maker's mark only to inside of base, the circular box with straight sides and pull off cover, engraved to the border with simple stylised foliate border, the base section with rectangular aperture for ribbon (5.3cm diameter, weight 25.2g) Note: Robert Cruickshank was the only Old Aberdeen goldsmith who was born in Scotland, the only other two recorded are Etienne (Stephen) Agate and Samuel Le Revier both of French origin. His training is likely (although documents are lacking) to have been given by George Walker of Aberdeen. Cruickshank’s larger work is generally seen struck with maker's mark only and close comparison to the marks struck to the Quaich within Aberdeen Art Gallery & Museum and the Aberdeen University Tankard show that the uniquely shaped punch with rather soft edges following the shape of the two initials can concretely be tied to him. He later changes his punch (perhaps as his original is worn) to a more ‘modern’ rectangular shaped punch and this along with Old Aberdeen town marks are seen to his later production of flatware. This box is a new discovery within the rare survival of work by Robert Cruickshank and indeed of Old Aberdeen as a whole. The surviving silver by Cruickshank shows a very interesting and important cross section of work from three prong forks (perhaps the earliest for Aberdeen) to the various important Civic and Royal commission he received, including the fine Royal Huntly Race prize sword and cup and cover. It is interesting to note that the University of Aberdeen Tankard by Cruickshank has a large circular cartouche formed of the same stylised foliate engraving seen to the cover of the seal box under discussion. Seal boxes appear to be a generally rare survival in Scotland. Originally containing the wax seal of the granter of a document or charter they are suspended by a wide ribbon from the vellum document. In some instances they are engraved with a representation of the seal within on the covers. Due to this, and in spite of its plain nature, it is likely this box was part of an important presentation likely from a civic body within Aberdeen, perhaps the University or City Council. Indeed, it is not until the work of George booth circa 1825 that the next Aberdeen made example is seen (National Museum Scotland 1976-34).