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…)

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…)

It always seems a pity that the tea kettle is no longer required in the making of tea, and indeed has not been for generations since it was succeeded by the tea urn during the last 25 years or so of the eighteenth century, for it was among the most magnificent of all rococo domestic silver. Its introduction was born of the necessity for a constant supply of hot water to replenish the tiny Queen Anne teapots already discussed. The brewing of tea was a fashionable ritual in those distant days, the mistress of the house attending to it herself usually in the drawing roomor salon.

Early tea kettles were extremely plain and homely vessels, and their. rotund shape was similar to that of the pear-shaped teapot. Likewise their spouts were of the swan-neck variety, and their lids usually topped with a wooden knop. Handles were of the swing type with wooden grips, but these varied. (more…)

Although the tea strainer was among the numerous pieces of domestic silver which did not generally make their appearance until the very final years of the eighteenth century and beginning of the nineteenth century, the English tea table was not devoid of a utensil for a similar purpose. The tea strainer bore little resemblance to this predecessor and can in no way be said to be a development of it, unlike so many other items which evolved into utensils which we use today. Its forerunner was an extraordinary little implement called the mote skimmer, which was usually a little longer than a tea spoon. Its bowl was pierced in a simple pattern and its rounded, slender tapering stem ended in a point. (more…)

For many years tea was commonly drunk clear in the Chinese fashion and because of this and other reasons it is difficult to find a jug made earlier than the first few years of the eighteenth century. Early examples are in the pyriform shape, with a scrolled handle, sometimes positioned at a right-angle to the lip or spout. Diminutive cream jugs, standing no more than three inches high, were generally left undecorated, though others might have two rows of moulding at their waist. Both were made of a thick gauge metal and were weighty, despite their small size. In time the jug became more general, hammered up from the flat, with the cast spout and handle now opposite each other, standing upon a spreading moulded foot, and still with attractive scroll handles. (more…)

Early pierced baskets were heavy, magnificent pieces but these are rare. Eighteenth century examples were oval, rectangular or circular with a flat base and ornately-pierced sides, often featuring two small cabled silver handles which were later superseded by the swing type. Huguenot silversmiths were much acclaimed for their fine pierced and embossed baskets, and superb examples of their work, which clearly show why they were so admired, can be seen in various stately homes and museums.

However, some of their achievement must also be attributed to the English invention of the rolling-mill which had been improved by 1728, allowing the production of a fine gauge silver for more complicated piercing. (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…)