Elkington & Co.Ltd. - Liverpool - 1907
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Elkington & Co. - Information and Advertisements
Re: Elkington & Co. - Information and Advertisements
Elkington & Co.Ltd. - Liverpool - 1907
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Re: Elkington & Co. - Information and Advertisements
Elkington & Co.Ltd. - London - 1920
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Re: Elkington & Co. - Information and Advertisements
Elkington & Co.Ltd. - London - 1920
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Re: Elkington & Co. - Information and Advertisements
FRANCO-BRITISH EXHIBITION - 1908
In the centre of this hall is the exhibit of Messrs. Elkington is Co., the well-known silversmiths, of London and Birmingham. Upon their stand is a fine example of model engineering, as applied to decorative purposes–a direction, by the way, in which some amateur engineers looking out for a new class of work might turn their attention. It consists of a presentation. clock and barometer, in silver and bronze, and was supplied through their City house, 73, Cheapside, The inscription states that the piece was presented to David Simpson, Esq., by the employees of the Buenos Aires Western Railway Company. On the top is an exact scale model, in silver, of one of the latest locomotives used by this Company, and at the front of the base is an exact scale model. in silver, of the first locomotive used by the Company; silver figures representing Labour and Mercury (as typical of power) are to the left and right-hand sides respectively. The model of the modern engine is about 20 ins. over-all length, six-coupled outside cylinder express, with bogie; tender has double bogie. The model of the old pattern engine is about 18 ins. over-all; it is of four–coupled tank pattern, and named " La Portenta." Both models are excellent examples of workmanship, and, though some details are not complete, on the whole the construction and mechanism is very well and faithfully reproduced. The valve gear has been omitted, an intention quite justified by the purpose of the models; but such fittings as lamps and cowcatcher are in their places, and a portion of track adds completeness to the general appearance. These models were designed and made in Messrs. Elkington‘s workshops; they are really good representations of the real thing. very different to the usual ornamental model, and well worth inspection; they bear the hall-mark of model workmanship as well as the hall-mark of genuine silver. We are glad to be able, by the courtesy of Messrs. Elkington, to show a reproduction of an excellent photograph of this fine piece of silversmith's art, kindly sent to us by Mr. Loaridge, of their publication department.
Source: The Model Engineer and Amateur Electrician - 3rd September 1908
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In the centre of this hall is the exhibit of Messrs. Elkington is Co., the well-known silversmiths, of London and Birmingham. Upon their stand is a fine example of model engineering, as applied to decorative purposes–a direction, by the way, in which some amateur engineers looking out for a new class of work might turn their attention. It consists of a presentation. clock and barometer, in silver and bronze, and was supplied through their City house, 73, Cheapside, The inscription states that the piece was presented to David Simpson, Esq., by the employees of the Buenos Aires Western Railway Company. On the top is an exact scale model, in silver, of one of the latest locomotives used by this Company, and at the front of the base is an exact scale model. in silver, of the first locomotive used by the Company; silver figures representing Labour and Mercury (as typical of power) are to the left and right-hand sides respectively. The model of the modern engine is about 20 ins. over-all length, six-coupled outside cylinder express, with bogie; tender has double bogie. The model of the old pattern engine is about 18 ins. over-all; it is of four–coupled tank pattern, and named " La Portenta." Both models are excellent examples of workmanship, and, though some details are not complete, on the whole the construction and mechanism is very well and faithfully reproduced. The valve gear has been omitted, an intention quite justified by the purpose of the models; but such fittings as lamps and cowcatcher are in their places, and a portion of track adds completeness to the general appearance. These models were designed and made in Messrs. Elkington‘s workshops; they are really good representations of the real thing. very different to the usual ornamental model, and well worth inspection; they bear the hall-mark of model workmanship as well as the hall-mark of genuine silver. We are glad to be able, by the courtesy of Messrs. Elkington, to show a reproduction of an excellent photograph of this fine piece of silversmith's art, kindly sent to us by Mr. Loaridge, of their publication department.
Source: The Model Engineer and Amateur Electrician - 3rd September 1908
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Re: Elkington & Co. - Information and Advertisements
INFRINGEMENT OF ELKINGTON'S PATENT FOR ELECTRO GILDING
Trial before the Tribunal Correctionnel of Paris
(From our Paris Correspondent.)
M. M. Christofle and Co. (under the patent of Elkington and Ruolz) plaintiffs: M. M. Roseleur, Clomesnil, and Gamier, defendants.
Judgment:–
"Whereas it has been proved by the analysis made by experienced persons of the metallic baths or solutions seized, and other circumstances, that Roseleur and Clomesnil have made use of for the purpose of gilding and silvering, and Gamier for silvering, the preparations patented by Christofle and Co., or the parties who disposed of the patents to them, and sold gilded and silvered articles as counterfeits of the manufacture of Christofle and Co.:
"Whereas it is of no importance in this case that Elkington in his application of the galvanic battery to gilding and silvering, had been forestalled by Brugnatelli and Baetger, and may or may not be able to claim in this respect any rights as his own by virtue of his patents; yet as it has been proved that the preparations employed by the defendants were the same as those of which Elkington is the inventor:
"It is evident, that notwithstanding the improvement effected in the process by the application of the battery, and notwithstanding the difference thus perceivable in the mode of action, we cannot, without violating the principles of the case, and depriving the patent of those rights of property which the law has conferred upon it, allow the application of this process to be made by others with the assistance of those preparations and chemical combinations named in the patent, and thus to obtain the same results as those contemplated by it:
"That as thus in each case, Roseleur, Clomesnil, and Gamier, have rendered themselves guilty of the offence of counterfeiting:
"The Court condemns Roseleur to be fined 500 francs, (£20), Clomesnil 200 francs, and Gamier 100 francs; orders confiscation of all the articles seized; condemns Roseleur to pay Christofle for damages 10,000 francs; Clomesnil 1,500 francs, and Gamier 1,000 francs; and the defendants to pay Christofle and Co.'s expenses, in the proportion of Roseleur 5,511 francs, 10 centimes; Clomesnil 1,597 francs, 45 centimes, and Gamier 1,516 francs, and in default to two years' imprisonment; and further orders that the judgment shall be inserted in six newspapers, to be chosen by the plaintiffs, the expense to be defrayed by the defendants."
Source: The Patent journal, and Inventors' Magazine - 6th November 1847
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Trial before the Tribunal Correctionnel of Paris
(From our Paris Correspondent.)
M. M. Christofle and Co. (under the patent of Elkington and Ruolz) plaintiffs: M. M. Roseleur, Clomesnil, and Gamier, defendants.
Judgment:–
"Whereas it has been proved by the analysis made by experienced persons of the metallic baths or solutions seized, and other circumstances, that Roseleur and Clomesnil have made use of for the purpose of gilding and silvering, and Gamier for silvering, the preparations patented by Christofle and Co., or the parties who disposed of the patents to them, and sold gilded and silvered articles as counterfeits of the manufacture of Christofle and Co.:
"Whereas it is of no importance in this case that Elkington in his application of the galvanic battery to gilding and silvering, had been forestalled by Brugnatelli and Baetger, and may or may not be able to claim in this respect any rights as his own by virtue of his patents; yet as it has been proved that the preparations employed by the defendants were the same as those of which Elkington is the inventor:
"It is evident, that notwithstanding the improvement effected in the process by the application of the battery, and notwithstanding the difference thus perceivable in the mode of action, we cannot, without violating the principles of the case, and depriving the patent of those rights of property which the law has conferred upon it, allow the application of this process to be made by others with the assistance of those preparations and chemical combinations named in the patent, and thus to obtain the same results as those contemplated by it:
"That as thus in each case, Roseleur, Clomesnil, and Gamier, have rendered themselves guilty of the offence of counterfeiting:
"The Court condemns Roseleur to be fined 500 francs, (£20), Clomesnil 200 francs, and Gamier 100 francs; orders confiscation of all the articles seized; condemns Roseleur to pay Christofle for damages 10,000 francs; Clomesnil 1,500 francs, and Gamier 1,000 francs; and the defendants to pay Christofle and Co.'s expenses, in the proportion of Roseleur 5,511 francs, 10 centimes; Clomesnil 1,597 francs, 45 centimes, and Gamier 1,516 francs, and in default to two years' imprisonment; and further orders that the judgment shall be inserted in six newspapers, to be chosen by the plaintiffs, the expense to be defrayed by the defendants."
Source: The Patent journal, and Inventors' Magazine - 6th November 1847
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Re: Elkington & Co. - Information and Advertisements
Two examples of the work of Elkington & Mason, a candelabrum and a race plate, that were displayed at the Irish Industrial Exhibition that was held at Dublin in 1853:
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Re: Elkington & Co. - Information and Advertisements
A Sugar-Sprinkler, designed by Sibyl Austin for Elkington & Co.:
This image is from 1905.
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This image is from 1905.
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Re: Elkington & Co. - Information and Advertisements
Elkington & Co.Ltd. - London - 1908
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Re: Elkington & Co. - Information and Advertisements
A two-handled bowl on raised feet, designed by Florence Steele for Elkington & Co.:
This image is from 1905.
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This image is from 1905.
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Re: Elkington & Co. - Information and Advertisements
A National Rifle Association medal issued by Elkington & Co. from an engraving by Waterlow & Sons Ltd.:
The winners of the Ashburton Shield in 1905 were Harrow, the medals were presented by H.M. King Edward VII.
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The winners of the Ashburton Shield in 1905 were Harrow, the medals were presented by H.M. King Edward VII.
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Re: Elkington & Co. - Information and Advertisements
The net personalty of Howard Elkington (the lately deceased head of the firm of Elkington) is returned at £86,733.
Source: The Jewelers' Circular and Horological Review - 15th March 1899
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Source: The Jewelers' Circular and Horological Review - 15th March 1899
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Re: Elkington & Co. - Information and Advertisements
ELKINGTON'S SILVER AND ELECTRO-PLATE WORKS
Many Archers are aware, and some few are not, that the world renowned firm of Messrs. Elkington make a speciality of prizes and trophies for Archery contest purposes. The fact deserves to be brought prominently before those who have hitherto been in ignorance on the point, for its bearing on the artistic feature in Toxophily is important. Last year, at Meriden, it will be remembered by all who were then present, eight of the prizes, destined henceforth and tor all time to mark the occasion of the Woodmen of Arden Centenary, were from the working studios of this eminent house, and it is hardly necessary to say were found entirely worthy of so distinguished an origin. Especially should it be remarked that the silver cup rewarding the long distance victory, the tankard for the Captain of Numbers, the claret jug for the Royal Scottish Archers, and the champagne jug won by the National Champion, proved to be productions of really extraordinary merit, bespeaking the ample resources of Messrs. Elkington in this department of highest metallic art.
In London, Manchester, and Liverpool, the firm have establishments each extensive enough to rank as the head-quarters of any concern of common dimensions ; but they are merely offshoots of the parent works. These branches greatly further the opportunities of making suitable selections by purchasers from diverse quarters, and notably by those who represent provincial and metropolitan Archery bodies, and are on the out-look for high-class studios in Archery prize work. The mother of them all, however, is the truly-imposing central factory of the house at Birmingham, situated in Newhall-street, and the rallying point of a wondrous activity in the manufacture of articles of silver and electro-plate. The show-rooms strike the stranger as a kind of sublimated fairy-land, the staircase access, with its furnishing of exquisite statuary, forming a fitting approach thereto. These magnificent rooms are stored with a wealth of product in the highest style of goldsmith and silversmith art, and one is at a loss whether to value more highly the intrinsic metallic worth which is there, or rather the mere beauty of artistic conception in which this metallic work is clothed. Amongst the varied stock we noticed articles suited to every kind of sport, and it seemed to us astonishing how such beautiful productions could be offered at so reasonable a price. Contiguous are the designing and modelling rooms, and beyond these the workshops. These departments, at first sight, suggest a Babel of hammering and whirring; but the reality quickly resolves itself into a hive of intelligence brought to bear with marvellous pressure and rich in perfective results. The electro-plating section occupies an extensive area, and is fruitful in surprises for the uninitiated beholder.
Source: The Archer's Register - 1886
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Many Archers are aware, and some few are not, that the world renowned firm of Messrs. Elkington make a speciality of prizes and trophies for Archery contest purposes. The fact deserves to be brought prominently before those who have hitherto been in ignorance on the point, for its bearing on the artistic feature in Toxophily is important. Last year, at Meriden, it will be remembered by all who were then present, eight of the prizes, destined henceforth and tor all time to mark the occasion of the Woodmen of Arden Centenary, were from the working studios of this eminent house, and it is hardly necessary to say were found entirely worthy of so distinguished an origin. Especially should it be remarked that the silver cup rewarding the long distance victory, the tankard for the Captain of Numbers, the claret jug for the Royal Scottish Archers, and the champagne jug won by the National Champion, proved to be productions of really extraordinary merit, bespeaking the ample resources of Messrs. Elkington in this department of highest metallic art.
In London, Manchester, and Liverpool, the firm have establishments each extensive enough to rank as the head-quarters of any concern of common dimensions ; but they are merely offshoots of the parent works. These branches greatly further the opportunities of making suitable selections by purchasers from diverse quarters, and notably by those who represent provincial and metropolitan Archery bodies, and are on the out-look for high-class studios in Archery prize work. The mother of them all, however, is the truly-imposing central factory of the house at Birmingham, situated in Newhall-street, and the rallying point of a wondrous activity in the manufacture of articles of silver and electro-plate. The show-rooms strike the stranger as a kind of sublimated fairy-land, the staircase access, with its furnishing of exquisite statuary, forming a fitting approach thereto. These magnificent rooms are stored with a wealth of product in the highest style of goldsmith and silversmith art, and one is at a loss whether to value more highly the intrinsic metallic worth which is there, or rather the mere beauty of artistic conception in which this metallic work is clothed. Amongst the varied stock we noticed articles suited to every kind of sport, and it seemed to us astonishing how such beautiful productions could be offered at so reasonable a price. Contiguous are the designing and modelling rooms, and beyond these the workshops. These departments, at first sight, suggest a Babel of hammering and whirring; but the reality quickly resolves itself into a hive of intelligence brought to bear with marvellous pressure and rich in perfective results. The electro-plating section occupies an extensive area, and is fruitful in surprises for the uninitiated beholder.
Source: The Archer's Register - 1886
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Re: Elkington & Co. - Information and Advertisements
Elkington & Co. - London - 1886
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Re: Elkington & Co. - Information and Advertisements
THE SPANISH LAWN TENNIS CUP (The Infante Alfonso Challenge Cup)
Elkington & Co. - 1907
The Infante Alfonso Challenge Cup for lawn tennis was presented to Heidelberg College for lawn tennis competition by the Infante of Spain.
Source: The Sphere - 6th July 1907
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Elkington & Co. - 1907
The Infante Alfonso Challenge Cup for lawn tennis was presented to Heidelberg College for lawn tennis competition by the Infante of Spain.
Source: The Sphere - 6th July 1907
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Re: Elkington & Co. - Information and Advertisements
Elkington & Co. - London - 1901
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Re: Elkington & Co. - Information and Advertisements
Jewelry worth $15,000 was stolen from Messrs. Elkington & Co.'s jewelry establishment on Regent St., the other day. The stuff was missed from a show case during the afternoon following the departure of several supposed customers who had spent some time looking at various articles. The missing gems included 40 diamond and platinum rings and a diamond necklace. Messrs. Elkington are well-known silversmiths.
Source: The Jewelers' Circular - 20th October 1920
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Source: The Jewelers' Circular - 20th October 1920
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Re: Elkington & Co. - Information and Advertisements
Cunard Liner S.S. Mauretania
Service of Plate
The service of plate, supplied by Messrs. Elkington & Co., Limited, of London, embraces more than 3,000 pieces of what is briefly described by the makers as "hollow ware "— tea and coffee pots, sugar basins, cream ewers, entree dishes, vegetable dishes, cruet frames, butter coolers, sauce boats, soup tureens, souffle dishes, and many other accessories, including nearly 16,000 spoons and forks. The general design adopted in the service embodies the distinctive features of several well-known styles, and follows what is now recognised as the "Cunard" standard. Utility has been, of course, the primary consideration, but decoration has not been neglected: and it is a most successful feature in the fruit dishes, which are heavily chased and lined with gold. Where a simpler ornament has been possible, it takes the appropriate form of a cable mount. The plant as a whole, decorated and plain, will be distinctly pleasing to the eye of the most fastidious ocean traveller.
Source: The Cunard Express Liner "Mauretania" - A.G. Hood - 1907
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Service of Plate
The service of plate, supplied by Messrs. Elkington & Co., Limited, of London, embraces more than 3,000 pieces of what is briefly described by the makers as "hollow ware "— tea and coffee pots, sugar basins, cream ewers, entree dishes, vegetable dishes, cruet frames, butter coolers, sauce boats, soup tureens, souffle dishes, and many other accessories, including nearly 16,000 spoons and forks. The general design adopted in the service embodies the distinctive features of several well-known styles, and follows what is now recognised as the "Cunard" standard. Utility has been, of course, the primary consideration, but decoration has not been neglected: and it is a most successful feature in the fruit dishes, which are heavily chased and lined with gold. Where a simpler ornament has been possible, it takes the appropriate form of a cable mount. The plant as a whole, decorated and plain, will be distinctly pleasing to the eye of the most fastidious ocean traveller.
Source: The Cunard Express Liner "Mauretania" - A.G. Hood - 1907
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Re: Elkington & Co. - Information and Advertisements
PLATE FOR THE PICCADILLY HOTEL, DESIGNED BY MESSRS. ELKINGTON
One of the outstanding features of the equipment at the Piccadilly Hotel is the magnificent service of plate specially designed and manufactured by Elkington and Co., Limited. Departing entirely from the heavy, clumsy designs which have often been associated with hotel plate, Messrs. Elkington set themselves to produce work of equal utility, practical in shape for cleaning purposes, but at the same time as beautiful in design as for a ducal mansion. The design is of the Louis XVI period.
Source: The Sketch - 13th May 1908
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One of the outstanding features of the equipment at the Piccadilly Hotel is the magnificent service of plate specially designed and manufactured by Elkington and Co., Limited. Departing entirely from the heavy, clumsy designs which have often been associated with hotel plate, Messrs. Elkington set themselves to produce work of equal utility, practical in shape for cleaning purposes, but at the same time as beautiful in design as for a ducal mansion. The design is of the Louis XVI period.
Source: The Sketch - 13th May 1908
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Re: Elkington & Co. - Information and Advertisements
A SILVER-GILT PRESENTATION SERVICE
The handsome silver-gilt service presented to Mr. Bright, and executed by Messrs. Elkington & Co. and Messrs. Osler, has lately been exhibited at the Town-hall, Birmingham. The dessert service, of the value of upwards of £600, has been specially prepared from designs by Mr. Willms, and, as illustrating to the highest advantage two of the principal art industries of Birmingham, the complete service will form an appropriate memento of Mr. Bright's connection with the town.
The service consists of a centre-piece and plateau, two end pieces, and four compotiers, en suite, in the Renaissance style, and is of oxydised silver, relieved with dead gilding, principally of the architectural parts of the design. The centre-piece, including the glass dish, is 15 in. long by 13 in. high, the height being raised to 15 in., and the length to 25 in. by the plateau upon which it stands. The central support is a classic pillar, wreathed with roses and other flowers, and upon each side of it are seated figures of Peace and Plenty—Peace holding out the olive branch, and Plenty a laurel wreath; each of the figures having cornucopise beside them. Youthful figures have been chosen by the artist for his purpose, and in each instance they are remarkably graceful in form and attitude, are spirited in modelling, and the various "textures " are admirably expressed by skilful and delicate chasing. The base of the centrepiece is ornamented with wheat-ears, poppies, lilies of the valley, and other flowers; these are exquisitely modelled and chased. On either side of the base is a shield, one bearing the dates, "1857-1883;" and the other being engraved with the monogram, "J. B.," encircled with a graceful wreath of myosotis, or forget - me - not. The central column supports a silver-gilt dish, fluted on the under side, and surmounted by a silver border of open or pierced work, elaborate in its ornamentation; this supports a richly cut glass dish, to contain fruit or flowers. The plateau on which the centre-piece stands is of diamond shape; it consists of a sheet of silvered glass, set in a boldly-modelled and massive plinth, or base, enriched with foliated and other ornaments in high relief, the bordering lines being gilt. On one side of the plinth is a tablet, having, in low relief a view of the Birmingham Town Hall—chosen as the scene of some of Mr. Bright's greatest oratorical triumphs. On a corresponding tablet on the other side is the following inscription: "Presented to the Right Hon. John Bright, M.P., by the Birmingham Liberal Association, on the completion of his twenty-fifth year as Member for the Borough, June, 1883." At each end of the base is an heraldic shield; on one of them is engraved the monogram "B. L. A.," and on the other are engraved the arms of the borough. In the tablets and shields the ground is of dull gold, which is pierced by the engraver's tool down to the bright silver, thus giving lightness and brilliancy to this part of the work.
The two end pieces are similar in design to the centre piece, but are of smaller dimensions, being thirteen inches long and ten inches in height. The figures in one of the end pieces are those of Liberty and Progress. Liberty is represented by a female figure with her right foot upon a yoke, and in her bands a broken chain; while Progress has by her side the globe and the lamp of knowledge, and bears in one hand a compass and in the other two keys. These various objects—the yoke, chain, globe, compasses, and keys—are all gilded. Shields upon the two sides of the base are engraved with Mr. Bright's monogram and the dates of his representation of Birmingham. The figures in the other end piece are those of Art and Industry. Art has in his left hand a golden vase, and points with his right to a scroll inscribed with the names of Michael Angelo, Raphael, Pousein, Reynolds, and Foley. The painter's palette and sheaf of brushes also lie upon the ground close by. On the other side of the pillar Industry supports with one hand the toothed wheel of a machine, and with the other the older but still indispensable hammer of the smith. The four compotiers—smaller pieces in the service—are each supported by a central staff or pillar, wreathed with fruit and flowers; these pieces are circular in form. There are no figures, but the wreaths enfold in one case, the wand of Mercury symbolising commerce; in the second, a telescope and quadrant, signifying science; in the third, a shepherd's crook and a reaper's sickle, representing agriculture; and in the fourth, the sword and scales of justice.
The glass service by Messrs. Osler is of the purest crystal deeply and exquisitely cut, the prevailing decorations being panels of what is technically known as "octagon" cutting. In the case of the three larger pieces the form is oval, the border having a scalloped edge, and being divided into sections by diapered cartouches, the intermediate spaces being cut to resemble set diamonds. The bottoms of the dishes are cut with a form derived from the foliage of the horse chestnut! Accompanying the service is a set of two water bottles and four goblets, treated with the same kind of ornament as that above described, and with Mr. Bright's monogram engraved upon centre medallions. For the safe custody of the service Messrs. Elkington have provided a polished oak chest, iron bound; and Messrs. Osler have supplied suitable morocco cases for the glass. It is but the barest justice to both the eminent houses engaged in the production of the service, to say that they have spared neither thought nor care to make the work one which shall be worthy alike of the receiver and the givers, and calculated to sustain the reputation of the town.
Source: The Furniture Gazette - 16th June 1888
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The handsome silver-gilt service presented to Mr. Bright, and executed by Messrs. Elkington & Co. and Messrs. Osler, has lately been exhibited at the Town-hall, Birmingham. The dessert service, of the value of upwards of £600, has been specially prepared from designs by Mr. Willms, and, as illustrating to the highest advantage two of the principal art industries of Birmingham, the complete service will form an appropriate memento of Mr. Bright's connection with the town.
The service consists of a centre-piece and plateau, two end pieces, and four compotiers, en suite, in the Renaissance style, and is of oxydised silver, relieved with dead gilding, principally of the architectural parts of the design. The centre-piece, including the glass dish, is 15 in. long by 13 in. high, the height being raised to 15 in., and the length to 25 in. by the plateau upon which it stands. The central support is a classic pillar, wreathed with roses and other flowers, and upon each side of it are seated figures of Peace and Plenty—Peace holding out the olive branch, and Plenty a laurel wreath; each of the figures having cornucopise beside them. Youthful figures have been chosen by the artist for his purpose, and in each instance they are remarkably graceful in form and attitude, are spirited in modelling, and the various "textures " are admirably expressed by skilful and delicate chasing. The base of the centrepiece is ornamented with wheat-ears, poppies, lilies of the valley, and other flowers; these are exquisitely modelled and chased. On either side of the base is a shield, one bearing the dates, "1857-1883;" and the other being engraved with the monogram, "J. B.," encircled with a graceful wreath of myosotis, or forget - me - not. The central column supports a silver-gilt dish, fluted on the under side, and surmounted by a silver border of open or pierced work, elaborate in its ornamentation; this supports a richly cut glass dish, to contain fruit or flowers. The plateau on which the centre-piece stands is of diamond shape; it consists of a sheet of silvered glass, set in a boldly-modelled and massive plinth, or base, enriched with foliated and other ornaments in high relief, the bordering lines being gilt. On one side of the plinth is a tablet, having, in low relief a view of the Birmingham Town Hall—chosen as the scene of some of Mr. Bright's greatest oratorical triumphs. On a corresponding tablet on the other side is the following inscription: "Presented to the Right Hon. John Bright, M.P., by the Birmingham Liberal Association, on the completion of his twenty-fifth year as Member for the Borough, June, 1883." At each end of the base is an heraldic shield; on one of them is engraved the monogram "B. L. A.," and on the other are engraved the arms of the borough. In the tablets and shields the ground is of dull gold, which is pierced by the engraver's tool down to the bright silver, thus giving lightness and brilliancy to this part of the work.
The two end pieces are similar in design to the centre piece, but are of smaller dimensions, being thirteen inches long and ten inches in height. The figures in one of the end pieces are those of Liberty and Progress. Liberty is represented by a female figure with her right foot upon a yoke, and in her bands a broken chain; while Progress has by her side the globe and the lamp of knowledge, and bears in one hand a compass and in the other two keys. These various objects—the yoke, chain, globe, compasses, and keys—are all gilded. Shields upon the two sides of the base are engraved with Mr. Bright's monogram and the dates of his representation of Birmingham. The figures in the other end piece are those of Art and Industry. Art has in his left hand a golden vase, and points with his right to a scroll inscribed with the names of Michael Angelo, Raphael, Pousein, Reynolds, and Foley. The painter's palette and sheaf of brushes also lie upon the ground close by. On the other side of the pillar Industry supports with one hand the toothed wheel of a machine, and with the other the older but still indispensable hammer of the smith. The four compotiers—smaller pieces in the service—are each supported by a central staff or pillar, wreathed with fruit and flowers; these pieces are circular in form. There are no figures, but the wreaths enfold in one case, the wand of Mercury symbolising commerce; in the second, a telescope and quadrant, signifying science; in the third, a shepherd's crook and a reaper's sickle, representing agriculture; and in the fourth, the sword and scales of justice.
The glass service by Messrs. Osler is of the purest crystal deeply and exquisitely cut, the prevailing decorations being panels of what is technically known as "octagon" cutting. In the case of the three larger pieces the form is oval, the border having a scalloped edge, and being divided into sections by diapered cartouches, the intermediate spaces being cut to resemble set diamonds. The bottoms of the dishes are cut with a form derived from the foliage of the horse chestnut! Accompanying the service is a set of two water bottles and four goblets, treated with the same kind of ornament as that above described, and with Mr. Bright's monogram engraved upon centre medallions. For the safe custody of the service Messrs. Elkington have provided a polished oak chest, iron bound; and Messrs. Osler have supplied suitable morocco cases for the glass. It is but the barest justice to both the eminent houses engaged in the production of the service, to say that they have spared neither thought nor care to make the work one which shall be worthy alike of the receiver and the givers, and calculated to sustain the reputation of the town.
Source: The Furniture Gazette - 16th June 1888
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Re: Elkington & Co. - Information and Advertisements
THE PRINCE AND PRINCESS OF WALES AT BIRMINGHAM
The leading features, as regards the decorations of the town by day, and its brilliant illuminations at night, to welcome its Royal visitors, have already been chronicled in the newspapers of the day. The Art-Journal, which has for nearly forty years dealt with the advances made in manufactures, has duly recorded every honour given to the great captains of industry; it has yet another to record in its pages—viz. the inspection of the Newhall Street Works during the royal visit paid to Birmingham. Our will is good for a lengthened notice, but the space at our command limited. We pass over the speech made by the Mayor, Mr. J. Chamberlain, at the banquet given by him to his Royal guests, and the appropriate reply of the Prince to the address presented by the Corporation, wherein he touched on the progress which has been made in the varied industries of the town ; we can only briefly indicate that the progress of the royal pair, from the rooms of the Royal Birmingham Society of Arts, where they were entertained, was a complete ovation till they reached Messrs. Elkington’s manufactory in Newhall Street, and were met by the senior partner, Mr. Frederick Elkington, and Mr. Alfred Elkington, who conducted the Prince and Princess up the grand staircase into the show-rooms, filled with objects for use, in which utility and ornament are blended in right proportion; thence into the Tribune — the show-room specially apportioned for the display of unique examples of true Art-industry; where, in cases chastely enriched and on tables, were displayed their choicest works in cloisonné and other enamels, exquisite examples of repoussé working by M. Morel-Ladeuil, and other works in solid silver, exquisitely chased, gilt, and parcel-gilt; the celebrated Helicon Vase, a fine copy of the Milton Shield, and other rare works, which gained for the Messrs. Elkington the diploma of honour at the Vienna Exhibition, and which, with other works exhibited there, have been illustrated and described in the pages of the Art-Journal. Their Royal Highnesses, after examining the examples alluded to, passed through a velvet-curtained doorway into the Works, to view the practical operations conducted therein. The Repousse' Studio was first visited, where M. Morel-Ladeuil, seated and at work, explained the mysteries of repoussé art, and gave practical illustrations of its modus operandi, and how all repousse' works are “ beaten up " from their plates of metal, the projections in front being beaten up from the back, and then worked on with suitable tools from the front side. Thence, the studio of M. Willms and the modelling-room, where it was explained how every work is so executed in metal is first modelled in wax, a cast is then taken, and chased, to furnish, if to be reproduced, a permanent pattern.
Returning, the studio of the Damascener was entered ; and it was entered, and inlaying firmly another metal, such as gold, &c. The enamelling studio afforded the opportunity for explaining the distinctions between the cloisonné and champlevé varieties, how the ground of the former was partitioned by thin narrow wire; in the latter, the partitions were left standing, by cutting away the metal to contain the enamel. The mode of forming the cells of the former was shown, the filling in of the enamel (Messrs. Elkington use two hundred and fifty different colours and shades); the process of firing, polishing, and finishing an enamel was explained. The Royal visitors passed from the studio of the enameller to the stamping-shop, where a ponderous stamp, with die, compelled, by a single blow, a flat disc of metal to assume a salver-like appearance.
Crossing the courtyard, the copper depositing-room was visited. In its vestibule the preparation of the moulds was illustrated and explained. The force of the Wilde‘s electro-magnetic machine used was shown by its melting iron-wire, and causing a wire of steel to be dissipated in a stream of luminous, star-like sparks.
The soldering and engraving rooms were next visited and examined, and the operations conducted in each were explained. Traversing the elevated gallery in the silver and gold depositing-rooms, it was stated that the objects hanging by wires in the vats filled with an amber-brown coloured fluid, were articles to be plated, suspended in a solution of silver and being plated. Descending a few steps, the royal visitors entered the gold depositing-room, in which occurred one of the most interesting episodes of the visit: an enamelled vase, to be gilt on its enamelled cell divisions, was prepared for gilding, and given into the hands of the Princess, who placed the vase in the gilding solution, connected the wire, and made the electric circle. The Princess became a practical electro-depositor. When the vase is finished, it will, we have heard, he presented to Her Royal Highness.
The Royal visitors then returned to the showrooms, where Miss Elkington (daughter of Mr. Frederick Elkington), gracefully advancing, presented to the Princess a basket containing a bouquet of heaths and rare flowers, beautifully arranged—flowers which will not wither nor fade, for the good spirit which presides over the realm of electro-metallurgy had visited them, and the type of everything fragile and fleeting in nature was embalmed in a delicate coating of metal. A recognition of the tender and rare gift was made by the Princess in a “ sweet voice, accompanied with a sunny smile." The visitors’ book duly inscribed, pleasant and hearty thanks were expressed by the Prince and Princess to the Messrs. Elkington, and modestly acknowledged by them. The inspection of the Newhall Street Works was concluded.
The Royal visitors next proceeded to inspect the world-renowned steel pen works of Messrs. Gillott; and subsequently the Mint, where Messrs, Heaton, with their pandemonium-like muffles, ponderous rolls, powerful and expeditious coining-presses, produce the very lifeblood of nations— coinage. The “ monier's art " was practically illustrated by striking a medal to commemorate the Royal visit to Birmingham and the Mint, a copy of which was presented to the Princess by the senior partner, Mr. Ralph Heaton, and graciously accepted, the Prince desiring copies might be forwarded to his royal children. Copies struck in silver have been sent accordingly.
Thus ended the Royal visit to Birmingham and three of its most important manufactories-—representatives of its Art-industry; its influence in the production of what materially assists the means of communication and the spread of education—the steel pen; lastly, that without which commerce languishes and enterprise is paralysed—the circulating medium -the creation of money. The visit was altogether most satisfactory.
Source: The Art Journal - 1874
Trev.
The leading features, as regards the decorations of the town by day, and its brilliant illuminations at night, to welcome its Royal visitors, have already been chronicled in the newspapers of the day. The Art-Journal, which has for nearly forty years dealt with the advances made in manufactures, has duly recorded every honour given to the great captains of industry; it has yet another to record in its pages—viz. the inspection of the Newhall Street Works during the royal visit paid to Birmingham. Our will is good for a lengthened notice, but the space at our command limited. We pass over the speech made by the Mayor, Mr. J. Chamberlain, at the banquet given by him to his Royal guests, and the appropriate reply of the Prince to the address presented by the Corporation, wherein he touched on the progress which has been made in the varied industries of the town ; we can only briefly indicate that the progress of the royal pair, from the rooms of the Royal Birmingham Society of Arts, where they were entertained, was a complete ovation till they reached Messrs. Elkington’s manufactory in Newhall Street, and were met by the senior partner, Mr. Frederick Elkington, and Mr. Alfred Elkington, who conducted the Prince and Princess up the grand staircase into the show-rooms, filled with objects for use, in which utility and ornament are blended in right proportion; thence into the Tribune — the show-room specially apportioned for the display of unique examples of true Art-industry; where, in cases chastely enriched and on tables, were displayed their choicest works in cloisonné and other enamels, exquisite examples of repoussé working by M. Morel-Ladeuil, and other works in solid silver, exquisitely chased, gilt, and parcel-gilt; the celebrated Helicon Vase, a fine copy of the Milton Shield, and other rare works, which gained for the Messrs. Elkington the diploma of honour at the Vienna Exhibition, and which, with other works exhibited there, have been illustrated and described in the pages of the Art-Journal. Their Royal Highnesses, after examining the examples alluded to, passed through a velvet-curtained doorway into the Works, to view the practical operations conducted therein. The Repousse' Studio was first visited, where M. Morel-Ladeuil, seated and at work, explained the mysteries of repoussé art, and gave practical illustrations of its modus operandi, and how all repousse' works are “ beaten up " from their plates of metal, the projections in front being beaten up from the back, and then worked on with suitable tools from the front side. Thence, the studio of M. Willms and the modelling-room, where it was explained how every work is so executed in metal is first modelled in wax, a cast is then taken, and chased, to furnish, if to be reproduced, a permanent pattern.
Returning, the studio of the Damascener was entered ; and it was entered, and inlaying firmly another metal, such as gold, &c. The enamelling studio afforded the opportunity for explaining the distinctions between the cloisonné and champlevé varieties, how the ground of the former was partitioned by thin narrow wire; in the latter, the partitions were left standing, by cutting away the metal to contain the enamel. The mode of forming the cells of the former was shown, the filling in of the enamel (Messrs. Elkington use two hundred and fifty different colours and shades); the process of firing, polishing, and finishing an enamel was explained. The Royal visitors passed from the studio of the enameller to the stamping-shop, where a ponderous stamp, with die, compelled, by a single blow, a flat disc of metal to assume a salver-like appearance.
Crossing the courtyard, the copper depositing-room was visited. In its vestibule the preparation of the moulds was illustrated and explained. The force of the Wilde‘s electro-magnetic machine used was shown by its melting iron-wire, and causing a wire of steel to be dissipated in a stream of luminous, star-like sparks.
The soldering and engraving rooms were next visited and examined, and the operations conducted in each were explained. Traversing the elevated gallery in the silver and gold depositing-rooms, it was stated that the objects hanging by wires in the vats filled with an amber-brown coloured fluid, were articles to be plated, suspended in a solution of silver and being plated. Descending a few steps, the royal visitors entered the gold depositing-room, in which occurred one of the most interesting episodes of the visit: an enamelled vase, to be gilt on its enamelled cell divisions, was prepared for gilding, and given into the hands of the Princess, who placed the vase in the gilding solution, connected the wire, and made the electric circle. The Princess became a practical electro-depositor. When the vase is finished, it will, we have heard, he presented to Her Royal Highness.
The Royal visitors then returned to the showrooms, where Miss Elkington (daughter of Mr. Frederick Elkington), gracefully advancing, presented to the Princess a basket containing a bouquet of heaths and rare flowers, beautifully arranged—flowers which will not wither nor fade, for the good spirit which presides over the realm of electro-metallurgy had visited them, and the type of everything fragile and fleeting in nature was embalmed in a delicate coating of metal. A recognition of the tender and rare gift was made by the Princess in a “ sweet voice, accompanied with a sunny smile." The visitors’ book duly inscribed, pleasant and hearty thanks were expressed by the Prince and Princess to the Messrs. Elkington, and modestly acknowledged by them. The inspection of the Newhall Street Works was concluded.
The Royal visitors next proceeded to inspect the world-renowned steel pen works of Messrs. Gillott; and subsequently the Mint, where Messrs, Heaton, with their pandemonium-like muffles, ponderous rolls, powerful and expeditious coining-presses, produce the very lifeblood of nations— coinage. The “ monier's art " was practically illustrated by striking a medal to commemorate the Royal visit to Birmingham and the Mint, a copy of which was presented to the Princess by the senior partner, Mr. Ralph Heaton, and graciously accepted, the Prince desiring copies might be forwarded to his royal children. Copies struck in silver have been sent accordingly.
Thus ended the Royal visit to Birmingham and three of its most important manufactories-—representatives of its Art-industry; its influence in the production of what materially assists the means of communication and the spread of education—the steel pen; lastly, that without which commerce languishes and enterprise is paralysed—the circulating medium -the creation of money. The visit was altogether most satisfactory.
Source: The Art Journal - 1874
Trev.
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