Perfect conversation pieces: The Silver Trust’s contemporary British underplates make the table at 10 Downing Street
Commissioned by The Silver Trust following a nationwide competition in 1992, the seventy two sterling silver underplates of its collection have been sparking dinnertime conversation, and championing the skills of British silversmiths and designers in the highest office of the land for more than 30 years.
Tanya Szrajber, Collections Manager of the Curatorial Department at the Goldsmiths’ Company, shares a brief overview of this remarkable collection of underplates and shares the complex and collaborative nature of its formation, from the initial competition to final production.
Fig. 5 Stephen Bramwell [Plate 27]
An important collection of contemporary silver by leading British silversmiths has been available for use by the Government at 10 Downing Street and its other official residences since 1993.
It is on loan from The Silver Trust, a registered charity established in 1987 by Rupert Hambro (Prime Warden of the Goldsmiths' Company, 2009-2010), Lady Falkender (Harold Wilson’s former private secretary), Lady Henderson (war correspondent) and Jean Muir (fashion designer). The idea of forming The Silver Trust was Lady Henderson’s. As the wife of the diplomat Sir Nicholas Henderson, she was very accustomed to diplomatic dining and was shocked to discover that no silver was available at 10 Downing Street for official entertainment, and therefore Prime Ministers had to supply their own personal items or alternatively borrow them.
In 1993, The Silver Trust collection was officially presented to 10 Downing Street for use of the then Prime Minister John Major. The Trust was set up to support and promote the work of leading silversmiths working in the UK, through commissions and exhibitions during the summer Parliamentary recesses. Since 1 April 2019 The Silver Trust has been administered as part of the Goldsmiths’ Company Charity.
The collection comprises mainly tableware and associated items in the form of beakers, cruet sets, coffee sets, fruit and flower bowls, jugs, waiters and salvers, candelabra, etc. Different categories of objects include a cigar box, desk set, pen and notepad holder, table lectern and mantelpiece clock. These works were produced by an impressive array of renowned British designers and makers, including Malcolm Appleby, Brian Asquith, Norman Bassant, Gerald Benney, Alexander Brogden, Clive Burr, Jocelyn Burton, Julian Cross, Lexi Dick, Alan Evans, Howard Fenn, Hamilton & Inches, Rod Kelly, Michael Lloyd, Grant Macdonald, Hector Miller, Cara Murphy, Louis Osman, Martyn Pugh, Keith Redfern, Michael Rowe, Toby Russell, Jane Short and Robert Welch. Mike Lawrie, George Lukes and Stanley Reece contributed engraving work on some pieces.
Fig.1 Valerie Dugan [Plate 31]
Fig.2 Suzanne Devereux Leat [Plate 3]
Fig.3 Keith Raes [Plate 70]
Fig. 4 Mary Milner Dickens [Plate 24]
Other pieces, also by leading British exponents in the field, have a purely artistic and ornamental, rather than practical, function. There are two remarkable centrepieces, the ‘St. George Centrepiece’ by Kevin Coates and the kinetic ‘Principia’ by Richard Fox and Angela Connor, a table fountain mechanically activated by the addition of water, which very slowly transforms from a bud structure into an open flower. The most recent commissions are four sculptures by Junko Mori in her series ‘Botany’.
The focus of this story, however, is the set of seventy two individually decorated silver underplates which were commissioned by The Silver Trust in 1992, following a nationwide competition. In 1991 the Chairman of the of the Trustees, Sir Jocelyn Stevens (at the time Rector of the Royal College of Art) proposed a competition to design 72 silver underplates, ‘perfect conversation pieces for the Prime Minister’s guests’ [1]. The subject matter was not prescribed, although suggested themes were the emblems of the United Kingdom or other relevant national references. The competition, open to students and amateurs as well as professionals, was announced through The Daily Telegraph and college notice boards and attracted over 500 entries. A panel of judges comprising representatives from The Silver Trust, also Drusilla Beyfus (from The Daily Telegraph), David Mellor and Sir Simon Hornby, were assisted by Rosemary Ransome Wallis (then Curator at the Goldsmiths' Company Collection) acting as advisor. They convened at the Royal College of Art in February 1992 to select the final designs and each finalist was given a Silver Trust medal specially made for the occasion.
The production of the underplates was a collaborative process. William Comyns & Sons spun the blank plates. Various techniques were used to create the decoration, such as engraving, chasing and photo-etching. Some designers decorated their own plates, whilst in other cases, the designs were transferred by the engravers Stanley Reece, George Lukes and Ray Wilkins. Where chasing was considered the most appropriate method, specialists such as Chris Hurley from the workshops of William Comyns & Sons, were engaged for the task. The photo-etching process was overseen by David Gunter of the Graphic Metal Company. The project was sponsored in various ways. The cost of the competition and the plates was underwritten by Sir Jocelyn Stevens and Dame Vivien Duffield. The silver was given by Paul Tear (Chief Executive of Thessco Limited and a Master Cutler 1997-1998). Each plate also had its own individual sponsor or sponsors, including both individuals and companies. Each plate is hallmarked with the usual Assay marks but additionally with the sponsor's mark of Paul Tear. They are also inscribed with an underplate number, the Silver Trust logo and the names of the designer and sponsor.
The designers form a heterogeneous group, comprising established silversmiths such as Clive Burr, Mary Milner Dickens, Maureen Edgar, Michael Driver, Kay Ivanovic, Anthony Law, Andrew Marsden and Helen Marriott. Some of the contributors specialise in other fields such as Timothy Noad (calligrapher, illuminator and designer of coins and medals), Keith Raes (engraver), Valerie Dugan (calligrapher and botanical artist), Diana Greenwood (jeweller) and Alison Hepburn (mosaic artist). Peter Taylor, now the Director of the Goldsmiths’ Centre, also contributed a design. However, in many instances, it appears that the designers did not pursue a career in arts and crafts, although more research is required.
Fig. 6 Peter Taylor [Plate 12]
Fig. 7 Wendy Sharpe [Plate 25]
Fig. 8 Kay Ivanovic [Plate 66]
Fig.9 Diana Greenwood [Plate 35 ]
The designs reflect a range of interpretations of the proposed themes and also of artistic styles, including some where the inscription provides the principal decorative motif, exemplified by Valerie Dugan’s underplate with the Lord’s Prayer in English and in Latin, displaying her calligraphic skills. (fig.1) There is also variation on where the decoration occurs, ie. the well or the rim or across both. Several designs incorporate the emblematic flowers of the four nations of the United Kingdom (thistle, daffodil or leek, rose and shamrock) as in Suzanne Devereux Leat’s rendition (fig.2) or alternatively emblems from its coat of arms (lion and unicorn) as in Keith Raes’ composition showcasing his expertise in engraving (fig.3). Others are architectural, such as Mary Milner Dickens’ minimalist ground plan of part of the Westminster district (fig.4). As expected, there are also designs based on, or referring to, the buildings most closely associated with the UK Government. Examples include Stephen Bramwell’s fish eye view of the façade of the Houses of Parliament (fig.5) or Peter Taylor’s motif referencing the fanlight above the entrance to 10 Downing Street (fig.6).
Flora and fauna were popular choices, such as Wendy Sharpe’s detailed depictions of a barbed fish (fig.7) or trees, as in Kay Ivanovic’s stylised representation with its accompanying inscription (fig.8). Designs evoking astronomy and celestial bodies also recur, for example Diana Greenwood’s imaginative composition inspired by astrological charts and ancient illustrations. (fig.9). On an amusing note, Bernadette Bowes portrayed Wilberforce, the Downing Street cat. (fig.10)
In some cases the composition is more experimental and complex. Zoe Bunker’s creation of a face is reminiscent of Giuseppe Arcimboldo’s creations, hers an amalgamation of industrial buildings on one side, animals and plants the other, with similar elements decorating the rim. (fig.11). Alison Hepburn produced a composition conjuring up navigation, travel and the discovery of new places. (fig.12)
Fig. 10 Bernadette Bowes [Plate 51]
Fig.11 Zoe Bunker [Plate 52]
Fig.12 Alison Hepburn [Plate 65]
Fig. 13 Andrew Marsden [Plate 68]
The most playful design is Andrew Marsden’s maze, which functions as an actual puzzle game. The maze structure has raised borders and in the centre there is an open pea pod, with leaves and tendril, containing a row of peas and a circular depression for a missing one. A corresponding depression is located at the outer edge of the maze, the idea being to roll an actual pea (fresh not frozen, according to instructions on the back of the plate) from the starting point to the centre. (fig.13)
It is no surprise to lean that John Major was reportedly delighted with the underplates and would ask his guests to turn them over to see who made them, generating general conversation. [2]
This brief overview of The Silver Trust’s remarkable collection of underplates highlights the complex and collaborative nature of its formation, from the initial competition to final production. Alison Hepburn, whose work is illustrated here, commented, ‘I am so glad that they are being recorded like this, it was such a lovely project’. The Silver Trust’s full collection has recently been digitised on the Goldsmiths’ Company’s collections database. These records will form part of the publication of the database records on the Company website in 2027, as part of its 700th anniversary celebration.
Written by Tanya Szrajber, Collections Manager, Curatorial Department, the Goldsmith’s Company | Images: The Silver Trust Collection
Bibliography:
General: Christopher English, The Silver Trust, 2004
Footnotes:
[1]. John Andrew and Derek Styles, Designer British Silver, 2015, p.47.
[2]. Nick Thorpe, Hallmarks of style for a polished politician, The Scotsman, 9 August 1996
With thanks to Jane Ewart and John Andrew for their expert advice.