Category Archives: Silver

The Quaich – A Scottish Symbol of Unity, Trust and Friendship

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As the end of November draws closer we look forward to St Andrews Day in Scotland. All across the world those with Scottish heritage celebrate the life of the patron saint, St Andrew. A celebration steeped in history, it is common belief that Andrew became the patron saint in 1320, following the declaration of Scottish independence.

St Andrew was known for his generosity, which is reflected today in the warmth and kindness of the Scottish people. How better to celebrate this occasion every year than with an often raucous celebration with music, food and of course a wee dram!

An 18th century wooden Quaich with applied silver plaque of Culloden interest. Sold for £7,560, Lyon & Turnbull, Edinburgh, 16 August 2023.
An 18th century wooden Quaich with applied silver plaque of Culloden interest. Sold for £7,560, Lyon & Turnbull, Edinburgh, 16 August 2023.

An 18th century wooden Quaich with applied silver plaque of Culloden interest. Sold for £7,560, Lyon & Turnbull, Edinburgh, 16 August 2023.

Traditionally whisky would have been taken from the quaich and passed round person to person. Deriving from the Gaelic word Cuach ; cup, this shallow two-lugged bowl originated in the Highlands. Brought out at gatherings, opposing clans would pass the quaich around to inspire trust and toast the beginning of new friendships.

The quaichs of the 16th century were formed of sections of wood, often in sycamore or yew. These staves were bound together with willow (withies) the woods often alternating, sometimes to include laburnum. Due to this method of construction, along with age and use, these rare, early quaichs are usually subject to some damage.

As the years progressed silversmiths began to add silver mounts and handles to these wooden forms perhaps for practical reasons for strength, then as time passed as a show of wealth. The 17th century saw the appearance of quaichs in silver. Harking back to the past, these beautiful examples of craftsmanship were often engraved to simulate the form of the original on which they were based. They can be found chased with vertical lines to imitate the staves and horizontal lines for the bindings. Some finer examples depicted flowerheads, stylised foliage and at times betrothal initials to the lugs.

Two handled silver Quaich by David Mitchell, Edinburgh, 1737 - 1738, inscribed ‘AS 1737 MW’ National Museum of Scotland.
Two handled silver Quaich by David Mitchell, Edinburgh, 1737 - 1738, inscribed ‘AS 1737 MW’ National Museum of Scotland.

Two handled silver Quaich by David Mitchell, Edinburgh, 1737 – 1738, inscribed ‘AS 1737 MW’ National Museum of Scotland.

It is documented that in the 19th century Sir Walter Scott offered his guests drams in silver quaichs at many of his gatherings. One of the more important quaichs in his collection was the Waterloo Tree Quaich. Constructed in part from wood that had allegedly been taken from the Waterloo Elm, when he visited the battlefield following The Battle of Waterloo. As for personal favourites his most beloved quaich was said to be an example made of seven bands of wood, which is believed to have been in the possession of Bonnie Prince Charlie when he made the gruelling journey from Edinburgh to Derby in 1745.

Contemporary quaichs, often embellished with Celtic knotwork and mythical beasts are still a popular gift to commemorate important occasions in Scotland, indeed following the 2014 Commonwealth Games in Glasgow, a wooden quaich was awarded to each winner.

To this day the quaich holds a special meaning to Scots – as a connection to their ancestors, and a link to their homeland.

Undoubtedly this fascinating vessel will always be remembered for its original purpose as a Highlander’s welcome, a cup to be shared by clan chiefs and crofters alike. The iconic quaich lives on, reminding us of the importance of hospitality, love and friendship.. Sláinte!
Please do contact us should you require an updated valuation of your silver collection.

A contemporary silver Quaich, with stylised thistle detail to lugs. From a selection available at Hamilton & Inches, 87 George Street Edinburgh, £795.

A contemporary silver Quaich, with stylised thistle detail to lugs. From a selection available at Hamilton & Inches, 87 George Street Edinburgh, £795.

Please do contact us should you require an updated valuation of your silver collection by calling us on 01883 722736 or email [email protected].

Silver's time to shine

Silver’s Time to Shine: How Rising Prices and Unique Pieces are Reviving the Market

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Over the last few years, the silver market has perhaps been viewed as a rather quiet part of the art market, reliable but somewhat disregarded.

You may remember Woody in one of the later Toy Story movies. Silver, like Woody, is proving that you should never write off something just because it isn’t quite as shiny and new as it used to be. It may well prove to be your best bet as a long-term friend.

It is undoubtedly true that some areas have been stagnant. Life-style changes make it unlikely that we are going to see a revival in the taking of tea from an early 20th century silver tea set, or the use of peppers and sugar casters. However, that only paints a partial picture because nothing is ever completely one-dimensional.

I kilo silver bar.

I kilo silver bar.

An article in The Antiques Trade Gazette neatly summarised the situation thus:-

‘The increase in bullion prices can influence antique silver prices in several ways. It can make owning silver appear more attractive as an investment, it can create a sense of urgency among collectors and enthusiasts as prices rise and lastly it can raise awareness of the craftsmanship, beauty, and historical significance of antique silver over other tangible assets.’

There has been much made of the increase in precious metal prices over the last few years. The price of these precious metals is usually tagged to global financial and political stability. The turbulence of recent years has seen a huge increase in the price of some metals, particularly gold. However, this should be counterposed against a reduction in the price of other precious metals notably platinum and palladium. This is largely due to the decline in use of these metals, along with rhodium. These are collectively known as the platinum group metals – PGMs. Car manufacturers have turned to battery powered electric vehicles which do not need PGMs in catalytic convertors causing a downturn in demand, and consequently the raw metal price. For many years platinum prices tracked or surpassed the price of 18 carat gold; at present both platinum and palladium are worth less per gram than 9 carat gold.

A 1962 silver owl mustard pot on sale for £2250.

How does this affect silver?

In September 2019 silver was trading at about £15 per ounce, and by August 2020 it was over £21.60, and as of today it is trading at £23.28. There is much speculation that the price of silver has a long way to rise. Unlike the PGM group metals silver is still widely used in industry, in medical technology, cameras and in the electronics sector in the manufacture of machinery requiring electrical contacts such circuit boards and semi-conductors. What, you may well ask, has this to do with the valuation of domestic silver?

As one silver dealer put it to me recently, much domestic silver is now scrapped to be used to make 1 kilogram bars of silver which are sold to ‘stackers’. These are people who believe that the price of silver will soar when the increasing global demand far outstrips the annual output. What is far more optimistic is a flourishing of rare, novel, ancient, esoteric and unusual pieces. This has seen some stunning prices at auction recently including a set of rare Scottish late 17th century provincial trefid spoons which sold for £13,000 , against an estimate of £3,000 – £5,000, and a stunning George III candelabra centrepiece which made £44,000 at Dawsons last month. This piece had been found in a suitcase under a bed where it had lived for the last 45 years. This is particularly relevant as the auction house revealed that the last insurance valuation has been conducted in 1987. Dawson’s research had partnered it with a similar pair of four branch candelabra sold by Sotheby’s in October 2022. This undoubtedly helped the piece achieve over twice the higher end of the estimate.

Thus, you have high prices because of the inherently high price of silver at the moment, offsetting the lack of interest in some areas of domestic silver; coupled with even higher prices for anything that is a little out of the ordinary or even very splendid as above.

In terms of making sure that insurance values are pegged to the current market, it is worth considering whether good pieces are adequately insured and whether more modest silver may be over-insured. Perhaps some pieces might be better sold if they are only gathering dust in drawers and cupboards rather than being used and enjoyed.

Whatever you decide to do with your silver it is always worth ensuring that you have the best up to date information to help you make informed choices that are right for you and your family.

An American novelty stamp box for sale at Peter Cameron for £425

An American novelty stamp box for sale at Peter Cameron for £425

Silver for the British Raj in India

A Shining Example of Design

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Silver for the British Raj in India

The period of the British direct rule of India or The British Raj as it was known (1858-1947) closely followed the Indian Rebellion of 1847. The rebellion came about as a result of an accumulation of different factors over time, including resentment over army promotions and deployment abroad, reforms and taxes, so tensions were already running high.

The system of governance was instituted alongside the transfer of the rule of The East India Company to the Crown, which at this point was headed by Queen Victoria. This resulted in the economies of Great Britain and India becoming even more entwined than in the previous years. The construction of improved railways, roads, canals and bridges under British rule greatly eased the transport of raw materials alongside finished products for import and export between the two nations.

Although the British had been in India since the 1600’s, there came the birth of a new middle class around 1880 following this establishment of direct British rule. The residences of this section of society were opulent and of impressive proportions. The acquisition of fine goods and with it the show of affluence and taste within the home became a new pastime. With the timeless beauty and decadent ornamentation, silver was the perfect choice of work of art to showcase.

The first generation of merchants favoured the more elegant and simpler lines of silver of the Georgian era. During the tour of India by the Prince of Wales in 1875/76, he was presented with a fine and elaborately decorated silver tea service, alongside further beautiful items of Madras silver, some of which were produced by the famous and well renowned company of P. Orr and Sons.

After arriving in Madras in 1843, Peter Orr and brother Alex found work with Gordon & Co as watchmakers, (their original business in Edinburgh) taking over the business in 1849 following the retirement of the owner. Business flourished and it became the most prominent and well thought of silversmith company in Southern India. Silver produced in and around Madras is normally decorated in what’s known as the Swami style, often depicting Hindu gods within sacred scenes.

Following the return to Britain of the Prince of Wales, the fine tea service was exhibited to much acclaim. The Colonial and Indian Exhibition which took place in South Kensington in 1886 is reputed to have attracted an incredible 5.5 million visitors.

Displaying the processes and craftsmanship of their work within the exhibition were a number of Indian artisans which must have been compelling viewing.

The silversmithing companies of India began to be inundated with requests for new commissions for the silver of forms favoured by the British – tea services, punch bowls and salvers amongst others. But change was in the air and the taste for the Indian style of ornate and richly embossed decoration grew even further. These sumptuous items now adorned the homes of British families in many cities of India.

The major cities and surrounding villages had design and ornamentation often peculiar to the area which these days may make them instantly recognisable although designs and details were copied all over!

The silver of Lucknow often depicted scenes of a hunt before a jungle background, they also sometimes had the charming presence of a ‘hallmark’ engraved on the underside, often an elephant or peacock.

Kutch silver is usually very ornate and profusely embossed with scrolling foliage, often with a blank cartouche.

The highly regarded company of Oomersee Mawjee, based in Bhuj, produced a fantastic quality of work and was another favourite silversmiths, with commissions coming from high-end companies such as Liberty & Co.

The well-established firm of Birmingham silversmiths, Elkington and Company, started producing items based on Kutch designs after the strict British hallmarking put a stop to the import of some Indian-made pieces. Silver produced in or imported into the U.K has to pass strict tests in which all of the finished products have to contain a minimum of 92.5% pure silver. Much Indian silver was of a lower purity so failed to pass the strict tests and was often scrapped.

Normal decoration for silver from Calcutta would be various farming scenes, and often depicted small dwellings amidst palm trees in the background. Dass & Dutt and Hamilton & Co were both well renowned companies working out of Calcutta and much favoured by the Indian aristocracy. The marks of the latter changed over many years but always included a small and charming stamp of an elephant.

Due to Kashmir being famous for textile weaving, the inspiration is apparent on the silver produced here. Often coriander leaves, floral and paisley type patterns form part of the repoussé work, but in addition earlier middle eastern inspiration can be detected.

In the world of silver, fashions have changed countless times over the past years and more recently the taste for richly ornamented goods has dwindled with the popularity of iconic and more restrained mid-century design but these fabulous decorative pieces are testament to the craftsmen of all backgrounds and are an important link to the history of silver production in India.

To see more, visit The Victorian & Albert Museum, which showcases fabulous examples of Indian silver. For further reading on this subject, check out Delight in Design by Vidya Dehejia and Indian Silver 1858-1947 by Wynyard Wilkinson.

All that Glisters is not Gold

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Since ancient times silver and gold have been highly regarded for their natural beauty, as well as their intrinsic value but why is there such a discrepancy in their values?

Status

Gold has always been seen as a display of wealth, as far back as ancient Greece and Rome the homes of the nobility held impressive collections and women were adorned with exquisite jewellery. A fine example is the pendant below, discovered in Crete in 1930.

Rarity

For every eight ounces of silver that is mined only one ounce of gold is extracted.

The mining of gold is hugely challenging, as well as expensive. Expertise in many areas is needed, including geology and engineering. In fact, less than 0.1% of prospected sites will lead to success with often a wait of up to twenty years before a discovered mine will produce material for bullion.

Investment

The spike in the price of gold during the Coronavirus pandemic of 2020 wouldn’t have come as a surprise to many, in times of economic crisis and catastrophic world events the investment in bullion can be viewed as a ‘safe haven’.

This small 18ct gold case sold at auction for £5,437 in February 2020, working out at £787 per ounce.

As the year progressed and the pandemic hit, gold prices peaked at £1,555 per ounce in August. Had this sold that summer it may have achieved over £10,000.

Also sold in early 2020 was this fantastic Victorian silver table bell achieving £5,062. At only 16cm long this shows how unusual items of vertu are sought after by collectors. Highly celebrated makers like Paul de Lamerie will always be popular but fashions have changed over the past twenty years. Mass produced items like tea services and salvers sell at scrap price, whereas areas such as mid-century and Danish silver continue to rise.

Gold will continue to be the favourite for investment due to the potential for high gain. Investment in silver can be prudent if only you can predict the fashions of the future!

At the time of writing this article the gold price was approximately £1,600 per ounce, silver £18 per ounce.

Caring for Silver

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Six simple rules to keep your silver in top condition

Rule one

Caring for your silver starts with understanding a little about the properties of silver. Sterling silver is 92.5% silver and therefore only 7.5% alloy. Compare this with 9 carat gold which is 37.5% gold and 72.5% alloy, or even 18 carat gold which is 75% gold. Silver, therefore, which is not an inherently hard metal, is extremely vulnerable to scratching. According to the Mohs scale which measures the hardness of materials; in order of softness, you have sterling silver, 9 carat gold, 18 carat gold, platinum and palladium. Rule number one is therefore to avoid cleaning with anything even slightly abrasive. I prefer pastes and foams which you apply with warm water.

Rule two

Given that silver is a soft metal, you also need to be careful not to bend it or make it vulnerable to dents. For example, it is common to see legs of sauce boats pushed in. Splits can also occur around the edges of pieces so rule number two is to always handle your silver ware with care, remembering that the lighter and thinner it is the more vulnerable it will be to damage.

Rule three

Can you put silver in the dishwasher? I would say that the answer is yes. However, rule number three – do not load silver and stainless steel in the same compartment or where they might touch. This will lead to oxidation and oxidation is what causes silver to tarnish or blacken. For those who think I am a philistine to suggest that it is acceptable to wash silver in the dish washer I would say this – the method of dish washing is no more likely to damage the silver than washing by hand. Drying silver is as likely, if not more so, to remove some of the silver and cause rubbing. If you’ve ever noticed that hallmarks have become obscure and difficult to read this is because polishing or cleaning has worn down the surface.

Whilst we are on the subject of dish washers, if you have bone handled knives, do not put them in the dishwasher. They will dry out, crack and the pitch that holds the blades in place my seep out. Knives should always be washed by hand.

Rule four

Oxidisation is the principal cause of tarnishing, so rule number four is to adhere to following suggestions to minimise the chances of your silver tarnishing. The less you have to polish it, the less likely that you will be rubbing away the silver itself. The first suggestion is use your silver. Most silverware will be cleaned after using and frequent light cleaning will be much kinder on your silver than trying to remove heavy tarnish.

If you do need to store your silver, store in a dry place away from high temperatures. Both heat and humidity accelerate the rate at which silver tarnishes. If you are storing flatware, use special tarnish reducing storage bags or for bulkier items, acid free tissue paper. Do not use newspaper as the ink is acidic and can cause damage. The same goes for rubber bands. Tempting though it may be to bundle items together, rubber bands contain sulphur which causes rapid and destructive tarnishing.

Do not store silver in plastic bags as they can retain moisture. Finally, you now have a use for those little silica gel sachets which seem to come with so many purchases – pop these in with your silver and they will help absorb moisture. Incidentally oils, onions, eggs, salad dressings all contain ingredients which will accelerate the speed of tarnishing, so if you do use silver with these products wash them quickly afterwards and dry them. You may have noticed that egg spoons often have gilded bowls, this is because gold does not tarnish in the same way and it is there to protect the silver.

Rule five

You may also have observed that silver salts usually have glass liners or are gilded. Salt corrodes silver. This is different from tarnish which can be fairly easily poshed off. Badly corroded silver might need to be taken to a professional to clean or replate. Therefore, rule number five clean your silver after use and do not leave salt sitting in your salt container. Salty snacks like peanuts and crisps will have the same effect. Even if the gilded of liner protects the base, it will often not protect the borders. And take the salt spoons out of the salts.

Rule six

Rule number six, use and enjoy your silver. Use impregnated soft cloths, foams and basic mild detergent and warm water to keep your silver sparkling; and finally, know that notwithstanding your best efforts silver will always tarnish, so employ the simple rules to keep this to a minimum.

The Crown Jewels for the Coronation

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On May 6th King Charles III will be crowned in Westminster Abbey. A tradition dating back nearly 1000 years since William the Conqueror who was crowned in 1066. Charles’s will be the 38th coronation in the Abbey, most, like Charles’s, having been conducted by the incumbent Archbishop of Canterbury.

We are expecting a simpler and more paired back coronation for King Charles, but this does not mean that it is going to be light on tradition and ceremony. This historic event will still be an occasion for spectacle and celebration.

It is a ceremony that has remained essentially the same for a thousand years and the Coronation Regalia are at the heart of proceedings, imbued as they are with cultural and spiritual significance. They represent the powers and responsibilities of the new King and the solemnity of the occasion.

The last time we saw some of the regalia of the coronation was on the late Queen’s coffin, which was adorned with the crown, orb and sceptre.

These three items will play an integral role at the heart of the coronation service, but they are not the only pieces that we will see on the day.

St Edward’s Crown is the crown historically used at the moment of coronation and worn by Her Majesty Queen Elizabeth at her coronation in 1953.

It was made for Charles II in 1661, as a replacement for the medieval crown which had been melted down in 1649 by Parliamentarians. Charles will wear this crown. The crown is 22 carat gold, so almost pure gold. It stands 30 cm tall and weighs an impressive 5lb. It contains tourmalines, white and yellow topaz, rubies, amethysts, sapphires, garnets, peridot, zircons, spinel and aquamarines. The three superstar gems in the crown are the Black Prince’s ruby, the Stuart sapphire and the Cullinan II diamond. No wonder Queen Elizabeth used to practise wearing it before the coronation, so its weight was not overwhelming on the day.

Camilla, the Queen Consort, will wear the Queen Mary’s Crown. This was removed from display at the Tower of London for modification work ahead of the coronation. It is the first time in recent history that an existing crown will be used for the coronation of a Consort. For previous coronations a new crown was commissioned. However, as a concession to the prevailing economic climate; sustainability and efficacy this crown, originally made by Garrards for the 1911 coronation, is being repurposed. Some minor changes and additions will be undertaken by the Crown Jeweller. These changes will pay particular tribute to the late Queen Elizabeth, as the Crown will be reset with the Cullinan III, IV and V diamonds. These diamonds were part of Queen Elizabeth II’s personal jewellery collection for many years and were often worn mounted in brooches.

At the heart of the ceremony itself are the sceptre, orb and the coronation anointing spoon. The Sovereign’s Sceptre and Cross symbolises the crown’s power and governance. It has been used at the coronation of every monarch since 1661. It was first used by King Henry VIII in 1509 for his own coronation. It is a golden rod, enamelled and set with multiple gemstones, the best known of which is the Cullinan I, or Star of Africa, a heart-shaped diamond weighing a colossal 530.2 carats.

In the photograph of Queen Elizabeth’s coronation you will see a second sceptre. This is the Sovereign’s sceptre with Dove. It is also known as the rod of Equity and Mercy and depicts an enamel dove wings outstretched alighting on the golden orb and cross. It represents the monarch’s spiritual role as head of the Church of England.

The most ancient piece of the coronation regalia is the coronation anointing spoon. The monarch is anointed with holy oil. The Chrism oil which will be used on May 6th has already been consecrated in Jerusalem. The oil itself comes from olives grown on the Mount of Olives and has been infused with sesame, rose, jasmine and other essential oils.

The spoon is silver gilt. Its existence was first recorded in 1349, but it may be even older. It is ornate with a central division and has been used to anoint monarchs for nearly seven hundred years. The central division may have been so that the archbishop might dip two fingers into the holy oil as he anoints the head, breast and hand of the new monarch.

It is traditional that the choir sings ‘Zadok the Priest’ during this sacred part of the ceremony; music originally composed by Handel for the coronation of King George II in 1727 and which has become an integral part of the proceedings.

The anointing is followed by dressing of the monarch in the spectacular robe of cloth of gold called the Supertunica and the long Imperial Mantle. The monarch is then presented with other items from the Coronation Regalia.

These include the gold spurs, the jewelled Sword of Offering and the Armills. The Armills are gold bracelets representing sincerity and wisdom. It is at this point that the monarch also receives the Sovereign’s Orb, as well as a ring and two sceptres.

The Orb is placed in the right hand of the monarch, during the investiture as the symbol of sovereignty. As a cross mounted on a globe, it represents the Christian world and the power of God. It is a reminder to the monarch that their authority is given by God. It is bisected with applied bands incorporating clusters of emeralds, rubies, sapphires and rose diamonds between bands of pearls. Having been handed to the King, it will be removed and placed on the altar before the moment of crowning.

The King will also be presented with the pair of golden spurs. These were first included amongst the regalia of the coronation in 1189 at the coronation of Richard the Lionheart. These represent his ‘knightly values and virtues’, such as protecting the poor, and defending the church. The current spurs are gold, made in 1661 for Charles1 and adapted in 1820 for George IV. In the past, the spurs were attached to the sovereign’s feet, but on May 6th they will be held at the ankle of the king.

The Sovereign’s ring will be placed on his fourth finger. The ring has the cross of St George at the centre formed from five rubies, overlaying an octagonal cut sapphire and bordered with fourteen old cushion cut diamonds. The ring was originally made by Royal Goldsmiths and Silversmiths Rundell, Bridge and Rundell for the coronation of William IV. It is said to be a symbol of ‘kingly dignity’.

The coronation sword, also known as The Jewelled Sword of Offering, will be presented by the archbishop, who first blesses the sword and then presents it with the direction that it should be used for the protection of the good and the punishment of evil. First used in 1821 by George IV, it has been used at all coronations since 1902. Like the Sovereign’s ring, the sword, made from blued steel, with a gold, jewel encrusted hilt and jewelled leather scabbard, was a commission from Rundell Bridge and Rundell.

The ceremony culminates with the placing of the St Edward’s Crown on the monarch’s head, the actual ‘coronation’.

The new King will change his crown for The Imperial State Crown as he leaves the Abbey. This is the crown that he will wear for future state occasions like the annual opening of Parliament. Although set in gold with 2,868 diamonds, 269 pearls, 17 sapphires, 11 emeralds and four rubies, it weighs a mere 2.3lb and is a more practical choice. It was worn by the Queen when she left Westminster Abbey in 1953. It was originally made for the coronation of her father, King George VI, in 1937.

Many of us grew up listening to older relatives tell tales of the Queen’s coronation. Televisions were purchased for the first time for the occasion, families huddled round radios to hear the ceremony live, and there is the enduring account of Queen Salote Tupou III who refused to be cowed by the rain and rode through London in an open topped carriage. No doubt King Charles’s coronation will be a different meld of old, new and unexpected acts of generosity and kindness. We can but wish for a day of joy and hope, amidst the tradition and ceremony.

Silver at Christmas

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‘Silver bells, silver bells, It’s Christmas time in the city. Ring-a-ling, hear them ring, soon it will be Christmas day.’

The festive season is upon us once again and however you celebrate it, or even if you don’t, it’s hard to ignore. In the 11 months since your sister-in law trapped the dog’s tail in the car boot as she flounced off at an assumed insult; the same dog snaffled the trifle when no-one was looking, and someone set fire to Santa’s not so authentic beard – somehow, by some strange alchemy, Christmas has regained the familiar, rosy glow of hope and expectation.

Much of this is down to our wonderful Christmas traditions. The tree, the tinsel, the coins in the Christmas pudding, the stockings, the crackers. It’s all steeped in tradition and manages, for most, to be a beacon of light and joy in the middle of the winter.

The tradition of having lit tress in our homes at Christmas is believed to originate with 16th century Protestant reformer Martin Luther. Legend has it, that Luther was walking home one winter evening, formulating his sermon when he was captivated by the brilliance of stars twinkling amidst evergreens. To recreate the scene for his family, he erected a tree in the house and attached lit candles to the branches. Devout Christians followed his example, even using pyramids of twigs if trees were not available.

The tradition of tinsel also dates to the early 17th century in the German town of Nuremberg, which was already known for silver production. Workers started making thin strands of real silver and placed them in their trees to reflect the candlelight.

Incidentally, tinsel gets its name from the old French word ‘estincele’, which means sparkle.

In 1846, Queen Victoria and Prince Albert, were sketched in the Illustrated London News, standing with their children around a Christmas tree. Unlike her immediate forebears, Queen Victoria was popular with her subjects. She dictated style and fashion and when the tree was seen in the magazine the idea was taken up all over the country, and even as far afield as the East coast of America. The Christmas tree soon became part of the fixtures and fitting of Christmas.

Making the Christmas pudding and stirring in a silver sixpence on Stir up Sunday, five weeks before Christmas is part of British Christmas heritage. A silver sixpence was placed into the pudding mix and every member of the household gave it a stir. If you were lucky enough to find the sixpence in your helping of pudding on Christmas Day, you could look forward to a year of wealth and good luck. If this tradition appeals to you the 2022 Christmas Silver sixpence can be purchased from the Royal Mint. This year’s coin is the last to be struck with an image of The Queen. It includes the Royal Cypher surrounded by apple and orange blossom to signify good fortune.

Crackers are another Christmas essential. Tom Smith Ltd holds the Royal warrant as Suppliers of Christmas crackers and wrapping paper and has held this since 1906. Tom Smith himself, had invented the first cracker over 60 years earlier, when, taken with the French habit of wrapping bonbons in a twist of paper. He ran with the idea, and then embellished it, adding in little love notes and latterly a snap made from silver fulminate. If you want the ultimate crackers this year, Asprey’s, have on offer, crackers containing silver cufflinks with one terminal modelled as a F1 car.

Silver ornaments have been part of the festive offering from luxury brands for years. Some companies produce new decorations every year so you can build a collection year on year. Georg Jensen is one such brand. This season’s collection includes a decoration by designer Sanne Lund Traberg, whose snowflake ornament is said to be inspired by childhood memories.

Tiffany also has a range of seasonal silver ornaments. The reindeer ornament is a modest £235 in comparison to the bauble created by Hallmarks Jewellers in 2009. Made in 18 carat white gold and designed as a snowflake with 1,578 diamonds, 188 encrusted rubies and a centre band with three one carat diamonds. It took over 130 hours to make and would have set you back $136,000.

Food and drink are integral to all Christmas festivities. For our non-Christian forebears, the Winter Solstice was also a time to celebrate in the depths of winter and look forward to the year ahead and the return of longer, warmer days. For us it’s a wonderful opportunity to polish the table ware, both flatware (cutlery) and holloware (dishes). Get the meat dish cover ready to protect whatever remnants of turkey remain; fill the wine coolers with ice, put the wine coasters out ready to receive bottles or claret jugs, fill sauce boats with bread sauce, entrée dishes with vegetables, and silver jugs with cream. It’s probably time for the knife rests to make an appearance, and definitely for the stilton scoop to come out of retirement! There’s nothing quite like the combination of silver and glass to give the Christmas table a magical feel.

However you will be celebrating your Christmas, we wish you all a sparkling and happy time.

At Doerr Dallas we are only too aware that in the current economic climate Christmas will be hard for many. In recognition of this , the author of this article is donating her fee to Crisis at Christmas. Should you wish to make a contribution to Crisis, please click here to donate.

Female Silversmiths

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Does this title sound a little niche? One would hope not in the 21st century, but what about the preceding generations? If you have the slightest interest in silver, it is likely that you will have heard of the prolific maker and great matriarch Hester Bateman. She certainly deserves the recognition. She led the Bateman firm during the second half of the 18th century, during which time the company flourished, innovated, and was eventually taken on by her sons, daughter in law and ultimately her grandson, when, in 1800 the mark of Peter, William and Ann Bateman was registered.

It is often assumed that female silversmiths, goldsmiths and other prominent female woman in trade and industry acceded to prominence by association with their husbands, or families. In the case of Hester Bateman this is true, she married a gold chain maker called John Bateman and it was his death which catapulted her into the running of the firm. However, there were many women working in trades during the 18th century and earlier and not all of them were there by matrimonial or familial association. Although men dominated in commerce, and both the law and custom gave men precedence in most areas, there were successful woman who pursued business in their own right.

Women were occasionally apprenticed to learn a trade and although the majority of female silversmiths and goldsmiths would have learnt their trades through a family connection and without formal indentures, 14 woman silversmiths have been identified in the registry of London makers whose names appear to bear no connection to any male counterparts.

In her work ‘Woman Silversmiths 1685-1845’ Philippa Glanville writes of Welthian Goodyear, a Bristol spoon maker, Ellen Dare of Taunton and Elizabeth Haslewood of Norwich acting as ‘autonomous agents’ with their own workshops and selling their pieces locally. She goes on to say that this is known about as there are records of them being fined for sub-standard work by the Goldsmiths Company, taking apprentices and buying insurance for their shops, workshops, and stock.

The work of silver smithing is physical. Silver is beaten out with heavy hammers; female silversmiths would have needed to be fit and strong to undertake the process. They would undoubtedly have had to do this themselves, especially if they hoped to enter their touch mark at the Goldsmiths’ Hall.

Although women had far more obstacles to overcome to succeed, this sometimes gave them an edge. Hester Bateman’s work is elegant and has been thought of as delicate, even feminine. This is not wholly justified, as those attributions might easily be ascribed to many of the neo-classical pieces produced at the end of the 18th century, including furniture and ceramics. Hester Bateman was, however, instrumental in producing the first machine for flattening or as it was then called ‘flatting’ silver. In contrast to the ‘feminine’ style of Hester Bateman, her near contemporary Elizabeth Godfrey championed a heavy Rococo style, influenced by her first husband, a French Huguenot. Elizabeth outlived two husbands and ran a successful and business in Norris Street, where her prestigious clientele were served by beautifully mannered staff, who were courteous and bilingual, able to converse in both French and English. Her elaborate card shows that she was no shrinking violet, rather, an astute businesswoman.

Rebecca Emes was the most commercially successful female silversmith of the 19th century. She, with partner Edward Barnard formed the formidable firm Emes and Barnard, which in turn became the Barnard Brothers whose pieces turn up in almost every silver auction in the country on a regular basis. Their skill was in producing high quality domestic silverware, a prerequisite in every household of substance in the 19th century.

Happily, today women silversmiths are not a rarity or an anomaly. A quick Google search on the topic reveals the following as the top two results.

  • Women in Silver smithing at the V&A (an exhibition in 2018).
  • Meet the 10 emerging jewellers and silversmiths who are set to shine at New Designers One Year In – (sponsored by The Goldsmiths Hall). This is particularly interesting as the category is not gender specific, it just happens that of the ten artists featured 9 are women.

In selecting examples of contemporary female silversmiths, I am spoilt for choice. This is as it should be. Jocelyn Burton who died in 2020, was originally rejected from the Sir John Cass College in London when she applied for their silversmithing course in 1966, on the basis she was a woman. Instead, she enrolled on a jewellery course and studied silversmithing a night school. Such was her eventual success that she was commissioned to produce pieces for the Fishmonger’s Hall, The Butcher’s Company and Lichfield Cathedral.

Rauni Higson is a particular favourite of mine. Her candelabra for the Weavers’ Company and The Goldsmith’s company rosewater dish show an affinity between nature and silver that is intrinsic to much of her work.

Today we should not need to differentiate male and female silversmiths, we should instead concentrate on the craft of the silversmith. It should be remembered however, that this owes much to the female forebears who forged their trade against the significant obstacles of the day.

Salt – The Condiment Worth More Than Gold!

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By Alastair Meiklejon, Senior Valuer

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I would imagine that most of our readers draw a salary from their jobs, but how would you feel if you were paid in salt, rather than currency?

The Hammersley Salt

Well, the word ‘salary’ actually derives from the Latin word ‘salarium’, relating to the quantity of salt that Roman soldiers would receive in return for their efforts… Whether or not they were actually paid in salt is debatable, but the value of their pay was certainly linked to the value of salt at the time.

The ‘salt cellar’, or correctly termed ‘saler’, came about due to the need for a receptacle to hold the wondrous gift of the sea, and was a huge status symbol in the Middle Ages. In fact, your social standing could be easily recognised as to where you were seated at the table in relation to ‘the master’s salt’ – either above it for the higher ranking of the seated guests, or beneath it for those deemed less important.

In advance of our upcoming webinar, due to be broadcast on location at the impressive premises of The Worshipful Company of Haberdashers on Thursday 1st July 2021, we are honoured to announce that we will be talking about one of the most important salt cellars in the United Kingdom, possibly the world.

Dutch silver standing salt by Adam van Vianen, (Utrecht, 1621), estimated at £600,000-800,000 at Sotheby’s Treasures sale on July 6

The Hammersley Salt is a part of the stunning collection situated at The Worshipful Company of Haberdashers. The piece dates from 1595, and the only word that can be used to sum up its presence is magnificent.

Standing at 20 centimetres high and weighing in at 32 Troy ounces the drum shaped body is detailed with a frieze of classical figures, with engraving detailing the gift from Sir Hugh Hammersley Kt and Alderman of London 1636 it is raised upon a domed and circular spread foot with an additional selection of figures upon the frieze with an ogee border, having a detachable saltwell to the upper section and marked with an ovolo and guilloche border.

It is hard to think that this piece was used for serving salt to the great and the good at the time of Elizabeth I, and what is mesmerising about The Hammersley Salt is that one can see the visible corrosion from the salt being in contact with the silver over the 500 years since it was first used.

The company formed in 1448, and has curated one of the most formidable collections of fine silver in the country, which one of our silver specialist’s Jenny Knott and myself have had the absolute privilege of working with this year. During the webinar, we will be honoured to be joined by Dr David Bartle, archivist of The Haberdashers Company, to discuss the piece, its origins and how it came to be in the possession of The Company.
We look forward to you joining us for a unique event, truly worth its salt.

 

Silver – What’s Hot and What’s Not?

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Jenny Knott, Silver and Jewellery Specialist

Silver is a commodity which is in an interesting place. Last year the price rose hugely, in line with gold, and as a result of global economic concerns. Typically, when there is economic uncertainty the price of precious metals rises because they are a safe haven. The silver price has now declined again, also in line with gold, but many people believe that the price of silver is being suppressed (conspiracy theorists have a field day with the control banks and governments may have over this) and that it may rise dramatically in the medium to long term. To this end there are people collecting/hoarding silver against this possibility. Sometimes these people will buy from dealers who have picked up uncommercial items and are happy to sell them on at slightly above scrap price.

Image of Georgian silver tea service

A Georgian silver tea service – not much called for in entertaining today

Silver is also interesting because whilst gold is, by and large, used for decorative purposes silver is used a lot in industry, particularly in medical equipment, electronics, the nuclear industry and many other areas so the price is indexed against these uses too. For example, the price of platinum is greatly reduced now because it is no longer in demand for catalytic converters in diesel cars.

Image of a silver claret jug

A silver claret jug – still a beautiful addition to the sideboard

So, this brings us on to what is and isn’t saleable in the silver market.

Image of a novelty silver mustard pot in the form of an owl

A novelty silver mustard pot in the form of an owl – very much a collector’s item today

The most apposite question to ask would be “Is it useful, is it rare or is it beautiful?” If it ticks one or more of these boxes the market is extremely strong. If not, then silver may be worth little over scrap. To give some examples, in the 20th century wedding presents were often silver gifts, cruets sets, tea sets, fish eaters and servers. As we no longer used ground white pepper, or tend to make tea in a silver tea pot or even eat our fish with fish eaters, the prolific examples of these relatively ordinary things are not in great demand. However, there is a huge appetite for unusual items, novelty items, maybe a mustard pot in the shape of an owl or a mouse? Tableware is always popular; candlesticks, claret jugs, wine coasters and some flatware are greatly in demand.

image of a silver cup made by Omar Ramsden

A silver cup made by Omar Ramsden – still much sought after today

Finally, the rare. Dealers and collectors will battle over rare silver, pieces by sought after makers across the ages, for example Paul Storr, Paul de Lamerie, Hester Bateman and the Bateman family, Liberty, Omar Ramsden, to name but a few. These are a handful of the makers across the years whose work is highly sought after. Bateman pieces can be acquired relatively inexpensively, whereas pieces by de Lamerie would command seriously high prices. All would be in demand. As is silver with unusual hallmarks, for example provincial silver and also early silver.

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