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Bateman, Ann- (Born 1748. Died 1813). Married Jonathan Bateman in 1769. After Jonathan Bateman’s death, she partnered with his brother Peter. Her son William later joined this partnership.

Bateman, Hester- (Born 1708 Died 1794) Married John Bateman (a chainmaker/goldsmith) in 1732. Her husband bequeathed to her all of his tools upon his death. In 1761, with those tools, she began what was to become one of the most respectable and popular silver making businesses of the time. Hester Bateman to this day is well known for her brite cut silver. Hester Bateman retired in 1790, leaving the family business in the capable hands of her two sons.

Bateman, Jonathan- (Born 1747 Died 1791). Son of Hester Bateman, brother of Peter Bateman, husband of Ann Bateman. Entered into partnership in his mother’s (Hester Bateman) silversmith business in 1769. Partnered with his brother Peter in 1790, at which time Hester retired. His son William later joined the family business. Upon his death, he bequeathed his tools to his wife Ann.

Bateman, Peter- (Born 1740 Died 1825). Son of Hester Bateman, and brother of Jonathan Bateman. Peter Bateman entered into partnership with Jonathan in 1790. In 1791, Jonathan died, and his wife Ann took his place in the partnership. This partnership was expanded in 1800 to include Ann’s son William. Ann left the business in 1805. Peter retired in 1825, leaving the business to William.

Bateman, William I- (Born 1774) Son of Jonathan and Ann Bateman. Grandson of Hester Bateman. Nephew of Peter Bateman. William began his role in the family business crafting fine silver in 1800. In 1815 Peter retired from the business and William’s son, William II, began an apprenticeship with William. Some time later (c.1840), William sold the family business to Ben Car, thus ending the line of Bateman family silver established by his grandmother approximately 79 years prior.

Bateman, William II- Son of William Bateman. Grandson of Jonathan Bateman. Great-grandson of Hester Bateman. Apprenticed to his father, William Bateman, in 1815. Little else is known.

Blanchard, Asa- Lexington, KY, USA. Worked between 1808-1838. One of the finest and most respected Kentucky silversmiths. He was well established and well liked, making pieces for the likes of Isaac Shelby (Kentucky’s first governor), Henry Clay (Kentucky Senator and Representative), and many other affluent and influential people.

Boulton, Matthew- Boulton was a major manufacturer in nearly all areas in the 18th century. In terms of silver, he is best known for his Sheffield-plate process. He produced large quantities of Sheffield silver, allowing the lower classes to purchase “silver” without the high price of sterling silver.

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de Lamerie, Paul- Netherlands/England. (Born 1688, Died 1751). Apprenticed to Peter Platel, goldsmith. Paul de Lamerie was a very skilled silversmith and engraver. de Lamerie worked through the silversmith ranks very rapidly, however he never became a Primary Warden, likely due to ill health. Even so, he was one of the greatest, if not the greatest silversmith of the 18th century.

Dolfinger, Jacob- Louisville, KY, USA. Worked from 1848-1861. German born gold- and silversmith.

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Garrard, Robert- (Born 1793. Died 1881) A fine silversmith. His firm was appointed as Goldsmiths and Jewelers to the King in 1830 and continued as such until at least the 1970s.

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Hennell, David I-(Born 1712 Died 1785) Son of Robert Hennell. Married Hannah Broomhead in 1736. The Hennell’s had 15 children, however, only five reached maturity. Of those children, two sons (John and Robert) worked in the family business as silversmiths. David Hennell was elected to the Livery in 1763. In 1773 he retired from the family business to become a Deputy Warden.

Hennell, David II- (Born 1767) Son of Robert Hennell I, grandson of David Hennell I. Worked in partnership with his father and brother (Samuel). Resigned from Livery in 1821.

Hennell, James Barclay- Son of Robert Hennell II. Worked in partnership with his brother, Robert Hennell III. This side of the Hennell family silversmith business ended upon his death in 1899.

Hennell, Robert I- (Born 1741. Died 1811) Son of David Hennell I. Apprenticed to his father. Partnered with his father and later with his sons (David II and Samuel).

Hennell, Robert II- Son of John Hennell, nephew of Robert Hennell I. May have worked with Robert Hennell I as an engraver, however he was not part of that branch of the Hennell family silversmith business. Retired in 1833, leaving the business to his son, Robert Hennell III.

Hennell, Robert III- (Born 1794. Died 1868) Son of Robert Hennell II. Left the business to his son, Robert Hennell IV.

Hennell, Robert IV- Son of Robert Hennell III. Continued his father and grandfather’s (Robert Hennell II) businness with his brother, James Barclay Hennell.

Hennell, Samuel- (Born 1778) Son of Robert Hennell I. Entered into partnership with his father and brother (David II) in 1802. His brother left the partnership later the same year. Samuel continued the business alone, and with a brief partnership with John Terry. His son Robert George had a separate business as a jeweller, possibly making some silver, though this is not certain.

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Kendrick, William- Louisville, KY, USA. Worked from 1824-1880. Jeweler and silversmith. Orphaned at age 13, began an apprenticeship with E.C. Beard, jeweler, until age 21. Partnered with James Innes Lemon for some time. Kendrick was well liked and well known for his honesty and integrity. He was regarded as one of the most admirable citizens and businessmen in Louisville at the time.

Kitts, John- Louisville, KY, USA. Worked between 1836-1874. Silversmith, goldsmith, watchmaker, and jeweler. Partnered with multiple people simultaneously. Prolific silversmith. John Kitts made many cups for fairs and racing trophies.

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Lemon, James Innes- Born in 1804 in Georgetown, KY. Worked from 1828-1869 in Louisville, KY, USA. Apprenticed under Asa Blanchard. Lemon partnered with William Kendrick for many years until forced into bankruptcy in 1841. The partnership was never reformed, but both men were able to establish their own businesses and repay all their creditors, with interest, even though legally they were not required to do so.

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Scofield, John- Also known as John Schofield. He was known for his elegant designs and impeccable craftsmanship. His work often seems restrained, likely due to the period. He possibly worked for the Royal Goldsmiths of that time and may have had commissions for Carlton House.

Smith, Benjamin II- (Born 1764) Son of Ralph Smith. Married Mary Adams in 1788. Married Mary Shiers in 1802. Worked with Matthew Boulton as well as Rundell and Bridge. He also partnered with one of his sons.

Storr, Paul- (Born 1771, Died 1844). Began an apprenticeship in 1785 with Andrew Fogelberg. Partnered with William Frisbee, and later worked for Rundell, Bridge, and Rundell. Storr was a skilled silversmith and crafted neo-Classical style pieces in the Regency period. He is known to have made pieces for the Duke of Portland.

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Aldridge, Frederick James  (F.J. Aldridge) - landscape and seascape painter who exhibited at the Royal Academy and Suffolk Street around 1896-1901. Very little is known about him except that he worked in Worthing, Sussex.

Allan, R. - sometimes signing as “V. Allan” -watercolourist of river landscapes and buildings. The subjects of his paintings were well painted and include the River Thames as well as Oxford and Cambridge Colleges.

Armfield, Edgar - painted mostly sporting scenes. He was possibly related to George Armfield.

Armfield, George - possibly George Smith-exhibited at the Royal Academy, the British Institute, and Suffolk Street between 1840-1875. He lived and worked in London and painted mainly sporting scenes and landscapes. His paintings of small dogs are similar to those of Landseer.

Ash, Thomas Morris - Birmingham landscape painter exhibiting between 1882-1892. He exhibited many places including the Royal Society of Artists, Birmingham; Royal Society of British Artists; and the Walker Art Gallery, Liverpool.

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Boydell,  Creswick - (fl. 1889-1894) landscape painter living in Liverpool. He exhibited at the Royal Academy and Suffolk Street. He was an associate of the Royal Cambrian Academy in Manchester.

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Caffyn,  Walter Wallor - (d.1898)  landscape painter who lived and worked in Surrey.

Cameron,  Duncan - (fl. 1871-1900) Scottish landscape painter. He lived in Stirling and later in Edinburgh. He exhibited at the Royal Academy and Suffolk Street.

Charles,  James - (b. 1851, d. 1906) portrait and landscape painter. He studied at Royal Academy schools as well as in Paris at the Academie Julian. He was one of the first plein-air painters in England. He was a member of the New English Art Club and exhibited in many places including the Royal Academy, Royal Society of British Artists, and the Manchester City Art Gallery.

Clare,  George - exhibited between 1860-1900 at the Royal Academy, the British Institute, and Suffolk Street. He painted mostly fruits and flowers and imitations of W.H. Hunt’s paintings.

Clare, Vincent - still-life painter of fruits and flowers. He was the brother of Oliver Clare and son of George Clare. He exhibited at the Royal Society of Artists, Birmingham; Walker Art Gallery, Liverpool; Royal Academy; and elsewhere between 1888-1897.

Cleminson, Robert - exhibited between 1865-1868. He painted sporting scenes with various subjects. He exhibited at the Royal Institute and Suffolk Street.

Clark, S.J. - painted horses, animals, and farmyard scenes. His style was similar to that of J.F. Herring Jnr. He did not exhibit in London.

Clark, Octavious Thomas - (O. T. Clark; born 1851, died 1921) painted oil landscapes and cottages. He was a prolific artist but did not exhibit. Larger canvases are signed with his full name while smaller canvases are signed with his monogram.

Cooper, Henry -  (fl. 1910-1935) painted highland scenes and rural landscapes. He mainly painted in oils, but occasionally in watercolours. He was a prolific artist, but did not appear to have exhibited.

Coppard, C. Law -  (fl. 1858-1880) painted mostly landscapes and cottage scenes. He exhibited at the Royal Academy, Suffolk Street, and the British Institute.

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de Breanski, Gustave  - exhibited 1880-1892. Lived in Berks, Kent, and London. Painted mainly coastal scenes and landscapes. He exhibited mainly at the Royal Society of British Artists and the Royal Academy.

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Fielder, Henry - lived and worked in Surrey. He was a landscape watercolour painter. He exhibited at the Royal Society of British Artists between 1880-1885.

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Gallon, Robert - landscape and coastal scene painter. He exhibited at the Royal Academy and the British Institute in London between the 1860s and 1920s. His style was similar to that of B.W. Leader.

 Green, Alfred H. - (A.H. Green) exhibited between 1844-1862. He painted rural scenes and subjects. He lived in Birmingham and exhibited at the British Institute and at Suffolk Street.

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Herring, John Frederick, Jnr - mainly painted copies and imitations of his father’s (John Frederick Herring) works.

Hider, Frank - oil and watercolour painter of coastal scenes as well as rural landscapes. His style was similar to that of S.Y. Johnson.

Holland, John - landscape painter who exhibited between 1880-1884. He mainly painted the Nottingham countryside and coastal scenes. He exhibited at the British Institute and Suffolk Street.

Horsley, Hopkins Hobday - lived and worked in London and Birmingham. He was a landscape painter. Horsley exhibited at the Royal Academy and the British Institution between 1832-1882.

Horton, Miss Etty - lived and worked in London and latter in Hawkhurst in Kent. She painted rural country scenes and exhibited at the Royal Society of Artists, Birmingham, Manchester City Art Gallery, Royal Academy, Royal Society of British Artists, Royal Institute of Painters in Water Colours and the Society of Women Artists between 1892-1905.

Hulk, Abraham , Jnr. – landscape painter. He lived and worked in London, and later in Surrey. He exhibited at the Walker Art Gallery, Liverpool; the Royal Academy; and the Royal Society of British Artists between 1881-1896.

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Jacobi, M.M. - little known painter who lived in Birmingham and exhibited one painting at the Royal Society of Artists, Birmingham.

Jamieson, F.E. - painted many highland scenes in oil, and many coastal scenes with a very different style in watercolors. He worked under many different names including W. Richards, Phil Hips, F.E. Mulready-Freezor, and H.B. Davis.

Johnson, Sidney Yates - landscape oil painter. His subjects were often coastal or highland scenes and cottages in rural settings. Paintings were usually signed or initialled and dated.

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Knight, G. J. - London based painter of landscapes. He exhibited in London during 1878.

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Langley, William - painted rural and coastal scenes from around Britain. The style is very similar to many other popular painters of his time. William Langley could be a pseudonym.

Laporte, George Henry - animal and sporting painter. He lived from 1799-1873. He was the son of John Laporte, and brother of Mary Ann Laporte, both painters themselves. He exhibited at the Royal Academy, the British Institute, and Suffolk Street.

Lara, Georgina - (fl. 1862-1871) exhibited at the British Institute and Suffolk Street. She was known for painting rural village and farmyard scenes, with small figures. Her works are similar to those by William Shayer.

Leader, Benjamin Williams - (1831-1923) born Benjamin Williams, but added the surname Leader to separate himself from the Williams family, to whom he was not related. He lived and worked in Worcester. He painted many landscapes and some coastal scenes. He was known to paint with a literal, true-to-nature style. He was an associate at the Royal Academy and exhibited broadly. He married Mary Eastlake and was the father of Benjamin Eastlake Leader.

Linnell, William - landscape painter of mostly rustic genre scenes. He exhibited between 1851-91 mostly at the Royal Academy.

Longstaffe, Edgar - landscape painter who, though very prolific, exhibited very little. Most of the works he exhibited were at the Royal Academy. He exhibited between 1884-1889.

Low, Charles - landscape and cattle painter. He exhibited between 1870-1905 at the Royal Academy, the Royal Society of British Artists, and Suffolk Street, among others.

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Maggs, John Charles - (b.1819 d. 1896) coaching painter from Bath. He never exhibited, but was well patronized by lovers of coaching. Queen Victoria was known to be a patron of his artwork. He was fond of painting coaches in snow and continued painting coaching scenes well into the railway era.

Maidment, Henry - painted between 1889-1914. He was known for painted rural landscapes. He also worked under the names R Fenson and A Wynne. His work is very collectible because of his talent and popular subjects.

Marshall, Roberto Angelo Kittermaster - (b. 1849) son and pupil of Charles Marshall. He was a landscape painter, exhibited at the Royal Academy; Walker Art Gallery, Liverpool; Manchester City Art Gallery; and various other places between 1880-1912.

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Oswald, C. W. - oil painter of landscapes and rural scenes. He lived and worked in Liverpool, exhibiting only once at the Walker Art Gallery, Liverpool.

Owen, Joel - oil painter who flourished between 1900-1920. He painted landscapes and rural scenes. He does not appear to have exhibited.

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Paul, Joseph - (1804-1887) was a Norwich landscape painter.

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Rideout, Philip H. - exhibited around the turn of the 20th century. His paintings were mainly small coaching scenes or sporting subjects. Most paintings were pairs, or sets of three to four.

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Sephton, George Harcourt - painted rustic landscapes, portraits, and figures. He lived in London and exhibited at various places including the Royal Academy, and Royal Society of British Artists between 1885-1923.

Sherrin, Daniel - (1868-1940) son of John Sherrin, painter of flowers and still lifes. Daniel Sherrin likely studied with his father. He often followed the styles of other painters including Benjamin W. Leader and Montague Dawson and painted a variety of subjects including landscapes and marine scenes. He also painted under the name L. Richards.

Stainforth, Martin F. - engraver and painter living in London and exhibiting at the Royal Academy between 1895-1931.

Spaulding,  C. B. - (G.B. Spaulding; fl. 1840-1849) sporting and animal painter. He lived in Reading, Brighton, and London and exhibited at the Royal Academy.

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Vickers, A. H. -  (1853-1907) landscape painter likely related to Alfred Vickers (1786-1868) and his son, Alfred Gomersal Vickers (1810-1837), both landscape painters themselves. He exhibited at the Royal Academy, the British Institute, and Suffolk Street.

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Walker, Charles J.  - (fl. 1864) exhibited at the RA. He lived in Liverpool.

Watson, William - Liverpool animal & landscape painter. He exhibited at the Royal Academy and Suffolk Street. He was a pupil of Landseer & Rosa Bonheur. His paintings are in the Walker Art Gallery Liverpool, The Mappin Art Gallery, Sheffield and The Sunderland Art Gallery.

Watts, Sidney - painted rural landscapes in oil and watercolour. He flourished in the 1900s. His style was similar to that of many other artists of the time, which could indicate that this is a pseudonym. The works were not dated, but often inscribed on the back with the location.

Wilkinson, Henry -  learned engraving from “Hammond of Winchester” gunmakers. He painted and engraved animal and sporting scenes, generally depicting one of his loves: well-bred dogs.

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Apple – One of the popular fruitwoods used in the solid country pieces in the eighteenth century, although it had some use as a veneer earlier. A light reddish-brown in color with some mild figuring. Fairly close-ground and hard.

Ash - A whitish-grey fairly hard wood used in country furniture in the eighteenth century and for drawer linings.

Beech - A light brown surface with a distinctive flecked grain. Much loved by woodworm and used largely for chairs from the seventeenth century onwards. In the late Georgian and Regency periods it was painted particularly in chair work. Early caned chairs of Restoration period were made from beech instead of walnut for economy and then ebonised.

Birch – A light yellowish-brown in color and fairly soft. Used in eighteenth century for chairs and country furniture.

Boxwood – A whitish-yellow color, without any figure. Used mainly as an inlay or for stringing lines from the sixteenth century.

Cedar – Reddish-brown, like a soft mahogany. Used for chests and interior work from the middle of the eighteenth century.

Cherry – Initially rather a pale wood but matures to a deeper reddish color. Used for country furniture and for inlay or crossbanding from seventeenth century.

Chestnut – Horse chestnut is light, almost white and mainly found as a drawer lining material. Sweet chestnut matures to a reddish-brown and is reasonably hard for a country wood. Used for legs and in chairs from the seventeenth century.

Coromandel – A yellow and black striped wood used mainly for crossbanding from the late eighteenth century onwards.

Deal – Plain, straight-grained Scots pine. Used mainly for carcases (of chests, etc.) and drawer linings of lesser quality pieces. From seventeenth century onwards.

Ebony - Black, used for inlays.

Elm – Brown, with distinctive blackish figuring when old and ingrained with dirt. Another favorite of woodworms, and sometimes warps. Used extensively for country furniture and chairs, including seats of Windsors. Cut into burr veneers of fairly small sheets with extremely pleasing effect.

Harewood - This is just sycamore which has been stained to a greyish-green color. Much used in later eighteenth century and Regency as a decorative veneer.

Holly - White, used for inlay and marquetry work from sixteenth century.

Kingwood – A brown and black striped wood like rosewood, particularly used for crossbanding on tables in late eighteenth Century. Was used previously in late seventeenth century also as a veneer.

Laburnum – cut as plain veneer, a yellow-brown with streaks of darker brown. Cut as an ‘oyster’ very dark rich blackish-brown. Used as veneer from late seventeenth century, particularly in parquetry.

Lignum vitae – Dark brown with black streaks. Very hard, used from seventeenth century as veneer and in solid.

Lime – Whitish-yellow; used by carvers.

Mahogany – Early mahogany, from 1720, was ‘Spanish’ or ’Cuban’ from Cuba, Jamaica, San Domingo and Puerto Rico. Very dark, heavy with figuring. Later, Honduras mahogany (originally called baywood) is lighter in color and with a Pinker tinge.

Maple – Light yellow; used as veneer and inlay. ‘Bird’s-eye’ maple used more in the nineteenth century.

Oak - Early oak – before mid-seventeenth century – used in solid, has become usually very dark or plain brown color. Later country oak furniture – of the eighteenth century - tends to be lighter and the distinctive ‘wormlike’ yellow rays are more visible. In fine furniture of late seventeenth and eighteenth centuries, oak was used for drawer linings in plain sawn form, and especially in inner drawers remains light in color. Also used in veneer form.

Olive – Dark, greenish with black streaking. Used in parquetry, as ‘oysters’ and in veneers, from late seventeenth century.

Padouk – Red, with blackish figure. Used in solid from mid-eighteenth century and particularly from early nineteenth for military chests.

Pear – Yellowish-brown. Used for country furniture and for carving.

Plum - Yellowish-red. Used for country pieces and as an inlay from the seventeenth century.

Rosewood - Usually reddish-brown with black streaks, but fades to a greyer color, still with dark streaks. Used from the sixteenth century but mostly found in Regency period in solid and veneer.

Satinwood - Yellow. Used particularly from the late eighteenth century in veneer and solid. Usually makes for price premium.

Sycamore - White with fleck. Used from the late seventeenth century as a veneer. Often found on sides or banding of marquetry furniture of the late seventeenth or early eighteenth century.

Tulipwood - Yellow-brown with reddish stripes. Used for crossbanding from the late eighteenth century.

Walnut - English walnut: golden brown with dark figuring. Much used in veneers from the sixteenth century but particularly 1660-1740. Also cut in burr and oyster form. Solid walnut used extensively in Tudor period. Black walnut: also grown in England from the late seventeenth century; usually called ”Virginian’ walnut and much darker. Used in solid and can be mistaken for mahogany at first glance.

Yew - Reddish-brown, very hard, with some burr effects. Polishes magnificently. Used from the sixteenth century; often found in chairs of country origin. Windsors and tables but also used on fine furniture in burr veneer form.

Zebra-wood – Brown with dark stripes. Used as a veneer from the late eighteenth century.

The tradition of drinking tea was brought to the British Isles in the 1600’s by King Charles and his Portuguese bride, Catherine de Braganza. The 18th century saw the birth of the industrial revolution and tea became a national drink for the British.

Tea was a precious commodity in that day, and to keep it fresh and safe, a box or caddy  (from the Malay word Kati,  meaning a pound) was used with a keyed lock to keep the house staff from helping themselves to the inventory. The lady of the house kept possession of the key at all times.

The earliest examples of the caddy that came to Europe were Chinese porcelain in the shape of a ginger jar. As the caddy evolved, some were very fancy, made of materials such as pewter, tortoise shell, brass, copper and silver, ebony, mother of pearl and crafted wood gadrooning with escutcheons of ivory and bone and were priced according to the materials used to fashion these boxes. They were of many different shapes and sizes such as rectangular, oval, concave, sarcophagus and most sat on bracket feet, ball feet or were simple based. The caddy was generally made with two and often three interior divisions with the center portion used to mix the teas or store sugar. The simpler boxes were generally made for the average citizens while the more exotic woods and precious embellishments were executed for the more well-to-do clientele. These special boxes were usually fashioned by skilled cabinetmakers during this time period.

Generally when shopping for a tea caddy one can expect to pay more for the unusual shapes, exotic woods and fancy inlays. English tea caddies are an interesting collectible piece because of their range of period, styles, shapes and different compositions.  They have evolved into great accessory pieces for the home and used in bookshelves, on coffee tables and mantles.

For over six centuries no article has been allowed to be sold in England as sterling unless it has been first tested at the “Hall” to determine that its quality is up to the required standard of nine hundred and twenty-five parts of a thousand pure silver. The remaining seventy-five parts of alloy were usually allowed to be copper which, together with the process of fashioning and aging, give silver a fine blue “patina.”

At the Hall, silver which passes the purity test is stamped with a number of identifying marks:

1. The Lion standing sideways with its front paw raised to show it is of the required quality.

2. The insignia of the town or city in which the test was made. (London, for example, is known by the mark of the Leopard’s head, Birmingham by an Anchor, and Sheffield by the Crown.)

3. A letter of the alphabet is used to illustrate a given year, thus representing the date. Since many cycles of alphabets can be written in different ways (A, a, A, etc.), many years can be covered.

In addition to the above marks, the silversmith may place his own identifying mark upon the silver, usually his initials. From the hallmarks the following may be quickly determined:

A. Purity of content.

B. Town of manufacture.

C. Date of manufacture.

D. Identification of the craftsman.

By virtue of the laws of the Guild, silversmiths were required to serve an apprenticeship of seven years to learn the craft. At the end of that period the apprentice became a full member of the Guild as a Master Silversmith. In this way, quality of metal and quality of craftsmanship were protected. At the end of the 17th century, when Protestants were being persecuted anew in France, the cream of French silversmiths (Huguenots), fled to England seeking the religious freedom they knew could be obtained there. Since many of those craftsmen were equal to England’s finest, their influence in design has lasted to the present day.

A New Era

The 18th century saw the birth of the industrial revolution and the introduction of tea as a national drink. These two factors provided wealth for the ordinary person to buy silver and also inspired the need to use it and to show off one’s worldly possessions by means of a display of silver. At that time, the crafting of silver was considered a major art form, and it must be remembered that the world was on a silver not gold standard.

Antique Sheffield Plate

Thomas Boulsover introduced Old Sheffield Plate around 1745. This method consisted of joining a thick ingot of silver to a thicker ingot of copper by fusion, after which the single ingot was rolled out into sheet form, from which articles of “imitation silver” were made. The quality of Sheffield was determined by the ratio of silver to copper and that was controlled by the silversmith in the beginning ingot stage. The success of this form of silverware was fantastic. Then, in 1784, tax was placed on Sterling Silver, causing Sheffield Platemakers to increase and multiply rapidly. By law, no marks may be placed on Sheffield Plate to resemble sterling marks, and one often finds the fine old pieces unmarked, sometimes only with a maker’s mark.

Old Sheffield Plate is a term familiar to those whose business includes buying and selling English silver and plated ware. The name covers silver plated goods made in Sheffield and Birmingham in the so-called “Sheffield Century.” That era ranged from about 1750 to about 1840, when the introduction of electroplating, with its economy and production advantages, superceded the original method of plating.

The exact date of the discovery that led to the production of Sheffield Plate is not known, but it was probably sometime between 1740 and 1750. Thomas Boulsover, a Sheffield silversmith, was working on the repair of a silver handled knife when he accidentally overheated it. As a result of his mistake, the silver became fused with a piece of copper which he was using. Intrigued by the result of his mistake, Boulsover tried fusing together a block of copper and a block of silver, rolling the two together into sheet form. He subsequently produced the first sheet of fused silver and copper…thus, the name “Sheffield” for its place of birth.

The steps involved in manufacture of Old Sheffield Plate were as follows:

A. The surfaces of an ingot of copper and a strip of fine silver were flattened by hammering.

B. The silver was bound to the copper by heavy steel wires. The two metals were then fused by a furnace at a high temperature.

C. The fused metals were rolled into sheets. At this point processes varied, depending upon the article to be manufactured.

SINGLE ROLLED PLATE: A silver strip was placed on one side of the copper ingot. When the item was made, the underside was covered with molten tin to conceal the copper. This explains the “black” appearance of the underside and inside of many old Sheffield pieces. Tin-backed pieces became known as “Poverty Back” items.

DOUBLE ROLLED PLATE: Silver strips were placed on both sides of the copper ingot in the initial process. Then the final product would show silver on both sides. Most Old Sheffield Plate pieces were shaped from a flat piece of metal by hand-hammering. Many flat pieces – tea trays, salvers, dishes – were stamped with hand-cut dies. Both methods were tremendous feats in their day and required an untold amount of knowledge and skill. Considering the great amount of hand labor required, today’s economy, combined with current labor rates, would cause Sheffield to cost more than sterling.

Old Sheffield pieces invariably had fancy mounts. They were filled with a metal composition and carefully soldered to the item. Handles and feet of trays, waiters and dishes were made in a similar manner.

The final process included hand-burnishing of all silver surfaces. This hardened the silver and gave it a bright finish.

ENGRAVING: At first, engraving was impossible. It would have exposed the copper. At the end of the century a method of “letting in” a silver shield was devised. A small shield was cut from the piece. Then a sterling silver shield was cut of exactly the same shape and size and substituted under heat. Great care was taken to ensure that the surface of the sterling silver shield and surface of the area into which it was fitted was clean and flat.

MARKS: Not all pieces of Old Sheffield Plate were marked, as marking was not required by law. For the most part, marked pieces were done by silversmiths who took pride in the merchandise they created. Such men included Thomas Law, Matthew Boulton, and the Creswicks, to name only a few. Where marks were used, it was still impossible to determine the exact date of manufacture because often only symbols were employed. However, experts can determine the approximate date of most items with reasonable accuracy by examining shape and decoration.

NOTE: It is interesting to note that the Sheffield process lasted slightly less than 100 years, from about 1745 to about 1840.

The discovery of electroplating by Dr. Smee in 1843 sounded the death knell for plating by fusion. Electroplating was faster and less expensive to use. With only slight alteration, the same method has been handed down from father to son in a long line of craftsmen. Briefly, the electroplating method is to fill a “vat” with a weak solution of acid containing certain salts, into which is placed an “anode” of pure silver. The article to be silvered is then suspended into the vat and a weak electric current is passed through the acid which attracts particles of silver from the anode and throws it onto the piece immersed alongside. Suspension time determines the quality and thickness of silver coating. At the desired time, the piece is removed from the vat. After a washing with water and acid, it receives its fine finish from the hands of a skilled craftsman who uses a fast spinning buffing machine.

Victorian Plated Ware

“Victorian Plated Ware,” as the term implies, is used in respect to plated articles made during the latter part of the Victorian period. Such articles are of high grade manufacture on various hard metals, such as Electroplate on Nickel Silver (E.P.N.S.), or white metal.

Most of these wares are fashioned from designs created in the earlier periods and subsequently developed according to the dictates of the decorative arts as well as consideration for utility. It may be further noted that Victorian Plated Ware fills the need for those who would have “nice things” yet less costly than old original antiques.

It should be observed that Old Sheffield or Victorian Plated Ware is often referred to in regard to the date as “C.1810” or “C.1880,” an abbreviation for the term “Circa (Ca)” – “around.”

Manufacturer’s emblems or trademarks on Victorian and modern plate should not be confused or associated with the often misquoted term of “Hall Marks.” The latter are found only on English antique or modern gold and silver wares.

It should be noted that most English Silversmiths over the centuries have concentrated on good quality and design instead of price. That is why one can find English silver and English silver plate scattered all over the world. Good quality is the reason it has lasted so long and will continue to be enjoyed by future generations.

These charming pieces of pottery were produced by the potters in Staffordshire, England, during Victorian times and were sold by traveling peddlers door-to-door, at county fairs, open markets and shops. They also set up stalls near theaters and other tourist attractions. While the rich and well-to-do sought Meissen and Chelsea objects for their homes, the less affluent working class wanted a range of fine, more affordable ornamental items. The Staffordshire potters saw this opportunity and offered a pottery that has become more collectible in recent years than they could ever have imagined.

These figures offer a wide range of subjects from which to choose. They include famous people of the day, the rustic charm of country living, children, especially the Royals, and both wild and domestic animals. Dogs were a very popular subject, the most popular being the King Charles spaniel. They were shown as family pet, partner in hunting and farming, friend and protector of children and as decorative figures on their own.

As well as decorative, the pieces often had additional uses. Some had a hollow tree or similar design to be used as a “spill vase,” somewhere to put splints of wood or thin paper rolls to be used for taking a light from the fireplace for a pipe, lamp or candle.  (See the photo below.) Other items were used as inkwells or banks.  Many of the cottages had delicately pierced windows and a hole in the rear and were used as incense burners.  For the man of the house, there were figures with a built-in watch holder; his pocket watch became a mantle clock in the evening.  These Staffordshire figures complement a beautiful piece of furniture or look lovely grouped in a cabinet or bookcase display.

Example of a Staffordshire Spill Vase

This 5-¾” high Spill Vase colorfully captures a young girl enjoying the outdoors in the company of her dog and lamb.

Paul Storr Hallmark

Revered to be one of the greatest silversmiths of his time, Paul Storr (1771-1844) created beautiful silver works of art that many collectors seek to purchase for their own.

Storr continued in his father’s (Thomas, a chaser) footsteps by apprenticing at the age of 14 in 1785 for 7 years with Paul Fogelberg, a Swede living in London.  Once mastering his skill, Storr partnered with William Frisbee for one year until he decided to venture out on his own and registered his own marks, P.S., with the Assay Office in 1793. During this time period Storr’s pieces took on a very plain Neoclassical style.

Later in 1800, The Royal Goldsmiths to Kings George III and George IV, Rundell and Bridge,

Paul Storr Entree Dish – Wakefield-Scearce Collection

asked Storr to sell most of his creations through their shop.  It is here that the featured entrée dish was most likely purchased by the Duke of Cambridge, Prince Adolphus (1774-1850) the tenth child and seventh son of King George III and Queen Charlotte.  This is revealed by the coat of arms engraved on the lid of the dish.  This entrée dish is a superb example of Storr’s migrating style from very simple neoclassical works that he began in 1793 to the heavy grand Regency period (1811-1820) styles once he associated with the Royal Goldsmiths.

Storr continued his association with Rundell and Bridge and in 1811 he became a partner with the firm and he continued his association for another 8 years.

Storr then decided to go out on his own again as his style was again changing, this time to more a Rococo influence.  Evidently freelancing was not Storr’s ideal situation and he then began a partnership with Mortimer until he retired in 1838.

To this day, Storr’s pieces are highly prized in many collectors collections and they continue to increase in value.

These dishes were used to serve Welsh rabbit in the 18^th century.  Welsh rabbit was a tavern dish usually made with crisp toasted buttered wheat breads that were so important to the English cuisine topped with melted cheddar-type cheeses.  The dish was served with wine, ale or beer, mustard, salt or pepper.

Today’s Americanize version, a toasted cheese sandwich, is served with eggs and milk, not the wines and ales of England.