DESIGNERS, CRAFTSMEN, SILVER MANUFACTURERS AND ENGRAVERS
ABBO, Hussein Born in 1935, he studied painting at Brighton College of Art from 1956-60. He worked as a ceramics conservationist at the Victoria and Albert Museum from 1963-4 and as a designer for William Comyns from 1967-9. During the 1970s he became a professional graphic artist and a freelance silver designer. His silver work was highly decorated with acidetched geometric patterns. He subsequently moved to America with his family to concentrate on graphic art. ADAM, Francis Born in Hungary, he learnt his craft in wrought iron. He worked in London for Starkie Gardner & Co, the wrought iron specialists that also worked in bronze, lead, silver and gold. He taught at the Central School of Arts and Crafts from 1906-58. In 1920 he opened his own workshop. Leslie Durbin was one of his pupils. Adam died in 1961. AKEHURST, Richard Born in 1921, he studied silversmithing at the Sir John Cass Technical Institute, London. He established a workshop in Surrey and made jewellery as well as silver. A speciality was chasing natural subjects. ALSOP, Geoffrey Born in 1948, he studied at Sheffield Polytechnic from 1967-71. He was a designer-craftsman with Jack Spencer Ltd of Sheffield from 1971-4. In June 1974 he opened his own workshop with his wife, Margaret McConnachie. He lectured at Doncaster School of Art. AMBERY-SMITH, Vicki Born in Leeds, she grew up in Oxford where she took an art foundation course at the Oxford Polytechnic from 1972-3. This was followed by a three-year Jewellery and Design Course at Hornsey College of Art from 1973-6. She established her first studio in 1977 with the help of a Craftsman’s Setting-up Grant from the Crafts Advisory Committee (later the Craft Council). She produces jewellery, boxes and cruets in silver inspired by imaginary buildings. APPLEBY, Malcolm Born in 1946, he studied at Beckenham School of Art, Ravensbourne School of Art, the Central School/Sir John Cass School of Art and from 1966-8 at the Royal College of Art. The trigger for his interest in metal was a family connection with John Wilkes of the firm of gun makers bearing his name. The intricate engraving with which the bespoke items are traditionally decorated fascinated him. While at the Central School, he served a mock apprenticeship with Wilkes as a gun engraver. After graduating he came to the public’s attention by engraving a 24carat gold cup made by Louis Osman. Appleby decorated it with a fanciful version of the Prince of Wale’s heraldic symbols. It was the highlight of the 1971 ‘Louis Osman Gold Exhibition’ with the Illustrated London News describing it as displaying the extraordinary skill of a young genius. Appleby established his workshop in Scotland where as at 2014 he still works. A largerthan-life character, he is a multi-skilled craftsman but is best known for his engraving skills. See pp.58-71. ARTHUR, Graham K. He was born at Chapeltown, Sheffield in 1928. During World War II his family moved to Derby and later to Stockton-on-Tees where they resided in a house with an attic. It is here that he worked for hours on clay modelling and woodcarving. Having left school at 14, he worked for an engineering
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firm but used part of his earnings to study at evening classes and by a correspondence course for his Matriculation, which he passed in all subjects. He subsequently trained as a dental technician until aged 18 when he was conscripted into the army for his National Service. He served in the Dental Corps in Austria. Following his discharge he continued to study dentistry with a Mr Badcock, whose pastime was wood-carving. This gentleman encouraged him to study at art college. He began a course at Loughborough College of Art in 1956 and became a competent potter, but when he was introduced to silversmithing, this became his passion. Upon completing his studies in 1961 he remained teaching at Loughborough for a year. In 1962 he applied for a post running the silversmithing and jewellery element in the furniture department at High Wycombe College of Art and Technology. He was duly appointed a Senior Tutor/Lecturer and headed up the National Design Diploma course in silversmithing and jewellery. He later played a key role in establishing the Diploma in Art and Design Honours Course in Silversmithing and Metalwork. He taught Clive Burr (see pp.114-9) and Michael Rowe (see pp.41629). Michael Rowe comments on his teaching, ‘Graham Arthur was an early influence. A kind and generous man, he could see that, like him, I had a real passion for metal. He was un-pedantic and encouraged designs to evolve from working processes, always seeking the essentials in a design. This set the path conceptually, breaking things down to fundamentals – that has always been a fascination.’ He established an excellent workshop at his home in Downley where he undertook a number of commissions including a processional cross for Wells Cathedral. ASQUITH, Brian Born in 1930, aged 12 he attended the Junior Art Department of the Sheffield College of Art aged 12. From 1947-51 he studied sculpture and silversmithing at the Royal College of Art. He initially worked as a sculptor and then as an industrial designer, turning to silver in the mid-1960s. By the late 1960s he was producing a heavy-gauge range of domestic pieces combining production techniques with sculptural texture. In the 1970s he combined perspex with silver, resulting in goblets with interesting stems and dramatic trophies. See pp.72-9. AULD, John Leslie Miller He was an influential teacher at the Glasgow School of Art from 1950-79. A silversmith and jeweller who first registered his mark in Glasgow and then Edinburgh. He died in 1996. AURUM DESIGNS LIMITED The company was established in 1971 by John Sutherland-Hawes, a graphic designer, and John Whiter. Aurum commissioned silversmiths to design and supply silver pieces that were sold in a limited edition to raise funds. Although the output was predominantly goblets, other items such as bowls and coasters were also made. Many cathedrals used Aurum to raise funds, but work was also taken for other institutions such as Shrewsbury School and the Fitzwilliam Museum. The company also produced commemorative pieces to mark royal events such as weddings and anniversaries. The first pieces, a goblet and a bowl, were designed and made by Hector Miller and were marketed in 1971 to raise funds for York Minster. Hector went on to design and supply over 30 more items for the company. Pieces were also designed by Jocelyn Burton, Desmond Clen-Murphy and John Willmin, as well as others. See image on p.535.
DESIGNERS, CRAFTSMEN, SILVER MANUFACTURERS AND ENGRAVERS
BAILEY, Oliver Born in 1945, he was self-taught except for a course with Michael Murray at Oxford Polytechnic. He made spoons and boxes, some of the latter set with agate or cowrie shell. BAKER, Martin Ronald Born in 1952, he studied at the Central School of Art and Design from 1973-6. He graduated from the Royal College of Art in 1979 and then based himself in Soho. He undertook work for Liberty and was a part time tutor at Central St Martins College of Art and Design. Skilled at carving and model making, his work has been sold via Garrard’s and Wartski. Additionally he has received many commissions including from the Royal Family, Tiffany, the Garrick Club, Walt Disney, King Hussein of Jordan and the Worshipful Company of Broderers. BAKER, Robert John Born in 1951 he studied at Salisbury Art College and Manchester Polytechnic. He opened a workshop at Salisbury in 1973. He made silver boxes and worked to commission. BARNES, Philip He was born in London during 1952 and undertook his apprenticeship with the family firm of CF Barnes and Co from 1967-72. His father Charles ‘Fred’ Barnes (1912-89) had been in the trade since 1926 and Phil spent a great deal of his childhood watching his father enamelling. Fred Barnes retired in 1983. Phil is an award-winning enameller who designs and creates individual pieces in silver and gold. His speciality is champlevé enamelling. He incorporates finely hand-engraved detail beneath the enamels to bring out the vibrancy and life of the subtly graded colours. ‘Even with a long and full enamelling career behind me, I still get excited about the look only enamel can bring to a piece. Engraving plays a large part in my work through the line of design and the use of different textures. The transparency and the clarity of the enamels reflecting back from a brightly engraved background still thrills.’ Phil has exhibited his work both in the UK and across the world. In 1971, while still an apprentice of 19 years, he was the winner of the coveted annual Jacques Cartier Award for exceptional and outstanding craftsmanship. During his long career he has won many other awards too. He works in Suffolk. BARTHOLOMEW, John Born in 1932, he studied at the Central School of Arts and Crafts under Francis Adam and AE Emerson. He was apprenticed at Wakely and Wheeler, indentured to ‘Mr. Beck’. After National Service he worked three years for Charles Edwards before going to CJ Vander. Gerald Benney recruited him in 1974 to be be Chief Silversmithing Instructor at the Royal College of Art, a post he held until 1994. He registered his mark while there, but rarely used it as he was more intent on instructing. In 1994 he went to Malaysia to set up the silversmithing workshop for Comyns who had been bought out by the pewter manufacturer Royal Selangor. He stayed there until 1998. Upon his return Rod Kelly encouraged him to take up a day-a-week teaching post at Bishopsland. He has now retired. BASSANT, Norman Victor Born in 1932 he studied at the Gravesend School of Art. He subsequently served his apprenticeship at RE Stone’s. Later he moved to CJ Vander’s where he became a Senior Craftsman. He started teaching one day a week at Medway College of Art. He worked for Christopher Lawrence in the 1970s and won the Jacques Cartier Award in 1973. He established his own workshop in the mid-1970s and being a superb craftsman, found
there was no shortage of work. His son is also a silversmith. In the second half of the first decade of the 21st century, Bassant designed and made the silver for the chapel of the new Lady Thatcher Infirmary at the Royal Hospital Chelsea. See pp.454-5. BAXENDALE, Ralph Gordon Born in 1912, he was educated in Leeds. He studied at the Birmingham School of Jewellery and Silversmithing before undertaking further study at the Royal College of Art and Goldsmiths’ College in London. Having taught at the Maidstone School of Art, he returned to Birmingham in 1937 as Headmaster of the Erdington Branch of the School of Art. In 1948 he moved to the Birmingham School of Art where he was in charge of enamelling. In 1952 he became Head of the School of Jewellery and Silversmithing, Birmingham College of Art, a post he retained until his retirement in 1974. He undertook some design work for Mappin and Webb, Adie Brothers and George Tarratt of Leicester, as well as important civic and public commissions. He died in 1984. BECK, Frank Born in 1909, he became one of the finest craftsmen in the London trade. He started work at Wakely and Wheeler in the 1920s. After he retired from there he was employed as a master silversmith by Gerald Benney and he also taught at Hornsey College of Art and the Central School of Art and Design. In the Goldsmiths’ Review 2004/5 the Clerk wrote, after talking about Durbin who had died the same year: ‘The light of the other silversmith, (Beck) who was made free of the Company in 1931 on coming out of his time, tended to be hidden under the marks of the designers and workshops for whom he worked, but any true connoisseur of silver will point to certain virtuoso pieces of the last century and say just two words: “Frank Beck”.’ He died in 2005. BEDDALL, Sidney His work from the 1970s and 1980s occasionally appears on the secondary market. Some pieces have a hammered texturing similar to the ‘Benney Bark’ finish. His work is sometimes inscribed on the base ‘Designed and made by Sidney Beddall’. Pieces have been noted assayed in Sheffield, Edinburgh and London. BEDFORD, Tony He undertook his pre-apprenticeship course at the Central School of Art and Crafts. In 1963 he became apprenticed to Nayler Brothers. In 1964 he won the City & Guilds 1st Prize Medal and in 1967 he attended what is colloquially known as the ‘Skills Olympics’ in Madrid where he won a gold medal in the silversmithing category. In 1969 he worked for Stuart Devlin, moving to Grant Macdonald in 1971 and Michael Driver in 1974. He returned to Nayler Bros in 1975 as the workshop manager. Garrard’s acquired Nayler in 1976 and Tony worked closely with Alex Styles. In 1979 he won the prestigious Jacques Cartier Award. With the merger of Garrard’s and Asprey in 1998 he had 30 craftsmen to manage. After Nayler’s closure in 2002, following the demerger of Garrard’s and Asprey, he continued with Asprey from 2003 until 2010 when he retired. He then maintained a small workshop at his home. BEER, Simon Jonathan Educated at Bryanston School in Dorset, he was taught by the silversmith Cecil Colyer, who he found inspirational. After school he became apprenticed to David
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