From approximately the earlier years of the 1770s separate parts of a vessel such as spouts or lids were stamped out using a drop-hammer. The piece of Sheffield plate would be placed upon a striking block which had a die sunk with a model of the required shape. Then the hammer, the face of which was raised with the same shape as the sunken die, was manipulated from above by a rope between two vertical rods and, as it struck the block, the Sheffield plate was stamped into shape. The parts would then be soldered to the vessel. The introduction of harder steels made possible more sharply-defined pieces and during the Regency period entire units were produced in this manner. Die-stamping was a very important technique, advances in it contributing greatly to mass-production methods in both silver and Sheffield plate. By the last decade of the eighteenth century larger, flat pieces such as trays were being produced in this manner, suitably ornamented as already described.

Die-stamping had thus become of considerable importance to the silversmith and Sheffield plate manufacturer, both of whom increasingly relied upon it to keep down prices for an ever-expanding market. In particular this technique was used for candlesticks and, since a complete set of candlestick dies was an expensive investment, these were not uncommonly hired to manufacturers which meant that identical specimens were produced by different makers, hence these may bear different marks even though they are of the same shape and decoration. Candlestick manufacture was one of the most lucrative and important branches of the Sheffield plate industry, and the range and assortment of designs was vast. Platers sometimes made nothing else, their products being elegant yet realistically priced. Small wonder, then, that their products were so much in demand. Pattern books at the Victoria and Albert Museum reveal that during the last decade or so of the eighteenth century the price for a pair of 12-inch candlesticks was around 40 shillings (£.2).

Antique Collector MagazineCandlesticks were commonly made in six parts: pedestal and foot, tubular stem or pillar, inner tube of the pillar, candle socket, hoop (a tube affixed to the pan to secure the nozzle) and nozzle. These sections were joined by solder after any rough edges had been filed, the tubular stem being vertically seamed. Ornamentation would have been die-struck on the metal when it was flat, although hand-finishing in the form of chasing was also used in conjunction with it. Neo-classical table candlesticks followed the fashion set by sterling silver versions and were invariably derived from ancient classical architecture including Tuscan and Doric pillars and Corinthian columns. Decorations including rams’ heads, floral swags or bows might be found around the foot or below the socket. Although Sheffield plate candlesticks, and other domestic items, followed contemporary fashions, they sometimes lagged behind high fashion, since it was costly to change dies until sales really declined and demand for them had ceased. After the first few years of the nineteenth century, approximately between 1815 and the 1830s, it became expedient and profitable to stamp the parts of candlesticks in wafer-thin metal and to strengthen and weight them with an inexpensive alloy. Certain sterling silver examples might have various parts such as inner tubes, nozzles and pans made of Sheffield plate, while some candlesticks were not hallmarked because the silver did not come up to the required standard. In addition, many sub-standard candlesticks were produced during the Napoleonic wars because Sheffield plate was rolled to a very thin gauge owing to the diminishing supply of silver and copper.

Candelabra had become increasingly popular and were made in Sheffield plate throughout the eighteenth and into the nineteenth century. It was also possible to transform a candlestick into its more elaborate relative by purchasing branches which were available for this purpose, as were their sterling silver counterparts. Conversely, the branches on actual candelabra were removable so that the pillar could be used as a candlestick. Most earlier branches were of a plain appearance with recurving arms coming from the bottom of the finial. They needed to be strengthened and usually this was done by filling them with soft solder. Twin branches were generally more favoured than three or four, although up to seven candle holders appeared on some more complicated versions. Candelabra of this type might reach 36 inches in height, but during the eighteenth century the usual height was more likely to be around 21 inches, increasing to about 30 inches by the end of the century.

Dwarf candlesticks and chamber candlesticks in Sheffield plate were also produced in great numbers. The former, usually measuring five to seven inches in height, had numerous uses in the average home. The latter, complete with snuffer, was intended for carrying around the house and might be around three to four inches in height with a shallow base approximately six inches in diameter, generally following the styles of contemporary silver types. Snuffers were discontinued after about 1844. There was always the danger of a fire starting from such unprotected flames, and a later type of chamber candlestick, made in the first four decades or so of the nineteenth century, was designed with its candle socket protected by a glass shade. There was also a variation which incorporated a cylindrical glass chimney.

Also very popular in Sheffield plate was the tray which was made throughout the entire period of Sheffield plate. Prior to the 1760s when the plate was silvered on one side only, the tray was not uncommonly made of two sheets of plate, placed back to back and then soldered together, greatly contributing to its increased cost. Less expensive examples had the underside tinned. When the technique progressed so that the copper could be fused on both sides with silver, trays were generally produced in the new plate as well. Many late eighteenth century trays were made in an oval shape — with thread or beaded edges of sterling silver, perhaps bright-cut — and also in a rectangular shape with their ends formed attractively as handles, perhaps in a scroll outline. Some had beautiful pierced edges. Larger rectangular trays, variously decorated, appeared during the first few years of the nineteenth century.

An interesting branch of the Sheffield plate industry was that of wire-work. The method of plating wire dates from 1768 when fine strips of silver were wrapped around copper rods, and then fused to the copper in the usual way. The plated rod was then repeatedly put through an instrument pierced with holes, starting at about one inch in diameter and decreasing down to the required diameter of the wire. After constant annealing the plated rod finally emerged as plated wire. The technique was improved upon in the 1780s and, within about ten years, the manufacture of plated wire became a specialised section of the industry. It was used variously, but was of particular importance in the production of delightful fruit and cake baskets, sugar baskets, sugar vases and epergnes, whose method of manufacture was simple. The wire was cut to the correct lengths, inserted into holes in the rim and base, and secured by solder. Designs were numerous, again generally reflecting the styles set by silversmiths who had been producing baskets in sterling silver wire in increasing quantities since about 1760, their fashion gradually declining during the reign of George IV.

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