Adrian Gerald Sallis Benney was born during 1930 inHull. Both his parents were artistic, his mother beingaccomplished at silversmithing.1 Although alwaysknown as Gerald, his maker’s mark was ‘AGB’ (onaccount of his initials), which can be confusing for newcollectors. From 1946-8, he trained at Brighton Collegeof Art, where his father, Sallis, was Principal. TheRoman Catholic ecclesiastical Arts and Craftssilversmith Dunstan Pruden taught him. Dunstan wasa member of The Guild of St Joseph and St Dominicnear Ditchling on the South Downs. The Guild had beenfounded by Eric Gill and was a semi-religiouscommunity of craftsmen and women. There was asteady flow of commissions through the workshop, andfrom about 1946 through to 1949 Dunstan gave Geraldpractical work experience at the Guild.2 Consequentlythe young Benney had the opportunity to gain a realunderstanding of religious objects under ideal

conditions as well as a thorough grounding in therunning of a silver workshop.3

After military service from 1948 to 1950, Gerald studied atthe Royal College of Art from 1951-4 under ProfessorRobert Goodden. In 1952, a four-piece tea service and traysecured him the Prince of Wales Scholarship. This has thesmall outward sloping legs that featured on so many itemsof contemporary design exhibited at the Festival of Britainthe previous year. The service was hand-raised anddemonstrates that although its maker had only beenworking at the bench just over five years, he was already amaster craftsman. He graduated from the RCA with anupper second degree and was disappointed that he did notreceive a first. However, in a letter to his father SallisBenney, Goodden revealed, ‘He did remarkably well here,and always looked certain to do so. In fact he really dideven better than was made to appear by his placing in theFinal Examination, in which he missed the highest classby a hair’s breadth.’ 4 During his last term at the RCABenney went to Ide’s, a plating specialist at Suffolk House,Whitfield Place off London’s Tottenham Court Road, to

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GERALD BENNEY

“My philosophy as such is to project and involve my own personal design theme without too

much reference to others in the field.” Gerald Benney

Above, left: Mark of Adrian Gerald BenneyNote that the initials are always within three conjoined circles.

Opposite: Candleabra for Lord McAlpineCourtesy The Pearson Silver Collection, photographer Bill BurnettIn the mid-1960s, Gerald designed a series of candelabra withforged tapering spikes that reflected the lights of the candles. Thispair is the first of the series and was made for the late Lord(Alistair) McAlpine. His Lord ship was so pleased with the pairthat he ordered another, but in silver as opposed to silver gilt, forpresentation to the Victoria and Albert Museum. When Geraldsaw these were to be shown at an exhi bition in a KensingtonGallery in 2000, forgetting that he had made two pairs, he rangthe V&A and asked them to check their vaults. Height 49.5cm.The pair weigh over 6.5 kilograms. London 1965.

From the early 1960s, Gerald Benney’s style is instantly recognisable with itselegant lines and rich surface texture. Add his use of gold and rich enamels andit is indisputably representative of his time, but which nevertheless has atimeless appeal. Although renowned for his domestic silver, Gerald Benney wasalso an outstanding box maker. He started work at the bench in 1949 and retiredin 1999. His son Simon continues the business. Gerald Benney died in 2008.

1. In 1954 mother and son both exhibited silver at Steyning Grammar School’sArt Society’s Contemporary Show.2. It was Sallis Benney who asked Dunstan Pruden to give his son workexperience. In his unpublished autobiography So Doth the Smith, Pruden statesthat ‘silver smithing could not be learned in an art school, however much onetried to reproduce workshop conditions. The College was lucky enough to have inSallis Benney, a Principal who was sufficiently enlightened to recognise this. Heasked me if his son Gerald, who was in my department, could work in myworkshop one day a week. A precedent was thus established and Gerald wasfollowed by other students.’ This and other quotes from the book are by kindpermission of Anton Pruden, Dunstan Pruden’s grandson.3. Dunstan wrote in his autobiography (see footnote above): ‘I often look back withshame on the way in which I subordinated everything in life to my work. Oncewhen Gerald was helping me, I finished an urgent job just before the last post wasdue to be collected. I said to Gerald, “Quick, jump on your motor-bike, and we mightjust be able to get to the Post Office before it closes.” With me on the pillion we toreoff at dangerous speed, and going round a corner Gerald, the bike, the parcel and Iwere all flung in different directions. I picked myself up, found that the parcelseemed to be intact and the bike in going order, and turned my attention to poorGerald who was lying half-conscious in the road. “Come along”, I cried urgently, “wecan still make it!” and we did, but I was never allowed to forget the episode.’4. A handwritten PS reads, ‘Will you please burn this letter when you have read it?I am not supposed to disclose details that throw any light on the classes awardedin the Final Exams. RYG’. The letter is safely preserved in the Benney Archive.

Adrian Gerald Sallis Benney was born during 1930 inHull. Both his parents were artistic, his mother beingaccomplished at silversmithing.1 Although alwaysknown as Gerald, his maker’s mark was ‘AGB’ (onaccount of his initials), which can be confusing for newcollectors. From 1946-8, he trained at Brighton Collegeof Art, where his father, Sallis, was Principal. TheRoman Catholic ecclesiastical Arts and Craftssilversmith Dunstan Pruden taught him. Dunstan wasa member of The Guild of St Joseph and St Dominicnear Ditchling on the South Downs. The Guild had beenfounded by Eric Gill and was a semi-religiouscommunity of craftsmen and women. There was asteady flow of commissions through the workshop, andfrom about 1946 through to 1949 Dunstan gave Geraldpractical work experience at the Guild.2 Consequentlythe young Benney had the opportunity to gain a realunderstanding of religious objects under ideal

conditions as well as a thorough grounding in therunning of a silver workshop.3

After military service from 1948 to 1950, Gerald studied atthe Royal College of Art from 1951-4 under ProfessorRobert Goodden. In 1952, a four-piece tea service and traysecured him the Prince of Wales Scholarship. This has thesmall outward sloping legs that featured on so many itemsof contemporary design exhibited at the Festival of Britainthe previous year. The service was hand-raised anddemonstrates that although its maker had only beenworking at the bench just over five years, he was already amaster craftsman. He graduated from the RCA with anupper second degree and was disappointed that he did notreceive a first. However, in a letter to his father SallisBenney, Goodden revealed, ‘He did remarkably well here,and always looked certain to do so. In fact he really dideven better than was made to appear by his placing in theFinal Examination, in which he missed the highest classby a hair’s breadth.’ 4 During his last term at the RCABenney went to Ide’s, a plating specialist at Suffolk House,Whitfield Place off London’s Tottenham Court Road, to

86

GERALD BENNEY

“My philosophy as such is to project and involve my own personal design theme without too

much reference to others in the field.” Gerald Benney

Above, left: Mark of Adrian Gerald BenneyNote that the initials are always within three conjoined circles.

Opposite: Candleabra for Lord McAlpineCourtesy The Pearson Silver Collection, photographer Bill BurnettIn the mid-1960s, Gerald designed a series of candelabra withforged tapering spikes that reflected the lights of the candles. Thispair is the first of the series and was made for the late Lord(Alistair) McAlpine. His Lord ship was so pleased with the pairthat he ordered another, but in silver as opposed to silver gilt, forpresentation to the Victoria and Albert Museum. When Geraldsaw these were to be shown at an exhi bition in a KensingtonGallery in 2000, forgetting that he had made two pairs, he rangthe V&A and asked them to check their vaults. Height 49.5cm.The pair weigh over 6.5 kilograms. London 1965.

From the early 1960s, Gerald Benney’s style is instantly recognisable with itselegant lines and rich surface texture. Add his use of gold and rich enamels andit is indisputably representative of his time, but which nevertheless has atimeless appeal. Although renowned for his domestic silver, Gerald Benney wasalso an outstanding box maker. He started work at the bench in 1949 and retiredin 1999. His son Simon continues the business. Gerald Benney died in 2008.

1. In 1954 mother and son both exhibited silver at Steyning Grammar School’sArt Society’s Contemporary Show.2. It was Sallis Benney who asked Dunstan Pruden to give his son workexperience. In his unpublished autobiography So Doth the Smith, Pruden statesthat ‘silver smithing could not be learned in an art school, however much onetried to reproduce workshop conditions. The College was lucky enough to have inSallis Benney, a Principal who was sufficiently enlightened to recognise this. Heasked me if his son Gerald, who was in my department, could work in myworkshop one day a week. A precedent was thus established and Gerald wasfollowed by other students.’ This and other quotes from the book are by kindpermission of Anton Pruden, Dunstan Pruden’s grandson.3. Dunstan wrote in his autobiography (see footnote above): ‘I often look back withshame on the way in which I subordinated everything in life to my work. Oncewhen Gerald was helping me, I finished an urgent job just before the last post wasdue to be collected. I said to Gerald, “Quick, jump on your motor-bike, and we mightjust be able to get to the Post Office before it closes.” With me on the pillion we toreoff at dangerous speed, and going round a corner Gerald, the bike, the parcel and Iwere all flung in different directions. I picked myself up, found that the parcelseemed to be intact and the bike in going order, and turned my attention to poorGerald who was lying half-conscious in the road. “Come along”, I cried urgently, “wecan still make it!” and we did, but I was never allowed to forget the episode.’4. A handwritten PS reads, ‘Will you please burn this letter when you have read it?I am not supposed to disclose details that throw any light on the classes awardedin the Final Exams. RYG’. The letter is safely preserved in the Benney Archive.

awarded to one of his craftsmen when he was elected byhis peers to the status of Master Craftsman. Its awardindicated that the craftsman, as a result of both histraining and experience, produced a superior standard ofworkmanship than was the norm. The mark wouldappear in addition to the usual hallmark (which includedStuart Devlin’s maker’s mark), but its inclusion was atthe discretion of the craftsman. Pieces bearing a Master’sMark are very rare. Stuart tells one story where acustomer was impressed with a particular piece beingdisplayed at one of his exhibitions. “I explained theconcept of the design to him and then said that it was amasterpiece and it also carried the Master’s Mark and

167

STUART DEVLIN

died six months after joining Stuart in London. In the1970s he met Brian Martin who was skilfully able totransform Stuart’s designs into three-dimensional objects.Using rosewood and filigree, the furniture is both rich andromantic. This naturally led into the world of interiordesign.32 However, throughout the 1970s he was alsodesigning coins and medals33 and when Queen Elizabeth IIestablished the Order of Australia34 in 1975, he was askedto design the full regalia. Commissions were also flowing

into the Devlin workshop ranging from trophies (such asthe Autobar Victoria Cup of 1978 which incorporates areplica of a plastic cup35) to commemorative items(including the 1973 opening of the Sydney Opera House).There were also personal commissions such as the set offive nesting boxes commissioned by HRH The Prince ofWales to present to his parents on the occasion of theirSilver Wedding Anniversary in 1972.36 At this periodStuart, having analysed the conditions under which heworked best – near absolute relaxation and near absoluteconcentration – had established a routine of escaping toMustique in the Caribbean, where the house that he builtwas designed for relaxation and work. After a week ofwindsurfing and tennis away from the pressures of work,the ideas began to flow freely.

Of course, ideas are one thing – having the craftsmenwith the skills required to translate a design in pencil onpaper to an object in precious metal is another. StuartDevlin employed the best craftsmen and gave all hisapprentices a fully rounded training that was notconfined to the area in which they wished to specialise.Additionally, they were expected to study appropriatesubjects at night school. For those completing their five-year apprenticeship, there was an added bonus. Havingbeen ‘rung out’,37 the former apprentice was presentedwith an Apprentices’ Tankard in silver designed by Stuartin the late 1960s. In 1973, he also devised the Master’sMark. This Mark, that took the form of a symbol such asa key or a hand (see Figure 1, p.168 for a listing of StuartDevlin’s Master Craftsmen and their Marks), was

166

Opposite: Centrepiece with Fluorite CrystalCourtesy The Pearson Silver Collection, photographer Bill BurnettFor a number of years from the late 1960s, Stuart speculativelymade a number of large centrepieces. The one shown here with alarge fluorite crystal at its centre, is ideal for a lunch party, andthis semi-precious stone he often incorporated in his early work.For the evening the crystal can be replaced by a candelabrum for adozen candles with a fitting which allows them to be positioned atany angle, or indeed vertically. This is hallmarked a year laterthan the base. Stuart advises that there was initially a problemwith the candelabrum fitment which explains the date letter beingdifferent from the base. The centrepiece has been gilt with theexception of the underside of the base. At some point prior to itspurchase by the Collection, the gilt base had inexplicably beenlacquered. The lacquer has now been professionally removed.Diameter 40cm. London 1968 and 1969.

Right: ‘Masterpiece’ DecanterCourtesy The Pearson Silver Collection, photographer Bill BurnettIn 1973 Stuart devised a scheme to acknowledge talent among histeam. This took the form of a mark such as a key or a hand and wasawarded to his silversmiths when they were elected by their peers tothe status of Master Craftsman. Its use was to be at the discretion ofthe craftsman to put on pieces that he considered to be‘Masterpieces’. However, the team’s standards were very high andthe marks were applied extremely sparingly. One of Devlin’s MasterCraftsman Rodney Hingston hand-raised this decanter and it bearshis mark, an ‘Eye’ on the neck of the piece. On one occasion Stuartsold a different piece at one of his exhibitions, explaining in thecatalogue that it was a Masterpiece and bore the Master Craftsman’smark, as he assumed that the craftsman would consider it to be aMasterpiece. It was purchased by a client who admired both theDevlin’s design and the high standard of craftsmanship. A few dayslater, the client telephoned Stuart to say that although delightedwith the piece, he could not find the craftsman’s special mark, onlythe Stuart Devlin hallmark. Stuart said he would ask the craftsmanwhere he had put it and ring him back. At the bench, Stuart askedthe silversmith who had made it where he had stamped his mark.The reply was, ‘I didn’t put it on because I didn’t like the design!’ Thecustomer said that he would keep the piece because he liked thestory! Height 40.6cm. London 1976.

32. Stuart had worked on the interior of his own Mayfair home and of course hisConduit Street showroom. The first commercial project was in 1979 for the entireinteriors of two penthouses at the top of the Bank Bumiputra HQ in KualaLumpur. Here he designed everything from the chandeliers to the door knobs.More recently he has been designing his own homes in various parts of Sussex,culminating in 2009 with the interior of his latest – a penthouse in Chichester.33. Up until 2010 he had designed coins for 36 countries. However, towards theend of 2009, it was announced that he had designed the four £1 coins for theUK’s capital cities series representing England (London), Northern Ireland(Belfast), Scotland (Edinburgh) and Wales (Cardiff). These were his first coins forthe UK. As Wales is a principality, he has now designed coins for 39 countries.34. Established ‘for the purpose of according recognition to Australian citizens andother persons for achievement or meritorius service’, the Order is divided into fivevisions ranging from Knight or Dame of the Order of Australia down to a Medal ofthe Order of Australia. Stuart Devlin designed the full regalia comprising: Knight’sBreast Badge, Knight’s Neck Badge, Companion’s Neck Badge, Officer’s NeckBadge, Member’s Badge and The Medal of the Order. The designs of the insignia arebased on a single ball of golden wattle, which is Australia’s national flower. Thesame year he was asked to design the Australian Bravery Awards by the AustralianGovernment. Stuart Devlin became an Officer of the Order of Australia in 1988.35. The Autobar Group is one of the largest automated vending organisations inEurope. The Victoria Cup is one of the most popular and one of the toughesthandicaps run at Ascot. It is now sponsored by Totesport.36. The largest has the Royal Arms engraved on its cover, the other four eachfeature a view of one of the Royal residences – Buckingham Palace, WindsorCastle, Sandringham House and Balmoral Castle. The smallest box contains asilver ingot engraved with a personal message from the Prince to his parents.37. A noisy traditional ceremony, where all members of the workshop clang theirtools together to signify an apprentice’s acceptance to full status.

awarded to one of his craftsmen when he was elected byhis peers to the status of Master Craftsman. Its awardindicated that the craftsman, as a result of both histraining and experience, produced a superior standard ofworkmanship than was the norm. The mark wouldappear in addition to the usual hallmark (which includedStuart Devlin’s maker’s mark), but its inclusion was atthe discretion of the craftsman. Pieces bearing a Master’sMark are very rare. Stuart tells one story where acustomer was impressed with a particular piece beingdisplayed at one of his exhibitions. “I explained theconcept of the design to him and then said that it was amasterpiece and it also carried the Master’s Mark and

167

STUART DEVLIN

died six months after joining Stuart in London. In the1970s he met Brian Martin who was skilfully able totransform Stuart’s designs into three-dimensional objects.Using rosewood and filigree, the furniture is both rich andromantic. This naturally led into the world of interiordesign.32 However, throughout the 1970s he was alsodesigning coins and medals33 and when Queen Elizabeth IIestablished the Order of Australia34 in 1975, he was askedto design the full regalia. Commissions were also flowing

into the Devlin workshop ranging from trophies (such asthe Autobar Victoria Cup of 1978 which incorporates areplica of a plastic cup35) to commemorative items(including the 1973 opening of the Sydney Opera House).There were also personal commissions such as the set offive nesting boxes commissioned by HRH The Prince ofWales to present to his parents on the occasion of theirSilver Wedding Anniversary in 1972.36 At this periodStuart, having analysed the conditions under which heworked best – near absolute relaxation and near absoluteconcentration – had established a routine of escaping toMustique in the Caribbean, where the house that he builtwas designed for relaxation and work. After a week ofwindsurfing and tennis away from the pressures of work,the ideas began to flow freely.

Of course, ideas are one thing – having the craftsmenwith the skills required to translate a design in pencil onpaper to an object in precious metal is another. StuartDevlin employed the best craftsmen and gave all hisapprentices a fully rounded training that was notconfined to the area in which they wished to specialise.Additionally, they were expected to study appropriatesubjects at night school. For those completing their five-year apprenticeship, there was an added bonus. Havingbeen ‘rung out’,37 the former apprentice was presentedwith an Apprentices’ Tankard in silver designed by Stuartin the late 1960s. In 1973, he also devised the Master’sMark. This Mark, that took the form of a symbol such asa key or a hand (see Figure 1, p.168 for a listing of StuartDevlin’s Master Craftsmen and their Marks), was

166

Opposite: Centrepiece with Fluorite CrystalCourtesy The Pearson Silver Collection, photographer Bill BurnettFor a number of years from the late 1960s, Stuart speculativelymade a number of large centrepieces. The one shown here with alarge fluorite crystal at its centre, is ideal for a lunch party, andthis semi-precious stone he often incorporated in his early work.For the evening the crystal can be replaced by a candelabrum for adozen candles with a fitting which allows them to be positioned atany angle, or indeed vertically. This is hallmarked a year laterthan the base. Stuart advises that there was initially a problemwith the candelabrum fitment which explains the date letter beingdifferent from the base. The centrepiece has been gilt with theexception of the underside of the base. At some point prior to itspurchase by the Collection, the gilt base had inexplicably beenlacquered. The lacquer has now been professionally removed.Diameter 40cm. London 1968 and 1969.

Right: ‘Masterpiece’ DecanterCourtesy The Pearson Silver Collection, photographer Bill BurnettIn 1973 Stuart devised a scheme to acknowledge talent among histeam. This took the form of a mark such as a key or a hand and wasawarded to his silversmiths when they were elected by their peers tothe status of Master Craftsman. Its use was to be at the discretion ofthe craftsman to put on pieces that he considered to be‘Masterpieces’. However, the team’s standards were very high andthe marks were applied extremely sparingly. One of Devlin’s MasterCraftsman Rodney Hingston hand-raised this decanter and it bearshis mark, an ‘Eye’ on the neck of the piece. On one occasion Stuartsold a different piece at one of his exhibitions, explaining in thecatalogue that it was a Masterpiece and bore the Master Craftsman’smark, as he assumed that the craftsman would consider it to be aMasterpiece. It was purchased by a client who admired both theDevlin’s design and the high standard of craftsmanship. A few dayslater, the client telephoned Stuart to say that although delightedwith the piece, he could not find the craftsman’s special mark, onlythe Stuart Devlin hallmark. Stuart said he would ask the craftsmanwhere he had put it and ring him back. At the bench, Stuart askedthe silversmith who had made it where he had stamped his mark.The reply was, ‘I didn’t put it on because I didn’t like the design!’ Thecustomer said that he would keep the piece because he liked thestory! Height 40.6cm. London 1976.

32. Stuart had worked on the interior of his own Mayfair home and of course hisConduit Street showroom. The first commercial project was in 1979 for the entireinteriors of two penthouses at the top of the Bank Bumiputra HQ in KualaLumpur. Here he designed everything from the chandeliers to the door knobs.More recently he has been designing his own homes in various parts of Sussex,culminating in 2009 with the interior of his latest – a penthouse in Chichester.33. Up until 2010 he had designed coins for 36 countries. However, towards theend of 2009, it was announced that he had designed the four £1 coins for theUK’s capital cities series representing England (London), Northern Ireland(Belfast), Scotland (Edinburgh) and Wales (Cardiff). These were his first coins forthe UK. As Wales is a principality, he has now designed coins for 39 countries.34. Established ‘for the purpose of according recognition to Australian citizens andother persons for achievement or meritorius service’, the Order is divided into fivevisions ranging from Knight or Dame of the Order of Australia down to a Medal ofthe Order of Australia. Stuart Devlin designed the full regalia comprising: Knight’sBreast Badge, Knight’s Neck Badge, Companion’s Neck Badge, Officer’s NeckBadge, Member’s Badge and The Medal of the Order. The designs of the insignia arebased on a single ball of golden wattle, which is Australia’s national flower. Thesame year he was asked to design the Australian Bravery Awards by the AustralianGovernment. Stuart Devlin became an Officer of the Order of Australia in 1988.35. The Autobar Group is one of the largest automated vending organisations inEurope. The Victoria Cup is one of the most popular and one of the toughesthandicaps run at Ascot. It is now sponsored by Totesport.36. The largest has the Royal Arms engraved on its cover, the other four eachfeature a view of one of the Royal residences – Buckingham Palace, WindsorCastle, Sandringham House and Balmoral Castle. The smallest box contains asilver ingot engraved with a personal message from the Prince to his parents.37. A noisy traditional ceremony, where all members of the workshop clang theirtools together to signify an apprentice’s acceptance to full status.

205

ANTHONY ELSON

The workforce subsequently grew from 15 to 30. Whilework for the Royal Palace was underway, Anthony wasintroduced to the proprietors of C Tavener and SonLimited in Hampstead. Roger, the son, was developingthe interior design part of the business and had anarray of high net worth individuals from pop stars toentrepreneurs as clients. Anthony Elson designed metalhome furnishings for the business and one of his firstcustomers was Ringo Starr, who required a fireplace inthe form of a doughnut. Roger’s brother John was acomposer and Anthony and his wife enjoyed attendinghis premiers to ‘enjoy hearing his wonderfullydistinctive music’.9

Like other silversmiths, Anthony benefited from thedemand triggered by the Queen’s Silver Jubilee in 1977.However, storm clouds were beginning to gather asAnthony explain ed. ‘By the end of the 1970s, after thethree-day week10 and finally the Winter of Discontent11

it was not surprising that the silver side of the businesswas also showing no growth. The lease of B&W’spremises was ending in 1981 and the landlord wasproposing a 600 per cent increase in rent. Jack Davishad retired and I decided to liquidate the companyrather than hope for better things to come. My mainmarket had been the retailers and they were closingdown at an alarming rate. I was able to sell the

204

ANTHONY ELSON

9. John Tavener was knighted in 2000 for his service to music. His Song forAthene was performed at Princess Diana’s funeral. He died in November 2013.10. See note 10, p.184.11. See note 11, p.184.

Above: Marine BowlCourtesy Anthony Elson, photographer Richard ValenciaAnthony calls this piece the Marine Bowl. He said, ‘It’s a newdeparture or dimension where I have designed controlledcolouring into the piece. I like colour. Enamellers have theirpalette, but it is an addition, whereas I treat the silver withchemicals to create the colour. It is a limited palette, but it is notjust blackening the silver. Spines radiate out from the bowl andthe ripples in between are coloured greeny blue. The actual bowlis a concave hemisphere and it has been carefully worked out tohave a diameter that is half of the whole. It stands on just twolegs that terminate in crystal, the third support being the bowlitself. It looks as if it is floating with no means of support. Thegreen stone is foil-backed crystal.’ Richard Price undertook thesuperb chasing and repoussé work. Diameter 31cm. London 2010.

Opposite: Candelabra for the Inner TempleCourtesy Anthony ElsonWhen the Inner Temple decided that it wanted a pair of candelabra aspart of its celebrations for the Millennium, it asked a number ofsilversmiths to submit their ideas. Anthony’s design was chosen. For useat banquets held in its imposing hall, he knew that they had to lookmajestic and be of a certain height. As Pegasus had been the emblem ofthe Inner Temple for centuries, he decided to surmount the column withthis flying horse of Greek mythology, which was lightly oxidised to giveit prominence. The candelabra’s arms were inspired by the Roman esquearches of nearby Temple Church, the headquarters of the medievalorder of the Knight Templars with its 12th-century nave in the round,as the initial church was based upon the design of the Church of theHoly Sepulchre in Jerusalem. (A rectangular chancery was added about50 years later.) But, how could the pieces be linked to a newmillennium? On the basis that Christ was born on such an occasion,though this is a matter of conjecture, Anthony researched the Star ofBethlehem that revealed the birth of the Messiah to the Biblical Magi.According to one professor of astronomy, it was probably a result of theconjunction of Jupiter and Saturn. Anthony features this astro nomicalevent below Pegasus. The pair of candelabra met with the approval ofthe Inner Temple. Indeed, so much so that they came back for more (of adifferent design) and also for candlesticks. Height 80cm. London 2000.

205

ANTHONY ELSON

The workforce subsequently grew from 15 to 30. Whilework for the Royal Palace was underway, Anthony wasintroduced to the proprietors of C Tavener and SonLimited in Hampstead. Roger, the son, was developingthe interior design part of the business and had anarray of high net worth individuals from pop stars toentrepreneurs as clients. Anthony Elson designed metalhome furnishings for the business and one of his firstcustomers was Ringo Starr, who required a fireplace inthe form of a doughnut. Roger’s brother John was acomposer and Anthony and his wife enjoyed attendinghis premiers to ‘enjoy hearing his wonderfullydistinctive music’.9

Like other silversmiths, Anthony benefited from thedemand triggered by the Queen’s Silver Jubilee in 1977.However, storm clouds were beginning to gather asAnthony explain ed. ‘By the end of the 1970s, after thethree-day week10 and finally the Winter of Discontent11

it was not surprising that the silver side of the businesswas also showing no growth. The lease of B&W’spremises was ending in 1981 and the landlord wasproposing a 600 per cent increase in rent. Jack Davishad retired and I decided to liquidate the companyrather than hope for better things to come. My mainmarket had been the retailers and they were closingdown at an alarming rate. I was able to sell the

204

ANTHONY ELSON

9. John Tavener was knighted in 2000 for his service to music. His Song forAthene was performed at Princess Diana’s funeral. He died in November 2013.10. See note 10, p.184.11. See note 11, p.184.

Above: Marine BowlCourtesy Anthony Elson, photographer Richard ValenciaAnthony calls this piece the Marine Bowl. He said, ‘It’s a newdeparture or dimension where I have designed controlledcolouring into the piece. I like colour. Enamellers have theirpalette, but it is an addition, whereas I treat the silver withchemicals to create the colour. It is a limited palette, but it is notjust blackening the silver. Spines radiate out from the bowl andthe ripples in between are coloured greeny blue. The actual bowlis a concave hemisphere and it has been carefully worked out tohave a diameter that is half of the whole. It stands on just twolegs that terminate in crystal, the third support being the bowlitself. It looks as if it is floating with no means of support. Thegreen stone is foil-backed crystal.’ Richard Price undertook thesuperb chasing and repoussé work. Diameter 31cm. London 2010.

Opposite: Candelabra for the Inner TempleCourtesy Anthony ElsonWhen the Inner Temple decided that it wanted a pair of candelabra aspart of its celebrations for the Millennium, it asked a number ofsilversmiths to submit their ideas. Anthony’s design was chosen. For useat banquets held in its imposing hall, he knew that they had to lookmajestic and be of a certain height. As Pegasus had been the emblem ofthe Inner Temple for centuries, he decided to surmount the column withthis flying horse of Greek mythology, which was lightly oxidised to giveit prominence. The candelabra’s arms were inspired by the Roman esquearches of nearby Temple Church, the headquarters of the medievalorder of the Knight Templars with its 12th-century nave in the round,as the initial church was based upon the design of the Church of theHoly Sepulchre in Jerusalem. (A rectangular chancery was added about50 years later.) But, how could the pieces be linked to a newmillennium? On the basis that Christ was born on such an occasion,though this is a matter of conjecture, Anthony researched the Star ofBethlehem that revealed the birth of the Messiah to the Biblical Magi.According to one professor of astronomy, it was probably a result of theconjunction of Jupiter and Saturn. Anthony features this astro nomicalevent below Pegasus. The pair of candelabra met with the approval ofthe Inner Temple. Indeed, so much so that they came back for more (of adifferent design) and also for candlesticks. Height 80cm. London 2000.

507

Mellor in Sheffield. Later he studied silversmithing at the SirJohn Cass College in London. Upon graduating he establishedhis own studio and workshop at the Old Firestation in Lewes,Sussex. He produced major pieces of ecclesiastical work forSalisbury, Hereford, Birmingham, and Southwark Cathedrals,the Sussex University Meeting House in Falmer and has smallerpieces in many English churches around the country. He alsoundertook domestic commissions and retailed a range ofdomestic items and gifts.

BELLAMY, Geoffrey Guy Born in 1922, after service in the War,he studied at the Birmingham College of Art from 1946-50 and atthe Royal College of Art from 1950-3. After graduating heestablished a workshop in London and supplied retailers with arange of small silver pieces during the 1950s. In the 1960s he hadvarious design roles before moving into education fulltime in1967. He died in 1997. See pp.80-5.

BENNETT, William Ernest Trained at Sheffield School of Artand the Central School of Arts and Crafts in London. Following aperiod as a pupil of Omar Ramsden, where he undertook somechasing, he travelled Europe. In 1937 he was appointed Head ofthe Silversmithing Department at the Sheffield School of Art andremained there until just before his death in 1967. He designedand made domestic as well as corporate silver.

BENNEY, Adrian Gerald Known as Gerald Benney, he was bornin 1930. He studied at Brighton College of Art from 1946-8 and atthe Royal College of Art from 1951-4. He established his studioand workshop in central London and was an industrial designeras well as a silversmith. He was appointed consultant designer toViners in 1957. In the early 1960s he started making objects witha textured silver surface. During the early 1970s he introducedcolour to his work in the form of enamelling at his then recentlyestablished Berkshire workshop. From 1974-83 he was Professorof Silversmithing at the RCA. In 1974 he closed his Londonworkshop, moving his operation to Berkshire. He died in 2008.See pp.86-105.

BENNEY, Simon Born in 1966 he is a son of Gerald Benney. As ayoungster he would amuse himself in his father’s workshopmaking copper bowls and plates that he then enamelled. He alsomade silver jewellery using scraps of the metal he found in theworkshop. ‘I love jewellery and a family friend suggested that Istudy at the Gemmological Institute of America in Los Angeles.’From 1989-91 he studied both precious stones and jewellerymaking at the GIA. Returning to the UK he worked with hisfather and in 1994 set-up a shop in London’s Walton Street inKnightsbridge. Initially Simon concentrated on the jewellery sideof the business, while his father supplied the silver and undertookcommissions. However, when his father retired in 1999 Simonbecame responsible for silver as well as jewellery. His workshop isin Wiltshire and his team of craftsmen include both Alan Evansand Robert Winter who worked for his father. His largest silvercommission has been The Three Sisters, a massive suite of threecandelabrum weighing over 50 kg. It is the largest piece of silvermade in the UK for many years. He also designs and makes silverfor members of the Royal Family and Fabergé. He holds threeRoyal Warrants.

BENSTED, Michael Born in 1938, he studied at CanterburyCollege of Art and London’s Central School of Arts and Crafts. Heserved an apprenticeship at Nayler Brothers. In 1976 he became afreelance designer-silversmith working in Hornchurch.

BENT, ME The Pearson Silver Collection has several pieces byBent assayed in Birmingham from 1955 to 1960.

BERESFORD, Robin Born in 1938 he studied at the CanterburyCollege of Art from 1954-9. Afterwards he studied at the RCAfrom 1961-4. In his final year he was awarded a travellingscholarship. He subsequently became a lecturer at the CanterburyCollege of Art. He also worked as a designer-silversmith andengraver and specialised in trophies. As at 2012 he still works inAshford, Kent with his son Martin.

BERRY, Michael Born in 1939 he studied at the BirminghamSchool of Jewellery and Silversmithing, Birmingham College ofArt from 1958-1962. After teaching metalwork at a localsecondary school for a year he joined AE Jones and became adesigner, producing many important commissions in the laterdays of the company. By 1980 AE Jones was one of the onlyBirmingham companies employing a full-time designer.

BILLINGS, Geoffrey Martin Born in 1945, he undertook thepre-apprenticeship course at the Central School of Arts andCrafts, then worked with LW Burt and later was a craftsman atRobert Welch. It appears he later became an independentsilversmith as he exhibited at Loot in 1975.

BIRCH, Derek Born in 1941, he studied at the Moseley School ofArt from 1954-7, at the Birmingham School of Jewellery andSilversmithing (the School), Birmingham College of Art, from1957-62, followed by study at the Royal College of Art 1962-5.After graduating he worked for a year in Germany where hegained experience of quantity machine production of stainlesssteel wares. Upon his return to the UK he established a workshopand gallery in Lincoln. He undertook several importantcommissions for the City of Lincoln that are today displayed inthe city’s Guildhall Treasury. Other important commissionsinclude three presented to HM Queen Elizabeth II, including areplica of Richard II’s State Sword, and a triptych presented toHRH Princess Diana. He made ceremonial maces for a number ofinstitutions including Hong Kong University. During the late1960s he returned to Birmingham to teach full-time at the School.His former students, such as the contemporary silversmithTheresa Nguyen hold him in high regard. She says he was ‘aninspiring teacher and mentor’ and that he has left, ‘a lastinglegacy of craft skills which can be seen in the works of manysilversmiths and jewellers around the country today’. Hecontinued to design and make while teaching. Derek retired fromthe School in 2006 and died in 2011.

BIRCH, Robert Born in 1947, he became apprenticed in 1963 toPeter Butterworth of Butterworths (Regia) Limited, a Kent-basedsilversmithing and plating business. He worked as a craftsman atthe Silver Workshop and Wakely and Wheeler before studying atthe Royal College of Art from 1974-7. He exhibited at Loot in1976/7 and has tutored in various colleges in the UK.

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DESIGNERS, CRAFTSMEN, SILVER MANUFACTURERS AND ENGRAVERS

Simon Benney These beakers were designed and made exclusively for Fabergé. Inspired byconstructivism, the last and most influential modern art movement of Imperial Russia, each piece ishand-raised. The 18 panels are then hand-carved to create the borders that are needed to contain thedifferent coloured enamels. The beakers are then sent for hallmarking and, upon return, the panelsare textured using chasing tools to create the desired pattern. Powdered coloured glass is mixed withgum and demineralised water and laid on to the silver with a spatular. To fuse the glass on to thesurface, it is put into a kiln and heated to 800°C. The firing process is repeated on average five times.The enamel is then polished with a pumice and finally the silver is polished. On average it takes onemonth for each beaker to be made. In some cases it can take two to three months if the enamel doesnot take. They retailed at about £14,000 each. Height 9cm. London 2012. Courtesy Fabergé