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. (more…)

Comparatively few teapots were made in England before the eighteenth century and these are now exceedingly rare. As the fashion for drinking tea spread, the demand for the right kind of vessel in which to brew it brought about new types of containers for sugar, milk and tea. These tea accoutrements were made increasingly throughout the eighteenth century until, by the final decades, they had become an important branch of the silversmith’s work. Late seventeenth century teapots are unique and are mostly seen in museums. Outstanding among them is the historical conical-topped teapot (1670) in the Victoria and Albert Museum, London, with the spout quaintly set at right-angles to the handle, a practice which was short-lived. Another shape of this early period looks like a melon or similar fruit. (more…)

The lustre and mellow colour, characteristic of old silver, which distinguish it from the colder, metallic appearance of new wares, will be enhanced by regular, careful cleaning and polishing. A circular movement, not a backward-and-forward one, should always be adopted when cleaning or drying silver to prevent abrasion. It should also be noted that larger pieces of silver should not be cleaned on a hard surface such as a table-top, but should be held against the body so that hard pressure is not exerted on the piece. (more…)

The British have not always been a sweet-toothed nation. According to G. M. Trevelyan, the country only consumed a mere 10,000 tons of sugar, even as late as 1700, although she had prosperous sugar colonies of her own. By the turn of the nineteenth century the position had altered drastically, the figure having risen to 150,000 tons. As Trevelyan pointsout, allowing for the population to have doubled, the average use of sugar by each person had risen seven and a half times during the eighteenth century. As might be expected the production of containers for the sweetener increased proportionately. (more…)

The name of these tiny, shallow boxes often puzzles people since they think of vinegar in terms of its culinary implications. However, in this case it refers to an aromatic acid-based liquid to which these little boxes owe their existence. The introduction of this concentrated aromatic vinegar, which might contain camphor, lavender, cinnamon, bergamot or other pungent-smelling ingredients, meant that a very much smaller type of sponge box could be carried and used on its own as a type of smelling ‘bottle’, the sponge emitting the concentrated perfume in which it had been soaked. Originally such boxes were described as aromatic vinegar boxes and were simply very small editions of the sponge box, which resembled a snuff box. During the 1780s a change occurred in their basic design, however, and a pierced, hinged inner lid was incorporated, beneath which would be placed the tiny piece of soaked sponge, thus when the outer lid was opened, the aromatic vinegar could be inhaled through the pierced grille or inner lid. Old sponges found in vinaigrettes today may still possess some of their original aroma. (more…)

Chambersticks

Modest and practical, the silver chamberstick was in use during the seventeenth century, but examples are not generally found before the last quarter of the century. In the line of the old nursery rhyme, ‘Here comes a candle to light you to bed’, the words refer to a chamberstick which consisted of a saucer-shaped base for safety, with a short candle-socket in its centre, and a simple handle by which to carry it around the house. Larger homes might later have an assortment of such chambersticks set upon a table in the hall, a person taking one when it was needed and lighting it from a special master taper. Usually made of a lighter metal, the diameter of the saucer-shaped dish varied but generally measured about six inches, the short socket standing about three inches high. Most late seventeenth and eighteenth century examples would have a shapely scroll handle soldered beneath the base and curving upwards. (more…)

A very interesting collection of knife rests can be built up, particularly if the collector seeks them in other materials in addition to sterling silver. The added advantage is that the general cost of establishing such a collection is lessened. Such a collection can then be sold at a later stage and the money re-invested in something more costly.

Basically the knife rest is a simple rod with a support at either end which keeps the rod clear of the table and enables it to support carving implements. The interest of knife rests lies mainly in the amazing diversity of ideas, many of which are novel, that brightened up this ordinary object. Animals were well-favoured as the supports and included elephants, camels, lions, monkeys, owls and so on. Others may be delicate, in the form of butterflies, or rather impressive, featuring peacocks or unicorns. Sometimes the supports are not disguised at all, perhaps merely decorated a little. Thistles, flowers or gnarled branches might grace others. Knife rests became more general in the nineteenth century. (more…)

Inkstands

Inkstands (standishes) were much favoured in both sterling silver and, from about 1760, Sheffield plate. Silver examples include the treasury inkstand: a rectangular box which contained an inkpot, pounce box and wafer box — a small adhesive disk for sealing letters — with a single- or double-hinged lid and perhaps a drawer below for quills. Another type, made in both silver and Sheffield plate, consisted of a rectangular tray, standing upon four small feet, which had three sockets. In the case of the silver version, the inkpot and pounce box would fit into the outer two sockets, while the middle one would contain a small hand bell, or taperstick for sealing. (more…)

In Regency days the classical ideas shown in the work of Hepplewhite and Sheraton developed into more directcopying of Greek and Roman styles, and so gives us what we call Regency and the French Empire: following which we start off on the complicated story of Victorian styles, which copied anything and everything and threw in a generous measure of its own.

Chairs in all these styles, of course, can be found today, at prices from 5,000 euro for a Hepplewhite dining set to half a crown for a cane-bottomed bentwood. (more…)

If you should see handsome glass cabinets of the Sheraton or Hepplewhite period going cheaply you may reasonably expect knavery of some sort. Glass panes, for example,may replace original panelling, the glass being taken from a derelict piece. This sort of cannibalism goes on a good deal with all kinds of furniture.

But of course if you are buying not for a rise in values but for the pleasure of having a handsome piece of furniture, your twenty pounds or so will buy you something quite attractive. (more…)