THE LEGENDARY AMERICA'S CUP - THE TROPHY and THE RACE

THE LEGENDARY AMERICA’S CUP THE TROPHY and THE RACE

by Karolina Stefanski and Jack Griffin

What is the America’s Cup?

The pinnacle of the sport of sailing and the oldest international trophy in sports, the America’s Cup is probably the most difficult to win. The trophy has been held by yacht clubs from only four countries—the United States, Australia, New Zealand and, somewhat improbably, Switzerland. For 170 years, this yachting competition has attracted nobles and titans of industry who have spent fortunes in a grand quest for the prestige of winning this elusive prize.

The America’s Cup, a silver ewer crafted by Garrard’s, the Crown Jewelers, was first awarded as a prize in 1851 by the Royal Yacht Squadron (RYS) in Cowes, England, at their annual regatta. Queen Victoria’s husband, Prince Albert

(1819-1861), was an active member of the RYS. Albert played the leading role in organizing the Great Exhibition (1851), the showcase for British industrial might. Six million visitors attended 13,000 exhibits in Paxton’s

Crystal Palace in London in 1851.1 Nations from around the globe brought their latest cultural, technological and technical developments and innovations, showcased in elaborate displays. Inspired by this international spirit, the RYS

Fig. 1. The poster for the Royal Yacht Squadron Regatta of 1851. Note the inscription: “Open to Yachts belonging to the Clubs of all Nations.” The R.Y.S £100 Cup was the only race not restricted to RYS members. ©Source: Royal Yacht Squadron.

England.

William

offered a trophy for a race open to “Yachts belonging to the Clubs of all Nations”2 (Figure 1). The trophy had been purchased at Garrard’s for £100 and presented to the squadron by Lord Uxbridge, the Marquess of Anglesey (1768-1854), a founding member of the club and a hero of the Battle of Waterloo (1815).

The trophy for the first race was won by the yacht America (Figure 2), owned by a syndicate of five members of the New York Yacht Club. The upstart New Yorkers had built a fast yacht modelled on the pilot boats that raced out to incoming clipper ships. The first boat to reach a clipper would put their pilot on

board, collecting the fee for guiding the ship into New York harbor. The others went home empty handed. During the race, as America rounded the Needles at the western end of the Isle of Wight, Queen Victoria, aboard the royal yacht, asked her signal master, “Which yacht is leading?” “It’s the America,” came the reply. “And who is second?” The signal master exclaimed, “There is no second, ma’am”3 and so it is to this day in the competition - only the winner counts. There is no second. “The loss of the cup so rattled British yachtsmen that they fell prey to all kinds of suspicions, including the idea that America was secretly steam powered.”4 The Marquess

America’s

August 22, 1851

of Anglesey, donor of the cup, had lost his right leg in the Battle of Waterloo, but was still an active yachtsman.5 When he scrambled aboard America, John Cox Stevens (1785-1857), founder and the first commodore of the New York Yacht Club and leader of the America syndicate, held his good leg so he could lean over the side to look for a propeller. Finding none and realizing that America’s hull shape was superior to British designs, he declared, “I’ve been sailing my yacht stern foremost for the last twenty years.”6

Taking their prize back to New York, the five syndicate members at first thought of melting it down to

make a medallion for each of them.7 Fortunately, they came up with a better idea, and gifted the Cup to their club, specifying, “This Cup is donated upon the condition that it shall be preserved as a perpetual Challenge Cup for friendly competition between foreign countries.”8 The America’s Cup is named for the yacht that first won it, not for the country. The yacht club which last won the Cup holds it until a challenging yacht club - always from a different country than the defender - defeats it. The New Yorkers held the trophy for 132 years - the longest winning streak in any sport. In 1983, Australia’s Royal Perth Yacht Club wrested the Cup from the defender’s team led by Dennis Conner. Conner promptly won the trophy back in the next edition in 1987, this time representing the San Diego Yacht Club. In 1988, a surprise challenge from New Zealand led to two years of legal wrangling and a mismatched competition between an

elegant but slow Kiwi monohull and a speedy American catamaran. San Diego Yacht Club kept the Cup until 1995, when the Kiwis prevailed and took it back to the Southern Hemisphere for two more editions. In 2003, a challenge from Switzerland recruited top Kiwi sailors and won the Cup, taking it to Europe for the first time, with racing in Valencia, Spain. More legal battles raged from 2007 to 2010. An American team owned by software billionaire Larry Ellison won in the courts of New York and on the waters of Valencia, taking

the trophy to San Francisco in 2013 and then to Bermuda in 2017. The America’s Cup went to New Zealand once again, following a successful challenge by the Kiwis in Bermuda. The most recent competition was the thirty-sixth challenge for the America’s Cup and was raced in Auckland, New Zealand, in March 2021. Three teams challenged for the right to meet Emirates Team New Zealand in the America’s Cup Match:

(1) Prada Pirelli Team Luna Rossa, representing Italy’s Cercolo della Vela Sicilia; (2) American Magic, representing

“The modern America’s Cup racer bears not the slightest resemblance to any useful craft in the world, and she does not even contribute to the development of yachting as a true sport apart from the satisfaction of an illogical national vanity. But having damned them, I must confess to an absorbing interest in the problems set by those extraordinary craft. They have the fascination of sin.”

- Yacht Designer Charles Burgess. 1935

Fig. 2. A painting by John Hansen (1825-1870), depicting three famous vessels that were designed by American yacht designer George Steers (1819-1856). In the foreground we see the yacht America. Steers built America for the New York Yacht Club commodore John Cox Stevens in 1851. America became world famous as the first winner of the trophy that became the

Cup on

in Cowes,

Collection of

I. Koch. © Painting by John Hansen (1870), courtesy of Hyland Granby Antiques, Hyannisport, Massachusetts.

Fig. 3. The Prince of Wales visited Emirates Team New Zealand in Auckland in November 2019. This photograph shows the America’s Cup trophy with its added base as it is today. In the picture with the Prince of Wales is Grant Dalton, CEO of Emirates Team New Zealand. © Emirates Team New Zealand

New York Yacht Club; and (3) INEOS Team UK, representing Royal Yacht Squadron Racing. Racing in the Prada Cup Challenger Selection Series took place during January and February, with Luna Rossa emerging as the top challenger. They raced against Team New Zealand for the big prize in March. This intensely spirited regatta captivated serious sailing aficionados and fascinated casual sports fans. The Kiwi team fought off a determined challenge from Luna Rossa to retain the Cup for the Royal New Zealand Yacht Squadron. The America’s Cup is first and fore-

most a technology and design contest.

In 1851 America stunned the British yachtsmen, with her hull shape, sharply raked masts, and tightly woven cotton sails. Winning America’s Cup yachts have always used the best technology of their day, and the designers have used all their skill to give their sailors a winning yacht. We have evolved from elegant wooden yachts with clouds of white canvas sails to today’s carbon fiber boats that fly above the water on hydrofoils. Extreme yachts built solely to race for this trophy has often been criticized for being impractical. Over eighty-five years ago,

yacht designer Charles Burgess wrote, “The modern America’s Cup racer bears not the slightest resemblance to any useful craft in the world, and she does not even contribute to the development of yachting as a true sport apart from the satisfaction of an illogical national vanity. But having damned them, I must confess to an absorbing interest in the problems set by those extraordinary craft. They have the fascination of sin.”9

The America’s Cup has no governing body like the IOC or FIFA; the competition is governed by the Deed of Gift, 10 the nineteenth-century

THE AMERICA’S CUP SILVER TROPHY

The prestige of racing for the America’s Cup comes in large part from the impressive trophy. Silver, a rare and costly metal, has been chosen and cherished since hundreds of years for ceremonial objects and as symbols of authority. Silver trophies have been presented as tokens of esteem or sporting prizes for centuries. “The English retained a passion for presentation silver and an astonishing variety and range of large prizes and testimonial pieces emerged in the nineteenth century.”11 The Marquess of Anglesey (1768-1854) purchased an

document by which the original winners of the trophy presented it to the New York Yacht Club. There is no schedule like the four-year cycle for the Olympics or the World Cup. The defending yacht club and a challenging club write the rules for each edition, choosing the dates, specifying the type of yacht to be raced, the venue, and the number of races to be sailed. In recent years we have seen a true revolution in the race boat technology. The yachts in the 2007 America’s Cup were seventy-five foot long displacement monohulls with a twenty-ton lead keel for stability. Elegant but slow, they sailed at about ten knots. The 2010 races in Valencia, Spain, moved to 115-foot long multihulls - monstrous yachts built at great expense that were used in only two races. Speedy catamarans flying above the water on hydrofoils raced in San Francisco in 2013 and in Bermuda in 2017.

The designers at Emirates Team New Zealand startled the sailing world in 2018 when they showed their concept for a wild new race boat. Remarkably, the concept works! The AC75 is a 75 foot long monohull, but it has no heavy keel for stability. Instead, a fifteenfoot long arm with a surfboard-sized hydrofoil is raised and lowered on each side of the boat. The lift generated by the hydrofoil raises seven tons of boat and crew clear of the water. Speeds over fifty knots have already been registered. The races have thrilled the sailors and the audiences. The America’s Cup Match in March 2021 provided the fastest racing in the most technically audacious sailboats ever to race anywhere. Reliability played a key role in determining the winner. These boats are so complex that the shore teams - like the pit crew in Formula One - are under constant pressure to keep the boats ready to race and fixing breakdowns by working all night between races.

Fig. 4a. The America’s Cup ewer as photographed between 1900 and 1915. Photo: Library of Congress, contributed by Detroit Publishing Company.

Fig. 4b. The America’s Cup trophy as it is today. With its extensive base, the trophy measures 43 inches (1.1m) high and weighs more than 30 pounds (14 kg). ©Photography: Gilles Martin-Raget.

Fig. 5. A close-up of the America’s Cup showing the hallmarks on its spout. ©Photography: Gilles Martin-Raget.

Fig. 6. Detail of the plinth of the America’s Cup. ©Photography: Gilles Martin-Raget.

elaborately decorated sterling silver ewer (Figure 4) made in 1848 by Britain’s Crown Jeweler, R. & S. Garrard & Co., founded by George Wickes in 1735.

One of the most renowned silversmiths of the nineteenth century, Garrard was run by three brothers at that time, Robert Garrard II (17931881), who apprenticed in 1809 with his father, along with his siblings James (1735- c.1886) and Sebastian Garrard (1798-1870). The three brothers managed the silver manufactory after their father’s passing (Robert Garrard

I, 1758-1818) in 1818 and operated under the name of R. J. & S. Garrard until James’s departure in 1835, when his initial was accordingly dropped from the company’s name. Garrard employed renowned painters and sculptors, such as Edmund Cotterill (1795-1860), who became the chief designer of the company.12 During the mid-nineteenth century, the firm was known as one of the leading silver manufacturers of elaborate presentation silver and centerpieces, servicing the aristocracy and the court. In 1843, Queen Victoria

(1819-1901) appointed Garrard as the first official Crown Jewelers of the United Kingdom, serving six successive monarchs. Garrard kept this title until 2007, when an era changed.

Garrard’s sterling silver ewer, known today as the America’s Cup, was produced as a representative stock item, weighing 134 ounces (3.8 kg) and measuring 27 inches (69 cm) in height.13 It was created for speculation sales.14 This Cup was one of a series of silver ewers with similar design offered for sale.15 These ewers were assembled from the pieces with

the same design, and decorated with the same motifs, with slight variations, which resulted in multiple designs.

As already mentioned, the America’s Cup was named after its first winner, the yacht “America,” which won the 1851 race. However, the trophy has often mistakenly been attributed to other names. John Cox Stevens referred to the trophy as the “Hundred Guinea Cup,”16 instead of its correct name, the “RYS £100 Cup.” One hundred guineas would have been equal to £105. Another erroneous attribution was “The Queen’s Cup.” This inaccurate term to describe the trophy appears to haveoriginated in a speech given by John Cox Stevens during the New York Yacht Club dinner at Astor House on Wednesday, October 1, 1851, on the victorious return of America’s owners.17 Astor House was then a very fashionable hotel on the corner ofBroadwayandVesey StreetinLower Manhattan, but all trace of it was lost in 1913 to make way for a

larger building. The Queen presented a cup each year, but for a race that was only open to RYS yachts: in 1851, specifically to cutters between 50and 100 tons.18 She did present cups toother yacht clubs and America was initially entered to race for The Queen’s Cup of the RoyalVictoria Yacht Club at Ryde on the Isle of Wight, just across the water from Portsmouth. This mayhave been the source of the Americans’ bafflement about the Cup’s name.19 Alternatively, the courseround the Isle of Wight was known as The Queen’s Course, so that also may account for theconfusion.

The mid-nineteenth century, in which the America’s Cup ewer was produced, namely in 1848, marks a period of expansion in industrialization and technology. The middle classes’ purchasing power strengthened and individual wealth surged, creating a demand for elaborately designed silverware. At the same time, with the

rise of the middle class, a less expensive version of silverware emerged – that of silver-plated items for the mass market. The industrial and technological development also became visible in the production methods of silver, which included mechanized casting, rolling, and electro-plating among other techniques.20 The division of labor changed the prestigious silversmith’s profession. It separated the conception from the execution of a silver piece, resulting in a new interpretation of the highly skilled craftsman, formerly known as a gold- or silversmith to namely that of the artificer.21

The America’s Cup was very likely designed by Garrard’s chief designer Cotterill and executed by the Garrard team of silversmiths. With each stage being highly specialized, such as casting, engraving, chasing, assembling and polishing, several silversmiths worked on this one ewer from conception to the realization of the object itself.

Fig. 7. Detail of the bulbous body of six “bulbs” on the America’s Cup. Note the prismatic ornament underneath the bulbous body. ©Photography: Gilles Martin-Raget.

Fig. 8. Close-up of the decorative motif of the busted female coiffed in braids wearing one strand of pearls. ©Photography: Gilles Martin-Raget.

The Cup wears the following five British hallmarks (Figure 5): (1) maker’s mark of Robert Garrard, “R.G.” in script under a crown; (2) town mark corresponding to the mark of the assay office that has verified the piece – here a leopard’s head uncrowned for London; (3) the standard mark, a hallmark for the quality of the metal, a lion passant for sterling silver (925); (4) a date letter mark, which identifies the year in which the piece was verified by the assay office – in this case the letter “N” for the years 1848-49; and (5) the duty hallmark, a sovereign’s head, certifying the payment of duty (this mark was used in the period of 1784 to 1890).

Despite the growing mass production during the midnineteenth century, along with the growing industrialization, English silver remained at a general high standard of craftsmanship.22 It is also significant to point out that despite the many technological and technical advancements and new construction

techniques, especially the silver-plating of a lower standard of “imitation silver” for the mass market, the America’s Cup was conceived in sterling silver—a quality standard of the minimum fineness of 925 silver, an alloy of 92.5% silver and 7.5% copper mixed with nickel. This denotes that the Cup was not just an ordinary machine-made cup of that time, but one that was handcrafted in the highest quality and was therefore unique.

The silver ewer was produced during the Victorian era, named after the period of Queen Victoria’s reign in England (1837-1901). It embodies a typical design of eclecticism, sourcing mainly from the Renaissance. Eclecticism was a manner of combining diverse historic, naturalistic, and exotic styles and mixing them with a creative approach to reflect stylistic diversity. This diversity, featuring its own definite and original style representative of the Victorian era,23 is visible in the design, the construction, and the application of decorative

motifs on the ewer. The Victorian era culminated with the Great Exhibition of 1851, the same year that this silver ewer was presented as a prize for the race won by the America

Various traditional silversmithing production techniques were applied in the design of the America’s Cup, including hand-raising, forging, repoussé, chasing, engraving, stamping, soldering, casting, and polishing.24 Stylized leaves, scrolls, medallions and flower motifs are visible as appliqués. These decorative motifs were cast and pierced separately using metal die cutting punches and subsequently applied by traditional soldering to the main body of the ewer.

The stem, from which protrudes a simple rounded column, is decorated with low relief ornaments, and four empty cartouches, oval medallions set in a scrolled frame, above a simplified beakhead fret, a repeating vertical ornamental design resembling the head of a bird, crowned by a beaded pearl band

(Figure 6). Slightly atop the naked column is a wide angular ring representing more cartouches connected through floral garlands. This angular ring is surmounted by several scrolled brackets25 (Figure 6), a type of projecting shelf support. The next ornamental level brings to attention a wide concave ring divided into several vertical sections through low relief decorative motifs, termed strapwork, that end in grotesque masks, also referred to as mascarons (Figure 6).

Stylized strapwork, a decorative motif from the late sixteenth and early seventeenth century originated in Antwerp, Belgium, and had a revival in the late nineteenth century, and was most commonly applied in architecture and decorative arts.26 Strapwork is characterized by intricate patterns of interlaced lines and scrolls diversified with geometrical figures. In modern terms it is also referred to as the prismatic ornament (Figure 7).27 The Cup presents strapwork dominantly to a great degree.

The main body features large bulbous lobes (Figure 8). On the upper connection of the lobes are placed cartouches with three-dimensional high relief female busts coiffed in braids, wearing a single strand of pearls (Figure 8). Above them we discover another strapwork motif (Figure 10). Traditionally, the bulbous lobes were crafted by the technique of hand-raising and repoussé work, and then attached to a precut ring connecting them. The female busts are finely crafted and produced through the process of wax casting, subsequently soldered between the bulbous lobes’ upper section. The strategic placement of the female busts and strapwork ornament above serves as decorative detail, but also as reinforcement of the soldering segments between the lobes and the ring, simultaneously concealing the soldering segments.

Above the main body is a wide band of high-relief oval medallions covered with geometrically stylized motifs,

depicting renaissance style flower buds (Figure 9). Following this row, a plain ring connects to the baluster-shaped and with strapwork decorated neck (Figure 10). The strapwork here depicts stylized lotus flowers alternated by grotesque masks of satyrs and floral decorative motifs. Another plain thin ring connects the baluster neck with the spout (Figure 5). The Cup’s widely open spout presents a chased border of a fret with profile view of conventional flowers, such as chrysanthemum or daisies, each alternating with a triangle pointing down (Figure 5). Below this asymmetrical spout opening some areas show stippled fields and more strapwork with foliate scrolls.

The baluster handle (Figure 11) of the silver ewer is comprised of five individual pieces. The lower part features an inverted S-scroll element with a stylized C-scroll, attached to the baluster and upper body of the piece. This element is connected through a decorative baluster pillar terminating in

Fig. 9. Detail of decorative motifs of the America’s Cup. ©Photography: Gilles Martin-Raget.

Fig. 10. Close-up of the neck of the America’s Cup trophy. Note the perfectly applied splatwork. ©Photography: Gilles Martin-Raget.

Fig. 11. Close-up image of the ornamentally designed handle of the America’s Cup Trophy. ©Photography: Gilles Martin-Raget.

1. 5 Minute History website, “10 Fascinating Facts about the Great Exhibition of 1851,” https://fiveminutehistory. com/?s=great+exhibition (accessed February 15, 2021).

2. RYS poster for Annual Regatta of 1851. Source: Royal Yacht Squadron.

3. Herbert L. Stone and William H. Taylor, The America’s Cup Races (Princeton, New Jersey: D. Van Nostrand Company, 1958), 16.

4. Michael D’Antonio, A Full Cup: Sir Thomas Lipton’s Extraordinary Life and His Quest for the America’s Cup (New York: Riverhead, 2010), 147.

5. Anglesey, “Paget, Henry William, first marquess of Anglesey (1768–1854),” Oxford Dictionary of National Biography, Oxford University Press, (September 2004); online edition, (January 2008), (accessed January 24, 2021).

6. Doug Riggs, Keelhauled: The History of Unsportsmanlike Conduct and the America’s Cup (Newport, Rhode Island: Seven Seas Press, 1986), 10.

NOTES

12. Kristiane Frank, “Cotterill, Edmund,” in: Allgemeines Künstlerlexikon, State Museum in Berlin – Berlin State Library website, https://www-1degruyter1com-10072a6v5022e.erf.sbb.spkberlin.de/document/database/AKL/ entry/_10173160/html (accessed February 8, 2021).

13. Winfield M. Thompson and Thomas W. Lawson, The Lawson History of the America’s Cup (Boston: Privately printed by Thomas W. Lawson, 1902), 44.

14. Royal Yacht Squadron website, “The Yacht America,” https://web.archive.org/ web/20170206213125/https:/www. rys.org.uk/about/the-yacht-america/ (accessed January 28, 2021).

15. W.H. Summers, Garrard’s Director. Letter of May 20, 1985, to the owner of an original ewer in a private collection.

16. Stone & Taylor, The America’s Cup Races, 16-17.

17. Montague Guest and William B. Boulton, Memorials of the Royal Yacht Squadron, London: John Murray (1903), 218, 222-223.

25. Dora Ware and Maureen Stafford, An Illustrated Dictionary of Ornament (New York: St. Martin’s Press, 1974), 42.

26. Ibid., 205.

27. Ibid., 205. Also refer to Lewis & Darley, A Dictionary of Architecture and Landscape Architecture (Oxford, UK: Oxford University Press, 1986).

28. Thompson & Lawson, The Lawson History of the America’s Cup, 44.

29. It has not yet been determined when and by whom the bottom was added to the neck. Research is ongoing.

30. Elaine Bunting, “Things you never knew about the historic ‘Auld Mug’ America’s Cup Trophy,” Yachting World magazine, (May 16, 2007).

31. New Zealand Herald website, “Man who smashed the America’s Cup sells ‘souvenirs’ of his actions,” (August 19, 2016), https://www.nzherald.co.nz/nz/ man-who-smashed-the-americas-cupsells-souvenirs-of-his-actions/CWPW56V5LVS2VX4KDQCSBOZORM/ (accessed February 8, 2021).

an urn-shaped finial to another inverted stylized C-scroll, ending in a half-penny snub point. The handle makes this silver vessel a ewer, namely a water pitcher. Its symbolic function has been clearly brought to light as a yachting trophy.

Originally, the America’s Cup was a bottomless vessel,28 but a bottom was added to the small baluster neck area in order for the cup to hold a small amount of liquid.29 This is evident in some images where winners are seen drinking champagne from the Cup.

Over time and to accommodate the results of 170 years of racing, two sterling silver bases have been added to accommodate engraving of the results from 1958 onwards (Figure 4b). The first base was added by Tiffany & Co., at the request of the New York Yacht Club, then the holders of the Cup. The second base was added by Garrard’s in 2000, for the Royal New Zealand Yacht Squadron. This second base

was remanufactured and re-engraved in 2018, to allow room for more engraving. Several engraving techniques have been used on the bases of the Cup, including hand-engraving, individually punched letters and machine and laser engraving (Figures 13a, b, c & d). Through the addition of the bases, today the trophy measures 43 inches (110 cm) in height and weighs more than 30 pounds (14 kg).30

The America’s Cup as it appears today has undergone occasional restoration. The most dramatic resulted from the September 1997 sledgehammer attack on the Cup by Ben Nathan, a Maori protester in Auckland. Nathan saw the silver trophy as a symbol of oppression by Caucasians. His attack led to significant damage to the Cup, necessitating major repairs by renowned silversmith Rod Hingston at Garrard & Co 31 Garrard’s restoration process required several months to reconstruct the trophy to its

original appearance.32 Further repairs were made in 2010 by the silversmith workshop Biro and Sons Silversmiths in San Francisco,33 and again on the base by Garrard’s in London in 2018. Despite the significant damage in 1997 and other major reconstructions, the America’s Cup has survived as an emblem of heritage, representing the sport of yachting worldwide. A paradox emerges: Although the historic value of the antique presentation silver ewer itself may have diminished as an original example of the silversmithing craftsmanship during its tormented life and refurbishments, given the fortunes that have been spent pursuing it, the America’s Cup trophy may be the most costly silver trophy in history. Yachting aficionados will always associate the America’s Cup with a sentimental value and as a symbol of power and tradition pertaining to the grandeur of the sea and master yachtsmen.

7. Bob Fisher, An Absorbing Interest. The America’s Cup, A History 1851-2003 (Chichester, England: John Wiley & Sons, 2007), 20.

8. George L. Schuyler, Deed of Gift (1852, amended 1887). Original document: New York Yacht Club archives, reproduced in: Deed of Gift of the America’s Cup and Related Manuscripts from the Archives of the New York Yacht Club, edited and annotated by Ryoichi Steven Tsuchiya.

9. Fisher, An Absorbing Interest, frontispiece.

10. For further information about the Deed of Gift, please refer to: Hamish Ross, The America’s Cup Deeds of Gift, Ph.D. dissertation, (The University of Auckland, 2017).

11. Philippa Glanville, Silver: History and Design (New York: Harry N. Abrams, 1997), 111.

18. Refer to poster in Figure 6.

19. Guest & Boulton, Memorials of the Royal Yacht Squadron, 222.

20. Graham Hood, American Silver: A History of Style, 1650-1900 (New York: Praeger Publishers, 1971), 213.

21. Ibid., 213.

22. Oliver Chadwick, English Silver (London: Merlin Press, 1975), 53.

23. Ibid., 55.

24. For more information on the individual silversmithing techniques, please refer to: Klaus-Dieter Lietzmann, Joachim Schlegel and Arno Hensel, Metallformung, Geschichte, Kunst, Technik (Leipzig: VE Deutscher Verlag für Grundstoffindustrie), 1984.

32. Tim Jeffrey, “Well, that’s a relief then,” in Seahorse Magazine, (January 2007), 31.

33. San Francisco Gate website, September 5, 2010, www.sfgate.com (accessed February 7, 2021).Anglesey, “Paget, Henry William, first marquess of Anglesey (1768–1854),” Oxford Dictionary of National Biography Oxford University Press, September 2004, (accessed January 24, 2021).

Figs. 12a, b, c & d. Details of the different engravings and various engraving techniques visible on the America’s Cup trophy. ©Photography: Gilles Martin-Raget.

Bunting, Elaine. “Things you never knew about the historic ‘Auld Mug’ America’s Cup Trophy,” in Yachting World magazine, May 16, 2007, https:// www.yachtingworld.com/americas-cup/ things-never-knew-auld-mug-americascup-trophy-107498 (accessed March 20, 2021).

Chadwick, Oliver. English Silver. London: Merlin Press, 1975.

D’Antonio, Michael. A Full Cup: Sir Thomas Lipton’s Extraordinary Life and His Quest for the America’s Cup. New York: Riverhead, 2010.

Fisher, Bob. An Absorbing Interest. The America’s Cup, A History 1851-2003 Chichester, England: John Wiley & Sons, 2007, Two volumes.

Frank, Kristiane. “Cotterill, Edmund,” in Allgemeines Künstlerlexikon Berlin, Boston: De Gruyter, 2020. https://www-1degruyter-1com10072a6v5022e.erf.sbb.spk berlin. de/document/database/AKL/ entry/_10173160/html

Glanville, Philippa. Silver: History and Design. New York: Harry N. Abrams, 1997.

Guest, Montague and William B. Boulton. Memorials of the Royal Yacht Squadron. London: John Murray, 1903.

BIBLIOGRAPHY

Hood, Graham. American Silver: A History of Style, 1650-1900. New York: Praeger Publishers, 1971.

Jeffrey, Tim. Seahorse Magazine. January 2007.

Lewis & Darley. A Dictionary of Architecture and Landscape Architecture. Oxford, UK: Oxford University Press, 1986.

Lietzmann, Klaus-Dieter, Joachim Schlegel and Arno Hensel. Metallformung, Geschichte, Kunst, Technik Leipzig: VE Deutscher Verlag für Grundstoffindustrie, 1984.

Riggs, Doug. Keelhauled: The History of Unsportsmanlike Conduct and the America’s Cup. Newport, Rhode Island: Seven Seas Press, 1986.

Ross, Hamish. The America’s Cup Deeds of Gift, Ph.D. dissertation, The University of Auckland, 2017.

Royal Yacht Squadron website, “The Yacht America,” https://web.archive. org/web/20170206213125/https:/ www.rys.org.uk/about/the-yachtamerica/ (accessed January 28, 2021).

Stone, Herbert L. and William H. Taylor. The America’s Cup Races Princeton, New Jersey: D. Van Nostrand Company, 1958.

Thompson, Winfield M. and Thomas W. Lawson. The Lawson History of the America’s Cup. Boston: Privately printed by Thomas W. Lawson, 1902. Copy 30 of 3,000. Inscribed by Thomas Lawson to Nathan Haskell Dole.

Ware, Dora and Stafford, Maureen. An Illustrated Dictionary of Ornament St. Martin’s Press: New York, 1974.

Jack Griffin is an America’s Cup historian and modern chronicler. He serves on the Selection Committee of the America’s Cup Hall of Fame and is the International Liaison for the Herreshoff Marine Museum, home of the America’s Cup Hall of Fame. Griffin’s book Turning the Tide - How Oracle Team USA Defended the America’s Cup tells the definitive story of the 2013 America’s Cup competition in San Francisco. He writes a monthly column on the America’s Cup for Seahorse Magazine and is the editor of a well-respected website CupExperience.com. Based in Switzerland, Griffin holds a degree in electrical engineering from Princeton Uiversity and is fluent in English, French and German.

Karolina Stefanski, Ph.D.  Dr. Stefanski is an art historian specialized in table arts and silver. Her dissertation explored the influence of French Empire Style in silver from Berlin, Warsaw and Vienna, 1797-1848. She is an author for both lifestyle publications and academic journals. Dr. Stefanski is the Yachting and Silver Ambassador for Robbe & Berking, one of the world’s leading manufacturers. She holds a Masters in art history from the Institut National d’Histoire de l’Art (INHA, Paris-Sorbonne I) and a Ph. D. in art history from the Technical University of Berlin. She is fluent in German, Polish, English and French.