hexafoil and on three openwork tapering panel feet, engraved with a coat-of-arms within foliage cartouche
31cm diameter, 28oz 13dwt, 891gr

These arms are those of Ranson, Hinson or Waltham, with a crescent for difference, impaling another.

As recorded by Arthur Grimwade the early ledgers which are preserved at Goldsmiths' Hall in London have no page for the letter V in largeworkers register, it believed to have fallen out, so it is not entirely clear who Edward Vincent was apprenticed to (A. Grimwade, London Goldsmiths 1697-1837, Their Marks and Lives, London, 1990, pp. 689-690). His first recorded mark is 1739 and shows him to be the son of William Vincent, a yeoman from Hendon in the county of Middlesex. This entry suggests that he was apprenticed to Robert Cooper in 1699 and free by July 1712. It is generally accepted that the EV mark that appears on the present hexafoil salver was the second mark he registered, in around 1720, when the sterling standard was re-introduced.

His existing body of work suggests that he was a prolific maker of a wide range of plate through the 1720s and 1730s. Among the exisiting plate with his mark is a seal salver of 1728 which is engraved by Charles Gardner for Sir Robert Eyre with the seal of the Lord Chief Justice of the Common Pleas. The salver is accompanied by a matching example of 1735 by John Liger (Sotheby's, London, 5 July 2017, lot 23). His other works include a wide range of silver such as a wall-light of circa 1720 (Sotheby's, New York, 28 October 2004, lot 458); a kettle, stand and lamp of 1734, engraved with the coat-of-arms of Richard Turbutt of Doncaster (Christie's, New York, 19 October 2004, lot 1061) and a beer-jug, engraved with the arms of Sir Robuck Lynch, 4th Bt. (Christie's London, 29 November 2007, lot 570).

Of Edward Vincent's work Grimwade notes 'The author was in no doubt, however, about the silversmith’s surviving work, writing that he must have been ‘...of considerable rank producing high-quality hollow-ware, coffee-pots, cups and salvers. His masterpiece is with little doubt the superb oblong salver of 1729 of the Middle Temple of which Lamerie would not have been ashamed.’ (op. cit., p. 690). With that said his career was not without some problems as he would seem to have been declared bancrupt on two occasions, first in 1722 and again in 1743, though like his early career there remains some question if these references refer to him or another silversmith. He is variously recorded as working in Dean Street, Fetter Lane and later in the Strand, before ending up back in Dean Street.