V&A 30th March – 16th September 2012

Images from right to left: Kevin Grey, Olivia Lowe, Peter Musson. Photographer: Clarissa Bruce.

Visit Fit for Purpose gallery

In addition, all work bears the new Diamond Jubilee commemorative hallmark which will be struck only during 2012, alongside the 2012 UK hallmark, making these objects historically significant and collectable. The exhibition takes an imaginative look at the idea of ‘Fit for Purpose’. Each objects’ function is explored through the medium of silver, both practical and conceptual, with each piece described by its purpose. The display includes work by some of the best practising British silversmiths today.

Clive Burr, Chairman of Contemporary British Silversmiths said: “We are absolutely delighted to have been invited to exhibit at the V&A, particularly in such a significant year. As the leading independent association for contemporary silversmithing, we have been active both nationally and internationally for two decades promoting innovative thinking and excellence in British silver design and workmanship. We are thrilled to have been recognised for this and to have the opportunity to showcase our work in such a prestigious venue.”

Eric Turner, Curator at the V&A commented: “Contemporary British Silversmiths aims to promote the highest standards of silverware design in Britain today. This collection offers supreme evidence of how its members succeed in acknowledging the rich historical heritage that is British silversmithing while equally renewing and reinventing it.”

Exhibiting alongside established members of the association, many of whom are represented in national collections, 13 new graduates will be displaying their work in this showcase of contemporary design. Contemporary British Silversmiths has long supported the next generation of silversmiths through its mentoring scheme. Upon joining, new graduate members are offered a mentor as their first point of contact and are actively encouraged to seek new skills by consulting with other members on either a one-to-one workshop basis or via telephone or email contact.

EXHIBITORS (52):

Established members:
Abigail Brown, Clive Burr, Stuart Cairns, Stella Campion, Julie Chamberlain, Angela Cork, Rebecca de Quin, Howard Fenn, Richard Fox, Wally Gilbert, Karina Gill, Rajesh Gogna, Kevin Grey, Charles Hall, Miriam Hanid, Jacqueline Harold, Rauni Higson, Kathryn Hinton, Esther Lord, Olivia Lowe, Caroline Lytton, Helen Marriott, Shona Marsh, Alistair McCallum, Roger Millar, Cara Murphy, Peter Musson, Brett Payne, Don Porritt, Martyn Pugh, Alex Ramsay, Pamela Rawnsley, Jacqueline  Scholes, Mary Ann Simmons, Lucian Taylor, Stefan Tooke, Keith Tyssen, Frances Julie Whitelaw, Brian Williamson.

Graduate members:
Victoria Coleman, Jemma Daniels, James Dougall, Laura Golborne, Shaun Grace, Rebecca Hill, Phil Jordan, Martin Keane, Samantha Moore, Louise Mary, Ben Ryan, Eve Claire Taylor, Hazel Thorn.

Download news release here (pdf)

by Julie Chamberlain

Silver objects are appreciated for the ‘making’ time and their material costs, but the developmental work is less understood. Mindful of Silver gives value to the thought that lies behind a finished piece, what takes place between the initial thought or concept and the stage at which all decisions have been made.

This multifaceted journey uses experiential knowledge, tacit understanding and intuition, all of which are difficult to quantify or document. Evidence of these processes, rarely seen by the viewer of the final object, is exhibited here alongside the finished work to increase awareness and appreciation.

Using the notion of vessel as a shared starting point each maker was asked to keep a ‘metaphorical box’ into which they put anything and everything that contributed to the development of their piece. An honest recording of the process from the very beginning was required and makers asked to resist the understandable urge to be selective, fill the ‘box’ retrospectively or enhance drawings or models.

Mindful of Silver allows a rare insight into the thought processes of a group of makers who represent a wide spectrum of current contemporary silver practice embodying differing philosophies and approaches to the subject. From those who apply design aesthetics to objects of utility to others whose work offers provocative stimulation. The diversity of finished pieces may inspire, challenge or even annoy, but each visitor will find something to engage with and experience a new respect for the imaginative and skilful understanding each practitioner has for his or her subject and material.

Twenty members managed to clear their diaries to attend an away day in April in the picturesque area of Ironbridge: Julie Chamberlain, Rebecca de Quin, Mary Ann Simmons, James Dougall, Brian Williamson, Anton Pruden, Lucian Taylor, Martin Keane, Howard Fenn, Jacqui Sholes, Olivia Lowe, Clare Ransome, Rauni Higson, Rajesh Gogna, Kirsty Eaglesfield, Phil Jordan, Katherine Hinton, Keith Tyssen, Clive Burr and Julie Whitelaw, who offered to write up the event, all took part in some interesting discussions, wonderful meals and a bit of competitive gaming…

The weekend at Ironbridge was organised by Jules back in the autumn of last year so it was great to see that almost all who had booked were still able to make it. The purpose of the meeting was to pick up on ideas that had come up at a previous away day 4 years ago and to pursue some ideas from the last AGM that Jules thought would be worth discussing. The plan was to keep things informal while attempting to come to some sort of agreement on issues or ideas which were: achievable, relevant, and time-bound. In other words, projects or commitments that could be done sooner rather than later.

Discussions in the Youth Hostel Meeting Room

Anton got the discussion started with our greatest concern: the rapid increase in the price of silver. He suggested that we could try to get a deal to hold the price of silver for a certain amount of time by having an agreement with a supplier to pay half up front for a designated amount of silver. His suggestion of a firm in India he has contact with was discussed but in the end we agreed that we preferred to support a British supplier like Argex, who are already the business of choice for most silversmiths.

In the past there was a preferential rate at Argex for ABDS members and it was felt that this would be worth re-negotiating. Clive knows all the suppliers quite well and has volunteered to pursue this on our behalf. If anyone can’t wait for that, Brian suggested the best price for silver is to purchase by the ingot with no manufacturing charges but a lot of hammering!

View of a pottery bottle kiln across from the Youth Hostel

Pickle tank envy was an unexpected topic and it would appear that James is our resident expert. He had to make one big enough to hold a mace he was repairing. If anyone has tips on making your own humongous tank and heating it then contact James, as he has undertaken the task of writing about this burning issue.

Relaxing in the sunshine

There is a possibility that Contemporary British Silversmiths could have its own dedicated tent at Art in Action in 2012. Phil Jordan volunteered to lead a group to research this and work out the logistics for an interactive area, a display of completed work and the creation of a video. We all got excited by the idea of creating a sound recording / composition of workshop noises to use as an accompaniment.

On a smaller scale Brian suggested, after a long and arduous cleaning session of ‘SIDE x SIDE’ exhibits, that it might be nice to do an ‘easy to transport’ exhibition to showcase small items. The project brief would be constrained by either weight or dimension such as a mustard pot and spoon, caddy spoon or tea strainer. Rajesh picked up on this theme suggesting that smaller bids for funding tend to be successful and that a bid in one area, such as the starting point of a touring show, could then be replicated for applications in other areas to support the continuation of the project.

Spectacular view of Ironbridge

The Youth Hostel was a superb venue for a meeting with plenty of space, picturesque surroundings and set in a really interesting area: the birthplace of the industrial revolution. Having the space and free agenda proved to be a wonderful way to discuss the future of the Contemporary British Silversmiths over a weekend. The weather was gorgeous and we could socialise in a convivial setting with a little ultra competitive table football or pool thrown in for good measure.

There were charming local pubs within easy walking distance, the food was better than expected and Phil generously organised a regular supply of tea during the day. We all walked away feeling refreshed and each member agreed a task that suited them. Altogether it was a fun and useful away day.

Group Photo of Away Day, April 2011

On 21^st September 2010 the V&A threw open the doors of the Sackler Centre art room to the public, to view silversmiths in action. The drop-in event, entitled ‘Whizz, Bang!’ was one of the many events hosted by the V&A for the London Design Festival.

Contemporary British Silversmiths chairman Mary Ann Simmons and Christopher English, director of the Silver Trust (pictured) worked in Collaboration with the V&A to install a collection of silver work representing both organisations in showcases in the Sackler Centre. The demonstration day was conceived as a complementary event and was subsequently organised and run by Contemporary British Silversmith members Pete Musson, Max Warren and Rebecca de Quinn. The aim was to expand public understanding of silversmithing practice, and in so doing, add to the experience of viewing the fabulous collections of Contemporary British Silversmiths work and that from the Silver Trust’s Downing Street Collection. Tools and equipment were generously lent by Prof. Hans Stofer from the department of Goldsmithing, Silversmithing, Metalwork and Jewellery at the Royal College of Art, a stone’s throw away from the V&A, and transported by us from the forth floor of the college to Brompton Road. This was no mean feat as the kit included three tree trunks, bench tops, gas bottles and several extremely heavy stakes. Bullion was supplied by Argex, who then took it back as scrap after the event.

We set up three stations in the art room to demonstrate raising a bowl, forging a spoon and scoring a box, and ran a loop of the images from the Contemporary British Silversmiths website on a large plasma screen. During the day we received approximately one hundred and fifty visitors, many of whom had a go at raising, forging or both. The interest was terrific and we were able to make the whole experience really meaningful for our audience by referring to the pieces on display in relation to the practical process on view. It was great to hear positive comments from folks who had struck some hammer blows and were then shown a raised or forged piece in the showcases.

We all agreed it was a really worthwhile event and that Contemporary British Silversmiths could consider doing this again perhaps at another venue to coincide with a display of work. It really does bring the silver alive for people when they see how it’s done and in terms of marketing, anything that showcases skill and craftsmanship is a very good thing.

‘A determined soul will do more with a rusty monkey wrench than a loafer will accomplish with all the tools in a machine shop’
Robert Hughes

Rauni Higson

My favourite tool….. so difficult to choose one, as I have a terrible tool fetish. It has to be a hammer. I call it my ‘Toolbox’ hammer, as it’s 3 hammers in one really. I adapted it from a car boot sale find. I love rescuing rusty old hammers from dereliction; they are almost always good quality steel (drop forged, not cast), it’s environmentally friendly, and not to mention, so many old forms just aren’t made anymore. I think this one was £2, and had no handle. I have ground the back of the round face away, so it can be used for both raising and planishing, just by altering the angle. This saves time by not swapping hammers, as well as weight if I’m working away from the workshop. It can also get into some awkward places for planishing right up close to edges. The narrow end is a creasing hammer, but a bit curved. It can be used for fold-forming sheet and forging out a bar. That’s value

Charles Hall

This is a tool of my own making. It weighs somewhere in the region of 100kgs. It is steel 360x360x160mm with 16 semi-circular bowls ranging from 40-170mm diameter. I had the bowls turned in wood, fitted together and cast on our local industrial estate. I do a lot of hand raising and this tool gives no end of assistance. Sinking of course but also effectively swinging the edge in during the raising process which can help to avoid any splitting. It is a great support when thickening edges. And much more besides.
I have always made tools to do the job. At college you have the privilege to have tools ready made for almost any circumstance. Outside you have what you have and some will design within their own tool capability or have to out-source.  I recommend making your own tools and taking pleasure from the unique results achieved.
No tool is a favourite. One tool helps another to reach the desired result but some just make the process a joy.

Clare Ransom

I reckon I have several favourite tools, but the most useful is Polymorph. It’s a reusable plastic which can be softened in hot water and moulded like plasticine, but sets again like nylon at room temperature. As you can see in my picture, I use it for file handles, formers, hammer heads etc. It’s around £15.00 for a 500g tub, but you can keep reusing it. It’s also biodegradable, so green as well!

Julie Whitelaw

After some consideration of various hammers and stakes I have decided my favourite tool is the much coveted tree stump which sits next to the work bench. Ok its not quite a tool as such but is an integral part of my workshop equipment. When I first set up in a shared workshop with a jeweller we each brought along our own benches and various other tools. The stump was all that remained from a tree, cut down sometime before, that had been left by the back door and was begging to be installed in our workshop. In the spring of that year a large number of insects emerged from its interior and we had to get the infested tree stump treated. Since then it is at the heart of the workshop and has been with us for three workshop moves and twenty five years of well absorbed hammering.

Keith Tyson

My favourite tool ….. my soldering torch together with hearth and turntable.
It is essential for my way of making things and wonderfully combines those fundamental elements of fire, water, air and material together with the physical drama of noise, action, judgement and dexterity.  During the ‘soldering’ process, everything is at stake at that moment of chance when solder is melting …. It may go well, unbelievably well, even fantastic, but sometimes the result will be a disappointment, a ‘disaster’ even and one may sink inevitably into a despairing frame of mind.
This is something of experience that all Silversmiths understand, a process when one is truly ‘living in the moment’.

Mary Ann Simmons

My favourite tool… what a dilemma. I have many but on this occasion I’ll have to go with ‘new and innovative’ and my scoring tool is exactly that.

I began, like we all do, making one from the end of an old file. I then progressed to using steel and loved the process of shaping, tempering and hardening before finally choosing a handle. I used them for ages until I got fussy.

When I was Working in Howard and Alfred’s workshop I was introduced to a really convenient scoring tool. It was designed so that the bit, which had 2 cutting angles, could be removed and flipped round and it could also be housed in its nylon case to keep it sharp.

I used it for ages until another change was made to the design: a faceted handle and a ‘pistol’ style housing for the bits. This innovation means that it’s easy to see when the scoring tool is off centre or skewed, so it’s simple to correct.

When I was teaching at West Dean one year I met the furniture making tutor who took our entire class on a whistle-stop tour of how to sharpen tools. So now with a better, newer scoring tool, a variety of angled bits and the ability to sharpen them I have great satisfaction in seeing the metal curl smoothly under the point, and I rarely slip!

Made of solid gold and found with garnets the cross may have been an altar or processional piece and it is thought that it was crushed in order to fit it into the hoard.

To create the piece Shona visited the Birmingham Museum and Art Gallery to document and study the cross with the CAD team from the Jewellery Industry Innovation Centre who donated their time to the project. Segments were then constructed using CAD, and cast in silver  along with the 5 settings for the garnets. The main frame of the cross was cut out of silver kindly donated by Cookson Precious Metals and the segments were then soldered together, gold plated and set with garnets. It was fitted into a hand made box created by local craftsman Chris Croton of Britain Clockcase Ltd.

Two more replicas will also be produced; one for the Birmingham Museum and Art Gallery the other for the Stoke Museum where it will be displayed with the hoard cross. In its crushed condition, the original cross sitting alongside the replica will give a unique insight into how it would have originally looked.

On the 17^th September Shona presented the cross to Councillor Alan Rudge, cabinet member for equalities and human resources and Birmingham lead for the Papal visit. Councillor Rudge said: “This is a great example of Birmingham businesses working together and supporting the city to produce a unique gift that is ‘Made in Birmingham’. When it goes to the Vatican with His Holiness it will undoubtedly be a reminder of this historic event in our great city. The production of the cross will also have a lasting legacy as we will have designs and skills to produce more modest versions to go on display in the future with the Staffordshire Hoard in Birmingham and Stoke.”

The cross was presented to the Pope by Councillor Rudge at the Beatification Mass of John Henry Newman on the 19^th September 2010.

SIDE x SIDE: EDGE > EDGE at the Royal Cornwall Museum – 18 September – 6 November 2010

Our exciting, groundbreaking exhibition of silverware is to be staged at the Royal Cornwall Museum in Truro – its first UK venue.

“We feel extremely privileged to be providing the first UK venue for SIDE x SIDE: EDGE > EDGE,” said Hilary Bracegirdle, Director of the Royal Cornwall Museum. “It is an exceptional collection of modern silverware that attracted large numbers of visitors when it was shown in Finland. We expect similar levels of interest here.”

Selection of work from SIDE X SIDE: EDGE > EDGE

The exhibition is the result of our group’s first ever collaboration with the Finnish Silversmiths Association and students and staff at the Lahti University of Applied Sciences Institute of Design in Finland. Seventy five pieces of new work are featured – all made in response to the themed title.

SIDE x SIDE: EDGE > EDGE was first shown in Finland in the summer of 2009. This is your opportunity to see how 75 different makers responded to the theme each in their own unique way.

A full gallery of the work and further details can be viewed here.

The exhibition was generously sponsored by the Finnish silver manufacturer Kultakeskus Oy, who supplied 1kg of silver to each participant, and by Goldsmiths’ Company.

A one day Silversmithing Workshop run by Rebecca de Quin, Peter Musson & Max Warren

It will demonstrate how a silversmith hammers and forges a sheet or bar of silver into a familiar object.

Come and see makers at work – watch the transformation from raw material to object and, if you’re feeling brave, have a go yourself!

This event ties in with the exhibition of  selected works by Contemporary British Silversmiths and pieces from the Silver Trust collection and is part of the London Design Festival.

Where: Victoria and Albert Museum, Sackler Centre, Exhibition Road entrance.

When: Tuesday 21 September 2010 from 10:00 – 16:00

A rare opportunity to see silver pieces from the Silver Trust’s Downing Street collection regularly used at state functions alongside selected works by members of Contemporary British Silversmiths. This exhibition showcases some of the finest pieces in contemporary silver which capture the artistry, variety and skill of current silversmithing practice and is being run as part of the London Design Festival.

Where: Victoria and Albert Museum Sackler Centre, Exhibition Road entrance.

When: 19-26 September 2010, 10 – 17.45 daily.

Contemporary British Silversmiths would like to thank Jane Carr (who recently curated “Handmade: A British Craft Exhibition” at Fortnum and Mason) for helping us select pieces for the show.

Martin Keane was our Design in Silver Award 2009 recipient and proved himself more than worthy of the judge’s choice. He is moving from strength to strength showing a dedication that is sometimes breathtaking in its speed. He has had a busy year at Bishopsland where he is about to complete his study. He opted to use his award to make a piece of work and in spite of two very hectic schedules Martin and Howard Fenn managed to find time to be student and instructor for a work experience placement that Martin says has dramatically enhanced his skills.

Firstly, I would like to express how honoured and grateful I was to receive the ‘Design in Silver Award, 2009’ from Contemporary British Silversmiths. As someone starting out in the industry it is always a great encouragement to be given such an important commendation and helping hand. Through the generosity of Charmian Adams in sponsoring the award I have really progressed in my skill and knowledge levels.

To give a bit of background about myself; I graduated with an Applied Arts BA from Middlesex University in 2009. Fortunately for me my senior tutor on the course was Julie Chamberlain who was instrumental in guiding and mentoring me to developing a love for working in metal and steering me towards starting a career as a silversmith. From there both Julie and Roger Taylor suggested I apply to go to Bishopsland which has been an incredibly positive and rewarding experience and has proved to be the perfect bridge between leaving university and setting up on my own.

My work up to now mainly revolved around the technique of raising, a skill I find satisfying and rewarding in its execution and possibilities of form. However, I am fascinated by the whole range of techniques the silversmith must master. Some of the most important of these are the skills to be learnt in soldering and fabrication and I decided to use the award to learn more in this field.

The project I very much wanted to realise was a wine decanter. It involved compound curves and other challenging aspects in its construction and I felt it would be the perfect vehicle for learning how to fabricate a complex piece. I had the great privilege of being under the tutelage of Howard Fenn at his workshop in Camberwell which he shares with Steve Wager.

Both Howard and Steve were very welcoming and good humoured and showed great generosity in their advice and help during my time with them. Howard was a fantastic teacher allowing me to try and work out things for myself and then stepping in when it inevitably all got too much for me and frustration levels reached dangerous limits. He showed me what I think is a silversmith’s greatest attribute: patience! In this way I was able to understand and learn step by step the intricacies of seeing my design to completion in spite of all its tricky complications.

In making the wine decanter I learned:

• Anticlastic raising in the forming of a groove on the neck of a curved spout

• Planishing a component piece to very slightly bow the metal so that it did not warp when heated for soldering

• Subtle manipulation of the metal when fitting component pieces with compound curves together for the small tolerances needed for soldering

• Stitching and wiring. I had read books on the subject but Howard showed me in detail all the pitfalls and tricks essential in getting a successful result. For instance proper application of the wires and situation of tightening loops but not tightening too much at the risk of deforming the metal, and the use of pins to hold the piece absolutely secure….preparation being the key!

• Soldering, setting up a piece properly supported on the hearth with everything clean properly boraxed and tools at the ready. How careful and sensitive flame control was needed keeping attention on the piece as a whole whilst being focused on the detail of applying the solder at the correct moment and temperature.

The amount of knowledge Howard passed on to me was invaluable and I am sure will save me years of mistakes and heartache in the future. He was absolutely thorough and meticulous in his approach leaving no stone unturned in the safeguard of getting a good result. Experience like this cannot be learnt from books. Instead from seeing a true craftsman I feel I can go forward from here and tackle projects like this on my own with confidence. The efficient methods and professionalism I saw with Howard is something that has, I hope, also rubbed off onto me.

Another aspect of spending time with Howard and Steve was the overall education they gave me on all aspects of the industry. Lunch times were always a highlight as I used to be a chef and enjoyed giving them something back and cooking for them, having a Japanese mother I made them a sushi lunch which proved an opportunity for me to turn the tables and educate them on the finer etiquette of Japanese dining!

The willingness to help on Howard’s part even went as far as allowing me to come several more times to the workshop than had originally been agreed so that I could make as good a job as possible on my piece. It seems indicative of how people in this industry are; only too happy to help each other and someone starting out. Contemporary British Silversmiths and all its members have been absolutely great in this respect. Richard Fox and his team gave me a part-time summer job between my second and third year at university despite my having little to no experience. It makes me feel I have chosen well a career in such a fascinating, rewarding profession.

Thank you very much.

Martin Keane

A word from Mary Ann Simmons, Chairman:

At this year’s AGM Martin told us that the piece you’ve seen in this article was sold during British Silver Week. Last year, after seeing all the work at New Designers 2009 the judges felt that Martin was the obvious choice and he’s more than justified their decision. He’s going from strength to strength showing a passion for the subject and an obvious enthusiasm we all share. We wish him all the best in the future and look forward to seeing his new work.