Old Sheffield Plate chamberstick by Matthew Boulton. The snuffer, being regularly in contact with a candle flame, has had more polishing and shows copper bleeding. |
From my extensive research among for sale advertisements, it appears that a good many people believe Old Sheffield Plate is anything that is old, silver-plated, and made in Sheffield, England.
This is a misconception. Most of the elderly silver plate that people would like to be rid of today, because nobody enjoys polishing it any more, is electroplated and probably no older than 1840 at the earliest. If you examine the underside of such items, you will frequently find, among other marks, the letters EPNS or EPBM. You may or may not find a maker’s name, and / or mark, and / or a place of manufacture.
Electroplating, as the name implies, depends upon the availability of electricity. An object is first made out of base metal, usually the so-called nickel silver, (which doesn’t contain any actual silver at all, but is an ally of copper, nickel and zinc) or else Britannia metal (which is cheaper than NS because it is mostly tin). The object is then immersed in an electrolyte containing silver ions, and the current causes a thin layer of silver to be deposited all over the external surface of the object.
EPNS thus indicates Electro-Plated Nickel Silver and EPBM stands for Electro-Plated Britannia Metal. If you polish vigorously enough to remove the surface layer of silver from either of these, you will expose dull, greyish-silver patches of metal that can’t be shined. Electroplating of pure copper also took place, which can be confusing to the OSP collector.
Old Sheffield Plate was first introduced a century before electroplating, and was intended to appeal to the burgeoning middle classes, who were making money out of the Industrial Revolution, but who either couldn’t afford solid silver or thought it extravagant. When items were new, only an expert could tell OSP from solid silver, so the appearance of wealth could be created without the expense. To aid in the deception, a lot of early OSP was completely devoid of makers’ marks, and later much was marked with a series of letters which, absent close inspection, might be mistaken for sterling hallmarks. Other pieces were simply marked with what we might today call a logo, that is, a symbol denoting the identity of the maker.
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Probably the twin suns maker’s mark of Matthew Boulton, registered 1784. The H is likely to be the craftsman’s personal mark, which could be used in calculating his wages. |
Unlike electroplating, the process of making OSP begins with making the silver plate. This involves taking a block of solid copper, laying on it a sheet of solid silver, and fusing them together in a furnace, causing a thin middle layer of copper / silver alloy to emerge at the junction and form a permanent bond. The block is then rolled in a mill until it is a thin sheet which is silver on one side and copper on the other. The desired item is then crafted from the sheet.
This was a more expensive process than electroplating, because the silver is involved from the very first, and you couldn’t economise by placing base metal items in stock until an order came in, at which point the essentially already finished product could have the silver layer added. With OSP your only viable economy was to tin interior surfaces that were rarely seen, such as the inside of teapots, rather than putting another layer of silver on the other side of the block where the interior was to be exposed, such as a fruit bowl.
Not all OSP was actually made in Sheffield. Although Sheffield ware was deemed the best, Birmingham overtook the original city’s producers in quantity. Some production by the same process was undertaken in France about forty or fifty years after Sheffield had invented it.
To my eyes, OSP looks a warmer silver than EP, which seems to me quite cold. It may just be my imagination. Certainly, when you over-polish OSP, you see a warm tone of copper ‘bleeding’ through the silver, especially on exposed ridges. Since, with limited exceptions, even the youngest OSP pieces are approaching their second centenary, the collector can, these days, tolerate a limited evidence of the copper underneath, but personally, I don’t really care for pieces so worn that they resemble copper objects with a bit of residual silver trim.
It’s a wonderful thought that your coffee pot might have graced the table of some affluent merchant’s dwelling decades before the independence of The USA, your tankard may have sailed the seas with an officer of Nelson’s navy, or your candlestick lighted Jane Austen’s way to bed. And though yours may have had a more prosaic history, somebody somewhere probably has those very pieces, because these things last a long time.
The great thing is that small pieces are still relatively inexpensive. But, like any silver, if you expose it to a lot of fresh air, it will oxidize and tarnish. Ideally, it should be displayed in a glass fronted cupboard with a tightly closing door. You don’t want to polish it more than you have to, because each oxidization and polishing away of the oxide erodes the silver coating.