Button-making was an important industry in its own right. By the 1770s it is recorded that over 80 master button-makers, producing all types of buttons, were working in Birmingham where button-making had been prolific for over 100 years. Sheffield plate was ideal for this purpose and had been used for button-making since it was discovered by Thomas Boulsover circa 1742. By the 1780s Birmingham button-makers produced large quantities of buttons and included among their numbers Matthew Boulton’s Button Company which was started in 1782. Sheffield plate had gained for itself such a good reputation as a substance for button-making that an Act was passed in 1796 which regulated the quality of metals used for buttons. (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…)

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…)

Sheffield plate has grown considerably in popularity among collectors, and prices can, therefore, be high. Nevertheless, when bought with care it is a good proposition for both its beauty and usually its value as an investment. Although it is plated silver its attraction lies in the softness of its tone and generally the standard of craftsmanship is good, with the exception of certain later types of Sheffield plate and cheap imported plate. Sadly, the man who discovered the technique of Sheffield plate failed to grasp its full potential. Others were quick to do so, however, and for about 100 years between its appearance and its replacement by electro-plate in the following century, an enormous number and variety of wares was produced by this method. (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…)

At the beginning of Queen Anne’s reign the taking of snuff became popular in England, thought to be as a result of the vast amounts which infiltrated the London market following the capture of Spanish ships carrying snuff in the action of Vigo Bay. It had been introduced to Europe many years before, the Spaniards having first tried it following the discovery by Cortes of Mexicans taking snuff in 1520. The taking of snuff persisted despite two popes issuing bulls against the strange new habit, and, in fact, became exceedingly fashionable during the eighteenth century. It still has a following today. (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…)

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…)

Most of the things we have been talking about can also be found in Sheffield plate. This was a popular substitute for silver in the days before electro-plating. It became very popular with the early and mid-Victorian middle classes, and is now almost as much sought after by collectors as silver itself. It is made by fusing a thin sheet of silver on to a thicker piece of copper, then rolling it out so that it can be worked or stamped into the required shape. For this reason in worn pieces you will see the copper showing through the silver. Some people send their Sheffield plate to be electro-plated, but as this completely covers the article with a hard brightness totally foreign to the real quality of old Sheffield plate, it is not to be recommended unless the piece is very worn indeed. In fact a touch or two of copper is a great help in deciding that the piece is Sheffield plate: so, in the larger pieces, is a small shield of silver let into the plate for engraving a name or a crest. Sometimes one comes across pieces of plate which have been fused in precisely the same way as Sheffield plate, but using nickel silver, so that no copper colour shows through when worn. This is called German silver, after the country of its origin, but like Sheffield plate, it was eventually put out of business by electro-plating in the 1850’s and 186o’s. (more…)