Down among the leatherwork, embroidery and other contributions by amateur lady craftswomen to the Home Industries’ Exhibition at the Waldorf Hotel, London, in April 1908, Queen Alexandra was attracted to a little glazed earthenware teapot. This traditional ‘Brown Betty‘ was no ordinary article, however, because the exhibitor, a Mrs. F. Wright, had decorated it with a ‘perforated Silver Casement, beautifully designed, made in two parts.’ The point was that the silver mount could be removed for cleaning.
The mounting of ceramics and other materials was nothing new; splendid examples survive from all ages, including beautiful old Chinese vessels with late 16th Century European silver and silver-gilt mounts. More recently the enterprising London silversmith Joseph Angell experimented with the idea in his 1851 silver four-piece ‘Aesop’s Fables’ tea and coffee service, which had an intricate frosted silver ‘jacket,’ allowing for the use of the set to be either plain or decorated. Elkington & Co. Ltd., the patentees of the electroplating process, on the other hand, developed a method of imparting very thin silver cagework mounts by electro-deposition to fancy articles, chiefly glass. Not so popular in England, this type of decoration was enthusiastically employed by many American silversmiths.
In a modest way, Mrs. Wright achieved success with her patent (no. 28,295), no doubt encouraged by royal patronage, because examples are known hallmarked between 1908 and 1911. Indeed, she supplied the teapots in four sizes, with the mounts in a variety of patterns, priced between 12s. 6d. and £5 5s.
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. 