Pewter Snuff Boxes.Plate XXII.
Pewter Snuff Boxes.Plate XXII.
Pewter Snuff Boxes.Plate XXII.
Pewter Snuff Boxes.
Plate XXII.
Pewter Pots (All inscribed except the top row).Plate XXIII.
Pewter Pots (All inscribed except the top row).Plate XXIII.
Pewter Pots (All inscribed except the top row).Plate XXIII.
Pewter Pots (All inscribed except the top row).
Plate XXIII.
I have little more to say on the subject of old pewter generally, as the Tavern Measures are given an article on their own. Of course, I have left the photographs to do most of the talking, and I hope they have risen equal to the occasion. Next to the fascination of collecting comes the pleasure of exhibiting to an appreciative audience, and this brings to mind a delightful evening when a young witty Canadian went through my show, and at the conclusion, in the naïvest manner possible, said: “I have asked you a great many questions, sir, but as I am undecided in my mind I thought before I left I had better enquire, ‘does the pewter go with your daughter?’”
Half a century ago Winchester Cathedral in the winter was decidedly cold, and on occasions some of those small choir boys, who found little warmth and comfort from their white linen surplices, now and then collapsed during the services. Candles may have answered the purpose of providing all the illumination required, but they were hardly a flaming success for heating purposes. In the records of the deliberation of the Dean and Chapter at that time there would be a resolution to pay Mr. Edward Sheppard, of the Bishop’s Palace, a certain sum to provideeach of the youthful songsters entrusted to his care with a pot of porter each day with their dinners. Which denotes there was no Pussyfoot in that Chapter. Mr. Sheppard, whose name I use with all respect, was most particular as to his pupils’ cleanliness, and every morning held a hand and neck inspection in the long hall by the entrance door. To illustrate that he had a mind for the internal as well as the external frames which filed past him he once a week, being provided with a bowl of brimstone and treacle, administered a tablespoonful to each boy. If Mr. Sheppard had given the same scrutiny to the big can in which the porter was drawn from the barrel there would have been no heel taps in our pewter pots, but as the can was rarely washed out, and the porter left from one day was frothed up when being filled the next, the result, so far as benefit to the boys was concerned, must have been flat, stale, and unprofitable.
No writer refers oftener to the pewter pot than does Charles Dickens, and he might have said of me, as he did of Master Micawber, “He was brought up to the Church.”
In the book of the chronicles of Pickwick the reader can easily find the text suitable for my discourse. That great and good man with his host of friends used the pewter pot with such effect that it would be a national scandal to allow it to be relegated to the lumber shop. Old Pickwick and old pewter are synonymous, and so let us keep his memory alive by preserving the main medium of his hospitable and generous nature. Time is changing everything so ruthlessly that unless some of us have a care the passing of the pewter pot will become an absolutefact. To guard against such a calamity, and to preserve models of a commodity which played so important a part in the episodes that made life in England all the brighter for its presence in past centuries, I have gathered together a representative array of old pewter pots, many bearing quaint inscriptions, which, if they could speak for themselves, would enable me to treat you to a chapter replete with true stories of adventure, love, crime, deeds of chivalry, and scenes of woe which no imagination could evolve.
What of the “70th Regiment” cup? What stirring episodes has that been through?—among others, probably the Afghan War of 1840. I do know that the “Shipwrights’ Arms’, Limehouse Hole,” pint took part in, and survived, the Indian Mutiny bivouacs and battlefields, as it was given by the then landlord to a soldier just before leaving home. I specially prize this; it has written on the front before the address the name, “D. Saul,” alongside which is the toper’s big initial, “K,” and the number of his peg or hook on which it hung, “55,” on the bottom. This number would be seen when looked up at from the floor.
If Pickwick has us in hand, we shun the battle and resort to the bottle, so let us look in at the “Windmill, Dartford,” and see what manner of men were there. Surely not smugglers on the banks of the Thames? Of about the same period, what was the “Wellington, Shepherd’s Bush,” like? Rather a swagger inn, probably, judging by the beaded pattern of the mug, which was supplied or made by “W. R. Loftus, 146, Oxford Street,” who has been, and will be, a long time dead. At the “Feathers” at Chiswick, and “Hope,” Islington, theymust have had quite high-class callers, or why the lip on the tankards unless it were to pour the contents into beakers? The customers at all inns were so diversified in character that I see no reason why the same measure should not have done for the post-boy on his frequent calls, for the parish priest on duty bent, or later by the highwayman in a hurry, if they held it in the left hand and turned the lip of the pot skywards.
From London to the “Blackburn Arms,” Hale, situated on the Mersey, an old-time village, and home of the Ireland Blackburne family, was a long journey by road in those days, and the pewter pot would be in great request. I warrant this particular one was handed back many a time with a determination to “Have another, and dom the expense.”
When I came across the pint inscribed “Post Office Hotel, Church Street, Soho,” I wrote to a Fleet Street friend asking him to find out a likely date for it, and after making enquiries he reported he could find neither the hotel nor Church Street, and that the oldest man he had seen in Soho (a sexton, I think) could tell him nothing about either. The same friend was here one night, and I left him looking at these pewter pots. I heard a Fleet Street exclamation of surprise, and when I enquired the reason he held up the “Baker’s Arms’, Waltham Abbey,” pint, saying, “Why, I was born close to the Baker’s Arms.”
The “Post Office Hotel” brings the post-boy of old to my mind, and I turn to the oldest book I possess, given to me by my father, in which he wrote my name in 1861. “The Sporting Scrap Book,” by Henry Alken, containingfifty plates, designed and engraved by himself, published by Thomas McLean, 26, Haymarket, 1824. I have always treasured this book, and the coloured prints are as good to-day as ever. I was wondering how often the pewter pot appeared in Alken’s drawings, and I find twice. The first is entitled “The Post-Boy,” who with a pair of harnessed horses has just called for drinks for himself and his horses, and no sooner has he got his than he has the pot to his lips. The shape is similar to the “Post Office Hotel” pint, but probably the “Post-Boy” needed a quart, for the pewter pot is as tall as his pot hat. In the second picture Alken shows a pewter pot with almost as much “frill” on the top as there is round the cap of the woman who holds it, and this one is also the same shape, which confirms my impression that the “Post Office Hotel” pint pot is about 100 years old.
I now turn my attention from the handy pints to the capacious quart pots, just the things to wash down a breakfast with; pause and conjecture what “lovely” thirsts they must have had! It was quite the custom to put the landlord’s monogram on the front, and the name of the tavern on the bottom of the mugs; there again is a theme for reflection. As a reason, I think we may assume there were kleptomaniacs, souvenir hunters, and sneak thieves in the far gone times, just as there are to-day, and by marking in this way it would limit the loss to the latter class, who would sell the things for old metal. These big mugs would well set off a table on which were pewter plates anything from nine to twenty inches in diameter. Although I have studied all the books written on old pewter, I have failed to find that it wasalways a case of “One man, one quart,” and am forced to the conclusion that there may have been odd occasions when more than one shared.
To get back to the pots illustrated, does any living man know where the “Baptist Head,” High Holborn, stood? It is perhaps typical of the country that the largest and heaviest quart comes from Ireland, and from the battered condition it was in when I got it, I surmised it had often been used to add weight to an argument.
My eye now wanders to the fine old loving cup made by John Edwards about 1750. This has a glass bottom to prove to all users how clear were its contents, and I wonder to what extent it has been used at family gatherings for weddings, christenings, and buryings, and the very important part it has played in making them all enjoyable. Glance at that copious lidded jug, and mulled ale at once suggests itself; can you not hear the horn that gives warning of the stage coach, the bustle at the “Queen’s Hotel” (called after Mary, Elizabeth, or Anne, probably), or imagine the anxiety of the passengers to test the brew, and how quickly the jug would be emptied on a cold journey, while on warmer days the flat-bottomed jug, full to the brim with foaming beer, would be equally welcome? Some of the pots are fitted with a strainer at the lip, and this would be most useful in the period of poor lighting and typical practical joking by keeping hops, flies, wasps, cockroaches, or perhaps an odd mouse, out of the mouth of the customer using the mug. It would also be requisite to use the funnel when filling passengers’ flasks, most travellers were no doubt provided with the latter of no mean size. The funnelshown is dated 1698, while a particular flask I illustrate is a fine specimen; probably its original owner was a man of grit, for roughly engraved on one end is “PRO DAOS ET REGE,” a fitting toast when the custom was “The Passing of the Pewter Pot.”
Pewter Pots. Lidded Tankards with makers’ initials “J. C.” (1780), “Y. & B.,” “J. M.” (1825), “T. P.” (1710), “H. I.” (1690), “T. L.,” “T & C.” (1775)Plate XXIV.
Pewter Pots. Lidded Tankards with makers’ initials “J. C.” (1780), “Y. & B.,” “J. M.” (1825), “T. P.” (1710), “H. I.” (1690), “T. L.,” “T & C.” (1775)Plate XXIV.
Pewter Pots. Lidded Tankards with makers’ initials “J. C.” (1780), “Y. & B.,” “J. M.” (1825), “T. P.” (1710), “H. I.” (1690), “T. L.,” “T & C.” (1775)Plate XXIV.
Pewter Pots. Lidded Tankards with makers’ initials “J. C.” (1780), “Y. & B.,” “J. M.” (1825), “T. P.” (1710), “H. I.” (1690), “T. L.,” “T & C.” (1775)
Plate XXIV.
Front and Back of Faked “Alms-Dish.”Plate XXV.
Front and Back of Faked “Alms-Dish.”Plate XXV.
Front and Back of Faked “Alms-Dish.”Plate XXV.
Front and Back of Faked “Alms-Dish.”
Plate XXV.
You will, I hope, be interested in a study of the variety of shapes and handles on the photographs, but you need to handle these old things to realise their fascination; even if they bear no inscription or maker’s mark, some of the early Excise marks, “G.R.” or “W.R.” with various town crests, are worth looking at. Could you examine the bottoms you would find red cut glass, plain glass (Waterford possibly), wood and pewter, double and single pewter bottoms, some with holes in their bottoms through age and ill usage, while one has no bottom at all, so you can’t knock the bottoms out of that. One of the quart measures bears the initials and touch mark of George Bagshaw, who was enrolled on the list of the Freemen of the Pewterers Company in 1826; it is boldly stamped with a crown, and the words “Imperial Standard” with a small stamp “Crown W.R.” with “W.W.” under. I am not sure what “W.W.” stands for, but believe it will be the initials of the Excise Inspector, and that this measure would be the Imperial standard whereby the quart measures in a certain locality were tested. The list of inscriptions given should not fail to entertain; some are quaint and there may be one or two that a reader will recall, but I imagine that most of the addresses have ceased to exist.
This remark does not apply to the Old Whyte Harte Hotel at Wisbeach (now spelt Wisbech), for that is thepresent day Izaac Walton Association House. My set of measures was made by Grimes, of London, for J. Hill, the landlord in 1880.
The collection continues to increase, and I have recently acquired a quart, mark “S.C.” inscribed “Longden White, Ewell, 1820.” Another, which belonged to W. James, Welney, marked four lions—a lipped quart by Geradin & Watson, stamped “G.R.” 1826, and lastly a quart pot-bellied measure by W. Nettleford, early 19th century, being the only measure of this shape which I have seen fitted with a lip. I must now end this potty discourse, and on pondering for a fitting quotation wherewith to conclude, I can think of none more suitable than one which I trow good King Hal is not likely to have used when ruminating on his bunch of wives—“Let ’em all come.”
I have given this title to the photograph I recently had taken for various reasons which I will now particularise. Most books contain a mystery of some kind and thecreation in many instances must cause the author much anxious thought, but in my case the mystery is real up to the time of writing; possibly soon after this appears in print the mystery will be explained by some kind correspondent who possesses a similar piece. In the first place, I know not its proper name, so must call it for the time being “the piece.” Where I obtained it will remain a mystery to the reader, but how I happened to become its possessor I will readily relate, and in doing so I confirm my previous statement that you never know your luck when collecting.
In the early part of 1919 business called me to London on several occasions, and as many readers will have had unpleasant experiences of the hotel accommodation there at that time they will not be surprised to hear that I made arrangements with friends who live in a fine old town umpteen miles from the City to take me in. On a visit in June I was walking to the station to catch the morning train to take me to London when I passed a broker’s shop and of course stopped. Among a lot of furniture and odds and ends I noticed “the piece,” and I thought at first it was a brass water bottle from India, but on further consideration I felt sure it was pewter, so I essayed to walk in, but locks, bolts and bars defied resistance, while no one took heed of the noise I was making. In the end I had to rush for the train. Business over I returned and was met at the station by a lady friend. I am afraid I hurried her along to the shop where I saw “the piece” still perched. I tried the door again, but it was still fastened, so I started knocking. My friend then informed me it was no use as it was the half holiday,but I was determined to get in if I rattled all night. At length I was admitted, found “the piece” was real old pewter, was informed they had had it a fortnight, and that it was aRose Vase, but they didn’t know where it came from. There are antique shops in that town, and this was just the sort of thing they could have done with, so my picking it up when on a flying visit was most fortunate.
The “Odamifino.”Bed Pan which has been converted into the Faked “Alms-Dish.”Plate XXVI.
The “Odamifino.”
The “Odamifino.”
The “Odamifino.”
Bed Pan which has been converted into the Faked “Alms-Dish.”Plate XXVI.
Bed Pan which has been converted into the Faked “Alms-Dish.”Plate XXVI.
Bed Pan which has been converted into the Faked “Alms-Dish.”
Plate XXVI.
The Mystery Piece.Plate XXVII.
The Mystery Piece.Plate XXVII.
The Mystery Piece.Plate XXVII.
The Mystery Piece.
Plate XXVII.
On returning to my real home “the piece” was much admired for its antique appearance and I was told I should spoil it if I had anything done to it, so I had it photographed in the state I found it. It bore no maker’s marks and the shape was quite unknown to me, so I wrote to three pewter connoisseurs sending them each a photograph giving dimensions and weight and asking them to give me its name and age. These are the opinions I received:
No. 1:“YourVesselseems to be aVaseand latish. I have never seen one like it.” And later he kindly wrote: “The more I think of your pewterJarthe more convinced I am that it dates about 1750.”No. 2 said:“I thank you for the photograph of the interestingVaseorBottle, for those are the only possible names one can give to the piece.”No. 3. wrote:“I have seen two or three of the pieces your photograph shows but have never found out their purpose. I have heard them described as 1.Laversfor the waterin Baptism. 2.Water Bottleused in Tavern parlours, and I think the latter is more probable.”
No. 1:
“YourVesselseems to be aVaseand latish. I have never seen one like it.” And later he kindly wrote: “The more I think of your pewterJarthe more convinced I am that it dates about 1750.”
No. 2 said:
“I thank you for the photograph of the interestingVaseorBottle, for those are the only possible names one can give to the piece.”
No. 3. wrote:
“I have seen two or three of the pieces your photograph shows but have never found out their purpose. I have heard them described as 1.Laversfor the waterin Baptism. 2.Water Bottleused in Tavern parlours, and I think the latter is more probable.”
So you see I had then six names for it, and lately when my Irish friend was here I asked him his opinion and he said, “It reminds me of ‘Rebecca at the Well.’” This set me longing to see what it looked like when Rebecca used it, so I got a painter to remove the corrosion with caustic and lime, as I had no bath mixture on tap, then I took it to my tinsmith and spent some time quaking—you understand me—for fear he should hole it or do something awful, but he straightened it, tapped out the dinges, and soon got it into its original shape. Strange to say it is the only piece of pewter in my collection which I prefer to see looking dull, the reason why is another mystery, but I have stopped having it polished up brightly like the rest. I really believe it is the oldest specimen in my collection, certainly it is the most antique in shape. It is nine inches high and its weight (2½ lbs.) denotes it was made when thick metal was worked with, and that is a sure sign of old times. It will not go with any pewter I possess, it makes it all appear comparatively modern, and so we have to allot it a position by itself on an old oak chest, and here I will leave “The Mystery Piece,” with this poser—is it early Georgian or ogygian?