Elkington & Co. - Information and Advertisements

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ELKINGTON & Co. - 352, George Street, Sydney


Elkington & Co. have one of the most magnificent exhibitions of jewellery and plate work ever seen in Sydney, and any admirer of high art might be excused for going into ecstacies of delight after walking around the shop situated in George-street between the Post Office and King-street. The business carried on in Sydney by Messrs. Elkington is only a branch of their great English house and manufactory; the latter at Birmingham. But, nevertheless, the 'branch' is one of the show shops among the sights of Sydney. To attempt to detail the many elegant articles, in the cases around the shop, would be absurd, but the mention of a few of the most noticeable includes a pair of massive shields in a new design, named the ' Amazon,' which, however although handsome, are totally eclipsed by the Milton and Bunyan shields, magnificent works of art descriptive of scenes in ' Paradise Lost ' and 'The Pilgrim's Progress' respectively. These shields are exact copies of the originals to be seen in the South Kensington Museum (London). Lovers of the antique will find a gem in an imposing-looking old English oak clock, made in the pattern familiarly known as 'Dutch,' and arranged to chime; on silver tube bells every quarter of an hour. A number of mosaic tea services of exquisite design and great value, a set of bowls in the pattern of the Elgin marbles, and a magnificent centerpiece for table decoration — two satyrs in bas relief supporting a well-chased bowl — are among the gems of the exhibition. Of all the handsome things shown; however, perhaps the most handsome is the diamond jewellery. Such a collection is seldom seen. It comprises principally brooches in designs — beautifully executed — of swallows, crescents, lilies-of-the-valley, cornucopia, &c. In one of the brooches there are about 130 separate stones of the first water, which gives some idea of the ornament.

Source: Evening News - 31st December 1888

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Before the war Birmingham was famous as a jewelry manufacturing centre. The old house of Elkington & Co. Ltd., whose silver plate is almost as well known in the United States as it is in the United Kingdom, began to curtail the manufacture of spoons and forks in 1915 and to substitute brass stampings for fuse bodies and shrapnel sockets. In a short time they were turning out tons of these things weekly. These silversmiths are no exception; dozens of other companies have converted their works to the production of instruments of war.

Source: New York Tribune - 21st April 1918

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Elkington & Co. Ltd. - London - 1910

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E&Co - Sheffield - 1911

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Elkington & Co. Ltd. - London - 1914

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Messrs Elkington and Co. recently had on view at their London room, 22, Regent St., a very fine table service of solid silver, which they had completed for a gentleman at Buenos Ayres. It included 210 large pieces and 50 dozen of spoons and forks, specially made to harmonise, the total weight being 7,000oz., and the value £5,000. The period of the service was that of Louis XVI.

Source: The Bruce Herald - 24th March 1891

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Messrs. Elkington and Co. have recently manufactured at their Birmingham establishment a very elaborate casket intended to contain an address to Mr. Alderman Walker, the late Mayor of Liverpool. The casket, designed by Mr. Williams, is a work of great importance and rare merit, both as regards its size and as a specimen of art metal work. At the base it measures about twenty-seven inches by twenty-one. The material is silver, " parcel " gilt, and enriched with very choicely-finished enamels. The necessity of including a model of the building in the memorial necessarily determined the general character of the design. As the model crowns it, the casket is arranged so as to resemble an architectural plateau, rising by successive stages to the flat, which supports the model of the Gallery. The base is enriched all round with groups of children, modelled from the famous designs of Fiamingo, and executed in repousse, in oxidised silver. At each of the four corners is a mermaid, emblematic of the maritime character of Liverpool. In the centre of the front is a panel, bearing the arms of Liverpool, enamelled in their proper heraldic colours, and supported by winged figures, indicating the Arts and Sciences, and surmounted by the figure of the liver—the bird which forms the crest of Liverpool, and gives its name to the town. On one side of the base the arms of Mr. Walker are emblazoned on a shield in enamalled colours, on a panel; and at the opposite side the corresponding shield bears the monogram of Mr. Walker, combined with that of his wife, and surmounted by a mural crown. Above this highly enriched base—every part of which is covered with ornament—are two stages, or broad steps, plain and gilt. At the corners of these steps are statuettes of figures representing Europe, Asia, Africa, and America, indicating the world-wide trade of Liverpool ; these are exquisitely carved in ivory. On the flat of the steps we have the inscription, which is as follows : —" Model of the Walker Art Gallery ; scale 32 ft. to an inch. First stone laid by H.R.H. the Duke of Edinburgh, K.G., K.T., on 28th September, 1874. Opened by the Right Hon. the Earl of Derby, 8th September, 1877. This casket, containing an illuminated address, was presented by his fellow-townsmen to Andrew Barclay Walker, Esq., Mayor of Liverpool, in acknowledgement of his magnificent gift to the town of the Walker Art Gallery, on its being opened." The model of the building crowns the work, and stands out conspicuously on its broad gilt plateau. The sculpture which ornaments it—statues of Raffaelle and Michael Angelo, and an emblematic group, all of them by Mr. Warrington Wood—is executed in ivory, and this charming relief is given to the general mass of the silver model. Altogether the whole work is a triumph of skilful design and of ingenious execution. The ornamental silver enrichments are as perfect as art could make them, the ivory carvings are exquisite in their delicacy and grace, and the enamels challenge comparison with the best works of their kind.

Source: The Watchmaker, Jeweller and Silversmith - 5th January 1878

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THE STANLEY TESTIMONIAL SHIELD






This Shield, of classical outline, is 2 ft. in height, and weighs several hundred ounces, it bears in the centre an American Shield, the Stars and Stripes indicated by varied texture of the metal. Upon this American Shield is overlaid a relief map of the Dark Continent in oxydised silver. The Lakes and Rivers and Dotted Route Lines, representing Mr. Stanley’s various journies, inlaid with gold. The American Eagle at the top of the Shield holds a medallion portrait of Stanley encircled by a wreath of laurels, and also holds a wand bearing the golden “ Star of Duty.”

SCENES DEPICTED

On the right a circular Abyssinian Shield plumed with Lion’s mane, paw and tail. Jewelled Clasp bearing design. Lion of Judah and Solomon’s Seal and various Trophies, Scene , The fall of Magdala. Lord Napier and Stanley in the foreground.

To the left an Ashantee Shield with Golden Ram’s Head, Battle Axe, Wasp’s Nest and other Trophies. Scene : Critical moment at Village Eganassie; battle of Amoaful. Lord Wolseley and Stanley in the foreground.

Large scene, top left hand corner. Stanley finds and relieves Livingstone at Ujiji, Lake Tanganika.

Scene below.—Stanley discovers the Southernmost sources of the Nile, Suna south of Victoria Nyanza. Journey through Dark Continent.

Scene below. —Tippoo Tib, the Slave and Ivory Trader, at Mana Mamba, warns Stanley of the perils of the Congo.

Scene following. —Stanley traces the Congo to the sea in his boat the “ Lady Alice.” Attacked by cannibal tribes and imperilled by cataracts.

Scene to the right. — Vivi. Stanley with his Fleet of Steamers founding the Congo Free State, He shivers a huge boulder with a sledge hammer, is named by natives Bula Matari, — The Rock-breaker, the all-powerful, — the name by which he is now known through all Africa.

Scene above.— Emin Relief Expedition. Stanley attacked by the Wambutti Dwarfs, Stairs wounded, Parke attending wounded native, Nelson and Jephson supporting bill hookers who are carving a way through the forest. A native blazing a tree to guide Bartelott.

Scene top right-hand corner. —Stanley rescues Emin, traces the Similiki to its source, discovers the M’t’s. Moon, and confirms his previous discovery of Albert Edward Nyanza. Expedition arrives shore Albert Edward Nyanza. Stanley heads column. Gunbearers at side. Emin follows with Casati at his side. Hammock bearers carrying Emin’s daughter Ferida, Surgeon Parke attending her. Stairs sketching M’t’s. Moon, Nelson and Jephson taking observations. Dwarf leading native goat, and about fifty types of natives, men, women and children, with typical accessories, maxim gun, loads, etc., etc.

Camp Scene above. — Stanley encounters starvation. His officers return empty handed from the hunt. His foragers return with but a few handfuls of fungi, beans and pepper leaves in their aprons to feed hundreds of starving men. Randy captures the guinea fowl. The photograph is taken from a hasty water-colour sketch of the unfinished shield, and several of the important details are omitted or incorrect. Every prominent figure on the shield is a special study, and represents a personality or a type. Every accessory has special significance.

TRIBUTE MEDALLIONS TO STANLEY'S CHIEF OFFICERS

bearing Replica of Stanley Portrait as on the shield, with inscription:

“ Never while human nature remains as we know it will there be found four gentlemen so matchless for their constancy, devotion to their work, earnest purpose, and unflinching obedience to honour and duty.” — Stanley.

On the reverse, portraits of the Officers in bold relief, map of Africa at top with outline route of the expedition. Scenes — Forest, M’t’s. Moon and Battle.

The designs for the shield and medallions are by Henry S. Wellcome.

The shield has been wrought with keen sympathetic interest and feeling by Messrs. Elkington and Co. The work has been carried out under the
hand and direction of their repousse artist, Mr. F. Courthope.

Source: The American Testimonial Banquet to Henry M. Stanley in Recognition of his Heroic Achievements in the Cause of Humanity, Science & Civilization, and a Greeting to his Chief Officers, Portman Rooms, London, May 30th, 1890

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A mustard-pot by Elkington & Co., assayed at Birmingham in 1947:










E & Co. - Birmingham - 1947


E & Co. - Birmingham - 1947

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Elkington & Co. Ltd. - Birmingham - 1911

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Elkington & Co. Ltd. - London - 1910

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Elkington & Co. Ltd. - London - 1910

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Elkington & Co. Ltd. - London - 1912

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A salt and pepper-pot by Elkington & Co., assayed at Birmingham in 1947:








E & Co. - Birmingham - 1947


E & Co. - Birmingham - 1947

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KING THEODORE'S COFFEE-TRAY

Great interest has been excited by the exhibition in the window of Messrs. Elkington, and Co., of Liverpool, the well- known silversmiths, of an unique specimen of art manufacture, in the shape of a coffee-tray, which was "looted" at Magdala, and is believed to have belonged to the late King Theodore. It was brought to Liverpool by an officer of the Transport Corps, by whom it was presented to Mr. Eberle, of the Alexandra Hotel. The tray is a very fine specimen of workmanship, and is 25 inches in diameter. The design is very rich in conception, and faultless in execution. The centre ornamentation is composed somewhat in the Byzantine style of art, a combination of natural foliage and scroll work, forming a device most pleasing to the eye. The centre panel is framed by concentric circles, each one being varied in design, showing great taste in the regular arrangement of ornamental scrolls en suite with the centre panel. The outer border is raised and very simply fluted. It is difficult to assign an epoch or a country to this rare work of art, but with other specimens of the goldsmith's art from Abyssinia to guide us, we may—with some degree of plausibility—attribute its production to native talent. However, judging from the method of its production, which is technically styled flat chasing—a favourite manner of working with the Arabs—it may, with equal safety, be attributed to the latter. The metal of which this "Theodore tray" is composed is copper, most skilfully and effectively overlaid with gold.

Source: The Aberystwith Observer - 16th January 1869

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Elkington & Co. Ltd. - London - 1909

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THE INTERNATIONAL EXHIBITION - LONDON - 1862





A SILVER REPOUSSE TABLE, BY MESSRS. ELKINGTON & CO.. LONDON AND BIRMINGHAM.

the accompanying plate we have given, among some of Messrs. Elkington’s most artistic productions, the very beautiful oxydized silver table, about three feet high, designed and executed by M. Morel-Ladeuil, to whom a prize medal was awarded by the International Jury. The subject of the composition, as described by the artist himself, represents the dreams of three figures, reclining in sleep at the base of the table—a husbandman, a soldier, and a minstrel— beneath a stem formed of poppies. The top of the table is richly chased with female figures, each succeeding the other in regular order, and forming a complete ensemble, though divisible into three separate tableaux or dreams—Victory, Glory, and Fame appear to the soldier; Love, Music, and Fortune scattering gold, unmindful where it falls, pass by in the sleeping fancies of the poet’s dreams ; whilst allegorical figures of Peace, Plenty, and Mirth cheer the slumbers of the weary husbandman,—the whole surmounted by a statuette of the Goddess of Sleep strewing the slumber¬laden poppy over the world.

This fine piece of silversmith’s work places M. Morel-Ladeuil in the very foremost rank of artists. Nothing could be more graceful and fanciful in design, or more exquisite in point of execution, and it is a pleasure to have to record the unanimous award by the International Jury of a prize medal to the sculptor. It is an additional happiness to know that the artist and his employers have the very best guarantee that their enterprise and talent will be appreciated by those whom they would, above all others, have desired to please, and that this magnificent specimen of the silversmith’s art has been purchased by the city of Birmingham as a marriage present to the Prince and Princess of Wales.

The remaining subjects in our Plate are, a rosewater-dish in repoussé silver, partly gilt, modelled by the late Emile Jeaunest. The subject of the centre, a marine triumph of Venus, is taken from a fresco painting found at Pompeii. The large flower-vase is characterized by boldness of design in form and ornament.

Among other remarkable pieces were particularly to be remarked a rosewater-dish and ewer in oxydized silver, parcel gilt, ornamented with medallion subjects of the Elements. This graceful composition was designed by A. Willms, who has for some time been principal artist to Messrs.
Elkington. It was executed by M. Morel-Ladeuil, by whom also were two very beautiful silver repoussé tazzas, enriched with poetical renderings of Night and Morning, represented by female winged figures floating in the clouds, and surrounded with the Hours and their respective attributes ; and a grand silver-gilt and oxydised shield, presented to the Bight Honourable Lord Churston, one of the finest we think in the Exhibition. M. Morel-Ladeuil was born in 1820, at Clermont-Ferrand, Auvergne, and proceeded to Paris in 1835 to study sculpture in metal ; aided by the advice and encouragement of Jean Feuchère, he entered the atelier of Veclite. A shield composed of silver and iron, richly damascened, executed for the Emperor, obtained general admiration at the Exhibition of Fine Arts at Paris in 1852. In 1859 he was employed by Messrs. Elkington to execute a silver repoussé vase, which gave such satisfaction that he was definitively engaged by that enterprising firm, and we trust will long continue to enrich our country with his beautiful productions.

Of all the processes by means of which the goldsmith produces raised figures in relief, not one is so purely artistic as that known as repoussé, or hammered work. There is the same intimate and subtle connection between the soul, the eye, and the hand of the artist in executing repoussé work as there is in the art of violin-playing. From the days of Tubal Cain this has been the usual method of hand-working on the precious metals. If the work is done on a curved thin plate, it is placed on a bed of elastic cement, and the design, which has been previously traced upon it, is beaten out by a succession of taps with a hammer upon hand-punches. The greater the relief required, the more difficult is the process ; and the larger raised work is finished up with the chisel, graver, &c.

Some of the most elaborate and minute repoussé work we have ever seen is executed by native artists in northern India. In these cases the bottles or other objects are first made and left plain, they are then filled up inside with pitch ; and the design having been traced on the outside, the body of the vase is beaten in with small hammers, leaving the design in slight relief. In this process the Indians have attained extraordinary skill.

Source: Masterpieces of Industrial Art & Sculpture at the International Exhibition, 1862 - J.B. Waring - 1863

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ANCILLA FIDEI DOCTRINA - 1899




E&Co - Birmingham - 1911

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Elkington & Co. Ltd. - London - 1911

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OBITUARY OF CHARLES TOFT - DESIGNER AT ELKINGTON & Co.


CHARLES TOFT — Aged 78

We regret to record the death of Mr. Charles Toft, a famous designer, who in his later years devoted himself principally to pottery. It is as a designer of artistic pottery that he will be best remembered, although he has other claims to distinction as an artist. It is twenty years since deceased relinquished the active duties of his profession. He lived for a long time in quietude at Newcastle, but a little more than a year ago he removed to Linley-road, Hartshill. A few months ago he had a stroke, but the effects were not considered by his friends to be very serious. Of course at his age his health was not good, but it was not so far impaired as to give rise to uneasiness, and until the day on which he died there was no reason to fear that his end was near. He passed away at his residence in Linley-road on May 1.

The late Mr. Toft was born at Stoke-on-Trent, and was the son of an engraver who was employed by Mintons. The artistic instinct is strong in the Toft family, and their connection with the pottery industry has been a long one. In the middle of the seventeenth century the Tofts were not artists in the sense in which the late Charles Toft was, but they had begun their useful career in the pottery trade with their extraordinary “slip” dishes. The objects they produced may not have been an unqualified success in an aesthetic sense, but they constituted a step forward ; long prices are given for them at the present day, and they are bought with avidity. The Tofts have been associated with the pottery trade ever since as designers, modellers, painters, and their name is associated with some of the finest products of Staffordshire, and also of the Crown Derby Porcelain Works, at Derby.

The deceased commenced his education at Hanley, and attended the Art school at Stoke. At an early age he left the Potteries and entered the service of Messrs. Elkington, the famous gold and silversmiths at Birmingham, and for them he executed several pieces of work for the late Queen Victoria. Several of the Royal cups and table-centres now in use in the Royal Household were designed by him. It was in connection with this work that the deceased was honoured with several interviews with Queen Victoria, and he was accustomed frequently to call to remembrance the great interest taken by Her Majesty in art work. From Birmingham he returned to the Potteries, and was engaged by Josiah Wedgwood & Sons, of Etruria, as a designer and modeller of panels in relief in Wedgwood ware, illustrating subjects from Shakespeare, Chaucer, Milton, &c. These panels were awarded a gold medal at the Paris Exhibition in 1875. His cameo relief work for Messrs. Wedgwood was of a very high order, and his productions were always appreciated by those best competent to judge of their merits. He brought both skill and ingenuity to bear on design and decoration. It has been said of the deceased that he did for pottery what the late William Morris accomplished for wall papers and cretonne. He was essentially an original designer, and often managed to impress his strong personality on his work. The deceased was the inventor of the hot-water-jug balancing-lid, which is so extensively used to-day, and which is known in every country as “ Toft’s patent.”

The late Mr. Toft was married twice. By his first wife he had four sons, all with natural artistic ability. The death of one of them was due, it was thought, to over-exertion and anxiety in connection with the Wolverhampton Exhibition. It was the opinion of those who knew him that had he lived he would have made a successful artist. The eldest son, Mr. Albert Toft, has a high reputation as a sculptor. He served an apprenticeship to Josiah Wedgwood & Sons, at Etruria, as a modeller for pottery. Amongst his recent works are busts of King Edward VII. for Leamington, and of the late Queen Victoria for Calcutta, and a statue of Queen Victoria for Leamington. Another son of the deceased, Mr. Joseph Alfonso Toft, is an exhibitor at the Royal Academy, and bids fair to become a famous painter. It is interesting to observe that three sons of the deceased all won scholarships in connection with South Kensington Museum. The late Mr. Charles Toft was a true artist, and he loved art for its own sake, and it must have been gratifying to him to see his sons imbued with the same high ideals. The funeral took place at Hartshill on May 4.

Source: The Pottery Gazette - 1st June 1909

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