=Cake baskets--Decanter stands or Coasters--Dish rings--Inkstands and
taper holders.=
As the days wore on at Sheffield the technique, as collectors know,
became amazingly perfect. The silver wire following the intricate
outlines of a vessel disguising the raw edges of the copper, was used
in a manner unequalled by the craftsman in silver plate because he
had no need of such artifices to conceal in his technique the poverty
of the base. He was working in a solid metal where no base metal
at every conceivable point thrust itself into prominence. He could
engrave deeply with no possibility of going too deep and betraying the
shining copper. His applied ornament was solid silver, and here the
Sheffield plater runs parallel in regard to die work and soldering
parts together. But, in all, the Sheffield plater was more skilled,
his die work is delicate and exhibits no noticeable trace as to its
extraneousness. He may be compared with the artist in veneer of the
same or an earlier period. The perfection of applied veneer and the
exquisite skill employed by the cabinet-maker in covering oak with fine
figured mahogany is unsurpassed. Veneers have in modern days been
so skilfully made until they are no thicker than a cigarette paper,
the modern glue and the modern processes have worked on scientific
lines, although in many respects they have not outrivalled the old
worker in veneers. Similarly, in Sheffield plate, the great note of
exclamation, surprising and wonderful, is at the wire edged work, the
handling of dies in a subtle and delicate manner, and the great result
produced by a difficult technique. Stage by stage the Sheffield platers
increased their facility for cunning handicraft. Machinery they had,
and clean-cut differentiation of task. In fact the various branches
soon became specialized in such a great industry. There were the die
sinkers, and the workmen who fashioned dies and the workmen who fitted
them ingeniously in position were others than those who soldered
candlesticks together. The candlestick makers became a separate
industry. Piercing and cutting, and the designs for this craft, soon
became separate and were carried to a great point of perfection.
Chasing as a craft and the designs for chasing as an art it may readily
be believed formed another separate branch. From the preparation and
fusing of the copper and silver, the rolling of the ingot, to the later
stages of artistic technique, so great and extensive an art industry
systematized itself into component working parts. But through it all
runs like a silver thread the intensity of the magical working of wire.
Wire, unheeded by the tyro but beloved by the connoisseur, converted
copper and silver, with its too obvious copper edge into solid plate
to all appearance. It duplicated all with which the silversmith could
endow his plate and it represented toil and infinite pains, the genius
of Sheffield, in producing results which are unequalled as _tours de
force_ in metal technique.
[Illustration: OLD SHEFFIELD PLATED CAKE BASKET.
Woven wirework with gadroon border, with handle in plain double bands
and hinged. Date 1800.]
(_At the Sheffield Public Museum._)
(_Reproduced by permission of the Corporation of Sheffield._)]
[Illustration: OLD SHEFFIELD PLATED CAKE BASKET.]
With circular base: having wire body surmounted by a broad lip heavily
decorated with floral ornament: massive handle with hinges. Date 1810.
Diameter 9½ in. Base 4 in.
(_At the Sheffield Public Museum._)
(_Reproduced by permission of the Corporation of Sheffield._)]
=Cake Baskets.=--The cake or bread basket offered a fine field
for free manipulation of the sheet silver, for fine pierced-work, or
designs classic and severe, or urn-shaped and massive. All these are
found, and Sheffield plate cake baskets are always sought after by
collectors as offering something delectable in design and exquisite in
detail.
The example illustrated (p. 163) is composite in its technique. The
broad solid band as a rim has pierced ornament, as has also the foot.
The body of the basket is wire work. The hinged handle is a solid
band. A fine woven wire example, in date 1800, has a gadroon border,
with handle with double bands and hinged. This is in simple basket
form. The woven wire follows the technique or simulates the character
of a plaited straw basket, just as Wedgwood ware baskets and dishes
simulated the plaited and interlaced rush baskets. One must compare
Sheffield plate with the silver examples by Edward Romer and William
Plummer about 1760. A later example, in date 1810, illustrated (p.
163) has a circular base from which springs a wire body surmounted by
a broad lip or rim heavily decorated with floral ornament, and having
massive handle with hinges. The touches of extraneous ornament indicate
the departure from the wire worker's reticence and simplicity. The
design is debased from such simplicity as is found in pure wire work by
these added floral ornaments. Lightness and grace are the keynotes in
wire work and here they are destroyed by the unwanted additions.
=Decanter Stands or Coasters.=--This is a great family. At first
glance it would not seem that there was much room for variation in
articles designed for so simple an object as holding a bottle or a
decanter and preventing it staining the polished mahogany table. But
an examination of various types shows how inventive was the Sheffield
designer in producing original shapes of great diversity of character.
In regard to ornament they received the elaborate attention of the
piercer who allowed his designs to attain a rich quality only excelled
by the dish rings to which reference is made later. They were circular,
they had broken tops with flowing curves, or they were octagonal. They
had richly gadrooned edges or fine bead-work, or in some examples they
had four handles reminiscent of decorative ornament of an earlier
period.
[Illustrations: OLD SHEFFIELD PLATED COASTERS.
Finely chased and pierced. Threaded and plain edges. Date about 1790.
Pierced and chased with bead edges and shaped top. Date about 1785.
Finely pierced in classic style with bead edges. Date about 1785.
Octagonal in shape; pierced design with straight thread edges. Date
about 1790.
(_In the collection of B. B. Harrison, Esq._)]
The four examples illustrated (p. 167) illustrate types which were
being made from 1785 to 1790. They are all from pairs, and each
exhibits representative features. The earlier form was not quite
so deep as is found in later coasters. In later examples the height
is twice that of the earliest type. Perhaps it was found that bottles
or decanters were apt to fall over as the evening wore on, but it
is certain that the protective guard became higher, and some of the
tallest can be used quite comfortably nowadays to hold a syphon of
soda. The elaborate pierced floriate work in the 1785 Coaster (p. 167)
is classical in character, and it has bead edges and stands as an
excellent piece of workmanship. The adjacent example, 1790, is seen to
be taller though still not so tall as were made at a later date, in the
decadence. The pierced work is less effective and may be compared with
some of the designs on what are known as Irish dish rings or potato
rings. It has threaded and plain edges.
A departure from the circular top is shown in the lower example, of
1785 in date, with pierced and chased work of rosettes and festoons.
Its broken curved top rim is decorated with bead edges. The other
octagonal shaped specimen, in date 1790, is pierced in reticent manner
corresponding with its geometric form, and has straight thread edges.
[Illustrations: OLD SHEFFIELD PLATED COASTERS.
With broad beaded pattern: having turned wooden bottom with silver boss
in centre. Date 1810. Diameter 5⅞ in.
Vertically fluted: with moulded border of scroll design. Turned wooden
bottom with plated boss in centre. Date 1815. Diameter 6⅛ in.
(_At the Sheffield Public Museum._)
(_By permission of the Corporation of Sheffield._)]
[Illustration: OLD SHEFFIELD PLATED COASTERS.
Circular bases with turned wooden bottoms. Rims with gadrooned edges
terminating in four raised scroll ornaments. Date 1805.
(_In the collection of G. H. Wallis, Esq., F.S.A._)]
At the opening of the nineteenth century new forms came into vogue, the
pair of Coasters illustrated (p. 169) are of an unusual design where
four scrolls ornament the rims. These scrolls have the suggestion of
French First Empire decorative work found in domestic ornament and
embodying bronze work sphinxes, griffons and other bold designs adapted
reminiscent of Herculaneum. These coasters have turned wooden bottoms.
Another Coaster (p. 169), in date 1810, has a broad beaded pattern
at edge and a turned wooden bottom with a silver boss in the centre.
This particular style has become a favourite and has been duplicated
indefinitely and is known as familiarly the world over. In this it
resembles the success of the willow pattern plate which, as a piece
of pseudo-Chinese design, won the admiration of the public in the
eighteenth century, and has been made by all the Staffordshire potters
almost as a stock pattern.
On the same page is a later Decanter Stand, about 1815 in date, having
a turned wooden bottom with silver boss in centre. It is vertically
fluted, and has a heavy moulded border of scroll design. It will be
seen how far this example has departed from the fine character of the
types which were being made in the great period prior to 1790. The love
for ornament ran riot. It was misplaced and heavy mouldings and solid
ornaments were added to articles that could not stand such meaningless
exuberances and carefully executed details which choked all natural
simplicity of line.
[Illustration: OLD SHEFFIELD PLATED COASTERS.
Lip decorated with scalloped floral design. Turned wooden bottom with
plated boss. Date 1820.
With moulded edge and broadly fluted. Turned wooden bottom with plated
boss. Date 1805.
Interior of above. Diameter 6⅛ in.
Interior of above. Diameter 6¾ in.
(_At the Sheffield Public Museum._)
(_Reproduced by permission of the Corporation of Sheffield._)]
[Illustration: OLD SHEFFIELD PLATED BUTTER DISH.
Oval, finely pierced, having chased lid surmounted by pineapple.
Twisted wire handles, on four claw and ball feet. Blue glass liner.
Date about 1785.
(_In the collection of B. B. Harrison, Esq._)]
[Illustration: OLD SILVER PLATED DISH RING.
Pierced ornament of floral design and scrolls. Date 1775. Made in
imitation of Irish silver Dish or Potato Rings.
(_In the collection of B. B. Harrison, Esq._)]
Restlessness of invention seized the Sheffield and other platers. Old
forms were discarded, not because they had outlived their usefulness,
but because fashion demanded or appeared to demand something new. The
decanter stand began to have its lip spread out more like a dish than
like the early form of coaster. Some were decorated lavishly with
scalloped floral design as in the example illustrated (p. 173), in
date 1820. An illustration of the vessel upturned shows the crowded
character of the design. The wooden turned base has the usual silver
stud or boss in centre. The adjacent example, fifteen years earlier,
shows a finely moulded edge broadly fluted. The character of this
example is not open to any criticism as to over lavishness of ornament.
It is true it exhibits a newer style, but it holds its own as a fine
and comparatively reticent piece of design.
=The Dish or Potato Ring.=--The Irish silversmiths were
particularly ingenious in their pierced work. Will Hughes at Dublin
about 1770 made some interesting pieces reflecting the sanest art.
There was always a dignity and grace in the decoration which was
strongly classical in its lines, embodying medallions and rosettes and
festoons of drapery. The Dish Ring or Potato Ring is a form peculiar
to Ireland. It was only made for a comparatively short period, and has
been revived again as a modern memory of old fashions, though its use
is not quite understood nowadays. These rings are stands upon which
bowls were placed to prevent the hot vessel from injuring the surface
of the mahogany table. They are also believed to have supported wooden
bowls containing potatoes. Genuine Irish examples are always circular.
Bowl and dish were synonymous terms in the late eighteenth and early
nineteenth centuries, hence probably the term "Dish Ring." They were
made as early as 1760. There is a marked example with the Dublin hall
mark for that year, together with the maker's mark, Robert Calderwood.
Large prices have been paid for examples of old Irish silver dish
rings. £129 was given for an example hall-marked 1757, and other prices
range from £50 to as high as £250; in view of their slight weight this
works out in some instances at two hundred and thirty shillings per oz.
Examples of Irish work are sometimes apparently simple, but having such
careful technique and skilful manipulation of the design as to give
the greatest opportunity for the effective play of light and shade and
silhouette. Another form more intricate embraced the use of birds and
flowers and miniature pastoral scenes embossed, while a more simple
form yet capable of fine character was that which confined itself to
basket work with round or flat wire interlaced.
[Illustration: DESIGNS OF INKSTANDS.
From Pattern Book of eighteenth-century Sheffield platers' work;
issued by J. Parsons & Co. about 1792. The left-hand examples with
perforated lid are pounce boxes. The lower stand is priced at 30s.,
the others at 21s. each cash, and the book is signed "Jno. Green,
escompte 30%."
(_At the Victoria and Albert Museum._)
(_Reproduced by permission of the Board of Education._)]
It is natural therefore that the Sheffield silver workers saw in the
Irish dish ring a design worthy of imitation; and imitate it they
did. In consequence a great number of plated replicas were exported
to Ireland. They have an interest, and the example illustrated (p.
175) shows the class of work the Sheffield craftsmen turned out in
emulation of their Irish silver prototypes. It is an ordinary pierced
design embellished with festoons. Some of the Sheffield examples were
finely pierced and chased in a manner no less perfect than the same
class of work one finds on the sugar pails, the mustard pots, and
the salt cellars of the best period. The Butter Dish illustrated (p.
175) fully exemplifies this type of work at its best. It is oval and
finely pierced with an unusual design giving in silhouette the effect
of diaper ornament. It is on four ball and claw feet, and the lid is
chased and is surmounted by a pineapple. The handles are twisted.
These vessels, like the others enumerated above with pierced work, are
furnished with blue glass liners, and these collectors are fortunate
who find bargains with the original glass liners.
=Inkstands and Taper Holders.=--The old Sheffield plated inkstand
is beloved by collectors. The oval tray was always an elegant piece of
work, either pierced with fine running design over an extended surface
as border top and bottom and often chased with medallions. The three
examples illustrated (p. 179) are from an eighteenth century Pattern
Book issued in 1792 by Messrs. J. Parsons & Co. of Sheffield. Written
in ink on the first page for information of continental buyers is "_Jn.
Green escompte 30%_." Green was one of the partners of the firm. This
little book in paper covers has no less than eighty-four copper plate
engravings, and for the delectation of the later collector the prices
are written in ink throughout. The prices of the examples illustrated
are "21s. Each" the two top ones, and "30s. Each" the lower example.
It will be seen that the latter has three pots. The pounce pot was
always a necessary portion to the old inkstand, being used as a
sifter in the days before blotting paper was invented. Fine sand was
dusted over the writing. It would appear that the pounce pot with its
perforated lid is on the left in all the three examples. The centre
pot in the lowest inkstand was additional, though not as one might at
first assume for a different coloured ink as the lid has not the same
cover as those for ink with a tiny hole in centre. It was apparently
a receptacle for some of the appurtenances of the writing table,
certainly not pens, for steel nibs were not then invented, and every
one wrote with a quill pen which he could sharpen with a penknife.
Nowadays the art of cutting a quill by hand is one of the lost arts.
[Illustration: DESIGNS OF OLD SHEFFIELD PLATED TAPER HOLDERS.
From Pattern Book issued by R. C. & Co. (Robert Cadman & Co.) about
1797 to Continental markets. The book contains 70 whole-page copper
plate illustrations, and some of the descriptions are in French as
well as English. The above Holders are priced at 17s., 24s., and 14s.
(_At the Victoria and Albert Museum._)
(_Reproduced by permission of the Board of Education._)]
An illustration from a Design Book issued by Robert Cadman and Co. of
Sheffield about 1797 gives three examples of Taper Holders (p. 183).
The nozzle at the top shows the tiny light from the coiled wax taper.
The apex of the stand really consists of a miniature candlestick. Two
of the stands, as will be seen, have the handles and thumb pieces at
the bottom. They are all of varying form; that on the left has a
canopy covering the coiled taper, that in the centre encloses the
taper in a wire cage, while the example on the left is the simplest
in construction and enables us to see how the taper as it burned was
thrust upwards to the aperture at the top. All three have extinguishers
attached by a chain. Some of the descriptions in the book from which
these designs are reproduced are in French as well as English, as it
was intended for use in the Continental markets.
VI
TEAPOTS
TEA AND
COFFEE SETS
TEA KETTLES
COFFEE POTS
SUGAR BASINS