CHAPTER IX
CLOSE PLATING
=Close plating--The buckle makers--German silver and other white metals--The factory system--The end of the story.=
Apart from the process of covering baser metals with silver by fusion and preparing sheets of copper superimposed with silver by rolling, there was the earlier process always designated as French plating. As we have shown, the plating of baser metals was nothing new, but the Sheffield process was a new invention which had far-reaching results. About the year 1800 a great many small articles in common use were manufactured by a method known as close plating. Knives, snuffers, skewers, buckles, spurs and harness were subjected to this means of silver plating. A great many of these articles have the name of the maker stamped upon them. Fruit knives, table spoons and forks, fish knives, sugar tongs, and in fact all small articles which it was easier to make in this manner than manipulate from the silver plated sheet.
Iron skewers were so plated with silver and steel blades of knives. An iron skewer made in Ireland is marked "Sly. Dublin," and the marks of the makers of the close plated work are as difficult to trace and identify as some of the others in the process of plating by fusion. Horday & Co. is found on some late examples, and the _fleur-de-lys_ is another mark frequently seen. The close plating process seems to have been followed both at Birmingham and Sheffield from about 1795, and was subsequently employed in London. The base for close plating was mainly iron or steel. Instead of resorting to the longer and more expensive mechanical process of fusion and rolling, the article intended to be plated with silver was covered with a thin sheet of silver and while hot it was burnished down to the core of the baser metal, by means of a compound of lead and tin, which, employed at a low temperature, did not lessen the temper of the article thus plated.
It is to be observed, however, that the permanency of close plated articles cannot be compared with those produced under the rolling process. Whatever may be the reason there seems to be a weakness in the technique, for it is found that they are strongly affected by exposure to damp or extreme heat.
=The Buckle Makers.=--It has been asserted that Boulsover made buckles; this is unlikely. The trade had mainly settled in Birmingham and Wolverhampton, and there was an extensive trade carried on in London. The fashion of the buckle underwent many vicissitudes in fortune. The Puritans adopted shoe strings. It was in Stuart days that Herrick sang of his mistress:
A careless shoe string, in whose tie I see a wild civility.
Silk laces with silver fringes and tags were in fashion on the eve of the Restoration, although the common folk confined themselves to leather laces.
All through the eighteenth century the buckle was worn. Sometimes, happily for the buckle makers, the fashions grew so extravagant that the ladies wore such large square buckles either of silver or silver plated as almost to conceal their feet. Towards the end of the century fashion deserted the buckle makers and they were in a parlous state. It was natural that they termed the displacement "the most ridiculous of all ridiculous fashions the effeminate shoe string." Birmingham, Walsall and Wolverhampton employed no less than twenty thousand workers in the buckle industry, and they could ill afford to be flouted by the fickle jade Fashion.
In 1792 the buckle makers of the provinces determined to enlist the sympathies of the First Gentleman in Europe on their behalf. They were introduced to the Prince of Wales by Sheridan. They represented that although the interest of the button manufacture had enlisted parliamentary assistance they had no redress against the shoestring. They did not desire sumptuary penalties, but they claimed the personal support of His Royal Highness to obviate the stagnation of trade causing "miseries, emigrations and other horrible consequences."
The buckle makers' petition runs as follows:
"We beg leave to observe, that when Fashion, instead of foreign or unprofitable ornaments, wears and consumes the manufactures of this country, she puts on a more engaging form, and becomes Patriotism. When Taste, at the same time and by the same means that she decorates the persons of the rich, clothes and fills the naked and hungry poor, she deserves a worthier appellation, and may be styled Humanity. We make no doubt but your Royal Highness will prefer the blessings of the starving manufacturer to the encomiums of the drawing-room. We know it is to no purpose to address Fashion herself; she is void of feeling, and deaf to argument; but, fortunately, she is subject to your control. She has been accustomed to listen to your voice, and obey your commands."
The Prince of Wales, followed by the Duke of York, ordered the discontinuance of the use of shoe-strings by members of his household.
The buckle makers of London and Westminster followed in the wake of their provincial brethren, by publishing an appeal to the public, complaining that, however mischievous the whim, however effeminate the appearance of shoe-strings, the wearing of them still increased, and hoping that henceforth no philanthropic friend to his country would, by following an evil example, virtually take part in snatching the bread out of the mouths of thousands of poor and industrious families. They also petitioned the King and Queen, the Prince of Wales, the Duke and Duchess of York, the Princess Royal, and her brothers Clarence and Gloucester, to aid them in their extremity. They unbosomed their cares to King George as a parent and protector whose soul was his people's. They assured Queen Charlotte that her disapproval of shoe-strings coming into her royal presence, would suffice to reinstate them in their former blessings; while they told the Princess that if she would but wear buckles, they should no longer remain monuments of silent grief, but commemorate with grateful peals of acclamation the annual return of the day which shone so propitious on their wants. Equally lavish of praise and prayer to the rest of the royal family, they reserved (for some unknown reason) the most extraordinary of their appeals for the Duke of York.
After informing him that "honour, dignity, and birth are like the landscape when the luminary is behind a cloud, without the rays of beneficence tinging each distinction with its inherent brightness," they remind him that ribbon, leather, and whipcord threaten to ruin a staple manufacture doing an incredible trade abroad, and humbly pray his Royal Highness to discourage shoe-strings "both militarily and domestically." Then they break out: "Conceive what immense numbers of persons have spent the prime of their youth and manhood; entered into connections; _increased their families_; and embarked their all, having this trade for a dependence. Their hearts bleeding at the cruel inconsiderate capriciousness of Fashion; difficulties and impossibilities rise in quick succession to defeat the probability of fixing on any other branch or occupation. The nuptial tie, pitiably relaxed by reiterated sorrows; the children cry louder and more vehemently for food; the husband unmanned; his wonted courage fails; the wife, more delicately sensible, is not able to resist one of the obtruding woes which crowd upon her mind. Few friends before! less than ever now! Demands come quickest upon the most needy, often reminded of their bereaved trade, and no philosopher's stone to smooth the creditor's brow! Now spread wide the happy cause, the prospect changes; Hope with cheering looks advances. A letter from the trade at large informs them of our appeal to your Royal Highness. Instantly they assemble, and congratulate each other they have so glorious a source of expectation! Hope, with magic power, appeased their hunger, removed their despondency, makes the manufacturer's heart dance with joy; and the Duke and Duchess of York echoes in their cups, toast after toast. And your petitioners will ever pray." The result of all this was that buckles were unusually prevalent at the Queen's birthday drawing-room, held soon afterwards, when the beauty and brilliancy of the buckles worn by the Prince of Wales, the Duke of York, and the Earl of Fife attracted general notice and admiration. It was but a transient triumph: Royalty failed to control Fashion; and although exceedingly small buckles were occasionally seen down to 1800, their fate was sealed, and by 1812 the buckle was extinct.
=German Silver and White Metals.=--The early silver plating was on soft copper, but towards the end of the plating period, an alloy was made with brass in order to give the base a greater strength and possibly for reasons of economy. Later German silver was introduced as a base. It was hard. It was not altogether a success, possibly by reason of its greater cost. But it had the quality of forming a hard solid basis beneath the silver plate, and when the latter showed signs of wear the German silver, being of a light colour, did not come into undue prominence in betraying the wear and tear.
There is also tutenag, an obscure metal, an alloy of antimony and zinc which was known to the Chinese, though not much has been written concerning this alloy and its employment in this country for articles of artistic excellence. But candlesticks and fenders have been made of pleasing appearance and having good wearing qualities. Then there is the Britannia metal period where pewter and Britannia metal met. In fact, during the latter days of Sheffield plating there were many minor competitors offering substitutes for the silver plating at a lower price. Commercialism was in the air, and at the flood the old methods of plating by fusion were swept away.
=The Factory System.=--Looked at from all points of view the Sheffield plating industry betrayed the rise of the factory system, as did also the great Wedgwood and other Staffordshire firms. The factory system, by reason of its systemization, apportions set tasks to a chain of individuals, so that no one individual can be said to be an artist-craftsman in the same sense that he would have been in the old days. The old Italian masters compounded their own pigments and carved and gilded their own frames. Life was then more crystallized. The viciousness of the factory system was that it destroyed the personality of the craftsman. In latter days strong movements have been inaugurated to attempt to revive art industries where the artist craftsmen will not be obliterated under the name of a firm or a syndicate.
=The End of the Story.=--It has been shown throughout this volume that old Sheffield plate by reason of its artistic excellence, should be treasured and loved. Its fashioning is most certainly a lost art. The old methods have disappeared for ever. It would be impossible to procure workmen nowadays with the fine instinct shown by those under the old _régime_. If a return were made to the old process in lieu of the solid plate; if, let it be granted, that electro-plate were superseded by a freak of fashion which demanded Sheffield plate in the old manner, the operation would still be impossible. The cost of producing Sheffield plate by fusion and rolling would be greater than if it were solid silver. Hence collectors have realized the value, not only æsthetically but the actual value of a fine series of wonderful works of art produced in an artistic manner which can never come again. It has been collected by far seeing enthusiasts, and they have bought at prices which will never occur again. Recently at Christie's a set of four Adam style candlesticks brought thirty-two pounds. But this was not too much for so splendid a technique. And without doubt old Sheffield plate, especially in examples that are not forthcoming as having been made in silver plate, will command much higher prices in the future. English earthenware in some instances has eclipsed porcelain in regard to prices under the hammer, and engravings after paintings in oil finely executed in a masterly technique, never again to be equalled or attempted, have won a greater acclamation at auction than the originals. Technique is a factor and a great determining factor in collecting, and sound connoisseurship recognizes this. Old Sheffield plated ware in its finest period exhibits one of the most surprising techniques in metal work ever produced in this country.
APPENDIX
I
EXAMPLES SHOWING TYPES OF HALL MARKS ON SILVER PLATE
Used by the various Assay Offices in operation during the Manufacture of Sheffield Plated Ware
II
EXAMPLES OF MARKS
Found on old Sheffield Plate during the period 1753 to 1840
I
EXAMPLES SHOWING TYPES OF HALL MARKS ON SILVER PLATE[3]
Used by the various Assay Offices: London, Exeter, Chester, Newcastle-upon-Tyne, York, Sheffield, Birmingham, Edinburgh, Glasgow, Dublin, and Cork
[Footnote 3: _The Position of Marks._--Marks are not placed on old silver in a straight line. They are shown in this manner for convenience, and are the author's own arrangement. They are in practice irregularly stamped and sometimes upside down. The maker put his stamp on the piece prior to sending it to the Assay Office. The remaining stamps were done under the directions of the Wardens. Although the maker's mark was stamped first, some of the other marks were placed on either side of it.]
The following series of Hall Marks on Silver by the various Assay Offices are given as they fix the exact date when certain types of silver were made, and the maker's stamp with initials enables identification. It is only by comparison with original examples of dated silver that approximate dates can be ascertained of old Sheffield plate which set out to copy silver. Accordingly, the work of the following London makers should be studied with a view to establishing the original designers of many of the old Sheffield replicas. The following great masters came on the threshold of the Sheffield plate invention: Paul Crispin (1743); Paul Lamerie (1746); John Cafe (1749); Peter Taylor (Tea Caddies) (1747); Frederick Kandler (Inkstands) (1757); Thomas Whipham (1747); John Swift (Coffee Pots) (1749); Richard Rugg (1754); William Grundy (1757); Edward Wakelin (1753); Isaac Duke (Sauce Boats) (1743); Simon Jouet (1747); George Wickes (Candlesticks) (1750); Samuel Taylor (Caddies, Sugar Basins) (1756); Henry Herbert (1753).
When the Sheffield industry was at its height the following London makers had established a reputation for various classes of designs which they had made their own.
=Sugar Basins= (Fine pierced and festoon work): Benjamin Gignac (1761); J. Denizlow (1781); Henry Chawner (1792); L. Herne and F. Butty (1750); Daniel Smith and Robert Sharp (1769); S. Herbert & Co. (1767).
=Cream Jugs, Sauce Boats=: Samuel Meriton (1761); Walter Brind (1763); Parker and Wakelin (1775); James Wilkes (1784); Peter and Anne Bateman (1791).
=Candelabra and Candlesticks=: Robert Hennell (1777); Wakelyn and Taylor (1782); John Tayleur (1786); John Schofield (1786).
=Centrepieces=: William Plummer (Adam Style, 1787).
=Tureens and Services=: Dave Smith and Robert Sharp (1747); Thomas Heming (1772); William Pitts and Joseph Preedy (1793); Robert Sharp (Wine Coolers) (1803); Samuel Hennell (Wine Coolers) (1813); Paul Storr (1796-1820).
=Punch Ladles=: Dorothy Mills (1771).
=Salt Cellars=: Daniel Hennell (1758).
=Inkstands=: Thomas Heming (1764).
=Toasted Cheese Dishes=: Thomas Heming (1779).
=Tea Urns=: Orlando Jackson (1771).
=Teapots and Coffee Pots=: William Plummer (Teapots and Caddies) (1764); Frederick Knopfell (1765); Samuel Taylor (Caddies) (1770); W. Cripps (1762); Samuel Wood (1785); William Shaw (Caddies) (1788); Robert Garrard (1805); Philip Rundell (1819).
LONDON
EXETER
The date letters of the various London alphabets are readily ascertainable. The differences in the shape of the shields are not great; the leopard lost his crown in 1821 and has been cat-like in appearance ever since. Exeter continued as an Assay Office till 1882, but York, which was not mentioned among the Assay Offices in 1773, recommenced about the beginning of the nineteenth century and continued till 1870. Its mark was a St. George's Cross and five diminutive Lions. Newcastle-upon-Tyne similarly discontinued assaying silver in 1884.
=Exeter.=--The mark, as is shown, is a castle with three towers. The Date Letters were =A-Y= (1773-1796). The letter =I= was used for two years 1781 and 1782. =A-U= (1797-1816) in square shield and =a-u= (1817-1836) in square shield with four corners cut off. About 1775 the following silversmiths' marks are found on Exeter silver: Richard Jenkins, William Coffin, Richard Freeman, and Thomas Thorne (Plymouth), David Hawkins (Plymouth), William Harvey (Plymouth), Richard Bidlake (Plymouth).
=Chester.=--The Town Mark formerly was three Demi-Lions with wheatsheaves on a shield. In 1775 it was changed to three Wheatsheaves with a dagger, which is still in use at the Chester Assay Office. In addition there is the Lion passant and the Leopard's head denoting sterling silver, as at London.
=Newcastle-upon-Tyne.=--The complete Marks are the Lion passant, the Leopard's head, the Town or Hall mark of three Castles, the Date Letter, the Maker's Mark, and the Duty Mark of the sovereign's head used, as at all other offices, till 1890, when the duty on silver plate was abolished.
=Sheffield.=--An Assay Office was established by Act of Parliament in 1773 (13 George III, Cap. 52), and Sheffield obtained the rights to hall mark silver. It is unfortunate that between 1773 and 1823 the date letters were taken at random. The difficulty of identifying silver plate between these two dates (an important period) is thereby increased by this irregular choice of the Guardians of the Wrought Silver Plate of Sheffield. It is as though they had designedly set conundrums for posterity which none of the other Assay Offices did with their regular series of date letters. But from 1824-1843 the alphabet denoting the date runs from =a-z= (the letters i, j, n, o, w and y being omitted), and from 1844-1867 the alphabet was =A-Z= (J and Q being omitted).
The marks on the opposite page have been taken from specimens of silver plate hall-marked by the various provincial Assay Offices.
The Chester silversmiths made a variety of excellent plate. There was Richard Richardson whose designs were in the Queen Anne style, and doubtless attracted the attention of Sheffield. In 1768 Bolton and Fothergill made a variety of articles, including some fine candlesticks, and other silversmiths about 1775 whose marks were stamped at Chester are: Geo. Walker, Jas. Dixon, Gimble and Vale (Birmingham), John Gimlet (Birmingham), Ralph Wakefield (Liverpool), Christian Thyme (Liverpool), and Ralph Fisher (Liverpool).
The mark given of the Newcastle-upon-Tyne Assay Office is from a Coffee Pot. Although of a slightly earlier period it exhibits the type of mark. Newcastle produced many tankards, teapots and coffee pots of plain character and simple form that Sheffield in the early days might have essayed to copy. The following names of the Newcastle makers may assist possessors of Sheffield plated ware to establish a parallel: Isaac Cookson (1752); Robert Makepeace (sauceboats) (1754); Langlands and Goodriche (1754); Langlands and Robertson (1794).
At York in 1819 Robert Cottle and J. Barber were at work as silversmiths. A teapot of that date made by them exhibits fine design.
Early after the passing of the Act in 1773 the Sheffield silversmiths distinguished themselves by producing fine candlesticks, and among the early makers' marks with the Sheffield hall mark of the Crown as the Town Mark of Sheffield, is that of Samuel Roberts & Co., and this is found together with the mark of the Lion passant and the Leopard's head. Another mark on candlesticks of silver (1791) is I. P. & Co. (J. Parsons & Co.). That Sheffield made silver plate before this is shown by the evidence before the Select Committee of the House of Commons in 1773, alluded to on page 63.
CHESTER
NEWCASTLE-UPON-TYNE
YORK
SHEFFIELD
The Birmingham Assay Office came into being in 1773 under the same Act as that governing Sheffield (13 George III, _Cap._ 52). The marks are an Anchor (the Town Mark), a Lion passant, Date Letter, Maker's initials, and the Duty Mark of the sovereign's head from 1776.
Scottish marks come under another series of Acts and are a field to themselves. Besides Edinburgh and Glasgow marks the number of Scottish marks is legion (Sterling, Perth, Inverness, Dundee, Aberdeen, Banff, etc.).
Edinburgh used the Standard mark of the Thistle after 1759 in place of the Lion passant found on English silver. The hall mark is a Castle with three towers. The alphabets of Date Letters A-Z and the Maker's initials have been regularly used since the fifteenth century. The Duty Mark of the sovereign's head was added in 1784. It was also formerly usual to add the Assay master's initials.
Glasgow, in honour of her patron saint, St. Kentigern (known also as St. Mungo) has a hall mark of a Tree with a bird on uppermost branches, a Bell suspended and a Salmon transversely across the trunk. This fish has a ring in its mouth, the latter alluding to the miracle of the recovery of the last ring of Queen Caidyow. The Standard Mark is the Lion Rampant, used after 1819, and the Maker's Mark his initials. The Duty Mark of the sovereign's head was the same as at Edinburgh.
Dublin marks have a figure of Hibernia, a Harp and Crown, together with Maker's Mark and the Date Letter. The Cork marks are varied. Sometimes there is a castle stamped twice and sometimes only the word STERLING and the Maker's initials or mark.
=Birmingham.=--Among the makers of silver plate we find Matthew Boulton, who also made plated ware, with fine silver candlesticks with the hall mark and date letter for 1794. The date letters of the Birmingham alphabets run: =A-Z= Roman capitals (1773-1798); =a-z= small Roman (1798-1824); =A=Z= Old English capitals (1824-1849); etc.
=Edinburgh.=--Among the well-known makers are Joseph Kerr (1790) and Patrick Robertson (1778). An example is given of the mark of the latter found on a Coffee Pot made in 1769.
=Dublin.=--There are a number of makers with a reputation for fine designs. R. Calderwood (1760); George Beere (1760); J. Laughlin (1765); Stephen Walsh (1765); W. Townshend (1765); Will Hughes (1770); William Homer (1771); Darby Kehoe (1771); Capel Harrison (1771); Thomas Lilly (1772); Charles Townshend (1773); Thomas Jones (1775); Robert Williams (1776); John Nicklin (1780); Matthew Walsh (1780); William Law (1790); Matthew West (1791); Robert Breading (1802); and James le Bas (1819). The initials of these makers will be found on Irish silver of the period.
=Cork.=--Here there were fine designs of an unusual character produced. Robert Goble, an early maker, had left a tradition. There was George Hodder (1745-1770) who made fine coffee pots and other articles. John Williams (1780) who produced sugar baskets finely pierced and chased in classic style, and there was Jonathan Buck, who was renowned for his magnificent repoussé and chased work in cream jugs and the like, who signed his pieces sometimes "J. Buck," in script, and sometimes stamped them with the mark of the buck.
BIRMINGHAM
EDINBURGH
GLASGOW
DUBLIN
CORK
II
EXAMPLES OF MARKS
=Found on old Sheffield Plate during the period from 1753 to 1840 together with Marks on French Silver Plated Ware=
The bell, the crossed arrows (three and four), the crossed keys, the pineapple, the orb, the hand, are all marks used by Sheffield makers. The following firms are well known:--Roberts, Cadman & Co., Goodman & Co., Parsons & Co., Wilkinson & Co., Williams & Co., Dixon and Sons, Holy & Co., Gainsford, Walker Knowles & Co., all of Sheffield. At Birmingham there was Matthew Boulton, and the Soho Co., Hardy and others. In London there were many firms settled in the Soho district.
The cross keys, illustrated, is the mark of H. Wilkinson & Co. (formerly John Parsons & Co.), Sheffield, though during what period this was used is not determined. The Orb (that is, the ball and cross) was the trade mark of Walker Knowles & Co., Sheffield, but exactitude in regard to the period of its use is lacking. The open hand was the sign of Messrs. Watson, Sheffield, and the crossed arrows of Messrs. Fenton, Creswick & Co., Sheffield.
The original firm Roberts, Cadman and Co., who commenced business in 1784, used the Bell as a mark. They also used, as is illustrated, R.C. & Co. and R.C. & Co. Patent. The latter mark is stamped on a candlestick made about 1797. In the same period Roberts, Cadman & Co. produced Coffee Pots with "Ivory Pine Knob" as advertised in their catalogues of that date. There were Tinder Boxes at 10s. 6d. each with extinguisher with chain and candlestick on top. The Tea Urns were priced at twelve guineas "circular or globular shaped." The Tea Caddies plated inside with silver edges were 45s. each, and some cups and cream ewers were "gilt inside." They made also at this date Lamp Holders to fit into candle sockets, and Taper Holders.
The firm afterwards became Roberts, Smith & Co., then Smith, Sissons & Co., and were succeeded by W. & G. Sissons, who are still continuing the business and are silversmiths and electro-platers.
The three crossed arrows mark is interesting. It is claimed to have been used by Messrs. Fenton, Creswick & Co., Sheffield. The mark illustrated with four crossed arrows is that of T. & J. Creswick (1811). With it is given another crossed arrow mark of two crossed arrows adopted by the Sheffield Assay Office to stamp on Foreign silver assayed at that office in 1904; before that only the letter =F= in an oval was used, but by 4 Edward VII, Cap. 6 all Assay Offices had to adopt a new style, and Sheffield selected the crossed arrows. In 1906 the mark was changed to the one illustrated, which is still used on foreign silver sent to Sheffield for assay and sale in this country.
Many fine examples of old Sheffield plate are unmarked. Where marks are found it is not always possible, except by inference, to determine at what particular date the makers stamped such marks, that is at what date the specimen was made. Obviously the style of decoration indicates approximately the period, as the Sheffield platers set out to offer ware as fashionable as silver. This is determinable by comparison with similar examples made by the silversmiths. But whereas silver plate was accurately dated when it bore the stamp of the annual date letter, wherever made, Sheffield plated ware cannot offer this exactitude.
Marks when found are useful as indicating the initials of old firms who have manufactured plate from the earliest period and are still in business. But many of the marks were used over a long period and only by comparison with silver prototypes can dates be arrived at.
It has been shown (p. 63) that in 1773 when Sheffield and Birmingham were made Assay towns that silver plate was being made there, contemporaneously with plated wares and presumably by the same firms. The evidence before the Parliamentary Committee in 1773 showed that Sheffield had her silver assayed in London, and that Birmingham had also some of her silver assayed in Chester. It therefore follows that many examples of silver plate bearing the London and Chester hall marks were made at Sheffield and at Birmingham--and in the period from the invention of plated ware at Sheffield by Boulsover till the year 1773.
One of the weakest points in regard to marks on plated ware is undoubtedly the absence of real proof as to date. Similar marks are found covering a period too long for one maker's working lifetime. It follows that they represent firms; often accompanying these, though not always, are signs also found through a long period and on various classes of ware, which are stated to be workmen's marks. In old Worcester china signs not understood and standing apart from the factory mark of the crescent or the square Chinese mark are attributed to workmen. There identity ceases. It is the same, unfortunately, with old Sheffield plate. That the Sheffield platers did attempt to simulate the London marks on silver plate is only too true. In some examples with a row of marks, a very colourable imitation of the leopard's head is seen and the public might well be deceived. But after 1773 this practice became too dangerous. In fact the penalties were so severe that makers feared to mark plated goods until the 1784 Act laid down clearer rules.
The mark consisting of four stamps about 1815 in date is interesting. The casque suggests a head, and the _fleur-de-lys_ might, when worn, suggest the Sheffield crown on silver plate. The =G= has all the appearance of a date letter. Such marks have a somewhat sinister appearance, as they undoubtedly by their number and character were attempting to simulate the hall marks on silver plate.
In regard to Foreign marks on silver plated ware that was produced in the method of old Sheffield, there are examples known to have been made in France and in Russia, and it is believed that they were also made in Holland and in Sweden. The promulgation of the old Pattern Books by Sheffield at the end of the eighteenth century doubtless had an influence on metal workers on the Continent, who were never slow in assimilating new processes, especially when they offered, as did Sheffield, a lessened cost of production and an appearance simulating something finer.
The legal enactments relating to the marking of French plated ware are referred to on p. 209.
The illustrations of marks found on French silver plated articles are interesting. The authorities were strict in regard to an exact definition in the mark to denote to the public the exact nature of the ware offered for sale. In contradistinction to the slovenliness of English marking this exhibits the logical and protective system devised under French laws. The articles had to be stamped _Doublé_ (replica) or _Plaqué_ (plated), and as is shown in the illustration in no illegible manner. There was no simulation of the French silver plate marks allowed, and the quantity of silver was duly stamped 10M or 20M, as the case might be. The maker, as will be seen, had his mark, but it took a subsidiary place. The public had to be protected first.
In regard to Close Plating, which as a process came about the beginning of the nineteenth century, and was applied to smaller articles where the rolled sheets were not applicable, there are a number of marks found on forks and spoons, snuffers and skewers, on spurs and buckles, dessert knives and forks, and other articles of a like nature.
Electro-plating was discovered about 1840, and a patent was taken out by George and Henry Elkington of Birmingham at that date.
The electro-plated marks are imposing. In worn examples the row of five stamps is not decipherable. What they were originally it is not easy to say, but they have been designed to appear more important than they are.
A great number of marks appear on close plated articles. Horday & Co., S.G., E.S., S.J. and others. But their identity is not known. Nor is it very significant. An interesting mark, Sly. Dublin, is found on a skewer in the early period.
Probably seventy-five per cent. of examples of old Sheffield plate are unmarked, though they exhibit fine craftsmanship which any maker might well have been proud to have stamped with his initials had the Act of 1773 been framed sufficiently clear to enable makers to venture stamping plated ware at all with safety. Anonymous, therefore, as most of the best Sheffield plate of the best period is, it bears on the face of it the hall mark of exquisite workmanship.
Collectors of old Sheffield plate make a great mistake in constantly demanding that examples be marked. If this demand for marks on old Sheffield plate be insisted upon, the marks will accordingly be supplied. There is nothing to prevent stamps being made to represent some of the marks found on old Sheffield plate, and unmarked pieces will soon bear marks and straightway become more saleable. The public by incessant clamour drive those responsible for providing for its wants into devious paths. The dealer in old Sheffield plate has scores of fine unmarked examples and he is wishful to sell them as such.
They are undoubtedly old and of fine quality. It should be the ideal of the collector to know the technique of his subject so well that the artistic beauty and the skilful craftsmanship of an example should make its appeal to his trained scrutiny irrespective as to whether there is any maker's mark on the piece or not. The seams on old pieces showing joins are a far better test of old workmanship as between old Sheffield plating and modern electro-plating. These seams are the hall marks of the makers a century and a century and a half ago.
INDEX
Abbotsford, Scott's introduction of gas at, 116
Adam design, example of hot water jug, 228
Adam style of design, the, 85
Addison omits Shakespeare from list of great poets, 51
Advertisement of Pinchbeck (1732), 54
Allan David, copyist of old masters, 21
Anonymity of Sheffield plated ware, 289
Arrows, the crossed, as a mark, various types of, 286
Artistic value of old Sheffield plate, 60, 61
Assay offices, examples of marks used at, 274-282
"Below the salt," its meaning, 136
Birmingham Assay Office, institution of, 41
Birmingham-- hall marks on silver plate, 281 its silver plated marks registered at Sheffield, 68 silver platers, rise of, 68
Boulsover, Thomas (1704-1788), inventor of Sheffield silver plating, 46 obituary notice of, 47
Boulton, Matthew, Birmingham (Boulton and Fothergill), (M. Boulton and Co.), 68
Buckle makers, the, 262
Buttons made by Thomas Boulsover, 47, 53
Button makers in Dublin (1792), 73
Cabinet makers, French, stamped marks of, 237
Caddies, tea, and their makers, 196
Cadman, Robert, and Co., (Sheffield), 89
Cake baskets, Sheffield plated, 165
Candelabra-- and candlesticks, 79-131 old silver, London makers of, 274
Candelabrum, the-- its varieties, 90 the tri-form, 115
Candlestick-- the chamber, 119 the table, 120
Candlesticks-- early types, 81 from eighteenth century Pattern Books, 74, 86, 89 old silver, London makers of, 274 Sheffield plated, their price, 269
Carteret's "Drunken Administration," 48
Centrepiece, the, 245
Centrepieces, old silver, London makers of, 274
Chair-backs, a test to apply to their beauty, 109
Chester hall marks on silver plate, 277
Chester--Liverpool, and Birmingham silversmiths' work assayed at, 278
China factories, Derby and Worcester, origin of, 49
Chippendale chair-backs, the test of their beauty, 109
Christie's, price of Sheffield plated candlesticks sold at, 269
Close plating, 261
Coasters (decanter stands), 166
Coffee pots, 206
Coffee pots, old silver, London makers of, 274
Contemporary silver designs in Sheffield plated period, 274, 278, 281, 282
Continental trade, Sheffield platers and, 154
Copyists of old masters, 21
Cream jugs, old silver, London makers of, 274
Danger of public clamour for marks, 293
Date of examples, Sheffield plated, absence of proof of, 289
Death penalties for tampering with silver plate, Geo. III (1815), 48
Decanter stands, 166
Decadence in design, in candlesticks, 126
Design Book, Sheffield Plate, eighteenth century, 139
Designer, the, his greatest asset, what to omit, 109
Destruction of old Sheffield plate, 253
Die work in Sheffield plating, 82
Dies, destruction of old Sheffield plate, 250
Dinner table, passing of the, 254
Dish rings, Sheffield plated, 177
Drunken habits of eighteenth century, 189
Duties on silver, eighteenth and nineteenth centuries, 48
Economic substitution, 22
Electro plating, its invention, 290
Empire style candelabrum, 116
English craftsmanship, imitativeness of, 27
English porcelain factories, origin of Derby and Worcester, 49
Engraving, not an imitative art, 28
Engravings, when printed in colours, imitative art, 28
Epigram by Porson on Pitt, 189 on weight in plate, 202
European imitativeness, 25
Exeter hall marks on silver plate, 277
Factory system, the, 268
Fashion of buckles, decline of the, 263
Foreign policy, Carteret's pronouncement on his, 48
Foreign silver plating in Sheffield style, 290
Fraud by silversmiths, penalties against, 35
French-- marks on silver-plated ware, 290 plating, an early process, 39 plated ware, regulations regarding, 209
Garrick, David, his revival of Shakespeare, 50
Gas introduced to light Abbotsford, 116
George IV and the fashion of buckles, 263
German silver and other white metals, 267
Gin bottle covered with bead work, 26
Glass designs imitate silver, 35
Glass, Venetian, copied in Germany, 25
Goltzins simulates prints of old masters, 20
Grease pans, their indication of date, 99
Guido picture fabricated by Mignard, 20
Hall marks on old silver, illustrated, 275, 279, 283
Hancock, Joseph (Sheffield), his share in developing silver plating, 61
Herculaneum-- design from, 116 influence of art of, 116
Hogarth, "the Scottish," David Allan, 21
Imitativeness, European, 25
Imitation-- as a fine art, 19 of hall marks by Sheffield platers, 289, 290 decadence of wood engraving, 41
Imitations of Sheffield plate, 158
Inkstands, 181
Invention of silver plating by fusion, 45
Ireland, silver plating by fusion carried on in, 71
Irish dish or potato rings, 177
Irish Government offers premium (1783) for plated ware made in Ireland, 71
Irish hall marks on silver plate, 281, 282
Irish plated skewer marked "Sly," 262
Jackson, John, copyist of Reynolds, 21
Jugs, hot water, 227
Kettles, tea, 205
Knick-knacks, a world of (eighteenth century), 54
Knife handle of stamped Sheffield plate, 50
Lamb, Charles, quoted, 136
Liverpool silversmiths' work assayed at Chester, 278
Liverseege, Henry, copyist of Vandyck, 21
London, silver plating carried on at, 68
Louis XIV-- orders silver plate to be melted, 23 his extravagant use of silver plate, 23
Marks-- on French cabinet work, 237 on porcelain, 232 on Sheffield plate, 62, 63, 231; (illustrated), 286-293 (Sheffield plate) fear of platers to stamp any, 64, 67 on Sheffield plate resembling silver marks, 62, 63 on silver, position of, 273
Melting down of old Sheffield plate, 253
Mignard fabricates a Guido picture, 20
Missionary-fostered art, 26
Mustard pot, the, 148
Newcastle-upon-Tyne-- hall marks on silver plate, 277 silversmiths at, 278
Nottingham, silver plated ware made at, 68
Nozzles, removable, their indication of date, 96
Old masters, drawings of, copied by David Allan, 21
Old masters, prints of, simulated by Goltzins, 20
Original silver plate design copied by platers, 143
Ornament-- spiral, its abuse, 106 useless, failure of, 110
Parliamentary Committee on conduct of assay offices (1773), 63
Parsons and Co., Pattern Book, 181
Patch boxes, Sheffield plated, 54
Pattern Books, eighteenth century, silver platers', 74, 86, 89, 139
Penalties-- counterfeiting Duty Mark (1815) punishable by death, 48 for fraud in old plate, 36, 62, 63 for wrongly stamping Sheffield plate, 67
Petition of the buckle makers, the, 264
Pinchbeck, Christopher, and his imitations, 54
Pipe lighter-- Sheffield plate, 241 illustrated, 239
Pitt, epigrams by Porson on, 189
Plating, silver-- early, 35 pre-fusion period, 35, 39 process described, 58 used fraudulently, 35
Pompeii, influence of art of, 116
Poor relations and their foibles, 136
Porcelain factories, Derby and Worcester, origin of, 49
Potato rings, Sheffield plated, 177
Potters, copy of silversmiths' designs by, 28, 31
Pottery, French, supplants silver plate, 24
Pounce pot, the, and its use, 182
Prince of Wales's feathers used in design, 153
Process of Sheffield silver plating described, 58
Rise in value of old Sheffield plate, 269
Romney picture of _Serena_ (Miss Sneyd), 119
Ruskin and copies of Turner drawings, 22
"Salt, below the," its meaning, 136
Salt cellar, the, 135 the new style, 147
Sauce boats, old silver, London makers of, 274
Scott, Sir Walter, his introduction of gas at Abbotsford, 116
Scottish hall marks on silver plate, 281
Seams a test of genuineness in Sheffield plate, 293
Sevrès porcelain makers' marks, 232
Shakespeare neglected by Addison and Steele, 51 revival of study of, 50
Sheffield-- Assay Office, institution of, 40, 41 hall marks on silver plate, 277 origin of silver plating at, 39
Sheffield plate-- old, destruction of, 253 wonderful technique of, 161
Sheffield platers-- as to their originality, 143 deterred from placing any marks, 64, 67
Sheffield silver plate, makers of, eighteenth century, 278
Sheffield, silver plating process described, 58
Silver-- duties in eighteenth and nineteenth centuries, 48 price of, in eighteenth century, 47 lustre ware imitates silver plate, 35 marks, simulation of, by marks on Sheffield plate, 62, 63 plate designs copied by platers, 143 plate made at Sheffield assayed in London, 63 plate, value of hall marks on, 274 plating at Sheffield, origin of, 39 plating by fusion, its invention, 45 plating, early, 35 plating, the great period, 73
Silversmiths-- copy of potters' designs by, 28, 31 list of late eighteenth century, 77 (London) who influenced Sheffield platers, 274
Simulation in art, 25, 28
Smith, J. R., engraving of _Serena_ after Romney, 119
Spiral forms in candelabra, 100
_Spectator_, advertisement in (1712), 140
Spurious candelabra and their errors, 95
Steele, Richard, omits Shakespeare from list of great poets, 51
Steel toys, the, of Sheffield, 140
Sugar basin, the, 210 basins, old silver, London makers of, 274
Supper table, the, 238
Taper holders, 181
Tea and coffee sets, 201
Tea caddies and their makers, 196
Tea kettles, 205
Teapots, 189 old silver, London makers of, 274
Tea urn, the, 202
Technique, wonderful, of Sheffield plate, 161
Tinder boxes, Sheffield plated, 286
Toasted cheese dishes, old silver, London makers of, 274
Trencher salts, their use, 147
Tureens-- old silver, London makers of, 274 soup, 220
Turner drawings, facsimiles of, 22
Tutenag, an alloy of antimony and zinc, 267
Urn, the tea, 202
Utility the true test of ornament, 110
Value of old Sheffield plate, 269
Ward, his replicas of Turner drawings, 22
Wedgwood, Josiah-- shell-forms, adoption of, 31 carved wood models, use of, 31 indebted to metal-workers of Sheffield, 32
White metals, German silver, etc., 267
Wine coolers, old silver, London makers of, 274
Wine labels, Sheffield plated, 53
Wood engraving, decadence of, 41
Worcester china, workmen's marks on, 289
York, silversmiths at, 278
_Printed in Great Britain by_
UNWIN BROTHERS, LIMITED, LONDON AND WOKING
UNWIN'S "CHATS" SERIES
LIST OF VOLUMES
=Chats on English China.= By ARTHUR HAYDEN. Illustrated with reproductions of 156 marks and 89 specimens of china. Cloth, 9s. net. Tenth Impression.
This is the standard work on the subject. The volume will enable the possessors of old china to determine the factories at which their ware was produced.
"It gives in a few chapters just what the beginner wants to know about the principal varieties of English ware. We can warmly commend the book to the china collector." _Pall Mall Gazette._
"So simply yet so thoroughly written, that it is a sage guide to the veriest tyro in china collecting." _Bookman._
=Chats on Old Furniture.= By ARTHUR HAYDEN. With a coloured frontispiece and 104 other Illustrations. Cloth, 9s. net. Fourth Edition. Twelfth Impression.
"The hints to collectors are the best and clearest we have seen; so that altogether this is a model book of its kind." _Athenæum._
"A fully illustrated practical guide for collectors." _The Times._
"Mr. Hayden has worked at his subject on systematic lines, and has made his book what it purports to be--a practical guide for the collector." _The Saturday Review._
=Chats on Old Prints.= How to Collect and Identify. By ARTHUR HAYDEN. With a coloured frontispiece and 72 full-page plates. Cloth, 9s. net. Seventh Impression.
Every branch of the subject is carefully and explicitly handled in this book, and valuable information as to technical processes and identification of prints is given.
"If there is a better book of its kind on print collecting we have not yet come across it." _Daily Graphic._
"A very useful handbook for beginners, intended to help any reader of artistic tastes, but very moderate means, to collect to good purpose." _The Times._
=Chats on Costume.= By G. WOOLLISCROFT RHEAD, R.E. With a coloured frontispiece and 117 other Illustrations. Cloth, 9s. net. Second Impression.
A practical guide to historic dress. "Clothes" is a subject that has been neglected by collectors, and this book will be a useful guide to those who desire to repair that neglect by forming a collection.
"A book that is at once the work of an authority on the subject of costumes, and one that helps to enlarge our range of selection." _Pall Mall Gazette._
=Chats on Old Miniatures.= By J. J. FOSTER, F.S.A. With a coloured frontispiece and 116 other Illustrations. Cloth, 9s. net. Second Impression.
This book presents in a concise and popular form a variety of valuable information on the collection and preservation of miniatures, on the leading English and French artists, and on the specimens exhibited in public galleries.
"Mr. Foster is truly a guide, philosopher and friend. He tells us not only how to judge and how to buy miniatures, but how to take proper care of them.... The splendid photographs by which the book is enriched adds in a great measure to its attractiveness and utility." _Aberdeen Free Press._
=Chats on Old Lace and Needlework.= By MRS. LOWES. With a frontispiece and 74 other Illustrations. Cloth, 9s. net. Third Impression.
Written by an expert and enthusiast in these most interesting branches of art. The low price at which the work is issued is exceptional in dealing with these subjects, and it is remarkable in view of the technical knowledge displayed and the many photographic illustrations which practically interleave the book.
"In commendable, clear and concise style Mrs. Lowes explains the technical features distinguishing each example, making the book the utmost value in identifying samples of old lace."--_Weldon's Ladies' Jour._
=Chats on Oriental China.= By J. F. BLACKER. With a coloured frontispiece and 70 other Illustrations. Cloth, 9s. net. Fifth Impression.
Will be of the utmost service to collectors and to all who may have old Chinese and Japanese porcelain in their possession. It deals with oriental china from the various standpoints of history, technique, age, marks and values, and is richly illustrated with admirable reproductions.
"A treatise that is so informing and comprehensive that it commands the prompt recognisation of all who value the choice productions of the oriental artists.... The illustrations are numerous and invaluable to the attainment of expert knowledge, and the result is a handbook that is as indispensable as it is unique." _Pall Mall Gazette._
=Chats on English Earthenware.= A companion volume to "Chats on English China." By ARTHUR HAYDEN. With a coloured frontispiece, 150 Illustrations and tables of over 200 illustrated marks. Cloth, 9s. net. Fourth Impression.
"To the ever-increasing number of collectors who are taking an interest in old English pottery... will be found one of the most delightful, as it is a practical work on a fascinating subject." _Hearth and Home._
"Here we have a handbook, written by a well-known authority, which gives in the concisest possible form all the information that the beginner in earthenware collecting is likely to need. Moreover, it contains one or two features that are not usually found in the multifarious 'guides' that are produced to-day." _Nation._
=Chats on Autographs.= By A. M. BROADLEY. With 130 Illustrations. Cloth, 9s. net.
"Being an expert collector, Mr. Broadley not only discourses on the kinds of autograph he owns, but gives some excellent cautionary advice and a valuable 'caveat emptor' chapter for the benefit of other collectors." _Westminster Gazette._
"It is assuredly the best work of the kind yet given to the public; and supplies the intending collector with the various sources of information necessary to his equipment." _Manchester Guardian._
=Chats on Old Pewter.= By H. J. L. J. MASSÉ, M.A. With 52 half-tone and numerous other Illustrations. Cloth, 9s. net. Third Impression.
"It is a remarkably thorough and well-arranged guide to the subject, supplied with useful illustrations and with lists of pewterers and of their marks so complete as to make it a very complete and satisfactory book of reference." _Manchester Guardian._
"Before setting out to collect old pewter it would be as well to read Mr. Massé's book, which is exhaustive in its information and its lists of pewterers, analytical index, and historical and technical chapters." _Spectator._
=Chats on Postage Stamps.= By FRED J. MELVILLE. With 57 half-tone and 17 line Illustrations. Cloth, 9s. net. Second Impression.
"The whole book, with its numerous illustrations of excellent quality, is a _vade mecum_ for stamp collectors, even though their efforts may be but modest; we congratulate Mr. Melville on a remarkably good guide, which makes fascinating reading." _Academy._
"There is no doubt that Mr. Melville's book fills a void. There is nothing exactly like it. Agreeably written in a popular style and adequately illustrated, it is certainly one of the best guides to philatelic knowledge that have yet been published." _World._
=Chats on Old Jewellery and Trinkets.= By MACIVER PERCIVAL. With nearly 300 Illustrations. Cloth, 9s. net.
"The book is very thorough, dealing as it does with classic, antique and modern ornaments; with gold, silver, steel and pinchbeck; with the precious stones, the commoner stones and imitation."--_Outlook._
"'Chats on Old Jewellery and Trinkets' is a book which will enable every woman to turn over her jewel-case with a fresh interest and a new intelligence; a practical guide for the humble but anxious collector.... A good glossary of technicalities and many excellent illustrations complete a valuable contribution to collector's lore." _Illustrated London News._
=Chats on Cottage and Farmhouse Furniture.= A companion volume to "Chats on Old Furniture." By ARTHUR HAYDEN. With a coloured frontispiece and 75 other Illustrations. Cloth, 9s. net. Third Impression.
"One gets very much for one's money in this book. Seventy-three full-page illustrations in half-tone embellish a letterpress which is replete with wise description and valuable hints." _Vanity Fair._
"Mr. Hayden's book is a guide to all sorts of desirable and simple furniture, from Stuart to Georgian, and it is a delight to read as well as a sure help to selection." _Pall Mall Gazette._
"Mr. Hayden writes lucidly and is careful and accurate in his statements; while the advice he gives to collectors is both sound and reasonable." _Westminster Gazette._
=Chats on Old Coins.= By FRED W. BURGESS. With a coloured frontispiece and 258 other Illustrations. Cloth, 9s. net. Second Impression.
"A most useful and instructive book... will prove a boon to the intending collector of old coins and tokens, and full of interest to every collector. As was to be expected of any volume of this series, the illustrations are numerous and good, and greatly assist the reader to grasp the essentials of the author's descriptions." _Outlook._
"The author has not only produced 'a practical guide for the collector' but a handy book of reference for all. The volume is wonderfully cheap." _Notes and Queries._
=Chats on Old Copper and Brass.= By FRED W. BURGESS. With a coloured frontispiece and 86 other Illustrations. Cloth, 9s. net.
"Mr. F. W. Burgess is an expert on old copper and bronze, and in his book there is little information lacking which the most ardent collector might want." _The Observer._
"Italian bronzes, African charms, Chinese and Japanese enamels, bells, mortars, Indian idols, dials, candlesticks, and snuff boxes, all come in for their share of attention, and the reader who has mastered Mr. Burgess's pages can face his rival in the auction-room or the dealer in his shop with little fear of suffering by the transaction." _The Nation._
=Chats on Household Curios.= By FRED W. BURGESS. With 94 Illustrations. Cloth, 9s. net.
"Mr. Burgess gives much information about such attractive antiques as old glass and enamels, old leather work, old clocks and watches, old pipes, old seals, musical instruments, and even old samplers and children's toys. The book is, in short, an excellent and comprehensive guide for what one may call the general collector, that is, the collector who does not confine himself to one class of antique, but buys whatever he comes across in the curio line, provided that it is interesting and at moderate price." _Aberdeen Free Press._
=Chats on Japanese Prints.= By ARTHUR DAVISON FICKE. With a coloured frontispiece and 56 Illustrations. Cloth, 9s. net. Fourth Impression.
"Mr. Ficke writes with the knowledge of the expert, and his history of Japanese printing from very early times and his criticism of the artists' work are wonderfully interesting." _Tatler._
"This is one of the most delightful and notable members of an attractive series.... A beginner who shall have mastered and made thoroughly his own the beauty of line and the various subtlety and boldness of linear composition displayed in these sixty and odd photographs will have no mean foundation for further study."--_Notes and Queries._
=Chats on Old Clocks.= By ARTHUR HAYDEN. With a frontispiece and 80 Illustrations. 2nd Ed. Cloth, 9s. net.
"A practical handbook dealing with the examples of old clocks likely to come under the observation of the collector. Charmingly written and illustrated." _Outlook._
"One specially useful feature of the work is the prominence Mr. Hayden has given to the makers of clocks, dealing not only with those of London, but also those of the leading provincial towns. The lists he gives of the latter are highly valuable, as they are not to be found in any similar book. The volume is, as usual with this series, profusely illustrated, and may be recommended as a highly interesting and useful general guide to collectors of clocks." _The Connoisseur._
=Chats on Old Silver.= By ARTHUR HAYDEN. With a frontispiece, 99 full-page Illustrations, and illustrated table of marks. Cloth, 9s. net. Fourth Impression.
"Mr. Hayden's 'Chats on Old Silver' deals very thoroughly with a popular branch of collecting. There are a hundred full-page illustrations together with illustrated tables and charts, and the student of this book can wander round the old curiosity shops of these islands with a valuable equipment of knowledge.... Altogether we have here a well-written summary of everything that one could wish to know about this branch of collecting." _The Sphere._
"The information it gives will be of exceptional value at this time, when so many families will be forced to part with their treasures--and old silver is among the most precious possessions of the present day." _Morning Post._
=Chats on Military Curios.= By STANLEY C. JOHNSON, M.A., D.Sc. With a coloured frontispiece and 79 other Illustrations. Cloth, 9s. net.
"Mr. Johnson in this book describes many of the articles a collector should be on the look out for, giving short but informative notes on medals, helmet and cap badges, tunic buttons, armour, weapons of all kinds, medallions, autographs, original documents relating to Army work, military pictures and prints, newspaper cuttings, obsolete uniforms, crests, stamps, postmarks, memorial brasses, money and curios made by prisoners of war, while there is also an excellent biography on the subject. The author has, indeed, presented the reader with a capital working handbook, which should prove a friendly and reliable guide when he goes collecting." _Field._
=Chats on Royal Copenhagen Porcelain.= By ARTHUR HAYDEN. With a frontispiece, 56 full-page Illustrations and illustrated tables of marks. Cloth, 9s. net.
"This very beautiful and very valuable book will be eagerly welcomed by lovers of porcelain.... Mr. Hayden describes with great skill and preciseness all the quality and beauty of technique in which this porcelain excels; he loves it and understands it, and the examples he has chosen as illustrations are a valuable supplement to his descriptions." _Bookman._
=Chats on Old Sheffield Plate.= By ARTHUR HAYDEN. With frontispiece and 58 full-page Illustrations, together with makers' marks. Cloth, 9s. net.
Old plated ware has, by reason of its artistic excellence and its technique, deservedly won favour with collectors. The art of making plated ware, which originated at Sheffield (hence the name of "Sheffield plate"), was continued at Birmingham and London, where a considerable amount of "old Sheffield plate" was made, in the manner of its first inventors, by welding sheets of silver upon copper. The manufacture lasted roughly a hundred years. Its best period was from 1776 (American Declaration of Independence) to 1830 (Accession of William IV). The author shows reasons why this old Sheffield plate should be collected, and the volume is illustrated with many examples giving various styles and the development of the art, together with makers' marks. Candlesticks and candelabra, tea-caddies, sugar-baskets, salt-cellars, teapots, coffee-pots, salvers, spoons, and many other articles shown and described in the volume indicate the exquisite craftsmanship of the best period. The work stands as a companion volume to the author's "Chats on Old Silver," the standard practical guide to old English silver collecting.
T. FISHER UNWIN LTD. 1 ADELPHI TERRACE, LONDON, W.C. 2
Transcriber's Notes:
1. Italics are shown with _text_ and bold print is shown with =text=.
End of Project Gutenberg's Chats on Old Sheffield Plate, by Arthur Hayden