rEvolution

A Jeweller y and Metal MA Project The Royal College of Art

Adrian Ward 2020

© Adrian Ward 2020

Contents Acknowledgements

6

Introduction

7

Visual Research

23

Material

29

rEvolution – 1

53

revolution – 2

65

rEvolution – 3

75

rEvolution – 4

91

rEvolution – 5

111

rEvolution – 6

119

Destruction 127 3D Scanning

133

Resin Copies

137

Conclusion

145

List of Images

149

Bibliography 157

Ack now le dgements

I would like to thank the following people for assistance with this project: Julia Baudler Jonathan Boyd Patrick Davison Rebecca De Quin Isabel Distassi Emmie Ray Hubbard Antje Ilner Patrick Letschka Andrew Mayor Peter Musson Mark Trela Michael Rowe Bronte Schwier Mary Ann Simmons David Turtle Frances Wadsworth Jones

Karleung Wai Anna Ward Max Warren

Introduction

“I made great progress in the one year that I stayed there, and completed several fine and valuable things in gold and silver, which inspired me with a resolute ambition to advance in my art.�1 Benvenuto Cellini

After over twenty years’ experience as a full-time professional commercial silversmith, mostly designing and producing trophies and tableware in a factory setting, coming to an art school for the first time to study for a Master of Arts (MA) at the Royal College of Art (RCA) meant learning to think about my work in a completely different way. While I have always completed some of my own artistic projects alongside my work for others, generally speaking as a commercial silversmith, I have never had to consider concept, narrative, context or address my place within the art/design milieu. Learning to step back from making has opened a new way of research-based development of ideas and designs for me.

My dissertation on ‘The Decline of Silversmithing as a Trade and its Ascent as an Artform’, examining the change in the industry from mass produced ‘traditional’ items to handcrafted studio silver, involved research into the history of silversmithing. Being in the industry for so long, I had assumed that I knew a lot about the history of silver. My research showed me that my knowledge was actually very shallow and that the history was far more complex than just recognising stylistic and technological change. I learned that most of the antique silverware in museums is not there because it has been passed down through the generations as valued artefacts but because it had been preserved in buried hoards and grave goods which had been unearthed by archaeologists.

The reason there is not much surviving ancient, or even medieval silver is due to silver being a precious metal. Silver and gold were synonymous with money. Having a high monetary value compared to their weight and size, and being in universal demand, has meant precious

metals have been a convenient way to transact business and to exchange for different commodities. Due to its higher value, gold was not used as often as silver because it could not be used for smaller transactions, ‘the average laborer (or peasant) probably never saw a single gold coin in their hands in their lifetime, silver money was a different story.’2

Silver manufactured items of plate and jewellery have always had a base currency value determined by the weight of the object. Scrap dealers today still pay by weight only. This inherent investment value is still evident when you compare other consumer goods to a silver piece of the same price. The silver, even when out of style or damaged, will still have monetary value.

The use of silver as money can be demonstrated by archaeological finds, such as the Cuerdale Hoard, a Viking hoard of approximately 8,600 items, discovered in 1840 in Cuerdale, Lancashire.3 Among the hoard of coins and ingots are items of so called ‘hacksilver’, i.e. larger items that have been cut apart to get pieces of a smaller weight for payment. (Image 1).

Because silver is no longer used in coins, the value of silver itself has diverged from the currency value it once shared. Silver’s material value has increased but artistic or labour value have never been a factor in silver’s cash value. As with any art, silver’s artistic value is purely in the eye of the beholder. Its value is in direct relation to the creative work of the artist, as well as the emotional attachment formed by the viewer; worthless to some, priceless to others.

Artistic value in silver is probably much more appreciated today than at any time in the past.

1. ‘Hacksilver’ from the Cuerdale Hoard. c. 900 AD. British Museum.

2. Tea Caddy.

Paul De Lamerie. Sterling Silver, 1747.

The Worshipful Company of Goldsmiths.

3. Coffee Pot. Gerald Benney.

Sterling silver, Enamel.

Private collection.

People collect works by noted silversmiths, such as 18th century silversmith Paul de Lamerie (Image 2), the UK’s ‘pre-eminent…maker of silver in the rococo style’4 or 20th century silversmith and designer Gerald Benney (Image 3), about whose work Rosemary Ransom Wallis, former Art Director of The Goldsmith’s Company said ‘it’s like a feeding frenzy when up for sale as his work is timeless and classic’.5 Silversmiths are no longer thought of as tradesmen.

Almost all of the silverware ever produced has been melted down. Destruction of silver was commonly due to theft, pillage, looting and taxes throughout history, especially in times of war. Silverware was even melted down simply to be turned into a newer style of design.

A good example of the life of silver objects occurred when Florentine Renaissance goldsmith Antonio del Pollaiuolo in 1459 was commissioned by the San Pancrazio Monastery to make a thurible - an incense burner used in religious services - that was ‘more honourable’ than its predecessor. For its construction he was provided with an old thurible and some additional silver. The finished piece was described in records as ‘very beautiful’. However, these records are the only evidence that this piece existed because they also include a note that the thurible was melted down under government orders during the Florentine Siege of 1529-30.6

‘New’ silver bought today is mostly recycled from scrap, not made from newly mined silver. Silverware that has been made in the past lives on in what we have today, and it is a fascination with this history has driven my creative thinking process.

My MA degree project, rEvolution, is a series of bowls recycled from the same silver material. The title is a comment on the cyclical nature of the material history (revolution) and the changing styles and technology (evolution). Conceptually, it is about the life of the material within the context of the history of silver. It is not focused on the bowls I made, but on the silver I have used to make them.

For the silver material for this project I obtained old pieces of silver, mostly items not used any more, such as pocket watch and cigar cases. I bought them as scrap silver job lots on eBay. I only used pieces hallmarked in the UK so I could research the hallmarks on each item and record who made them, as well as where and when they were assayed. Then I melted them down to make new sterling silver sheet material which I used to produce the series of bowls.

The inspiration for my designs was derived from visual research, walking around several museums viewing their collections and searching the internet for interesting objects. I was looking at far more than just silver because, for example, there is far more pottery that has survived than metals. I was looking for shapes and objects.

My bowls’ forms were not finalised until they were completed. They were not designed in detail as finished objects before making, just quick sketch ideas and drawings prepared for marking out on the sheet. They all evolved during the making process either as a result of new visual input or just a dissatisfaction with the look of the piece as it was developing.

This series of bowls reflects different styles and techniques throughout the history of

silver with each bowl becoming more complex than the last because I added new techniques and elements as the series progressed. I did not make ‘replicas’ but used antique pieces as inspiration for contemporary transcriptions and interpretations. I chose to make a series of bowls because that will keep a continuing narrative of shape throughout the project which would not occur if I made a series of unrelated objects. The stylistic periods and pieces I selected for inspiration reflect stepping stones of major stylistic changes and suitability for showing technological advancements.

Once made, each bowl in the series was hallmarked by the London Assay Office, creating an official record of the work, much like Polliauolo’s thurible. They were subsequently photographed and 3D scanned. This 3D scanning was originally just for documentation purposes but then I decided it would be interesting to reproduce in resin ‘ghosts’ of the bowls.

Finally, they were cut apart and melted down to make the sheet to produce the next bowl in the series.

As I have emphasised, rEvolution is about the documentation of the material undergoing the repeated cycle of making and destruction, recording the evolution of the bowls and reflecting the historical context. I have retained small sections with the hallmarks from each silver bowl so far destroyed for documentation and exhibition purposes.

My project was all going according to plan until 20 March 2020 when the Covid-19 lockdown was put in place, closing the RCA and preventing access to the studios, workshops and equipment. I had no way of physically making anything outside the college, so this caused

a major paradigm shift in working methodology. I had to adapt my project to be able to complete it in a new ‘virtual’ working context.

The first four bowls, rEvolution-1 - 4, in my series of six were completed in silver, documented and 3D scanned before lockdown. It was at the point of melting down rEvolution-4 that physical work stopped. Changing to a digital mode of construction for rEvolution-5 & 6 still allowed photo-rendered images to be used for the documentation, and resin model of rEvolution-5 to be built from 3D digital design files instead of scanned from the silver piece. The difference to the outcome of my project is that the final physical contemporary experimental silver piece, rEvolution-6, could not be made.

Compared with physical production of work I find that the digital creation of pieces feels somewhat sterile. I miss the challenge of making the physical objects; the ‘Is this going to work?’ and ‘How can I fix it?’ problem solving. I find this haptic research - learning through hands-on making - to be an essential element of my design and production process. I see design as a fluid process where limitations of techniques and materials and experimentation all inform the final outcome of the piece.

By only making digitally, I think we lose the skill and knowledge gained from physical making, in terms of both technique and material knowledge. Working with the actual material gives knowledge that cannot be passed down by digital learning. Only through experience or by working with experienced practitioners in either industry or educational institutions can this knowledge be retained for the future.

My cyclical making and destruction process in this project and conversions from physical silver objects to digital objects to 3D printed copies has made me question the pieces in the context of their value. The same object existing in different media has led to some philosophical introspection. While silver will always have an inherent monetary value, I have been questioning the value of the works as pieces of art or craft. Leonard Koren wrote in his book Wabi Sabi for Artists, Designers, Poets & Philosophers, that in the Japanese aesthetic system of ‘Wabi-Sabi’, there is no “valuable”, as that would imply “not valuable”, there is only appreciation of the object in that moment.7

Questions I have been considering in relation to these ideas of value include: - Does an object that has been destroyed physically but replicated digitally still have any value?

- Are any of these objects I have made and destroyed more valuable than others?

- Are objects made from the same material by the same maker equal in value?

- Does the purely digital design and production of rEvolution-5 have value compared to the other physical silver pieces that no longer exist except in digital formats? Glenn Adamson wrote of traditional (non-digital) objects in Fewer, Better Things, ‘A physical artefact has to have… “a point”.’8 Is this true of digital objects?

- Can these objects be ascribed different values? As Turner Prize winning artist Tai Shani asked in her Urgency of the Arts lecture: ‘How do we order things if all things have equal value?’9

As part of my MA study I participated in a group seminar, Correspondences and Transcriptions, run by Professor Rebecca Fortnum, Senior Tutor of Research at the RCA, and Amelia Stein. It helped clarify my thinking about the conceptual process I am using in my degree project rEvolution. We looked at how traditional art and design training involved copying old master works to learn their structure and form, and how the idea of examining art by copying and interpreting in an analytical manner rather than merely ‘spectating’ is crucial to an artist’s development, because in editing you start to see the original artist’s purpose by seeing what you have left in and what you left out. This analytical approach lets an artist find equivalence across many artworks of different artists, styles and periods.

This ‘transcription’ process is how I am executing the historically inspired series of bowls.

While not copying the forms directly, I am interpreting the old forms to bring them into a modern narrative context. This approach also led me to think about some questions regarding authorship and originality. If you interpret another work do you become the author? Is it an homage? Is it original?

I attended a lecture by Johnny Golding, Professor of Philosophy at the RCA, titled ‘Fascism – Contemporary’. While the lecture was on Fascism and how it becomes possible,

one question posed was, ‘What makes people/groups think others are worthless?’. I drew some parallels in my questions about artistic value and interpretation. Why do people value certain styles and not others? Certain materials? Certain artists? She went on to say that ‘to be human is to be able to change’; and that ‘change is necessary to avoid stagnation in society’.10 In a creative context this idea encourages interpretation and transcription of existing pieces.

In a lecture by Martina Margetts, Re-Framing Narrative, she discussed the notion that linear thinking in terms of styles and periods is inevitable but that multiple influences are at work. She said that it is better to think of these influences as ‘things’ rather than ‘objects’, because then we can refer to non-physical items like ideas, thinking, attitudes, issues etc.

Margetts argued that fantastical theoretical thinking overlays practical reality and that multilayered knowledge and language inform how we work in the studio.11

The idea of multiple influences in a single work has also been raised by architectural critic Charles Jencks who, in The Language of Post-Modern Architecture, postulated the idea of ‘double coding’, that post-modern architecture is a language that depends on double understanding, and that ‘the perceptual codes of the users are just as important as those of the architects’.12

I tried to incorporate these ideas of multiple influences into my project so that more than one narrative can be seen in each object. While the overarching narrative is the story of the cyclical use of the same material, there is also a narrative of style, of technique, of history, and of theme in each piece. Therefore, there is something for everybody to appreciate in each individual piece in the rEvolution series, and in the series as a whole.

Using interpretation and transcription as a method of design development has given me

a new aesthetic to explore in my future practice. The mixture of styles and narratives within the same piece is an avenue I wish continue exploring in my future practice. This researchbased analytical methodology of design is very intriguing. Compared to my past approach I think it gives rise to stronger ideas that are far more complex and interesting. I believe that the resulting rEvolution series, whether in physical, digital or ‘ghost’ form, has a lot more to say to a wider audience on many levels.

Note s 1. Benvenuto Cellini, The Life of Benvenuto Cellini Written by Himself, (London: Phaidon

Press Ltd, 1949), p.17.

2. Daniela Pylypczak-Wasylyszyn. The Historical Value of Silver: A 2000-Year Overview https://commodityhq.com/education/a-brief-2000-year-history-of-silver-prices/

Accessed 05/02/2019 3. http://www.bbc.co.uk/history/ancient/vikings/cuerdale_01.shtml

Accessed: 21/02/2019 4. Susan Hare, Paul De Lamerie: at the Sign of the Golden Ball the Work of England's Master

Silversmith 1688-1751, (London: The Goldsmith’s Company, 1990), p.16.

5. Adrian Ward, ‘The Decline of Silverware as a Trade and its Ascent as an Artform’,

(unpublished Master of Arts dissertation, Royal College of Art, 2019), p.181.

6. Alison Wright, The Pollaiuolo Brothers, The Arts of Florence and Rome, (New Haven: Yale

University Press, 2005), p.52.

7. Leonard Koren, Wabi Sabi for Artists, Designers, Poets & Philosophers, (Point Reyes:

Imperfect Publishing, 2008), p.61.

8. Glenn Adamson, Fewer, Better Things (New York: Bloomsbury Publishing, 2018), p.3.

9. Tai Shani

Urgency of the Arts: In Conversation with Anne Duffau and Chantal Faust.

Royal College of Art, 16/10/2019 10. Professor Johnny Golding

Urgency of the Arts: Fascism – Contemporary.

Royal College of Art, 09/10/2019 11. Dr Martina Margetts

imMaterial Culture: Re-Framing Narrative.

Royal College of Art, 15/01/2020 12. Charles Jencks, The Language of Post-Modern Architecture, (London: Academy

Editions, 1991), p.12.

Visu a l R e s e arch

I very much enjoyed the textual research I undertook for my dissertation; the way one topic leads to a deeper topic and so on until you end up in unexpected areas seemingly entirely unrelated but extremely relevant to the original question. Tracing the connections between these disparate topics and seeing how they affect each other in relation to the original research question. My dissertation research made me think about how I could represent these historical changes in a physical medium.

This year my research has been mostly visual, visiting and looking at works in the British Museum, the V&A Museum, the Museum of London, as well as internet image searches of various pieces and styles to find objects upon which to base my designs for my series of bowls. The range of items I looked at included pieces from Asia, India, the Middle East, Africa, Europe and South America. The age of the pieces ranged from 3500 BC until the modern day. The materials included ceramics, brass, bronze, lacquer, as well as silver and gold. Before settling on a series of bowls for rEvolution, I looked at items including vases, cups, plates, jugs, urns, basins and tea and coffee sets.

4. ‘Corieltavi’ Silver Bowl 0 - 100 AD England Harborough Museum

5. Roman Silver Bowl 200 - 270 AD France British Museum

6. Bronze ‘Kylix’ Drinking Cup 350 - 325 BC Greece British Museum

7. Neo-Rococo Dish 800 Silver c. 1900 AD Frank Brüder Goldund Silberwarenfabrik Austria

8. Art Nouveau Brass Dish (Originally silver-plated) c.1890 AD WMF Germany

9. Art Deco Silver Tazza with Lapis Stem c.1930 AD Puiforcat France

Material

U K Ha l lmarks 1

2

3

4

5

1. AW - Sponsor’s mark. Each mark has unique lettering and stamp outline to differentiate between makers with the same initials.

2. Lion Passant - Traditional English fineness mark for sterling silver (minimum 92.5% silver).

3. 925 - Modern convention fineness mark for sterling silver.

4. Leopard’s Head - Mark of the London Assay Office.

5. V - Date letter, 2020. Each 25 year series of date marks has unique lettering and stamp outline.

After developing my concept of the life of the material I began to collect pieces to melt down to produce sheet silver for making the series of bowls. After visiting some markets and shops I discovered that it was a lot easier and significantly cheaper to source this old silver as job lots of scrap silver on eBay. Many of the items were sold in this way because they were damaged or in bad condition. Some were just items that are not popular any more, such as inkwells and cigarette cases.

I have not used all of the items I bought. I have only used pieces that had UK Hallmarks which could be used to trace the origins of the pieces. This ‘hallmark’ has been an official government requirement to be able to sell goods manufactured from precious metal in the UK since 1327, when The Worshipful Company of Goldsmiths, a London livery company, was given its Royal Charter to oversee the testing of precious metals.

The hallmark shows who made the item (sponsor’s mark), what material it is (fineness mark), where it was assayed (assay office mark), and when it was assayed (date mark).

Following pages: 10,11.

Scrap silver I collected for rEvolution.

3

4

9

10

12

13

14

15

16

1

2

6

5

11

7

8

17

20 21

18 22

19

23

25 24 26 28

27

30

29 31 33

32

37

34 36 35

38 39

L ist of Ha l l mark s 1.

Inkwell

W.A

William Aitkin, Birmingham, 1912-13.

2.

Ashtrays

HCD

Henry Clifford Davis, Birmingham, [s]-1942-43, [u]-1944-45.

3.

Vesta Case

H&A

Horton & Allday, Birmingham, 1906-07.

4.

Trinket Boxes

B.S

Barrowclift Silvercraft, Birmingham, [t]-1993, [u]-1994.

5.

Pin Trays

DE GE

Edwards & Co (Glasgow), Sheffield, 1913.

6.

Napkin Ring

JD&S

James Dixon & Sons, Sheffield, 1905.

7.

Napkin Ring

EE

E. Edmonds, Birmingham, 1941-42.

8.

Napkin Ring

I.S.G

I.S. Greenberg, Birmingham, 1924-25.

9.

Napkin Rings

RNH&Co

R.N. Hollings & Co, Birmingham, 1944-45.

10.

Napkin Rings

H&A

Horton & Allday, Birmingham, 1916-17.

11.

Comb W? Unidentified, Birmingham, 1927-28.

12.

Buff

L&S

Levi & Salaman, Birmingham, 1907-08.

13.

Brush

G&S.Co Ltd Goldsmiths & Silversmiths Co, London, 1921.

14.

Mirror

B&Co

Broadway & Co, Birmingham, 1921-22.

15.

Compact

A Bros Ltd

Adie Brothers Ltd, Birmingham, 1932-33.

16.

Pill Box

T&C

Unidentified, Birmingham, 1913-14.

17.

Cigarette Case

S.B&S Ltd

S. Blanckensee & Sons Ltd, Chester, 1927.

18.

Cigarette Case

D.P.M

D.P. Martin, Birmingham, 1945-46.

19.

Cigarette Case

EJH

E.J. Houlston, Birmingham, 1912-30.

20.

Cigar Case

GW

Unidentified, Birmingham, 1905-06.

21.

Cigar Case

J.G Ltd

Joseph Gloster Ltd, Birmingham, 1925-26.

22.

Cigar Case

WN Ltd

William Neale, Birmingham, 1924-25.

23.

Cigar Case

HM

Henry Matthews, Birmingham, 1915-16.

24.

Watch Case

RP

Ricard Palmer (?), London, 1779.

25.

Watch Case

TPH

Thomas Peter Hewitt, Chester, 1904.

26.

Watch Case

SF

Samuel Freeman, London, 1878.

27.

Watch Case

HT

Unidentified, London, 1755.

28.

Watch Case

WE

William Ehrhardt, Birmingham, 1923-24.

29.

Watch Case

GJH

George John Hamilton, London, 1862.

30.

Watch Case Lid

(?)

Unidentified, London, date unknown.

31.

Watch Case

JH

Unidentified, Birmingham, 1897-98.

32.

Watch Case

WC

William Carter, London, 1873.

33.

Watch Case

TPH

Thomas Peter Hewitt, Chester, 1896.

34.

Watch Case

JO

James Oliver, London, 1864.

35.

Watch Case

JT

Julien Tripplin, London, 1880

36.

Watch Case

AB

Arthur Baume & Co, Birmingham, 1885.

37.

Spoon

L&S

Levi & Salaman, Birmingham, 1920-21.

38.

Spoon

WSS

W.S. Savage & Co, Sheffield, 1900.

39.

Spoon

B.B.S.Ld

Barker Brothers Silver Ltd, Birmingham, 1913-14.

After I had completed researching the hallmarks on these items it was time to prepare them for melting down. The first step was to disassemble them and then remove any parts that were not silver. It is common for there to be steel parts, for example springs, in catch mechanisms and hinge pins. Sometimes these need to be cut out depending on how they are attached.

Gold and silver plating do not need to be removed as the coatings are extremely thin and also they are precious metal. A piece that had been chrome plated would need to be discarded, it would be easier and cheaper to find another similar piece than to remove the chrome plating.

It is better to cut these items into small pieces because that way you can fit more material into the melting pot. It is also necessary to add some ‘fine’ (pure) silver to the pot to maintain a standard above 92.5% for sterling silver. This is to allow for other materials, such as solder, which have a silver content below 92.5% that are incorporated into the scrap material from the original manufacturing process. After adding this ‘fine’ silver I had just over 2000g of material in total to use for my project.

12. Using snips to cut a steel spring from a watch case.

13. Stripped down watch cases alongside excised pieces not wanted in the melting pot.

14. Using bench shears to cut scrap silver items into small pieces after disassembly and removal of unwanted materials.

15. Bench shears are a faster and easier method than cutting with snips.

16. The end result of the preparation process: scrap silver ready to go into the melting pot.

With the cutting of the scrap completed it was time to melt it down and cast ingots. I used an electric furnace and what is called a ‘skillet’ mould at first. I tried casting into this mould several times but could not make ingots of sufficient quality to roll into sheets. I then made a vertical two-piece mould but was still not able to make usable ingots.

The problems I encountered were air pockets in the ingot, and uneven cooling which caused faults in the ingot. These faults lead to the ingot separating into pieces when rolled out into sheet. Ironically, I had to roll these ingots down in thickness until they were thin enough to be able to cut into small pieces to melt again. I spent three weeks trying without success to make my own silver sheets in the workshop at the RCA.

While trying to make these sheets I realised that there was another limitation using the equipment in the RCA workshop: the widest roller for rolling sheet was only 150mm wide.

This would severely limit the size of the objects I could make as I would be restricted to components that could be made out of narrow sheets.

Opposite page: 17.

Crucible of molten silver being removed from the furnace.

19. Ingot showing air pockets. These pockets develop into large holes in the sheet once rolled out.

20. Incomplete ingot showing ‘layers’ from uneven cooling.

These cause the sheet to split along the faults when rolled.

Opposite page: 18.

Pouring the molten silver into the skillet mould.

21. Cranking the ingot through the rolling mill.

22. Partly rolled ingot showing surface cracking.

This becomes worse as it is rolled more.

23. Annealling. Heat treatment to soften the metal must be done periodically during the rolling process.

24. These were the best ingots I made but still not of a quality suitable to roll into thin sheets. Some cracks can be seen developing at the edges.

Having decided that I didn’t want to spend my entire year trying to make silver sheets, I made some enquiries and found a company in Birmingham, Mayhan Co, that could melt my specially collected scrap material and roll it into sheets for me. Outsourcing this process let me concentrate on the development and making of the rEvolution series, and gave me better quality, larger material to work with much more quickly. Mayhan Co’s powered sheet roller, at 240mm wide, allowed for a scale of work that I much prefer to what I was originally going to be limited to by the narrower roller at the RCA.

Mayhan Co. could not have been more helpful with assistance to achieve my project.

Opposite page: 25.

Melting silver with a propane torch at Mayhan Co.

27. Silver ingot cooling after being released from the mould. Next melt material can be seen in the crucible on the right.

28. Raw silver ingot.

Opposite page: 26.

Pouring molten silver into two-piece vertical mould.

Opposite page: 31.

A finished silver sheet.

29. Silver sheet being run through the powered rolling mill.

30. Silver sheet in the annealling furnace for softening.

rEvolution-1

The design inspiration for rEvolution-1 comes largely from the ‘Corieltavi Bowl’, an approximately 2000 year old Iron age Celtic bowl excavated in Hallaton, Leicestershire. It was chosen because it was a simple shape made with simple technique and as such was a suitable starting place for my design and technique evolution concept.

rEvolution-1 was made by the processes of ‘sinking’, hammering a bowl shape into a sandbag from the inside into a thick sheet of metal, and ‘peening’, hammering onto an anvil to stretch the material into the bowl shape. It was then polished to a mirror finish, hallmarked, had its title, rEvolution-1, stamped into it, photographed, 3D scanned and then destroyed.

It took approximately fifteen hours of labour to complete this bowl and when finished it weighed 539g.

Dimensions: 18cm x 17.5cm x 9cm.

32. Cutting the disc for the bowl from the silver sheet using a jeweller’s saw.

33. After the first ‘course’ of hammering. The concentric lines are to help keep the hammering evenly spaced as you go around the bowl.

35-40. Development of the bowl. Annealing is necessary between each course of raising.

Opposite page: 34. ‘Peening’ - hammering onto an anvil to stretch the silver into a bowl shape.

Opposite page: 43.

Polishing: the cloth ‘mop’ is coated in a fine abrasive compound which gives the mirror finish.

Following pages: 44-47. rEvolution-1 finished.

41, 42. Developing the asymmetrical shape and setting the base.

rEvolution-2

The inspiration for rEvolution-2 came from Roman ‘fluted’ bowls from the 2nd-4th centuries AD. These bowls were chosen because they allowed the development of a simple bowl into a decorated bowl while still only using basic techniques.

It was made by sinking, peening and ‘raising’, hammering from the outside onto a specially shaped ‘stake’ (anvil) to shape the thin sheet material into a bowl. I developed the drawing for the layout of the off-centred flutes using a computer aided design program. This was printed and transferred by tracing to the silver sheet. After the shaping was finished rEvolution-2 was polished, hallmarked, the title was stamped in, photographed, 3D scanned and destroyed.

rEvolution-2 took approximately 22 hours of labour to complete and it weighed 499g.

Dimensions: 23cm x 24cm x 6.5cm.

48. Cutting the marking out stencil with a scalpel.

49. Silver sheet cut into a disc showing the marking out.

50. Initial raising and shaping showing guidelines on the outside of the bowl.

51. Initial shaping from the inside of the bowl.

52-56. Development of the bowl.

Following pages: 57-60. rEvolution-2 finished.

rEvolution-3

rEvolution-3 is based on Greek ‘Kylix’ drinking vessels from the 3rd – 6th centuries BC. While older than the inspiration for rEvolution-1&2, the shapes of these vessels let me keep a simple bowl shape while adding new elements like handles and feet, and allowed me to introduce the techniques of casting and soldering in its construction.

It was made by sinking, raising, tube-forming (hammering sheet material into and onto special forming tools to create tubular pieces), wax-carving and casting, and the pieces were joined by soldering.

I changed the design of this bowl significantly during its construction. The first change was due to not liking its appearance, the other was due to technical issues.

After completion rEvolution-3 was hallmarked, photographed, 3-D scanned and destroyed.

rEvolution-3 took approximately 65 hours of labour to make and weighed 791g.

Dimensions: 35.5cm x 22cm x 10cm.

Opposite page: 61.

Raising the bowl.

62. Initial shaping of bowl and handle before joining.

63. After further shaping and being soldered together I thought that this initial design was too long.

64. I cut it apart again and reshaped the bowl and handle to make the piece more compact when finished.

65. Further shaping of the handle showing a wood stake I carved for shaping the silver by hammering.

66. Making the end cap.

67. End cap soldered on and other end split into tubes for fitting of cast handle.

68. Hand carved wax handles ready for casting by ‘lost wax’ method. The wax is invested in plaster, then the wax is burnt out leaving a cavity the shape of the wax in the plaster into which molten silver is poured.

69. The plaster is then removed leaving the silver castings.

70. Handle castings after removing sprues and filing smooth.

71. Unused sections for opposite handle. First I made the steel stake (top) which is used to shape tapered tubes by hammering.

72. Tubes are then filled with low melting temperature alloy to allow bending without the tubes creasing.

73. After bending and emptying the tubes I discovered that the low temp material had contaminated the inside of the tubes. I did not use these parts because I did not want the contaminated material to be included in the melt for the next bowl.

Opposite and following pages: 76-80. rEvolution-3 finished.

74, 75. Construction complete showing all elements soldered in place.

rEvolution-4

rEvolution-4 is based on a melding of Rococo style (c.1750) with Art Nouveau (c.1890).

Rather than a single style I though it would be interesting both aesthetically and in terms of narrative elements to blend styles; showing the passing of time in a single piece.

The templates for marking out the bowl, the chased pattern, and the handles and feet were developed using computer aided design. They were applied to the silver by tracing.

The basic shape was formed by sinking, then decorated with the technique of ‘repoussé and chasing’: using hammers and special ‘chasing’ punches to shape intricate details into the sheet metal. Repoussé is when the metal is punched ‘up’ from the back and chasing is when it is punched ‘down’ from the front. The metal is supported from behind by ‘pitch’, a firm but elastic material traditionally made from tar pitch, pine resin and plaster. It is heated to liquify, poured into place and then it hardens as it cools, fully supporting all the contours of the metal.

The Art Nouveau handle and the feet were made by cutting and filing solid thick sheet material into the required shape. Soldering was used to join the pieces together. After polishing the bowl was oxidised (blackened) which highlights the chasing and gives an ‘antique’ look to the piece. It was then hallmarked, photographed and 3D scanned. It has not been destroyed.

rEvolution-4 took approximately 85 hours of labour to complete and it weighs 757g.

Dimensions: 41cm x 24cm x 6.5cm.

81. Marking out the sheet.

82. Cutting the sheet using a guillotine.

83. The initial shaping was done by ‘sinking’ into a sandbag.

84. Second course of hammering was ‘peening’ onto a flat anvil.

85. Final course was ‘planishing’: hammering from outside onto a curved anvil to smooth the bowl.

86. Transferring the pattern to be chased by tracing.

87. Building a box from aluminium to contain the pitch.

Opposite page: 90.

RepoussĂŠ is used to raise the necessary areas from the back of the viewed pattern.

88. Box filled with pitch.

89. RepoussĂŠ work showing a chasing hammer and chasing punches. The ends of the punches are of different shapes and sizes for different needs.

91. After chasing. Chasing adds the fine details to the pattern required.

92. After trimming all excess material, ready to fit the handle.

93. Marking out the handle by tracing a template onto 3mm thick silver sheet.

94. Cutting the handle with a jeweller’s saw.

95. Handle cut, ready for shaping with a file and fitting to the bowl.

96. Handle fitted to the bowl ready for soldering.

97. Handle soldered to the bowl and excess material trimmed.

98. Marking out the feet.

One in Art Nouveau style and two in Rococo style.

99. Feet filed into shape ready to be curved and soldered to the base of the bowl.

100. Feet were first tacked into place using a laser welder and then soldered.

Following pages: 103-106. rEvolution-4 finished.

101. Close up view of the feet.

102. Completed polished bowl with the oxidising applied.

C orona Vir us Up d ate.

Slight change of plan‌

Due to the closure of the College because of the Covid-19 pandemic I had to revise elements of my project significantly. Without access to the studios, workshops and equipment at the college I had no way of physically making anything. Accordingly, I switched to digital construction media for the last two bowls in the rEvolution series.

rEvolution-5

Opposite page: 107.

Rhino 3D design file of rEvolution-5.

rEvolution-5 has been created purely as a digital 3D model in Rhino, photo-rendered for the documentation, and 3D printed as a resin model. Its stylistic influences are Art Deco (c.1930) through Futurism and the Space Age (c.1950).

It was to be made primarily using the technique of spinning, with the use of Labradorite semi-precious stones for decoration. Spinning is a process where sheet metal is forced over forms which match the inside of the shape required. It is done on a lathe and the metal is forced down by special tools as the piece spins. Using this process would also have meant making the spinning ‘chucks’, the forms the bowl sections would be spun on.

Even though rEvolution-5 was not made in silver, the end result in terms of this project was the same, i.e. only having images and a 3D printed resin copy of the no longer extant bowl.

Dimensions: 34.5cm x 24cm x 22cm (with lid in place).

Following pages: 108-111.

Photo-renderings of rEvolution-5.

rEvolution-6

Opposite page: 112.

Rhino 3D design file of rEvolution-6.

rEvolution-6, the final bowl in the series, has also been created as a 3D Rhino model and photo-rendered. The model and rendering are only indicative of an estimated result for the process. The actual bowl would not be as smooth and even as the rendering. There were no stylistic influences from history in this bowl.

It would have been a technical experiment to produce a bowl in a way that ties together the ideas of the concept by melting the recycled material and casting directly into a rotating open bowl shaped mould. I wanted to incorporate all of the material in one final piece that reflected a contemporary solution and new technical method.

I felt it important not to use a traditional method for this piece as it should also show a step forward in technique as well as contemporary design to continue the theme of the entire series. I cannot guarantee that this method would have worked but I would still like to try this once physical work becomes possible again.

Approximate dimensions: 30cm x 30cm x 7.5cm.

Following pages: 113-116.

Photo-renderings of rEvolution-6.

Destruction

As an inherent part of my project I found the destruction of my pieces to be quite an interesting experience. I was surprised to find that I felt a little emotional while destroying rEvolution-1 & 2. However I quite enjoyed cutting up rEvolution-3. I think it was because I did not enjoy making it due to the problems encountered in the process.

The reactions of other people have been quite interesting for me to watch as well. The shock with which they reacted to the idea of me deliberately destroying my work was quite evident. I invited people to watch the destruction. It seemed that they could not quite believe that it would happen until I started cutting.

I have been told by a number of people that I am ‘not allowed’ to cut rEvolution-4 apart.

Opposite page: 117.

Cutting rEvolution-1.

118. Cutting rEvolution-2.

119. Silver ready for the melting pot.

120. Hallmarked sections retained from rEvolution-1 & 2.

121. Hallmarked section from rEvolution-3.

3D Scanning

I first thought of 3D scanning these pieces only as a further piece of documentation that could be used to digitally show the works in an exhibition setting. I then realised that reproducing them in clear resin would give a ‘ghost’ like reproduction of the work that could be displayed in a physical exhibition setting allowing a greater interaction with the audience.

Because polished silver acts like a mirror the bowls had to be coated with a water soluble paint before they could be scanned. This allows the scanner to read the shape of the item to create a successful digital copy. The scans then need software repairs before they are suitable for 3D printing. rEvolution-4 has not yet been reproduced in resin because the lockdown came before these repairs could be done.

122. rEvolution-2 being 3D scanned by Rapidform RCA, the RCA’s digital making department.

123. The digital file created by the 3D scanning process turns the object into a series of connected triangular surfaces. This STL (stereolithography) file is then used to 3D print the object.

Resin Models

Opposite page: 124. rEvolution-1 Resin model.

Initially, I was interested in having the bowls replicated by direct metal laser sintering (DMLS) in stainless steel. DMLS is a production technique that can 3D print objects directly into some metals. Stainless steel seemed appropriate because it has taken over from silver in many of its domestic uses such as cutlery and tableware. I did not go down this route because it was not only going to be more expensive than silver to replicate in this way but I was told it would probably not be successful because my bowls were too thin to replicate using this method. I found this amusing as it meant I can take a piece of sheet metal and basically just hit it with a stick to get a shape that can’t be made by space age digital laser technology.

I then decided on clear resin, quite liking the idea of the pieces being transparent, more like the ghostly reproduction in my concept. rEvolution-1 - 3 were 3D printed in resin at Rapidform RCA. Due to the maximum print size of Rapidform’s printer rEvolution-3 was printed in two pieces and then glued together. Because Rapidform was closed due to the lockdown, rEvolution-5 was printed at an outside company, which is why it has a different matte surface finish.

Following pages: 125-128. rEvolution-2, -3, & -5 Resin models.

Conclusion

‘…at last I brought the whole work to completion, and…I exposed it to a public gaze.’ * Benvenuto Cellini

*Benvenuto Cellini, The Life of Benvenuto Cellini Written by Himself (London: Phaidon Press Ltd, 1949) p.330

I have very much enjoyed my year developing and making the rEvolution project. From initial conceptual ideas to the development of the series of bowls it has been a very interesting journey into a new working method. I have found it very satisfying to expand my skills into a new direction of theoretical research based methodology.

I found it disappointing that the rEvolution series could not be finished or exhibited in the way originally intended due to the Covid-19 situation. While not as satisfying personally I think that the change to digital based working was a solution that let me complete the project in the best way possible.

I think, as makers, that we need the ability to adapt to different situations as a necessary skill that will allow the creative industry to flourish, no matter the circumstances.

In the future I plan to make the last two pieces in the rEvolution series, and to continue using research based development.

List of Images

Note: unless otherwise indicated all photographs are by the author.

Introduction 1.

‘Hacksilver’ from the Cuerdale Hoard.c. 900 AD. British Museum.

2. Tea Caddy. Paul De Lamerie. Sterling Silver, 1747. The Worshipful Company of Goldsmiths.

Hare, Susan, Paul De Lamerie: at the Sign of the Golden Ball the Work of England’s Master

Silversmith 1688-1751 (London: The Goldsmith’s Company, 1990), p.155.

3. Coffee Pot. Gerald Benney. Sterling silver, Enamel. Private collection.

Hughes, Graham, Gerald Benney Goldsmith: The Story of Fifty Years at the Bench, (London:

Starcity Ltd, 1998), p.143.

4. ‘Corieltavi’ Bowl, Silver, 0 - 100 AD, England, Harborough Museum, Market Harborough, UK. https://thehockleyflyer.info/the-corieltavi-silver-bowl-2000-years-old/

Accessed: 07-11-2019 5. Roman Silver Bowl, 200 - 270 AD, France, British Museum.

6. Bronze Kylix Drinking Cup, 350 - 325 BC, Greece, British Museum.

7. Neo-Rococo Dish, 800 Silver, c. 1900 AD, Frank Brüder Gold- und Silberwarenfabrik, Austria. http://grabekwlublinie.pl/en/silver/714-neorococo-silver-dish-vienna.html

Accessed: 05-11-2019 8. Brass Dish, (Originally silver-plated), c.1890 AD, WMF, Germany. https://www.loveantiques.com/antique-metalware/brass/large-wmf-art-nouveau-dish- c1890-70275

Accessed: 20-02-2020 9. Silver Tazza with Lapis Stem, c.1930 AD, Puiforcat, France. https://www.1stdibs.com/furniture/dining-entertaining/bowls/jean-puiforcat-art-deco-silver-plate- serving-bowl/id-f_3519522/

Accessed: 07-11-2019

Material 10. Scrap Silver collected for rEvolution.

11. Scrap Silver collected for rEvolution.

12. Using snips to cut a steel spring from a watch case.

Photo: Isabel Distassi.

13. Stripped down watch cases alongside excised pieces not wanted in the melting pot.

Photo: Isabel Distassi.

14. Using bench shears to cut scrap silver items into small pieces after disassembly and removal of unwanted materials.

Photo: Emmie Ray Hubbard.

15. Bench shears are a faster and easier method than cutting with snips.

Photo: Emmie Ray Hubbard.

16. The end result of the preparation process: scrap silver ready to go into the melting pot.

Photo: Emmie Ray Hubbard.

17. Crucible of molten silver being removed from the furnace.

Photo: Isabel Distassi.

18. Pouring the molten silver into the skillet mould.

Photo: Isabel Distassi.

19. Ingot showing air pockets. These pockets develop into large holes in the sheet once rolled out.

20. Incomplete ingot showing ‘layers’ from uneven cooling. These cause the sheet to split along the faults

when rolled.

21. Cranking the ingot through the rolling mill.

Photo: Isabel Distassi.

22. Partly rolled ingot showing surface cracking. This becomes worse as it is rolled more.

23. Annealling. Heat treatment to soften the metal must be done periodically during the rolling process.

24. These were the best ingots I made but still not of a quality suitable to roll into thin sheets. Some cracks can be seen developing at the edges.

25.

26.

27.

28.

29.

30.

31.

Melting silver with a propane torch at Mayhan Co, Birmingham.

Pouring molten silver into two-piece vertical mould, Mayhan Co, Birmingham.

Silver ingot cooling after being released from the mould. Next melt material can be seen in the crucible on the right, Mayhan Co, Birmingham.

Raw silver ingot, Mayhan Co, Birmingham.

Silver sheet being run through the powered rolling mill, Mayhan Co, Birmingham.

Silver sheet in the annealling furnace for softening, Mayhan Co, Birmingham.

A finished silver sheet.

rEvolution-1 32. Cutting the disc for the bowl from the silver sheet using a jeweller’s saw.

Photo: Isabel Distassi.

33. After the first ‘course’ of hammering. The concentric lines are to help keep the hammering evenly spaced

as you go around the bowl.

34. ‘Peening’ - hammering onto an anvil to stretch the silver into a bowl shape.

Photo: Bronte Schwier.

35-40.

Development of the bowl. Annealing is necessary between each course of raising.

41, 42.

Developing the asymmetrical shape and setting the base.

43. Polishing: the cloth ‘mop’ is coated in a fine abrasive compound which gives the mirror finish.

Photo: Isabel Distassi.

44-47. rEvolution-1 finished.

rEvolution-2 48.

49.

50.

Cutting the marking out stencil with a scalpel.

Photo: Emmie Ray Hubbard.

Silver sheet cut into a disc showing the marking out.

Initial raising and shaping showing guidelines on the outside of the bowl.

51. Initial shaping from the inside of the bowl.

52-56.

Development of the bowl.

57-60. rEvolution-2 finished.

rEvolution-3 61. Raising the bowl.

Photo: Isabel Distassi.

62. Initial shaping of bowl and handle before joining.

63. After further shaping and being soldered together I thought that this initial design was too long.

64. I cut it apart again and reshaped the bowl and handle to make the piece more compact when finished.

65. Further shaping of the handle showing a wood stake I carved for shaping the silver by hammering.

66. Making the end cap.

67. End cap soldered on and other end split into tubes for fitting of cast handle.

68. Hand carved wax handles ready for casting by ‘lost wax’ method. The wax is invested in plaster, then the

wax is burnt out leaving a cavity the shape of the wax in the plaster into which molten silver is poured.

69. The plaster is then removed leaving the silver castings.

70. Handle castings after removing sprues and filing smooth.

71. Unused sections for opposite handle. First I made the steel stake (top) which is used to shape tapered

tubes by hammering.

72. Tubes are then filled with low melting temperature alloy to allow bending without the tubes creasing.

73. After bending and emptying the tubes I discovered that the low temp material had contaminated the inside

of the tubes. I did not use these parts because I did not want the contaminated material to be included in

the melt for the next bowl.

74, 75.

Construction complete showing all elements soldered in place.

76-80. rEvolution-3 finished.

rEvolution-4 81. Marking out the sheet.

82. Cutting the sheet using a guillotine.

Photo: Emmie Ray Hubbard.

83. The initial shaping was done by ‘sinking’ into a sandbag.

84. Second course of hammering was ‘peening’ onto a flat anvil.

85. Final course was ‘planishing’: hammering from outside onto a curved anvil to smooth the bowl.

86. Transferring the pattern to be chased by tracing.

87. Building a box from aluminium to contain the pitch.

88. Box filled with pitch.

89. Repoussé work showing a chasing hammer and chasing punches. The ends of the punches are of

different shapes and sizes for different needs.

90. Repoussé is used to raise the necessary areas from the back of the viewed pattern.

91. After chasing. Chasing adds the fine details to the pattern required.

92. After trimming all excess material, ready to fit the handle.

93. Marking out the handle by tracing a template onto 3mm thick silver sheet.

94. Cutting the handle with a jeweller’s saw.

95. Handle cut, ready for shaping with a file and fitting to the bowl.

96. Handle fitted to the bowl ready for soldering.

97. Handle soldered to the bowl and excess material trimmed.

98. Marking out the feet. One in Art Nouveau style and two in Rococo style.

99. Feet filed into shape ready to be curved and soldered to the base of the bowl.

100. Feet were first tacked into place using a laser welder and then soldered.

101. Close up view of the feet.

102. Completed polished bowl with the oxidising applied.

103-106. rEvolution-4 finished.

rEvolution-5 107. Rhino 3D design file of rEvolution-5.

108-111. Photo-renderings of rEvolution-5.

rEvolution-6 112. Rhino 3D design file of rEvolution-6.

113-116. Photo-renderings of rEvolution-6.

Destruction 117. Cutting rEvolution-1.

Photo: Bronte Schwier.

118. Cutting rEvolution-2.

Photo: Bronte Schwier.

119. Silver ready for the melting pot.

Photo: Bronte Schwier.

120. Hallmarked sections retained from rEvolution-1 & 2.

121. Hallmarked section from rEvolution-3.

3D Scanning 122. rEvolution-2 being 3D scanned by Rapidform RCA, the RCA’s digital making department.

123. The digital file created by the 3D scanning process turns the object into a series of connected triangular

surfaces. This STL (stereolithography) file is then used to 3D print the object.

Resin Models 124 rEvolution-1 resin model.

125. revolution-2 resin model.

126. rEvolution-3 resin model.

127-128. rEvolution-5 resin models.

Bibliography

Books: Adamson, Glenn, Fewer, Better Things (New York: Bloomsbury Publishing, 2018) Cellini, Benvenuto, The Life of Benvenuto Cellini Written by Himself (London: Phaidon Press

Ltd, 1949) Hare, Susan, Paul De Lamerie: at the Sign of the Golden Ball the Work of England’s Master Silversmith 1688- 1751 (London: The Goldsmith’s Company, 1990) Hughes, Graham, Gerald Benney Goldsmith: The Story of Fifty Years at the Bench. (London: Starcity Ltd, 1998) Jencks, Charles, The Language of Post-Modern Architecture, (London: Academy Editions, 1991) Koren, Leonard, Wabi Sabi for Artists, Designers, Poets & Philosophers, (Point Reyes: Imperfect Publishing, 2008) Wright, Alison, The Pollaiuolo Brothers, The Arts of Florence and Rome, (New Haven: Yale University Press, 2005) Ward, Adrian, ‘The Decline of Silverware as a Trade and its Ascent as an Artform’ (unpublished Master of Arts

dissertation, Royal College of Art, 2019)

Internet resources: Daniela Pylypczak-Wasylyszyn. The Historical Value of Silver: A 2000-Year Overview https://commodityhq.com/education/a-brief-2000-year-history-of-silver-prices/

Accessed 05/02/2019 https://www.1stdibs.com/furniture/dining-entertaining/bowls/jean-puiforcat-art-deco-silver-plate-serving- bowl/id-f_3519522/

Accessed: 07-11-2019 https://www.1stdibs.com/furniture/dining-entertaining/serving-pieces/silver-plate-lidded-dish-underplate-luc- lanel/id-f_673909/

Accessed: 07-11-2019

https://app.antiquitiesinc.com/items/view/2063/Ancient_Greek_Attic_Black_Figure_Kyl ix.html

Accessed: 07-11-2019 http://www.bbc.co.uk/history/ancient/vikings/cuerdale_01.shtml

Accessed: 21/02/2019 http://grabekwlublinie.pl/en/silver/714-neorococo-silver-dish-vienna.html

Accessed: 05-11-2019 https://www.loveantiques.com/antique-metalware/brass/large-wmf-art-nouveau-dish- c1890-70275

Accessed: 20-02-2020 https://www.nouveaudecoarts.com/Metalware/Deco-Silver-Bowl-With-Lapis-Decor.Html?listings- display=32&page=2#main

Accessed: 05-11-2019 https://www.penn.museum/sites/expedition/ur-and-its-treasures/

Accessed: 05-10-2019 https://www.pinterest.com/pin/307159637055619494/

Accessed: 05-10-2019

Lectures: Tai Shani

Urgency of the Arts: In Conversation with Anne Duffau and Chantal Faust.

Royal College of Art, 16/10/2019 Professor Johnny Golding

Urgency of the Arts: Fascism – Contemporary.

Royal College of Art, 09/10/2019 Dr Martina Margetts

imMaterial Culture: Re-Framing Narrative.

Royal College of Art, 15/01/2020

www.awardsilver.com