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The Terry Brodie Smith Silver Collection Terry Brodie-Smith has been a client and supporter of the gallery since the early 1980’s. Originally from Wales, he worked in Bath dealing in antique silver before settling in Edinburgh. He currently lives in a conversion of the original Assay Office. This collection is a selection of some notable silversmiths from Scotland and further afield. It marks an important period from our exhibition programme from the late 1980’s driven by our previous Director Amanda Game (19862007) who recognised the exceptional number of talented silversmiths and jewellers that were emerging from the art colleges, in particular Edinburgh College of Art run by Dorothy Hogg from 1985-2007 and Glasgow School of Art, under Roger Millar from 1984-2005. “In 1988, The Scottish Gallery organised an exhibition entitled ‘The Metal Vessel’. At that stage, it was extremely rare to see modern silver (or other metalwork) in contemporary galleries, and the metal vessel was a deliberate attempt to focus attention on the rich and varied work that existed, but was rarely seen.” * This broader vision saw graduates from the Royal College of Art, London being offered their first solo exhibitions at The Scottish Gallery including Simone ten Hompel, Hiroshi Suzuki and Sidsel Dorph Jensen. The Gallery also gave a home to established makers such as Malcolm Appleby, Adrian Hope and Michael Lloyd who have become synonymous with The Scottish Gallery. Terry’s collection is therefore a modest survey of contemporary silver from over two decades. *Amanda Game, Collection 2000, p2.

‘Panning for silver, The Scottish Gallery lifts the lid on the Terry Brodie-Smith silver collection…’


Artists Include: Malcolm Appleby Chein Wei Chang Shimara Carlow Graham Crimmins Sidsel Dorph Jensen Diana Greenwood Adrian Hope Sarah Hutchison David Huycke Marion Kane William Kirk Chris Knight Mizuho Koizumi William Lee Michael Lloyd Sian Matthews Grant McCaig Roger Miller Chris Philipson Rebecca de Quin Simone ten Hompel Graham Stewart Hiroshi Suzuki Annabet Wyndam

Front page: Hippoposthumous brooch Special commission by Malcolm Appleby NFS Overleaf left: 1919, Edinburgh Assay Office Overleaf right: Portrait of Terry Brodie-Smith by John Brown


Scottish Silver, A Brief History Gold and silver have been used to make vessels and ornaments in Scotland since prehistoric times, and there are historical references to goldsmiths working here from at least the 13th century. It is not, however, until the mid 16th century that the records allow us to tie the individual makers to surviving examples of art. By this date these craftsmen were established in the growing burghs of Scotland. In Edinburgh, the goldsmiths were numerous and important enough to have formed their own trade incorporation by 1492, while elsewhere they belonged to the incorporation of hammer men. These organisations controlled all aspects of the working lives of members, most importantly the right to admission, for no one could work in a burgh unless he was a member or ‘freeman’ of the medieval ‘closed shop’! Before becoming a freeman of the Edinburgh incorporation of goldsmiths, each craftsman had to fulfil a long list of conditions. These included serving a seven-year apprenticeship with a master, making an ‘essay’, or test piece, serving as a journeyman, paying a fee to the incorporation and being ‘of guide lyfe and conversation’ The incorporations also controlled the quality of their members’ work, something which was particularly important to the goldsmiths’ trade as it was so obviously open to fraud. This is because gold and silver are too soft to be used in their natural state and have to be mixed or alloyed with other, cheaper metals to make them harder and more durable. Many laws were passed to try to prevent the fraudulent addition of too much alloy, and from an early date goldsmiths were obliged to stamp their wares with their personal mark and to have the quality of the metal tested by an official who would stamp his mark and the mark of the town where it was made.


These were the original ‘hallmarks’, one of the earliest marks of consumer protection. (They incidentally help historians to identify the makers and dates of early silver). The earliest law concerning the quality of silver and gold used throughout Scotland dates to 1457 and set the standard for silver at 11 parts pure silver to one part alloy (usually copper), and gold at 20 parts pure gold to four alloy (i.e. 20 carat). It also gave the responsibility of conforming to these standards to the individual craftsman of each burgh. This clearly did not work and in 1586 the Edinburgh incorporation was authorised by King James VI to supervise the quality of ‘all gold and silver work wrocht and made in ony pairt within this realme.’ Virtually every object had to be tested, or ‘assayed’ by the annually elected deacon of the goldsmiths. If a piece was of the correct quality it would be stamped with the town mark - a three towered castle - and the deacon’s own mark. In 1681 a new official, the assay master, was appointed to do this job, and a variable yearly date letter was also introduced. This series of marks continued until 1759 when the thistle mark replaced the assay master’s personal mark. (the edinburgh assay office still operates today and continues to guarantee the quality of gold and silver in Scotland.) Not all Scottish silversmiths obeyed the royal command of 1586’ however, and most provincial silver was never sent to the assay office in Edinburgh. It was tested locally and a mark signifying where it was made was stamped alongside the maker’s mark. Many fine goldsmiths worked outside the capital. Edinburgh, whose mark was a three towered castle, was Scotland’s most important silver producing centre because of the concentration of wealth and patronage. It’s Goldsmiths developed their own styles, characterised, in the early 18th century, by a well proportioned elegance. Edinburgh goldsmiths kept to the forefront of the craft, reflecting current style and taste until the late 19 and 20th centuries, when their numbers declined, probably due to competition from London, Birmingham or Sheffield.

Silver From Scotland, Catalogue, 1997. Aberdeen Art Gallery & Museums and The Scottish Gallery.


Small etched patterned bowl, 2006 11.2 diameter x 3.3 h cms. 925 Sterling Silver. 122 g


Rebecca de Quin Rebecca graduated from the Royal College of Art in 1990. Since then she has combined silversmithing practice with a career in teaching at a number of UK institutions. Her work has been shown in major exhibitions at home and internationally and she is represented in several major UK collections including the Crafts Council, Birmingham Museum and the Goldsmiths’ Company. She was appointed to the RCA’s department of Goldsmithing, Silversmithing, Metalwork and Jewellery as a tutor in 1998. Rebecca acquired her current London studio in 2002, in order to extend her silversmithing practice and to provide workspace opportunities for other silversmiths and jewellers. She is an active member on the committee of the Association of British Designer Silversmiths.

Leaf Dish, 1997. 20.5 l x 14.5 w x 7.5 h cms. 925 Sterling Silver. 512 g


Graham Stewart Graham Stewart’s particular interest is in the inscription and lettering work. ‘The words were the seeds for the concept and the form’. As is typical with Stewart’s inscriptive work, the form of the letters, the way they are ‘cradled’ within the silver vessels help to focus on the meaning of the words. Amanda Game, Collection 2000

Peace Bowl, 2001. 13 diameter x 5.5 h cms. 925 Sterling Silver. 246 g


Grant McCaig ‘Working in silver is inspiring and creative, technical and expressive. Using the traditional techniques of the silversmith as my foundation, I build pieces that explore the relationship between functionality and self expression. I want my work to be individual in design and concept and give pleasure to the user.’ Grant McCaig graduated from Glasgow School of Art in 1998 and from the Royal College of Art, London in 2011. Collections include: Worshipful Company of Goldsmiths’ Modern Collection, London; National Museum of Scotland, Edinburgh; 10/10 Silver Collection Incorporation of Goldsmiths‘, Edinburgh; Bute House Collection, Edinburgh; Birmingham Museums and Art Galleries

Right: Boat Vessel, c.1999. 15 l x 11 w x 11 h cms. Gilding metal and precious white metal


Roger Millar Roger Millar studied silversmithing and jewellery design at the Glasgow School of Art, and the Royal College of Art, London.

Small beaker, 2006. 7 diameter x 4.5 h cms. 925 Sterling Silver. 91 g


Grant McCaig, Chelsea Tea Strainer, 2004. 12.7 l x 4.9 w cms. 925 Sterling Silver


Pair of candlesticks, 1995 30 l x 27 w x 12 h cms. 925 Sterling Silver. Illustrated in the Living Silver exhibition, a touring exhibition of British Silversmiths curated by the Crafts Council in 1995.


Roger Millar Following a period of bench experience and freelance design work in the fine jewellery trade in London, Roger entered higher education teaching, first in Wales, then Dundee and the United States, finally returning to the Glasgow School of Art as Head of the Department of Silversmithing and Jewellery in 1984. In the following 21 years under his leadership, S&J at GSA became established as one of the most enduring and important degree courses in the United Kingdom, and its recent graduates have contributed greatly to the strength in depth of the craft in Scotland and beyond. Millar was elected to the Freedom of the Worshipful Company of Goldsmiths and gained the Freedom of the City of London in 1985. In recognition of his significant contribution to education in design and craft, he was awarded, in 1999, an Honorary Professorship of the University of Glasgow at the Glasgow School of Art. He took early retirement from GSA in 2005 to concentrate full-time on his own studio work. Roger Millar has had several solo exhibitions at The Scottish Gallery and has been included in several notable exhibitions including Silver from Scotland, Collection 2000, 100% Proof.


William Kirk (b.1933 – 2009) “William Kirk aimed to be as simple and direct in both designing and making working from a strong understanding of material. Ideally he began work with a strong sense of place and purpose, although the approach is similar whether the commission was for formal, ceremonial pieces or for more intimate domestic commissions. The work should not intrude or interrupt. He enjoyed the prospect of work being used and enjoyed and he felt that the inevitable marks of use would become part of the history of the piece.� Silver From Scotland, 1997 William Kirk lectured at Glasgow School of Art and Edinburgh College of Art. Public collections include: National Museums of Scotland.

Small beaker, 1999. 6.4 diameter x 4.5 h cms. 925 Sterling Silver. 73 g. Millenium hallmark


Simone ten Hompel “Metal is Simone ten Hompel’s material: she thinks and breathes it. Her ability to understand and manipulate the material is outstanding. Ideas, forms and techniques seem to merge effortlessly, culminating in pieces that are calm, suggestive and beautifully executed. Her ideas are based on strong concepts and both the realisation and construction are clear and straightforward. The forms are pure, the surfaces rich, tactile yet unadorned.” Amanda Game, Beyond the line, 1995, her second solo exhibition at the gallery. Simone went on to win the coveted Jerwood prize for metal in 2005. The Four sided bowl was illustrated in the Living Silver exhibition, a touring exhibition of British Silversmiths curated by the Crafts Council in 1995.

Four sided bowl, 1995. 19 x 19 x 8.2 h cms. 925 Sterling Silver. 414 g


Simone ten Hompel Beakers, 2004, 6.5 h x 6 w x 5.3 d cms 925 Sterling Silver Scoop with enamel, 10.4 l x 26 w cms Spoon, 8.2 l x 4 w cms


Annabet Wyndham

Mizuho Koizumi

Above: Mizuho Koizumi, Rose Leaf Spoon, 2005 12 l x 4.4 w cms. 925 Sterling Silver Left: Annabet Wyndham, Spoon, 2007. 7.6 l x 3.1 w cms 925 Sterling Silver


Commemorative Marks Special Marks to commemorate significant national events may also be added to a hallmark if a sponsor chooses. The Millennium Mark to celebrate the year 2000 was very popular; it was applied to over 5 million articles of jewellery and silverware. The most recent commemorative mark is to honour the Queens Diamond Jubilee in 2012. There are other marks to commemorate special events, the Silver Jubilee of King George V and Queen Mary in 1935, the Coronation of Queen Elizabeth II in 1953 and her Silver Jubilee in 1977 and her Golden Jubilee in 2002. Collection 2000 “The Scottish Gallery hosted Collection 2000, a specially commissioned group of ten works by leading Scottish silversmiths. Each maker was allowed an open brief to produce a major work, which he or she would have found difficult to do within normal workshop practice. The Year 2000 was a fruitful one for silversmiths of all generations. The second phase of the refurbishment to Silver Galleries at the Victoria & Albert Museum opened; Goldsmiths Hall’s major survey exhibition Treasures of the 20th Century exhibition had been curated, and at least three contemporary British silver shows (which included a number of Scottish makers) were organised by London galleries”. Amanda Game, Collection 2000


Shimara Carlow Shimara Carlow was born in a remote coastal area in West Cork, Southern Ireland in 1979. A childhood fascination for collecting shells, stones, mermaid’s purses, feathers and seed pods found along the sea shore has been the inspiration for her work. Shimara completed a degree in Silversmithing and Jewellery in 2001, and went on to a 2 year residency at Bishopsland Workshops in South Oxfordshire. In 2004 Shimara moved to London where she set up her own business and workshop, and in 2008 she re located to Melbourne Australia, where she now has a studio in the beautiful grounds of the Abbotsford Convent.

Oxidised silver and gilt beaker 4 diameter x 5.7 h cms. 999 Britannia Silver. 84 g


Sarah Hutchison Sarah Hutchison graduated from the Edinburgh College of Art in 2004. After graduating Sarah picked up two major awards, The Retail Jeweller Student Designer of the Year and the New Designers Goldsmiths’ Company Award for Silversmithing. Winning the prestigious Dewar Arts Award enabled her to travel to places such as Mexico and Munich and to progress her work to pieces such as water jugs and candelabra. Sarah’s work encompasses both Silversmithing and Jewellery. She is passionate about saw piercing: her work derives from this passion. Her designs come from working directly with the metal, exploring and experimenting with it to see what develops. Sarah loves large areas of silver with details of gold, she also likes to incorporate semi precious stones and pearls within her pieces in innovative ways. The final pieces are floral, delicate and feminine in appearance, with a real feeling of spontaneity. Sarah’s name has recently been associated with the Silver of the Stars exhibition where she was commissioned to make a diamond studded teapot for Texas singer, Sharleen Spitteri.

Dish with diamond, 2005. 7.3 diameter x 3 h cms. 925 Sterling Silver, 18ct gold, diamond


Marion Kane Marion Kane is an award winning Scottish silversmith who graduated from Glasgow School of Art in 1999. Marion prides herself in making pieces that can be used in everyday life and reflects this by using textures and shapes to create elegant, timeless pieces. Exhibitions include Collection 2000, Silver of the Stars (2007) and touring, 2012.

2 napkin holders, 1999. 9.3 x 2.5 w x 4 h cms. 925 Sterling Silver. 66 g each. Millenium hallmark Right: Silver dish with gilt, 2002. 10.5 w x 10.5 d x 4.5 h cms. 925 Sterling Silver. 121 g. Golden Jubilee hallmark


Chris Knight Chris Knight is Senior lecturer in Silversmithing and Jewellery at Sheffield Hallam University. Since completing his Masters study at the RCA in 1992 his professional life has been divided between teaching, academic research and practice. He is known for his functionally and visually provocative domestic and ecclesial silverware which is represented in many public and private collections. The last decade has seen his practice diversify into collaborative architectural and public art projects which have been recognised nationally through numerous awards and prizes. He has been a guest speaker at many national and international forums contributing thoughtful insights which extends the critical dialogue in relation to knowledge and understanding in the field. He is a Freeman of the Goldsmiths’ Company (2000); was Chair of the ABDS (2002-05); and recently became a Guardian of the Sheffield Assay Office and a Fellow of the Royal Society of Arts (2010). Spike Dish (right) was illustrated in Living Silver exhibition, a touring exhibition of British Silversmiths curated by the Crafts Council in 1995.

Spike dish, 1996. 14 diameter x 3. h cms. 925 Sterling Silver. 79 g


Adrian Hope Adrian Hope’s line bowls recall the bold use of form and shape by the late 17th and early 18th century Scottish silversmiths who created elegant, practical wares, mainly for the table. In fact, one could suggest the existence of a ‘Scottish style’ that carries through from the past to the present, it may be well worth considering the apparent enduring partiality for simple, elegant, relatively undecorated functional forms which are such a feature of the early 18th century. Hope’s simplicity of form is enhanced by his delicate use of surface texture, a technique that has become a characteristic of his work. George Dalgleish, Collection 2000 Adrian Hope has had several solo exhibitions at The Scottish Gallery since the late 1980’s and has been included in several notable metal exhibitions including Collection 2000 and he curated 9 Create in 2008.

Spoon, 1996. 16.5 l x 2.4 w cms


Set of five water pattern nesting bowls, 2000 Smallest 8.5 diameter x 3.5 h cms. Largest 10.5 diameter x 5 h cms 925 Sterling Silver. 648 g (total weight). Millenium hallmark


Malcolm Appleby Malcolm Appleby was born in West Wickham in 1946. He trained at Beckenham School of Art, Ravensbourne College of Art, Central School of Arts and Crafts, Sir John Cass School of Art and the Royal College of Art. He started his career as an engraver in 1968 developing new techniques for silver engraving and gold fusing onto steel. Malcolm Appleby is now the foremost gun engraver in the United Kingdom, and his famous Raven Gun is housed in the Royal Armouries. His many commissions include the engraving of the orb on the Prince of Wales Coronet, King George VI and Queen Elizabeth Diamond Stakes Trophy for De Beers, the 500th anniversary silver cup for the London Assay Office and a major silver cmmn (cup and cover) for the Royal Museum of Scotland. Malcolm Appleby made the seal for the Victoria & Albert Museum and was commissioned to make the silver centrepiece for the New Scottish Parliament. His work can be found in numerous prestigious public collections.


Left: Small pourer, 2006, 7.5 l x 6.7 w x 2.5 h cms, 958 Britannia Silver. 68 g. Above: Hammer raised tumbler with gilded interior, 2003, 6.5 diameter x 5.5 h cms, 958 Britannia Silver. 121 g


Michael Lloyd ‘Michael Lloyd is a compulsive maker, influenced in two directions. Firstly by a love of the natural world, secondly by the excitement he feels in working directly with metal-it’s liveliness and malleability. The two directions lead to involvement in image and form and there is considerable challenge to marry the two balanced in harmony’ Silver from Scotland, 1997. Collections include: Victoria & Albert Museum London, National Museums of Scotland, Edinburgh and the Worshipful Company of Goldsmiths, London. Michael Lloyd has had several solo exhibitions at The Scottish Gallery. In 1997 he participated in Silver from Scotland, had a solo show at the Gallery and the Worshipful Company of Goldsmiths in London mounted a retrospective exhibition on his work.


Michael Lloyd’s passionate love for and observation of the natural world is translated into the rhythmically chased surface of the bowl. Both the stylised pattern and the curves of the bowl echo the organic patterns of the natural world. He is uniquely able to reveal the silver as a lively and malleable material, as vibrant as the world he depicts within it and through it. Amanda Game, Collection 2000

Above: Eldertwig chased bowl with gilt interior, 1997. 9.5 diameter x 6.1 h cms, Sterling Silver and gilt. 131 g Left: Lined Beaker, 2002. 6.7 diameter x 6.5 h cms, 958 Britannia Silver and gilt


Oxidised granule bowl, c.2007. 10 diameter x 5.5 h cms. 232 g


David Huycke David Huycke was born in 1967 in Sint-Niklaas (Belgium). He studied jewellery design and silversmithing at the Karel-de-Grote Hogeschool, Sint-Lucas in Antwerp, Belgium, and graduated in 1989. Since 1993 he is an independent metal artist. Currently he is professor at the MAD-faculty and researcher at MAD-research, Hasselt/Genk, Belgium. In 2010 he acquired his PhD in Arts with his project The Metamorphic Ornament: Re-Thinking Granulation. “It has always fascinated me how and in what materials things were constructed, and what these things communicated by the way they were made… Materials and making are, in many aspects, my core interest: as a way to realise things, as a process in itself, and as a subject matter.” The Belgian artist is interested in making objects that hover between sculpture and domestic objects, without being either one of them. It is in this intersection between art, craft and design where his work can be situated. His objects often reveal a mix of poetry, sensuality, mathematics, craftsmanship, science, technique and a critical attitude towards the field he’s mostly working in: metalwork. Collections include: Aberdeen Museum & Art Gallery, Aberdeen Contemporary Arts Society, London Danish Museum of Decorative Arts, Copenhagen Musée des Arts Décoratifs, Paris Museum für Kunst & Gewerbe, Hamburg National Museum of Scotland, Edinburgh


William Lee Sang-Hyeob “William� Lee is a Korean silversmith who trained at the University of London Arts at Camberwell College. He won the Young Designer Silversmiths award in 2003, shortly before completing his BA in Silversmith and metalwork. His work is clearly influenced by his interest in sculpture, which he followed by taking a sculptural foundation course at Exeter University in 2000, and later working in studio with renowned sculptor Anthony Gormley. He has worked with silversmith Hiroshi Suzuki since 2003. Collections include; The Victoria & Albert Museum Aberdeen Art Gallery & Museum. Right: Beaker, 2006. 8.4 diameter x 8.5 h cms. 958 Britannia Silver. 312 g Left: Tall beaker, 2004. 7.5 diameter x 12 h cms. 999 Britannia Silver. 533 g


Hiroshi Suzuki Japanese born Hiroshi Suzuki studied metalwork at Musashino Art University in Tokyo and then, like many foreign students, he was attracted by the high level of metalwork courses on offer in the UK. In 1994 he moved to London to continue with his studies first at Camberwell College of Art and subsequently at the Royal College of Art, graduating in 1999. Hiroshi specialises in hammering and chasing silver to produce large-scale decorative vessels which have been described as “a fluent expression of nature”. Using a hammer and considerable strength he coaxes and cajoles sheets of silver into shapes successfully creating an illusion that silver is as pliable as clay. Unusually instead of beating the metal over a cast iron stake he often forms the silver in the air. Consequently his vessels have an effortless, organic quality which is both sensuous and full of vigour. He says: “my work can be interpreted as the embodiment of an intuitive sense of organic abstraction, whilst alluding to functional tradition.”

Beaker, 2003.8.2 diameter x 9.9 h cms. 999 Britannia Silver. 272 g


Hiroshi Suzuki was recently appointed as a successor to his former professor at Musashino Art University in Tokyo, a huge honour, and now divides his time between Japan and his workshop in London. “He has works in 27 major public collections across the globe including the Victoria & Albert Museum, London, the Museum of Arts and Design, New York and the Art Gallery of South Australia, Adelaide�. Goldsmiths Hall, 2010. Hiroshi Suzuki had his first solo exhibition at The Scottish Gallery in 2004 and in 2007. Aberdeen Art Gallery and Museum and the National Museums of Scotland bought work from these exhibitions for their permanent collections.

Knife, 2003. 23.5 l x 5.5 d x 5 w cms. 958 Britannia Silver. 334 g


Chein Wei Chang Ladle Series, 2004 ‘Years ago, I left my country and started a new life in this foreign country. Under the impact of this multicultural environment, I learned to perceive this world with various perspectives. Like the movement of scooping something out of one container then pouring into another one, the process of abandoning the old knowledge about this world and refilling the new understanding inside me has already become my daily ritual. Each ladle has its own depth: some are shallow, some are deep. I believe there is a very intimate relationship between an object and its collector. Each ladle reflects each individual and has its own journey to go on!’

Bamboo ladle spoon, 2003 20 l x 2.5 diameter cms, 925 Sterling Silver


Ladle Series 2006 “To produce new work is like going through a psychological, spiritual journey”. This time I looked back to my cultural roots to seek inspiration. In particular I am fascinated with the rough, raw utensils which were used to collect crops in the harvests of aboriginal tribes in ancient Taiwanese society 3,500 years ago. I try to enhance the Eastern aesthetics by combining seductive silver with another ordinary yet earthy material: Bamboo. In Eastern metaphysics, bamboo is a symbol of modesty “because its body is empty so that it can contain substance and because it is hollow so that people can use it to make instruments to create beautiful music”. Out of this motivation, I chose bamboo as a metaphorical material in my new ladles to echo the concept of “emptiness”, a “void” from previous series of ladles.”

Bamboo ladle spoon, 2006 29 l x 7 w cms. 925 Sterling Silver


Sidsel Dorph Jensen Sidsel Dorph-Jensen has, since she graduated from the Royal College of Art in 2003, been designing and making silver tableware. She has a shop and workshop in Copenhagen, Denmark. ‘Looking at the properties needed to perform a certain action, I explore the function through form. Working with the object as an action, looking at the basics of functionality, I try to communicate and cause interaction through shape and surface. I find the way the structure of different units can create form, volume and space very interesting. Using complex construction principles with traditional silversmithing techniques, I create objects for the table that explore the malleability and organic nature of silver.’ Sidsel Dorph Jensen had her first solo show at The Scottish Gallery in 2006. Pourer, 2005. 7 diameter approx x 18.5 h cms 959 Britannia Silver. 181 g


Chris Philipson Studied Silversmithing and Jewellery at Birmingham College of Art and the Royal College of Art, London. Design work includes a wide range of metalsmithing commissions including Jewellery. Recent work concentrates on Gold and Silver Gilt jewellery based on a long interest and understanding of traditional techniques used from the early Bronze age. Looking at surface texture and pattern formed within wrought shapes. Drawing ideas from careful observation and study of landscape and natural form. Most recently work has been concerned with a more architectural enquiry into utility war time buildings of concrete and brick set into coastal horizons ( sea defences). Giving inspiration for an end product of uniquely styled pieces of jewellery. Also a keen printmaker using drypoint techniques, with a topographical interest capturing the atmosphere of the Northern landscape. Gilded Leaf, 1995 6.8 h x 4.8 w cms. 925 Sterling Silver.


Graham Crimmins Graham Crimmins Studied at the School of Jewellery & Silversmithing, Birmingham College of Art & Design, 1967-1971. After completing college Crimmins worked in the jewellery workshops of a Birmingham jeweller. He first established his own workshop in Edinburgh in 1973. He has lectured part time at Edinburgh, Glasgow, Birmingham and Cumbria colleges of art. His work is held in the collections of a number of British Museums and private collections, including the National Museum of Scotland, Edinburgh, Aberdeen Art Gallery & Museum, the American Crafts Council, and the Rohsska Museum, Sweden. Exhibitions at The Scottish Gallery include The Metal Vessel, 1988, Silver from Scotland, 1997 and Collection 2000.

Copper Bowl. 9.5 diameter x 4 h cms. Spun copper with fine white metal rim


The Terry Brodie Smith Silver Collection 7 - 30 May

Exhibition can be viewed online www.scottish-gallery.co.uk


“You don’t deliberately set out to make a colletion. It just happens.....

The Scottish Gallery was welcoming. You can collect the things that offered to you. And you need to be in the right place at the right time....For a decade Brodie-Smith has provided financial and moral support to hordes of young artists.” Friday May 3rd 1991. The Arts, The Glasgow Herald. The Goddess Urania & Hercules: “Zeus be praised! It’s not a Scottish Myth There really is a man named Terry Brodie-Smith His home is a temple devoted to the Arts Totally without the work of boring old farts! (Forgive the Goddesses they do not mean to bore us But for aeons they have been a very bad Greek Chorus.)” Terry Brodie-Smith

/TBS_Silver_Catalogue  

http://www.scottish-gallery.co.uk/images/exhibitions/TBS_Silver_Catalogue.pdf

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