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Black, white, gilt, frosted, pearled and other tinted silver
On December 17th, 2009 John Culme wrote on the subject of Uncategorized.
the Goodwood Cup of 1869, Edward Barnard & Sons, London, 1869, for the retail goldsmith, J.W. Benson of 25 Old Bond Street, London, ‘a magnificent Old English Silver Tankard and Cover, modelled by Mr. J.E. Boehm, the subject being taken from Frith‘s celebrated painting of ”The Derby Day,” [it] is wrought out with consummate skill, both in the modelling and chasing, the figures being oxidized on a pearl white back-ground… (Jackson’s Oxford Journal, Oxford, London, Saturday, 31 July 1869, p. 3e)
The image on the right shows the piece as it was in 1977; that on the left as it probably originally appeared in 1869.
(photo: courtesy of Sotheby’s, London: Mentmore sale, 23 May 1977, lot 1666)
Looking at the photograph in my last blog of Hunt & Roskell’s display at the 1862 International Exhibition, one could be forgiven for thinking that the lighting was amiss; the silver is so snowy white. In fact, this image records perfectly how most display plate would have appeared . The prevailing fashion was to ‘colour’ silver in some way, either by frosting (as in the Hunt & Roskell display) or by combinations of gilding, partly gilding (known as parcel-gilding), pearling or oxidizing, the latter producing a black surface.
Techniques for colouring silver (and gold) were developed in antiquity and have been used in various ways ever since. In modern times, the silversmith’s everyday repertoire included interesting finishes for his work. Silver-gilt, because of its relative durability, has survived in great quantities; but silver objects treated with heat, acids or other agents to produce black, white and coloured tints are much more delicate. A rare 1760s, London-made blackened silver cup appeared at auction a few years ago only to create confusion because its unusual colour was nearly mistaken for ordinary tarnish.
Some French and Russian silversmiths at the Great Exhibition of 1851 caused considerable comment for their unusual oxidized work, whereas English silversmiths relied mostly on the contrast of brightly polished areas juxtaposed with dead white frosting.
The possibility of colouring silver may not be familiar to many, but Richard Hughes and Michael Rowe have dealt splendidly with the subject in their book, The Colouring, Bronzing and Patination of Metals (1991).
two marine pattern silver salts in the manner of Nicholas Sprimont (1716-1771),
created with naturalistically-coloured silver crayfish and crab by Smith & Harris, manufacturing goldsmiths and silversmiths, London, and shown at the ‘Supermodels’ exhibition, Goldsmiths’ Hall, 2001
(photo: courtesy of Smith & Harris, London)
- various items from the workshops of Hunt & Roskell and Edward Barnard & Sons are currently listed on myfamilysilver.comÂ
Elegant cows!
On July 23rd, 2009 John Culme wrote on the subject of Uncategorized.
A George III silver cow cream jug and a pair of silver tapersticks, John Schuppe, London, 1762 and 1764 (photo: courtesy Sotheby's)
I recall reading a review of an exhibition of Georgian silver at the Paine Art Center, Wisconsin, wherein a John Schuppe silver cow cream jug was described as ‘elegant.’ Characterful, amusing, yes, but surely, never elegant!
These charming objects date from the time Schuppe entered his first mark at the London Assay Office, in 1753, until the early 1770s. Arthur Grimwade (London Goldsmiths) says that such creamers were Schuppe’s mainstay, noting also that he made a few other ‘small fancies such as figure tapersticks.’ Grimwade, who thought that the silversmith might have been Dutch, lists two addresses, both near Goldsmiths’ Hall, but nothing more.
Schuppe and its variants like Shuppee is rare in mid 18th Century London, so the inescapable conclusion is that John and the others in the records of that time are all from the same family. The John Christian Schuppe who died in 1777 appears to have owned the Sun Tavern in the Strand; in 1765 he was in trouble with the authorities for having let one of his rooms for the public display of two native American Indians. Word came from the House of Lords that such action might have ‘dangerous consequences,’ was ‘unbecoming and inhuman’ and that both men, Mohawk warriors, should be returned home.
Confusingly, this J.C. Schuppe had a brother called John Philip Schuppe who may or may not have been the silversmith. Clearly, more genealogical work must be done; in the meantime, we continue to smile at John Schuppe’s delightfully whimsical creations.
To see a silver cow cream jug by Schuppe visit Koopman Rare Art at myfamilysilver.com
John Culme, who for many years has been connected with Sotheby's Silver Department, is author of several books and articles, including The Directory of Gold and Silversmiths, 1838-1914, published in 1987, and co-author with Nicholas Rayner of The Jewels of the Duchess of Windsor. He is also a Liveryman of the Goldsmiths' Company, London.
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