THE CASTER, THE CENTRE-PIECE, THE SUGAR-BOWL, THE CREAM-PAIL, AND THE
CAKE-BASKET
The Queen Anne and Early Georgian Caster--Its evolution in form--The
eighteenth-century Centre-piece--The Sugar-bowl--Classic
influence--Late eighteenth-century silver bowls with glass
liners--The Cream-pail--The Cake-basket--Pierced and interlaced
work--The eighteenth-century potter.
The classes referred to in this chapter embrace the most delightful
of the eighteenth-century silver plate, and appeal intimately to
the decorative instincts of the collector. The pieces range from
the utilitarian caster capable of varied ornament, to the elaborate
table centre, an object of exquisite grace and capable of rising to
perfection in the hands of an accomplished craftsman. Pierced work of
great delicacy was a feature of the eighteenth-century decoration.
As with furniture, the silver in the middle of the century began to
grow complex in its character, in keeping with the growth of luxury.
The century which began with the sober furniture and homely interiors
of Queen Anne, closed with the magnificence of Chippendale and the
subtleties of Sheraton.
The Caster
The caster can be traced in an unbroken line as an article of table use
from the end of the seventeenth century to the present day. Even with
so simple an object, apparently incapable of much variation in form,
it is interesting to note the successive stages of fashion and the
different phases of its history.
At first it was of lesser height. The examples illustrated on pages
269 and 277 show this. The straight cylindrical form, illustrated on
page 269, similar to that made by Christopher Canner, appears to have
been the earliest type, and this lasted from about 1680 for a quarter
of a century. There is a set of three Charles II casters of this style
made by Anthony Nelme in 1684. There is also a simple form about the
opening of the eighteenth century with plain round top. A fine Irish
example, made by George Lyng, and marked with the Dublin hall-marks
for 1699 (illustrated p. 331), shows a more ornate character not
infrequent in Irish silver. The Irish silversmith was often ahead of
his English contemporaries. By 1712 the Queen Anne caster was becoming
taller and the body retained the band found in the straight cylindrical
form. The cover offered a field for delightful and varied patterns in
pierced work. There is a charm about these individual patterns which
is irresistible to the collector. The cover is surmounted by a baluster
knob which it retained throughout the successive changes in the
body. These ornaments are delicately symmetrical, and in one instance
coming under the writer’s observations the knob was a miniature of the
caster it crowned. The marks on casters are placed at the top of the
neck near the cover.
[Illustration: GEORGE II CASTER. EXETER, 1728.
Maker, Richard Freeman.
(_In possession of Messrs. J. Ellett Lake & Son, Exeter._)]
In 1730, at the Court of Wardens at the London Assay Office, it was
laid down that the marks be struck as far distant from each other as
possible, so that the series of marks could not be cut out in one
piece and soldered into another piece. It had been found that it was
“an antient practice among evil-disposed goldsmiths” of converting new
plate into old by this means.
Variations in the body took place; sometimes the band around took an
octagonal form and the concave body above and the convex body below
followed this geometric form in their curve. There is an example of
this type with the hall-marks for London for 1716, and the maker’s mark
A. D. in shield, wrought by Charles Adam. This is among the Chester
Corporation plate.
The George II sugar caster with the Exeter hall-marks for 1728, made by
Richard Freeman, is unique. Its beautifully shaped body is exquisitely
suited to the technique of the metal-worker. The plain band at base
and the graduated foot carry out the symmetrical form, and help to
give effect to the cover with its delightful pierced ornament. It
will be observed that this pierced design is exactly in keeping with
the reticence of the rest of the piece, and the baluster knob, almost
acorn-like in form, completes a very fine piece of craftsmanship.
The progress in form from the days of George II to the end of the
century is shown in the group illustrated on page 277. These casters,
as will be noticed, are all circular in body, and do not include
geometric forms. The George II example (1747) was the fixed type from
George I to the early years of George III. A Scottish example of a
sugar caster (illustrated p. 317), having the Edinburgh hall-marks
for 1746, shows this established form. At the latter end of the reign
of George II and in the early years of George III, from 1760, it is
noticeable that the body swells in bulbous form, increasing in height
from the foot. The next example (1771) shows the new top, pear-shaped;
the swelling lower part of the body is still pronounced and the foot is
taller, as in the cream-jugs of the period. In both these George III
examples the cover is surmounted by a pine-cone knob.
[Illustration: CASTERS.
WILLIAM III. 1701.
GEORGE II. 1747.
GEORGE III. 1760.
GEORGE III. 1771.
1. The plain form with circular top.
2. The fixed type from George I to early George III.
3. The swelling body increasing in height from foot; the pine-cone top.
4. The new pear-shaped top. The swelling lower part of body leaving
foot as in cream-jugs of the same period.
(_By courtesy of Messrs. Elkington & Co._)]
[Illustration: EARLY GEORGE III CENTREPIECE 1761.
Height, highest part, 14¹/₂ in. Diameter 20¹/₂ in.]
[Illustration: EARLY GEORGE III CENTREPIECE. _c._ 1775.
Maker’s mark, T.F.
(_By courtesy of Messrs. Crichton Brothers._)]
The Centre-piece
The caster never attempted to be other than reticent. It was like a
poor relation at the table in company with the magnificence of the
centre-piece. The pierced work in subdued ornament pales before the
elaboration in such a centre-piece as that illustrated on page 279,
with the London hall-marks for 1761. The basket is of elaborate and
graceful form, and the eight branching candlesticks mark it as a
sumptuous specimen. The feet are elaborate and in rococo style. It
belongs to the early years of George III, of Garrick, of Macklin, and
of Foote. It was contemporary with the enormous head-dresses,
the subject of so many caricatures, which followed the indecorous
hoop-petticoats of the dissolute days of George II. Paste and plaster
and powder raised these head ornaments to a superstructure representing
chariots, and a _fureur des cabriolets_, related by Horace Walpole.
Men had them painted on their waistcoats, and women stuck a one-horse
post-chaise on the top of their elaborate head-dress, which said
head-dress was not changed for some weeks. Medical men of the day
speak of this in terms which we will not introduce here. Sir Joshua
Reynolds had commenced to paint his immortal portraits, Handel had
found congenial soil under the House of Hanover to settle here,
providing satirists with subjects as to his gluttonous habits, and
producing music that has become English to those who like oratorio.
Thomas Chippendale had published his _Director_ in 1754, with its
wonderful designs; and Robert Adam, in 1758, had put his screen and
gateway across the Admiralty in Whitehall, and was translating dull
London streets into classic style. These were the nights at the “Turk’s
Head” with Dr. Johnson, the supporter of the Royal House, the upholder
of purity and piety in an impure and irreligious age, Burke with his
flashing conversation, and Goldsmith and David Garrick, and a circle of
men who counted for more than the macaronis and the fops of Pall Mall
and St. James’s Street. Wealth was pouring into the country from India,
and with it came rapidly acquired habits of luxury--habits that quickly
reflected themselves in the furniture and domestic appurtenances. This
silver centre-piece of 1761, therefore, tells the story of these
days of the eighteenth century, “remarkable for the great industrial
revolution, which gradually transformed England from an agricultural
to a manufacturing country, depending for food supplies on foreign
countries.”
A second examination of the silver centre-piece, 1761, with the above
notes in view, at once discloses its character--out of France and of
Italy, with here a touch and there a touch from continental styles.
If trivial toys such as the _pantin_, a pasteboard figure on strings,
could take the town by storm, the craftsman in metal, with fashions
streaming from over the Channel, could not and did not hold aloof.
Traditional features linger or become rejuvenated, such as the sconces
of the candlesticks which revert to the leaflike form of those of
Charles II. The basket with interlaced work stands parallel with the
similar work in porcelain from the Meissen factory with raised flowers
at each intersection, just as in this silver centre-piece, and the old
Saxon factory made this type of vase and basket as early as 1740 in
the “Krinolinengrappen” period. But the feet might have come straight
out of Chippendale’s _Director_, with their curves and shoulders and
peculiar style. If Chippendale borrowed wisely from the cabinet-maker
of France, the English silversmiths, many with French blood in their
veins, found in French design something too alluring to ignore.
[Illustration: SUGAR BOWL.
With London hall-marks, 1773. Made by S. & J. Crespell. (Marks
illustrated p. 377.)
(_At Victoria and Albert Museum._)]
[Illustration: SUGAR BOWL AND CREAM-PAILS.
Pierced sheet silver with blue glass liners.
LONDON, 1782. LONDON, 1786. LONDON, 1776.
(_At Victoria and Albert Museum._)]
Take another centre-piece, about 1775 in date (illustrated p. 279).
Here are features equally interesting. The rococo form has become
subdued. There are still branching curves, and plain baskets with
interlaced work take the place of the floriated style candle-holders.
The festoons with medallions indicate the classic style then in vogue.
In this centre-piece the classic style is seen in combination with,
almost in opposition to, the moribund rococo style. These may be
compared with an earlier Irish centre-piece, 1740 in date (illustrated
p. 335).
The Sugar-bowl
In the specimen illustrated (p. 283) the classic style is seen at
its best. The body is decorated with festoons, rosettes, and the rim
and foot have a plain bead ornament. The handles are snakes with the
head terminating at the rim of the bowl. It suggests that it might
be a bowl of Æsculapius rather than a homely sugar-bowl. Pompeii
and Rome, translated through the brain of Sir William Hamilton, the
Brothers Adam, and the metal-worker of the Louis Seize period, have
each contributed to this composite style. It is not of the purity of
form of silver vessels found in the tombs. It merely borrows ornament
from classic originals; it is like Sir Bulwer Lytton’s translation of
Horace, rather more Sir Bulwer than Horatius Flaccus. In date this is
1773 and was made by S. and J. Crespell. It belongs to the same period
as the Sheffield silver candlestick illustrated on page 235.
There is another sugar-bowl (illustrated p. 285), with the London
hall-marks for 1786, showing the style _Louis Seize à l’Anglaise_ which
came into English cabinet design after 1793, when Sheraton published
his book of designs. This is an exceptionally dainty piece of work. The
classic influence is still to be observed, but changed into something
more sprightly, savouring of the boudoir of Marie Antoinette, and the
metal-work on tables and lock escutcheons in the Petit Trianon. It is
especially a silversmith’s piece. It is a beautiful metal framework for
a blue glass liner.
The Cream-pail
Taller vessels with a handle are usually termed cream-pails, though
some collectors believe they were used for sugar. As they are of cut
work they must have been used with a glass liner. They present some
beautiful forms still clinging to classic ornamentation in combination
with whatever new forms the craftsman could invent in conjunction with
a severe style. The two illustrated (p. 285) show slightly differing
intentions. The first on the right, with the London hall-marks for
1776, with its undulating top is in keeping with the wavy rims of the
salt cellars of the same period, of French influence. The festoon of
drapery with rosettes is in classic style and the foot and lower body
has the traditional acanthus-leaf decoration. The handle and broad cut
pattern ornamenting the body may be compared with the Irish example
(illustrated p. 343), made in 1770.
[Illustration: BREAD-BASKETS WITH HANDLES. LONDON, 1745-1775.
Wire and sheet silver with cast and chased ornament.
(_By courtesy of Messrs. Crichton Brothers._)]
The other example on the same page (p. 285) is in date 1782, the
year when, after three years’ siege of Gibraltar, the French and
Spanish made a supreme effort by sea and land to win the key of the
Mediterranean, but were beaten with heavy loss by General Eliot.
The festoons and the vase in panel are now in incised decoration and
are subservient. The style begins to break away from traditional
severities and establish something original and as reticent as the
classical forms without being so coldly formal and unnational.
[Illustration: CAKE-BASKET. 1761.
Maker, Edward Romer.
(_In possession of Messrs. Garrard & Co._)]
[Illustration: WEDGWOOD CREAM-WARE BASKET.
(_In collection of author._)]
The Bread-basket
The last half of the eighteenth century saw the growth and development
of pierced sheet silver with its varied styles, and concomitant with
the sheet work there are examples exhibiting a fine perfection in wire
work. Pierced bread- or cake-baskets with cable band are features
of this period. The pierced mustard-pot, decanter stand, and other
similar articles were common. Oval pierced baskets were introduced,
with handles, in the reign of George II (1727-60). Originally they
were possibly for bread only. Some collectors determine this by the
pattern on some of them of wheat-ears (see example illustrated p. 289).
By the time of George III they were elaborately pierced and chased
and massive, and had feet. In other examples about the middle of the
century they had no feet, and were more basket-like in form. There
was an example in the Dunn-Gardner collection of a bread-basket in
imitation of wicker basket-work. This bears the London hall-marks for
the year 1733 and the maker’s initials P. L., a crown and star above,
and a _fleur-de-lis_ below, for Paul de Lamerie, the maker.
The page of four examples (p. 289) illustrates the types prevalent
from 1745 to 1775. The top left-hand specimen is of wire work
ornamented by wheat-ears.
A plain cake-basket with the London mark for 1761, the first year of
the reign of George III, is illustrated (p. 291); the maker is Edward
Romer. Below this is shown a contemporary Wedgwood cream-ware basket in
imitation of wicker-ware. Here the technique of the silversmith and the
potter may be compared.
The Eighteenth-century Potter
In connexion with pierced and interlaced work the potter did attempt
to run side by side with the worker in silver plate. The two Wedgwood
pieces (illustrated p. 295) show this parallel. The upper one is a
chestnut basket and cover. While adhering in a measure to the strict
technique of the worker in clay--and here be it said it comes near to
the fine reticulated work of some of the highest Chinese porcelain--it,
at the same time, approaches the contemporary refinements in perforated
sheet metal executed by the silversmith.
The lower example is even more remarkable; it is a Wedgwood cream-ware
fruit-basket and cover. This centre-piece, though not emulating
the grandiose proportions and elaborate branches of the silver
centre-pieces such as we have seen, accomplishes what was apparently
impossible, the manipulation of plastic clay as though it were
silver wire. The result is delightful and surprising. In regard to
the elaboration of this cut-and-drawn work, the Leeds potters
who followed Josiah Wedgwood’s style produced tall centre-pieces in
cream-ware with branches having baskets and trays. It is an undoubted
proof that imitation is the sincerest form of flattery.
[Illustration: WEDGWOOD CREAM-WARE PERFORATED CHESTNUT-BOWL.
Late eighteenth century.]
[Illustration: WEDGWOOD CREAM-WARE PERFORATED DESSERT-BASKET.
Late eighteenth century.
THE POTTER AND THE SILVERSMITH.]
SALE PRICES
CASTERS.
Ordinary Queen Anne examples bring 50s. to 60s. per oz.; George I
and George II, 25s. to 35s. per oz.; George III and George IV, 18s.
to 20s. per oz. Later specimens only fetch 5s. to 12s. per oz.
Rare and earlier examples bring higher prices, e.g.:
£
William and Mary (1701), 225s. per oz. 112
Queen Anne (2), (1713), 115s. per oz. 72
SUGAR-BOWLS.
The average prices are roughly as follows: George I, 60s. to 80s.
per oz.; George II, 20s. to 50s. per oz.; George III, 8s. to 50s.
per oz. (varying from engraved and fluted to pierced and applied
ornament); George IV, 7s. (fluted) to 35s. per oz. (pierced and
applied ornament); William IV, 6s. to 20s. per oz.
Exceptional pieces of course bring exceptional prices. A
sugar-basket of 1725, by Paul Lamerie, sold in 1909 for £113, at
195s. per oz. A set of three George III (1763) sugar vases and
covers were sold at the Ashburnham Sale in March 1914, for £214, at
135s. per oz.
X
THE
CREAM-JUG
[Illustration: GEORGE II HELMET-SHAPED JUG. LONDON, 1736.
Maker, Paul de Lamerie.
(_By courtesy of Messrs. Crichton Brothers._)]