Chats on Old Copper and Brass

by Fred. W. Burgess

Tobacco-stoppers of metal are of early date, and seem to have been regarded by metal-workers as peculiarly suitable objects on which to display skill in modelling and even engraving. An authentic record of their use in Restoration days is met with in a will referring to a bequest of Boscobel relics: "The owner of an old oak box, dated 1660, mentioned it as the 'one in which was a brass tobacco-stopper.'" Of these curious and interesting stoppers there are many varieties. Under Dutch influence some striking characters were portrayed as the ornamental heads of these pieces. In the days of William and Mary they were chiefly cast, and afterwards tooled and even engraved. James II was chosen as the model of many; and stoppers with his bust as the handle were, it is said, treasured by Jacobean admirers. The human hand in which is seen a "churchwarden" pipe is a favourite type; pugilists, too, figured, and others typified familiar objects of local fame, even animals, birds, and domestic utensils serving the purpose of the designer. In recent days "Punch" has appeared, and among the modern replicas of "early types" (sic) to be seen in the shops are sets of Dickens's characters as tobacco-stoppers.

Snuff-boxes.

There are some of the so-called tobacco-boxes which no doubt were in reality used only for snuff in the days when snuff was taken in larger quantities than it is to-day. A collection of snuff-boxes includes many varieties, among which are some of metal. Some of the boxes made of wood and of shagreen are decorated with tiny brass studs, producing a very pleasing effect. The snuff-boxes were shaped according to popular fancy, and some of the more eccentric patterns were local in their use. In Scotland the curled-shaped mull was a favourite. In connection with snuff-taking it must be remembered that in the earlier days snuff as prepared now was little known. Those addicted to the habit had to prepare their own snuff. For that purpose there came into vogue snuff-rasps of iron enclosed in cases, which, although they were in some instances of boxwood or carved pearwood, were now and then of metal. Incidentally this early home preparation of the snuff produced from a small plug or twist of tobacco gave rise to the popular trader's sign of the "Crown and Rasp" over a tobacco shop. As intimated in another chapter, many of the tobacco and snuff-boxes served a dual purpose, and not infrequently formed part of the tinder box, an essential in early days.

Handles and Handle-plates.

The condition of the metal-work upon old furniture and other curios is a factor in its beauty and in its value too. The handles and handle-plates should be of the same period as the antique, and hinges, lock-plates, handles and their plates, ball feet and castors should be en suite. Indeed, it is better to substantiate a well-made reproduction rather than to admit the use of a later style. The want of harmony in the "brass furniture" of antiques, although all portions appear old, is somewhat puzzling at times. It is explainable in that in early Victorian days when much that was then old was repaired the village shopkeeper and even the cabinet-maker had little regard for the preservation of the old style. To restore meant to them to repair, and where necessary to introduce the then prevailing materials notwithstanding their obvious inappropriateness.

Fortunately, dealers in antiques and restorers have acquired nowadays a genuine love of their work, and have learned how best to please their clients; many of them having quite a store of odd handles and fittings for the curio-hunter and would-be amateur restorer to choose from. To be quite certain about getting a suitable style for the restoration or repairs of old furniture it is desirable to know something of the appropriate styles. The drop handle is a foreign importation, for it is said to have come from Japan, being first seen in this country in the Oriental lacquer cabinets brought here in the seventeenth century. Such handles were at first pear-shaped, but they soon became larger and of a type more adapted for drawers and the heavier furniture then in use. Much hand labour was expended upon their manufacture; even in the latter part of the eighteenth century they were filed up by hand. The earliest form of brass handle-plate was the smooth and shiny "willow brass," the edges of which were filed and shaped by hand. Later they were distinguished from the newer styles as "Queen Ann brasses." The handles were fastened to the plates with brass-headed screw bolts (in the commoner types the "plates" were dispensed with). Chippendale and his followers used an adaptation of the willow brass, placing over the plain plate a fretwork grille or ornamental plate of thin brass. Then came the bail handle and the oval plate with beaded ornamentation, adopted by Hepplewhite and Adams. In the meantime, however, the drop and the bail were made in a fancy design in keeping with Chippendale "shells" and ornament. The rosette and ring handle of the year 1800 and onwards is a feature to be noticed, the round plate being pierced in the centre instead of at the sides as in the bail handle. The ring which formed the handle hung from the central screw. This got over the difficulty of the necessary groove in which the old bail handle had fallen, and allowed for a deeper projection and more ornamental stamping. Such handles were in vogue in the Empire period. There were heavier handles, too, which often took the form of a lion's head instead of an ornamental pattern, the ring hanging from the mouth of the lion, these being often miniature replicas of the brass door knocker. These beautiful handles and the delightful brass knockers which were used on furniture and doors concurrently gave way to the ugly handles of the Victorian age, when wood and glass knobs reigned supreme. It was a sad picture of the decadence of popular taste, for there can be no question as to the more artistic and ornamental decorativeness of the brassfounder's art over that of the wood-turner as exemplified by the products of the nineteenth century.

At the time when the different styles in furniture decoration influenced brasswork, including handles, knobs, lock-plates, and hinges, a gradual change was going on in the castors used on furniture. The square legs required a square-socketed castor; then came the cabrioles or brass collars to the castors, very ornamental and suitable to the style of the shaped legs of mahogany furniture ornamented by carving and curiously turned. The runners of the castors were chiefly of brass and generally very substantial. The brass wheels held sway until the invention of the vitrified bowl, which seemed to harmonize better with Victorian mahogany. In restoration work the collector should see to it that the castors used are in keeping with the furniture, for if no genuine antiques are available there are modern replicas of all the styles.

Horse Trappings.

Horse harness is heavily loaded with brass bands, buckles, chains, and "trappings," many of the latter appearing to be quite superfluous and unnecessary. It would seem that the fanciful frets of perforated brass were introduced from purely artistic motives. That, however, is not quite correct, for even the brass ornaments of to-day are chiefly replicas of more ancient trappings, and although their forms may have deviated somewhat, the ancient idea is quite recognizable, and agriculturists and stablemen still demand their retention. Such brasses, which now make up so entertaining a collection, have meanings; indeed, in the earlier examples the designs are true to well-understood symbols which may or may not in their use have a beneficial influence. To the superstitious they are not merely trappings; they are charms of real purpose (see [Fig. 91]).