=Teapots--Tea and coffee sets--Tea kettles--Coffee pots--Sugar basins.=
The eighteenth century of the days of Hogarth, with his _Gin Lane_ and
_Beer Street_ and with his satiric pencil reflecting the follies of his
day is filled to repletion with eating and drinking, especially the
latter. During the later years of George II there had been going on a
vigorous protest between two parties as to the relative effects of beer
drinking and gin drinking. In 1752 appeared a print of the "Funeral
Procession of Madame Geneva." A song was very popular in 1757 under
the title of the "Beer-Drinking Briton." One couplet will suffice to
indicate its character:
For your beef eating, beer-drinking Britons are souls
Who will shed their last blood for their country and king.
In 1758, owing to the scarcity of corn, a bill was passed for the
prohibition of the distillation of spirits. Porson wrote a series
of epigrams in the _Morning Chronicle_ about Pitt and Dundas going
drunk to the House of Commons on the evening when a message was to be
delivered from his Majesty relative to war with France. Pitt, who
tried to speak, found himself unable to do so, and was kindly pulled
down to his seat by his friends.
"Who's up?" enquired Burke of a friend at the door.
"Oh! no one," says Sherry, "though Pitt's on the floor."
Sheridan, the maker of the quip, and Porson, the Greek scholar,
together make up a fine quartet as exemplifying the Bacchanalian habits
of their day.
As to the vessels used in spirit drinking and in wine drinking
Sheffield contributed her share. The punch bowl more often than not
was of oriental porcelain, but the finely shaped monteiths, where the
scalloped rim allowed of a row of glasses being hung around were made
as early as 1700 by Anthony Nelme, by Fogelberg in 1701, and many
another great silversmith. They continued to the middle and latter
years of the century, and in Sheffield plate there are some very
excellent examples, and there are punch bowls with designs simulating
those in the Flaxman manner executed by the silversmith. Ice pails with
lion mask handles, and a glorious array of wine coolers, urns in the
classic style simple and reticent, or vases with richly godrooned rims
and massive handles, such as Roberts and Cadman made in 1815; all these
were found on the sideboard receiving the attention of the butler.
[Illustration: DESIGN OF TEAPOT.
From Pattern Book issued by eighteenth-century Sheffield platers to
Continental markets. The signature "Jno. Green, 1792," a partner of J.
Parsons & Co., indicates its origin. Teapots holding 1½ pints were
priced at 40s. each, and quarts 46s. each. The medallion enclosed by
wreath and ribbon applied ornament, was probably silver, to enable a
crest or monogram to be cut without exposing copper.
(_At the Victoria and Albert Museum._)
(_Reproduced by permission of the Board of Education._)]
[Illustration: OLD SHEFFIELD PLATED TEAPOT AND TEA CADDIES.
Teapot, with silver medallion and engraved initials. Date 1795.
Caddies finely chased and having locks.
(_In the collection of B. B. Harrison, Esq._)]
[Illustration: OLD SHEFFIELD PLATED CAKE BASKET.
Plain band-hinged handle. Pierced work at foot and shoulder. Shaped
and fluted body.
(_In the collection of B. B. Harrison, Esq._)]
But the teapot and the coffee pot did not go unrecognized by the
Sheffield artisans. What the silversmith did the platers did, and
followed the fashions in rapid simulation of styles just catching the
public taste. In determining date this must be borne in mind. At most
the silver plate was only a year ahead of the replica. Sheffield was
too alert to lag behind in fashion, especially in fashions which might
readily change.
In eighteenth century polemics we find opponents to tea and to coffee.
Jonas Hanway, the eastern traveller, who popularized the use of the
umbrella in England, was antagonistic to the use of tea as a national
beverage. And epigram writers were busy, as for instance:
If wine be a poison, so is tea--but in another shape,--
What matter whether we are kill'd by canister or grape.
The illustration (p. 191) shows the class of teapot made about
1790. The price, which is written in ink, is "1½ Pints 40s." and
"Quart, 46s. Each." These prices must seem delightful to the lover
and collector of old Sheffield plate nowadays who has to pay swinging
prices, especially when we read that the old trade prices were subject
to thirty per cent. discount. But it is the same with old Worcester
china, where the original prices were a tenth of what is paid now. An
interesting feature about this teapot illustrated is that it shows
the fusion of the classic design in the wreath and the Chippendale
manner in the ribbon ornament, which latter style finds its way into
bookplates of the period. The French school of engravers of the _Louis
Seize_ period embellished their oval portraits with ribbon ornament in
this character.
These medallions intended to receive the crest of the owner were of
silver. The Sheffield plater affixed them in position in a cunning
manner with no unskilful touch. They were capable of receiving deeply
cut engraving without exhibiting the copper underneath. They are a
feature present in many examples not only of teapots but many other
articles made in plated ware.
A similar teapot to the design in the Pattern Book is illustrated
(p. 193). The Pattern Book bears the name Jn. Green 1792, and as he
was a partner in J. Parsons & Co. there is some likelihood that this
is one of their productions. On the same page are two Tea Caddies,
oval in shape, with broken outline, in the same fashion as silver
tea caddies made about 1785, and having the characteristics of the
Sheraton delicacies in cabinet work. The lid of one is surmounted by
a round knob and the other by a hinged handle. They both have locks.
The chasing is in classical manner, not so severe as that of the Adam
period, but still retaining much of the formal grace of the festoons.
The cake basket shown on the same page is contemporary, though it
indicates a departure from classic feeling.
[Illustration: OLD SHEFFIELD PLATED TEAPOT, SUGAR BASIN, AND CREAM JUG.
Date 1810.]
[Illustration: OLD SHEFFIELD PLATED COFFEE POT, TEAPOT, SUGAR BASIN,
AND CREAM JUG ON TRAY.
Date 1820.
Four-piece sets were made after this.]
[Illustration: OLD SHEFFIELD PLATED SET.
Date 1825.
(_By courtesy of Walter H. Willson, Esq._)]
[Illustration: OLD SHEFFIELD PLATED SET WITH TRAY.
Date 1830.
(_By courtesy of Walter H. Willson, Esq._)]
The earliest tea caddies came from China and were decorated in
blue and white. Worcester produced fine examples, some in powder
blue. Whieldon made and dated others "Green Tea, 1765." Wedgwood had
his square canisters in black basalt ware. Liverpool printed dainty
transfer pictures on these dainty caskets. They are found enamelled by
Battersea in rich colours. They are found in pewter and they are found
in glass. Bristol produced white opaque bottles inscribed "Hyson" and
"Bohea," and there are square cut-glass caddies with silver mounts and
handles, and in Holland the old Delft examples came with the early days
of tea drinking. The cabinet-makers, Chippendale and Hepplewhite and
Sheraton, show tea caddies in their Design Books and they were splendid
pieces of work in mahogany and satinwood with ivory and coloured
marquetry. Many of the little caddy spoons of such pleasing variety
of shape were made to go with these tea caddies, and were produced at
Sheffield as well as in solid silver.
=Tea and Coffee Sets.=--It was not until about 1820 to 1825 that
tea sets were produced with teapot, cream jug, and sugar basin as
well as the coffee pot. The set illustrated (p. 197), about 1810 in
date, shows this omission. Later in 1820, as shown in the illustration
below, the coffee pot became part of the set; and in the illustration
of the sets it is clearly seen that the styles of the coffee pots are
in keeping with the rest of the set and have not been matched or added
later. The four-piece sets became a common feature after the first
quarter of the nineteenth century, and some of these are of pleasing
character. Two sets, 1825 and 1830 in date, are illustrated (p. 199).
With these were accompanying trays of solid manufacture and about
this date they were very heavy and richly ornamented by die work with
_appliqué_ shell patterns and foliage at the rims. They only emulated
the very solid silver of the late Georgian era when silver was sold
by weight by the dealers and so much added for "fashion," that is,
fashioning it. This latter item in massive pieces was a comparatively
insignificant sum compared with the total cost, which provoked the
eighteenth century epigram:
When Loveless married Lady Jenny,
Whose beauty was the ready penny;
"I chose her," said he, "like old plate,
Not for the fashion but the weight."
The tea urn offered fine opportunities for rich design and splendour
of ornament. It was in vogue in the opening years of the nineteenth
century and had a fairly long life. Nowadays it is relegated to the
lumber-room, or, if the hostess be a collector, it is dragged forth
from its obscurity to grace the display of family plate. The example
illustrated (p. 203) is on an octagonal stand with claw feet. It
belongs to the same period and has the same ornament at the base as
the candelabrum illustrated (p. 93) showing First Empire influence
derivative from Pompeii. The whole piece is richly decorated in
floriate style. Patrick Robertson of Edinburgh produced tea urns in
silver under the same influence.
[Illustration: OLD SHEFFIELD PLATED TEA URN WITH COVER.
Circular base, to which is attached an octagonal stand on claw feet.
Richly decorated rims in floriate style. Date 1810.
(_At the Sheffield Public Museum._)
(_Reproduced by permission of the Corporation of Sheffield._)]
=Tea Kettles.=--There is something especially fascinating about
these old vessels. As early as Queen Anne, tea kettles with a little
spirit lamp beneath were in use. One hall-marked for the year 1709 made
by N. Locke sold in 1909 for £243, being two hundred shillings per oz.
Paul Lamerie made some fine examples just when Thomas Boulsover was
launching his invention at Sheffield. It is not surprising to find the
Sheffield kettles appealing to connoisseurs because many of them are
possessed of beautiful ornament, and the die work is exceptionally
perfect. Even in late examples the artistic possibilities of so
graceful a vessel have not been missed. They are usually termed tea
kettles, and there is no doubt that since the days when Queen Anne
drank tea in the Orangery at Kensington Palace and Dr. Johnson graced
the tea table of Mrs. Thrale, these vessels were part of the tea
table equipment. But there is reason to suppose that they also bore a
brave part in preparing the hot water for toddy and for punch. But in
any case they hold a firm hold on the collector's esteem and regard,
whether he be as austere as Father Mathew, who tilted a lance at
spirituous cordials, spiced and unctuous, which, like ginger, were "hot
in the mouth," or whether he be as convivial as Father Prout, whose
Bacchanalian songs belong to the days of Bèranger.
The examples illustrated (p. 207) each have pleasing qualities to
attract attention. The upper one, in date about 1805, has a fine body.
Its cover is surmounted with a twisted flame ornament such as is found
in candelabra. The ornamental stand is rococo, almost reminiscent of
the period of _Louis Quinze_. But the whole effect, though ornate, is
very pleasing.
[Illustration: OLD SHEFFIELD PLATED TEA KETTLES.
With spirit lamp on stand, with floral scroll ornament. Oval body;
curved and looped handle; lid surmounted by conventional tongue of
flame. Date 1805.
(_By courtesy of Walter H. Willson, Esq._)
With spirit lamp on stand, with rococo ornament. Melon-shaped body;
hinged handle; dome-shaped lid, surmounted by bell flower. Date 1820.
(_In the collection of B. B. Harrison, Esq._)]
The lower example, in date 1820, the last year of the reign of George
III, has a melon-shaped body, and the handle is hinged. The base
exhibits rococo ornament in Chippendale manner, suggesting certain
designs in his _Director_ which were too ornate to be carried out. They
were only designs as suggestions rather than working drawings. But it
suggests, too, curiously enough, certain forms of the watch-stand then
fashionable. In fact, taken away from its present environment, it might
with a very little brazing be used as a support for a watch, that is,
if the lower superstructure be taken away.
=Coffee Pots.=--With so many varieties of coffee pot made by the
leading silversmiths Sheffield had no reason to be short of examples.
The coffee pot was always taller than the teapot, and it has retained
its form to this day, though the earliest teapot known in this country
was tall and might well be mistaken for a coffee pot; it is in date
1670 and was presented by George, Lord Berkeley, to the Honourable
East India Company. They were made in various parts of the country,
in London, at Chester, and the marks shown on a coffee pot made at
Newcastle-upon-Tyne, in date 1737, of quite the ordinary form in use
to-day, are given in the Appendix (p. 279).
[Illustration: OLD FRENCH SILVER-PLATED COFFEE POT.
Made in the Sheffield manner. Ovoid body; wooden handle; dragon spout.
Applied classic ornament, terminating in three legs on claw and ball
feet. For marks see p. 291. Date 1815-1820.
(_In the collection of B. B. Harrison, Esq._)]
The illustration (p. 211) shows an example of silver plated ware made
in the Sheffield manner by fusion and rolling which was made in France.
Its body is oviform. It has three legs, which terminate in claw feet.
At their juncture with the body there is an ornament of conventional
honeysuckle pattern produced by die work. The shoulder is decorated
by a band of classic ornament. The cover is surmounted by an acorn.
The spout is moulded in the form of a dragon's head, a form found in
a coffee pot made by Patrick Robertson of Edinburgh in 1769, and in
the Royal Scottish Museum, Edinburgh. The handle is wood. There is
no doubt about the character of this piece. It is un-English in its
design, though it undoubtedly duplicates the technique of Sheffield. It
bears the French mark of "10.M," illustrated in Appendix (p. 291), the
highest quality of plated ware, and has the additional stamp _Plaqué_
(plated) without which no plated articles could be sold in France. The
French law in regard to plated goods is severe. "The punch of each
maker _de doublé_ or _de plaqué_ has a particular form determined by
the Administrator of the Mint. The maker also indicates on his works
the numerals denoting the quantity of silver which they contain."
In regard to plating on copper or any other baser metal the worker
can employ silver in any proportion he may desire. But he is required
by law "to place upon each of his works his own punch determined by
the Mint (as stated in article above quoted). He shall also add to
the stamp numerals indicating the quantity of silver contained in his
work, on which also shall be impressed in full the word _doublé_." And
this is exactly what the French craftsmen have done as shown by the
illustrated marks given in Appendix (p. 291).
=The Sugar Basin.=--The earliest form of the sugar basin was that
with a glass liner and capable of receiving highly ornamental pierced
work. They were not always of the same height as is shown by the two
examples illustrated (p. 211). The oviform surface of the vessel lent
itself to broad bands of decoration and lozenge work in combination
with the pierced design. The handles were hinged. These sugar pails as
they are often called, although there is the cream pail with liner to
which it is more suitable to apply the term "pail," offer delightful
variety in treatment, and the number turned out by Sheffield indicate
that they were exceptionally popular at the date of their manufacture.
We find them about 1770 to about 1795. In their early form they were
classic basins decorated with medallions and festoons and having
elongated handles. S. and J. Crespell, the London makers, produced
examples in the Adam style. Some of the silversmiths' work is pierced
sheet silver, so that in regard to comparison with Sheffield there is
in appearance not much to choose.
[Illustration: OLD SHEFFIELD SUGAR BASKETS.
Circular on collette foot, with fine pierced work. Blue glass liners.
Threaded handle, date 1790. Beaded handle, date 1775.
(_In the collection of B. B. Harrison, Esq._)]
[Illustration: OLD SHEFFIELD PLATED SUGAR BASIN.
Circular form with two handles. The body divided into fourteen globular
sections by repoussé work. Marked D✳S (Dixon & Sons). Date 1825.
Height 4⅛ in. Base 3-7/16 in.
(_At the Sheffield Public Museum._)
(_Reproduced by permission of the Corporation of Sheffield._)]
These basins were a later luxury of a more effeminate age. In 1711,
according to the _Spectator_, in a "celebrated Coffee House near the
Temple" an elderly ill-dressed man "called for a Dish of Tea, but as
several Gentlemen of the Room wanted other things, the Boys of the
House did not think themselves at leisure to mind him.... At last one
of the Rascals presented him with some stale Tea in a broken Dish,
accompanied with a Plate of Brown Sugar." We are not concerned with
the rest of the story, how the old stranger found his son in the well
dressed _habitué_ of the House, and exclaimed "Hark you, sirrah, I'll
pay off your extravagant Bills once more, but will take Effectual care
for the Future that your Prodigality shall not spirit up a parcel of
Rascals to insult your Father." But we are interested in the "stale
Tea in a broken Dish," and the "Plate of Brown Sugar" excites our
curiosity inasmuch as it comes as a surprise to learn that other sugar
was then in use; possibly it was candied on strings as we remember it
in our boyhood at the table of an old-fashioned prelate and recluse.
But centrifugally whitened and crystallized sugar it cannot have been,
for that belongs to days within memory. A later example of sugar basin
with melon-shaped body is in date about 1825 and its bold handles
are finely ornamented. The rim and the foot have a pleasing contour
following the fourteen sections of the _repoussé_ body (illustrated, p.
213). It was made by Dixon and Sons, and the mark is a star with the
letters D and S on each side.
VII
SOUP TUREENS
HOT WATER JUGS
THE MARKS OF THE MAKERS
THE SUPPER TABLE