Pottery and porcelain could be decorated before or after glazing, or the glaze itself might form the decoration — as, for example, with the splashed greens, yellows and browns of English Astbury-Whieldon pottery of the 18th century. Three-dimensional, relief or incised designs were always done before applying the glaze, while coloured designs could be added to the piece before glazing ( in the case of underglaze colours) or after (overglaze colours, or enamels, and gilding). (more…)

Britain Swings ahead

In the mass market London led by the 196os. Newspaper colour supplements, introduced in 1962, helped to spread awareness of contemporary design. ‘Swinging Sixties’ people — whose taste in clothes included shift dresses, miniskirts and flared trousers — admired furnishings with a compact look spiced with novelty. British manufacturers were generally keen to explore plastics, glass fibre, fibreboard, PVC, smoked glass and spun aluminium. Robin Day’s moulded polypropylene stacking chair on a steel-rod base was first seen in 1963 and still has not dated. (more…)

Unadorned simplicity still inspired serious designers but the ever- younger mass of consumers with the spending power imposed their own taste for ease and, above all, fun.

Victorious and wealthy, the United States emerged from the Second World War in 1945 as the most powerful nation, and its influence spread quickly across much of the globe. The USA was the world leader in industrial technology, and was also the main maker of films, whose images of style and manners fed the dreams and aims of the Western world’s cinema-going millions. (more…)

Adam, Wedgwood and Sheraton are names that conjure up the delicate Neoclassical style of the late 18th century. It was a style ideal for the factory methods that were starting to nudge at the craftsman’s pre-eminence.

A marked Change in decorative style coincided with the start of George III’s reign in 1760 — not that the devout, industrious 22-year-old king had much to do with the change. He became a cultured and devoted family man with an interest in science, but he was no society leader. (more…)

A knife and fork may seem the perfect combination by modern standards, but before forks came into general use the knife and the spoon were the two vital, complementary utensils which served the needs at table. While eighteenth century examples of knives with handles of cast silver are available at a very high cost, the expense involved in making these in the heavier-gauge silver means that most eighteenth century examples available today are of the thinner silver produced at the end of the century.

Forks were used increasingly in England after the Restoration. The Victoria and Albert Museum, London, has a two-pronged fork made in 1632, one of the oldest silver table forks, but this is a very rare example. (more…)

Electro-plate produced during the nineteenth century may become as collectable as certain other pieces of Victoriana, and for the beginner in particular it has several other things to commend it. At the moment it is usually very reasonably priced. It is also interesting since it reflects the amazing conglomeration of styles which jockeyed with each other for a place of supremacy in Victorian fashion. Also, although the age of mass-production had established itself, some of the hand techniques used in the making of Sheffield plate or sterling silver wares were retained and used for some years on their electro-plated counterparts. The colour of early electro-plate, although not comparable with sterling silver or Sheffield plate, is also far more mellow than the harsh tones of modern electro-plate. Certain examples, particularly teapots and coffee pots, were quite robust considering their low cost then and now, and in some cases might even be described as sturdy compared with the lightweight objects produced today. (more…)

The jockey cap is a design which is seen frequently since it has been copied many times over the years. It is much prized by collectors who usually prefer the hallmarks to be punched on the visor, which is the handle. Make sure that hallmarks are of the right period, if you think the rest of the spoon looks genuine, because reproductions will have modern marks. Some jockey caps are fairly plain, perhaps engraved or bright-cut on the visor, while others may have a ribbed cap and peak or be engraved all over with a simple pattern. There are, aswell, those which are die-stamped and decorated with geometric patterns. (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 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…)

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…)