Object of the Day, Museum Edition: A Sheffield Silver Salver, 18th Century

Click on image to enlarge.

Silver Salver
Sheffield, 1740-1780
The Victoria & Albert Museum

In the Eighteenth Century, small silver salvers (wee trays with no handles) were used for a variety of purposes such as presenting a glass or small object to the master of the house. However, by the mid Eighteenth Century, salvers were mostly used to carry letters, cards or newspapers. For a servant to hand something directly to the master of the house was considered very bad form, so, the silver salver served as a handy go-between.

Salvers were usually round or slightly oval. Every so often, they were made in a square or polygonal form, often with rounded corners. They, more often than not, featured little silver feeties upon which the tray could rest when left upon a flat surface such as a center table or sideboard.

This circular example with three feet is made in Sheffield plate—coated with silver on both sides, but with the upper layer being thicker to better withstand the wear that the top of the object would receive. Furthermore, thicker silver on the top surface allowed sufficient material for a coat of arms or monogram to be engraved without exposing the base metal of the copper core. Such salvers were typically engraved. This one, for example, has been adorned with a coat of arms and branches of laurel and palm. This salver is an excellent example of the type of salvers made in Sheffield between 1740 and 1780.

To Serve and Project: A Souvenir of the Great Exhibition, 1851

This beautiful transfer-printed plate comes alive from the use of underglaze colors, depicting an interior view of the sculpture court of the 1851 Exhibition Building.  The top of the plate is inscribed “INTERIOR VIEW OF THE CRYSTAL PALACE."  The border is painted green with a gilt edge and scrolling adornment.

The Exhibition of the Works of Industry of All Nations-- known more commonly as the Great Exhibition--took place in London from May 1 to October11, 1851 and served as a regal spectacle showcasing the manufactures wares of more than thirty British Colonies, allowing a celebration of the commercial and artistic wealth of Britain.  The location itself was a triumph of British skill  and ingenuity--Joseph Paxton’s revolutionary glass building; the Crystal Palace.

This plate was one of many items produced for the months-long event, intended as an affordable souvenir which could be purchased by any of the millions of visitors to the Exhibition.   It has been preserved in the Victoria & Albert Museum along with a good many of the actual items displayed in the Crystal Palace.  

Object of the Day, Museum Edition: A Sheffield Silver Salver, 18th Century

Click on image to enlarge.

Silver Salver
Sheffield, 1740-1780
The Victoria & Albert Museum

In the Eighteenth Century, small silver salvers (wee trays with no handles) were used for a variety of purposes such as presenting a glass or small object to the master of the house. However, by the mid Eighteenth Century, salvers were mostly used to carry letters, cards or newspapers. For a servant to hand something directly to the master of the house was considered very bad form, so, the silver salver served as a handy go-between.

Salvers were usually round or slightly oval. Every so often, they were made in a square or polygonal form, often with rounded corners. They, more often than not, featured little silver feeties upon which the tray could rest when left upon a flat surface such as a center table or sideboard.

This circular example with three feet is made in Sheffield plate—coated with silver on both sides, but with the upper layer being thicker to better withstand the wear that the top of the object would receive. Furthermore, thicker silver on the top surface allowed sufficient material for a coat of arms or monogram to be engraved without exposing the base metal of the copper core. Such salvers were typically engraved. This one, for example, has been adorned with a coat of arms and branches of laurel and palm. This salver is an excellent example of the type of salvers made in Sheffield between 1740 and 1780.

To Serve and Project: The Minton Phoenix Dish, c. 1825

Click Image for Original Size Picture
Dish, c. 1825
Minton &  Co.
The Victoria & Albert Museum

Made at Minton’s Stoke-on-Trent factory, this porcelain plate is painted in enamel colors and adorned with fine gilding. Dating to about 1825, this oval plate features a high, shaped rim which frames the oval panel in the center which depicts flowering plants.

Two birds, based on Chinese paintings, adorn the plate. I’d guess they were meant to represent the phoenix. The sides come alive with panels of cloud ornament while the high rim is decorated with rosettes and a pattern of dots on a blue ground. Eight floral scenes punctuate the rim.

The 1820s, especially in England, saw a stylistic turn, a stylized nod to Asian themes, which found a comfortable spot in the home. Such Asian-inspired motifs adorned everything from porcelain to furnishings and offered an interesting counterpoint to the heavier, darker pieces which had long been in fashion. 

To Serve and Project: A Souvenir of the Great Exhibition, 1851

This beautiful transfer-printed plate comes alive from the use of underglaze colors, depicting an interior view of the sculpture court of the 1851 Exhibition Building.  The top of the plate is inscribed “INTERIOR VIEW OF THE CRYSTAL PALACE."  The border is painted green with a gilt edge and scrolling adornment.

The Exhibition of the Works of Industry of All Nations-- known more commonly as the Great Exhibition--took place in London from May 1 to October11, 1851 and served as a regal spectacle showcasing the manufactures wares of more than thirty British Colonies, allowing a celebration of the commercial and artistic wealth of Britain.  The location itself was a triumph of British skill  and ingenuity--Joseph Paxton’s revolutionary glass building; the Crystal Palace.

This plate was one of many items produced for the months-long event, intended as an affordable souvenir which could be purchased by any of the millions of visitors to the Exhibition.   It has been preserved in the Victoria & Albert Museum along with a good many of the actual items displayed in the Crystal Palace.  

The Home Beautiful: A Seder Plate, 1764

Seder Plate
Pewter, 1764
The Victoria & Albert Museum

Since Passover begins today, I thought I would re-post one of the many Jewish objects which we've looked at in previous years.  

But, before we look at this beautiful Eighteenth Century pewter Seder plate, let's revisit what happens on the evening of Passover...

On Passover, the youngest member of a Jewish household asks four questions.  These are, in Hebrew and in English:

1.      Shebb'khol hallelot anu okh’lin ḥamets umatsa, vehallayla hazze kullo matsa.
Why is it that on all other nights during the year we eat either leavened bread or matza, but on this night we eat only matza?

2.     Shebb'khol hallelot anu okh’lin sh’ar y'rakot, vehallayla hazze maror.
Why is it that on all other nights we eat all kinds of vegetables, but on this night we eat bitter herbs?

3.     Shebb'khol hallelot en anu matbillin afillu pa‘am eḥat, vehallayla hazze sh'tei fe‘amim.
Why is it that on all other nights we do not dip [our food] even once, but on this night we dip them twice?

4.    Shebb'khol hallelot anu okh’lin ben yosh’vin uven m'subbin, vehallayla hazze kullanu m'subbin.
Why is it that on all other nights we dine either sitting upright or reclining, but on this night we all recline?

The Seder plate holds the six symbolic foods that are eaten during the Passover meal—those addressed in the four questions. Seder, ostensibly, means “order” in Hebrew, and the service includes the recitation of the story of the exodus from Egypt.

The symbolic foods include bitter herbs such as horseradish, as a symbol of suffering, and unleavened bread (matzo) to recall the escape from Egypt when there was not time to wait for the bread to rise.

The full list of foods is:

§  Maror and Chazeret: Two types of bitter herbs, symbolizing the bitterness and harshness of the slavery which the Jews endured in Ancient Egypt. For maror, most families employ freshly grated horseradish or whole horseradish root. Chazeret is typically symbolized as romaine lettuce, whose roots are bitter-tasting.

§  Charoset: A sweet, brown  paste of fruits and nuts, representing the mortar used by the Jewish slaves to build the storehouses of Egypt.

§  Karpas: A vegetable other than bitter herbs.  This is usually parsley but sometimes something such as celery or cooked potato is substituted.  These are dipped into salt water (Ashkenazi custom), vinegar (Sephardi custom), or charoset at the beginning of the Seder.  The salt water represents the tears that were shed.

§  Zeroa: A roasted lamb bone, symbolizing the korban Pesach (Pesach sacrifice), which was a lamb offered in the Temple in Jerusalem and was then roasted and eaten as part of the meal on Seder night.  Watch out Lambchop!

§  Beitzah: A hard boiled egg, symbolizing the korban chagigah (festival sacrifice) that was offered in the Temple in Jerusalem.

So, let’s take a look at this plate.  It was made in 1764 by Lieb bar Yitzak of engraved pewter.  In the center of the plate is an engraved star and, within it, an image of the Passover lamb.  Around it are scenes that relate to the song ‘Only One Kid’, which is sung on Seder night.  Engraved text around the rim of the plate show where each of the six foods should be placed.  

And...just because I'm a weird puppet man in my own way, let's just admit that many of you KNEW I couldn't let the opportunity to post THIS again from Lambchop's Passover Surprise.

Object of the Day, Museum Edition: The Twelve Wonders of the World Trenchers, 1600-1630

Set of wooden trenchers.
England, 1600-1630
The Victoria & Albert Museum

Made between 1600 and 1630, this set of twelve wooden trenchers—still in their original box—owes its excellent condition to the fact that it was only to be used on special occasions: Christmas, Easter, New Year. The plates were set with the smooth , gold or silver side up at the end of a meal and were used to serve each dinner guest a delicate treat—marzipan, sugar plums, candied fruits. When the morsel was finished, the guest would turn over his or her trencher to reveal the painted side which was adorned with a scene illustrating one of the “Wonders of the World” as well as a poem, verse or riddle which was to be read aloud for the enjoyment of the other guests. The inscription is written around a band of guilloche ornament.

The theme of “The Wonders of the World” is to be taken rather loosely. In fact, each roundel depicts an individual character—an opulently attired lady, a soldier or a gentleman. The “Wonders of the World” concept really comes into play with the verses which describe the joys of life while poking fun at the weaknesses of mankind. The verses were originally written by John Davies especially for trenchers at a New Year party given around 1600 by Thomas Sackville, Ist Earl of Dorset. According to the V&A, “They were published in 1608 and were then available for other trencher makers to copy.” Similar sets of trenchers which were also made in England during the early Seventeenth Century depict flowers with biblical verses and proverbs.

Such a luxurious set of trenchers could only have been afforded by the very wealthy. This particular set was certainly treasured and given the best care and attention as it shows no signs of wear whatsoever. The box, even, is in excellent condition. The round box features a decorated with two male figures, a rooster and a tree, with a building and a beacon in the background. The initials 'E.W.' on the box could wither be those of the owner or the maker.

I won't post pictures of all twelve.  But, here are a couple of examples.

To Serve and Project: The Minton Phoenix Dish, c. 1825

Click Image for Original Size Picture
Dish, c. 1825
Minton &  Co.
The Victoria & Albert Museum

Made at Minton’s Stoke-on-Trent factory, this porcelain plate is painted in enamel colors and adorned with fine gilding. Dating to about 1825, this oval plate features a high, shaped rim which frames the oval panel in the center which depicts flowering plants.

Two birds, based on Chinese paintings, adorn the plate. I’d guess they were meant to represent the phoenix. The sides come alive with panels of cloud ornament while the high rim is decorated with rosettes and a pattern of dots on a blue ground. Eight floral scenes punctuate the rim.

The 1820s, especially in England, saw a stylistic turn, a stylized nod to Asian themes, which found a comfortable spot in the home. Such Asian-inspired motifs adorned everything from porcelain to furnishings and offered an interesting counterpoint to the heavier, darker pieces which had long been in fashion. 

To Serve and Project: A Sheffield Silver Salver, 18th Century

Click on image to enlarge.

Silver Salver
Sheffield, 1740-1780
The Victoria & Albert Museum

In the Eighteenth Century, small silver salvers (wee trays with no handles) were used for a variety of purposes such as presenting a glass or small object to the master of the house. However, by the mid Eighteenth Century, salvers were mostly used to carry letters, cards or newspapers. For a servant to hand something directly to the master of the house was considered very bad form, so, the silver salver served as a handy go-between.

Salvers were usually round or slightly oval. Every so often, they were made in a square or polygonal form, often with rounded corners. They, more often than not, featured little silver feeties upon which the tray could rest when left upon a flat surface such as a center table or sideboard.

This circular example with three feet is made in Sheffield plate—coated with silver on both sides, but with the upper layer being thicker to better withstand the wear that the top of the object would receive. Furthermore, thicker silver on the top surface allowed sufficient material for a coat of arms or monogram to be engraved without exposing the base metal of the copper core. Such salvers were typically engraved. This one, for example, has been adorned with a coat of arms and branches of laurel and palm. This salver is an excellent example of the type of salvers made in Sheffield between 1740 and 1780.

The Home Beautiful: A Seder Plate, 1764

Seder Plate
Pewter, 1764
The Victoria & Albert Museum

On Tuesday, I posted a marginally frightening video of Shari Lewis and Dom DeLuise singing about “The Seder Plate.”  And, so, since we’re looking at things with stars on them today, I thought we’d take a look of a real Seder plate which didn’t involve Lambchop.

On Passover, the youngest member of a Jewish household asks four questions.  These are, in Hebrew and in English:

1.      Shebb'khol hallelot anu okh’lin ḥamets umatsa, vehallayla hazze kullo matsa.
Why is it that on all other nights during the year we eat either leavened bread or matza, but on this night we eat only matza?

2.     Shebb'khol hallelot anu okh’lin sh’ar y'rakot, vehallayla hazze maror.
Why is it that on all other nights we eat all kinds of vegetables, but on this night we eat bitter herbs?

3.     Shebb'khol hallelot en anu matbillin afillu pa‘am eḥat, vehallayla hazze sh'tei fe‘amim.
Why is it that on all other nights we do not dip [our food] even once, but on this night we dip them twice?

4.    Shebb'khol hallelot anu okh’lin ben yosh’vin uven m'subbin, vehallayla hazze kullanu m'subbin.
Why is it that on all other nights we dine either sitting upright or reclining, but on this night we all recline?

The Seder plate holds the six symbolic foods that are eaten during the Passover meal—those addressed in the four questions. Seder, ostensibly, means “order” in Hebrew, and the service includes the recitation of the story of the exodus from Egypt.

The symbolic foods include bitter herbs such as horseradish, as a symbol of suffering, and unleavened bread (matzo) to recall the escape from Egypt when there was not time to wait for the bread to rise.

The full list of foods is:

§  Maror and Chazeret: Two types of bitter herbs, symbolizing the bitterness and harshness of the slavery which the Jews endured in Ancient Egypt. For maror, most families employ freshly grated horseradish or whole horseradish root. Chazeret is typically symbolized as romaine lettuce, whose roots are bitter-tasting.

§  Charoset: A sweet, brown  paste of fruits and nuts, representing the mortar used by the Jewish slaves to build the storehouses of Egypt.

§  Karpas: A vegetable other than bitter herbs.  This is usually parsley but sometimes something such as celery or cooked potato is substituted.  These are dipped into salt water (Ashkenazi custom), vinegar (Sephardi custom), or charoset at the beginning of the Seder.  The salt water represents the tears that were shed.

§  Zeroa: A roasted lamb bone, symbolizing the korban Pesach (Pesach sacrifice), which was a lamb offered in the Temple in Jerusalem and was then roasted and eaten as part of the meal on Seder night.  Watch out Lambchop!

§  Beitzah: A hard boiled egg, symbolizing the korban chagigah (festival sacrifice) that was offered in the Temple in Jerusalem.

So, let’s take a look at this plate.  It was made in 1764 by Lieb bar Yitzak of engraved pewter.  In the center of the plate is an engraved star and, within it, an image of the Passover lamb.  Around it are scenes that relate to the song ‘Only One Kid’, which is sung on Seder night.  Engraved text around the rim of the plate show where each of the six foods should be placed. 

Object of the Day, Museum Edition: The Fox and Dog Plate, 1753

The Victoria & Albert Museum

This plate of soft-paste porcelain is cleverly painted with enamels and molded in relief with a scene from Aesop's fable of “The Fox, the Dog and the Cock.” Such a dish was made for decorative purposes (or perhaps, remotely as a plate for light desserts or cheese) as opposed to practical use. The fabled scene is shown against an enameled landscape with a river and mountains. The decorative rim is molded with lush design of shell ornament and painted with floral accents.

This was made in Chelsea, England between 1753-1755 and was most likely modeled by Nicholas Sprimont and painted by J.H. O’Neale. These attributions are not entirely certain, but can be deduced by examples of similar ceramics that bear the marks of these celebrated gentlemen.

Another clue is the shape of the plate itself. The plate mirrors the forms of metalwork and silver plates of the era, particularly those of the silversmith Nicholas Sprimont--the proprietor of the Chelsea factory.

To Serve and Project: A Souvenir of the Great Exhibition, 1851

This beautiful transfer-printed plate comes alive from the use of underglaze colors, depicting an interior view of the sculpture court of the 1851 Exhibition Building.  The top of the plate is inscribed “INTERIOR VIEW OF THE CRYSTAL PALACE."  The border is painted green with a gilt edge and scrolling adornment.

The Exhibition of the Works of Industry of All Nations-- known more commonly as the Great Exhibition--took place in London from May 1 to October11, 1851 and served as a regal spectacle showcasing the manufactures wares of more than thirty British Colonies, allowing a celebration of the commercial and artistic wealth of Britain.  The location itself was a triumph of British skill  and ingenuity--Joseph Paxton’s revolutionary glass building; the Crystal Palace.

This plate was one of many items produced for the months-long event, intended as an affordable souvenir which could be purchased by any of the millions of visitors to the Exhibition.   It has been preserved in the Victoria & Albert Museumalong with a good many of the actual items displayed in the Crystal Palace.  

Object of the Day: An Antique Plate by Meakin

In the Nineteenth Century, J. and G. Meakin of England produced ironstone plates with “tourist” scenes of English landmarks for export to Australia, Canada and the United States. In 1970, Wedgwood took over the Meakin name, stopping production in 2000.


This plate by Meakin dates to the late Nineteenth Century. The green transfer-ware scene depicts one of the “stately homes of England”—just the sort of thing that a “foreign” market would want to collect as an example of the collective imagery of Britain.

The reverse of the plate says, “Romantic England. Penshurst Place. Kent, c. 1341. Historic ancestral home of the Sidneys. Sir Philip Sydney, poet and soldier, was born here. J & G Meakin, England. Permanent Decoration, A Genuine Hand Engraving by Frank Trigger.”

Sturdy and attractive, these plates found their way into many a home and were more often than not displayed as opposed to used in daily life. Such interesting “souvenirs” can often be found in antique shops today.

Penshurst Place today.