Antique Sterling Silver Appraisal

We recently had the opportunity to examine and appraise a lovely matching pair of candelabra for a client seeking an antique sterling silver appraisal. The pair have been in the client's family for generations and are a valuable heirloom.

Antique English Sterling Candelabra

Pair of antique English sterling silver 3-branch candelabra, with s-curve branches, detachable/convertable to candlesticks, with fluted columns and tiered square platform bases (weighted).

Approx. 11¼” height (candlestick portion), 18½” total height (assembled)

Both are hallmarked London 1890, one upper section is date marked 1890, and one is date marked 1891. Both are hallmarked with the maker’s monogram of John Aldwinckle & Thomas Slater silversmiths

The partnership of John Aldwinckle and Thomas Slater occupies a respected place in the history of British silver manufacture. Best known under the name Aldwincle & Slater, their firm was active in London during the closing decades of the nineteenth century and into the early twentieth century. Although not as universally recognized as the great Huguenot masters or major industrial manufacturers, Aldwinckle & Slater produced a substantial body of domestic silver that today is admired for its quality of workmanship, its faithfulness to historical revival styles, and its embodiment of London’s thriving craft trade at the height of the British Empire.

The origins of the firm trace back to the earlier working lives of its two principals. John Aldwinckle was born into a period when the British silver trade was adapting to industrialization while still maintaining deep guild traditions. His early career involved traditional bench work, and he eventually established himself as a manufacturing silversmith in London. Thomas Slater, similarly, had technical training in the craft and brought to the partnership both practical skill and business acumen.

Around the mid- to late-1870s, Aldwinckle and Slater entered into partnership. Their workshop was based in London, the center of English silver production, where the proximity to assay offices, suppliers, retailers, and skilled labor contributed to the vitality of their business. The firm’s maker’s mark—typically “A&S” in conjoined capitals—was entered at the London Assay Office, and from that point onward their output became a recognizable presence in the market for domestic and presentation silver.

The period in which Aldwinckle & Slater flourished was one of complex artistic and social change. The Victorian era saw a huge expansion of the middle class, accompanied by an increased demand for well-made household silver. Items that had once been strictly the preserve of the wealthy—such as tea services, flatware, claret jugs, and decorative table pieces—were now sought after by prosperous merchants and professionals.

This environment encouraged the production of finely crafted but commercially viable silverware. Firms like Aldwinckle & Slater often produced both unique hand-worked items and standardized pieces made with mechanical assistance. Their output reflects the aesthetic spectrum of the time: from the ornate exuberance of Neo-Rococo, Neo-Baroque, or Aesthetic Movement pieces, to the more restrained, classically inspired lines of Neo-Georgian revival design.

One of the most striking aspects of Aldwinckle & Slater’s work is their adept use of historical revival styles. Victorian consumers had a taste for designs inspired by earlier centuries, and the firm responded with skill and enthusiasm. Among the styles they produced were:

1. Georgian Revival Silver

These pieces often emulate the clean lines, balanced proportions, and subtle ornamentation typical of late eighteenth-century English silver. Tea services, sugar bowls, and cream jugs in this style were popular among customers who admired the elegance and “respectability” associated with the Georgian period.

2. Rococo Revival

At the opposite end of the aesthetic spectrum, Aldwinckle & Slater also produced richly chased items with scrolls, flowers, shells, and asymmetrical motifs. Victorian Rococo revival silver was often flamboyant, and the firm’s craftsmen were well equipped to meet demand for ornate tableware.

3. Engraving and Chasing

One hallmark of the firm’s craftsmanship is the high quality of its hand engraving. Monograms, armorials, scrollwork, and floral designs were executed with precision. Their engraved decoration—whether delicate or bold—tends to display a firm, confident line.

4. Faithful Reproductions of Older Forms

The late Victorian era saw a rise in the production of reproduction antique silver. Aldwinckle & Slater created faithful replicas of earlier forms such as George II tankards, Queen Anne tea caddies, and Chippendale-style pieces. They marketed these to buyers who admired antique designs but wanted newly minted, pristine items.

Surviving examples allow us to classify their output into several categories:

• Table silver: spoons, forks, ladles, napkin rings, serving pieces.

• Tea and coffee services: one of the firm’s specialties, ranging from modest sets to elaborately chased ensembles.

• Claret jugs and wine-related pieces: sometimes produced in collaboration with glass manufacturers.

• Commemorative and Presentation Items: bowls, trophies, salvers, and cigar cases often engraved with dedications.

• Desktop and personal items: cigarette boxes, vesta cases, pen trays, and match safes.

Many pieces by Aldwinckle & Slater show evidence of the firm’s balance between manual craftsmanship and the emerging technologies of industrial production, such as die-stamping. The best work of the firm demonstrates excellent finishing and attention to detail.

Collectors encounter the firm’s hallmark most commonly on London-assayed silver from the late nineteenth century through the early twentieth century. The typical maker’s mark “A&S” appears in Roman capitals in a rectangular punch. These marks are found alongside the standard set of English hallmarks:

• the lion passant (guarantee of sterling silver),

• the leopard’s head (London assay mark),

• the date letter corresponding to the year of assay, and

• the monarch’s head duty mark on pieces made before 1890.

The consistent presence of the A&S punch across a wide variety of silverware has made the firm’s output fairly easy for collectors to identify.

Aldwinckle & Slater often supplied their silver to leading retailers, including some of London’s most prestigious shops. Like many firms of the era, they sometimes worked as manufacturing silversmiths, producing goods that were then retailed under another name. As a result, some pieces by the firm may carry a retailer’s mark in addition to—or occasionally instead of—the maker’s own punch. This practice was typical and contributed to the firm’s broad market presence.

The late nineteenth century was a transitional period for the British silver industry. Traditional apprenticeship systems were waning, and larger mechanized firms were becoming dominant. In this shifting environment, Aldwinckle & Slater represent a company that balanced hand craftsmanship with modern production methods while still achieving an artistic standard respected by collectors today.

Their work is comparable to that of other reputable London makers of the time, such as Charles Stuart Harris, Hukin & Heath, and Goldsmiths & Silversmiths Co. While Aldwinckle & Slater did not achieve the global fame of the most luxurious firms like Garrard, they nonetheless maintained a solid reputation for quality and reliability.

Today, silver by Aldwinckle & Slater is sought after by collectors for several reasons:

• Quality of workmanship: Their pieces are well made, with good gauge silver and fine finishing.

• Attractive designs: Whether simple or ornate, their items reflect the period’s best design trends.

• Relatively accessible: Unlike rare eighteenth-century silver, many pieces by A&S fall within attainable price ranges for new collectors.

• Historical significance: Their work represents a vibrant chapter in London’s silversmithing history.

Commonly collected items include tea services from the 1880s–1910s, engraved presentation bowls, Rococo-style milk jugs, and Georgian revival wares.

The partnership of John Aldwinckle and Thomas Slater stands as a testament to the skilled craftsmanship and aesthetic richness of British silver during the late Victorian and Edwardian periods. Their ability to adapt historical styles for contemporary tastes, combined with solid manufacturing techniques and a commitment to quality, ensured their work has endured in both domestic use and collector circles. Although not as widely known as some of their contemporaries, Aldwinckle & Slater produced silver of enduring charm—pieces that reflect not only the artistry of their makers but also the cultural aspirations of an era fascinated by both tradition and modernity.