JSM Siler Collection

William Comyns 1859-1885.
William Comyns & Sons 1885-1953.
Charles & Richard Comyns 1918-1925.
Richard Comyns 1925-1953.

William Comyns was apprenticed at the Goldsmiths Hall in London, in 1849, to George Richards of 26, Sekford St, Clerkenwell, eventually completing his apprenticeship in 1856 at Red Lion St, Clerkenwell,London and receiving from his employer the freedom of the City of London (and a gold charm for good work and conduct).

On completing his apprenticeship at 22, he remained with George Richards for about a year as a journeyman. In the year after leaving Richards, he raised the neccessary money to start his own business, and in 1858 purchased the goodwill, tools and benches of Robert Tagg at 2, Carlisle St, Soho, London for £100. Robert Tagg was a fellow apprentice of William Comyns at George Richards, who had previously bought the business of a Mr Tapley of 46 Rupell Street, Southwark, London. Tapley a manufacturing silversmith, was probably the last of Rundell, Bridge & Co’s outworkers and is also known to have provided work for Robert Green & Co, Makepeace & Walford and others.

In 1858, with the tools, patterns and company aquired, William Comyns started his business in the basement of 2 Carlisle St, Soho, London W1. Over the next 50 years, he moved premises 3 times, but always remained based in the West End of London, eventually establishing a more permanent base at 41 Beak St, Soho W1 in the early 1880’s

In March 1888 his sons Charles Harling and Richard Henry joined the firm, which added impetus to the business, which then began to expand rapidly, taking over numbers 41,43,45 and 47 Beak St by 1903, as well as renting additional premises in Marshall St, Soho.

William Comyns & Sons had enormous success in the 1880’s and produced a vast amount of goods retailed to the public by many of the top shops, including Tiffany&Co of New York and Paris, The Goldsmiths and Silversmiths Company in London and Shreeve in San Francisco. Some of these retailers marked Comyns’ work with their own stamp.

Comyns specialized in all areas of silversmithing, competeing successfully in the area of die stamping inexpensive items of silver for the mass market. These items were made of thin sheet silver,their intricate designs produced by stamping the soft metal with steel punches. Although mass produced,the raised patterns were often very detailed,conveying the impression of hand chasing and embossing,which on some items was indeed the case. It is becoming harder to find examples of these items in good condition as many years of cleaning has resulted in loss of detail, and even worse, the raised spots of die-stamped decoration have worn through completely.

Comyns’ desirable die-stamped designs often incorporate elaborate arabesques with exotic birds and satyrs masks; equally popular were items featuring a group of cherubs heads emerging from billowing clouds after a design by Romney in 1897.
This popular range was also manufactured by other silversmiths, notably in Birmingham and was sold in huge quantities from the growing number of outlets of Boots Cash Chemists, and other well known stores. Another popular design was of an elegant eighteenth century couple leaving a church in a carriage.This design features on trinket box lids, note book and minature bible covers.

Also in the 1880’s, the Comyns factory in Soho produced inlaid tortoiseshell items, employing a number of workers, whose duty amongst others, was to go to the docks and select the shells for use; the colour of the shell being all important.The shell was cut into sheets and heated with steam until pliable,then cut smoothed and polished. Finally,designs were cut from thin sheet silver, gold, abalone and mother of pearl and inlaid into the tortoiseshell.

These pieces are very sought after today, the inlays contrasting beautifully with the rich browns of the tortoiseshell. The two materials were combined to make a host of items,from candlesticks to trinket box lids.

The late 19th Century saw the introduction of Art Nouveau inspired designs,with scrolling flowers,foliage and diaphanous maidens, the exotic being toned down to appeal to a mass market. Arts and Crafts wares,covered with spot hammering were also made in large quantities, the hammer marks suggesting that each piece was made by hand. Needless to say this style of decoration was also mass produced. Another important product of the factory was a range of cast and pierced Buckles and Chatelaines,the Buckles often bought by Nurses upon qualification or promotion, and the Chatelaines by Housekeepers, maintaining a tradition of two centuries.

Although many of William Comyns’ staff devoted their time to mass production, concentrating on commercial products,the firm was also a producer of larger, more intricate items made using the traditional methods of casting and hand chasing.
Comissions were taken,and unusual designs were made,combining silver with J W Walsh” Rock Crystal “Glass,as well as copies of original designs by Paul de Lamerie,William Lukin and Paul Storr. These designs were aquired after the take over of several respected London silversmiths. Eventually the firms’ archive contained over 35000 different patterns. This better quality work continued when the styles of the Victorian and Edwardian period became unfashionable,the company concentrating on Art Deco inspired boxes,mid18C inspired candle holders,heavy guage trays,salvers and tea sets.

The glass used by William Comyns to make silver mounted Scent Bottles, Claret jugs and Ink wells was supplied by a number of British Glass manufacturers.

The hobnail cut, and ruby flashed scent bottles were supplied by J.Hately & Co, while the Edinburgh & Leith factory in Scotland made finer cut glass versions featuring birds and insects.The indented glass and plain toilet bottles were purchased from Webb Corbett & Co and the “Rich Rock Crystal” glass assumed to have been made by Webb was produced by J.W.Walsh.

James Powell of London made the liners in Amethyst and other colours for the Gainsborough Basket and produced the inkwells for the Treasury Inkstands, while Stuart manufactured the glass for other designs including the “Carlton Dish.” Stevens and Williams made liquor tots and glasses, and the bevelled mirrors were imported from France made by P & E Mercier et Fils,although some were supplied by the Birmingham firm Pearce & Cutler. Other known suppliers were Hands & Son & Bourne & Co

In 1923 William Comyns & Sons advertised as manufacturing silversmiths : ” Reproductions from the antique a speciality. Manufacturers of silver & tortoiseshell goods of every description. Best London make and finish. A large number of pieces of genuine antique silver always in stock”.

William Comyns died in 1916,leaving the business to his two sons, Charles and Richard,who were then presented with the problems facing business after the cessation of the War in 1918. Tastes had changed and the Victorian and Edwardian Styles that were William Comyns & Sons speciality ,were no longer fashionable. Unfortunately Charles died while attending a sale at Christies in 1925,leaving the firm to Richard.

The business was incorporated as a limited company in 1930, with R.H Comyns as permanent governing director. After this change,the financial crash and the Second World War, the firm fell into slow decline until his death in 1953. In 1953 the company was purchased by Bernard Copping, who continued to run the workshops on traditional lines, concentrating on the manufacture of fine reproductions.The tradition of silversmithing was maintained but production was unimaginative and retrospective.

Bernard Copping died in 1984.

In 1986,William Comyns & Sons was bought by James Ward and John Flegg, who were intent on maintaining the traditions of the company, developing a higher profile, and gaining more recognition. Unfortunately,due to bad debts, the firm fell into liquidation and was subsequently bought by the Royal Selengor Company of Malaysia.