The Goldsmiths’ Craft & Design Council Awards 2013 Chairman’s Welcome It is with very great pleasure that I write an introductory note to the 2013 The task of judging the competition is a difficult and challenging one. The Goldsmiths’ Craftsmanship & Design Awards brochure. This year has seen Council has always considered that it is important that work submitted a number of changes to both the Council and the annual competition. I am should be judged by a peer group of highly respected craftspeople and particularly pleased to welcome a number of new Council members who designers. By doing so the Council’s intention is not only to show respect have joined us in 2012, bringing with them a host of new ideas and skills. for the work submitted but also to ensure that those awards given are worthy of great respect. I would therefore like to extend the thanks and This year, we have for the first time, transferred the business of accepting appreciation of the Council to all those who have given their time and submissions from Goldsmiths’ Hall to the new Goldsmiths’ Centre. I expertise freely to the task of judging the submissions. This year we have would like to express my thanks to the Trustees and the team of this invited a number of new judges to lend their expertise to the task. The wonderful new Charity, for their assistance in making matters run extraordinary wealth of experience and knowledge represented by our smoothly and I hope that it has also provided an opportunity for many judges is testimony not only to their own personal stature and reputation, craftsmen and designers to visit this resource for the industry, perhaps but also to the supportive nature of our craft. for the first time. As we are all too aware, economic conditions are tough at present and the The aims and objectives of the Council, “to encourage, stimulate and work of the Council would not be possible without the generous support, 2 promote the pursuit for excellence of craftsmanship and design” – are both financial and consultative, of the numerous individuals, companies 3 as valid and relevant now as they were when they were first written in and organisations that collectively make up the Council’s Patrons, 1908. Although there have been major changes in the industry over the Sponsors and Contributors. We are hugely appreciative and grateful for last century, it is still the case that the skill and creativity of individuals their support in these challenging times. are fundamental to the success of our craft. Therefore, at the heart of the Council’s annual competition, is the opportunity for individual craftsmen Finally, I would like to thank and acknowledge all the hard work and time and designers to submit a piece, which they feel represents an exemplar of that the individual members of the Council contribute to the undertaking of their work. its activities. Members of the Council are drawn from across the industry and give their time and expertise freely; they are supported and enabled The competition as a whole and the subsequent exhibition of entrants’ by the very considerable tasks undertaken by the Council’s Consultant work serves as a reflection of the industry’s skill base, both as an annual Secretary, Assistant Secretary and Treasurer. snapshot, and as an indicator for the future. To those who have embraced the challenge, I would like to extend the thanks and appreciation of the Brett Payne FIPG full Council for all your hard work and endeavour to make this happen Chairman each year. Royal Patron Patrons HRH Princess Michael of Kent & Sponsors Since time immemorial, women – and often men – have liked to adorn Royal Patron Sponsors themselves with jewellery. In ancient times jewellery was made from dried HRH Princess Michael of Kent ABT Design (Castings) Ltd stones of fruit and vegetables, stones found in river beds or seams of semi- Berganza Ltd precious material dug out of their mother stone. Gold was also found in river Founding Patron Brinks beds and in some early societies, it was in plentiful supply. In Egypt there The Goldsmiths’ Arts Trust Fund Hester Clarke Fine Jewellers was so much gold that people preferred silver and medieval merchants made De Vroomen huge profits exchanging silver for gold pound for pound. When gold was Principal Patron Domino first found, early civilisations quickly realised its qualities – it was soft and Cartier Ltd Garrard & Co Ltd malleable; it did not tarnish; it could be used in medicines. Gold and silver Gemological Institute of America (GIA) could be used not only for making jewellery but also vessels for drinking and Special Patrons Hamilton & Inches plates for eating or display. The worth of gold and silver was established early The Goldsmiths’ Centre Holts Academy of Jewellery and throughout history, gold has been desired, given, stolen and fought over. International Jewellery London (IJL) The Institute of Professional Goldsmiths (IPG) The Worshipful Company of Gold and Silver Grant Macdonald (Silversmiths) Ltd Since early Christian times in Europe, and much earlier in the East, pharaohs, Wyre Drawers Jewel Mechanic Ltd rulers, magnates, khans and chieftains who did not find sufficient gold in David McCarty Ltd 4 their lands would encourage alchemists to turn base metal into gold. Of Lifetime Achievement Award Metalor Technologies (UK) Ltd 5 course, none succeeded. But those communities that had a source soon began Thomas Fattorini Ltd National Association of Goldsmiths to be creative with gold and silver to adorn themselves. One only has to look Brett Payne in museums for Inca gold work, or the jewellery of the ancient Egyptians, Patrons – Special Awards HS Walsh & Sons Ltd Phoenicians, Greeks, Romans. The work produced during Medieval times, the Argex Ltd Stephen Webster Ltd Renaissance, the glorious jewellery of the Ottoman courts, the Persians – the Catherine Best West 1 Castings list is endless and continues into modern times when the ingenuity of artists Cookson Precious Metals Weston Beamor is as alive and innovative as ever. The Goldsmiths’ Company Assay Office The Gemmological Association of Great Britain Contributors Today it is mainly women who wear jewellery, especially set in gold, but The Gil Packard Bursary Birmingham Assay Office men know what pleasure it gives their ladies, even if they do not wear much Harriet Kelsall Bespoke Jewellery Terry Davidson themselves. Happily, the beauty of gold and silver continues to entrance and Marcia Lanyon Ltd Jeremy France Jewellers Ltd the creative mind of jewellers continues to produce glorious pieces for the The Platinum Guild International Hector Miller and Frances Loyen pleasure of many. The Podolsky Award Padgham & Putland Ltd QVC Martyn Pugh The Goldsmiths’ Craft and Design Council has, for over 100 years, supported Saunders & Shepherd Co Ltd the craft of the jewellers and goldsmiths responsible for producing these Patrons Paul Spurgeon Design Ltd works of art. Its remit, ‘to encourage, stimulate and promote the pursuit The Goldsmiths’ Company Sutton Tools of excellence in craftsmanship and design among all those in the United Boodles Tinsley & Company Ltd Kingdom who work within silversmithing, goldsmithing, jewellery and the Elizabeth Gage Tyger Glyn Gallery allied crafts’, is as relevant today as it ever has been. Hean Studio Ltd. Christopher Wharton Goldsmith Ltd TH March & Co Ltd RH Wilkins (Engravers) Ltd George Pragnell Ltd E Wolfe & Co Wentworths The Goldsmiths’ Council Members Craft & Design Council 2013 The Goldsmiths’ Craft and Design Council was founded in 1908 and today Ambassador Council Members Consultant Secretary still carries forward its original remit to encourage, stimulate and promote Shaun Leane Gaynor Andrews Brian Hill the pursuit of excellence in craftsmanship and design amongst all those in Jennifer Bloy FIPG the United Kingdom engaged in silversmithing, goldsmithing, jewellery Ambassador Frank Cooper Assistant Secretary and the allied crafts. Stephen Webster MBE Mark Gartrell FIPG Barry Moss Graham Hamilton The Council is formed as a Community Interest Company (CIC), run as a Chairman Gordon Hamme Hon Treasurer social not for profit enterprise, where all funds are used in the promotion of Brett Payne FIPG Robin Kyte FIPG Tim Roberts craftsmanship within the jewellery industry. The Council is governed by a Tony Laws committee of 21 trade-based individuals from which a Chairman and Vice Vice Chairman Steve Munro FIPG Chairman are drawn. Council members are recruited through a process of Mark Huggins Patrick Needs nomination and election through a democratic process, and give their time Karin Paynter freely and generously in order to maintain the Council’s work. Andrew Putland Rebecca van Rooijen The central aim of the Goldsmiths’ Craft and Design Council is to promote Anne-Marie Reeves 6 excellence in the craft through its prestigious annual awards. The Council’s Jos Skeates 7 members, elected volunteers, give their time in organising and managing John Taylor FIPG the annual competition, awards ceremony and subsequent exhibition held Peter Taylor at Goldsmiths’ Hall. Sam Willoughby The Goldsmiths’ Craftsmanship List of Judges & Design Competition 2013 The Goldsmiths’ Craftsmanship & Design Awards are the only peer The success of the Goldsmiths’ Craftsmanship & Design Competition is reviewed technical awards in the United Kingdom. Known affectionately only made possible by the generous support of our expert judges drawn as the ‘Oscars of the Industry’, the awards embrace every aspect of craft from across the industry. and design activity currently being practised in the UK industry. Diverse and wide ranging, the superlative skill set of the British silversmithing, In making their decisions, judges are not asked to decide which of the jewellery and allied trades is showcased annually as part of the Council’s entries before them is ‘the best’ in that section. The aims and objectives unique national competition.