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Salver, 1 of 2

  • Place of origin:

    London (made)

  • Date:

    1868 (made)

  • Artist/Maker:

    Stothard, Thomas RA, born 1755 - died 1834 (designer)
    Giovanni Franchi and Son (maker)

  • Materials and Techniques:

    Electrotype: electroformed copper, electrogilded

  • Museum number:

    REPRO.1868-93

  • Gallery location:

    In Storage

This dish was bought by the Museum in 1868 from Giovanni Franchi and Son of Clerkenwell, London. It is an exact copy of a silver-gilt salver in the English Royal Collection that was made in 1814 by the Royal Goldsmiths, Rundell, Bridge and Rundell, for the Prince Regent, later King George IV.

The centre of the dish depicts the Triumph of Bacchus and Ariadne based on a design by Thomas Stothard (1755-1834) which is in the museum's collection. Its influence on silver designs of the Regency period explains why the original was copied in 1868 for students of the government schools of design to use as a study aid.

Physical description

Electrotype salver of electroformed copper, electrogilt on the surface, depicting in the centre the Triumph of Bacchus and Ariadne in high relief, the border ornamented with trophies of musical instruments and masks on a trellis of vine leaves and grapes.

Place of Origin

London (made)

Date

1868 (made)

Artist/maker

Stothard, Thomas RA, born 1755 - died 1834 (designer)
Giovanni Franchi and Son (maker)

Materials and Techniques

Electrotype: electroformed copper, electrogilded

Dimensions

Diameter: 78.6 cm, Depth: 7.5 cm

Object history note

This dish was bought by the Museum in 1868 from Giovanni Franchi and Son of Clerkenwell, London. It is an exact copy of a silver-gilt salver in the English Royal Collection that was made in 1814 by the Royal Goldsmiths, Rundell, Bridge and Rundell, for the Prince Regent, later King George IV (Royal Collection No. RCIN51654).

The centre of the dish depicts the Triumph of Bacchus and Ariadne based on a design by Thomas Stothard (1755-1834) which is in the museum's collection. Stothard's design probably originates from a Roman cameo in the Louvre, Paris. The production of the original salver led to Stothard's design for the Wellington Shield presented in 1822 to the first Duke of Wellington by the Merchants and Bankers of the City of London. Its influence on silver designs of the Regency period explains why it was electrotyped in 1868 for students of the government schools of design to use as a study aid.

As an electrotype this dish is an example of a 19th-century design model. Electrotypes play a key role in helping us to understand the V&A in its earliest days.

The V&A grew largely out of the Great Exhibition in 1851 and, under the guidance of Henry Cole, sought to arrest the perceived decline in British design. The Museum aimed, initially, to collect 'modern manufactures' for the education of manufacturers, designers and the public. Cole was also in charge of the Government Schools of Design, which he set about reforming. Cole passionately believed in the potential of both museums and the schools of design, to raise standards of taste.

The appointment of John Charles Robinson as curator of the Museum in 1853 heralded a change in focus. Robinson persuaded Cole that historic works of art were as instructive as contemporary work. For Cole and Robinson, if historic works of art could not be acquired, copies were the next best option.

The Museum bought electrotypes as part of its growing collection of reproductions. This collection enabled students to look closely at both modern and historic objects that were otherwise inaccessible. Electrotypes provided the same function as the Museum's collection of plaster casts.

Electrotypes are also relics of 19th-century industrialisation and mass production. The process of electroplating and electrotyping favoured companies that could afford large factories and expensive technology. The power of the machinery and new technology now at the disposal of the silver industry allowed modern mass production to develop. Electroplaters could create thousands of identical objects using a fraction of the amount of silver to create "a degree of mechanical finish it would be difficult to surpass" (Art Union, 1846). The focus of silver and silver product manufacture moved from London to the new factories of Birmingham and Sheffield.

Some smaller companies trying to keep pace with industrial change suffered. The large vats of potassium cyanide required spacious, well-ventilated factories. A report at the Great Exhibition claimed workers in smaller companies suffered blistered skin, headaches temporary blindness and nausea.

Historical context note

This salver is an electrotype, an exact copy in metal of another object. Electrotypes were a by-product of the invention of electroplating (silver plating by electrolysis).

ELECTROPLATING: Electricity revolutionised the trade of coating base metal objects with silver. Patented by Elkington and Company in the 1840s, this technique was the fulfilment of a century of research into the effects of electricity on metals. A negatively charged silver bar, suspended in a vat of potassium cyanide, deposited a coating of silver on a positively charged base metal (mostly copper, later nickel-silver) object immersed with it. Electroplated objects were fully formed in base metal before plating.

ELECTROGILDING exploited the same technique but used gold bars instead of silver. It was safer than traditional mercury gilding.

ELECTROFORMING transferred the metal deposits directly into the moulds in the plating vats. When enough metal had been deposited to create a self-supporting object the mould was removed. Developed by Alexander Parkes, electroforms so accurately mirrored the moulds in which they were created that multiple copies could be created (ELECTROTYPES).

During the electrotyping process a mould was taken of the original object. In this mould a copper type pattern was electroformed. From this type pattern subsequent moulds were created in which electrotypes were formed. This salver was therefore electroformed in copper from moulds made from a type pattern which itself was electroformed in a mould of the original. The copper electrotype was then electrogilded.

Early experiments in electroplating, often by amateur scientists using Elkington's home electroplating kits, involved coating fruit, flowers and animals in silver or gold "with the most perfect accuracy". They "retained all the characteristics of the specimens before their immersion" (Penny Magazine, 1844). The Art Journal enthused in same year, "The electrotypes are perfect; the finest lines, the most minute dots are as faithfully copied as the boldest objections"

Henry Cole, the first director of the South Kensington Museum (V&A), quickly grasped the educational potential of this new technique. He employed Elkington's and Franchi & Son of Clerkenwell to take moulds of historic and modern objects in the Museum (at their own risk), create copies in a base metal and then electroplate them. These could be sold freely as reproductions, with a gold, silver or bronze finish, provided they bore the South Kensington Museum's official stamp. To avoid breaking English hallmarking laws, all marks were to be deleted from copies of silver objects. Copies were made of successful modern objects as well as historic works of art

Elkington's display of electrotypes at the 1867 Paris Exhibition proved extremely popular and prompted Cole to organise a convention at which 14 European countries agreed to exchange works of art. Representatives of Elkington's and the V&A sent staff to Germany, Sweden, France, Denmark and Hungary. The most ambitious trip, to Moscow and St. Petersburg in 1880, secured copies of over 200 items from the Kremlin and the Hermitage, including the celebrated Jerningham Wine Cooler and much Elizabethan and Stuart silver sent as ambassadorial gifts to the Tsars. By 1920 the V&A held over 2000 electrotypes. Copies toured the country as part of the museum's educational programmes and were sold to the public and to museums and art schools.

Descriptive line

Electrotype. From the C19th Register: "SALVER. In the centre the Triumph of Ariadne in high relief, the border ornamented with trophies of musical instruments and masks on a trellis of vine leaves and grapes. It was designed by Stothard, and executed by Rundell and Bridge for the Prince Regent, afterwards George IV. The original, of silver-gilt, is the property of Her Majesty the Queen, and forms part of the Royal collection of plate at Windsor Castle. English. Date 1814. Diam. 32 in. Bought, gilt, £30." Electrotype made by Giovanni Franchi and Son, Clerkenwell, London, 1868, the original of silver-gilt by Rundel, Bridge and Rundell, 1814

Bibliographic References (Citation, Note/Abstract, NAL no)

Glanville, Philippa, ed., Silver, Victora and Albert Museum, London, 1996, pp. 60-1
Catalogues for Reproductions of Objects of Art, in Metal, Plaster and Fictile Ivory, Chromolithography, Etching and Photography selected from The South Kensington Museum, Continental Museums, and Various Other Public and Private Collections, produced for the use of Schools of Art, for Prizes, and for General Purpose of Public Instruction, Science and Art Department of the Committee of Council on Education, South Kensington Museum, London 1870, p. ?
Roberts, Jane (ed.), Royal Treasures, A Golden Jubilee Celebration, Thames and Hudson, September 2002

Production Note

electrotype

Materials

Gold; Copper

Techniques

Electrotyping; Electroforming

Subjects depicted

Trellises; Vine-leaves; Grapes; Trophies

Categories

Metalwork; Household objects

Production Type

Copy

Collection

Metalwork Collection

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