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Lot Essay
It has been said of John White that "he either was, or employed, a particularly fine engraver who made considerable use of a grinning mask of Hogarthian type in the cartouches enclosing coats-of-arms and in strapwork borders", (A.G. Grimwade, London Goldsmiths and Their Marks, 1697-1837, London, 1976, p. 699).
Charles Oman (op. cit.) first suggested that John White's engraver might be Charles Gardner, who seems to have been perhaps the most successful silver engraver of his day. He was apprenticed to the goldsmith William Starling II in September 1705 and was free of the Goldsmiths' Company in 1714. During a thirty year career eleven apprentices were bound to him and most of the time he employed three apprentices which is an indication that his work was much in demand.
His importance is further emphasised by the fact that when the Goldsmiths' Company ordered a considerable amount of new plate from Paul De Lamerie, Richard Bayley, Thomas Farren and Humphrey Payne it was specifically mentioned that the silver so-ordered was to be engraved by Gardner. Oman compared the engraving on salvers made for this order by Bayley in 1740 and Farren in 1741 with that on the jewel casket in the Beaufort service. He concludes that all our by the same hand with a "stiff and formal rendering" of the heraldry. Of the ornamental border on the pin-cushion he writes that it was "clearly taken from some copy-book and does not suggest he was experimenting with the rococo".
It is of interest to note that the engraved border and simulated strapwork that appear on the ewer in this lot are almost identical to the engraving on a two-handled cup by White, 1730 with the arms of Cotton with Craggs in pretence (Christie's New York, 27 September 1978, lot 142).
Further support to the attribution of the engraving on this cup and the Beaufort service to Charles Gardner is lent by the recent appearance at auction of a seal salver made for Lord Chancellor King (1669-1734) by John White in 1728 signed "CGardner Sculpt." (Sotheby's London, 8 June 1995, lot 122).
It also seems probable that Charles Gardner is the man referred to in a letter from John White in the Badminton archives (D2700 PA 1/7):
"London July 12 1729
to Capt Burgh at his grace the Duke of Beaufort at Home Lacey Herfs I recd yours with a Bill of three Hundred Pounds on Rd Lockwood Esq. and this day sent his Grace's Plate to Badminton by John Sertain all packt in the best manner...I have this Post advertised Mr Gardiner (sic) of ye Plate being sent as above and am Sr Your most humble servant John White"
John White was apprenticed to Robert Cooper in 1711 and became free in 1719. His latest recorded work dates from 1737. During his working career he produced approximately 70 extant pieces, counting pairs and sets as one item. (The above information is extracted from the articles by Sale and Brett published in the Silver Society Journal cited above, which includes all the current information on White and Gardiner)
Charles Oman (op. cit.) first suggested that John White's engraver might be Charles Gardner, who seems to have been perhaps the most successful silver engraver of his day. He was apprenticed to the goldsmith William Starling II in September 1705 and was free of the Goldsmiths' Company in 1714. During a thirty year career eleven apprentices were bound to him and most of the time he employed three apprentices which is an indication that his work was much in demand.
His importance is further emphasised by the fact that when the Goldsmiths' Company ordered a considerable amount of new plate from Paul De Lamerie, Richard Bayley, Thomas Farren and Humphrey Payne it was specifically mentioned that the silver so-ordered was to be engraved by Gardner. Oman compared the engraving on salvers made for this order by Bayley in 1740 and Farren in 1741 with that on the jewel casket in the Beaufort service. He concludes that all our by the same hand with a "stiff and formal rendering" of the heraldry. Of the ornamental border on the pin-cushion he writes that it was "clearly taken from some copy-book and does not suggest he was experimenting with the rococo".
It is of interest to note that the engraved border and simulated strapwork that appear on the ewer in this lot are almost identical to the engraving on a two-handled cup by White, 1730 with the arms of Cotton with Craggs in pretence (Christie's New York, 27 September 1978, lot 142).
Further support to the attribution of the engraving on this cup and the Beaufort service to Charles Gardner is lent by the recent appearance at auction of a seal salver made for Lord Chancellor King (1669-1734) by John White in 1728 signed "CGardner Sculpt." (Sotheby's London, 8 June 1995, lot 122).
It also seems probable that Charles Gardner is the man referred to in a letter from John White in the Badminton archives (D2700 PA 1/7):
"London July 12 1729
to Capt Burgh at his grace the Duke of Beaufort at Home Lacey Herfs I recd yours with a Bill of three Hundred Pounds on Rd Lockwood Esq. and this day sent his Grace's Plate to Badminton by John Sertain all packt in the best manner...I have this Post advertised Mr Gardiner (sic) of ye Plate being sent as above and am Sr Your most humble servant John White"
John White was apprenticed to Robert Cooper in 1711 and became free in 1719. His latest recorded work dates from 1737. During his working career he produced approximately 70 extant pieces, counting pairs and sets as one item. (The above information is extracted from the articles by Sale and Brett published in the Silver Society Journal cited above, which includes all the current information on White and Gardiner)