QEST Magazine Summer 2015

Issue 32 Summer 2015 THE QUEEN ELIZABETH SCHOLARSHIP TRUST MAGAZINE

In this issue Lord Linley on becoming Vice Patron

Julian Stair in the Hall of Fame

New Scholars

Mark Henderson’s advice on pricing

VIEW T HE FULL V IDEO / INTERV IEW

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Issue 32 Summer 2015

Make/Create a collaborative adventure Make/Create was an exhibition in which a selection of QEST Scholars paired up with contemporary artists sourced by the Griffin Gallery. It was staged during the inaugural London Craft Week in the Crypt Gallery at St Pancras Church.

‘It was an adventure into the unknown,’ says QEST Trustee Steve Macleod, who oversaw the charity’s involvement in the exhibition.

‘Make/Create was a great opportunity to showcase great British craft and art together.

It was always going to be challenging as the need to collaborate made all the exhibitors explore creativity in new ways and the outcome was extraordinary. Everyone at the Griffin Gallery did a fantastic job of pulling the whole show together and it was a really interesting addition to London Craft Week.’

QEST Scholar James Kirby in collaboration with artist Anne Parfitt

Newsbites

Rod Kelly passing on his skills to another QEST Scholar, silversmith Kate Earlam

The award-winning coppersmith and QEST Scholar, Siân Evans, recently met Her Majesty The Queen at an event celebrating the 50th anniversary of the Winston Churchill Memorial Trust.

Becoming a Winston Churchill Travelling Fellow in 2011 had enabled Siân to travel to France, Greece and India to learn about the origins of her ancient craft.

QEST Scholar Mary Wing To continues to blaze a trail with her leatherwork. In addition to her role as Senior Leather Artisan at Chanel, recent projects include creating leather costume pieces for Carey Mulligan’s role in Far From the Madding Crowd, as well as a collaboration with the World Champion Dressage Rider and Double Olympic Gold Medallist Charlotte Dujardin OBE.

QEST Scholar Melissa White in collaboration with artist Chantal Powell

From mid-July to September 2015 the public will be able to watch QEST Scholar Wayne Hart, who is now one of Britain’s most respected lettercutters, creating a memorial to the remarkably brave World War I nurse, Edith Cavell. Wayne will be inscribing the memorial, commissioned by Norwich Cathedral to mark the centenary of the Norfolk nurse’s death, at the King’s Lynn Arts Centre. Wayne says, ‘It is wonderful to be involved in honouring such an important Norfolk heroine and by agreeing to be ‘artist in residence’ at the arts centre I will hopefully inspire others to learn about the traditional craft of lettercutting.’

Rod Kelly, leading silversmith and QEST Scholar, was commissioned to design a new trophy for this year’s Oxford and Cambridge University Boat Race. The trophy was commissioned by the race’s sponsors Newton Investment Management.

QEST

News

Lord Linley becomes Vice Patron of QEST I have been fascinated by craftsmanship ever since I was a child. My inquisitiveness and passion for making things were encouraged by my parents.

My mother often took me with her when she visited factories, ranging from Roberts Radios and Rayne Shoes to glass makers and sugar beet producers. I have always enjoyed understanding how things are made and I had great fun building my own go-kart and even a very bad rocket with a glow plug engine.

It made a wonderful noise – until it exploded!

I became interested in wood-working at Bedales School and then went on to Parnham House School for craftsmen in Wood in Dorset, where I was lucky enough to be taught by John Makepeace. When I set up a wood-working business above a chip shop in Dorking there were some disparaging remarks in the press. But that sort of thing didn’t bother me at all. I knew it was what I wanted to do and I knew that making furniture was something worthwhile – especially when I was aiming to make each piece the best of its type. Having set up Linley, I had to improve my drawing, get my head around the accounts and manage a growing team. Everything happened pretty quickly.

Far too few children have the opportunity to make things today. Health and safety regulations haven’t helped and a lot of schools seem to have turned their workshop into an extra computer room. I wonder how many children make model aeroplanes or enjoy sewing these days? Not many.

These days everyone is pushed into thinking they can’t make things – that they don’t know how to and never will. Of course a Lord Linley with a humidor modelled on ‘El Laguito’, the famous cigar factory in Havana

Issue 32 Summer 2015

themselves. I would love to help QEST chip away at some of the regulations and attitudes which prevent adults, as well as children, from thinking that craft can be a good occupation.

lot of practise is needed to become good at something but far too many people never even try. The automatic default is to buy things rather than make them and if something needs fixing it is thrown away and replaced – the idea of mending something isn’t considered. It may be buried, but the urge to be creative and make things still exists within all of us. All people are craftspeople.

table being made. At Linley we always try to educate our customers because we know that the more dialogue there is between us, the more pleasure a customer will get from whatever they buy and the more rewarding it will be for the craftsmen who make it.

It is the things which are made in a country – whether it is handmade furniture, textiles, glassware or ceramics – which create its heritage and build on its traditions. Sadly, cars and many other products which used to have real character have now had most of their individuality engineered out of them, so, culturally, crafts have become all the more important.

It may be buried, but the urge to be creative and make things still exists within all of us. All people are craftspeople.

Today, it is rare for there to be any dialogue between the people who make a table and the people who sit round it for the next 20 years, but if they go to a local carpenter, that won’t be the case. In the process of discussing how large they want their table to be and what they want it to look like, they will probably start to learn a bit about the skills needed to make it and the qualities of different woods.

They may even see some of the stages of their

David Linley at his workshop

People who can afford handcrafted products choose to buy them because they help to

differentiate their lives from other people’s.

That’s one of the reasons why luxury brands such as Hermès and Louis Vuitton use the word ‘crafted’ so often. They also understand that there is a renewed appreciation of products which have a personality and which appeal to the sense of smell and touch, in ways that mass produced products do not.

By continuing to champion craftsmanship successfully, QEST does not just support people who are already talented, it encourages people to tap into their own creativity and have a go at making something

As the new Vice Patron of QEST I am also keen to do my bit in trying to get the cultural and social value of craftsmanship on the

political agenda. It is important that people understand that crafts play a vital part in shaping our traditions as well as making a significant contribution to the economy.

As Chairman of Christie’s, it is fairly obvious that crafts are seldom as successful as the arts in terms of the prices achieved, but they should really both be seen together. Wouldn’t it be great if a talented jeweller, stone engraver, glassblower or cabinet maker was as respected as a doctor or lawyer?

QEST

Guidance

Price & Prejudice QEST Trustee Mark Henderson explores what lessons can be learnt from the art market when it comes to pricing work, and whether craft is successfully overcoming perceptions of it being art’s ‘poor relation’.

The art market is very well established and sophisticated. It is supported by a massive network of galleries and large auction houses, which are experts at marketing and attracting potential buyers. It is hardly surprising that even some of the most talented craftspeople can struggle to achieve similar prices for their work. However, it can be done. A Savile Row suit is a good example of good craftsmanship commanding a healthy premium – it typically takes 52 hours to make one and prices start at around £5,000.

Any craftspeople wanting inspiration on how to break down the barriers that normally exist between ‘art’ and ‘craft’, should look at how Julian Stair, the potter, has done it. Of course, it helps that his work is extremely original and very beautiful.

There are three areas within the crafts market and a lot depends which sector people are working in. Studio or atelier crafts, which include glassblowing, ceramics and jewellery, for example, often involve making bespoke pieces and the prices achieved are usually quite respectable.

The second area of crafts, which tends to be based on collaboration between craftspeople and an artist or designer, falls into the rather horrible term of ‘applied art’ and that is a much trickier market. There is very little distinction between good and bad work, which makes it harder to achieve good prices.

However, there are some exceptional pieces, such as Thomas Heatherwick’s extraordinary installation, Bleigiessen, made up of 142,000 glass beads, which can be seen at The Wellcome Trust on the last Friday of every month.

The third area is ‘endangered crafts’, which includes anything from clog making to Swill

Mark Henderson is a QEST Trustee, Chairman of Gieves & Hawkes and founder of The New Craftsmen

basket making, and the Orkney chair makers.

To achieve good prices, products must be practical or have some other ‘relevance’ to potential buyers. As one of the founders of The New Craftsmen, I hope that is one of the things the business helps with. For example, we have brought together Gareth Neal, a furniture maker, and Kevin Gauld, a traditional Orkney chair maker, to give a practical and contemporary twist to a craft

As a rule of thumb, a maker should set a price that is around four times the cost of creating the piece. The cost of materials together with a reasonable wage should be doubled to cover the maker’s overheads such as rent and rates as well as the tools and equipment they may need. That amount should then be doubled again. The reason for that is that many craftspeople spend half their time trying to get new clients, putting on exhibitions and

As a rule of thumb, a maker should set a price that is around four times the cost of creating the piece. that might otherwise die out. We also act as an intermediary – making commissioning easier for customers, providing a good interactive website and, when we can, helping makers with their PR and pricing.

There are three things which determine price; how good a piece is, how original it is (which often determines its ‘desirability’), and how much support and advice a maker has in terms of marketing and mentoring. There are very few people who are good at everything and most people need help, yet there are very few dealers in top-end crafts. The only ones who spring to mind are Adrian Sassoon, Sarah Myerscough and us – at The New Craftsmen. While we will all secure higher prices, we will also want a significant margin.

Etsy and a few other websites can work well for some people – but only some.

getting some good PR, instead of actually making things. If they could afford it, it would often make more sense to get a professional to do that job for them.

QEST plays a really important role in supporting excellence in craftsmanship. By helping people who are already talented and who show every sign of becoming great, rather than just good, it helps to sort out the wheat from the chaff and demonstrate that the finest craftspeople are as talented as the finest artists. That has made it easier for the market for crafts to become more discerning and it has also started to give people the confidence to pay more and start thinking of craft pieces in the same way they would think about a painting or a sculpture. There is still a long way to go but things are heading in the right direction.

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News

Hats off to Jane Fryers Successful craftspeople are creative, imaginative and original, and QEST Scholar Jane Fryers epitomises these qualities. Jane was given a Scholarship in 2005 to pursue her passion for a career in millinery.

The grant enabled her to continue lessons with the legendary Rose Cory, milliner to Her Majesty The Queen Mother, who continues to teach talented milliners across the world.

‘Rose is wonderful. She even put up with me trying to make a hat from an old pair of jeans and a jumper I had shrunk. The traditional millinery skills she taught me are the one thing I always stick to, however odd the material I am using may be. My favourite material at the moment is fish leather, which fortunately doesn’t smell at all once it has been tanned! It is supple, beautiful, very tactile and no one else uses it. In fact I am off to Sweden soon to learn about the whole tanning process – though that bit probably will be quite smelly!

QEST Scholar Jane Fryers

‘The most difficult material I have ever worked with was some trim from a stair carpet, which I was presented with by an artist. She liked the

colour but apart from that the carpet didn’t have any of the qualities that I had asked for.

I asked for a piece of material that was large enough, made from natural fibres, pliable and relatively thin – the stair carpet was thick, difficult to bend, manmade and came in lots of little pieces! She wanted a design based on a Mongolian Warrior’s hat. It was quite a challenge but I got there in the end.

‘I was selected to exhibit three of my hats at the Royal Warrant Holders Association Annual Luncheon this year, which coincides with QEST’s 25th anniversary. All of them were made from fish leather but you would never know that unless you look at them really closely. No one expects roses to be made from fish skin, so it comes as quite a surprise. That’s fine though, I have always thought that hats should be a talking point.

‘Thanks to QEST’s support, my skills as a milliner have developed to the point where I now teach a course at Central Saint Martin’s, encouraging more people to make hats. I can’t pretend that millinery has made me rich (at least not yet) but I have been given all sorts of fantastic opportunities and won awards while doing something I love – and I reckon that is much more rewarding!’

Kate Montagne – Plaster Class A Scholarship from QEST allowed Kate Montagne, a modeller and sculptor’s assistant, to work for two years with Geoffrey Preston, one of Britain’s leading architectural sculptors and a renowned plaster and stucco artist. She has now been offered a full-time position with his team.

‘Geoffrey’s work is very unusual. Not only does he come up with designs from scratch, his work is also very sculptural, using deep relief. Without QEST’s support there is no way I would have been able to work with Geoffrey for so long, so it really has been a life-changing opportunity.

‘I have been working on the ceiling of the Great Drawing Room at Great Fulford for

much of the time. The original ceiling had collapsed and there were no records of what it looked like. Francis Fulford, the owner, saw some of Geoffrey’s work and was very keen to commission him to come up with a new design. The ceiling has already won awards, Francis and his wife Kishanda love it, and I am so proud that I have played a part in creating it. I modelled both the ceiling rosettes and was also able to hone my skills in modelling clay, moulding and casting. There are six modellers as well as Geoffrey and it is a fantastic team to work with.

‘Anyone thinking about applying to QEST for a Scholarship should definitely do so. As long as you are talented, really committed to your craft and will make the most of the support they provide, they will do their best to help.’

QEST Andrew Lloyd Webber Foundation Scholar Kate Montagne

Issue 32 Summer 2015

Joey Richardson – Woodn’t it be good?

Adam’s Apples

Joey Richardson, a wood turner who is a liveryman of the Worshipful Company of Turners, was granted a QEST Carpenters’ Company Scholarship in 2012. The Scholarship opened up all sorts of design and exhibition opportunities, making it possible for her to travel to the United States and undertake specialist training to cast her intricate wooden forms in glass. Since receiving the Scholarship she has taken it a step further and is now casting in metal. Joey has just won the prestigious QEST Award for Excellence for 2015 and has ambitious plans to promote wood as a fine art collectable.

‘Steve Macleod, one of the QEST Trustees, has been absolutely brilliant.

He has been overseeing my aim to stage a major wood exhibition in 2018. The exhibition will promote a new way of looking at trees and woodworking, promoting the arts, and assessing the valuable role of craft in everyday life. Humans have a symbolic relationship with the tree which has been central to our survival. In an increasingly high-tech world, the exhibition will provide a reason to reconnect, to educate children and take people back to their roots. The contemporary art works will hopefully help to make wood a hot new collectable art form.

‘Meanwhile, Nick Farrow, the Chairman of QEST, managed to secure a Sycamore tree for me on Her Majesty The Queen’s estate in Sandringham, I called the piece I made from it ‘Methuselah’ as I hoped it would live on for a long time.

‘QEST has been an enormous help to me – not just in terms of financial support but in terms of mentoring, too.’

QEST Scholar Tom Adams standing by Sweeney Nonpareil trees in blossom

In 2004 Tom Adams visited his cousin’s farm in south Shropshire and found several unrecognisable varieties of apples in an ancient orchard. He took a selection of them to be identified by botanist Michael Porter from the Marcher Apple Network. Four of them were identified as ‘Gipsy King’, ‘Bringewood Pippin’, ‘Round Winter Nonesuch’ and ‘Rhymer’. All of these varieties had not been seen for more than 100 years and were therefore believed to be extinct.

Tom became fascinated by the art of propagation and was keen to learn more so he could save the apple varieties in his cousin’s orchard from dying out. He applied to QEST in 2008 for a Scholarship and as a result, today there are over 100 trees of each of the above apple varieties scattered across the country. ‘Apart from learning the best ways to propagate from a horticulturalist, I have learnt how to manage the soil, how to prune and how to rescue trees that are sick,’ says Tom, who is now known as The Apple Man. ‘I have a particular interest in fruit which grows well near the Welsh border. Many varieties don’t like the combination of wet and windy conditions and the clay soil.’

Tom has possibly rediscovered another rare apple variety but the tree in question is so old and gnarled that its apples are tiny and misshapen.

This provides difficulties in identification, so he is now waiting patiently for a new tree, grown from a grafted cutting, to start fruiting. Only then will he discover whether he has found a fifth variety thought to be extinct.

Tom hopes that one day he will emulate the famous horticulturalist and botanist, Thomas Andrew Knight.

Two of the butterflies that adorn Joey Richardson’s ‘Methuselah’, featured on the front cover

QEST

News

QEST’s Hall of Fame JULIAN STAIR Julian Stair is internationally recognised as one of the world’s leading potters, yet, he still finds time to lecture, teach, write and help other potters develop their careers. When Julian received a QEST Scholarship in 2004 he was already highly respected in his field, but he had only just started to experiment with the large scale work for which he is now renowned. Creating large pieces was expensive, as well as challenging, so the Scholarship was extremely timely.

‘I am hugely grateful to QEST for the support they gave me. It allowed me to consolidate my early experiments with large pieces and I have learnt so much since then. That is what QEST is all about – education is at the heart of what it does – it encourages lifelong learning.’ – Julian Stair Julian has since taken on two QEST Scholars as apprentices, Billy Lloyd and Matthew Warner, both of whom trained in his studio. Both Billy and Matthew have already become recognised

still feels he has more to learn from Julian and has just begun his third year of working with him.

‘Matt is in the studio with me every day. I question, challenge, reinforce and encourage.

It’s often the conversations we have over lunch which are the most useful. I do my best to be a mentor and his success is enormously gratifying, but I would never want to interfere with Matt’s work. It must always be his,’ says Julian.

‘It is really important to ask huge questions of yourself and never compromise. Compromising is the beginning of the end. You must demand as much of yourself as possible.’ in their own right, having both launched successful careers as ceramicists. Despite receiving a fantastic reception at his first exhibition at Ceramic Art London recently – selling out and taking many orders – Matthew

Speaking about how Julian has helped him, Matthew Warner says, ‘Working with Julian has enabled me to get a much clearer idea of where I would like to be in ten years’ time.

Most potters never get to see how museums

Ceramic pots and teapots by Julian Stair (Photo Jan Baldwin)

A figural sarcophagus from Julian Stair’s solo exhibition Quietus

and galleries operate, for example, so I have learnt a lot more besides ceramics. But it was Julian’s integrity that made me want to work with him. He has never tried to get ‘in’ with a fashionable crowd or do something just for the money. He won’t make things without a reason. His approach is born out of understanding the long history of crafts in this country and questioning the place and function that pottery has today.’

Julian is coming to the end of six years of intense work. Quietus, a large body of work he completed in 2012, which travelled to such places as Winchester Cathedral, Cardiff and York, was the culmination of everything he started with QEST’s support. Last year Corvi-Mora Gallery put on a large show of Julian’s work called Quotidian. Julian has one more exhibition in the pipeline and he is also in the process of buying two new kilns.

‘Looking back at the way my own career developed, I had a rather woolly idea of where I wanted to get to and what my potential might be. There is a lot of hoo-ha talked about creativity. I am always rather suspicious of people who claim that creative ideas are bolts of lightning which suddenly occur fully formed. In my experience they are the result of hard work. Even when I have an idea which I really like, by the time I have unpicked it and thought it through, it often turns out not to be nearly as good as I first thought. But then I re-examine it and turn it around in my head and gradually it starts to evolve.’

Issue 32 Summer 2015

Raising a Glass to Craft QEST Johnnie Walker Scholar Daniel Durnin Last year Daniel Durnin was given a QEST Scholarship sponsored by Johnnie Walker, to enable him to complete his MA in Design Products at the Royal College of Art. He was recently invited to Scotland to spend a couple of days finding out how the world famous whisky is made, and turn his hand to raising a cask.

Daniel raising a cask at Johnnie Walker’s Cambus Cooperage (Photography by Colin Hampden-White)

‘I was expecting some enormous automated factory and was amazed by how crafted the whole process of making the whisky actually is.

Everything from the coppersmith hammering out the swan neck of a still to the cooper working on the casks required huge levels of skill. It was also interesting to see processes like the charring of a cask, which I had always thought of from a purely aesthetic perspective, being done for a practical reason. The charring helps to create flavours in the whiskies for the Johnnie Walker blenders to work with. It was good to meet so many apprentices along the way, and everyone I spoke to is really proud of what they do.’

After his final degree show, which will include a boat he has built, Daniel plans to build a pop-up gallery before working on a collaborative installation in Switzerland where he will be creating an indoor playground for adults. He hopes to soon have his own studio where he can carry on experimenting and putting traditional crafts, such as steam bending, into a contemporary context, thereby pushing the boundaries of craftsmanship and giving them new relevance.

Thank You to Our 2015 Donors Adam Connolly Memorial Fund Andrew Lloyd Webber Foundation Associated Livery Companies Bendicks Brian Mercer Charitable Trust Worshipful Company of Carpenters CHK Charities Ltd The Cambridge Satchel Company The Clothworkers’ Company D’Oyly Carte Charitable Trust Diageo Ernest Cook Trust Fattorini Glen Dimplex Home Appliances Griffin Gallery The Hedley Foundation Holland & Holland Howdens Joinery Iliffe Family Charitable Trust J Paul Getty Jnr Charitable Trust

John Smedley Johnstons of Elgin The Kirby Laing Foundation The Leathersellers’ Company Charitable Fund Lyle & Scott Made in Britain Campaign Mappin & Webb Mint CRM The National Association of Decorative & Fine Arts Societies (NADFAS) Pamela de Tristan Scholarship The Pennies Foundation The Worshipful Company of Pewterers The Radcliffe Trust Roberts Radio The Rumi Foundation Samsung The Tallow Chandlers’ Company Zone Creations

Howdens Joinery, a new member of the RWHA that makes a range of integrated kitchen and joinery products, has recently made a significant donation to QEST. ‘Such a generous donation makes a substantial difference to our Scholarship programme,’ said QEST Chairman Nick Farrow. ‘Everyone here is absolutely delighted. We will now be able to help several more talented craftspeople develop their skills and attain excellence in their field. Hopefully many of them will eventually go on to inspire and teach others’.

QEST

News

Focus on Scotland

QEST Scholar Rod Kelly’s South House Silver Workshop on Shetland

Craft fields are often rooted firmly to a particular location, usually due to local materials and traditions. A survey carried out for Creative Scotland and other UK craft agencies revealed that Scottish craft contributes more than £70 million to the British economy, generated by an estimated 3,350 Scottish craftspeople. QEST has provided funding for a number of accomplished Scottish craftspeople, many of whom are working in either silver or textiles.

SILVER AND JEWELLERY Scotland has been home to many silver mines over the centuries and there is a strong tradition of working with metal stretching, dating back to the time of the Picts and even their predecessors. Some early Pictish designs are still popular among silversmiths today and regularly appear on such items as quaiches and jewellery pieces.

The beauty of Scotland attracts English silversmiths as well. For example QEST Scholar and master chaser Rod Kelly teaches at his South House Silver Workshop in the Shetland Islands. Rod has trained several QEST Scholars in Shetland, such as Elizabeth Peers, who was taught by Rod last year. Elizabeth exhibited the work she made in Shetland at the Goldsmiths’ Fair in London a few months after completing her training.

QEST Andrew Lloyd Webber Foundation Apprentice Paul Kircos is now in the second year of his silversmithing apprenticeship at Hamilton & Inches in Edinburgh. Last year he demonstrated his skills at the bench at the Edinburgh Festival and helped promote craft workshops run by Hamilton & Inches. At the end of his 5-year apprenticeship he will be specialised in chasing both silver and copper.

QEST Andrew Lloyd Webber Foundation Apprentice Paul Kircos picking up some tips from his father, Panos, who is a master chaser at Hamilton & Inches

QEST Hedley Foundation Scholar Jennifer Gray is a Scottish silversmith and jeweller working in Edinburgh, who used her Scholarship to complete her postgraduate studies at the Royal College of Art. Upon completion of her studies she has collaborated with the Sir John Soane Museum, the Saatchi Gallery and the National Museum of Scotland.

Issue 32 Summer 2015

QEST Bendicks Scholar Tara Osborough with Johnstons of Elgin weaver Charlie Frasers, at the Johnstons mill in Moray

TEXTILES Textile production in Scotland is renowned, ranging from cashmere to Harris Tweed and tartan. Scottish QEST Scholars include Gillian Murphy who produces knitted textiles, and Lauren Day and Alan Moore, who work in embroidery. These are examples of QEST Scholars who are continuing and developing different areas of a great Scottish craft tradition.

Royal Warrant Holder Johnstons of Elgin makes some of the finest cashmere and wool products in the world. Currently they are collaborating with five QEST Scholars who are each designing a special edition cashmere blanket as part of a commemorative campaign which celebrates Her Majesty The Queen’s patronage and longest reign. QEST Scholars Tara Osborough, Cheryl Branford-Peers, Kim Norrie, Juliet Bailey and Franki Brewer are all working in collaboration with Johnstons’ in-house team. The proceeds of this project are being generously donated to QEST to enable more Scholarships in the future.

Jenny Houldsworth, Johnstons’ Learning & Development Manager, is overseeing the project. ‘Engaging and collaborating with QEST Scholars makes perfect sense for us, especially being located so far north in Scotland. The five scholars would never have had the chance to visit our mills, where we transform raw fibre right through into finished product, if it had not been for the QEST connection. It has been wonderful to see the Scholars learn all about our production methods which have been perfected over more than 200 years, as well as see them pushing the boundaries with their designs. They are a really talented and extremely creative bunch!’

Johnstons of Elgin still use teasels, placed in a frame, to create a natural comb for cleaning, aligning and raising the nap of wool

QEST

Awards

AWARDS As usual, QEST Scholars have been winning competitions and awards for work ranging from stone gargoyles to applied arts. There are too many to name all of them but here are several examples.

Scholar and ceramicist, Bethan Lloyd Worthington, was recently nominated for the Perrier-Jouët Art Salon Prize 2015 for applied arts and crafts.

‘Apology & Acceptance’ by QEST Scholar Bethan Lloyd Worthington

QEST NADFAS Scholar Zoe Barnett and Weston Scholar Sam Flintham, were two of the three winners in a competition run

by City & Guilds and St George’s Chapel at Windsor, designed to generate three new gargoyles for their restoration project. Both Zoe and Sam’s gargoyles were chosen to adorn the Chapel. ‘It is great to have a piece of work on display somewhere so prestigious and it demonstrates how high standards are among QEST Scholars that Sam and I were both winners. Creating a contemporary piece for an old building really ticked all the boxes for me as I love creating new sculptural pieces and I also enjoy restoration work.’

QEST Carpenters’ Company Scholar Joey Richardson has won the QEST Award for Excellence sponsored by Fattorini this year. The medal, created by Fattorini’s own craftsmen, is given to a QEST Scholar who has demonstrated outstanding commitment to their craft. Joey is not only committed to wood art on a practical level, she is its leading ambassador. She is determined to make everyone more aware of what a great and flexible medium it is and how important wood is in everyday life.

Zoe Barnett’s gargoyle which will soon be perching on St George’s Chapel, Windsor

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QEST

News

The 2015 Annual Royal Warrant Holders Association Luncheon A celebration of QEST’s 25 years of supporting British craftsmanship

Thomas Fattorini presenting Joey Richardson with the QEST Award for Excellence

Celebrating QEST’s 25th anniversary and the RWHA’s 175th anniversary, the RWHA Annual Luncheon on 2nd June was particularly upbeat. QEST Scholars and Apprentices, both new and from previous years, met with members of the Royal Household and Royal Warrant Holders. Although a formal occasion at the Hilton Park Lane Hotel, the lunch felt like a large family gathering celebrating a range of achievements and milestones.

The work of 16 QEST Scholars from Summer 2014 and one new QEST Apprentice was exhibited alongside a selection of pieces made by QEST alumni.

RWHA President Robin Wodehouse presented the new QEST Scholars and Apprentice with their certificates. He also presented the Plowden Medal to Nancy Bell for her outstanding contribution to the field of conservation. Sarah Staniforth, the other winner of the Plowden Medal, was unable to attend and will be presented with her award at a later date. QEST Carpenters’ Company Scholar Joey Richardson received the QEST Award for Excellence, sponsored by Thomas Fattorini, for her outstanding commitment to her craft of wood turning.

Weston Scholar Lauren Elizabeth Tidd, a jeweller

In his speech, Sir Charlie Mayfield, Chairman of the John Lewis Partnership, spoke of the need for continuous professional

Issue 32 Summer 2015

development and praised QEST for providing Scholarships to craftspeople of any age.

He emphasised that far too few people benefit from education once they begin full-time work and urged companies to consider investing in their more experienced employees, rather than frequently training up new staff members.

Several of the QEST alumni at the lunch have already taught other QEST Apprentices or Scholars. This illustrates how QEST can create a ‘virtuous cycle’ whereby a craftsperson progresses from being a new Scholar to a master in their field who can subsequently help other QEST Apprentices, or Scholars, to develop.

In a recent survey taken by the QEST Scholar database, which dates back 25 years, 93% reported that they are still actively practising their craft. With the help of a total investment from QEST of £2.6m, those Scholars now contribute to the £3.4bn that the British crafts industry generated last year, as well as to the UK’s cultural heritage.

Photography by ‘Paul Burns Photography’

Weston Scholar Felix Handley, a stonemason, receives his QEST certificate from Robin Wodehouse

From left to right: Nick Farrow and Robin Wodehouse with Sir Charlie Mayfield, Chairman of the John Lewis Partnership

QEST

News

Creations & Celebrations

‘Royal Burgundy’ Roberts Radio and Bendicks Elizabethan Mints. Proceeds from these products will go to QEST in support of their charitable activity. Photo credit: Will Farrow farrows.co.uk

QEST is embarking on an exciting initiative with Warrant Holding companies where participants are creating commemorative and celebratory special edition products. Companies have been invited to create special editions of their best selling products or create unique products to celebrate Her Majesty’s Patronage, the celebration of The Queen becoming longest serving Monarch, Her 90th birthday or simply to celebrate British craft. All of the companies creating products have agreed to donate a percentage of the proceeds to QEST.

jewellery incorporating Her Majesty’s royal dignitaries, which made it easier for her to choose gifts for friends and dignitaries and occasionally for herself. One of the designs in The Red Book, an English rose motif, will be engraved on the special edition sterling silver frames. As the Queen Mother’s 90th birthday was marked by the foundation of QEST, it is fitting that a design originally created for her is now being used to celebrate her daughter’s 90th birthday.

Special edition products include a limited edition of 250 Roberts Radios in ‘Royal Burgundy’ and a selection of Prestat Organic Truffles.

The products also include a commemorative tin of Walkers’ Special Shortbread, with the 2015 tin celebrating Her Majesty The Queen being the longest serving Monarch and the 2016 tin celebrating Her 90th Birthday. Bendicks have created limited edition Elizabethan Mints.

A selection of other Warrant Holding companies will also be making special edition products, several of which will incorporate designs created by QEST Scholars. Details are still being finalised but QEST looks forward to sharing these projects as they come to life, and to many more Warrant Holding companies participating in this exciting campaign!

One of the special edition products, a silver photo frame created by Mappin & Webb, was inspired by ‘The Red Book’ which the company created when Her Majesty Queen Elizabeth The Queen Mother became Queen in 1936. The book contains drawings of brooches and other

Meanwhile, five QEST Scholars have been working with Johnstons of Elgin to create a selection of designs for a capsule collection of cashmere blankets. Paxton & Whitfield recently began working with Scholars to commission special edition cheese boards, which will be handcrafted specifically for this exciting campaign.

Issue 32 Summer 2015

A Royal Reception His Royal Highness The Prince of Wales Awards 16 new Scholarships and four new Apprenticeships on behalf of QEST At a reception in the gardens of Clarence House on 11th June 2015, the Prince of Wales met members of the Royal Warrant Holders Association and spoke with the Scholars and Apprentices, learning about their work and what they hope to do in the future. He viewed an exhibition of their work, which ranged from saddlery and coach building, to knitwear design and book binding.

The Prince of Wales with the Spring 2015 QEST Scholars and Apprentices

QEST Chairman, Nick Farrow, said, ‘The Prince of Wales is a great champion of British craftsmanship and his support is invaluable in raising the profile of QEST, and celebrating the contribution that our crafts industry makes to this country.’

QEST Ernest Cook Trust Scholar and clogmaker Jojo Wood said, ‘The Prince of Wales knew a lot about clogmaking as he had supported a clogmaker in the past because he had realised the craft was in real danger of dying out. There used to be thousands of clogmakers but now I will be receiving one-on-one training from the last English clogmaker, Jeremy Atkinson. It felt like the Prince of Wales had a personal connection to the craft and he encouraged me to keep the tradition going. The whole event was mind blowing – it was glorious weather and everyone really enjoyed themselves.’

The four Apprentices, embroiderer Justine Bonenfant, shoemaker Bethan Horn, weaver Libby Kates and stonecarver Thomas Sargeant are all committed to their craft, and can now look forward to broadening their skills and going on to achieve excellence. For example, Bethan Horn’s Apprenticeship will allow her to work ‘at the bench’ with master craftsperson, Ruth Davey, of RED Shoes, who is herself a QEST Scholar.

QEST Ernest Cook Trust Scholar Jojo Wood is presented her certificate by the Prince of Wales

QEST

Information

The production of this magazine is completed with the kind support of our advertisers.

Of a certain age I learnt a great deal at the Royal Warrant Holders Association AGM, but QEST Scholar Graham Ashford imparted some of the most astounding information of the day! Apparently ‘men of a certain age’ buy either a motorbike or a suit of armour, and Graham is busy supplying that need, alongside armour for re-enactments and films.

Graham epitomises what QEST is all about: helping talented craftspeople, of any age and in any field, that need a lift up the greasy pole (or the lance in his case) to become masters in their field. We provided Graham with a QEST Scholarship in 2010 to work with Master Armourer David Hewitt, which has resulted in his own established career in armoury.

I must admit I haven’t lusted for either but Graham gave a fantastic impromptu presentation, explaining his craft and showing the audience a fabulous gauntlet that he’d made. This gauntlet was a skilled piece of craftsmanship and lovely to wear, and I can now appreciate the fascination in owning one’s own suit of armour. Please visit Graham’s website www.greenleaf-workshop.co.uk should you be interested in having a beautiful suit made for you.

Hopefully, one day QEST can help Graham employ an Apprentice Armourer of his own.

Thus the QEST ‘cycle of making’ is complete.

QEST aims to help create many of these virtuous cycles, in order to contribute to Britain’s expanding craft industry and help return the United Kingdom to making.

Every one of our supporters is helping QEST to achieve these ambitious goals, and for that we are incredibly grateful.

Graham Ashford, his daughter Hazel and his wife Elizabeth standing below The Round Table in The Great Hall, Winchester

Many thanks to you all!

Nick Farrow Chairman of QEST

Do you know someone who QEST could help?

The Queen Elizabeth Scholarship Trust, a charitable arm of the Royal Warrant Holders Association, was established by the RWHA in 1990 to mark the 90th birthday of Queen Elizabeth The Queen Mother and the 150th anniversary of the founding of the Association.

Her Majesty The Queen will become Patron of QEST in 2016 when she will celebrate her own 90th birthday.

Scholarships worth up to £18,000 are awarded each spring to craftspeople with exceptional talent, to help them advance their education and skills in a wide range of modern and traditional crafts in the UK.

The Scholarships are open to all ages, including those embarking on a second career. The Trustees look for well thought out proposals which highlight applicants’ financial need and commitment to their craft.

Apprenticeships worth up to £18,000 will be awarded each autumn to help enable those with passion, but little experience, to forge a career in their chosen craft. Their employer or their chosen master craftsman must apply together with the apprentice, outlining a full training programme which will then be assessed.

To find out more or to apply online, visit the QEST website at www.qest.org.uk

Who’s Who at QEST Chairman & Trustee Nick Farrow Farrows Ltd. Honorary Treasurer & Trustee Nick Crean Prestat Trustees Christina Abbott Burberry

Fiona Rae Goldsmith and Enameller

QEST Development Manager Alanna Fisher

General enquiries Tel 020 7798 1535

Neil Stevenson NEJ Stevenson

QEST Development Officer Natalia Douglas

President RWHA Robin Wodehouse

Magazine Editor Alasdair McWhirter

Media Enquiries Momiji Matsuura Tel 020 7351 4719 Email momiji@ideasnetwork.co.uk

Secretary RWHA Richard Peck

www.qest.org.uk Follow us on twitter @QESTcraft QEST scholars join us at LinkedIn/QEST Like us on facebook.com/ queenelizabethscholarshiptrust

Mark Henderson Gieves & Hawkes Ltd.

QEST Executive Director Lyanne Nicholl

Steve Macleod Metro Imaging Ltd

QEST Finance Director Elena Davies

Registered Charity No.1152032

Alec McQuin Rokill Ltd.

QEST Grants & Communications Officer Julia Robinson

Queen Elizabeth Scholarship Trust 1 Buckingham Place London SW1E 6HR

Front Cover Image - Joey Richardson Back Cover Image - Clare Pattinson Designed & Printed by farrows.co.uk

QEST

Scholars

2015 QEST Scholars Jessica Wetherly Figurative Sculptor QEST NADFAS Scholar

Jessica is already an accomplished figurative sculptor but her Scholarship will allow her to take a series of short courses with several of the most respected people in her field, which will take her work to a new level.

‘It means a huge amount to know that QEST believes in my work and is supporting me. The Scholarship will allow me to learn directly from people like Laurence Edwards, Martin Jennings, Marcus Cornish and Mark Richardson. That will really help my work progress, so it is all hugely exciting.’

Helen Reader

www.jessicawetherly.com

saddlemaker QEST Leathersellers’ Company Scholar

Helen has wanted to make saddles ever since she was five years old and her Scholarship will enable her to go on a side saddle manufacturing course at the Saddlery Training Centre in Salisbury.

‘I couldn’t be more pleased to have been awarded a Scholarship.

Gaining more skills means getting more business and being able to continue doing what I love most. The course in Salisbury is taught by Richard Godden who has been making saddles for 60 years. I can’t wait to get started.’ www.hrsaddlery.com

Jessica Leclere Knitwear design QEST John Smedley Scholar

Working towards completion of her Master’s degree at the Royal College of Art this summer, Jessica was struggling with the cost of materials for her final graduation show.

Her Scholarship has made a significant contribution to the materials needed for her final collection of knitted designs.

‘I was absolutely delighted to have been given a QEST Scholarship – it will allow me to focus on finishing my degree course without worrying so much about money. I am exhibiting six pieces which explore the relationship between positive and negative space and incorporate inlays. My ambition is to launch my own knitting label but I know I need a few years working in the industry before I can really think about that seriously.’ www.jessicaleclere.com

Issue 32 Summer 2015

Anoush Waddington jewellery and accessory design QEST Bendicks Scholar

Anoush has a passion for all things medieval and enjoys dressmaking and shoemaking, as well as designing jewellery and even armour. Her Scholarship will allow her to develop her skills further and study millinery at both West Dean College and also with Rose Cory, who was milliner to the Queen Mother.

‘My Scholarship will allow me to take my career to a higher level and it has reinforced my determination to pass on my skills to young craftspeople. To really understand how things were made in medieval times and appreciate how innovative people were in those days, it’s important to research all the skills which existed then. The funding makes a huge difference – it will allow me to continue my research into headpieces and headsets, and learn how to recreate them.’

Clare Pattinson

www.anoushwaddington.com

Automata & Mechanical Art QEST Scholar

Clare’s Scholarship means that she can now study Engineering and Technology at East Kent College, and will also undertake a welding course. This will allow her to start making some larger and more interactive automata incorporating electronics.

‘I applied for a Scholarship after coming across QEST on my friend’s Facebook page. I had been feeling like a spider having to mend a broken web over and over again and now everything is falling into place. The Scholarship will mean that I can now expand my projects and make them appear to operate under their own power and so encourage more people to interact with them. I am hoping that I might soon be able to spend some time working with Tim Hunkin, the great cartoonist/engineer.’

Martin Preshaw Irish Union (Uilleann) Pipes QEST Carpenters’ Company Scholar

Although Martin is already extremely accomplished at making Uilleann Pipes, also known as ‘Irish bagpipes’, he is determined to continue refining his skills. His Scholarship will allow him to travel to New York to train with David Quinn, one of the most celebrated instrument makers in this field.

‘I couldn’t ever have imagined I would be able to travel to New York and work with David Quinn. Just seeing his workshop will be wonderful and I am so grateful to QEST for the opportunity. As well as the financial support it is a huge compliment. I think I am only the fifth Scholar from Northern Ireland. I hate feeling as though I am standing still and this is a wonderful, wonderful opportunity to build on my skills and take them to the next level.’ www.martinpreshaw.com

QEST

Scholars

Tomiwa Adeosun cordwainer QEST Leathersellers’ Company Scholar

Tomi combines his job as a firefighter with a passion for craft and designing men’s footwear. His Scholarship will be used to help pay off his remaining tuition fees and enable him to buy the materials he needs to complete his Masters in Fashion Menswear Footwear at the Royal College of Art.

Fiona Batey Children’s Book Author & Illustrator

‘Juggling being a firefighter with designing footwear is quite demanding but rather than separate the two halves of my life I have brought them together. All the footwear created during my Masters is named after the firefighters I work with. They are my muses! I focus on shoes for ordinary guys and workwear. In five year’s time I would love to launch my own footwear label but there is a lot I need to learn first. If my designs were to ever be made in a factory, it is really important that I understand every detail about all the processes involved.’

QEST Rumi Foundation Scholar

Fiona’s dream is to create a series of successful children’s books which deal with serious topics such as climate change and endangered species. Alongside her work as a self-employed illustrator, she has been working in whatever spare time she has to save enough money for an MA in Illustration and Authorial Practice at Falmouth University. Her Scholarship has now made that possible.

‘I approached QEST on the strong recommendation of my teacher, who was a QEST Scholar herself. The Scholarship has completely changed my life. It means that I can now afford my MA and work towards creating my own children’s books. I will also be able to lecture at university and hopefully help other people become respected illustrators.’

Manuel Mazzotti Bookbinding QEST Clothworkers’ Company Scholar

Already a skilled bookbinder, Manuel is keen to develop his skills and so play his part in developing the craft in Britain as a whole. His Scholarship will enable him to go on a specialised course at the Centro del bel Libro in Ascona, Switzerland, which will provide him with new specialised skills to bring back to the UK. ‘I would like to set up a business that will fill the gap between a traditional book binder and a publisher. With so much self-publishing going on today, there is a lot of scope for creating limited editions with creative bindings. I specialise in contemporary bindings which mean the contents of a book can be presented in an unusual and unexpected way. Ultimately, I would love to feel that I have contributed to the UK’s international reputation for book binding.’ www.mazzottibooks.co.uk

Issue 32 Summer 2015

Caitlin Dowse Painting Conservation QEST D’Oyly Carte Charitable Trust Scholar

Caitlin has already demonstrated considerable skills as a painting conservator but up until now, her experience has been limited to working with Old Masters. Her Scholarship will enable her to undertake an unpaid work placement at the National Museum of Wales where she will have the opportunity to broaden her skills by working on contemporary pictures.

Alan Floyd coachbuilding QEST Iliffe Family Charitable Trust Scholar

Alan has developed his skills as a coachbuilder over many years but he would still like to improve his skills in some areas within the craft. The Scholarship will allow him to work directly with Jeff Moss who is recognised as being one of the finest coachbuilders in the world.

‘There is no way I could have afforded to take the work placement opportunity at the National Museum of Wales without this Scholarship. Learning how to overcome the challenges that are thrown up by contemporary pictures will be invaluable in terms of developing my skills and hopefully my career. To be a good conservator you need to know as much as possible about the painting you are working on, the artist and the chemistry behind the way different techniques and materials can be used. My ultimate aim is to work at a national museum and be the best conservator I can be.’

‘At 58 I thought my age might prevent me from getting a QEST Scholarship, so I was really pleased to hear that I had been successful. My father taught me welding and I have been making panels for cars for 40 years, but the thought of studying with Jeff Moss who is a true artisan is very exciting. I love coachbuilding far too much to retire, so I hope I’ve got another 30 years of work left in me. My dream would be to build a complete body for a Jaguar D-Type!’

Jojo Wood clogmaker QEST Ernest Cook Trust Scholar

A few years ago Jojo met Jeremy Atkinson, the last clogmaker in England. Since then she has fallen in love with his craft and her Scholarship will allow her time to train with Jeremy so that he can pass on his lifetime of knowledge.

‘There used to be thousands of clogmakers in England but now there is one. Many Lyanne Nicholl, Executive Director of QEST people think that clogs are all based on the stereotypical Dutch design but they aren’t.

Jeremy makes everything from high boots to clogs that look more like a contemporary

woman’s shoe. Every pair is bespoke and can last a lifetime. Jeremy couldn’t afford to spend hours and hours teaching me all the skills I need to learn to become a master clogmaker, so my Scholarship will save the craft from extinction. Jeremy is now in his 60s and he is absolutely over the moon that he can pass his skills on. One day I hope I will be able to teach someone else. Who knows? Maybe clogmaking is set for a comeback!’ www.jojo-wood.co.uk

QEST

Scholars

Melanie Lewiston Millinery QEST Leathersellers’ Company Scholar

Melanie applied to the Royal College of Art to study millinery after winning the Worshipful Company of Feltmakers design award in 2012. Her Scholarship will help her pay off her remaining fees.

‘I began studying millinery at an evening class in 2011. It was only after I won the Worshipful Company of Feltmakers design award in 2012 that I decided to apply to the Royal College of Art to take an MA. My Scholarship from QEST will enable me to finish my final collection. I sculpt my own blocks on which I create unique headpieces, often using antique fittings which adds to their individuality. I can now look forward to developing my skills and eventually working towards having my own business premises.’

Emily Juniper Bookbinding QEST Clothworkers’ Company Scholar

Emily is in her second year of an MA in Illustration and Authorial Practice at Falmouth. Her Scholarship will help support her tuition fees as well as course materials that she needs to get as much out of the course as she possibly can.

‘I take on commissions which include bespoke bindings for anything from a wedding service to an illustrated story, but my Scholarship has eased a lot of financial pressures. I love working in French silk as well as leather and my aim is to make each binding tell its own story and reflect whatever words or drawings it contains.’ www.juniperbespokebooks.com

Jade Crompton 3D ceramics and digital design QEST Rumi Foundation Scholar

Jade uses 3D printed moulds designed on a computer to create plaster moulds for slip casting.

She is working towards her Degree Show in October at The Baltic Creative in Liverpool.

Her Scholarship will enable her to finish paying off her tuition fees, as well as help her to buy materials and meet the exhibition costs associated with completing her Masters course.

‘I’m chuffed to bits to have been awarded a Scholarship! It will mean that I can now focus on my work without worrying so much about money. If I weren’t able to finish paying for the course I wouldn’t have been able to graduate. Once I finish my MA I hope I will be able to carry on my research in 3D ceramics and pursue my dream of launching a commercial range of ceramics.’ www.jadecromptonceramics.co.uk

Issue 32 Summer 2015

Amelia Crowley-Roth Wood Carving QEST Radcliffe Trust Scholar

Amelia is a talented wood carver who is finishing her course at City & Guilds of London Art School. Her Scholarship has enabled her to pay off the remainder of her fees and fund the materials she needs for her final show.

‘I was totally amazed when I heard I had received the Scholarship. It enabled me to finish my course and now I have just managed to secure a small studio in Peckham that I am sharing with someone else on my course. I hope to continue to take commissions and restoration projects in the future so I can continue to develop my skills.’

Claire Barrett

www.londonwoodcarving.com

Heraldic Drafting QEST Scholar

Claire has worked as a bespoke embroiderer for several years and now runs her own business, Hawthorne & Heaney.

After becoming increasingly aware of how difficult it was to find anyone capable of heraldic drafting, she applied for a Scholarship to learn the skill herself. As well as helping to grow her business, Claire will be doing her bit to preserve the dying art.

‘Learning heraldic drafting would further my career significantly. Only a handful of people still practice the skill today – either in this country or elsewhere – and it would really help me achieve my long-term goals of growing my business and ensuring that all the embroidery we do is created in this country.’ www.londonhandembroidery.com

Sam Elgar Stonemasonry QEST Kirby Laing Foundation Scholar

Though he is already an award-winning stonemason, Sam had been struggling financially while developing his skills. His Scholarship will help to support the three-year architectural Stone Carving course at the City & Guilds of London Art School.

‘When I heard that I had received the Scholarship, I was so elated. I have already had to sell my beloved motorbike and it is big financial weight off my shoulders! At the moment I am hoping that I may be one of the team sent out to help restore the Royal Palace in Berlin. It is four times the size of Buckingham Palace and there will be plenty of opportunities to learn new skills from the craftsmen there.’

SCHOLARS Issue 32 Summer 2015

QEST supports the education and training of talented craftspeople in order to ensure sustainability of traditional craftsmanship within Britain.