Salver (one of a pair) 1730

Editor: So, these are a pair of silver salvers made by Paul de Lamerie around 1730. They seem pretty understated at first glance, very functional. What's interesting to you about these objects? Curator: The fact that they appear “understated” is exactly where their power lies. Silver like this was not just about functionality, but a demonstration of wealth, status, and the global reach of the British Empire. The silver itself likely came from mines in the Americas, exploited labor, and flowed into London where artisans like Lamerie transformed it. What stories do you think these objects silently tell? Editor: Well, that someone had enough money to own fancy silver trays, definitely. Also, something about trade routes maybe? It is hard to immediately think about that when looking at it... The engravings look pretty tame, almost generic. Are those coats of arms? Curator: Exactly. While they may seem generic now, these details – especially any armorial engravings – signaled very specific social identities and family histories to contemporaries. Who were these people wanting to project such elevated taste and nobility? Lamerie's pieces became markers of class. Were you familiar with his work prior? Editor: I’ve seen similar things, but not his specifically. The idea that something so…domestic…could be tied to such a complex global network of exploitation is kind of a downer, though, to be honest. Curator: Absolutely. It is precisely that tension that makes decorative arts so compelling to study. It forces us to confront the uncomfortable truths about the past, embedded in objects we often perceive as purely aesthetic. The "Salver" becomes a symbol, laden with complex histories of power and prestige. Editor: That’s a really good point. I'll never look at fancy silverware the same way again. Thanks! Curator: My pleasure. Reflecting on how seemingly innocuous items were entrenched within global systems of commerce offers valuable insights for reconsidering decorative art and design today.