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.
WEDGWOOD CREAM-WARE PERFORATED CHESTNUT-BOWL.
Late eighteenth century.
WEDGWOOD CREAM-WARE PERFORATED DESSERT-BASKET.