According to Frederick Bradbury (1 June 1864 – 26 January 1949) of the old-established Sheffield silversmiths, Thomas Bradbury & Sons Ltd., in his History of Old Sheffield Plate (Sheffield, 1912), Robert Gainsford (Robert William Gainsford, 1773 - 22 November 1852) first came to prominence about 1797 as a partner with Alexander Goodman (d. 1809) and George Fairbairn in the firm of Goodman & Co., silver platers of Sheffield. Following the dissolution of that partnership on 25 June 1808 (London Gazette, London, 9 July 1808, p. 969b), Gainsford began his own business, Gainsford & Co., 90 Eyre Street, Sheffield, otherwise Gainsford & Nicholson and then, from 1825, Gainsford, Fenton & Nicholson, the other partners being Henry Fenton and Thomas Nicholson (1779? - 19 May𝔉 1860).

Nothing is known of Henry Fenton but he may have have been related to Robert Gainsford. In fact, there is a distinct possibility that the latter's maternal grandfather was Matthew Fenton (d. 1795) of Matthew Fenton & Co.,📖 who in September 1773 entered their mark at the Sheffield Assay Office.

In 1814/15, Gainsford & Co. advertised their extensive range of 'ROMAN CATHOLIC CHURCH PLATE,' (Gainsford himself being Roman Catholic) which could be had in 'either Silver, or strong plated . . . and are sold for them at No. 114, Strand, opposite Exeter change, by Mr. ARTHUR KEATING, Jeweller, Silversmith, and Watchmaker, who in London is the only Catholic Vender [sic] of those Articles.' (Ordo Recitandi Divini Officii et Missæ Celebrandæ pro anno domini M,DCCC,XV,' London [1815], advertisement)

A bill-head for Gainsford & Nicholson, dated 1820, gives the addresses of their London and Dublin warehouses (i.e. showrooms), respectively 19 Bouverie Street, Fleet S💯treet, J.A. Brown, agent; and 16 Eustace Street, Jas. Moore, agent; as well as details of the firm's output: 'Rich embossed Silver plate & all kinds of Plated Goods of the best quality.' (Bradbury, p. 46)

Indeed, much of Gainsford's surviving silver is characterized by the heavy use of die-stamped decoration. Bradbury (p. 45), drawing on recollections of Thomas Nicholson written in 1850, states that about 1800 'everyone was g🐷etting weary of the plain designs in both silver and plates wares [when he] introduced shells and dolphins into the gadroon mounts, followed by other decorations. This innovation completely revolutionised the then stereotyped designs and grew in intricacy and proportion to an extraordinary extent.'