QEST Magazine Spring 2019

T H E QU E E N E L I Z A BET H S C HOL A R SH I P T RU ST M AG A Z I N E

Under the Skin - The Wallace Series by 2018 QEST Scholar James Harrison Photograph: Jody Daunton, Another Escape

Issue 39 Spring 2019

In this issue New QEST Scholars & Apprentices

A Celebration of British Craftsmanship Book Launch

Traditional Building Skills Programme with The Prince’s Foundation

Private View Rod Kelly, Silversmith

Issue 39 Spring 2019

2018 was another extraordinary year for QEST and I’m sure 2019 will be just as productive as QEST continues to raise its profile and voice in support of excellence in British craftsmanship. It is almost 30 years since our inception and, like someone with that maturity but still youthful enthusiasm, is now standing firmly in its own foundations and remains proud and respectful of the traditions Nick Crean, QEST Chairman that led to that inception. The QEST team is a hive of ideas, enthusiasm and energy. As trustees we are honoured to be its custodians.

One of the many things that inspired me last year was to hear stories of how craft continues to have such an important role in a wide range of applications. For instance, at the inaugural meeting of The All-Party Parliamentary Group for Craft, we heard from a leading surgeon, Professor Roger Kneebone, how he and his team continued to refine their stitching techniques by working with lace makers. A scientific glass instrument blower explained that glass defines scientific research, and its importance can be traced through the cathode ray tube to fibre optics. The intricate and precise skills needed to produce these bespoke, complex pieces of glass are born out of craft. I also know one of the UK’s

QEST Magazine is published with the kind support of our advertisers.

Photograph: Sequoia Ziff

Welcome to the Spring 2019 Edition

QEST Patron His Royal Highness The Prince of Wales Vice Patrons The Earl of Snowdon The Marquess of Salisbury Chairman Nick Crean Honorary Treasurer Alec McQuin

Registered Charity No.1152032

QESTcraft queenelizabethscholarshiptrust qestcraft justgiving.com/qest

Trustees Mark Henderson Matthew Ingle Prof Steve Macleod Dr Nicholas Morgan Neil Stevenson Peter Ting Deborah Carré Ambassadors Caroline Armstrong-Jones Karen Bennett

leading hand surgeons, Mr Donald Sammut, practises life drawing so that he and his students really learn to look at what it is they need to resolve.

Mind to eyes to hand or as Jacob Bronowski wrote in The Ascent of Man “The hand is the cutting edge of the mind”.

I am collecting as many examples as possible that bring to life connections between craft and industry, science and commerce. They make compelling case studies to present to government in support of a greater focus on craft in education and provide inspirational resource for QEST to continue to elevate the importance of craft and the many skills that it contributes to.

In 2018, we began a collaboration with The Prince’s Foundation. This Traditional Building Skills Programme is progressing well, with a Live Build already completed at Hillsborough Castle in Northern Ireland.

The opportunity for craftsmen and women to work and create together, understand the frustrations and celebrations of each other’s disciplines, with a keen understating of the commercials and business knowledge needed to keep their craft alive, is very exciting for us to be part of.

Your support is immensely appreciated and valued.

Nick Crean QEST Chairman

Julian Calder Julie Deane, OBE Nick Farrow Dr Jonathan Foyle Scott Simpson Mark Van Oss

Royal Warrant Holders Association President Mark Henderson CEO & Secretary Richard Peck

QEST Magazine

Karen Bennett, Editor Chantal Bristow, Researcher keysmith.co.uk Design & Print Farrows farrows.co.uk Media Enquiries Eve Lacey Ideas Network 020 7351 4719 eve@ideasnetwork.co.uk

QEST Office

Queen Elizabeth Scholarship Trust

CEO Deborah Pocock, LVO

1 Buckingham Place

Applications & Grants Co-ordinator Maxine Thomik Communications & Events Officer Guineviere Nicholas Operations Officer Louise Rains

London SW1E 6HR 020 7798 1535 info@qest.org.uk qest.org.uk

QEST

Scholars & Apprentices 2018

New QEST Scholars & Apprentices The final interviews of 2018 were overflowing with talent, ambition and potential.

After four craft-packed days - including honey tasting, examining stitching on straw hats and leather bridles, learning about innovations in print, and listening to heartening stories of conservation - 21 QEST Scholarships were awarded and a commitment made to supplement the wages and training costs for six QEST Apprentices.

Photograph: Mark Nelson

Katie Brew will travel the UK learning the intricacies of archive conservation, including maps at the Highland Archive Centre and wax seals at The National Library of Wales. Others will travel further afield to gain specialist skills: bespoke shoemaker Dominic Casey is Arizona-bound for masterclasses in decorative leather carving, textile artist Hannah Waldron will be researching and refining her skills in Kyoto and Tokyo, and stained glass conservator Olivia Smith will undertake a six-month internship at The Metropolitan Museum of Art in New York.

Cordwainer Dominic Casey, QEST Leathersellers' Company Scholar

Stained glass conservator Olivia Smith

Many will go on to practice a rare or endangered craft, including Sussex trug making, letter cutting, horse collar making and colour matching for the textiles industry.

Others hope to enrich our cultural experiences: Isabel Nellie Walters is studying Theatre Costume at the Royal Academy of Dramatic Art; Sophie Barrett is at the midpoint of a Scenic Art Apprenticeship at the National Theatre; and frame restorer Borys Burrough, who will spend the next two years learning to carve ornate, historical picture frames at the City & Guilds of London Art School, hopes to become head of framing at the National Gallery.

It is thanks to the continued generosity of the QEST donors that these 27 individuals, who would otherwise be unable to take these paths, have the opportunity to further their careers and the mission of QEST, to promote excellence in the many facets of British craftsmanship.

Textile artist Hannah Waldron

Isabel Nellie Walters, historic costumier

Chloe Rutherford

Scholars

QEST LEATHERSELLERS' COMPANY SCHOLAR SADDLERY & HARNESS MAKING “I became captivated by old Chloe Rutherford founded Three Shires Saddlery & Harness in

leatherwork whilst renovating a

Cambridgeshire, aged 19, whilst studying for the Worshipful Company

vintage carriage driving harness

of Cordwainers Diploma in Saddle, Harness & Bridle Making at Capel

for indoor tandem champion

Manor College. She specialises in hand-stitched, bespoke leatherwork and

Liz Harcombe; a course in the

customers include Royal Warrant holder Bennington Carriages.

endangered craft of collar making with John McDonald will help me

The QEST Leathersellers’ Company Scholarship will enable Chloe, a

continue this line of work too.”

Registered Trainee of the Society of Master Saddlers, to become a Qualified Saddler & Harness Maker. She will take courses including advanced bridlework, saddle making and flocking at The Saddlery Training Centre in Salisbury and City & Guilds Level 3 Skills Assessments.

Sophie Burrows QEST BENDICKS SCHOLAR CHILDREN’S ILLUSTRATION Freelance illustrator Sophie Burrows graduated from the University of the West of England with a first-class BA (Hons) in Illustration and recently conducted research into vitality in artwork on the Children's Book Illustration MA at Anglia Ruskin University, Cambridge.

With a QEST Bendicks Scholarship, Sophie will complete her Masters, focusing on observational drawing, printmaking and creating books to develop practices that capture the energy of her sketchbook work. In her final year, she

threeshires-saddlery.com Three-Shires-Saddlery

“I can now continue my exploration into storytelling through imagery for children and young adult audiences. I am also working on my first picture book, having secured a two-book deal, and hope to develop my wordless comic, Crushing, into a long-form graphic novel.”

sophieburrows.com

boofburrows

will exhibit at the Bologna Children's Book Fair to gain exposure to industry professionals from around the world.

Borys Burrough QEST ANDREW LLOYD WEBBER FOUNDATION SCHOLAR WOOD CARVING & RESTORATION Three years ago, inspired by his job in frame restoration,

“The carving of historical

Borys Burrough began studying for the Historic Carving

picture frames is a rare craft

Diploma at the City & Guilds of London Art School.

today. With these specialist

He won the William Wheeler Woodcarving Prize and

skills, I will be able to carve

commissions for a grotesque at St George's Chapel,

faithful replicas of the most

Windsor Castle, and frame for a Van Dyck painting at

ornate frames. My dream is to

The Bowes Museum.

follow in the footsteps of Peter Schade to become head of

Borys has been accepted onto the Postgraduate

framing at the National Gallery.”

Diploma in Carving. The QEST Andrew Lloyd Webber Foundation Scholarship will cover the fees for this two-year course, centred around 17th century Baroque techniques with a focus on the work of celebrated woodcarver Grinling Gibbons.

auricularstyleframes. wordpress.com borysburrough

QEST

Scholars 2018

Emma Wilkinson QEST SCHOLAR KILTMAKING

Emma Wilkinson acquired excellent hand skills as a Textiles undergraduate at the University of Edinburgh and embroidery intern at Hand & Lock, Europe's pre-eminent embroidery atelier, and has won awards for the luxurious fabrics she has created.

Proud of her Scottish heritage, Emma is keen to apply her training to Highland dress. QEST is funding an intensive course at the Edinburgh Kiltmakers Academy at Gordon Nicolson Kiltmakers, established to ensure the traditional standards of this historic trade are kept alive. During this time she will make at least six kilts using different weights of tartan and pleatings.

“I enjoy the emphasis on hand stitching in both embroidery and kiltmaking and am committed to incorporating traditional and contemporary applications of these ancient crafts in my work.”

emmawilkinson.design edinburghkiltmakersacademy.com emmawilkinson.design

Joshua Hill QEST SCHOLAR WALL PAINTING CONSERVATION

Joshua Hill chose a career in conservation to marry his passions for art and science. After a PhD in Inorganic Chemistry at the University of Oxford, he is now undertaking the MA in Conservation of Wall Painting at The Courtauld Institute of Art and plans to combine his conservation practice with teaching and research.

Joshua achieved distinction in the first two years of the course and QEST is providing support for the final year of his professional training. This will include dissertation research into metal soaps in wall paintings

Photographs: The Courtauld Institute of Art

and fieldwork in India and the UK. “The UK may not commonly be associated with wall painting, however in England alone there are over 2000 buildings with surviving medieval painting.

Their significance depends on their connection with the structure for which they were created and their care relies on a wealth of specialist craft skills.”

courtauld.ac.uk joshua-a-hill

Issue 39 Spring 2019

James Harrison QEST SCHOLAR PRINTMAKING

Sustainability and conservation, from the use of carbon-neutral paper and water-based ink, to work that reflects threats to ecosystems around the globe and benefits charities that protect endangered species, are the defining influences in screenprinter James Harrison’s artwork.

In 2015, with his brother Ed, James launched an interactive print series, Under the Skin, in which ultraviolet light exposes each animal’s phosphorescent skeleton - all that remains when a species becomes extinct. James applied to QEST to support a residency at the Glasgow Print Studio where he will collaborate with artists Alasdair Gray, The Wilson Twins and Sam Ainsley on speculative projects.

undertheskin.co.uk undertheskin _undertheskin undertheskinofanimals

Eleanor Lakelin QEST TURNERS’ COMPANY SCHOLAR WOOD TURNING

Eleanor Lakelin creates sculptural objects in British timbers using a traditional lathe, chisels and modern techniques.

Nicholas Somers of The Worshipful Company of Turners considers her to be one of the country’s most exciting contemporary artists in wood.

The QEST Turners’ Company Scholarship will support Eleanor’s ambition to develop larger scale forms. She has been invited to the US to meet seminal artist Ursula Von Rydingsvard and sculptor Mark Lindquist to explore the creative and technical challenges of her ideas. She will also attend the Art Academy in London to experiment with methods and digital tools for figurative and abstract sculpture at scale.

“The course is designed to fit around a working artistic practice, and, with guidance from Ursula and Mark, could transform the scale of pieces I can create for private collections and public commissions”

eleanorlakelin.com eleanorlakelin eleanorlakelin eleanorlakelin

Photograph: Ester Segarra

"This will be a chance to work with different materials, inks and techniques to the push boundaries of our printmaking practice, in particular engaging people in thought-provoking, sensory experiences at Under the Skin exhibitions."

Scholars 2018

Jessica Mantoan QEST HOWDENS SCHOLAR STONE CONSERVATION

Jessica Mantoan gained a BSc in Conservation Science from the University of Milan before moving to London, drawn to the city by her fascination with British monuments and the postgraduate study opportunities at the City & Guilds of London Art School.

A QEST Howdens Scholarship will contribute to the fees for Jessica’s Conservation MA, which will provide training in the conservation of wood, stone and decorative surfaces. The course also covers ethics, conservation technology, chemistry and the history of pigments, and touches on the crafts of wood and stone carving, gilding and joinery.

“I hope to practice the conservation of public art, especially sculpture and stone, at a prestigious London museum; the advanced techniques and material experience I gain on this course will be invaluable.”

jessica-mantoan

Dominic Casey QEST LEATHERSELLERS' COMPANY SCHOLAR LEATHER & CORDWAINING

Dominic Casey has worked as a bespoke shoemaker for 35 years.

He has a Mayfair atelier, workshop in Sussex, teaches the only last making course in the UK, and helped to establish the MA in Footwear Design at the Royal College of Art. Keen to learn leather carving from celebrated teachers in the US, Dominic is travelling to Arizona for the Southwest Leather Workers Trade Show. He will spend the week attending workshops to learn the design and techniques to create flowers, leaves, scrolls and other features of classical ‘Sheridan’ style tooling, then onto Oregon for one-to-one tuition with award-winning craftsmen, Takeshi ‘Yone’ Yonezawa.

“I plan to incorporate these decorative designs and carving techniques, learned from the best in the world on my QEST Leathersellers' Company Scholarship, into my English long boots to create a fresh, distinctive product.”

Photographs: Mark Nelson

QEST

dominiccasey.com dominiccaseyshoemaker

Issue 39 Spring 2019

Jamie Murray QEST GARFIELD WESTON FOUNDATION SCHOLAR PHOTOGRAPHY “These craft skills will Institutions such as naval ships, prisons and boarding schools provide the

complement the ethos of

subject matter for Jamie Murray, who recently completed his Masters in

the imprint I have created,

Photography at UWE Bristol. As a photographer, printer, and bookmaker,

which centres on considered

he is continually thinking about the output of his photography.

representation of images and the synergy between

Jamie’s QEST Garfield Weston Foundation Scholarship will fund

documentary photography

workshops in traditional and contemporary processes to help him create

and handmade prints

bespoke printing methods for specific aesthetic or conceptual needs:

and books.”

photopolymer gravure at Lux Darkroom for tactile black and white images; analogue C-type exhibition printing with Tim Richmond; and photobook making with Alec Soth.

Lucy Barlow QEST GARFIELD WESTON FOUNDATION SCHOLAR MILLINERY

A magnificent straw beret that Philip Somerville brought back from Paris while Lucy Barlow was an apprentice in his Bond Street atelier inspired her love of stitched straw that has endured for almost four decades.

Since 1990, Lucy has made hats on a motorised 1870s stitch straw machine, including collections for Harvey Nichols and Saks Fifth Avenue. Feeling perfectly placed to bridge old traditions and new possibilities, Lucy began an MA in Millinery at the Royal College of Art, which she will complete with a QEST Garfield Weston Scholarship.

“My dissertation research has revealed that I am one of the last stitch straw artisans in the UK, so I feel a responsibility to share my skills. The MA will provide academic validation and I am developing braids in sustainable materials for a men’s collection to help regenerate the craft.”

lucybarlow.com lucybarlow.hats

Lara Townsend QEST KIRBY LAING FOUNDATION SCHOLAR STONE CARVING

In 2017, History of Art graduate Lara Townsend completed a four-year stonemasonry apprenticeship with Historic Environment Scotland (HES), followed by an HES Stone Carving Craft Fellowship, working on a Corinthian capital for the Four Courts in Dublin.

Lara is now based in Edinburgh and looking to further her career in stone carving and letter cutting. Having taught the basics of letter cutting for years through HES outreach work and Glasgow School of Art, she will take her teaching and practice of this endangered craft to the next level through a year’s training in the Perthshire workshop of 2004 QEST Scholar Gillian Forbes.

“During my QEST Kirby Laing Foundation Scholarship, we will spend three days a week working on design, layout and letter cutting, as well as relief and incised carving in sandstone, slate and marble. I have also enrolled on complementary courses in drawing, photography, clay modelling and graphic design.”

rockpaperchisels paperchisels

jamiemurray.com jamieemurray

QEST

Scholars 2018

Bex Simon QEST HOWDENS SCHOLAR BLACKSMITHING

Katie Brew QEST THOMAS GOODE SCHOLAR PAPER CONSERVATION History of Art graduate Katie Brew is assistant conservator at Palace Green Library,

During a Foundation in Art at Surrey Institute, Bex Simon attended a forging and

which holds Durham University's archives and special collections. She entered the

welding demonstration and realised the potential of blacksmithing for her organic

profession through training alongside expert conservators whose clients included the

style. Since becoming an artist blacksmith in 1999, her work has been mostly by

Government Art Collection.

commission, including a 40-metre installation at Westminster Magistrates’ Court.

Katie will spend her three-year QEST Thomas Goode Scholarship working towards Bex has long been interested in the mathematics of the natural world and its

the Archives & Records Association Certificate in Archive Conservation. This begins

application in Islamic art. Over the next three years, she will attend five courses and

with a week of theory, then practical placements: maps and plans at the Highland

a number of lectures on the Open Programme at The Prince’s Foundation School of

Archive Centre; wax seals at The National Library of Wales; paper at the West

Traditional Arts, beginning with Geometry & the Order of Nature.

Yorkshire History Centre; and bookbinding and parchment at the Flintshire Record Office. Katie will also study Chemistry for Conservators.

“This QEST Howdens Scholarship will give me a broader understanding on how to mix the ancient beauty of Islamic art with traditional blacksmithing techniques

“Conservation science and preventive work slow deterioration, but there will

and contemporary metalwork design, from which I plan to develop a body of

always be a need for manual intervention. These placements will teach me to make

sculptural wall art to sell through galleries.”

reasoned choices for historical documents and take me closer to becoming an accredited book and paper conservator.”

bexsimon.com bexsimonartsmith BexSimonArtist

archiveconservator

Issue 39 Spring 2019

Olivia Smith

Seth Kennedy

QEST SCHOLAR

QEST BRITFORD BRIDGE TRUST SCHOLAR

STAINED GLASS CONSERVATION

HOROLOGY

Olivia Smith is a stained glass conservator living

Sofia Sacomani

Mechanically-minded, Seth Kennedy came to

in Birmingham. She holds a BA in Fine Art from

QEST SCHOLAR

antiquarian horology after working as a design

Central Saint Martins and a Masters in Stained Glass

PRINTMAKING

engineer. He now services, repairs and restores antique

Conservation & Heritage Management from the University of York, which included placements at Ateliers Rambaut and Mestdagh in Belgium.

With a QEST Scholarship, Olivia is able to accept the offer of a six-month internship at the Metropolitan Museum of Art in New York. She will work alongside leading professionals, observing and participating in their innovative conservation treatments on archaeological to modern glass and ceramics.

“Conserving stained glass installed in varied environments will prepare me with the skills and knowledge to work on the UK’s diverse glass heritage, which encompasses medieval sites such as York Minster and the Victorian legacy present throughout the country.”

olivia_smith_glass

pocket watches using his own tools and techniques, University of Buenos Aires Design graduate Sofia Sacomani is a visual artist based in London. Her practice combines analogue photography with printmaking processes such as screenprinting and transfer to deconstruct and create alternative images.

During the final year of her MA in Fine Art Printmaking at Camberwell College of Arts, with the fees funded by a QEST Scholarship, Sofia will develop this innovative, signature technique further: mixing different media and producing her own negatives, then experimenting with exposing them onto different surfaces in the darkroom to reveal new interpretations.

“What is initially fixed in time - the objective photograph - transforms into something more abstract and dynamic. Using traditional techniques in a contemporary way, I hope to attract other artists to this interplay between physical and digital imagemaking.”

sofiasacomani.myportfolio.com sofiisacomani

a method endorsed in a treasured letter from great British watchmaker, George Daniels.

Seth is developing his pocket watch case-making skills, particularly rose engine turning for decoration, with a QEST Britford Bridge Trust Scholarship to train with two experts: Steven Keen will help Seth to select machinery and provide 10 days of tuition over the next year; Seattle-based Brittany Nicole Cox will spend a week at Seth’s London workshop to assist with set-up and practice.

“There are only a few people in the UK making cases professionally. By bringing engine turning in-house, I can offer a more complete service, make higher quality cases, and perform better repairs on decorated cases.”

sethkennedy.co.uk sk_mechanician A_Mechanician

QEST

Scholars 2018

Kelly Jones QEST ALBORADA TRUST SCHOLAR BRIDLEWORK In the four years that Kelly Jones has been working with leather, she has completed her City & Guilds Level 2 and 3 Bridle, Level 2 Harness, and is working towards her Level 3 Harness. She sells her bridles and a range of small leather goods as KellyJ Leather.

Standard saddlery training does not cover Kelly’s major interest - specialist, modern bridles, particularly for the different demands of eventing - but Master Saddler Issi Russell, impressed by her perfectionism and potential, has offered 10 weeks of training. This will build on Kelly’s traditional knowledge and cover measurement, pattern making and stitching for a range of bridle styles.

“Through the QEST Alborada Trust Scholarship, I will be able to design and produce bespoke bridles to national competition standard that are comfortable for the horse and promote best performance for both horse and rider.”

kellyjleather.co.uk kellyj_leather kellyJ leather

Dorcas Casey QEST TOM HELME SCHOLAR LOST WAX BRONZE CASTING

Bristol-based artist and sculptor Dorcas Casey has exhibited at Banksy's Dismaland Bemusement Park and her sculptural costumes have appeared in prestigious galleries, such as Hauser & Wirth in Somerset, and at Glastonbury Festival in 2016.

Many of her pieces are created from textiles coated in resin, which forms a rich, tactile surface. Dorcas is also fascinated by finishes that can be achieved through bronze casting. On a QEST Tom Helme Scholarship, she will receive 40 days of tuition with sculptor Ian Middleton, experiencing every stage of the ancient lost wax casting process at his Dorset studio.

“Small-scale foundries are increasingly rare, as is the tradition of artists casting their own work.

Learning mould-making, wax casting, bronze pouring, finishing and fettling will allow me to traditional technique to influence my contemporary art practice"

dorcascasey.com dorcascasey

Photograph: Jasper Casey

translate my sculptures into bronze and for this

Issue 39 Spring 2019

Isabel Nellie Walters QEST BRODERERS' COMPANY SCHOLAR HISTORIC COSTUME

Isabel Nellie Walters discovered her passion for making historically accurate costumes whilst studying Design Realisation at the Guildhall School of Music & Drama, and on placements at the National Theatre, Tower of London and V&A Museum of Childhood.

The QEST Broderers' Company Scholarship will enable Nellie to embark on the Postgraduate Diploma in Theatre Costume at the Royal Academy of Dramatic Art (RADA), the only course of its kind in the UK, covering the history of costume and skills including corset making, embroidery, tailoring and millinery.

“The British entertainment industry is renowned as the finest in the world for period costume. Historic pieces are seldom used as they are fragile and depleting, so my training at RADA will equip me for a career as a costumier for theatre, television, film and museums internationally.”

Photograph: Espacion

nellie_walters_creative

Hannah Waldron QEST SCHOLAR TAPESTRY WEAVING

Weaving complements the grid-based images of Cornwall-based artist and designer Hannah Waldron and she applies her narrative-led designs across a range of print textiles, including ‘Furoshiki’ (wrapping cloth) by LINK, a Japanese collective that works with artists from around the world.

Hannah will travel to Japan on a QEST Scholarship for a course in ‘Kasuri’ (threads are bound before dying to create patterns in the woven cloth) at Kawashima Textile School in Kyoto and research at local workshops and museums. In Tokyo, Hannah will visit a specialist in 'Chu-sen' screenprinting for ‘Tenugui’ (cotton hand towels) with LINK for ideas to expand their collaboration.

“The trip will develop all strands of my practice - studio weaving, printed textiles and academic research - and inform my contemporary textile designs, based on traditional Japanese craft techniques, for an international audience.”

hannahwaldron.co.uk hannah.waldron hannahwaldron hannahwaldrontextiles

QEST

Apprentices 2018

Apprentices

Mark Robinson

Heather Fisher

Jessica Fraser

QEST APPRENTICE

QEST HOWDENS APPRENTICE

QEST APPRENTICE

SUSSEX TRUG MAKING

HOROLOGY

TEXTILES - DYEING & COLOUR MATCHING

The Sussex Trug, invented by Thomas Smith in the

Founded by Craig and Rebecca Struthers,

1820s, is a globally recognised symbol of English

watchmaker and antiquarian horologist, the Struthers

Over the past 250 years, luxury fabric manufacturer

gardening. However, with few practitioners, the skill of

Watchmakers studio combines their experience

Joshua Ellis & Co has developed generations of

its making appears on the Heritage Crafts Association

in vintage and antique watch restoration, design

craftspeople to support the weaving industry in

Radcliffe Red List of Endangered Crafts.

and research.

Yorkshire. In order to protect these traditional skills,

The only workshop running apprenticeships is the

British watchmaking courses only take students

Cuckmere Trug Company. They welcome craftspeople

to lower technician level, so they have developed a

to continue this local tradition and, with QEST

training plan and are sourcing work to provide their

When Jessica Fraser joined the labelling department

funding, are able to offer Mark Robinson a three-

first employee and QEST Howdens Apprentice,

in 2017, it was apparent that her interest in science and

year position and comprehensive training in timber

Heather Fisher, with a thorough grounding from

textiles would suit a colour matching apprenticeship.

selection, steam bending, and the use of hand tools

servicing and restoration to design drawing and lathe

QEST is supporting Jessica’s salary while she is

and electric machinery for the assembly of traditional

work. Craig will also pass on his case making skills,

training, in house and at the Textile Centre of

and contemporary trugs.

acquired on a QEST Johnnie Walker Scholarship in

Excellence in Huddersfield, on dyeing, carding and

2017, and Heather will attend Computer Aided

spinning for cashmere and wool.

they are investing in the future, with six apprentices in

“As a Sussex man born and bred, I can imagine no better job than learning the county's traditional craft. When Robin Tuppen, owner and master trug maker, retires in five years, the Cuckmere Trug Company will become a not-for-profit Sussex Trug Heritage Centre. By this time, I will be fully qualified and able to teach others.”

sussextrugs.com Mark Robinson, Thomas smiths trug shop @MarkRob66959544

a workforce of 35.

Design courses.

“The historical craft of watchmaking continues to have a strong presence in the complex mechanisms people buy today. I am learning these valuable skills at the bench with Craig and Rebecca on nearly 300 years of watchmaking history and they are encouraging me to find aspects to pursue as my speciality.”

strutherswatchmakers.co.uk strutherswatchmakers heatherfisherhorology

“Once qualified, as a full-time assistant to the company’s specialist in this rare, highly-prized skill, I will be able to dye specific shades, blend to make unique colours for our luxury and couture clients, and co-ordinate schedules with production.”

joshuaellis.com joshuaelliscashmere joshuaelliscash

Issue 39 Spring 2019

Emma Hamilton QEST SADDLERS’ COMPANY APPRENTICE SADDLERY

Emma Hamilton’s passion for horses led her to obtain qualifications in Horse Care, Mathematics of Bits and Bitting, Lorinery Science, and a BSc in Equine Science. In 2018, after completing her Level 1 Bridle, she approached Master Saddler Laura Simpson at Amayzing Saddlery in Linwood; Laura had just taken on an apprentice, but offered Emma part-time work.

The QEST Saddlers’ Company Apprenticeship means that Emma can be employed full time, with three days a week dedicated to training in stitching, saddle fitting and bridle making, and attend the courses and examinations at The Saddlery Training Centre necessary to become a Qualified Saddler.

“During my three years with Laura, I will also shadow an equine physiotherapist and biomechanics specialist to gain insights that I can apply to saddle making and fitting, and hope to use my Equine Science degree and creative design skills to contribute to advancements in saddlery.”

amayzingsaddlery.co.uk amayzing_saddlery AmazingSaddleryltd, emmasrainbowequestrian

Sophie Barrett QEST APPRENTICE THEATRE DESIGN

“I am thrilled to be in this professional environment learning painting, drawing and texturing and gaining knowledge of materials and scenic techniques that will lead to career opportunities in theatre, film and television.”

Everything the National Theatre produces for shows, from costumes and props to scenic art, is made in the building, making it the largest factory in central London. In 2011, an apprenticeship scheme was created to futureproof this ability, and that of the industry, to deliver world-class theatre.

Sophie Barrett showed natural flair to be chosen from 45 candidates for a two-year Scenic Art Apprenticeship in 2017. She is supported by three mentors - the heads of scenic art and construction for practical skills and apprenticeships manager for professional skills - and is completing a BTEC Level 2 Certificate in Design and Level 2 Diploma in Design Support. QEST

nationaltheatre.org.uk sophiebarrett.co.uk _sb__art

is funding Sophie's second-year salary and a course in draughtsmanship.

Jack Silberrad QEST HIGHGROVE ENTERPRISES APPRENTICE BEE FARMING

The average age of a bee farmer in the UK is 66 years old; attracting trainees is critical. One of the companies working with the Bee Farmers Association and Worshipful Company of Wax Chandlers to deliver an apprenticeship is The London Honey Company.

Photograph: Tom Cockram

Under the supervision of founder Steve Benbow, Jack Silberrad (whose African-bee keeping grandfather inspired him to follow suit) is looking after hives on rooftops to moorland, learning honey cropping and processing, and taking courses including biology and botany. The QEST Highgrove Enterprises Apprenticeship will enable Jack’s salary to be raised to the National Living Wage and contribute to a placement in New Zealand.

“The London Honey Company looks after beehives on behalf of clients such as Fortnum & Mason, the Victoria and Albert Museum and DEFRA - it is an amazing environment in which to work towards my Diploma of Excellence in Bee Farming.”

thelondonhoneycompany.co.uk Londonhoneyco london_honey_co thelondonhoneycompany

QEST

Book

P I H S H N S A I T M I S BR AFT R C

f o n o i t a r leb e AC

Portraiture is a craft in itself and the 100 photographs by Julian Calder in this book go far beyond capturing a likeness of the men and women they portray; they capture the soul of the craftsman.

- Lord Snowdon

In 2017, Mark Van Oss approached QEST with the idea of creating a book featuring the talents of craftsmen and women supported by QEST since its founding in 1990.

Photographer Julian Calder drove 8,500 miles in search of 100 portraits of QEST alumni at their work benches and places of inspiration, with the tools and materials they work with and finished pieces. For the endpapers, he took pictures of hands at work (and one pair of feet, belonging to basket weaver Annemarie O’Sullivan); the shapes they made engaged in a skill, from stitching to hammering, were a wonderful photographic subject. Each picture is accompanied by a profile. Months of conversations with author Karen Bennett and researcher Chantal Bristow revealed knowledge and skill, passion and determination, respect for tradition and innovative spirit.

Issue 39 Spring 2019

A Celebration of British Craftsmanship, with foreword by QEST Patron HRH The Prince of Wales and introduction by Vice Patron Lord Snowdon, is the embodiment of QEST: designers, makers and conservators of all ages, all around the UK, representing more than 80 crafts. There are careers spanning decades - artist jeweller Charlotte De Syllas and Julian Stair, one of the UK’s leading potters to Paul Fallows, apprenticed to master thatcher Adam Nash.

Many are working in crafts rooted in their location: watchmaker Craig Struthers in Birmingham’s Jewellery Quarter; Andrew Swinscoe maturing Lancashire farmhouse cheeses; and signwriter Amy Goodwin, who grew up with travelling steam fairgrounds in the West Country.

Some visited Italy to study the origins of fresco, mosaic and painting in the traditions of old masters, several went to the Pilchuck Glass School in Washington. Others, such as sculptor Andrian Melka from Albania and Italian embroider Aurora Pettinari York, have made the UK their home.

Traditional crafts are shown to be thriving and endangered trades being kept alive - horse collar making by Kate Hetherington a notable example.

Craft education has also informed cutting-edge design. Botanical artist Niki Simpson is keeping pace with the demands of 21st century botanists by creating superbly accurate scientific images using digital tools and Oluwayesi Sosanya, a furniture maker by training, has developed Gravity Sketch, which translates hand gestures into 3D designs as easily as sketching on a piece of paper.

Decorative artist Melissa White (2007) with her portrait

The thrill of being a professional photographer is walking into a location, ‘finding’ the picture then ‘making’ it. On day one, I realised I was going to be spending the next four months in the company of extraordinary people. It has been an absolute pleasure seeing the country at its finest and meeting the QEST alumni sustaining its creative spirit.

- Julian Calder

From designing actual versions of her imaginary plants with molecular scientists at Royal Holloway University to painting a mural of instruments for the Musashino Academia Musicae University in Tokyo, Kerry Lemon feels she can make anything happen from a drawing on a page. The title of her book says it all: Fearless Drawing - Kerry Lemon (2007)

QEST

Book

Working on the book, it was impossible not to write a wish list too. Cameron Short’s Nightjars print is now back from the framer, a cherry wood spoon carved by Steve Tomlin and James Hamill’s ling heather honey are in daily use, and my keys are on a fob made at a Carréducker leatherwork class. I hope the stories encourage others to do the same.

- Karen Bennett

On the left is armourer Graham Ashford in workshop mode; on the right, he is a knight from 1360 AD, with visored bascinet and English gauntlets he made in steel and decorated with brass. In the centre is a replica of a Tudor child’s breastplate that Graham is making for the Wallace Collection so young visitors can try it on.

“I would have been beside myself to wear this as a boy."

- Graham Ashford (2010)

Fine lettering appears in many forms, from the nib of calligrapher Sally Mangum to poems chiselled in stone by Wayne Hart and signet rings engraved by Ruth Anthony. Those working in wood, including furniture maker Aidan McEvoy, speak about the material with warmth. Sculptor Jennie Pickford talks about steel as a sewing needle or a skyscraper and so much in between, and how manipulating it under her power hammer she can feel the metal wanting to come alive and take on beautiful, organic shapes. Glassmaker Timothy Harris says that his medium of choice burns when it’s hot and cuts when it’s cold, but when you’ve had a good day making and something magical comes out of the fire, there is nothing more wonderful.

There is commitment to preserving our cultural heritage: Rebecca Hellen using increasingly sophisticated methods to conserve paintings at Tate Britain and Shem Mackey, Eugenie Degan and Ben Marks are restoring historic stringed and keyboard instruments. Sustainable practices emerge as an increasing priority, from responsible forestry and Tom Adams rescuing apple varieties of the once great orchards of the Welsh borderlands to Katherine Pogson’s PhD by practice at the Centre for Sustainable Fashion.

There was a strong turnout from these QEST alumni at the book launch in October at Saddlers’ Hall. Over English sparkling wine kindly donated by Camel Valley, experiences were shared - ceramicists to painters, jewellers to milliners - and ideas for collaborations were born.

A copy of the book, in a case made by bookbinder Manual Mazzotti, was presented to The Prince of Wales as a 70th birthday gift on behalf of QEST.

Gail McGarva (2009) preserves the art of boatbuilding by eye by making ‘daughterboats’ from old working stock. “It is quite a moment when a finished boat, static and braced, is released to leap on the waves.”

- Gail McGarva (2009)

A Celebration of British Craftsmanship by Julian Calder and Karen Bennett, designed by Prof. Phil Cleaver and Jennifer Penny of et al design consultants, and published by Impress, is available for £60 (including p&p) from qest.org.uk/shop. The net proceeds from sales will enable QEST to continue supporting excellence in British craftsmanship.

ROD KELLY

PRIVATE VIEW

SILVERSMITH

Goldsmith and silversmith Rod Kelly is one of the few master chasers in the UK. He was awarded a QEST Scholarship in 2000 and has since taught chasing to seven QEST Scholars at his South House Silver Workshop in Shetland.

How did you start out?

I deferred a university place to study sociology and took an Art Foundation course. It was the first time I really enjoyed what I was doing.

With the portfolio I created that year, I applied to Birmingham School of Art to do a degree in 3D design. During a holiday, I borrowed the few chasing tools and set up a makeshift workshop in the garden shed. I mentioned this during my interview at the Royal College of Art, but they had no specialist tutors. When I arrived to start my MA in Silversmithing, Professor Gerald Benney had organised for Dick Price from the trade to come in and teach me one-to-one. I was fortunate to be learning in the 1980s with a grant and no tuition fees for six years of training. QEST is invaluable in easing the financial pressure of a craft education today.

Mid-career, I had the breadth of experience to pick things up quickly, put into practice, and pass on to others. I use inlay on nearly every piece today: it can take 25 minutes to inlay a slither of gold (and the same again to find it if I drop it on the floor!).

How did QEST support you in 2000?

Another wonderful thing about QEST is the opportunity for an established maker to acquire a specialist skill. I learned from Alan Mudd in Norfolk how to recess for gold inlay, and we made a large dish together to compare hammering and soldering techniques.

One of the most significant is The Diamond Jubilee Rosewater Dish for The Worshipful Company of Goldsmiths to commemorate HM The Queen’s Diamond Jubilee. Raised, beaten sunk by hand, and hammered into an octagonal form with chased decoration and inlayed gold highlights, it is the centrepiece in a display of contemporary pieces that is used on formal occasions at Goldsmiths’ Hall.

How has your career progressed?

I have always wanted to create pieces with elegance, beauty and humility. I find it important to have the view of another trained eye and am privileged to have always worked alongside my wife Sheila McDonald, a jeweller and enameller. I also enjoy the collaborative process of a commission. My first was a beaker for Sir Simon Hornby; he was greatly supportive, both through commissions and business mentoring (he was chairman of WH Smith).

Photograph: Clarissa Bruce, copyright The Goldsmiths' Company

I have made ecclesiastical pieces for St Paul’s Cathedral, York Minster, and recently completed a pair of altar candlesticks in English walnut and chased silver for the chapel at Eton College. The design features Madonna lilies, referencing the William Morris hangings behind the Altar.

My work has also appeared on a first class stamp and a £5 coin celebrating the 450th anniversary of the accession of Queen Elizabeth I, is held in museums including the V&A and National Museum of Scotland, and a pair of silver and fine gold bowls feature in The Silver Trust collection in use at 10 Downing Street.

At the moment, I am chasing a series of large dishes that will celebrate the events of a client’s family history, stretching back over five hundred years from the Battle of Agincourt to the First World War.

The Diamond Jubilee Rosewater Dish commissioned by The Goldsmiths’ Company

Rod Kelly and Manasi photographed near the South House Silver Workshop on Muckle Roe in Shetland for the cover of A Celebration of British Craftsmanship Photograph: Julian Calder

Did you set out to create a destination for other craftspeople?

Establishing the South House Silver Workshop, with space for six benches, was a significant move so we can pass on our skills honed over the last 30 years. We have had more than 60 people through the workshop in the last six years, including seven QEST Scholars: one of the first, Ryan McClean, is doing very well with his inventive approach; Manasi Depala has returned here to prepare for the Goldsmiths’ Fair and has been an invaluable assistant; the latest, Zoe Watts, is so enthusiastic, she is flying already.

Even with natural talent, you don’t just sit down and make something miraculous - it is about having the right tools, technical knowledge and practice hour after hour, and I am at the end of a telephone if they have any questions. There are very few chasers in the

country now, so it is wonderful to see them flourish and contribute to the tradition of British silversmithing.

Only a quarter of my time is spent teaching at the moment, but the balance is shifting as the interaction gives me a spring in my step too. They learn, I learn, and it provides a physical break - something you don’t think about as a gung-ho 30 year old as it is easy to end up with serious problems with your muscles and joints, and even your hearing as a chaser, if you don’t take care. Also, when I’ve been concentrating hard on something very precise, it can be helpful to put it in a cupboard, teach, and come back refreshed.

How does it feel to be on the cover of A Celebration of British Craftsmanship?

A customer in Missouri sent photographs of candlesticks I made on his dining table and the book in the entrance hall. I felt a warm glow not only at representing QEST and my craft of silversmithing, but also for the people of Shetland, who are proud to see their land and sea and someone who makes there on the cover of a book celebrating British craft - it was local front-page news!

It is wonderful to have Manasi on there too, holding a silver box she made during her training here. We both had many lively exchanges with the other alumni at the launch event - the QEST badge is a powerful bond. rodkellysilver.co.uk rod.kelly

Photograph: Julian Calder

Where are you based?

We have lived and worked in Norfolk for 30 years, but for the last 14 have spent most of our time in the Shetland Islands. Initially we bought a tiny stone cottage that has the most breathtaking views. Eventually we were able to build a stunning workshop alongside with large windows looking across the voe. I can hear waterfalls, it’s a birdwatcher paradise, and whales, porpoises and dolphins pass by less than 100 metres away. The inspirational light, landscape and nature are all reflected in my work. Shetlanders really admire and support craft too - a local blacksmith had some of our students in to make hammers and didn’t charge a thing.

Chasing a decorative image in low relief onto a silver beaker

QEST

Alumni News

QEST

ALUMNI NEWS

News from our QEST alumni of almost 500 active, professional craftspeople, can be found by following QEST and its Scholars and Apprentices on social media. Here are a few recent highlights, including a royal visit, special commissions, exhibitions, awards, and residency in Mexico. qestcraft

QESTcraft

queenelizabethscholarshiptrust

The Royal Warrant Holders Association commissioned bell founder David Snoo Wilson to make a gift for HRH The Prince of Wales’s 70th birthday. During his QEST Scholarship in 2016, David conducted research with Marcus Vergette, one of the world’s leading bell designers, into the harmonic consequences of different metal alloys and tempering techniques. In celebration of this special occasion, David and Marcus reunited to create a bespoke bell, etched with the Prince of Wales’s heraldic feathers and a dedication, that plays five harmonies. “A bell should be rung frequently, used with meaning and, most importantly, enjoyed.”

Photograph: Paul Blakemore

oreandingot.com davidsnoowilson

Bonfield Block-Printers, run by 2011 QEST Scholar Cameron Short and Janet Tristram, were among the nine artist-makers invited to create original works interpreting themes of rural life and traditions for Levelling Traditions, a winter exhibition at Make | Hauser & Wirth Somerset.

The duo conceived, carved and printed 18 new blocks based on Somerset’s oldest folk songs, famously collected by Cecil Sharp in 1903. The images, hand-printed on calico, were then used to patch the linings of six highly individual Somerset Song Coats, made

by Janet. The coats, made for women, were modelled on turn-of-the-Century men’s frock coats. The imagery, summoned from songs such as The Wraggle Taggle Gypsies, O!, The Crystal Spring and The Two Magicians, was also presented as limited edition prints on paper. bonfieldblockprinters.com bonfieldblockprinters

Issue 39 Spring 2019

Footwear Friends is the benevolent charity for the British shoe industry; it has also developed a reputation for spotting and rewarding talent through its Annual Awards.

In 2018, Ruth Emily Davey of RED Shoes in the Welsh market town of Machynlleth, won The Worshipful Company of Cordwainers Award for Innovation, which is accompanied by a ÂŁ5,000 bursary for business development and a year of mentorship by industry experts.

Ruth, whose QEST Leathersellers’ Company Scholarship in 2013 funded training in anatomy of the foot, tweed research, and a boot design course, is using her prize to develop a range of ready-to-wear boots using British tanned leathers and, as with all her styles, based around the natural shape of the foot, built to last, and fully repairable. ruthemilydavey.co.uk ruthemilydavey

QEST

Alumni News

Ceramic sculptor and illustrator Jon Williams received a QEST Garfield Weston Foundation Scholarship in 2012 to study for a Masters in Ceramics & Glass at the Royal College of Art. Since graduating five years ago, Jon has established his ceramics practice and teaches ceramics at St. Paul’s School in Barnes, where he created a project in 2018 to commemorate 100 years since the World War I Armistice. Jon worked with the youngest students to make a ceramic cross for each of the 490 Paulines who lost their lives. They were planted in the grounds as a poignant memorial in the lead-up to Remembrance Sunday, then sold to raise money for the school’s bursary scheme. jonwilliamsceramics.co.uk jonwilliamsceramics

Halcyon Days, known as the guardian of English enamelling, hosted a showcase of work by master goldsmith, engraver and enameller Harry Forster-Stringer (2017) within its store at The Royal Exchange, London, in March. Whilst teaching at the Birmingham City School of Jewellery, Harry watched a demonstration of enamelling that rekindled his love and enthusiasm for this handcrafted process. He started on small objects, such as rings and pendants, then a QEST Bendicks Scholarship enabled Harry to acquire advanced skills for enamelling at scale and the confidence to be more adventurous with colour. Combined with his 30 years’ experience as a goldsmith and engraver, he is able to craft magnificent and intricate pieces of all shapes and sizes to exceptional standards. Visitors to Halcyon Days were able to purchase from Harry’s collection and discuss bespoke commissions. halcyondays.co.uk halcyondays_uk harryforsterstringer.com

Since completing a Masters in Textiles for Fashion at Central Saint Martins, supported by QEST, Carey Ellis (2012) has worked as an in-house and freelance print designer (including a printed silk scarf collection for Holland & Holland) and lectures at the Arts University Bournemouth. Trained in traditional silk-screen and digital print, she is constantly exploring colour, form and techniques to create innovative patterns. To this end, Carey recently spent three weeks on a residency, organised by the Arquetopia Foundation, near Oaxaca City, Mexico. A local backstrap loom weaver taught her to set up the loom using locally dyed and sourced yarns, and how to create traditional motifs, including figures, animals, fish, corn, flowers, lightning and stars. “I created two lengths of weave: one based on the natural motifs, the other a more personal interpretation of my experience in Mexico.” cargocollective.com/careyellis

Issue 39 Spring 2019

Vathek binding by Marie Doinne, Folio Atelier

The Illustrated Man binding by Gillian Stewart, JUJU Books

Photograph: Macscape Photography

Photographs (right and above): Sarah White

Tea set by Matthew Foster

Lidded pot by Matthew Foster

In October 2018, the conclusion of Matthew Foster’s three-year Leach-Seasalt Apprenticeship at the Leach Pottery in Cornwall, one the birthplaces of British Studio Pottery in the 1920s, was marked with an exhibition.

Matthew Foster: Second Apprentice featured a wide range of his Standard Ware tableware - teapots, tea sets, tea bowls, jars, jugs, plates and platters - that showed his technical skills and expressive ability.

Matthew is now developing his personal work, focusing on organic, semi-abstract brushwork influenced by Eastern traditions and the Leach legacy. He collects materials from the local coastline to use in slips and glazes that will work harmoniously with his decoration and keep the connection with where these functional, domestic pots are made.

“I am grateful to QEST and the Stanley Picker Trust for supporting my final year. It has been a life-changing experience and I am looking forward to working as an artist-potter in the Leach tradition.” leachpottery.com matthewfosterpottery

HRH The Princess Royal meeting Karen Hay-Edie and QEST Rokill Scholar Mario Sierra at Mourne Textiles

The UK Fashion and Textile Association is the collective voice for 2,500 designers, manufacturers, agents and retailers, representing businesses from spinning, weaving and knitting through to catwalk and aftercare. Over the last three decades, HRH The Princess Royal, as UKFT president, has visited around 100 factories in support of fashion and textile products made in the UK. Last September, QEST Rokill Scholar Mario Sierra was honoured to welcome Her Royal Highness to Mourne Textiles in Northern Ireland to meet the weavers and watch demonstrations on the looms. Also present was Alec McQuin, QEST trustee and chairman of Rokill, the sponsor of Mario’s QEST Scholarship in 2016 to train in yarn spinning and development, and Hattersley loom tuning, weaving and maintenance to underpin the revitalisation of his family business.

The Bookbinding Competition, sponsored by Designer Bookbinders, encourages the production of originally designed, well bound books and is seen as essential to the vigour of the craft in Britain. In 2018, Marie Doinne’s binding of Gothic novel Vathek won The Sally Lou Smith Prize for Forwarding (the covering of a book). Marie, who received tuition in fine binding and gold tooling on a QEST Ernest Cook Trust Scholar in 2017, runs her own creative bookbinding studio, Folio Atelier, where she collaborates with artists, designers and independent publishers to fabricate bespoke books and limited editions. QEST Jenifer Emery Scholar Gillian Stewart was awarded second place in The Folio Society Prize for the Set Book, The Illustrated Man by Ray Bradbury. Made at her JUJU Books studio in Glasgow, Gillian’s entry included hand dyed leather with onlays, tooling and edge decoration.

mournetextiles.com mournetextiles

bespokebookbinding.co.uk folioatelier jujubooks.co.uk juju.books

QEST

Traditional Building Skills Programme

RESPECTING THE PAST, BUILDING THE FUTURE

2018-9 TRAINEES Timber framers and carpenters: Archie Thomas Vick, Kit Jones and Paddy Riordan Stonemasons:

In 2018, unified by the vision of our Patron, HRH The Prince of Wales, to support British craftsmanship, provide skillsbased education in traditional crafts, save our cultural heritage and improve the built environment, The Prince’s Foundation and QEST launched the Traditional Building Skills Programme. This year-long course is designed to bridge the gap between basic qualifications and becoming a master craftsperson working in the heritage sector.

The search began for applicants with an NVQ/ SVQ Level 2 or 3 or equivalent work experience in a relevant craft: stonemasonry, woodwork, plastering, blacksmithing, bricklaying, thatching and painting and decorating.

Interviews were held jointly by the two charities and the first intake of seven students, from across the UK, started in October with an intensive week of workshops at Dumfries House Estate in Scotland. This residential course at the home of The Prince’s Foundation provided an introduction to traditional architecture, drawing, geometry and the principles of sustainable development. It was also a chance for everyone to experience and understand the ethos behind the project.

The collaboration between The Prince’s Foundation, QEST and industry partners enables a varied curriculum, comprising three major Live Build projects linked with short courses (covering cross-disciplinary topics: building crafts, decorative and applied arts, drawing and sketching, architecture and urbanism, as well as, crucially, business skills) and placements in workshops to learn first hand from masters of their trades.

Steffan Lomax and Martin Gwilliams Plasterer: Margaretann Dawson Earth builder: Sourabh Phadkevv

attraction with Historic Royal Palaces and the government Historic Environment Division.

The students worked alongside experienced mentors to create a walled garden pavilion, now the centrepiece of this heritage site. Following a week-long Winter School at Dumfries House in January, the team began a Simon Sadinsky, deputy three-month Live Build on the executive director Estate to create an outdoor of education at classroom featuring oak The Prince’s The collaboration between framing, a thatched Foundation, The Prince’s Foundation and QEST roof, and earthen is a strong provides access to training in a range of walls. The final Live advocate of building crafts and the ideal environment Build will take place Live Builds to foster inter-disciplinary learning over the summer at and the role alongside masters of these trades.

The Royal Gardens at they play in - Deborah Pocock, CEO, QEST Highgrove and will see underpinning the restoration of a well the courses and using traditional materials preparing students and techniques. for a professional workforce: “The Live Builds sit at the heart of our Throughout the year, alongside their own craft training programmes. The opportunity trades, everyone is given the chance to work to gain site experience is hugely beneficial to on a range of allied trades and provide design understand how their trade fits into the wider input. On completion, as well as valuable built environment, and to learn from, and with, practical experience in traditional building craftspeople from other disciplines.” skills and mentorship provided by the alumni network, they will have the opportunity to gain an NVQ Level 3 in Heritage Skills.

The first Live Build took place at Hillsborough Castle, the official residence in Northern Ireland of Her Majesty The Queen, as part of qest.org.uk the £20m restoration of this landmark tourist princes-foundation.org

Issue 39 Spring 2019

Having been self-employed, it is amazing to have the opportunity to focus my energy completely on honing my craft of timber framing and workshop joinery. The first Live Build, with gothic arched oak windows, doors and a timber framed roof, included every element.

- Paddy Riordan

Sourabh Phadkevv at Hillsborough Castle

I love the physical process of stonemasonry - getting your hands on a piece of rock making something is so rewarding. Having trained originally as a graphic designer, I hope to try letter cutting too.

- Martin Gwilliams Trainee Paddy Riordan with Kenny Shillinday, Department for Communities, Northern Ireland Executive

Photographs at Hillsborough Castle by Iain Brown

Stonemason Martin Gwilliams

Archie Thomas Vick (right) with George Irwin MBE, Department for Communities

Michael Goodger, The Prince’s Foundation, and Deborah Pocock, QEST

QEST

About QEST

Supporting Excellence

In British Craftsmanship QEST is the charity of the Royal Warrant Holders Association, established in 1990 to celebrate the 90th birthday of Queen Elizabeth The Queen Mother and the 150th anniversary of the Association by supporting excellence in British craftsmanship.

QEST sustains Britain’s cultural heritage by funding the training and education of talented and aspiring craftspeople through traditional college courses, vocational training, apprenticeships or one-on-one training with a master craftsperson. This helps to ensure the continuation of craftsmanship within the UK, enhancing and nurturing essential crafts skills that make a vital contribution to Britain’s cultural identity and the economy.

Since 1990, the Trust has awarded over almost £4.1 million to just over 500 craftspeople of all ages and

backgrounds in more than 130 skill sectors, from rural to cutting-edge craft and conservation. Testament to the selection process and support, almost 90% of the QEST Alumni are still working in their craft today many acknowledged leaders in their field - and passing on their skills to the next generation.

Funding is available to individuals for Scholarships (£5,000 to £18,000) for a specialist course or training and to businesses (in particular smaller companies) to employ Apprentices (up to £18,000 over 2-3 years).

The charity, however, is only able to support around 10% of applicants and relies on the continued generosity of supporters to maintain and grow its far-reaching, vibrant network to promote excellence in British craftsmanship.

There are many ways to get involved and help raise these much-needed funds. To find out more, contact QEST CEO Deborah Pocock on 020 7798 1531 or deborah.pocock@qest.org.uk

SPECIAL EDITIONS

QEST MAGAZINE

Pledge a donation from the sales of an existing product or specially created item, perhaps working with a QEST Scholar or Apprentice. This enables use of the QEST logo to illustrate the support for British craftsmanship.

Advertise in the biannual QEST Magazine, which spreads the word about the work of QEST, its craft alumni and supporters.

The Cambridge Satchel Company QEST Collection is available in all stores (Brighton, Cambridge, Edinburgh, London and Oxford) and at cambridgesatchel.com.

Issue 39 Spring 2019

Allchurches Trust, one of the UK’s largest grant-making charities, whose funds come from its ownership of Ecclesiastical Insurance Group, has announced a major funding boost to help QEST protect the UK’s rich heritage and traditional skills. The grant of £114,000 will fund two Scholars and an Apprentice for three years, the first of which will be announced this summer. This follows the Trust’s support through QEST of Matt Jacques, who is in the final year of his architectural leather apprenticeship at Bill Amberg Studios, learning to produce fittings and furniture for clients including private country estates, hotels, abbeys and churches.

At the heart of our grantgiving is helping individuals and communities to flourish.

We think it is important to invest in these craftspeople honing their skills, and it’s key for us that so many QEST alumni go on to contribute back to their crafts by teaching and mentoring the next generation.

Sir Philip Mawer, Allchurches Trust Chairman Matt Jacques, QEST Allchurches Trust Apprentice 2016

QEST TRUSTEES & AMBASSADORS QEST is delighted to welcome two QEST Alumni as Trustees: hand sewn shoemaker Deborah Carré and tableware designer Peter Ting. They were both awarded QEST Scholarships in 1997 and have become well-respected in their fields and for their contributions to British craftsmanship.

Five new QEST ambassadors have been invited to advocate the charity’s work to different audiences: Nick Farrow, chairman of design studio Farrows and former QEST chairman and RWHA president; Photograph: Calvin Sit

Dr Jonathan Foyle, who has written over a hundred ‘Artisans’ articles for FT Weekend; and A Celebration of British Craftsmanship photographer Julian Calder, author Karen Bennett, and Mark Van Oss, who had the idea and initiated the book.

Deborah Carré

SPONSOR A QEST SCHOLAR OR APPRENTICE The minimum donation for a named Scholarship is £10,000 and for an Apprenticeship £18,000 (typically over three years).

Other donations will be allocated to general grant funds and recognised on the QEST website, social media platforms and in the QEST Magazine.

Peter Ting

LEGACY Remembering QEST when making a will means that vital craft skills can be handed down to successive generations.

CONTACT QEST

020 7798 1535 or info@qest.org.uk justgiving.com/QEST

New Heritage Crafts Centre

I hope that this tranquil setting, just 15 miles from London, will become a centre of excellence for fledgling and growing heritage craft businesses.

Clive Beecham, founder of Kinnerton Confectionery

January to convert the farm buildings into 25 spaces

(one of the main suppliers of chocolates to the UK

of between 300 and 1500 square feet, which will be

retail trade), has a great passion for nurturing

available at greatly subsidised rental terms from August

craft businesses.

2019. There will also be lecture rooms and a mentorship programme. QEST Alumni interested in joining this

His vision for a new heritage crafts centre is coming

soon-to-be thriving community of craftspeople should

to fruition with ‘Grandey’s Place' at Warren Park,

contact c.beecham@me.com.

near Much Hadham in Hertfordshire. Work began in

Donors, Supporters & Sponsors Thank you to the Royal Warrant holders, livery companies, trusts, foundations, brands and individuals who generously support QEST. The 29th May 1961 Charitable Trust The Alborada Trust Allchurches Trust Andrew Lloyd Webber Foundation The Antiques Dealers Fair The Arts Society The Ashley Foundation The Aurelius Trust Carole Bamford Bendicks (Mayfair) The Battersea Power Station Foundation The Blagrave Trust The Britford Bridge Trust The Cambridge Satchel Company The Charlotte Bonham-Carter Charitable Trust CHK Charities The D'Oyly Carte Charitable Trust

The Dulverton Trust The Edinburgh Association of Royal Warrant Holders The Edith Murphy Foundation Jenifer Emery Ernest Cook Trust The Finnis Scott Foundation Garfield Weston Foundation The Gosling Foundation The Hedley Foundation Tom Helme OBE Heritage Crafts Association Howdens Joinery John Lyon's Charity John Walker & Sons The Kirby Laing Foundation Launer London L G Harris Trust Lock Hatters The London Art History Society Moët et Chandon Parker Pen Company Penhaligon's The Pennies Foundation The PF Charitable Trust

The Pilgrim Trust The Prince of Wales's Charitable Fund The Radcliffe Trust The Robertson Trust The Royal Warrant Holders Association R W Armstrong Sandringham Association of Royal Warrant Holders Sipsmith Sleepeezee The Stanley Picker Trust Tanqueray Gordon & Co Thomas Fattorini The Worshipful Company of Arts Scholars The Worshipful Company of Broderers The Worshipful Company of Carpenters The Worshipful Company of Cordwainers The Worshipful Company of Drapers The Worshipful Company of Leathersellers The Worshipful Company of Pewterers The Worshipful Company of Saddlers The Worshipful Company of Turners The Wren Press

Find out more at johnsmedley.com/discover/legacy

View our collections at: 55 Jermyn Street, London, SW1Y 6LX | 24 New Cavendish Street, London, W1G 8TX | 24 Brook Street, London, W1K 5DG | johnsmedley.com

Q E S T. O R G . U K

JUSTGIVING.COM/QEST

Distillation of Experiences by QEST Worshipful Company of Carpenters Scholar Joey Richardson (2012) for the University of Lincoln MA Fine Art Degree Show 2018