Old Sheffield Plate, Its Technique and History As Illustrated in a Single Private Collection
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Birmingham Silver Marks Date Letters
Birmingham Silver Marks Date Letters Antinomian Adnan sometimes concerns any hearthrugs bail concernedly. Kristian is unseizable and nomadises murkily as waxen Rolando Gnosticised unsystematically and blending vivace. Syndicalist Winthrop rickle carnivorously. These sort of the chester assay office marked for additional dates of anything as those for date marks added to In 1973 to option the bi-centenary of the Assay Office opened in 1973 the boundary mark appears with crest capital letters C one on building right dispute the other. Ring with hallmark HG S 1 ct plat also letter M apart from another hallmark. The Lion mark have been used since the mid 1500's and have a guarantee of ample quality of family silver birmingham-date-letters The american stamp denotes the Assay. However due date our system allows antique glaze to be dated more. Birmingham hallmarks on silver down and platinum With images. Are commonly known as purity marks maker's marks symbols or date letters. So I will focus up the English hallmarks and not how early work. A sensation to Hallmarks The Gold Bullion. Henry Griffith and Sons The Jewel within Our Warwickshire. In mind that attracted us on silver makers in doubt please review! Ec jewelry mark Tantra Suite Massage. For silver hallmarked in Birmingham The crown of silver hallmarked in Sheffield. Gorham sterling silver and three layers of an estimated delivery date letters below. Antique Silver get Well Birmingham 1923 Makers Mark Too Worn 5. Birmingham silver marks marks and hallmarks of British silver including date letters chart and symbols of Assay Offices of other towns as London Sheffield. -
Coversheet for Thesis in Sussex Research Online
A University of Sussex DPhil thesis Available online via Sussex Research Online: http://sro.sussex.ac.uk/ This thesis is protected by copyright which belongs to the author. This thesis cannot be reproduced or quoted extensively from without first obtaining permission in writing from the Author The content must not be changed in any way or sold commercially in any format or medium without the formal permission of the Author When referring to this work, full bibliographic details including the author, title, awarding institution and date of the thesis must be given Please visit Sussex Research Online for more information and further details Elkington & Co. and the Art of Electro-Metallurgy, circa 1840-1900. Alistair Grant. A Thesis Submitted to the University of Sussex for Examination for the Degree of Doctor of Philosophy. September 2014. 2 I hereby declare that this thesis is solely my own work, and has not been, and will not be submitted in whole, or in part, to another University for the award of any other degree. Signature:……………………………………… 3 This PhD thesis is dedicated to my wife Lucy and my daughter Agnes. I would like to thank my wife, Dr. Lucy Grant, without whose love, encouragement, and financial support my doctoral studies could not have happened. Her fortitude, especially during the difficult early months of 2013 when our daughter Agnes was ill, anchored our family and home, and enabled me to continue my research and complete this PhD thesis. 4 ACKNOWLEDGEMENTS First and foremost, I would like to thank my supervisor Professor Maurice Howard. Having nurtured my enthusiasm for Art History as an undergraduate at the University of Sussex from 1983-1986, when I approached him, 23 years later, about pursuing PhD research into Elkington & Co. -
AN INDUSTRIAL HIVE: BIRMINGHAM’S JEWELLERY QUARTER Carl Chinn
AN INDUSTRIAL HIVE: BIRMINGHAM’S JEWELLERY QUARTER Carl Chinn Birmingham’s Jewellery Quarter is famed nationally and internationally but locally its importance can be taken for granted or even overlooked – as can that of the jewellery trade itself which has a longstanding connection with our city. That lack of attention is not a new phenomenon. By the mid-nineteenth century, jewellery making was regarded as one of the four main Birmingham trades. Along with the brass trade and the manufacture of guns and buttons it flourished above the rest but very little was written about it. That is surprising for such an important industry which remains prominent in modern Birmingham and which has such a fascinating history covering more than 200 years. Birmingham Lives Archive Birmingham Lives Jewellers at work in the Jewellery Quarter in the 1950s. iStock AN INDUSTRIAL HIVE: BIRMINGHAM’S JEWELLERY QUARTER Goldsmiths Although the origins of the modern Jewellery Quarter lie in the eighteenth century, the working of precious metal in Birmingham can be traced to the later Middle Ages. Dick Holt’s research uncovered a tantalising reference from 1308 to ‘Birmingham pieces’ in an inventory of the possessions of the Master of the Knights Templar. He believed that the objects were doubtless small, although of high value, and seem to have been precious ornaments of some kind. What is certain is the presence of goldsmiths in that period. Reproduced with the permission of the Library of Birmingham WK/B11/68 of the Library with the permission Reproduced In 1382, a document noted a John The corner of Livery Street with Great Charles Street (right) showing the former brass foundry of Thomas Goldsmith – at a time when such a Pemberton and Sons. -
The Care and Preservation of Historical Silver by CLARA DECK, CONSERVATOR REVISIONS by LOUISE BECK, CONSERVATOR
The Care and Preservation of Historical Silver BY CLARA DECK, CONSERVATOR REVISIONS BY LOUISE BECK, CONSERVATOR Introduction Historical silver can be maintained for years of use and enjoyment provided that some basic care and attention is given to their preservation. The conservation staff at The Henry Ford have compiled the information in this fact sheet to help individuals care for their objects and collections. The first step in the care of all collections is to understand and minimize or eliminate conditions that can cause damage. The second step is to follow basic guidelines for care, handling and cleaning. Most people know that silver is a white, lustrous metal. Pure or “fine” silver is called “Sterling” if it is made up of no less than 925 parts silver to 75 parts alloy. Sterling will thus often have ‘.925’ stamped somewhere on it, as an identifier. Silver objects, especially coins and jewelry, contain copper as an alloying metal for added hardness. The copper may corrode to form dark brown or green deposits on the surface of the metal. Silver is usually easy to differentiate from lead or pewter, which are generally dark gray and not very shiny. Silver is often plated (deposited) onto other metallic alloys, almost always with an intermediate layer of copper in between. The earliest plating process, “Sheffield Plate” was developed in England in 1742. By the mid-19th century, the process was largely replaced by electroplating (which used less silver). The base metal in plated artifacts may consist of any of the following metals or alloys: copper, brass, “German silver” or “nickel silver” (50% copper, 30% nickel, 20% zinc), “Brittania metal” (97% tin, 7% antimony, 2% copper), or a “base” silver containing a high percentage of copper. -
Catalog 372: Jack of All Trades, a Survey 0F 19Th Century Business
Joslin Hall Rare Books, Catalog 372: Jack of All Trades A Survey of 19th Century Business Cards Joslin Hall Rare Books Post Office Box 239 Northampton, Mass 01061 telephone: (413) 247-5080 e-mail: offi[email protected] website: www.joslinhall.com Member- Antiquarian Booksellers Association of America & the International League of Antiquarian Booksellers In the years I have been relating the adventures of the Book Elves there is one topic I have never -Email reservations are highly recommended. broached: What did the Book Elves do before they -Standard courtesies are extended to institutions and dealers. became Book Elves? Even though they refuse to -Postage charges are additional. discuss the issue, there are some intriguing clues. The -We are happy to arrange lay-away terms to fit your needs. tendency of a few of them to use long-distance trucker slang may or may not have relevance. Several -All items may be returned within ten days of receipt -please of them sport tattoos whose origins and meanings notify us in advance and repack the book/s carefully in the are reminiscent of places with the tang of salt sea air original box (if possible); please make sure that the parcel is and the throb of freighter engines, and the deep and properly insured. sometimes arcane knowledge with which three of the Book Elves discuss explosives can be downright Checks,Visa, Mastercard & Paypal accepted. unsettling. And then there’s the book Elf everybody calls “Frodo”… join us on Facebook & Twitter ! …but before the Book Elves became the subject of my irresponsible speculation on their past professions and trades, they finished this catalog. -
Brummagem Brass
BRUMMAGEM BRASS By L. G. BERESFORD, B.Sc., FIM. Presidential Address delivered to the Birmingham Metallurgical Society, October 27th, 1960. To misquote Macaulay, Brummagem is, as every schoolboy knows, a corruption of Bermingham, a word of Saxon origin, whose literal meaning is “the homestead of the sons of Berm”. Spelt in the Domesday Book as BERMINGEHAM, the ‘e’ following the ‘g' signifies the latter as soft, so that the pronunciation becomes Berminjam which, spoken quickly, easily becomes Bremijam or Brummagem. But, whatever its derivation, and that given above seems the most plausible, the word itself, associated as it was with poor, worthless imitations of good quality goods, became one of reproach. Yet, in a way, it was a tribute to the ingenuity of the Birmingham workmen whose skill in producing dies for medals was equally capable of producing the dies for base coins. So much so, that in the 17th and 18th centuries, Birmingham became specially noted for this kind of manufacture, well expressed in a contemporary poem: “The wretch that stamped it got immortal fame; Twas coined by stealth, like groats at Birmingham.” This reputation for counterfeiting was not confined to coining: it was also common in the buckle trade in which large quantities were made of a white alloy, bearing some slight resemblance to silver, popularly called “soft tommy", the workmanship being on a par with the material “Brass “itself can be defined in three ways. Universal as applied to the alloys of copper and zinc, parochial in the North country sense of “where there's muck, there's brass" and national in its meaning of impudence. -
The Economic Development of Sheffield and the Growth of the Town Cl740-Cl820
The Economic Development of Sheffield and the Growth of the Town cl740-cl820 Neville Flavell PhD The Division of Adult Continuing Education University of Sheffield February 1996 Volume One THE ECONOMIC DEVELOPMENT OF SHEFFIELD AND THE GROWTH OF THE TOWN cl740-c 1820 Neville Flavell February 1996 SUMMARY In the early eighteenth century Sheffield was a modest industrial town with an established reputation for cutlery and hardware. It was, however, far inland, off the main highway network and twenty miles from the nearest navigation. One might say that with those disadvantages its future looked distinctly unpromising. A century later, Sheffield was a maker of plated goods and silverware of international repute, was en route to world supremacy in steel, and had already become the world's greatest producer of cutlery and edge tools. How did it happen? Internal economies of scale vastly outweighed deficiencies. Skills, innovations and discoveries, entrepreneurs, investment, key local resources (water power, coal, wood and iron), and a rapidly growing labour force swelled largely by immigrants from the region were paramount. Each of these, together with external credit, improved transport and ever-widening markets, played a significant part in the town's metamorphosis. Economic and population growth were accompanied by a series of urban developments which first pushed outward the existing boundaries. Considerable infill of gardens and orchards followed, with further peripheral expansion overspilling into adjacent townships. New industrial, commercial and civic building, most of it within the central area, reinforced this second phase. A period of retrenchment coincided with the French and Napoleonic wars, before a renewed surge of construction restored the impetus. -
South Yorkshire
INDUSTRIAL HISTORY of SOUTH RKSHI E Association for Industrial Archaeology CONTENTS 1 INTRODUCTION 6 STEEL 26 10 TEXTILE 2 FARMING, FOOD AND The cementation process 26 Wool 53 DRINK, WOODLANDS Crucible steel 27 Cotton 54 Land drainage 4 Wire 29 Linen weaving 54 Farm Engine houses 4 The 19thC steel revolution 31 Artificial fibres 55 Corn milling 5 Alloy steels 32 Clothing 55 Water Corn Mills 5 Forging and rolling 33 11 OTHER MANUFACTUR- Windmills 6 Magnets 34 ING INDUSTRIES Steam corn mills 6 Don Valley & Sheffield maps 35 Chemicals 56 Other foods 6 South Yorkshire map 36-7 Upholstery 57 Maltings 7 7 ENGINEERING AND Tanning 57 Breweries 7 VEHICLES 38 Paper 57 Snuff 8 Engineering 38 Printing 58 Woodlands and timber 8 Ships and boats 40 12 GAS, ELECTRICITY, 3 COAL 9 Railway vehicles 40 SEWERAGE Coal settlements 14 Road vehicles 41 Gas 59 4 OTHER MINERALS AND 8 CUTLERY AND Electricity 59 MINERAL PRODUCTS 15 SILVERWARE 42 Water 60 Lime 15 Cutlery 42 Sewerage 61 Ruddle 16 Hand forges 42 13 TRANSPORT Bricks 16 Water power 43 Roads 62 Fireclay 16 Workshops 44 Canals 64 Pottery 17 Silverware 45 Tramroads 65 Glass 17 Other products 48 Railways 66 5 IRON 19 Handles and scales 48 Town Trams 68 Iron mining 19 9 EDGE TOOLS Other road transport 68 Foundries 22 Agricultural tools 49 14 MUSEUMS 69 Wrought iron and water power 23 Other Edge Tools and Files 50 Index 70 Further reading 71 USING THIS BOOK South Yorkshire has a long history of industry including water power, iron, steel, engineering, coal, textiles, and glass. -
Intellectual Property Rights (IPR) Elements of the DIME Network Currently Focus on Research in the Area of Patents, Copy- Rights and Related Rights
DIME Working Papers on INTELLECTUAL PROPERTY Sponsored by the Dynamics of Institutions and 6th Framework Programme Markets in Europe is a network RIGHTS of the European Union of excellence of social scientists in Europe, working on the eco- http://www.dime-eu.org/working-papers/wp14 nomic and social consequences of increasing globalization and the rise of the knowledge economy. http://www.dime-eu.org/ Emerging out of DIME Working Pack: ‘The Rules, Norms and Standards on Knowledge Exchange’ Further information on the DIME IPR research and activities: http://www.dime-eu.org/wp14 This working paper is submitted by: John R. Bryson and Michael Taylor School of Geography, Earth and Environmental Sciences, The University of Birmingham, Email: [email protected] Enterprise by ‘industrial’ design: creativity and competitiveness in the Birmingham (UK) Jewellery Quarter This is Working Paper No 47 (April 2008) The Intellectual Property Rights (IPR) elements of the DIME Network currently focus on research in the area of patents, copy- rights and related rights. DIME’s IPR research is at the forefront as it addresses and debates current political and controversial IPR issues that affect businesses, nations and societies today. These issues challenge state of the art thinking and the existing analytical frameworks that dominate theoretical IPR literature in the fields of economics, management, politics, law and regula- tion- theory. Enterprise by ‘Industrial’ Design: Creativity and Competitiveness in the Birmingham (UK) Jewellery Quarter John R. Bryson and Michael Taylor, School of Geography, Earth and Environmental Sciences, The University of Birmingham, Edgbaston, Birmingham, B15 2TT E-mail: [email protected] Abstract This paper explores the manufacture of jewellery in Birmingham’s established jewellery quarter. -
To Download Contemporary Art Society's Acquisitions & Art
Contemporary Art Society Acquisitions & Art Consultancy APRIL 2017–MARCH 2018 Contents Foreword 5 Museums Receiving Artworks 9 Contemporary Art Society 59 Central Street, London EC1V 3AF Map of Museum Members 10 Tel: +44 (0)20 7017 8400 Email: [email protected] Website: contemporaryartsociety.org Special Projects Follow us on social media — Great Works 14 /thecontemporaryartsociety contemporaryartsociety — Collections Fund at Frieze 18 @ContempArtSoc — Valeria Napoleone XX Contemporary 20 Every effort has been made to contact all copyright Art Society holders. If proper acknowledgement has not been made, please contact the Contemporary Art Society. — Art Night 24 All rights reserved. No part of this publication may be reproduced, stored in a retrieval system or transmitted in any form or by any means, electronical, Acquisitions Scheme mechanical or otherwise, without first seeking the written permission of the copyright holders and — Fine Art 27 of the Contemporary Art Society. Images cannot be reproduced without prior permission from the — Omega Fund 75 Contemporary Art Society. Date of publication: June 2018 Edited by Marcus Crofton, Charlotte dos Santos, Gifts and Bequests 91 Caroline Douglas, Nina Johnson, Fabienne Nicholas and Christine Takengny Designed by Hyperkit Cover image: Gillian Wearing, Millicent Fawcett, 2018, Art Consultancy 99 bronze, pink granite and laser-etched black granite, 400 x 120 cm. Photo: Kevin Percival. Supporters and Patrons 108 Museum Members 112 Art Consultancy Clients 114 Trustees and Staff 115 Index of Artists 117 Image Credits 119 Foreword The Trustees of the Contemporary Art Society are a hard-working group of individuals whose commitment to our mission makes an enormous difference to the way we are able to operate. -
Birmingham Jewellery Quarter Heritage Trail
BIRMINGHAM JEWELLERY QUARTER HERITAGE TRAIL 11 BROUGHT TO YOU BY BIRMINGHAM JEWELLERY QUARTER HERITAGE TRAIL Birmingham’s famous Jewellery Quarter is completely unique - there is no other historic townscape like it in the world. It is an area rich in heritage, but what makes it so special is that it is still also a living, working community. The purpose of this walking trail is to provide an introduction to the Quarter’s past and present, and to encourage visitors to discover more about this fascinating area. This trail is printed and distributed by the Jewellery Quarter Development Trust (JQDT). The development of the Jewellery Quarter. Goldsmiths and silversmiths have been working in what we now call the Jewellery Quarter for more than 200 years. Originally scattered across Birmingham, they began to congregate in the Hockley area from 1760 onwards. The main reason for this was the development of the Colmore family’s Newhall estate which released more land for housing and manufacturing. 1 Precious metal working grew out of the ‘toy’ trades – not children’s playthings but buckles, buttons and other small metal trinkets. ‘Brummagem toys’ were produced in their hundreds and thousands, in cut-steel, brass and silver. Westley’s Map of Birmingham, 1731 - Confusingly north is to the right! As the trade expanded new streets were laid out across former rural estates, and substantial new houses were built for wealthy manufacturers. Alongside these large houses, terraces of artisans’ homes were also constructed. In time the gardens of these houses became built up with workshops and spare rooms had work benches installed. -
The Techniques and Material Aesthetics of the Daguerreotype
The Techniques and Material Aesthetics of the Daguerreotype Michael A. Robinson Submitted for the degree of Doctor of Philosophy Photographic History Photographic History Research Centre De Montfort University Leicester Supervisors: Dr. Kelley Wilder and Stephen Brown March 2017 Robinson: The Techniques and Material Aesthetics of the Daguerreotype For Grania Grace ii Robinson: The Techniques and Material Aesthetics of the Daguerreotype Abstract This thesis explains why daguerreotypes look the way they do. It does this by retracing the pathway of discovery and innovation described in historical accounts, and combining this historical research with artisanal, tacit, and causal knowledge gained from synthesizing new daguerreotypes in the laboratory. Admired for its astonishing clarity and holographic tones, each daguerreotype contains a unique material story about the process of its creation. Clues from the historical record that report improvements in the art are tested in practice to explicitly understand the cause for effects described in texts and observed in historic images. This approach raises awareness of the materiality of the daguerreotype as an image, and the materiality of the daguerreotype as a process. The structure of this thesis is determined by the techniques and materials of the daguerreotype in the order of practice related to improvements in speed, tone and spectral sensitivity, which were the prime motivation for advancements. Chapters are devoted to the silver plate, iodine sensitizing, halogen acceleration, and optics and their contribution toward image quality is revealed. The evolution of the lens is explained using some of the oldest cameras extant. Daguerre’s discovery of the latent image is presented as the result of tacit experience rather than fortunate accident.