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.