Issue 36 Summer 2017
Issue 36 Summer 2017
The Kingsley movement by QEST Johnnie Walker Scholar Craig Struthers
THE QUEEN ELIZABETH SCHOLARSHIP TRUST MAGAZINE
In this issue QEST Scholars 2017
Private View QEST Scholar Bob Johnston
My QEST Trustee Fiona Rae
Celebration of Craft at the V&A
QEST
Chairman’s Letter
Welcome to the Summer 2017 Edition I am honoured to announce that HRH The Prince of Wales has become Patron of QEST. With Vice Patrons Lord Snowdon and Lord Salisbury, QEST is thrilled to be associated with three such ardent and active champions of craft.
Nick Crean, QEST Chairman
His Royal Highness has always shown a keen interest in QEST. Scholars and supporters were invited to Clarence House to celebrate the success of the QEST Diamond Jubilee Appeal, and again for a reception in the gardens to present 2015 QEST Scholarships and Apprenticeships and view an exhibition of their work. The Prince of Wales is a long-standing advocate of the importance of heritage skills and craftsmanship and his commitment to transforming lives through his charitable interests, particularly youth opportunity and education, is well known and respected. I hope, therefore, our new Patron will be heartened to read in this issue how many QEST Scholars and Apprentices are not only forging careers in their chosen crafts, but also passing on their skills to others. We also hear from
HRH The Prince of Wales presenting JoJo Wood with
QEST Magazine is published with the kind support of our advertisers.
QEST Ernest Cook Trust Scholarship (2015)
QEST is greatly encouraged by this virtuous circle of craft in maintaining a vibrant community of makers and conservators, which is only possible with the continued support of our donors, including Royal Warrant holders, livery companies, trusts and individuals. Thank you all and please do spread the word.
Nick Crean QEST Chairman
QEST
Royal Warrant Holders Association
Patron
President Nick Farrow
HRH The Prince of Wales
Richard Peck
The Earl of Snowdon The Marquess of Salisbury
Executive Director
Nick Crean, Prestat
Deborah Pocock LVO
Trustees Mark Henderson, Gieves & Hawkes Steve Macleod, Metro Imaging Alec McQuin, Rokill Fiona Rae, Goldsmith and Enameller Neil Stevenson, N.E.J. Stevenson
Julie Deane, OBE Sir Bryan Nicholson, GBE Scott Simpson
@QESTcraft
Media Enquiries Eve Lacey Ideas Network +44 (0)20 7351 4719 eve@ideasnetwork.co.uk
QEST Office
Chairman
Ambassadors
Design and Print Farrows farrows.co.uk
Secretary
Vice Patrons
Registered Charity No.1152032
Matthew Read, a craft tutor at West Dean College, on the vital importance placed on vocational outcome for their students.
Development Officer Natalia Guidorzi
Queen Elizabeth Scholarship Trust
Applications & Events Co-ordinator
1 Buckingham Place
Kerry Whitehead-Dymond
London SW1E 6HR
Communications Officer Guineviere Nicholas
QEST Magazine
+44 (0)20 7798 1535 info@qest.org.uk qest.org.uk
Editor Karen Bennett, Keysmith kb@keysmith.co.uk
queenelizabethscholarshiptrust
qests_craftspeople
justgiving.com/qest
QEST
Scholars 2017
QEST Scholars 2017 Craftsmanship was centre stage at the Royal Warrant Holders Association Annual Luncheon at the London Hilton in June.
Guest speaker and QEST Vice Patron Lord Salisbury congratulated the new QEST Scholars and Apprentices, and certificates were presented by QEST Chairman Nick Crean and RWHA President Nick Farrow. These talented craftspeople produced an outstanding display of British craft, including Britannia sculpted in ice by QEST Apprentice Nick Smith, that was viewed by Royal Warrant holding companies and their guests over a glass of Pimm’s. The 20 QEST Scholars awarded this year came from around the UK - Taunton, Brighton, London, Nottingham, York, Cardiff, Edinburgh and more - and
QEST 2016 Apprentices and 2017 Scholars
included five postgraduate students at the Royal College of Art (four completing MAs and one MPhil), and another an MA at Edinburgh College of Art. A building conservator is returning to his MSc at Herriot Watt, a stone mason heading to the City & Guilds of London Art School, which offers the UK’s only Diploma in Architectural Carving, and a joiner to a furniture course at West Dean College. Eight are seeking tuition from masters of their crafts, including upholstery, bookbinding, enamelling and watch case making; three are Italy-bound (Florence and Carrara) and one is heading to Sydney to bring back specialist knowledge to the UK. We are filled with optimism for their future careers in a wide range of traditional and contemporary crafts. With thanks to the generosity of the donors, sponsors and supporters for enabling this wealth of craft education and training, meet the 2017 QEST Scholars…
Nick Farrow, QEST Garfield Weston Scholar Frances Pinnock and Nick Crean
Lord Salisbury and QEST House of Fraser Scholar Matthew Briggs
Issue 36 Summer 2017
CELIA DOWSON QEST TOM HELME SCHOLAR CERAMICS
Following a first-class BA (Hons) in Ceramic Design from Central Saint Martins and a study period in Florence focusing on Renaissance sculpture, Celia Dowson is specialising in ceramics at the Royal College of Art. QEST and Tom Helme are supporting Celia by covering the fees for her final year on the Ceramics & Glass MA programme, through which she is pushing the boundaries of her material knowledge, exploring surface and form, and developing her creative response to different artistic cultures and the natural world.
“The RCA is such an inspiring environment. I feel fortunate to see how fellow students practice the craft and privileged to have the time and resources to develop as a ceramic designer and sculptor and strengthen the commercial aspect of my work.”
celiadowson.co.uk celiadowson_ceramics
MATTHEW BRIGGS QEST HOUSE OF FRASER SCHOLAR KNITTED TEXTILES
Matthew Briggs is studying for an MA in Knitted Textiles at the Royal College of Art. He has relished the exposure to multidisciplinary and collaborative methods in his first year. He is gaining extremely specialist knowledge, from competency with Shima Seiki design software and Dubied knitting machines to expertise in colour, materials and finishes of fabrics. In the final stages of the course, Matthew will work with luxury Italian house Loro Piana to create a collection of knitted cashmere fabrics.
“Without QEST and House of Fraser’s support for my second year of study I would miss this crucial stage of my education. I can now focus on a major 3D design project to achieve my MA before going on to practice professionally and promote British knitted textiles globally.”
matthewbriggsstudio.com
JAMES BANHAM QEST SCHOLAR WOOD – CARPENTRY
James Banham started at the Sandringham Estate in 2006. Having completed a joinery apprenticeship and NVQs at the College of West Anglia, he began applying his skills making and repairing joinery for the Estate properties. More recently James has been working with the Sandringham House foreman learning cabinet making and furniture repair and assisting with major works in the House. An advanced course in furniture making at West Dean College will help James to develop design ideas and refine his bench skills with one-to-one tuition.
“Everything I learn on this course will contribute to the diverse mix of craft skills essential for running the historic Sandringham Estate, and help to preserve the joinery and furniture for the public to enjoy.”
sandringhamestate.co.uk
QEST
Scholars 2017
LILY MARSH QEST HOWDENS SCHOLAR STONE - ARCHITECTURAL CARVING & SCULPTURE
In 2016, Lily Marsh completed the Building Craft Apprenticeship with the Prince’s Foundation for Building Community; during the Live Build phase she carved a decorative plaque for a pavilion on the Dumfries House Estate. Currently working as a stone mason in London, she is set on furthering her education and becoming a role model for women in the industry. QEST has agreed to fund two years’ study at the City & Guilds of London Art School, which has an unbroken tradition of teaching sculpture and stone carving since it was founded in 1879. “Graduating from such a well-regarded institution will be so important for my work restoring historic buildings. I will now be able to dedicate my term-time to carving, only taking paid employment as a stone mason in the holidays to cover living costs.”
lilymarshstonemason
JOHN SUTCLIFFE QEST KIRBY LAING SCHOLAR STONE CARVING & SCULPTING John Sutcliffe’s stonemasonry career has taken him from St. Pancras Station to Gloucester Cathedral and York Minster, where he worked on the restoration of the East Front and Great East Window. Dedicated to mastering his craft through work and study in a range of environments, John is about to complete a two-year postgraduate course in Historic Carving at the City & Guilds of London Art School.
Assisted by QEST and The Kirby Laing Foundation, he will continue to the Nicoli Sculpture Studio in Italy for a marble sculpture workshop. “I was awarded The Brinsley Ford Travel Prize, which enabled me to draw and research in Rome. I visited the Nicoli Studios in Carrara and was captivated. They have a UNESCO-recognised collection of casts and it will fulfil a dream to learn from Italian masters in one of the most demanding carving materials.”
studidiscultura.it
SARAH STEVENS QEST WORSHIPFUL COMPANY OF SADDLERS SCHOLAR SADDLERY
Saddlery is a second equestrian career for Sarah Stevens, who started out training horses and riders. Her business is now in its fourth year and, as a master saddler and harness maker, she has taken on her first full-time apprentice. Sarah has won classes in the Society of Master Saddlers National Saddlery Competition and made a prize-winning side saddle, but currently spends most of her time on fittings. Keen to rekindle her creative talent, she will use the funds to learn how to restore gun cases with leatherworkers MacGregor & Michael before taking a course on making from scratch.
“It is important to increase my leatherwork specialisms so I can give my current and future apprentices a fully rounded skill set. I am also looking to run short courses for hobby saddlers and people considering joining the trade.”
sessaddlery.co.uk SES-Saddlery
Issue 36 Summer 2017
FRANCES PINNOCK QEST GARFIELD WESTON SCHOLAR CORDWAINING
There is a magic in bespoke shoemaking - its heritage, the process of making, manipulating leather and the craft’s standing in the UK - that captivates Frances Pinnock. Opportunities for schooling in handsewn construction are rare, but now Frances has reached an advanced stage through evening classes, Carréducker London has offered intensive one-to-one training to help her progress to a professional standard. She will be immersed in the craft until traditional English hand-welted shoemaking becomes second nature and her own style develops. “QEST helped Deborah Carré kick-start her career 12 years ago. I am very grateful for similar support that will enable Deborah Carré and James Ducker to teach me. I hope to emerge as a modern journeyman shoemaker, and eventually ambassador and educator for the next generation.”
carreducker.com
francespinnock
HEIDI BROAD QEST ANA SCHOLAR REALIST & PORTRAIT PAINTING
Heidi Broad’s ambition is to become a professional realist painter and in time a leading British artist collaborating with other contemporary artists and exhibiting at Biennales worldwide. In 2016, she was offered a place at The Florence Academy of Art, one of the most prestigious schools in Europe, but did not have the financial backing to accept. QEST has removed this barrier and Heidi will soon begin the curriculum with measurement, proportion and shadow shape. “A distinguishing characteristic is that all students must work from life under natural north light in the tradition of the masters and learn to translate in a way that is both anatomically accurate and artistically beautiful. I’m sure this will give me great confidence in front of every blank canvas.”
florenceacademyofart.com
QEST
Scholars 2017
MATTHEW COOK QEST SCHOLAR CONSERVATION & RESTORATION - ARCHITECTURAL STONEMASONRY
Matthew served his apprenticeship as a stone mason and stone carver at York Minster cathedral. This included placements at Canterbury, Lincoln and Gloucester Cathedrals and local quarries, and vocational qualifications at York College and Gloucester University. Continuing professional development ensures Matthew and his practice, Cook Masonry, remain at the cutting edge of historic building conservation. He is working towards an MSc in Building Conservation with Heriot Watt University and has achieved merit or distinction on all examinations to date. QEST will provide the financial support Matthew requires to complete his tuition.
“The subject matter is ideally suited to my needs and flexible distance learning allows me to continue working. It also means I can put everything into practice immediately, proposing and implementing the best solutions for historically and architecturally important buildings.”
cookmasonry.co.uk
AMIEL CLARKE
ELLIE WYATT
QEST SCHOLAR
QEST SCHOLAR
CONSERVATION & RESTORATION
ART - PRINTMAKING
– EASEL PAINTING CONSERVATION A committed conservator, Amiel Clarke is on a mission to deepen her competence and broaden her expertise beyond initial training in the treatment of European Old Master paintings. She has secured internships with Modern Art Conservation in New York and The National Galleries of Scotland. QEST will support Amiel (endorsed by Rupert Featherstone ACR, University of Cambridge) to spend six months at the Art Gallery of New South Wales in Australia
learning to face challenges posed by modern works and Aboriginal art. “The UK is full of contemporary art from Bacon to Banksy that has and will require intervention. Working with new materials and technologies in Sydney will put me on course to do this. I will also experience the interdisciplinary nature of working to exhibit museum quality paintings in house and abroad.”
hki.fitzmuseum.cam.ac.uk artgallery.nsw.gov.au
Printmaking is diminishing at many educational institutions and print rooms are becoming increasingly expensive and exclusive. Ellie Wyatt is determined to keep the processes and philosophy of her craft alive. Backed by QEST, Ellie is undertaking an MA in Print at the Royal College of Art. She will build her knowledge through practice-led research in lithography, etching, photoetching, relief and digital print. Her particular interest is how screenprinting,
usually associated with mass reproduction, can be used to create unique prints. “The rich experience of an RCA Masters - engaging with a dynamic community of tutors, students and visiting practitioners reassessing the place of traditional print processes – will be the strong foundation on which I can establish my own print studio and work as both artist and educator.”
elliewyatt.com elliewyatt_
Issue 36 Summer 2017
MARIE DOINNE
HARRY FORSTER-STRINGER
QEST ERNEST COOK TRUST SCHOLAR
QEST BENDICKS SCHOLAR
BOOKBINDING
JEWELLERY – ENAMELLING
Bookbinder Marie Doinne is working independently for small studios that specialise in commissions from menus to portfolios and presentation books. She is in the process of opening her own studio and is keen to expand her technical repertoire and acquire high-level skills for fine binding. Through specialist courses and private tuition, Marie will consolidate and structure her existing knowledge and develop a practical understanding of advanced techniques. This will enable her to
offer bespoke books and boxes to galleries, museums and architects and run her own bookbinding courses. “Fortunately expert bookbinders appreciate younger people wanting to learn the craft and are willing to pass on their knowledge. Learning through making alongside these masters at this stage in my career will be invaluable and stay with me for life.”
folioatelier.co.uk
CANDICE LAU QEST WORSHIPFUL COMPANY OF LEATHERSELLERS SCHOLAR LEATHERWORK
Candice Lau has integrated her skills as a graphic designer and love for leatherwork learned at the London College of Fashion and Alri Workshop in Hong Kong to create her own brand of leather bags and accessories. The QEST Worshipful Company of Leathersellers Scholarship will make it possible for Candice to attend renowned Italian school of leatherwork, Scuola del Cuoio. She will spend three months in Florence studying the theory and practice of traditional hand production from tanning to pattern cutting to finishings. “This is a timely opportunity to develop further as a leatherworker to fulfil some challenging commissions that are coming my way, and to create some thoroughly considered new work away from the day to day pressures of running a young leathercraft business.”
studiocandicelau.com
@studiocandice
studiocandicelau
Harry Forster-Stringer entered the trade at 16 as a trainee goldsmith in Birmingham. Mostly self-taught since these early days, Harry is now an award-winning jeweller working in silver, white gold, platinum and palladium. The QEST Bendicks Scholarship will fund a three-week enamelling course during which he will focus on the complexities of enamelling at scale. The skills learned will be valuable as he turns his hand to making larger precious metal objects that
incorporate all the disciplines he has mastered during his 30-year career. “Following this series of masterclasses I will help to ensure the skill is not confined to history by incorporating the knowledge into my own work and teaching at The Goldsmiths’ Centre, Guild of Enamellers and The Hand Engraving Association. I hope to take on an apprentice too.”
harryforsterstringer.com
Scholars 2017
Photograph: Dave Usher
QEST
CRAIG STRUTHERS
HANNAH TOUNSEND
QEST JOHNNIE WALKER SCHOLAR
QEST HOWDENS SCHOLAR
HOROLOGY
CERAMICS
Craig Struthers founded Struthers London with his wife and fellow watchmaker Rebecca. They offer bespoke watchmaking and restoration, recommission heritage movements rescued from the bullion industry as modern timepieces and are working on their first in-house movement. Craig has the skills of a master watchmaker, but concern for the vanishing trade of case making (the few remaining makers are sole traders approaching retirement) has prompted him to devote time to learning with Adam Phillips,
whose wealth of knowledge gathered over 30 years as a goldsmith would otherwise be lost. “Already having experience in the field will allow me to refine the skills - joint making, soldering, machining and finishing - relatively quickly and put them to use watch case making from sheet precious metals in our workshop, and in the future train apprentices.”
struthers-london.co.uk @StruthersLondon strutherslondon StruthersLondon
Hannah Tounsend creates vessel forms that express the layered landscapes of the British coastline. Marks, lines and diffuse colours are built up, cut through and dissolved away referencing the endless remaking of the shore.
“Becoming the pioneer of this new craft making methodology and extending its parameters through postgraduate study will move my career into an exciting new phase and contribute to excellence in the British craft industry.”
To achieve this effect, Hannah has developed a unique technique combining the traditional ceramic disciplines of throwing and slip casting. This has huge artistic potential, which the QEST Howdens Scholarship will enable Hannah to explore during an MPhil at the Royal College of Art.
hannahtounsend.co.uk hannah_tounsend
CARA LOUISE WALKER QEST PENHALIGON’S SCHOLAR GLASS BLOWING, CASTING & SILVERSMITHING
Photograph: Alan Clark
Winner of the London Glassblowing Award for Emerging Talent in 2015, Cara Louise Walker is now midway through the Master of Fine Arts programme in Glass at Edinburgh College of Art. With the QEST Penhaligon’s Scholarship covering her final year tuition fees, Cara Louise can focus fully on using traditional methods and new technologies to investigate how glass behaves in combination with materials such as metal and stone, and further develop her skills in glass casting.
“The glass community in the UK is small, but very supportive and has inspired me to work towards opening my own studio in Glasgow. My course electives include business skills, which will be vital to this and becoming a wellknown designer maker and future teacher.”
designsbycaralouise.com caralouisewalker designsbycaralouise
Issue 36 Summer 2017
PHOEBE CORKER-MARIN QEST GARFIELD WESTON SCHOLAR TEXTILES - DOLL MAKING AND EMBROIDERY
Described by Paul Deller, head of art at Christ’s Hospital, as one of the most innately talented students he has worked with in 25 years of teaching, Phoebe Corker-Martin has a kinship with textiles and a flair for making. She feels the characterisation of dolls as a form of sculpture is overlooked. Studying screen printing, sublimation printing, embroidery and pattern cutting at the Royal College of Art is greatly enriching her work in this direction.
“I am thrilled to receive this QEST Garfield Weston Scholarship from QEST to further my exploration of textiles. With the expert guidance of the tutors, resources and community at the RCA I aim to build a strong technical foundation to push my figures forward and support myself as an artist.”
phoebecorkermarin.com miss.corkermarin
THEA SANDERS
ANTON CATALDO
QEST SCHOLAR
QEST CHARLOTTE BONHAM-CARTER
KNITTED TEXTILES AND UPHOLSTERY
CHARITABLE TRUST SCHOLAR FINE ART
Somerset knitwear designer Thea Sanders, graduate of Nottingham Trent University and winner of the Visionary Knitwear award at Graduate Fashion Week 2013, loves working with colour and pattern to create unique knit stitches. Thea applied to QEST to fund 100 days of training over two years at Stewarts Traditional Upholstery in Devon. She will learn to combine her highly developed abilities in knitted textiles with interior and furniture design to create bespoke, one-of-a-kind pieces.
“An initial 10-day course has fuelled my enthusiasm. I look forward to developing bright, intricate, hardwearing textiles and becoming confident in my new hybrid craft to build a commercially viable portfolio from crochet foot stools to knitted chair seats and cushions.”
thearose.com thearoseknitwear
Over the last decade it became increasingly apparent to artist Anton Cataldo that learning traditional drawing skills would help him source a wider variety of commissions and have a valued skill to pass on. Anton is now studying the sight-size method, training his eye through rigorous looking and measuring, working from casts and figure. In turn, this Scholarship will support Anton’s tutor Jason Tremlett, a young Brighton artist striving to make the atelier system accessible to those not
able to study at the famed Charles H. Cecil Studios in Florence. “I hope my newly acquired skills will show the benefits of traditional methods employed in contemporary practice and help with the current movement from conceptual work to a more craft driven aesthetic.”
antoncataldo.com
QEST
Private View
PRIVATE VIEW
Bob Johnston Rural Craft
QEST Scholar 2004
Based in Bangor, County Down, Bob Johnston has been creating traditional and contemporary willow baskets, sculptures and living structures since 2000. How did you start out? I trained as a textile weaver, but soon after college I saw an exhibition of exquisite basket work by David Drew and was fascinated. Basket work is surprisingly like weaving; it’s interlacement of fibre, just of a different type. How did you find out about QEST? Megan McManus, Crafts Curator at the Ulster Folk Museum where I was a guide, encouraged me to apply. Little structured learning in basketry remains and there are few apprenticed master craftsmen. Learning from these experts involves one-to-one tuition in their workshops, which understandably is expensive. I was passionate and wanted to learn from the best, but could not afford the cost. QEST, keen to help progress traditional crafts, was the perfect solution in my pursuit of excellence.
QEST is life changing beyond the initial financial help for education
How have you benefitted from your QEST Scholarship? I think before you can play with any craft you must understand your raw material and master the traditional skills. I studied with master basket makers in Armagh, Galway and Villaines-lesRochers, France. This gave me so much confidence
and freedom - I now know exactly what I can get out of the willow and what I want it to do. QEST is life changing beyond the financial help for education. Becoming a QEST Scholar is a recognised quality mark that has given me and others confidence in my ability. It also offers unique opportunities, promotion and important contacts, and I’ve met many talented craftspeople. How have you developed your craft practice? I love creating sculptural animal willow heads as they show an ‘old’ material in an innovative and exciting way. I study images and gather accurate measurements, then my experience, skills and techniques combine to influence each piece. I get to learn and develop every day as customers bring new challenges with their requests. What was your first animal sculpture? The designer of a sensory garden at a special needs school in Belfast asked me to make a pig, sheep, cat and peacock. They had to be realistic and tactile, and sensors in the paths triggered animal noises when wheelchairs went over them. Publicity from the garden resulted in requests for animal trophy heads; everything spiralled from there. What do you look for in the willow? I adore colour and always look for something a little different that will help the finish. Working quality is important too - the more flexible, the easier it is to work with. The size of rods also needs to be correct and the texture of the bark can be interesting, but must be free of blemishes and side shoots.
I grow my own as much as possible, over 40 varieties. The willow is harvested in winter when the plant is dormant after a season’s growth and is cut close to ground level, so it’s cold, slow, back-breaking work. But also exciting! The colours of the rods are inspirational and I often spend this time thinking about what I can make. How do you capture the sense of movement, expression and personality? I want my work to look like it could burst into life at any moment: full-size, realistic, beautifully coloured and filled with personality. Willow is a marvellous material to work with and I try to draw with it. I love the flow you can weave into sculptures and always try to work with the muscle structure. I adore a bit of attitude. I wove a flash of anger into a Great White Shark head and the customer was thrilled that it terrified the children! Have you made any animals that you can’t part with? None. My next piece is and always should be my best work and most exciting piece. How important is being in County Down to your work? It is a wonderful, peaceful place to work. Bangor is a stunning coastal location with a rich, diverse creative community and my workshop is in a beautiful garden designed and planted by my wife Julie. Commissions come from all over world, so my animals have travelled far and wide from here. They’re in ski lodges in Switzerland, restaurants in the US, collections in museums and galleries from the Ulster Museum and Royal Dublin Society to
the Smithsonian Center for Folklife & Cultural Heritage in Washington DC. They’ve even appeared in Game of Thrones and I recently made a willow bus sculpture for Waterfront Hall in Belfast. A little Corgi for HM The Queen tops them all though. Are you passing on your skills to others? This is extremely important for the craft and for me. I run courses once a month covering traditional shopping baskets to sculptural pieces, and always find I learn something myself during teaching. Congratulations on the QEST Award for Excellence – what does it mean to you? I am thrilled! The list of QEST alumni is breathtaking so it is truly an honour. I am proud and grateful for this and all the help I have received from QEST. It is a privilege to be a QEST Scholar and part of what it means to be recognised for exhibiting quality and excellence in willow craft. Last year I made a Rhino Trophy Head for the QEST Celebration of Craft at the V&A and a life-size Irish Moiled Bull that was auctioned at Where Craft Meets Art at Christie’s. Having benefitted enormously, I was delighted to give back so QEST can continue assisting craftspeople to keep skills alive and become the best that they can be. bobjohnstonbaskets.co.uk
QEST
Craft Tutor
MAKING THE GRADE
QEST has funded 17 Scholars to study at West Dean College
Matthew Read with Anglesey Abbey’s Pagoda Clock
QEST has funded 17 Scholars to study at West Dean College. Matthew Read MA ACR, programme leader for clocks and related objects, explains how they place great emphasis on vocational outcome and why the alumni are among the most sought-after in the world. PROFESSIONALLY-MINDED PRACTITIONERS Craft is vital, but bench skills alone do not sustain a career; our graduates need contextual awareness. We immerse them in live projects - our clocks programme is the only one that teaches through working on historic objects – and regular professional practice for the tutors too not only keeps us fresh and relevant, students love to see us working and it is important they grasp the professional pace that will be expected of them. We also engender
objectivity and the ability to speak the language of a range of public and private sector clients. FLEXIBILITY Hyper-subject specialisation is rarely seen as essential during early career; wider views and skills increase vocational viability. We nurture a rich environment for interdisciplinary research and give all our Foundation, Diploma and Masters students the chance to explore other crafts on our short courses (fees are waived, they pay only for materials). We also make sure they can wear the other hats required of a conservator in a museum today, curatorial and front of house. MAKING West Dean College ‘School of Conservation’ doesn’t convey the whole story. We spend a lot of time making. All Foundation students make an 18th century-inspired clock from
scratch, developing both machine and hand-tool skills. This experience creates a deep respect for the nature of the piece and the processes and people who first made it, which turns out thoughtful preventative conservators. NETWORKS Our students start building contacts well before they graduate. Our academic staff have broad experience before teaching (I was a retailer and conservator and worked at the Greenwich Observatory and for the National Trust). This gives us extensive connections with employers in the heritage sector and West Dean College has active links including with The British Museum, The National Archives, BADA and Plowden & Smith. We have a relationship with a private museum in London that offers bridging opportunities for employment; many new graduates work
Issue 36 Summer 2017
Dale Sardeson, FdA Historic Craft Practices – Clocks
for the museum and use the facilities for their own projects. We would welcome more of these partnerships. QEST plays a valuable role too. It provides affirmation of a Scholar’s work and sense of community that nurtures career progress. This is exemplified by two of my former students, both QEST J Paul Getty Jr Charitable Trust Scholars. Jonathon Kelly (2014) is repairing and restoring fine clocks by makers such as Joseph Knibb at Carter Marsh & Co in Winchester, and I’m thrilled that Tim Hughes (2012), who had such an enthusiasm for the Hindley Telescope that he trained on at West Dean, is expanding his work at clock restorers JE Allnutt & Son to incorporate scientific instruments.
QEST J Paul Getty Jr Charitable Trust Scholar Jonathon Kelly
westdean.org.uk Pagoda Clock from Anglesey Abbey, National Trust
QEST J Paul Getty Jr Charitable Trust Scholar Tim Hughes
QEST
Craft Council
CRAFT COUNSEL What does being a QEST Skills Advisor involve? Assembled to assist QEST Trustees, we are experts in a spectrum of crafts: Savile Row Bespoke Director Su Thomas; Sandra Smith, Head of Conservation at the V&A; sculptor Corin Johnson; fashion designer Sheila McKain-Waid; QEST Scholar turned luthiery advisor Shem MacKey (1998); and Richard Thompson, who heads a team of craftsmen and conservators as Palace Foreman. We also embody craftsmanship as symbolised by the Royal Warrant of Appointment. I am proud to represent Mappin & Webb alongside Cathy Littlejohn from Hare & Humphreys, Adrian Paye of PAYE Stonework and Restoration, Ray Dudman of W. Thomas Restorations, and Joanne Cooper, director of Sewing Industries and Vice President of the Sandringham Association of Royal Warrant Holders.
QEST has become a hallmark for top quality craftsmanship
Mark Appleby of Mappin & Webb and Director of Hatton Garden Services has worked in the jewellery trade for 34 years. In 2001, he set up Mappin & Webb’s first jewellery workshop where he oversees skilled mounters, setters and polishers. Mark became a QEST Skills Advisor in 2013.
We bring knowledge of education in our sectors and have a sense for those who will turn their craft into a successful career.
investment we need to know they will be applied and progressed to keep British craft thriving.
How do you assess QEST Scholarship applications? Skills all tend to be strong, so we consider additional factors. This year glass blower Cara Walker showed great progression in her work, an indicator of a bright future. Master watchmaker Craig Struthers has secured a priceless opportunity to be trained in the endangered skill of case making; he must seize this now before it’s too late. We also look to help those with well-rounded skills to develop a specialism, such as jeweller Harry Forster-Stringer who will learn advanced enamelling.
And potential QEST Apprentices? Their skills are raw, so we’re looking for passion, awareness of the demands of their craft trade, initiative and commitment. We also make sure the employer will nurture the apprentice to a professional standard.
It is essential that applications are rooted in a sound career or business plan. Acquiring new skills is fantastic, but to justify QEST
QEST Apprentice Ricky Telford (2016), an outstanding jeweller in the making, was an ideal candidate. His work was exemplary for his age, he’d bought tools and found a job in Hatton Garden. I was delighted that QEST could reward his talent and determination by supporting his diamond and gemstone setting training with Marco Cuomo. I see in our workshop how QEST Hedley Foundation Apprentice Sam McMahon (2015) is benefitting too. His bench skills are coming on, he’s mentored by Crown Jeweller Martin Swift, and is learning commercial aspects through The Goldsmiths’ Centre. How important is QEST in supporting British craft excellence? QEST has become a hallmark for top quality craftsmanship. The title QEST Apprentice or Scholar is an endorsement of ability and, together with the RWHA, opens doors to employment and has led to the creation of many small businesses. It is our aim as Skills Advisors to ensure this reputation grows and that the letters QEST are as meaningful as any MA. mappinandwebb.com
Mark Appleby with QEST Hedley Foundation Apprentice Sam McMahon
Issue 36 Summer 2017
HANDING ON THE QEST CIRCLE OF CRAFT QEST alumni are committed to passing on valuable knowledge and skills. Eight are training a fellow QEST Scholar or Apprentice, and here’s a snapshot of the tutoring, masterclasses, workshops and professional courses that are taking place, alongside news from their own craft practices.
Thomas Merrett (2014) sharing the experience from his QEST Garfield Weston Scholarship in Florence with stone carving student and QEST Kirby Laing Scholar John Sutcliffe (2017) at the City & Guilds of London Art School.
There was nowhere in the UK for pargeter Anna Kettle (2001) to study the delicate skill of freehand modelling in lime plaster, but her QEST Scholarship enabled her to study in Venice. Anna is currently working on the renovation of an old farmhouse near Bedford with her second apprentice, Liam Podbury. Alongside Anna he is learning about breathability, lime, bricks and timber. At the start of the external pargeting season in April, Fellows of the Society for the Protection of Ancient Buildings joined Anna and Liam for a day learning about the theory and practice of pargeting while modelling ornamental Spring and Summer designs above the dormer windows. kettlenet.co.uk
Liam Podbury, apprentice pargeter to QEST Scholar Anna Kettle
Jennifer Gray (2010), a graduate of the Glasgow School of Art and RCA, is undertaking a PhD exploring how the craft and design processes of re-making can be used to gain new perspectives on historical objects. Jennifer also lectures at the Design School of Edinburgh College of Art and has made a University of Edinburgh Skyline Scroll that is given to benefactors. Adapted from a drawing by Jewellery & Silversmithing student Karolina Baines for a Year 3 competition, it represents the architecture of the University from 1583 to the present day and the gilding glowing through the windows suggests the learning taking place inside. jennifergray.co.uk
jennifergraydesign
University of Edinburgh Skyline Scroll by Jennifer Gray
QEST
Handing On
laurawest.com logie.co.uk
Photograph: Sim Canetty-Clarke
Laura West (2000) is a bookbinder specialising in traditional and contemporary hand-sewn books - most recently a one-off, handwritten tasting notebook for a Lagavulin whisky charity bottling - at her Isle of Skye bindery. Twice a year Laura is resident at Logie Steading, an estate near the Moray coast that’s home to artisan makers and retailers, to run three-day courses. At a Library Style Masterclass she guides students through the 40 steps of this process, well-suited to long lasting visitors’ books and journals and cookery books in regular use. Her Book Restoration Workshop covers restoring and Twice a year Laura stabilising paper and is resident at Logie cloth bound books and Steading, an estate near how to breathe new life the Moray coast that’s into old favourites.
home to artisan makers and retailers
Isle of Skye bookbinder Laura West (2000)
Handbag design and making with Katherine Pogson
15th century German style gauntlet under construction at Graham Ashford’s Greenleaf Workshop
Katherine Pogson (2011) set up Designer Courses in 2005. She provides emerging designers and start-up businesses with bespoke training and consultancy on sourcing materials, range planning, pricing and approaching manufacturers. She also offers tuition in specialist techniques for leather accessories. Making a replacement for a lost favourite glove – emerald green leather, silk-lined – was the catalyst for a journey of discovery. Which part of the skin for the palm? How do you deal with stretch? How to control the sewing machine in the tight space around the thumb? She believes learning by doing is best, and by working with others and passing on what she has learned, Katherine has come to love this almost forgotten craft.
QEST enabled Graham Ashford (2010) to turn his long-time hobby into a career with a three-year apprenticeship under Dave Hewitt, one of the UK’s foremost Medieval reproduction armourers. Graham now works at his own forge, Greenleaf Workshop in Hampshire, making bespoke armour and iron goods for collectors, re-enactors, museums and living historians. He opens the doors to anyone wanting to try blacksmithing for a day - perhaps making a knife, arrowhead or copper rose - or armouring (gauntlets can take up to a week) under his guidance. He also visits schools, has a mobile forge for public demonstrations, and recently taught his first course at West Dean College.
katherinepogson.com designercourses.com designercourses
greenleaf-workshop.co.uk @greenleafworks @designercourses
Issue 36 Summer 2017
Tom the Apple Man thinning blossom on an espalier fruit tree
Embroidery workshop with Mandeep Mann
Orchardist Tom Adams (2009), known as Tom the Apple Man, has rescued many varieties from once great orchards around the Welsh borderlands, including Bringewood Pippin now successfully propagated and growing well. In the winter, he runs courses on pruning and grafting from his fruit tree nursery in Oswestry in Shropshire, at local community orchards and schools, and for allotment societies and the Marcher Apple Network. The Orchard Project, the only national charity for the creation, restoration and celebration of community orchards, has invited Tom to teach on its accredited 12-day course that runs across the year to cover different seasonal skills. During the summer, Tom runs green woodworking courses from cider press making to a xylophone workshop.
Mandeep Mann (2012) is a textile designer with a first-class degree from Chelsea College of Arts; in her final year she won the Burberry Sponsor’s Prize judged by Christopher Bailey. Mandeep’s QEST Garfield Weston Scholarship enabled her to complete the MA Textiles programme at the Royal College of Art where she developed her innovative style, mixing materials to invent new surfaces and textural qualities. She is now inspiring others as a lecturer at the University of Sharjah College of Fine Arts and Design and visiting tutor at Chelsea College of Art (Dubai). Through her own practice Mandeep sells bespoke pieces to private clients including Spanish fashion label Desigual, and in May 2017 exhibited at South Asian Design at Manchester Art Gallery.
tomtheappleman.co.uk theorchardproject.org.uk
mandeepmann.blogspot.com mm_designstudio
A studio full of saws, grinders, carving spindles and micromotors as well as burrs, files and polishing pastes greets those arriving in Norfolk for Gemstone & Hardstone Carving summer courses with Charlotte De Syllas (1999). Charlotte has been creating one-off, commissioned jewellery since 1966 and is acknowledged as one of the finest artist-jewellers working in Britain today. Her carving skills are second to none. Over an intensive five days, Charlotte provides expert individual tuition based on her 50 years in the trade to guide small classes, working mostly with the chalcedony and quartz family, from rough stone to finished piece. charlottedesyllas.com
Emerald Ring by Charlotte de Syllas. Photograph: Simon B. Armitt
QEST
Handing On
Auburn Lucas (2016) was Student of the Year 2016 on the Future Tutors programme at the Royal School of Needlework (RSN) and an appliqué embroidery she created was featured in the RSN Essential Stitch Guide. In March, she was awarded a teaching sponsorship from The Crewel Work Company, for which Auburn designed and taught an Elizabethan Sweet Pea embroidery class at a retreat in the Lake District. She graduated this summer and started teaching immediately on the RSN Diploma Intensive Course and day classes at Hampton Court Palace. Auburn has also taught at the V&A, The British Library and worked on a Nicholas Oakwell Couture feather gown for the GREAT Britain campaign and artist Cornelia Parker’s Magna Carta (an embroidery). Elizabethan Sweet Pea by Auburn Lucas
auburnclaire.embroidery royal-needlework.org.uk
Potter Claudia Clare (1998) is known for her large-scale, slippainted, earthenware jars that depict everyday scenes showing the impact of major events on the lives of ordinary people. She recently joined the faculty of over 75 practising artists at the Royal Drawing School, founded by HRH The Prince of Wales and Catherine Goodman LVO, where she is teaching ceramics to students on the Foundation Year. Claudia also published Subversive Ceramics, which examines the relationship between her craft, social politics and political movements. It has been selected as an ‘Outstanding Academic Title’ by Choice, the publication of the American Library Association, and artist and writer Edmund de Waal noted “Claudia Clare’s book is a corrective: passionate, lucid, funny, beautifully illustrated and frequently surprising.” claudiaclare.co.uk royaldrawingschool.org Claudia Clare with Night Walker
As the 350th anniversary of the Battle of the Medway (second Anglo-Dutch War) approached, Grant McCaig (2009), Silversmithing, Goldsmithing & Jewellery lecturer at the University for Creative Arts in Kent, developed a project to recreate one of the battle’s iconic symbols. Staff and students joined forces with the Gerrit Rietveld Academy and Vakschool in the Netherlands to capture the enormity of the craftsmanship that went into creating the 300-yard Chain Across the Medway. The final piece, 300 yards of handmade chains assembled in the spirit of collaboration, was carried to the Historic Dockyard in Chatham by students from both nations and exhibited at the official anniversary in June, which included a visit from the Dutch Royal Family and Royal Navy and Dutch Navy vessels. grantmccaig.co.uk uca.ac.uk
Links from the 300-yard Chain Across the Medway arranged by Grant McCaig
Issue 36 Summer 2017
On completion of advanced tutelage from mural artist Graham Rust at his Suffolk studio, QEST Bendicks Scholar Nick Hobbs (2016) was invited to assist on a prestigious commission for a client in Florida. This was a golden opportunity for Nick to put into practice his refined marouflage technique on the bespoke mural work. Nick is keen to expand his own series of courses to pass on his 20 years of experience to up-and-coming artists. He will launch mural painting and trompe l’oeil workshops at the end of the year and his long-term ambition is to establish a foundation. nickhobbs.co.uk
QEST Bendicks Scholar Nick Hobbs (left) painting with mural artist and tutor Graham Rust
Artkitecture workshop with Cai Jia Eng and David Shanks
Heather Sproat (left) with a BA Fashion student at Central Saint Martins
Cai Jia Eng (2008), Head of Art at St Augustine’s Priory in Ealing, has created an inspiring environment that has led pupils to creative universities including Kingston, London College of Fashion and Central St Martins. She runs extra-curricular activities including trips to the London Art Fair for professional market insights and college foundation shows to help inform her students’ next steps, and life drawing classes to enhance portfolios for university applications. With architectural designer David Shanks, Cai Jia ran an Artkitecture workshop for younger students. They drew, made and flew kites before using the structures to create temporary buildings. Cai Jia continues her own illustration practice working with the Bingham Centre for the Rule of Law to create Citizenship resources used in 150 schools.
Heather Sproat (1997) was awarded a QEST Scholarship to spend a year studying tailoring as an observatrice at the Christian Dior Haute Couture atelier in Paris. Following three years as a designer at Louis Vuitton Malletier, she returned to London to teach at Central Saint Martins and is now Womenswear Pathway Leader on the BA Fashion programme (from which she graduated in 1993). Heather has a passion for hand execution of stitch, tailoring, cutting and clothing construction and has contributed to published research on teaching sustainability at degree level to fashion students. She also works as a freelance designer and is creative director of Woodchild woollen merchants.
saintaugustinesprioryart.weebly.com artkite.tumblr.com thisismisseng.com
arts.ac.uk/csm woodchild.co.uk
QEST
My QEST
MY QEST FIONA RAE QEST Trustee Designer Goldsmith
And any that have captured your imagination? Traditional wooden boatbuilder Gail McGarva (2009), working with Royal Warrant holding wheelwrights Rowland & Son and supported by Arts Council England, has given a new lease of life to a retired Dorset fishing boat. Transformed into an enchanting oral history recording and exhibition space, The Story Boat will be in residence outside the Marine Theatre in Lyme Regis until September when Gail will also perform her new piece Voices of the Sea. I remember Gail’s QEST interview well; it is good to see her keeping the art of boat building by eye alive and inspiring local maritime stories that will be archived in the Lyme Regis Museum. wbta.co.uk/gail-mcgarva, marinetheatre.com
The drive of tapestry weaver and QEST Garfield Weston Scholar Margaret Jones (2014) is remarkable and epitomises the QEST ethos. In the last few months she not only completed Blue, her tapestry for Heallreaf 2 at West Dean College and the As the longest Brick Lane Gallery, she curated this entire serving QEST Trustee, exhibition of woven tapestry from 32 international artists, and ran a 3D weaving it has been extremely course at West Dean. rewarding to see the margaretjonesartistweaver.com
Which Royal Warrant holding company funds and numbers are you Grantee for? I started Fiona Rae Fine Jewellery Whose apprentice would you like to be? of successful QEST with a loan from the Prince’s Trust It would be so satisfying to be walking Scholarships increase after graduating from the Central Saint around in a pair of shoes I’d made with Martins. Specialising in the ancient craft of Deborah Carré of Carréducker, a world class vitreous enamel, I design and make collections master craftsman. Also, I am obsessed with colour and bespoke pieces at my studio in Stable Yard at and much of my inspiration comes from the natural Hatfield House, the family home of The Marquess and world, which draws me to the work of mosaic artist Marchioness of Salisbury. I was honoured to be granted the Gary Drostle (2006). His latest, a 900-square foot Trail Through the Royal Warrant as Goldsmith, Silversmith and Jeweller By Appointment to Redwood Forest for a hospital in California, is the culmination of four years HRH The Prince of Wales in 2001. of planning and design and two years constructing and installing 19 mosaic panels and cast-glass inlays. He’s been busy at his studio too, working on a Gaudí-inspired, Venetian glass mosaic wall for a garden at the Chelsea As the longest serving QEST Trustee, it has been extremely rewarding to see Flower Show. He also makes time to teach a course in his specialism, the funds and numbers of successful QEST Scholarships increase in recent years. I have seen first-hand how life changing the awards prove to be and it the logistics of large scale and public mosaic works, at the Chicago has been a privilege to see the passion, commitment and dedication to their Mosaic School. individual crafts. carreducker.com, drostle.com Which recent work by a QEST Scholar or Apprentice has caught your eye? A QEST NADFAS Scholarship enabled Jessica Wetherly (2015) to undertake a series of workshops and residencies with leading sculptors across the UK. I am delighted to see she has installed her first public work after almost a year from sketch to site. Commissioned by the Friends of Archbishop’s Park and London Borough of Lambeth, the bronze statue stands on the site of a tuck shop that closed in 1974. It was run by Lizzie Lambert who was said to give the children a sixpence on their birthdays. Chosen as a symbol of human kindness, Jessica’s sculpture faces south, watching the sun rise and fall, with a map etched in the polished concrete base radiating out. jessicawetherly.com
Which QEST Scholar would you most like to commission? I designed and made a vitreous enamelled silver pendant of a blue rose set with a sapphire to mark HM The Queen’s Sapphire Jubilee this year. I wanted this special limited edition of 65 pendants to be individually numbered. It was a pleasure to hand this task to QEST Holland & Holland Scholar Ruth Anthony (2008), a talented engraver with her own studio in the jewellery quarter of Hatton Garden. Number 1/65 was auctioned at A Celebration of Craft at the V&A and the others (£295) are available exclusively from fionarae.co.uk and my studio to raise further funds for QEST. fionarae.co.uk gravergirl
Gail McGarva’s Story Boat in the making
Blue by QEST Garfield Weston Scholar Margaret Jones
Engraver and QEST Holland & Holland Scholar Ruth Anthony
Gary Drostle laying out a panel for A Walk Along the California Seashore
QEST NADFAS Scholarship Jessica Wetherly installing her sculpture
Sapphire Blue Rose Pendant by Fiona Rae for QEST
QEST
Events
Issue 36 Summer 2017
EVENTS
LONDON CRAFT WEEK QEST took part in the third edition of London Craft Week, which took up residence in the capital from 3 - 7 May and was described by its chairman Guy Salter as “a magical combination of imagination, individuality, passion and skill found in the best-made of things.” In association with QEST, Smythson celebrated its 130th anniversary with Crafted for Life, an exhibition exploring the brand’s rich history of innovation and craftsmanship. Its Bond Street boutique was turned into a live workshop for the duration. Calligrapher Davina Chapman, a professional scribe since 1981 and QEST Scholar for 25 years, leading silversmith Rod Kelly (2000) and Manasi Ravatia-Depala (2016), who has just completed her QEST Scholarship with Rod, were invited to showcase the relevance of traditional craftsmanship today alongside Smythson leatherwork and bookbinding artisans.
QEST Scholar Manasi Ravatia-Depala chasing silver at Smythson
Cult Ceramics Vinegar Vases by Billy Lloyd
Calligrapher Davina Chapman
Heal’s, with its long history of championing emerging design talent, opened the windows of its Tottenham Court Road store to QEST Scholars, including ceramicist Mia Sarosi (2004) and QEST Iliffe Family Charitable Trust Scholar and weaver Bea Larkin (2012), to demonstrate their crafts and run workshops. The Introduction to Leatherwork with SABEL Saddlery founder Mia Sabel (2010) involved hand-stitching, burnishing and personalising a luggage tag or keyring. Dash + Miller fabric creators Juliet Bailey (2013) and Franki Brewer (2013) taught the principles of hand-weaving on a table loom, each guest made four fabric swatches from simple plain weaves to twills and honeycomb structures. Julian Stair (2004), one of the UK’s leading potters, talked about current work with visitors at his Open Studio event Meaning and Matter. The Daylesford Farmshop near Sloane Square hosted the launch of a collection of vinegar vases by Billy Lloyd (2014) for newly established Cult Ceramics along with tastings and events demonstrating the modern ceramic fermentation crock. Bespoke tailor and QEST Johnnie Walker Scholar Jennie Adamson (2016) made an Alpine coat as the Gieves & Hawkes contribution to The Jimmy Beaumont Capsule Collection. The pieces, created for the fictional character invented by Jeremy King to inform the interior design of The Beaumont hotel, were displayed in the windows of the Savile Row tailors to bring to life the process of commissioning a bespoke wardrobe. londoncraftweek.com
Alpine coat by QEST Johnnie Walker Scholar Jennie Adamson
QEST
Events
A CELEBRATION OF CRAFT Lord Snowdon, QEST Vice Patron, hosted the Celebration of Craft fundraising dinner in March.
Pineapple cut on limestone by QEST Kirby Laing Foundation Scholar Hayley Gibbs
QEST was delighted to be welcomed back to the V&A, the world’s leading museum of art and design, by new director Tristram Hunt. Beneath the spectacular Dome, Scholars and Apprentices talked with guests about their work, from millinery to stained glass to Moroccan Zouaq painting. Also on display was the 13-piece collection The Embellished Handbag, created by Hand & Lock in celebration of its 250 years of fashion and embroidery and due to be auctioned for QEST in December.
I want to raise awareness of the importance of British craftsmanship as well as raise funds to champion and nurture the unique skills, talents and traditions of British craftspeople
QEST Vice Patron Lord Snowdon
Through in the magnificent setting of The Raphael Gallery for dinner, Christopher Biggins entertained and encouraged guests to bid on live and silent auction lots from a full Globe-Trotter QEST Collection of luggage to a craft tour of Speyside by Johnstons of Elgin. QEST Scholars too donated their time and work, including Lord Snowdon a bespoke pair of stained glass door panels by Chris Madlin (2013), a glass and blacksmithing workshop with Jenny Pickford (2010), and QEST Kirby Laing Foundation Scholar Hayley Gibbs (2016) designed and cut a pineapple, fittingly for the V&A a Victorian symbol of hospitality, in limestone. There were three successful bids for the chance to sponsor and name a 2017 QEST Scholar. There was a natural affinity between QEST and its partners for the evening. Principal sponsor Penhaligon’s shared its innovative fragrances and the stories of their making and Swarovski added both its support and exquisite crystals. Guests enjoyed Moët & Chandon champagne, wines from Justerini & Brooks and craft cocktails from Johnnie Walker, Tanqueray and Pimm’s served with ice carved by hand. A Celebration of Craft has become the centrepiece of the QEST calendar, raising the charity’s profile and significant funds for future QEST Scholars and Apprentices. Next year’s date for your diary - 6th March 2018.
Stained glass by Sophie D’Souza (2010) and letter carver Wayne Hart (2011)
ROYAL WINDSOR HORSE SHOW La La Land couture hat by QEST Scholar Lai Symes (2000)
QEST Radcliffe Scholar and Zouaq artist Natasha Mann (2012)
Nick Skelton CBE receiving a bespoke show-jumping crop from QEST Scholar Mary Wing To
International competitions in showjumping, dressage, driving and endurance have drawn spectators to the Royal Windsor Horse Show in the private grounds of Windsor Castle since 1943. This May, the Royal Warrant Holders Association Pavilion was home to 12 QEST Scholars exhibiting a range of British craftsmanship. There were saddlery demonstrations from QEST Saddlers’ Company Scholars Tiffany Parkinson (2012) and Clare Barnett (2013). In keeping with the equestrian theme, mechanical artist Clare Pattinson (2015) created a bucking horse automata. Exquisite leatherwork was on show from Mark Angelo-Gizzi (2013), who hand makes bags, satchels and belts to order, Mia Sabel (2010) with bespoke watchstraps and QEST Apprentice bespoke shoemaker Adele Williamson (2016). Also in the Pavilion were glass artist Anne Petters (2014), silk artist Carole Waller (2007), QEST Carpenters’ Company Scholar and turner Joey Richardson (2012), and Eyizera Phoenix (2009) who ran craft workshops for children. Mary Wing To (2012) - designer turned harness maker and protégée of HM The Queen’s master saddler – made a bespoke show-jumping crop with an engraved silver collar that she presented on behalf of QEST to Olympic gold medal winner Nick Skelton CBE, who formally retired on the final day of the Show. Celebration of Craft at the V&A
rwhs.co.uk
Proud to support QEST
Discover the next new talent houseoffraser.co.uk
Issue 36 Summer 2017
ABOUT QEST QEST is the charity of the Royal Warrant Holders Association, established in 1990 to celebrate the 90th birthday of HM Queen Elizabeth The Queen Mother and the 150th anniversary of the Association by supporting excellence in British craftsmanship. It furthers the education of gifted craftspeople in the UK of all ages through the granting of a QEST Scholarship of up to £18,000 at a critical stage in their career to fund college courses, professional training, practical experience or one-to-one tuition with masters of their craft. In 2014, QEST Apprenticeships were introduced to enable young people to embark on careers in the burgeoning craft sector and support sole traders and small enterprises who otherwise could not afford to take on an apprentice. Applications are made jointly by the prospective employer and apprentice, and based on the programme up to £18,000 is available over three years. The success of this scheme has led to the creation of a wider initiative, the QEST Craft Apprenticeship Hub, which went live last autumn. This bridges the gap between young people seeking employment in the craft sector who can apply through one of QEST’s charity partners and companies looking to hire and train craft apprentices.
Supporting Excellence In British Craftsmanship
The strength of vision of the founding trustees and Royal Warrant holders and generosity of donors has enabled QEST to foster the careers of individuals with extraordinary talent in traditional and contemporary British crafts to excel in their chosen trades and make a vital contribution to the British cultural identity and economy. Since 1990, the Trust has awarded over £3.5 million to more than 400 QEST Scholars and Apprentices of all ages in at least 130 skill sectors, from rural to cutting-edge craft and conservation. Testament to the selection process and support, 93% of the QEST alumni are still working in their craft today and many are acknowledged as leaders in their field.
Visit qest.org.uk to find out more or apply online.
The more I learn, the more I realise the significance of this opportunity to become an exemplary stonemason and QEST is integral to this
Photograph: © Society of Master Saddlers and John Deehan
Sean Henderson
The Princess Royal with QEST Saddlers’ Company Scholar Tiffany Parkinson (2012), President’s Choice winner at the SMS National Saddlery Competition 2017
Stonemason and QEST Andrew Lloyd Webber Foundation Apprentice Sean Henderson (2016)
QEST
Support QEST
Support
QEST
QEST is to be admired for its endeavours to promote British craftsmanship. House of Fraser is proud to sponsor talented young QEST Scholar Matthew Briggs to further his studies in knitted textiles at the Royal College of Art Frank Slevin, Executive Chairman House of Fraser
QEST has created a far-reaching, vibrant, growing network to sustain excellence in British craftsmanship. The charity, however, is only able to support 10% of applicants. News from QEST alumni shows what can be achieved when financial barriers are removed and a door of opportunity is opened by a QEST Scholarship or Apprenticeship. Fortunately this strikes a chord with so many Royal Warrant holding companies, brands, City of London Livery Companies, trusts and individuals, and there are many ways to get involved and raise much-needed funds.
Knitted accessory by QEST House of Fraser Scholar Matthew Briggs
Become one of QEST’s ‘money makers’ by pledging a donation from the sales of an existing product or specially created item, perhaps working with a QEST Scholar or Apprentice. This enables use of the QEST logo to illustrate the support for British craftsmanship.
A GOOD READ Advertising in the bi-annual QEST Magazine, which helps to spread the word about the work of QEST, its Scholars and Apprentices and supporters.
QEST Panama by Lock & Co
SPECIAL EDITIONS
QEST FUNDRAISING DINNER Support QEST’s Celebration of Craft at the V&A on 6th March 2018 as a sponsor, book a table to entertain guests, or donate lots for auction. Contact events@qest.org.uk
SPONSOR A QEST SCHOLAR OR APPRENTICE The minimum donation for a named Scholarship is £15k and for an Apprenticeship £18k (typically over three years). Other donations will be allocated to general grant funds and recognised on the QEST website and in the QEST Magazine. Howdens commissioned its QEST Scholar, furniture designer and maker Daniel Harrison (2016), to carve a wooden rooster for its annual Golden Rooster Awards at Grosvenor House. The sculpture took 10 weeks and when assembled stood nearly 3 metres tall. Golden Rooster by QEST Howdens Scholar Daniel Harrison
LEGACY
Remembering QEST when making a will means that vital craft skills can be handed down to successive generations.
CONTACT QEST
on 020 7798 1535 or info@qest.org.uk justgiving.com/QEST
Donors, Supporters & Sponsors Thank you to the Royal Warrant holders, livery companies, trusts, foundations, brands and individuals who generously support QEST. Agri.cycle The ALBORADA Trust Allchurches Trust Andrew Lloyd Webber Foundation The Antiques Dealers Fair The Ashley Foundation Associated Livery Companies Bendicks (Mayfair) Bentley’s Entertainments The Blagrave Trust Brian Mercer Charitable Trust
The Cambridge Satchel Company The Carpenters’ Company The Charlotte Bonham-Carter Charitable Trust The Clothworkers’ Company The D’Oyly Carte Charitable Trust The Drapers’ Company The Dulverton Trust Ernest Cook Trust The Finnis Scott Foundation Garfield Weston Foundation Globe-Trotter The Gosling Foundation The Hedley Foundation Tom Helme The Hobson Charity House of Fraser The House of Garrard Howdens Joinery The Iliffe Family Charitable Trust J Paul Getty Jnr Charitable Trust
The John Apthorp Charity John Lyon’s Charity John Smedley Johnnie Walker Johnstons of Elgin Mark Kaufman The Kirby Laing Foundation Knights Tailoring Launer London The Leathersellers’ Company Charitable Fund Möet et Chandon NADFAS N.E.J. Stevenson Pamela de Tristan Scholarship Parker Pen Company Penhaligon’s The Pennies Foundation The Pilgrim Trust The Pimm’s Company Prestat
The Prince of Wales’s Charitable Foundation The Radcliffe Trust The Robertson Trust Royal Warrant Holders Association Sandringham Association of Royal Warrant Holders Sir Siegmund Warburg’s Voluntary Settlement Sleepeezee Swarovski Tanqueray Gordon & Co Thomas Fattorini The Worshipful Company of Arts Scholars The Worshipful Company of Broderers The Worshipful Company of Pewterers The Worshipful Company of Saddlers The Worshipful Company of Turners The Wren Press Zone Creations
Q E S T. O R G . U K
JUSTGIVING.COM/QEST
Swallow in summer by QEST Bendicks Scholar Harry Forster-Stringer