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…)

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…)

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…)