George Wickes, London 1722, the deep bell shaped bowl with applied acanthus foliage, engraved Rococo cartouche with armorial to either side, the pull off domed cover with similar decoration and compressed bun finial, the acanthus leaf clasped handles each of S scroll form, all raised on a domed foot with chased border, the underside of foot engraved, 'Pignus A micitia B WB 1736' (Dimensions: Height: 33cm, weight: 77.7oz) (Height: 33cm, weight: 77.7oz) Footnote: Heraldry: Engraved with the arms of Bassett possibly of the County of Gloucestershire, engraved within Rococo cartouche Ermine upon a chief indented and three escallops, the crest to cover of a escallop between two wings. Note: George Wickes 1698-1761 An often-overlooked maker of the early-mid 18th century, George Wickes can be regarded in the same echelons as his contemporary, Paul de Lamerie who is often considered the finest maker of the 18th century. Apprenticed at the age of 14, Wickes moved to London and merely a decade later registered his own punch with the London Assay Office in 1722. Fundamentally it is due to George Wickes that we can understand better the context of these craftsmen and the businesses they ran. Remarkably the trade ledgers survive from George Wickes’ company, and we can appreciate the effort and man power required to produce such impressive pieces. The trade ledgers reveal that over sixty plate workers were employed with other members employed all for their individual roles such as planishing, chasing, turning etc. We can also see the network within the craft which was why the guild is so important, with prominent makers such as Ebenezer Coker relied on for their specialities in his case, candlesticks. Moreover, the British Museum holds a Trade card in the Heal Collection (Heal,67.428) advertising the company as "George Wickes & Samuel Netherton, Goldsmiths and Jewellers, Silversmiths, to his Royal Highness the Prince of Wales...Make & Sell all Sorts of Jewels, Watches, Plate & all other Curious Work in Gold & Silver. Variety of Falsestone Work in Aigrettes, Earrings, Buckles &c. All manner of Seals in Stone, Steel, & Silver, Engrav'd in the newest Taste’. It is clear to see the influence that George Wickes had and how high regard his contemporaries held him in. For a similar example of his cup and cover, look no further than the V & A. A cup and cover by Paul de Lamerie 1736-7. (Museum no. 819-1890, © Victoria and Albert Museum, London) mirror the elegant, Wicke’s 1722 commission, with the cup of upended bell form, the lower half decorated with applied scroll mouldings, and the leaf clasped handles clearly show how closely Wickes and that of de Lamerie were working. A hugely significant commission and perhaps the largest of Wicke’s is the service of 1745-47 made for James Fitzgerald, Viscount Leinster, subsequently Duke of Leinster, on his marriage to Emilia, daughter of the 2nd Duke of Richmond. Offered by Christies in 2012 lot 48, this service comprising of over 140 pieces achieved a price of £1,721,250 in 2012. By the 1730s royal commissions were becoming more consistent and led to his appointment as Goldsmith to Frederick, Prince of Wales, the then heir apparent to the British throne. This George I twin handled cup and cover made in George Wickes’ first year, exemplifies the emergent Rococo period. Inspired from the Continent and especially France, silverware becomes much more fluid and pieces seem to melt into one. The cup and cover is a typical example of early 18th century holloware, which were used as both centrepieces as well as presentation gifts. The cup and cover remains popular within this period unlike some domestic wares which with new porcelain innovations appear less so in silver. The style of Rococo is characterised by elegance and key features such as scroll foliate moulding and shell detail can be seen clearly with the applied decoration to the body and domed cover and shell motifs to the foot. The engraved inscription to the underside pertains to a latin phrase for friendship and emphasises how these cups were presented as gifts to be displayed. It is with this information that we can confidently place Wickes alongside his renowned contemporaries such as de Lamerie and Nicholas Sprimont and emphasise the importance of George Wickes to this period. His work can be seen in museums across the world and his legacy continues with the evolution of his work, now known as Garrards.