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CHAPTER

CHATS ON OLD SHEFFIELD PLATE

ARTHUR HAYDEN

T. FISHER UNWIN LTD LONDON: ADELPHI TERRACE

TO MY FRIEND WALTER IDRIS, IN APPRECIATION OF KINDRED RECOGNITION

PREFACE

As to its artistry purists may cavil at its imitativeness. Although "imitation is the sincerest form of flattery" the contemporary silversmiths of London and elsewhere were far from flattered. They began to be alarmed at the growth of the manufacture, and protective Acts of Parliament were passed to safeguard the interests of silversmiths against competition by silver platers.

In regard to technique I have given sufficient details to enable collectors to identify their possessions and to take a further interest in details of craftsmanship.

In regard to information concerning the manufacture of plate by fusion at Dublin I am under an obligation to Dudley Westropp, Esq., of the National Museum, Dublin, for notes embodied herein relating to the importation of Sheffield plated ware into Ireland and its attempted manufacture there.

The Corporation of Sheffield have allowed me to have special photographs taken of examples exhibited in the Public Museum, Sheffield, and I am indebted to the Curator, E. Howarth, Esq., for his courtesy in enabling this to be carried out successfully.

I have had access by the kindness of collectors to several representative collections. I am especially indebted to B. B. Harrison, Esq., for enabling me to illustrate herein many fine examples from his choice collection.

In regard to marks on old Sheffield and other plated ware, in view of strictures on marks laid down by Acts of Parliament, I have come to the conclusion that marks on old Sheffield plated ware are somewhat negligible, as they lack the authoritative exactitude of those placed by law on silver plate. There were marks when the Sheffield makers simulated silver marks till they alarmed the silversmiths and were stopped by statute. Then came a hiatus. Then again they adopted trade marks plentifully found, but these marks are not always found on examples of the best period. So in adjudging old Sheffield plated ware, marks have a subsidiary place, and they are accorded a subsidiary place in this volume.

I submit this volume unhesitatingly to lovers of old Sheffield plated ware as a carefully considered exposition of what was produced for a hundred years, consisting of fine design, exquisite balance, and wonderful technique, till plating became a scientific process and electro-plating became of common usage. But this is modernity.

ARTHUR HAYDEN.

PAGE

PREFACE 7

INTRODUCTION 17

EARLY DAYS 43

CANDELABRA AND CANDLESTICKS 79

SALT CELLARS AND MUSTARD POTS 133

CAKE BASKETS, DECANTER STANDS , DISH OR POTATO RINGS, INKSTANDS AND TAPER HOLDERS 159

TEAPOTS, TEA AND COFFEE SETS, TEA KETTLES, COFFEE POTS, SUGAR BASINS 187

SOUP TUREENS, HOT WATER JUGS, THE SUPPER TABLE 217

CENTREPIECES 243

CLOSE PLATING 259

" MARKS ON OLD SHEFFIELD PLATE 285

INDEX 295

PAGE

Soup Tureen and Fruit Dish carved in Pear-wood 29

Wedgwood Dessert Basket and Dessert Centrepiece 33

Group of Silver Lustre Ware and Glass Candlesticks 37

Knives, with Medallion of Shakespeare 51

Wine Label, Buttons 51

Group of Patch Boxes 55

Candlestick, 1775, from Old Pattern Book 65

Candlestick, 1795, Old Pattern Book 69

Candlesticks, 1797, Old Pattern Book 75

Candlestick, 1785 83

Candelabrum, 1800 87

Candelabrum , 1820 91

Candelabrum , 1810 93

Candelabrum , 1790 97

Candelabra, 1790 101

Candelabrum , 1790 103

Candelabrum 107

Candelabrum, 1795; Candelabrum, 1790-1795 111

Candelabrum, Small, Candlestick, Lyre Design 113

Candelabrum , 1805; Candelabrum , 1810 117

Candelabrum , 1820 121

Table Candlesticks, 1765, 1770, 1795 127

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