Publications by Christopher Hartop

Christopher Hartop

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	Royal Goldsmiths The Art of Rundell & Bridge, 1797--1843 Christopher Hartop 168 pp. 11 ⁵/8 × 8 ⁵/8" (296 × 220 mm) more than 150 illustrations in colour ISBN 0 9524322 3 4 paperback Ł19.95 Published by: *John Adamson*, Cambridge Distributed in North America by: Antique Collectors’ Club Obtainable from any good bookseller; see also stockists
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Summary
The first to be devoted to Rundell & Bridge, the Royal Goldsmiths, who served four monarchs, this book presents a wealth of gold and silver objects, jewellery, snuffboxes, watches, medals and decorations, as well as works in ormolu and bronze, from museums and private collections around the world, including the Royal Collection. Some of the items are published here for the first time. The partnership of Philip Rundell and John Bridge, started in London towards the end of the eighteenth century, went on to become the greatest firm of goldsmiths, jewellers and medallists of the age. Its stable of distinguished artists, headed by the sculptor John Flaxman, was the driving force in the adoption of a new imperial style in English silver. Later, the firm created jewellery and silver in the historicist and naturalistic styles and was at the forefront of the Gothic revival. Among the firm’s customers were the Prince Regent, later King George IV, and such notable figures as William Beckford, Thomas Hope, Lord Castlereagh, Prince Lieven and the Duke of Wellington. Known as ‘Oil’ and ‘Vinegar’, Rundell and Bridge were of wildly contrasting personalities. While Philip Rundell was an irascible taskmaster deemed to be the best judge of gemstones in London, the urbane John Bridge, described by a contemporary as the ‘complete courtier’, was the public face of the firm. He guided the Prince Regent in assembling a magnificent collection of gold and silver works, both antique and new, which today forms part of the Royal Collection. With more than 150 colour illustrations, this book is an indispensable tool for the collector as well as for anyone interested in the arts and commerce of early nineteenth-century Britain. top
	Reviews
	‘... much-needed ...’ Silver Studies ‘... wonderfully illustrated, with well written and thought out essays by leading scholars; it brings our knowledge of these royal goldsmiths up to date.’ Spencer Marks
Contents
Foreword His Royal Highness The Prince of Wales Acknowledgements Chronology Introduction Philippa Glanville The Business of Luxury At the Sign of the Golden Salmon ‘The First of Its Kind in the Empire’ A Patriotic Age Rundell’s and Their Gold Box Suppliers Charles Truman ‘... the most splendid collection of jewels ... in Europe ...’ ‘A Manufactory on a large and liberal plan’ The Lure of Egypt David Watkin ‘Ten thousand ounces of sterling silver monthly’ Our ‘greatest patron & best friend’ George IV and Jewellery Diana Scarisbrick George IV and the Grand Service Matthew Winterbottom The Great Accumulator An Imperial Style Naturalism and Exoticism The Final Years Bibliography Index top

	East Anglian Silver 1550--1750 edited by Christopher Hartop 128 pp. 10 3/8 × 8 11/16 in. (263 × 220 mm) 124 duotone illustrations 65 illustrations of marks 1 map ISBN 0 9524322 2 6 paperback Ł14.95 or $24.95 Published by: *John Adamson*, Cambridge Distributed in North America by: Antique Collectors’ Club Obtainable from any good bookseller; see also stockists
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Summary
The beauty and stunning craftsmanship of silver made in East Anglia have long been celebrated by scholars and collectors. This book describes in depth a wealth of important silver articles made in the region which are now to be found in museums and private collections in Britain, America and Australia, as well as in churches in Norfolk, Suffolk and Essex. Many of the objects featured have never been published before, including a beaker in the Royal Collection by Elizabeth Haslewood, Norwich’s only woman silversmith of the Stuart period, and a magnificent Charles II tankard from the Gregory Peck collection. The essays, the results of new research on many aspects of the economic and social history of the region, set the silver in its historical context. They present a fascinating perspective on everyday life for many East Anglians during the sixteenth and seventeenth centuries. Even modest households might have owned a few silver spoons at that time. The consumer demand from yeomen, merchants and others was filled by silversmiths working not only in Norwich, the second largest city in the kingdom, but also in smaller towns such as King’s Lynn, Great Yarmouth, Beccles, Ipswich, Colchester and Cambridge. Norwich closely guarded its right to mark silverware made in the city with its civic arms. In the reign of Elizabeth, silversmiths there such as William Cobbold made objects to equal the finest creations of London, Antwerp and Amsterdam. European influences, especially from the Netherlands, were especially important in Norwich, which had a large community of immigrant craftsmen during the sixteenth and seventeenth centuries. Nearly a hundred photographs of marks used by silversmiths throughout East Anglia, many of them newly identified, make this book an essential tool for the collector as well as the local historian.
	Reviews
	‘... a work of art in its own right.’ Ian Collins in Eastern Daily Press ‘... this must be reckoned the most important publication so far on the subject ... it is a “must” for anyone seriously interested in the subject ...’ The Finial
Contents
Foreword by the Rt. Hon. The Earl Ferrers PC, DL, High Steward of Norwich Cathedral Introduction Philippa Glanville: Silver in East Anglia Mary Fewster: Goldsmiths in Norfolk and Suffolk, 1500-1750 Christopher Hartop: Silver made in East Anglia Norwich Christopher Hartop: Silversmithing in Norwich Christopher Garibaldi: The guildhall of the Norwich company of goldsmiths Colin Ticktum: Possible attributions for four sixteenth-century maker’s marks from Norwich William Cobbold (c. 1530-1585/6) Peter Peterson (fl. 1554-1603) Timothy Skottowe (fl. c. 1617-1645) The Haslewood family (fl. c. 1625-1740) Thomas Havers (fl. c. 1674-1732) James Daniell (fl. c. 1689) The ‘leopard’s head and fleur-de-lis’ group (c. 1649-after 1683) top	Decorated spoons of Norfolk and Suffolk Timothy Kent: Decoration on seventeenth-century East Anglian spoons The Waveney Valley Silversmiths in the Waveney Valley Great Yarmouth King’s Lynn Brand Inglis: The silversmiths of King’s Lynn Colin Ticktum: The introduction of the King’s Lynn town mark and the work of Thomas Cooke Bury St Edmunds Wynyard Wilkinson: Notes on the silversmiths of Bury St Edmunds 1550-1665 Ipswich and Colchester Cambridge silversmiths Church plate inventories in print Bibliography Index of marks Index

The silver comes to the MFA, Boston
	The Huguenot Legacy English Silver 1680--1760 from the Alan and Simone Hartman Collection Christopher Hartop 432 pp. 11¾ × 8½ " (296 × 216 mm) 220 colour pictures, 180 black and white illustrations ISBN 0 946708 28 2 Cloth-bound with jacket $90 or £57 Published by: Thomas Heneage, London Distributed worldwide by: Antique Collectors’ Club Obtainable from: Amazon.co.uk or Amazon.com or Archivia, The Decorative Arts Bookshop, New York or Barnes and Noble or The Book Pl@ce or The Internet Bookshop or Spencer Marks Books East Walpole, MA or Sterling & Francine Clark Art Institute or Jolyon Warwick James Antique Silver Sydney, Australia or any good bookseller; see also stockists
Summary \| Reviews \| Contents \| Enquiries \| Stockists \| The silver comes to the MFA, Boston

Summary
In 1685 Louis XIV revoked the Edict of Nantes, which had given religious freedom to the French protestants, or Huguenots. What had been a steady stream of refugees became a flood, creating a tremendous diaspora of talent across northern Europe. Many of the Huguenots were skilled artists, like silversmiths, and their influence on English silver of the period has long been recognized. In this book Christopher Hartop re-assesses the Huguenot contribution to silver made in England and suggests that the Huguenots were just one—albeit the most significant—of several groups of foreign workers who were responsible for the great flowering of style and technique in English silver between 1680 and 1760. The book also examines the radical changes in the way in which people sat down to eat which took place during the early Georgian period, and how silversmiths responded to the demand for innovative types of silverware this created. The new fashion for coffee and tea also saw the introduction of a wealth of new forms of domestic silver. Separate sections deal with silver for eating, drinking, coffee and tea, lighting and salvers. Silver made for display is also examined. Introductory chapters place the silver of the period in the social and historical context of the times. Winner of the 1997 National Huguenot Society Prize for the best original work of scholarship covering any aspect of the Huguenot movement See Christopher Hartop’s article on Huguenot Silver published in Proceedings of the Huguenot Society of Great Britain and Ireland top
	Reviews
	‘The production of this valuable addition to the library of the silver addict is of exceptional quality. Silver is notoriously difficult to reproduce convincingly and the lifelikeness of the illustrations which truly ’leap from the page’, is a tribute to the photographers and production team alike. The well-illustrated personal history of many of the original owners of the pieces contributes much to their background and paints the wealth and splendour of one of the greatest periods in the production of English silver in which the immigrants contributed so much. A volume to be treasured indeed.’ Arthur Grimwade Huguenot Society
Contents
Foreword by Ellenor Alcorn Acknowledgements Introduction Art or Industry? The English scene 1680-1760 Patrons and consumers Dining and drinking Craftsmen and suppliers Styles and designs A note about the arrangement of the catalogue References frequently cited for makers’ marks Catalogue Display and official plate The Wentworth plate The Chesterfield plate Other display and official plate Silver for the dining table Silver for drinking Silver for coffee, tea and chocolate Salvers and waiters Silver for lighting Silver for the bedroom and writing table Glossary Further reading Index top	‘As an exhibition catalogue, The Huguenot Legacy is enormously detailed in augmenting our understanding of the effect of the Huguenot ’conquest’ (particularly in the field of silver) ... it [also] proclaims the remarkable collection put together by Alan and Simone Hartman in the relatively short space of fifteen years. Theirs is the only such assembled collection, other than the earlier Wilding Bequest ... that seeks specifically to define the parameters of Huguenot silver in England.’ Jolyon Warwick James Silver Magazine See the full review ‘Hartop shows how Londoners’ fascination with all things Continental paved the way for the innovations of the English rococo. He brings to life the interdependent web of modelers, chasers, casters, engravers, finishers, and retailers who contributed to the finished product. Of great significance is Hartop’s explanation that the maker’s mark that appears on important commissions is no indication of authorship because of the intricate web of specialists at work in London.’ Maine Antique Digest See the full review ‘Unlike many silver exhibitions, this one is less concerned with who made the objects and how valuable they are. Instead, it documents the development of the English obsession with French taste and how the influence of artisans trained for the French court made it possible for British nobility to realize their ambitions.’ Paula Deitz The New York Times top

The silver from the Alan and Simone Hartman Collection featured in this book has been touring the United States. After exhibiting at the St Louis Art Museum, St Louis, at the Cheekwood Museum, Nashville, at Allentown Art Museum, Allentown, at the Cooper-Hewitt, National Design Museum, New York, and at the Indianapolis Museum of Art, it has now become part of the permanent collection in a specially designed installation in the Hamilton Palace dining room at the Museum of Fine Arts, Boston.

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