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…)

Registration of marks for plated goods virtually ceased after 1836 because the new British plate could not correctly be termed Sheffield plate as silver was not fused onto copper. Yet again manufacturers resorted to marking their wares with unregistered symbols which looked very much like hallmarks. After 1765, and more so following the turn of the nineteenth century, a crown was sometimes used in addition to other marks. This was originally intended to show that the piece was of good quality, and its use grew at the conclusion of the Napoleonic wars in 1815 to differentiate between English plate and cheap wares imported from France. Manufacturers used it increasingly throughout the nineteenth century until the public were in such a state of confusion, since it was also the mark for the Sheffield Assay Office, that its use was eventually prohibited in 1896. (more…)

Despite the fact that the English hallmarking system is ancient and well-tested, it cannot be relied upon purely for the authenticity of a piece. Its very reputation, respected and revered the world over, makes it vulnerable to dishonest use by fakers and forgers. Transposing marks from one object to another is not an uncommon practice and can be very lucrative when the piece is sold for a high price. Genuine marks may also be removed from an older, damaged object and `married’ to a far later example. This is why experts will sometimes breathe on a piece for, by doing so, the outline of the joins which are invisible to the naked eye should reveal themselves. Certainly when the object is oxidised the let-in silver usually shows fairly clearly. This practice of transposition is not a new one and has been used for many years. (more…)

A few years after the turn of the eighteenth century the spoon eventually developed into the utensil which we use today. By 1720 its stem had become gracefully curved and terminated in a flat, rounded end which turned forward or upward and upon which it was rested on the table, so that the back of the bowl was uppermost in the French way. This Hanoverian rat-tail spoon continued in fashion for a few more years, the rat-tail gradually disappearing to be replaced by small droplets, either one or two, at the back of the bowl, or the increasingly fashionable scallop-shell, typical of the rococo period. The stem evolved into a flatter form, terminating by the 1760s in a curve which turned in the opposite direction to its predecessor, ie backward instead of forward, so that the spoon could be placed on the table with the interior of its bowl showing,as is still the custom in England and elsewhere today. This is termed the `Old English’ pattern and has been the basic form for spoons ever since. (more…)

Sauceboats were among the pieces of domestic silver which emerged during the second decade of the eighteenth century, possibly because George I introduced certain types of sauces to England at that time. Early examples had a pouring lip on either side of the vessel, in between which were two scroll handles. Rococo sauceboats were beautifully ornate and by the 1740s the earlier moulded base was surpassed in fashion by three or four cast feet in ornamental shapes, while the outline of the vessel evolved into an oval or bombe form which was concurrently in use for tureens. The delightfully elaborate scroll handle, positioned opposite the pouring lip, was one of the major attractions of the sauceboat of this period. (more…)

Typical of the types of ornament which appeared on small nineteenth century boxes is the decoration which embellished card cases, made mostly in Birmingham in great numbers during that century, for the carrying of personal visiting cards. The general measurements of these slender cases were approximately four inches long by three inches wide, and their covers were usually of the hinged slip-over variety. Hallmarks will generally be found on the exterior side of the rim at the top of the body which is concealed when the cover is closed. (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…)

Silver frames for mirrors or photographs

The decorative silver frame, used mostly nowadays for photographs, appeared for mirrors after the Restoration, late seventeenth century oblong examples being heavily ornamented with naturalistic decoration between gadrooning or complex beading, and surmounted by a coat-of-arms in a complex setting. Such fine examples might be among gifts to the royal family or court. Other types of decorative frames were also popular in the eighteenth century, perhaps being made of wood or gesso which was gilded and carved. Nineteenth century silver examples became more numerous not only for mirrors but, in later years and into the Edwardian era, for photographs. (more…)

Late nineteenth century electro-plated waiters cost around a quarter of the price of their sterling silver counterparts and were practically indistinguishable from them at first glance. This also applied to large tea trays with moulded handles which were handsomely decorated with rococo-style rim patterns and surface ornament. It is hardly surprising, then, that electro-plated trays appeared so numerously in homes everywhere. They were a direct descendant of the tazza, a fashionable seventeenth century piece with an approximate diameter of 12 inches, which declined in popularity after about 1715-20. (more…)

Considering the amount of time women spent plying their needle, the group of silver items including thimbles, thimble buckets, pin cushions, bodkins and needle cases, is not extensive, particularly with earlier items. The position improves much later, during the Victorian era and into the twentieth century, so in order to avoid frustration it is well worth considering the later examples when starting or adding to a collection.

Among these are silver thimbles which can make a stunning collection when grouped together for display. Silver thimbles were used in the sixteenth and seventeenth centuries, but those which are usually available are not of this type, and even eighteenth century specimens have become far less easy to find. (more…)