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
[Illustration: 1779]
[Illustration: 1798]
[Illustration: 1826]
EXETER
[Illustration: 1748]
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
[Illustration: 1775 Maker, Richard Richardson.]
[Illustration: 1800]
NEWCASTLE-UPON-TYNE
[Illustration: 1737]
YORK
[Illustration: 1800]
SHEFFIELD
[Illustration: 1778]
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
[Illustration: 1804]
EDINBURGH
[Illustration: 1769 Maker, Patrick Robertson.]
GLASGOW
[Illustration: 1824]
DUBLIN
[Illustration: c. 1770 Maker, Will Haynes.]
CORK
[Illustration: c. 1764 Maker, Jonathan Buck.]
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.
[Illustration: MARK OF ROBERTS, CADMAN & CO., SHEFFIELD (1784).
The firm became Roberts, Smith & Co., then Smith, Sissons & Co., and
is now Messrs. W. & G. Sissons, who still use the mark.
(See illustrations from R. C. & Co.'s Pattern Books, pp. 75, 183.)]
[Illustration: MARKS OF ROBERTS, CADMAN & CO.
Found on Candlesticks with silver edges.
In 1824 Roberts of Sheffield took out a patent for a new method of
applying silver edges to snuffer trays, cream jugs, sauce boats, &c.
These are found stamped SILVER:EDGD.]
[Illustration: MARK OF THOMAS & JAMES CRESWICK, SHEFFIELD
(1811).
MARKS ON FOREIGN SILVER PLATE ASSAYED AT SHEFFIELD. (1904.)
(1906.)]
[Illustration: JOHN PARSONS & CO. USED THE MARK OF THE CROSSED KEYS
FROM 1784.
(See Illustrations from Pattern Books, pp. 141, 145, 151, 179, 191.)
The Mark as above is that of H. Wilkinson & Co., their successors.]
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.
[Illustration: MARK OF MATTHEW BOULTON, SOHO PLATE WORKS,
BIRMINGHAM.]
[Illustration: SHAM MARKS STAMPED ON SHEFFIELD PLATED WARE TO
SIMULATE THE HALL MARKS ON SILVER PLATE.
(Found on late Eighteenth-Century Hot Water Jug.)]
[Illustration: IMITATION MARKS STAMPED ON SHEFFIELD PLATED WARE TO
SIMULATE HALL MARKS ON SILVER PLATE.
(Found on Salt Cellars in date about 1815.)]
[Illustration: MARKS ON FRENCH SILVER PLATED WARE, _PLAQUÉ_ OR
_DOUBLÉ_, CLEARLY SHOWING THAT IT IS PLATED, AND NOT SILVER PLATE.
The upper mark (_Plaqué_) is on a Tureen about 1816.
The lower mark (_Doublé_) is on the Coffee Pot illustrated (p. 211).]
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