Glossary
A selection of
terms connected with the silver trade.
A
B
C
D
E
F
G
H
I/J
K
L
M
N
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P
Q
R
S
T
V
W
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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Metal objects
in pairs, with a horizontal iron bar for supporting logs in the fireplace and
a vertical decorative element at the front in brass, iron or silver. Popular
in England until the 18thC when
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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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 testing and
trial of metals to determine their purity by touch, fire,
cupellation or other means. There are four Assay
Offices in Great Britain today; London, Edinburgh,
Birmingham and Sheffield.
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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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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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A baluster
- like curved form but of square or rectangular section rather than circular.
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A raised area
used in decoration, originally the protuberance on a shield.
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 candlestick
with arms and nozzles for two or more candles.
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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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Popular two handled
vessel of the second half of the 17thC. Now more properly called
a porringer, these vessels were supposed to
have been used for drinking "caudle", a warm spiced gruel of oatmeal, ale, sugar
and spices which was much advocated for curing minor ills and recommended for
pregnant women. Also known as a posset 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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An 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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Decoration imitating
the vertical channelling of classical columns, resembling a musical flute cut
in two.
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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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A white alloy
of nickel, copper and zinc. Used as a base metal for late-period fused plate,
the alloy was said to have originated in China where it had been used from very
early times. Also known as Argentine.
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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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French protestants
who were reluctantly tolerated after the Edict of Nantes in 1598 which gave them
religious freedom until the Edict was revoked by Louis XIV in 1685.
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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A 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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A 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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The 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 17thC. More
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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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A tray or plate,
sometimes footed, for serving food or drink; often with a moulded border and decorated
with an enraved coat of arms in the centre. More
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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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Method invented
by Thomas Boulsover of Sheffield c.1743 of fusing a layer of sterling silver to
a sheet of copper by heating and rolling the two together. The introduction of
Electroplating spelled the end of the Sheffield
plate trade which was virtually extinct by 1845. More
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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
20 pennyweight
(dwt) = 1 ounce Troy = 31.1 grammes
= 1.097 oz
12 ounces
Troy = one pound Troy = 373.2 grammes
1 gramme
= 0.032 ounce Troy = 0.643 dwt.
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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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