wolsey, S. W. and Luff, R. W. P. Furniture in England: The Age of the Joiner. 1968

FURNITURE—ENGLISH REGENCY

Aslin, E. Nineteenth-Century English Furniture. 1962

Harris, J. Regency Furniture Designs from Contemporary Sources Books, 1803-26. 1961

Jourdain M. and Fastnedge, R. Regency Furniture. 1965 (Revision of earlier publication.)

Musgrave, C. Regency Furniture (1800-1830). 1961

Reade, B. Regency Antiques (Contains a useful appendix giving the names and addresses of London furniture makers in 1817.) 1953

FURNITURE—ENGLISH VICTORIAN

Aslin, E. Nineteenth-Century English Furniture. 1962

Bird, A. Early Victorian Furniture. 1964

Braund, J. Illustrations of Furniture from the Great Exhibition. 1858 Jervis, S. Victorian Furniture. 1968

Joel. D. The Adventures of British Furniture, 1851-1951. 1953

Lawford, H. The Cabinet of Practical, Useful and Decorative Furniture

Designs. 1859 Roe, F. Victorian Furniture. 1952

Symonds, R. B. and Whineray, B. B. Victorian Furniture. 1962 FURNITURE—FRENCH

Packer, C. Paris Furniture, 1710-1810. New York. 1956 Souchal, G. French Eighteenth-Century Furniture. 1961

Strange, T. A. French Interiors, Furniture, Woodwork and Decoration. 1958 Verlet, P. French Royal Furniture. 1963; French Furniture and Interior

Decoration of the Eighteenth Century. 1967 Watson, P. J. B. Louis XVI Furniture. 1960; French Furniture in the Wallace Collection. 1956

FURNITURE—ITALIAN

Hunter, G. L. Italian Furniture and Interiors. 2 vols. 1920

Morazzoni, G. Italian Furniture of the Neo-Classic Period (1760-1820). 1955

GAMES—see also Toys

Whitehouse, F. R. B. Table Games of Georgian and Victorian Days. 1951

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