George Wickes, Silversmith: Artist and Works Analysis

George Wickes, liquidsmith Artist and Works AnalysisIntroductionIn this endeavor I have chosen to analyse an 18th century British work of decorative contrivance. The object I shall be closely looking at is a two handled atomic number 47 cup and back. The piece was produced by George Wickes in 1735 and is currently to be found in Gallery 53 in the Victoria Albert Museum in London.1 In my essay I shall describe the piece and the artist and their place in the art movement of the time. My conclusions shall be drawn from my research and personal opinions.George Wickes and 18th Century Silver ArtGeorge Wickes was born in Suffolk in 1698. He moved to London to become an apprentice to fluidsmith Samuel Wastell in 1712. A decade later Wickes registered his foremost mark in 1722 while working in Threadneedle Street. During this period it is most probable that the young silversmith found regular work in the city from rich clients employing his skills as a repairer of items rather than a designer and producer of silverware even extremely wealthy families spent regular sums of money over foresightful periods on the repair of basic household items (candlesticks, punchbowls, etc.).2 In 1730 he went into partnership with John Craig and moved to Norris Street in Haymarket which was rapidly succeeding Cheapside as the jewellers prat of London.3 When Craig died five years later Wickes opened his own workshop in Panton Street, Haymarket (this is when he produced the two handled silver cup and cover I am analysing). In 1747 he went into partnership with Edward Wakelin and jeweller Samuel Netherton to create Wickes Wakelin the company that were later to become Garrard Company Limited Crown jewellers and goldsmiths during six reigns and in three centuries.4 George Wickes eventually died in 1761 at the age of 63.It has been rumoured that Wickes tutored a young apprentice during his London years. This apprentice was perhaps one of the greatest British artists of all time Thomas Gainsborough subtitle has it that Gainsboroughs first teacher in London was a silversmith. Various suggestions have been made to the identity of the artisan in question. Two contenders are George Wickes and George Coyte, both(prenominal) Suffolk men.5 It is also interesting to note that Wickes himself was always trying to improve his knowledge and artistic abilities and frequently sought to learn new techniques from his peers and contemporaries Wickes achieved distinction in the craft as a close follower of capital of Minnesota Crespin and Paul de Lamerie.6The silver cup and cover I am analysing is approximately 25cm in height and 35cm in width and was most probably designed as an object of display rather than an actual drinking vessel. By the 1730s, covered cups were no longer primarily intend as drinking vessels, even though they may still have been drunk from on ceremonial occasions, but were now more important as objects for display and as fine gifts passed between gen tlemen. The overt grandeur of the cup heralds a period in British history that applauded opulence and demonstrations of wealth. The new ethnic practice of social etiquette was centred around the dining defer The table was the centre of social activity in the 17th and 18th centuries and, as earlier in polite society, the silver with which it was dressed reflected the wealth and social standing of the host.7 With this in mind it is quite easy to imagine the cup perched proudly as the tables centrepiece as the guests sit in wonder of the hosts grandeur. The cup is shaped as if it were a trophy, and for all intents and purposes that is what it is draped with ornate, clarify cast and chased representations of flourishing vine leaves and bunches of tempting grapes both exaggerating the images of sumptuousness and overflowing prosperity. The piece falls neatly into the early Rococo phase with its Bacchic theme, proudly pointing back to the original function of the ceremonial vessel in t he hands of Bacchus, the god of wine.The vase-shaped two-handled cup was a popular design in English silver throughout the 18th century and this piece is perhaps one of the best representations of the style. The thing that literally caps it all is the regal crown sat on the truly top. With this motif Wickes has undoubtedly demonstrated that he believes this piece to be one that should adorn the table of nobility.ConclusionI believe that this decorative work of art by Wickes is a superb representation of 18th century British design. The sheer magnificence of the cup is a testimony to a period when precaution to lavish detail was paramount to the objects design rather than the objects function. It is a world poles apart than the one in which I live, in fact I do not think that a similar object would be produced today the absurdity of a cup that was not meant to be drunk from would be too much for some It is my opinion that Wickes was an extremely important figure in the British art movement who has been more often than not overshadowed by his contemporaries, in particular William Hogarth. The fact that Wickes cup has found a home in the Victoria Albert Museum is testimony both to the artist and the work of art.BibliographyAsfour, Amal Williamson, Paul (2000) Gainsboroughs Vision Liverpool University shrinkBarr, Elaine (1997) Gainsborough and the Silversmith Burlington Magazine CXIXCock, Matthew (1996) The Arrival of the Dinner Service in Glanville, Philippa ed. (1996) Silver Victoria Albert MuseumEvans, Joan (1989) A History of Jewellery 1100 1870 messenger Dover ProductionsNewman, Harold (2000) An Illustrated Dictionary of Silverware Thames and HudsonPointon, Marica R. (1997) Strategies for Showing Oxford University PressWalford, Edward ed. (1915) Antiquary E. Stock PublishingWolf, Lucien (1934) The Origins of the Provincial Communities Essays in Jewish HistoryVictoria Albert Museum WebsiteFootnotes1 George Wickes Two handled cup and cover silver 1735 (M.280-1975)2 Pointon, Marica R. (1997) Strategies for Showing Oxford University Press (p32)3 Evans, Joan (1989) A History of Jewellery 1100 1870 Courier Dover Productions (p151)4 Walford, Edward ed. (1915) Antiquary E. Stock Publishing (p157)5 Asfour, Amal Williamson, Paul (2000) Gainsboroughs Vision Liverpool University Press (p71)6 Barr, Elaine (1997) Gainsborough and the Silversmith Burlington Magazine CXIX (p113)7 Cock, Matthew (1996) The Arrival of the Dinner Service in Glanville, Philippa ed. (1996) Silver Victoria Albert Museum (p40)