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