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| Acanthus | Classical
ornament in the form of stylized leaf decoration based on the
scalloped leaves of the acanthus plant.
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| Originally
the fineness of gold or silver was determined "à la loi" - according
to the law. Later this term was applied to the mixing of base metals
such as copper to gold or silver to harden or colour it. An amalgam formed of two or more metals. |
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the use of logs as fuel was replaced by coal. |
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| Process
for restoring the malleability of silver or other metals which have been
made brittle by hammering; the metal is heated until red hot then plunged
into cold water. This re-arranges the molecular structure of the metal.
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| From
the Greek word for flower; bands of stylized lotus and palmette motifs
derived from classical architecture.
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| Decorative
framework between the supports of a kettle stand, basket, épergne
or centrepiece. Often cast, pierced and chased.
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| Surface
decoration of scrolling, and intertwining foliage, tendrils and scrolls.
Thought to be of Moorish influence, it became popular in northern Europe
in the middle of the 16thC reaching England in the second half
of the century and becoming popular in the decorative arts.
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| Argyll | A
vessel resembling a small coffee pot designed for keeping gravy warm whilst
on the table. An inner chamber is filled with hot water thus keeping the
surrounding gravy warm. First recorded c.1760, it was possibly first
made for the 4th Duke of Argyll. |
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The
representation of a full coat of arms including the motto (if any), the
shield of arms, the helmet and crest engraved on a piece of silver.
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The
portion of silver scraped from an unfinished piece by the assayer, sometimes
visible as a series of long gouges on the backs of trays and waiters.
Usually these marks are removed by the maker during finishing when it
has been returned from hallmarking.
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Early
17thC Dutch style characterized by lobe-shaped or cartilaginous
forms; developed by Paul and Adam van Vianen of Utrecht. Found in
English silver during the second quarter of the 17thC.
Also known as the lobate style.
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| Small
vertical moulding of undulating profile and usually of circular section,
commonly used for candlesticks and finials and stems of cups, etc.
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A
moulded applied border formed of pairs of shallow curves meeting at a
point intersected by short straight sections. Used for waiters
and salvers.
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A
decorative border ornament composed of adjacent half rounds. Used on trays,
waiters and salvers particularly during the neo-classical period and later.
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| Billet | A
simple box-like moulding of alternating relief bars, usually achieved
by stamping and much used on mid-16thC plate. Also the thumbpiece on a flagon or tankard. |
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baluster - like curved form but of square or rectangular
section rather than circular.
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See: Embossing |
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A
technique of engraving much used in the later part of the 18thC. The effect
is achieved by the back of the graver burnishing the cut as the front
part of the tool picks out the metal giving a distinctivly crisp appearance.
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A
silver alloy composed of 95.84% silver and 4.16%
other metals, also expressed as 11 ounces 10 dwt (pennyweight) of pure
silver to 8 dwt per pound Troy. It was introduced to prevent the use of the sterling coinage for plate-working. It was the enforced standard in English silver from 1697 -1719 and optional thereafter. The new standard was marked with a figure of Britannia and a lions head erased, this practice continuing until 1975 when the leopard's head replaced the lions' head erased in association with the Britannia figure. |
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The
means by which the princes, nobility and ecclesiastics of the Middle Ages
and the 16thC displayed their wealth . Plate and precious
vessels were displayed in rows in the dining halls.
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| Spheroid
form popular for teapots during the
second quarter of the 18thC, with flush cover and tapering
sides.
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The
technique whereby gold or silver is brought to a high finish by rubbing
the surface with a hard smooth object such as agate or other hardstone,
a dog's tooth (presumably removed from the dog) or very high grade steel.
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Of
Greek vase shape, waisted like a bell. A term used to describe the
neo-classical vases of the Regency period.
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A
measure of the purity of gold. Pure gold is 24 carats, alloyed with
50% of other metals it becomes 12 carats. Until the hallmarking
act of 1798 all gold had to be 22 carat, although marked with the same
marks as sterling silver. Legal standards of purity are now 9 ct, 14ct, 18ct, and 22ct. |
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Originally
a scroll of paper (as in the surrounds for the names of the Pharoahs of
Egypt), it was developed as a decorative shield, normally engraved,
embossed or cast, and
generally containing a coat of arms or an inscription.
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A
box or container of variable form but with a pierced
cover, for sprinkling sugar, salt or ground
spices. More
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A
process for making metal objects whereby molten metal is poured into a
mould. Stronger but more extravagant with metal than raising, it is used in plate for items like feet, stems, spouts, and finials. |
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| Caudle Cup |
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| William
Elliot was the first to reproduce the so-called "Cellini" ewer in the
1820's, a vase shaped piece richly decorated with masks, foliage, strapwork,
medallions and scrolls in what was considered to be at the time the Renaissance
style. The design continued to be made in silver
and later in electro-plate throughout the
19thC.
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A
small portable candlestick
on a plate-shaped base with a scroll or ring handle; often equipped with
a snuffer or extinguishers. Found in the late 16thC and
into the 19thC.
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A
form of enamelling in which the ground is recessed to receive the enamel.
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A
large, shallow plate or dish used for serving meat. Sometimes used
for decorative purposes.
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The
tooling or surface working of metal to create a relief pattern. Different
punches of various sizes and shapes are used to push the metal into different
patterns. Unlike engraving or carving,
this does not entail the removal of any metal.
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An
escapist Western style loosely based on Chinese art and motifs usually
applied to European forms. The style was popular in silver during
thelate 17thC and mid 18thC with a further revival
c.1820.
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A
moulded border of alternating long convex and short concave curves, much
used for salvers and waiters
from c.1730 in imitation of the wood-carving patterns popularised by the
furniture-maker Thomas Chippendale.
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A
form of enamelling in which narrow strips of metal wire are soldered on
to the base to form compartments into which the enamel is poured.
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A
method of applying a layer of silver foil to tinned steel by heat fusion
and burnishing. Originally a cutlers device
for plating knives, scissors, spurs and the like.
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A
small tray for circulating bottles or food around the dining table, especially
a circular decanter stand with silver sides and a turned wooden base.
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| The
vessel which took the place of the chalice in Anglican communion services
after the Reformation, generally with a beaker-shaped bowl, knopped stem
and circular foot.
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Old
name for a childs rattle, usually incorporating a whistle, the coral terminal
being an aid to teething.
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Heraldic
device or badge surmounting a coat of arms. Originally worn on a knight's
helmet, it was used on silverwares as an indication of ownership without
the expense of having a full coat of arms engraved.
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An
edging ornament standing proud of a horizontal surface, fashionable on
medieval and early Renaissance silver.
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Small
bottles, usually with a stopper, used for oil and vinegar in domestic
settings and for wine and water in the eucharist; usually of glass, with
silver stopper from the 18thC. More
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| Silver
stand, fitted for cruet bottles, often designed in the 18thC
for several bottles or two bottles and three casters.
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An
assaying or refining process whereby the components
of an alloy oxidised at high temperature are separated
by absorbtion into the walls of a "cupel", a shallow porous vessel.
The term "cupel" also refers to the bottom or receptacle of a silver refining furnace. |
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Silver
sheet of thin guage cut into silhouettes, usually of foliage or scrollwork
design, soldered on to bowls, cups, tankards, inkwells and other silver
to produce ornament in relief. Especially popular during the last
half of the 17thC.
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Any
implement with a cutting edge, including knives, scissors, penknives,
razors but excluding fish knives and servers and butter knives which are
classed as flatware.
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The
letter of the alphabet used by assay offices to indicate the year of assay
and changed annually. The months the letters changed were different
for each office until 1975 when the remaining assay offices all started
on the 1st January with the letter "A". More
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Ornament,
often done by chasing, producing a trellised or
latticed design of diamonds, squares, and similar formal shapes.
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A
mark of the Sovereign's Head in profile struck on all silver from 1st
December 1784 to 1st May 1890 to indicate that duty had duly been paid
at the time of assay. More
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see:
Pennyweight
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An
edge moulding, usually stamped in sections, of ovoid shapes alternating
with vertical arrow-like bars. Said to have been derived from shields
and spears. Chiefly used during the 16thC and early 17thC
it was revived during the 19thC by the vogue for gothicism.
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The
process of coating a base metal (generally nickel) with pure silver through
the process of electrolysis. The laws of electrolytic deposition had been formulated by Faraday as early as 1833 and the process was patented by the Elkington company of Birmingham c.1840. Experiments to gild silver using Volta's battery resulted in the "Galvanic Goblet" made by Paul Storr in 1814 which is now in the Royal Collection. More |
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extension of the Electroplating process
that deposits a layer of metal on casts taken from originals. This
process allowed the accurate reproduction of intricate and complex designs
such as shields, plaques, sculptures and carvings. The process was
patented by the Elkington company c.1840. |
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Decoration
worked from the back of the piece to bring up bosses and other relief
shapes. Usually further definition of the embossed area is needed
and this is done from the front with repoussé
work.
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Surface
decoration of metal made by cutting fine V-shaped grooves with a sharp
tool. Most commonly used in heraldic decoration, the technique can produce
a delicacy of line akin to drawing.
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| The
English term, of uncertain origin, for a table centrepiece, usually of
silver, composed of branches, baskets, bowls, dishes and candle branches.
Popular during the last half of the 18thC. |
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Form
of surface decoration in which a pattern is eaten into the surface of
the metal by acid. Used during the second half of the 19thC
to produce engraved designs at less cost.
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A
slightly curved repeating pattern of cuts using the same technique
as Bright-cut engraving. First used from about
1700, it was chiefly used as a border decoration on flatware
and cutlery but was also used on wine labels and
small boxes.
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A
garland or drapery motif arranged in pendulant curves and often with a
knot or ribbon at either end.
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Work
composed of fine wires, coiled and assembled into open panels. Probably
originating in the Orient, it became popular in Holland during the 17thC.
Most English filigree-work of that time is probably the work of immigrant
craftsmen. Several filigree workers have been recorded working in Birmingham during the early 19thC making caddy-spoons, boxes and other smallwares. |
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Ornament
placed at the top of a cover or corner of a pediment.
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The
tanned and treated skin of the shark or ray, which has spiny scales which
are rubbed down to produce a roughened surface. Usually dyed black, it
was used during the 17thC and 18thC for canteens
and knife cases. Sometimes incorrectly known as shagreen.
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A
tall covered pouring vessel with a handle, usually with a cylindrical
or pear-shaped form.
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A
technique for the surface decoration of metal, resembling engraving
but produced with a hammer and punch which does not involve the removal
of any metal.
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The
proper term for all flat tableware - spoons, forks, slices, scoops, casters
etc. - that does not have a cutting edge but is used for scooping or parting
food. More
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An
acid treatment giving a slightly roughened surface. Popular during the
19thC.
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A
lobed border of stamped or convex curves, either vertical or slanting
to left or right. A popular kind of border from the late 17thC
onwards.
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An
old term for a set of dishes or plates (usually pewter) and of services
made en suite.
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The
process of coating silver with a thin layer of gold. Until the introduction
of electrolytic gilding in the 1860's the effect was achieved by applying
an amalgum of gold and mercury to a piece and then driving off the mercury
with heat. This was an extremely dangerous process which
accounted
for the very high prices charged by gilders and the scarcity of craftsmen
prepared to carry out the work. The process is now illegal and all modern
gilding is achieved by a process similar to that of electrolytic silver
plating .
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A
term applied without distinction to craftsmen in gold and silver, and
in modern times perpetuated by the Worshipful Company of Goldsmiths in
the City of London, originally the trade guild of the craftsmen.
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Fantastic
human or animal forms used as decoration, engraved, chased or modelled.
Often associated with intertwining scrollwork, flowers and foliage to
produce bizarre or extravagant motifs.
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A
running spiral ornament composed of two or more ribbons or bands twisted
one over the next, sometimes enclosing small rosettes or wheel-like motifs.
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The
official mark struck on a piece of silver or gold by an assay office or
guild as a guarantee of it's standard of purity. So named from its
original use at Goldsmiths' Hall in London.
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Medieval
term for a drinking cup or bowl, the term has also been used by some writers
for standing cups. The term derives through middle English from
the Anglo Saxon "hnaepp".
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A
plain flatware pattern with the terminals turning
upwards toward the bowl (as opposed to Old English in which the end curves
downwards). Made from c.1710 to c.1775, the pattern was often engraved
with crests, armorials or initials on the end, the spoons and forks being
laid with the prongs or bowls downwards on the table. |
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A
type of ewer reminiscent of an inverted Roman helmet, with an ovoid body
on a low stem; particularly favoured by Huguenot
silversmiths.
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To
drink together. The term is found in 18thC inventories
to describe pairs of small waiters which presumably were used to hand
glasses of drink.
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A
generic term for any vessel produced by raising, casting,
stamping or spinning. It includes any form of pot or other vessel,
casters and even candlesticks and waiters.
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The revocation caused a flood of exiles to the British Isles, the Low countries, the Baltic States and Russia. Many goldmiths of French extraction were allowed to settle in England and the best known Huguenot families include: Willaume, Harache, Tanqueray, de Lamerie (de la Merie) Courtauld and Platel. Their high standards of workmanship and design had a marked effect on the craft in the 17thC and 18thC. Huguenot craftsmen brought many of their traditions with them, one of which was the use of fleurs-de-lys and pellets in their maker's mark. |
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A
decorative motif especially popular during the neo-classical period consisting
of repeating bell shapes based on a wheat husk.
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A
mark simply stamped or hammered in below the surface of the metal. Since
such punches were cut proud of the die, they were easily damaged and although
they were used by outworkers to mark small pieces, their use in the duty
marks of 1784 - 1786 was soon superceeded by a punch which gave a
cameo impression and both the punch and the piece being struck were less
liable to damage.
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Type
of double wine bottle or decanter stand in the form of a shallow boat
used by the Royal Navy. Often of leather, they were fashionable
during the Napoleonic wars.
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A
type of tea urn with a lamp or heating iron and a spigot or tap.
A term used by Matthew Boulton in his catalogues to describe his plated
urns.
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A
small spice dredger or caster, usually with a handle.
Also known as a pepper box.
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A
small boss or knob protruding from the stem of a cup or candlestick, or
the finial on a cup, pot or spoon.
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simple ridged ornament, sometimes imitating ropework, used on less expensive
wares instead of using applied wires and mounts.
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| An
upright box with a sloped lid fitted with slots to accommodate knives,
and sometimes spoons or forks. Usually of wood, marquetry, shagreen
or japanned ware sometimes with silver fittings.
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| An
art-historical term for a two handled vase of classical form. Also known
as a crater.
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| A
deeply scalloped fringe-like ornament common in late 17thC
French decorative arts introduced to England by Daniel Marot.
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| A
yellow, copper based alloy similar to brass.
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| The
mark officially registered at an assay office pertaining to a maker, firm
or sponsor. More
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| Decorative
motif of a human, bird or animal head, often grotesque.
Popular as applied decoration and for side handles with ring ends on punch
bowls and the like.
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| A
form of electroplating developed by J. Prime
of Birmingham in 1844 using a magnetic machine to deposit gold, silver
and copper.
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A
series of punch marks applied evenly and close together to form an overall
matt textured pattern. Often used to contrast highly polished areas.
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A
flat or almost flat plate fitting into a large oval dish and pierced for
the purpose of straining off excess water from fish, common in the mid
to late 18thC and often decorated with elaborate engraving.
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A
long stirring rod inserted through the aperature on the top of a chocolate
pot to whisk the chocolate into a frothy beverage. Projecting flanges,
usually pierced, make the lower part resemble a battle mace.
Very few molinets survive. |
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A
cooler for wine glasses, resembling a punch bowl but with a notched rim
to suspend the glasses by their feet cooling in iced water. First found
c.1680 and fashionable for about 40 years. More
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linear decoration, popular during the mid 16thC and composed
of scrolling stylized foliage. Derived from Near Eastern art and
similar to the Arabesque but less tightly arranged.
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A
small plain caster, found during the late 17thC
and early 18thC in silver and brass and often with a scroll
handle to the side.
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An
heraldic term for a five pointed star.
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A
black compound of copper, silver and lead or sulphur, lead and mercury
used to fill engraved detail. Mainly used in Continental silver
for enhancing scrollwork designs.
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The
socket with a flange, usually removeable, to hold the candle in the 'stick
and to help prevent grease from running down the stem.
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An
architectural moulding consisting of a double curve, convex above and
concave below.
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An
oval convex moulding placed vertically. Popular in 16thC
stamped work. |
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Silver
which is gilded in selected areas. see: gilding
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Circular
ornament in low relief based on the classical libation dish, much used
in 18thC neo-classical silver where it was also adapted to
oval outlines. Often enriched with fluting,
foliage, etc.
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The
softened lustre of polished silver naturally resulting from usage, caused
by oxidation of the surface by way of minute scratches.
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A
measure of Troy weight, the twentieth part of an ounce
troy, equivalent to 24 grains. Usually abbreviated
- dwt.
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An
alloy consisting principally of tin and lead or bismuth.
The Pewterer's Company required that an alloy of not less than 94% tin
and 6% of other metals be used for the finest quality English pewter.
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Cut
decoration. Until c.1760 it was done with very sharp chisels and
was often enhanced with engraving. Examination
of the cut edges shows how the metal has been slightly turned in as the
chisel presses into the metal. Saw piercing (similar to fretwork) generally superceeded chisel-piercing in the latter part of the 18thC and the method is revealed by the tiny vertical teeth marks in the cut. Shortly afterwards a mechanical development of chisel piercing, the fly press, was introduced and used on factory made goods. Simple dot punching for casters and the like was done with a round cutter or a bow-drill. |
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first stage in finishing the surface of plate before polishing, the removal
of hammer marks which occur during raising is achieved
with the use of a special flat-headed hammer.
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Generic
term for wrought silver and gold, derived from the Spanish word "plata"
meaning silver. Not to be confused with Sheffield
Plate
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A
small shallow circular vessel with one or two flat handles, in silver
or pewter, found in pewter from the mid 16thC. Also a
deeper vessel, often covered, with two scroll handles, occurring mainly
in silver, but sometimes in base metal and pottery from the mid to late
17 |
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An
overall punched decoration, similar to matting
but usually rather coarser, used from the early 17thC onwards.
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A
description of the dotted style used for simple initials, dates and inscriptions
in the 16thC and 17thC. Chiefly found on spoons,
small cups, dishes and other pieces intended for presentation at Christenings
and weddings; presumably carried out by shopkeepers who were not trained
engravers.
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The
spike on which a candle was stuck before the introduction of the socket-type
candleholder. Very rare in silver apart from the very large ecclesiastical
candlesticks.
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A
rare form of chased ornament, resembling waves, used on tureens, candlesticks,
etc., from c.1750 to c.1760.
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The
method of making hollow ware by hammering and
forming a sheet of silver over a raising stake.
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A
moulding consisting of two or more parallel half-flutes. Sometimes
combined with a ribbon-like motif traversing the reeded bands to form
borders such as reed-and-tie and reed-and-ribbon.
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Not
properly applicable to English silver, though the style was brought to
England in the early years of the 18thC. Régence
is a French decorative influence that made use of surface enrichment with
diaperwork, scalework, flowerheads, scrolls and
masks formally arranged; often interpreted by flat
chasing or repoussé chasing in low
relief.
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A
loose description of the taste of grandiose and usually gilded silver
made from c.1790 to c.1820 - the period of the Prince Regent's influential
patronage to the London silver trade, and especially
Rundell,
Bridge and Rundell. The actual Regency lasted from 1811 to 1820 when George
IV succeeded.
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The
process of embossing metal from the back by hammering
domed punches into simple shapes, then giving definition and detail from
the front by chasing.
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Probably
derived from the French "rocaille" (pebble work) and certainly French
in inspiration, probably due to the influence of Huguenot
craftsmen. The rococo style consisted of motifs of shells, seaweed,
corals, mermaids, shellfish and other marine themes in asymmetrical display
combined with scrolls and double curves. It was in fashion between c.1730
and c.1760. Much of the finest rococo silver was cast and richly
chased.
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| Salver |
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The
socket for a candle at the top of a candlestick, often with a detatchable
nozzle inside it. Also a branched candlestick with an oval or elongated,
polished or mirrored, back-plate fixed to a wall.
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Originally
the skin of the ass (from the Persian "saghari", French "chagrin"), a
leather covered with indentations formed by rubbing seeds over the moist
skin and rubbing them in. Much used for scabbards. In the late 17thC to early 18thC the term became confused with fish-skin, shagreen was usually dyed green with a vegetable dye and used for covering boxes and caskets. |
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Silver
plated with a thin layer of gold (see: parcel-gilt)
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The
first stage in making a piece of silver by hand. A flat sheet of
silver is placed over a depression and hammered in to a bowl shape prior
to being turned over and placed over a stake for raising.
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English
medieval term for a saucepan with a round bowl, three feet and a long
handle.
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An
instrument of scissor form with a box at the end, for trimming candle
wicks; a redundant form after the invention of the self-consuming wick
at the end of the 18thC.
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A
method of working metal using a long handled tool and working the
metal over a shaped chuck rotating in a lathe. Used for making tea
and coffee pots, casters, jugs,
bowls, etc. in the 18thC.
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A
relief ornament produced by hammering the metal from the back over dies.
About the middle of the 18thC die-stamping was developed, particularly
in Sheffield and Birmingham, to produce candlesticks, vases, baskets and
coasters.
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Early
term for an inkstand, usually fitted with an inkwell and sand box and,
until the mid 18thC, often with a bell.
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The
minimum permitted standard for silver in Britain, allowing 18dwt.
of base metal (usually copper) to the pound Troy or
925 parts per 1000 pure silver (92.5%) to harden it. Established in 1300, it has been the standard for wrought silver ever since except from 1697 to 1720 when the higher Britannia standard was in force. There seems to be different interpretetions of the term "sterling". One school of thought is that is derived through the Middle English "starling", from the small star stamped on the silver pennies, from the Old English "steorling": steor = STAR (+ LING) The other interpretation is it is from the 12thC "Easterling", a term for Germans (from the east) who were called in by King John to regulate the fineness of the coinage. Until c.600AD the only foreign gold coins had circulated in Britain. In the 7th and 8th centuries, the gold and silver coinage was crude and locally distributed. King Offa of Mercia (757 - 796) who controlled much of England introduced Frankish silver currency, soon minting his own well made and regulated silver coins which became the first "national" currency since Roman times. It seems likely that these links to the East remained until the time of King John. |
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Form
of decoration resembling strips of cut and curling leather. Also used
to describe the pierced spine of silver decoration applied to the wooden
or leather-covered handles of coffee and chocolate pots c.1690 to 1710.
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Bunches
of fruit, flowers or foliage, often arranged as festoons or garlands,
and engraved or chased. Popular on 16thC silver, the
style was revived during the rococo period and re-introduced
more formally during the neoclassical period.
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A
mug with a hinged cover, usually for beer. More
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Sometimes
called a billet, the cast projection above the hinge
of a tankard, jug or pot. Elizabethan designs include angels, cherubs and the like. Later 17thC designs feature double corkscrews, acorns and simple bifurcated shapes. |
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The
prong of a fork.
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The
permitted deviation from the standard fineness of a precious metal for
which allowance was made during assay, largely because
the old touchstone methods of testing were inaccurate.
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A
group of silverwares (and in one instance, a piece of gold) recording
the names of subscribers to a loan, together with their date of death
and sometimes also their ages. The last survivor inherited the whole
income from an annuity based on a scheme by the Italian banker Lorenzo
Tonti who devised the scheme whereby subscribers to a loan or fund
shared the proceeds among the survivors. The earliest example of a tontine is a gold tumbler cup of 1702 by Pierre Harache. Others include a pair of silver waiters, a cup and cover, a large mug and an inkstand. Tontines should not be confused with pieces bearing memorial inscriptions. |
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In
early records, the Touch indicated the standard of fineness with reference
to the Touchstone. Later the term came
to be applied also to the marks struck on the gold and silver by the assayer.
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A
black jasper or flinty slate (later replaced by Wedgwoods black Jasperware
pottery) used for testing gold and silver by rubbing the metal on the
stone and comparing the streak with that made by needles of known fineness.
The method was inaccurate and was replaced by a chemical method of assaying
c.1840 which in turn was replaced by the Gay-Lussac process of
volumetric analysis in 1932. |
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A
term used to describe smallwares such as buttons, buckles and the like.
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A
three-leafed shape.
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The
gold and silversmith's traditional unit of weight.
24
grains = 1 pennyweight (dwt) = 1.555 grammes
= 0.055 oz |
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Gilding
of silver or bronze in the French manner to achieve a reddish colour.
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A
regular wave-like scroll ornament much used in neoclassical silver.
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A
spiral scroll as used in Greek architecture, usually with two scrolls
placed at either end of a flat section. Sometimes twisted.
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A
stylised leaf shape especially popular as chased or applied decoration
on neoclassical silver and popular well into the 19thC. Also applied to
water lily leaves.
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split withies (willow) used to insulate the handles of jugs, kettles,
coffee pots and other vessels used for hot liquids.
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