Love of the Artistic Life

The late loth century was a time when people were fascinated by the lives and lifestyles of artists. Many modelled their own homes on an artist’s studio and the relaxed atmosphere of an artist’s house with its comfortable chairs, collections of paintings and etchings hung in tiers from a picture rail or perhaps standing on an easel, a scattering of rugs and furs, potted plants and dried flowers, collections of interesting objects, including Oriental ceramics and furniture, and antiques. (more…)

Two mid-Victorian fashions rejected the smothering cosiness. One was inspired by France, where nostalgia for the furniture of Louis XVI had produced a mishmash of pre-Revolutionary styles with a sprinkling of the brass or ormolu used in the Empire style.

In Britain this vogue was imitated, and rooms decorated with white and gold paper held delicate French-style furniture decked with veneers and marquetry of woods such as satinwood, amboyna and purpleheart. Pottery manufacturers, notably Minton and Coalport, produced close copies of Sèvres, while the Worcester Royal Porcelain Company produced high-quality ‘Limoges ware’. (more…)

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…)

The famous Hunt and Roskell firm was descended from the firm of Storr and Mortimer of which the eminent Regency silversmith Paul Storr became a partner in 1822. Some 14 years later Paul Storr’s nephew, John Samuel Hunt, became a third partner and when Storr retired in 1838 the firm became known as Mortimer and Hunt. Upon the retirement of Mortimer, Robert Roskell became a partner and the firm changed its name again to Hunt and Roskell. During the Great Exhibition of 1851 Hunt and Roskell exhibited, among other impressive naturalistic pieces of plate, two candelabra with their stems and branches consisting of a vine on a base of Indian architecture, dessert stands of flowering naturalistic form with Indian figures and ice-pails inspired by the lotus and enlivened with Indian plants. These pieces were part of a service made as a testimonial to the Earl of Ellenborough in recognition of his work in India and, although not within the reach of the ordinary man, were the sort of examples which were important since they influenced the design of future silver and plated goods in general. (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…)

Caddy spoons have long been avidly collected, and certainly the numerous styles and designs in which they were made vary enough to suit most tastes. They were produced in large numbers from approximately the last decade or so of the eighteenth century. Early tea canisters which had round, domed caps did not need a caddy spoon since, as has been mentioned, the cap was often used to measure the tea into the pot. When these small caps were superseded by larger lids, some sort of small ladle or spoon was required for the job. Gradually a small spoon with a short stem evolved and was kept in the canister with the tea. The bowl of the spoon was commonly in the shape of a shell, originating possibly from the fact that large sea-shells intended for use as ladles had often been packed in tea-chests by the Chinese. The caddy spoon as we know it did not appear in any great quantity before approximately 1790, but by the end of the century thousands were being produced in Birmingham, where silversmiths specialised in small objects. This trend continued for the following 50 years or more. (more…)

Few basic changes have been made to the salt cellar since the eighteenth century, and even those produced today in sterling silver or electro-plate are usually exact, or very close, copies of their predecessors. From time to time, of course, designers have endeavoured to break away from

established forms, and the Victoria and Albert Museum, London, has a superb Art Nouveau specimen in parcel-gilt by C. R. Ashbee which incorporates amber and a small figure, the latter being characteristic of Ashbee’s work, but this ‘salt‘ would be considered too ornate for general use. An interesting example of 1866 by Stephen Smith was of frosted silver with figures of sowers and men carrying baskets of seeds upon their backs. (more…)

Candlesticks

Although the primitive method of lighting the home by candles has long been outmoded, candle production thrives today for decorative and ornamental reasons. Thus a continuity of this ancient form of lighting is maintained, and with it the need for the traditional candlestick in silver, Sheffield plate or electro-plate. Candlesticks in precious metals were slow to come into the ordinary home, which is hardly surprising since, although the two guilds of tallow-chandlers and wax-chandlers were incorporated in the later years of the fifteenth century, only from the early eighteenth century did candles brighten the house of the more prosperous working man. Before this they would be found in abundance only in the great houses of the land, or for ecclesiastical use the pricket candlestick was adopted since it took the form of a conical spike which would support any type of candle. Variations of these were sometimes made for certain domestic uses, although not usually in silver. (more…)