Over the past decade the Metal Unit of the Material Culture Section, Archaeology Research Division, Canadian Parks Service, has maintained a reference file identifying marks found on metal artifacts. This document is a selection of marks on file that relate primarily to tableware items, from the late 18th century to about 1900.
In this revised fourth edition, each pattern has current values for the fork, knife, and spoon with each illustration. Over 1,600 patterns are fully illustrated and include the date introduced, manufacturer's marks, and variations of pattern names. All values have been revised to reflect today's market. 2008 values.
Henry Birks (30 November 1840 - 16 April 1928) was a Canadian businessman and founder of Henry Birks and Sons, a chain of high-end Canadian jewellery stores.He was born to English immigrants from Yorkshire, England. His parents moved to Canada in 1832. Son of John Birks, a pharmacist, and Ann Marie, he did his schooling in commercial studies at the High School of Montreal. In 1857, Birks was hired as a clerk at Savage and Lyman in Montreal, reputed to be the finest jeweller and watchmaker in the Province of Canada at that time. Although Birks eventually became a partner in the firm in 1868, the company's later financial difficulties encouraged Birks to leave in 1877 With an investment of C$3000, Birks opened his own small jewellery shop in 1879 on Saint Jacques Street in the heart of Montreal's financial and commercial district. In 1893, Birks went into partnership with his three sons (William, John and Gerald), and the name of the firm became Henry Birks and Sons.
Short writings and segments of longer prose works containing critical and ironic treatments of war and social injustice by the famous Missouri story-teller.
"Ettore Sottsass: Architect and Designer - the first significant study of the work of Sottsass for over a decade - emphasizes the continuing diversity and innovation of his professional life while illuminating his personal design philosophy, his belief in the intimate relationship between design and the individual, and his fundamental humanity and joie de vivre. Drawing in particular on the work of the two decades since Sottsass left the Memphis collective, this book reassesses his relationship to Modernism and Postmodernism, analyzes the increasing importance to Sottsass of his own architectural practice, and considers both his acceptance and his rejection of the traditional use of materials. In a series of interviews specially undertaken for this book, Sottsass reflects on the cross-currents of ideas and influences that have guided his long career."--BOOK JACKET.
