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…)

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…)

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…)

Monteiths, punch bowls and punch ladles

The monteith, which looks like a punch bowl with an ornate rim arid lifting handles, fir ^whist appeared some 20 years after the Restoration but became more general during the later years of the seventeenth century and earlier years of the eighteenth. Monteiths are comparatively rare pieces, and therefore fetch high prices. Their scalloped and notched rims were generally removable. The monteith was filld with cold water, then glasses were hung by their foot upon the notchese, and thus allowed to cool in the water. When the monteith was not being used in l filled it punch. (more…)

Buttons

Buttons were made in various metals including gold, silver, gilt, Sheffield plate, pewter, steel, wire and brass. With the exception of certain metal buttons, they were generally dome-shaped during the first half of the eighteenth century and usually of a medium or small size. Until the days of Elizabeth I, buttons had been ornamental only, since clothes were fastened by aiglets or hooks-and-eyes and various other devices. Nevertheless, buttons were popular even then, as can be seen in contemporary portraits whose subjects are often dressed in costumes liberally decorated by this form of ornament. Very early silver buttons, however, have mostly disappeared over the years. (more…)