On display
Image of Gallery in South Kensington

Cocktail Shaker

Cocktail Shaker
ca. 1930 (made)
Artist/Maker
Place of origin

In the 1920s the pattern of mealtimes began to change. Before the First World War, the evening meal in middle-class households was a highly elaborate, formal affair in which many courses were served. The subsequent generation tended to favour a more simplified ritual with fewer courses, starting later in the evening. The cocktail hour was born! Cocktails were an American invention. They assumed widespread popularity, particularly during the era of Prohibition (1919–33). Cocktails could conveniently disguise the appearance of alcohol. But Prohibition failed to stop America drinking. As Gatsby, a character in Scott Fitzgerald’s novel The Great Gatsby (1925), amply demonstrates, the rich never went thirsty. Organised crime saw to that. At Christmas 1933, after Prohibition was finally repealed, almost every middle-class household in America witnessed one spouse giving the other a cocktail shaker.

In Great Britain, cocktails became particularly fashionable when the Savoy Hotel opened its American Cocktail Bar in 1929. This was under the management of Harry Craddock, a legendary New York bar tender who had found it difficult to get legitimate work. One year later, Craddock’s The Savoy Cocktail Book was published. It has since become the bible of the British cocktail trade. All the major West End retailers in luxury goods sold distinctive cocktail shakers. In their Christmas catalogue for 1933, Asprey’s advertised three novelty cocktail shakers. One in silver in the shape of a ship’s bell was on sale for the considerable sum of £25.

Object details

Categories
Object type
Parts
This object consists of 3 parts.

  • Cocktail Shaker
  • Cocktail Shaker
  • Cocktail Shaker
TitleCocktail Shaker (assigned by artist)
Materials and techniques
Electroplated nickel silver
Brief description
Cocktail Shaker, Mappin & Webb, Sheffield, ca. 1930
Physical description
Inverted cone shaped body with a cylindrical neck and stepped lid, an inscribed linear band around the shoulder and foot; a strainer inside.

Electroplate, inverted cone shaped body, strainer inside, cylindrical neck, stepped lid, band around foot and shoulder
Dimensions
  • Height: 24cm
  • Width: 9.5cm
  • Depth: 9.5cm
  • Base diameter: 7.2cm
Style
Marks and inscriptions
Unmarked
Object history
Gavin Hogben
67 East 2nd Street, Apartment 33,
New York City, USA
Murray, a New Zealander, trained as an architect at the London Architectural Association after service in the Royal Flying Corps during the First World War. He began his career as an industrial designer, firstly as a glass designer for Stevens & Williams of Staffordshire and after the success of this range, as a designer of earthenware for Wedgwood which proved equally successful. From 1934, he was also used as a designer for the Sheffield silversmiths, Mappin & Webb. His work was successfully exhibited at the British Industrial Art Exhibition, Dorland Hall and the Milan Triennale, 1933, British Art and Industry, Royal Academy, 1935 and the Paris International Exhibition, 1937. After 1938, he switched to architecture; the new Wedgwood factory at Barlaston being the first commission of his new career.
Historical context
Legend has it that the cocktail was invented during the American War of Independence in the early 1770s. A few of George Washington's troops were relaxing in The Four Corners Inn in upstate New York when the young Irish barmaid, Betsy Flanagan, who was administering to them decided to serve a new drink of her own making. Into each glass, she served a mixture of rum, rye whiskey and several fruit juices and, as a final flourish, decorated each glass with a feather plucked from the plump rooster of a nearby Loyalist farmer. Amidst much laughter as she served the drinks, a young French officer leapt to his feet and proclaimed, 'Vive le coq-tail' and so the cocktail was born. Cocktails were particularly in vogue during the interwar years of the 20th century. Although now internationally popular, cocktail drinking is particularly associated with the USA and the design of this shaker with its chrome finish and stepped decoration, has overtones of American Art Deco.
[Eric Turner, 'British design at Home', p.149]
Subject depicted
Summary
In the 1920s the pattern of mealtimes began to change. Before the First World War, the evening meal in middle-class households was a highly elaborate, formal affair in which many courses were served. The subsequent generation tended to favour a more simplified ritual with fewer courses, starting later in the evening. The cocktail hour was born! Cocktails were an American invention. They assumed widespread popularity, particularly during the era of Prohibition (1919–33). Cocktails could conveniently disguise the appearance of alcohol. But Prohibition failed to stop America drinking. As Gatsby, a character in Scott Fitzgerald’s novel The Great Gatsby (1925), amply demonstrates, the rich never went thirsty. Organised crime saw to that. At Christmas 1933, after Prohibition was finally repealed, almost every middle-class household in America witnessed one spouse giving the other a cocktail shaker.

In Great Britain, cocktails became particularly fashionable when the Savoy Hotel opened its American Cocktail Bar in 1929. This was under the management of Harry Craddock, a legendary New York bar tender who had found it difficult to get legitimate work. One year later, Craddock’s The Savoy Cocktail Book was published. It has since become the bible of the British cocktail trade. All the major West End retailers in luxury goods sold distinctive cocktail shakers. In their Christmas catalogue for 1933, Asprey’s advertised three novelty cocktail shakers. One in silver in the shape of a ship’s bell was on sale for the considerable sum of £25.
Bibliographic reference
Philippa Glanville and Sophie Lee, eds., The Art of Drinking, V&A Publications, London, 2007, p. 137
Collection
Accession number
M.226 to B-1984

About this object record

Explore the Collections contains over a million catalogue records, and over half a million images. It is a working database that includes information compiled over the life of the museum. Some of our records may contain offensive and discriminatory language, or reflect outdated ideas, practice and analysis. We are committed to addressing these issues, and to review and update our records accordingly.

You can write to us to suggest improvements to the record.

Suggest feedback

Record createdFebruary 7, 2000
Record URL
Download as: JSON