in this issue - kaja upelj€¦ · neil stevenson, n.e.j. stevenson ambassadors caroline...

THE QUEEN ELIZABETH SCHOLARSHIP TRUST MAGAZINE

Issue 38 Summer 2018

Private View:Deborah Carré, Carréducker

In this issueMy QEST:Dr NicholasMorgan, Trustee

Events:LondonCraft Week

2018 QEST Scholars & Apprentices

Mor

i Man

di b

y Q

EST

Car

ole B

amfo

rd S

chol

ar A

lice W

alto

n (2

018)

QEST PatronHis Royal Highness The Prince of Wales Vice Patrons The Earl of SnowdonThe Marquess of Salisbury ChairmanNick Crean, Prestat Honorary TreasurerAlec McQuin, Rokill TrusteesMatthew Ingle, HowdensMark Henderson, Gieves & HawkesSteve Macleod, Metro ImagingNicholas Morgan, John Walker & Sons Neil Stevenson, N.E.J. Stevenson

AmbassadorsCaroline Armstrong-JonesJulie Deane, OBEScott Simpson

QES

T M

agaz

ine i

s pub

lishe

d w

ith th

e kin

d su

ppor

t of o

ur ad

verti

sers

. Royal Warrant Holders AssociationPresidentMark HendersonCEO & SecretaryRichard Peck

QEST OfficeExecutive DirectorDeborah Pocock, LVODevelopment & Partnerships OfficerNatalia GuidorziApplications Co-ordinatorMaxine ThomikCommunications OfficerGuineviere Nicholas

QEST Magazine Editor Karen Bennett, [email protected]

Welcome to the Summer 2018 Edition

It has been quite a summer for QEST. We were thrilled to join The Prince of Wales’s 70th Birthday Patronage Celebration at Buckingham Palace in May. We have welcomed Matthew Ingle, founder of Howdens, as a Trustee and Caroline Armstrong-Jones, who has been instrumental in the success of our Celebration of Craft fundraising dinner, as an Ambassador. At the Royal Warrant Holders Association

Annual Luncheon in June, we presented 31 awards. What are the signs of potential that we look for in these new QEST Scholars and Apprentices?

John Makepeace OBE, respected cabinet maker and teacher, kindly gave the keynote speech during QEST’s London Craft Week event at Carpenters’ Hall. He was full of history and

stories of origin and excited about seeing his craft alive, but by no means sustained simply through preserving traditions. On that level, he argues, that craft dies a little.

The temptation to live solely ‘in the rear view mirror’ is not an option, but an error more likely to lead to a craft becoming endangered.

Registered Charity No.1152032

QESTcraft

queenelizabethscholarshiptrust

qestcraft

justgiving.com/qest

Nick Crean QEST Chairman

Design and Print Farrows farrows.co.uk

Media Enquiries Eve Lacey Ideas Network +44 (0)20 7351 4719 [email protected]

Queen Elizabeth Scholarship Trust 1 Buckingham Place London SW1E 6HR

+44 (0)20 7798 1535 [email protected]

Sustaining craft means taking risks, embarking on an exploration of ideas, of materials, of tools, and of inspiration: great craftsmen need something of the rebel in their spirit. This sentiment rang bells for me, having been brought up in a large, extended family of twelve boys, where risk was encouraged at every opportunity, from climbing high trees, riding your bicycle hands free at great speeds, to antagonising your brother by eating his favourite chocolate.

In our most recent interviews, there was a surfeit of talent-driven dedication and an eagerness to learn, but what set the successful presentations apart were those who had this daring, rebellious inclination: potential pioneers and ones most likely to attract commercial interest.

I was recently at a poetry clinic at Messums Wiltshire run by the poetry pharmacist, William Sieghart. He reminded me of Christopher Logue's poem:

Come to the edge. We might fall.Come to the edge. It’s too high!COME TO THE EDGEAnd they came,And he pushedAnd they flew.

Take the risk.

Nick Crean, QEST Chairman

"Sustaining craft means taking risks, embarking

on an exploration of ideas, of materials, of

tools, and of inspiration."

Issue 38 Summer 2018Ph

otog

raph

: Seq

uoia

Ziff

QEST Scholars & Apprentices 2018

The Royal Warrant Holders Association Annual Luncheon at the London Hilton on 5th June was a feast of British craftsmanship. QEST chairman Nick Crean and RWHA president Mark Henderson presented certificates to the new QEST Scholars and QEST Apprentices. On stage, Dr Tristram Hunt, director of the Victoria and Albert Museum, presented 1997 QEST Scholar and bespoke shoemaker Deborah Carré with the QEST Award for Excellence, a silver medal cast by Fattorini. Dr Hunt spoke with great enthusiasm about craft underpinning industry in virtually every sector nationwide and how the RWHA can take pride in being at the forefront of supporting these vital skill sets through QEST. This is an endeavour that chimes with that of the museum: “The V&A was built on the wonder of craft; our mission is and has always been to promote and celebrate excellence and innovation in designing and making.


Dr Tristram Hunt, Victoria and Albert Museum

“Extraordinary craftsmanship is not owned by one department or discipline at the V&A, it is evident across its museum collections and throughout the fabric of the building. Organisations like QEST and the V&A working together on the education and training of designers and craftspeople is a powerful way to ensure these traditional and contemporary crafts skills are sustained across successive generations. “It was an absolute pleasure to view work by the new QEST Scholars and Apprentices. They illustrate perfectly how the charity is helping dedicated and aspiring craftspeople to raise their skill levels. This is to the benefit of both the individual and the craft industry and economy in this country as a whole.” The QEST Celebration of British Craftsmanship fundraising dinner will return to the V&A on 13th March 2019.

New QEST Scholars & Apprentices

Scholars

“With the QEST Carole Bamford Scholarship easing the burden of my final year tuition fees, I can maintain my creative momentum towards becoming a professional studio artist and teacher. I am also keen to continue my ceramic material development.”

alicewaltonceramics.co.uk alicewaltonceramics

ALICE WALTON QEST CAROLE BAMFORD SCHOLAR

CERAMICS

Alice Walton, a Masters student in Ceramics & Glass at the Royal College of Art, has exhibited at Tate Modern and MADE London and been artist-in-residence at the European Ceramic Context in Denmark and the Victoria and Albert Museum.

Alice makes one-off pieces inspired by street furniture and architecture. She combines collaged photography and drawing from memory to construct an imaginary collection of objects. Her original technique fuses processes from ceramic and glass disciplines to create complex surface textures over her forms.

“For my QEST Jenifer Emery Scholarship I have chosen tutors who focus on creative and modern craftsmanship with a foundation in traditional skills. It’s this innovative application of heritage within contemporary design that excites me.”

gillianstewart.co.uk juju.books jujubooksuk

Gillian Stewart QEST JENIFER EMERY SCHOLAR

BOOKBINDING

Gillian has bound books for the Houses of Parliament and The British Library, been commissioned by artists, and recently started her own bindery within a vibrant artistic community in Glasgow's East End.

She is highly skilled, but needs specialist training to become a fully-fledged fine binder. Gillian has secured tuition in advanced leatherwork and sewing with Fellow of Designer Bookbinders Tom McEwan, workshops at the Centro del Bel Libro Ascona in Switzerland and Professione Libro in Italy, and will attend the Society of Bookbinders Education & Training Seminar.

Phot

ogra

ph: A

lice G

ordo

n

Repairing orchestral percussion instruments has been the mainstay of Paul Jefferies’ business for 20 years. Whilst successful professionally, his desire remains to focus on making complete instruments.

Paul has made every element of a percussion instrument many times, but is hindered from producing the whole because he is dissatisfied with accepted solutions to certain problems. His QEST Edith Murphy Foundation Scholarship will be spent developing and improving materials for components from resonator tubes and timpani bowls to note pegs.

Paul Jefferies QEST EDITH MURPHY FOUNDATION SCHOLAR

PERCUSSION INSTRUMENT MAKING

“Modern composites are better suited to many elements of percussion instruments. I want to experiment with combinations of carbon fibre technology and the traditional wooden note bed to produce something I can be truly proud of and offer a lifetime guarantee.”

orchestralpercussion.co.uk

Otis Ingrams QEST LEATHERSELLERS’ COMPANY SCHOLAR

LEATHER WORKING

Otis started leatherworking as a hobby during his BA in English Literature. He soon found himself spending all his money on leather and all his time cutting and stitching.

After two years’ practice, he was accepted for an internship at Bill Amberg Studio. This developed his skills and confirmed his passion. In 2013, Otis founded OTZI leather design studio, working with interior designers, artists and brands to create unique, functional pieces. He is studying for an MA in Product & Furniture Design at Kingston University.

“I want to push the boundaries of leatherwork in furniture and product design. The QEST Leathersellers’ Company Scholarship means I can take on fewer commissions to fund my studies and devote the time to experimentation.”

otzilondon.com otzilondon


Glockenspiel case making

Punching holes in a pattern for an apron

Phot

ogra

ph: S

imon

Bro

wn

Fine Art and Art History graduate Kendall Francis is working towards a Postgraduate Diploma in the Conservation of Easel Paintings at the Courtauld Institute of Art.

With the QEST Finnis Scott Foundation Scholarship, Kendall can continue her studies into the second year. Further developing her practical skills and chemical and material knowledge will enable her to analyse and perform treatments independently based on informed and reflective conservation and restoration practice.

“My ambition is to become a prominent paintings conservator in the UK, specialising in Medieval and Renaissance artworks in leading British institutions. I also want to champion my craft to encourage other young people from disadvantaged backgrounds, like me, to understand its value.”

courtauld.ac.uk kendall-francis

Kendall Francis QEST FINNIS SCOTT

FOUNDATION SCHOLAR

EASEL PAINTING CONSERVATION

& RESTORATION

Maud’s fascination with shoemaking began at age seven when she saw the upper of her school shoes removed and a new sole applied. Her interest in high quality, handmade footwear endures.

She has studied Footwear Design & Technology at the London College of Fashion, trained with 2013 QEST Scholar Ruth Emily Davey, worked as a shoe designer and now makes leather goods and shoesas MvdB Leather. Learning to make hand-weltedshoes and boots is her next step to becoming a full-time bespoke shoemaker.

“I’m thrilled that the QEST Cordwainers’ Company Scholarship will fund six months of weekly training on lasting, hand-welting, stitching and finishing at the Carréducker Shoemaking School, run by Deborah Carré (1997 QEST Scholar) and James Ducker.”

mvdbleather.com m_v_d_b

Maud van den BroeckeQEST CORDWAINERS’

COMPANY SCHOLAR

BESPOKE SHOEMAKING


Laura is an established weaver and designer-maker who creates one-of-a-kind textiles. Her work is about intricacy and variation, which means the weaving must be done by hand.

She makes each piece on her modernised wooden floor loom using a variety of materials - wool, silk, horsehair and paper – hand dyed to create subtle colours and textural effects. An MA in Textiles at the University for the Creative Arts in Farnham, supported by the QEST D'Oyly Carte Charitable Trust Scholarship, will enable Laura to refine her yarn creation, dyeing, weaving and finishing skills.

“Pushing creative and technical boundaries will add diversity and value to my handwoven textile practice. The MA will also provide openings for new projects, collaborations, exhibitions and industry links.”

lauraadburgham.com lauraadburgham

Laura AdburghamQEST D'OYLY CARTE CHARITABLE

TRUST SCHOLAR

TEXTILES


Jemma Gunning QEST JOHNNIE WALKER SCHOLAR

PRINTMAKING

Printmaker Jemma Gunning recently completed a Masters at the University of the West England, exhibited at the Royal Society of Painter-Printmakers The Masters: Etching, and is a founder of the Bristol Print Collective, which holds workshops for communities with little access to art.

The QEST Johnnie Walker Scholarship will fund Jemma’s Printmaking Fellowship at The City & Guilds of London Art School with master Jason Hicklin. She will learn the depths of intaglio printmaking, which supports her vision of the urban landscapes she depicts.

“With few institutions teaching printmaking, studying with a master is invaluable. It maintains the traditions of this 600-year-old craft used by Goya and Rembrandt and will prepare me to run my own studio and teach in higher education.”

jemmagunning.com jemma_gunning_printmaker jemmagunningfineartist

Jack Waygood QEST SCHOLAR

AXE FORGING

Jack Waygood, raised in the Dark Peak, studied art and design in Manchester before taking Artist Blacksmithing and advanced decorative ironwork at Hereford College of Arts.

Jack has since set up his own forge in Brecon, worked as a journeyman in Italy and at prestigious forges around the UK, and as a special effects technician. He is an active member of the British Artist Blacksmiths Association and in June worked with the National Heritage Ironwork Group on its spectacular BathIRON forging festival.

“Hand forged items are functional, ethical and possess intrinsic beauty. During my QEST Scholarship I will learn to hand forge an axe at the renowned Gränsfors Bruk in Sweden.”

workofiron.co.uk work_of_iron nhig.org.uk/bathiron/

Joe Milne came to QEST through the Heritage Crafts Association. He is currently on the Advanced Stonemasonry Apprenticeship at Exeter Cathedral having won stone carving competitions and a draughtsmanship prize at Exmouth College. Joe has learned to work multiple, complex stones and produce accurate drawings, moulds and intricate carvings, most recently a grotesque beast head for one of the Cathedral turrets. He is about to embark on the Professional Development Diploma in Historic Building Conservation and Repair at West Dean College under the tutelage of leading practitioners.

Joe Milne QEST HEDLEY FOUNDATION SCHOLAR

STONEMASONRY

“This would be beyond my reach on an apprentice wage, but with the QEST Scholarship covering my fees for the ten Building Conservation Masterclasses, I can improve my skills in stonemasonry, stonework conservation and related crafts essential for care of the Cathedral.” exeter-cathedral.org.ukwestdean.org.uk

“With fee increases and without the QEST London Art History Society Scholarship, I would have to stop and save again for my final year. I’m thrilled to continue and hope to apply my learnings to English heritage easel paintings at a prestigious institution.”

courtauld.ac.uk jennyrestorer

“There are fewer than 30 craftspeople chairmaking to a high standard in the UK. I am committed to ensuring its continuity by developing individual, characterful chairs and mastering skills I can teach to the next generation.” hopespringschairs.com hopespringschairs hopespringschairmaking

Jason Mosseri QEST SCHOLAR

WINDSOR CHAIRMAKING

Jason Mosseri, owner of Hopesprings Chairs in East Sussex, is described by chairmaker and tutor Paul Hayden as having a good eye for form and the mechanical ability to solve the puzzles that chairmaking presents.

He will travel to Tennessee to learn how to make a 'birdcage' armchair, including peculiarities such as false mitre joints, from Curtis Buchanan, master chairmaker in the American Windsor tradition. This will help Jason to progress his own style of Windsor chair.

Jénnifer González Corujo QEST LONDON ART HISTORY SOCIETY SCHOLAR

EASEL PAINTING CONSERVATION & RESTORATION

Jénnifer worked as a freelance conservator before applying to the Courtauld Institute of Art, where she has completed two years of the Postgraduate Diploma in the Conservation of Easel Paintings.

Professor Aviva Burnstock describes Jénnifer as one of the most visually sensitive and engaged students in the practical aspects of conservation. She has been given extra paintings to work on, including Still Life with Bust by Mark Gertler. Painted in the 1930s using water sensitive oils, it requires one of the most challenging treatments in the studio.

Kaja Upelj QEST SCHOLAR

GLASSMAKING

Kaja Upelj, in the second year of her MA in Ceramics and Glass at the Royal College of Art, is an artist with an innovative approach to glass casting.

Inspired by iridescent colours in nature such as mother-of-pearl, Kaja has developed an original technique to recreate these hues and present glass as a soft, welcoming material. The method and materials, however, are expensive and toxic. The Corning Museum of Glass in New York is well-equipped for Kaja to develop her luminous glass process safely.


“An intensive course in kiln casting and digital technology followed by the chance to experiment with these skills on an internship surrounded by inspiring artists will be transformative for my ideas.” rcaceramicsandglass.com/kaja-upelj kajaupelj

Phot

ogra

ph: A

lun

Cal

lend

er


“I feel privileged to be learning from Rod Kelly, a QEST Scholar in 2000. Given the reduction in makers specialising in chasing, I hope to offer workshops for other silversmiths in the future.”

zoewattsdesigns.co.uk zoewattsdesigns

Zoe Watts is a full-time silversmith based in the Cotswolds, intent on keeping age-old, traditional chasing techniques alive with fresh, modern expression.

Zoe will undertake 14 days of one-to-one training with master silversmith Rod Kelly at his South House Silver Workshop on Shetland. She will refine her chasing and repousse work, both of which require a great deal of hand skill and time, develop her fabrication, and learn to make hand-fashioned, steel punches (tools for this specialist craft that are unique to every silversmith).

Zoe Watts QEST COMPANY OF ARTS SCHOLARS SCHOLAR

SILVERSMITHING

After specialising in print during her BA in Textiles at the University of Brighton, Rosanna gained industry experience working for Zandra Rhodes and Alexander McQueen, where Senior Designer Amy Gibson noticed her exceptional drawing skills and use of colour.

Rosanna requested QEST funding for the fees to complete her two-year MA in Printed Textiles at the Royal College of Art. She is developing her style as a printed textiles artist and working with the entrepreneur and business set-up team with a view to establishing her own studio.

Rosanna Bishop QEST SCHOLAR

PRINTED TEXTILES

Royal College of Art Design Products graduate Thomas Vaughan established Object Studio, specialising in the design and fabrication of contemporary furniture and sculpture, in 2009.

High-end work for designers and artists enabled Thomas to develop advanced craft methods that push materials to their limits and equip his workshop to realise his own designs. Having created ways to manipulate wood into complex sculptural forms, he is looking to achieve similar results in metals.

Thomas Vaughan QEST HOWDENS SCHOLAR

WOOD AND METALWORKING

“The QEST Howdens Scholarship is an opportunity to work with experts in foundries such as East Coast Castings, New Pro Foundry and WH Rowe to design and make a collection of cast metal furniture. I also plan to turn this experience into an exhibition and university lectures.”

objectstudio.co.uk object_studio_london

“I plan to combine traditional screen-printing with modern techniques, materials and tools to celebrate British textile heritage and innovative craftsmanship with provocative, timelessly beautiful print designs.”

rosannabishop.com rosannabishop_design

Phot

ogra

ph: B

ridie

O’S

ulliv

anPh

otog

raph

: sam

bark

erph

oto.

com

A 1920s, Swiss-made, pre-embargo wristwatch bought in Cuba prompted Patrick Woodward to research the world of watchmaking and restoration as a career.

Learning opportunities are rare, so he worked in micro-electronics before spotting an article about Jacob Russell, who was the youngest qualified watchmaker in Britain following his apprenticeship at J E Alnutt & Son with master Geoff Alnutt. The QEST Garfield Weston Foundation Apprenticeship means Geoff can employ Patrick and pay for his annual examinations at the British Horological Institute. “Over three years I will master the skills to repair antique and vintage watches, including handmaking watch parts, and ultimately become a Fellow of the British Horological Institute, set up my own workshop and create my own timepieces.”

littlecogs.com littlecogs

Patrick Woodward QEST GARFIELD WESTON

FOUNDATION APPRENTICE

HOROLOGYAfter a Foundation Diploma in Arts, Media and Design, Zoe’s search for a hands-on job led to the Two Rivers Paper Company in Somerset, one of the few commercial handmills in Europe.

During a three-year apprenticeship, founder and fourth-generation paper maker Jim Patterson will teach Zoe all aspects of this endangered craft, from formulating the recipe to mixing the pulp and forming sheets. Together they recently developed a drawing paper that can be used underwater.

“My future is brighter with this QEST Drapers’ Company Apprenticeship. Jim is sharing his lifetime of experience and the funding enables him to meet training costs and pay above minimum wage as I learn to make beautiful rag papers for British artists.”

tworiverspaper.com tworiverspaper

Zoe Collis QEST DRAPERS’ COMPANY APPRENTICE

PAPER MAKING

Enna holds City & Guilds Level 2 Diplomas in Furniture Making and Wood Machining and works as a junior machinist at Sitting Firm Chairmakers, a leading Windsor chair workshop in the West Midlands.

Backed by QEST and the PF Charitable Trust, she willbe apprenticed at the company to master, Dave Green.He will teach Enna traditional manufacture (steambending wood) and its modern evolution (laminationwith veneers and resins) so she can select materials,machine, assemble and finish any piece of furniturefrom a technical drawing.

“I am also excited to be spending time with designer Katie Walker, known for her award-winning interpretation of the Windsor rocking chair, and to understand the relevance of craft in contemporary furniture.”

sittingfirm.co.uk sittingfirm

Enna Coates QEST PF CHARITABLE TRUST APPRENTICE

WOODWORKING

Apprentices

PR

IVA

TE

VIE

WDeborah Carré Carréducker

How did you get into shoemaking?I grew up on Sark in the Channel Islands. As a child, I enjoyed making things with my hands and loved helping my Dad to polish shoes before church. An Art Foundation course at Central Saint Martins opened my eyes to design…and life…and I went on to study for a BA in Fashion Design & Marketing at the University of Central Lancashire. Trickers helped to make my degree collection - including a pair of thigh boots for Jaye Davidson of The Crying Game that featured in Vogue Hommes International - and I was inspired by their bespoke shoemaker. It is an immensely satisfying craft, so physically and mentally demanding.

How did QEST influence your career?I worked in marketing for eight years while taking shoemaking evening classes at Cordwainers with Claire O’Flaherty, who recommended I apply to QEST. The Scholarship paid for my training with master shoemaker Paul Wilson for four years,

Bespoke shoemaker Deborah Carré was awarded a QEST Scholarship in 1997

and received the QEST Award for Excellence at

the Royal Warrant Holders Association

Annual Luncheon in 2018.

learning each stage of the hand sewn process. I also learned to ride a motorbike so I could commute daily and freelanced as a PR consultant to survive financially.

How did you establish Carréducker?James Ducker came to train as a Lobb apprentice during my second year. He worked for Lobb for many years and I worked as Atelier Carré before we founded Carréducker in 2004. As master craftsmen, our expertise lies in the hand welted construction of London's renowned West End shoemakers. Our traditionally made shoes are designed with a contemporary aesthetic and made with tools and materials sourced from specialist businesses in Britain wherever possible.

And beyond bespoke?Two years ago we began seeking out artisanal manufacturers in the UK to develop footwear for short, ready-to-wear production runs under the Carréducker London label. Launched via Kickstarter, we now have a range of desert boots made in Suffolk, work boots made in Derbyshire, loafers in Sheffield and slippers in Norfolk.

Where are you based?Our home has been Cockpit Arts, Bloomsbury since the start...a unique environment where the guidance and support has helped us to navigate the challenges of running a business. I spoke about this recently in conversation with Cockpit Arts Trustee Bill Amberg at Makers’ Stories during London Craft Week. In the early days we were fortunate to have a workshop at Gieves & Hawkes, No. 1 Savile Row. Today, we continue to provide a bespoke service there by appointment and at James Purdey & Sons for country pursuits footwear. We have also opened our own Shoe and Leather School in Shoreditch.

How did the Carréducker Shoemaking School come about?I’ve spent 20 years listening to hand sewn shoemaking being described as a dying craft (you know it is in trouble when US customs ask what you do and when you reply say, “oh shoemaker, I didn’t know people did that anymore”). We beg to differ. When Cordwainers stopped teaching it in 2006, James and I took up the mantle and have flown the flag ever since.

Our door is always open to people seeking advice and our courses - beginner and intermediate evening classes, intensive courses over one, five or 12 days and pattern making - help them to decide if being a shoemaker is for them as a career or to enjoy as a pastime.

Students come from all over - Australia, Ukraine, Japan, Canada, Malaysia, the USA and Brazil - and it’s rewarding to be part of their journey. Some have set up their own shoe businesses, become shoemaking lecturers, or founded other creative businesses. Almost all continue making as a hobby for friends and family. The blog we’ve written since 2005 has also been used by people around the world. We’re thrilled when we receive letters and emails with pictures showing the shoes and boots they’ve made.

Any QEST Scholars? Alistair Raphael (2014) is amongst our alumni and Frankey Pinnock (2017) and Maud van den Broecke (2018) are currently studying with us. We hope they will continue as shoemakers in whatever aspect of the trade attracts them, manufacturing or bespoke. Frankey is teaching with us too, running saddle stitch leather goods courses.

How else are you championing your craft?We were invited to be part of Designer Maker User, the first permanent exhibition at the new Design Museum, that explores the development of modern design though these interconnected roles. Our installation features a pair of our hand sewn Derby boots, The Brunswick, the materials and tools we use, and a film of the 200 plus steps that go into their construction. It’s gratifying to be asked to exhibit one of the oldest crafts in such a dynamic environment. We have also shown at Crafted: Makers of the Exceptional and London Craft Week.

What does the QEST Award for Excellence mean to you?The QEST Scholarship meant so much to me when I won it, both the financial support and belief. It gave me confidence to pursue the craft as a career; repaying that investment was a driving force behind building Carréducker as a successful business with hand sewn shoemaking at its heart. Everything we do is centred around this, whether it’s our bespoke service, creating ready-to-wear, selling shoemaking tools and materials or passing on skills through our school. I am proud to be recognised for making a significant contribution to the craft and creating a new generation of makers and ambassadors for English hand sewn shoemaking.carreducker.com carreducker

Dov

er S

treet

Der

byPr

epar

ing

the h

oldf

ast

Deb

orah

Car

ré w

ith Q

EST

Gar

field

Wes

ton

Foun

datio

n Sc

hola

r Fra

nkey

Pin

nock

The QEST Scholarship meant so much to me when I won it, both the financial support and belief. It gave

me confidence to pursue the craft as a career.

Doublebass maker Martin Penning (2003) recently finished a commission for Marshall Henry of the Symphoria in Syracuse, New York. Its design was inspired by 19th century London luthier Thomas Kennedy, who in turn took his influences from Gasparo da Saló, one of the earliest bass makers. Martin used flamed maple and tight grained Alpine spruce from a tonewood supplier in Germany. The movement of a great volume of air in this large model creates deep tones and breadth of sound, making it an ideal orchestral bass. Ergonomics are always at the forefront of a luthier's plans and features like the neck geometry and back break make it very comfortable to play.

mpenning-luthier.co.uk

COMMISSIONS & COLLECTIONS

QEST Alumni News

With the QEST alumni of active, professional craftspeople now more than 400 strong, news of their exhibitions, collections, commissions, residencies and awards would fill a QEST Magazine. The next few pages give a snapshot of the many stories of success. More can be found by following QEST and its Scholars and Apprentices on social media.

Doublebass by Martin Penning

QESTcraft

queenelizabethscholarshiptrust

qestcraft

Posthumous portrait of David Ritchie by Benjamin Smith

Andrew Ritchie QC approached QEST Siegmund Warburg Scholar Benjamin Smith (2016), lawyer turned realist and classical artist, to paint a posthumous portrait of his father. David Ritchie was Professor of Surgery at the Royal London Hospital and Dean of the Medical School; the painting will hang on its main staircase. Benjamin worked with oil on linen, using traditional pigments and techniques. “The challenge was reimagining the colours from a 1950s photograph to depict Professor Ritchie in his younger years while working at the Mayo Clinic in Minnesota.”

benjaminsmithfineart.com benjamin_smith_fine_art

QEST ALUMNI NEWS

Phot

ogra

ph: T

om H

ull


RAF badges carved by Thomas Sargeant Unveiling of Benjamin Arnold’s portrait of the late John Scott

Stone carver and letter cutter Thomas Sargeant (2015) works alongside the masters he trained with for his QEST Masons’ Company Apprenticeship at The Stone Carving and Lettering Studio in East Sussex. He has undertaken a variety of commissions for both memorial and public art, including an ongoing series of carvings depicting Royal Air Force squadron and station badges. Thomas has delivered nine to date, all on display at the central church of the RAF, St. Clement Danes - also famous as the ‘oranges and lemons’ church from the traditional nursery rhyme - and is working on three more this summer.

thomassargeant.com thomassargeant

Benjamin Arnold, QEST Hiscox Fine Art Insurance Scholar in 2013, lives and works in New York. He was commissioned to paint a portrait of the late John Scott, organist and director of music at Saint Thomas Church, Fifth Avenue from 2004-2015 and former music director of St. Paul’s Cathedral. His painting will be on display at the Church all summer before moving uptown to the Saint Thomas Choir School, where it will hang alongside those of Scott’s illustrious predecessors. “The unveiling was a delightful conclusion to a fulfilling project. The love and respect for the man and his talent has been palpable throughout the making of the painting.”

benjaminarnold.com benjaminarnoldart

EXHIBITIONS

A QEST Radcliffe Trust Scholarship in 2012 provided vital funding for Zouq artist Natasha Mann’s MA in Islamic and Traditional Arts at The Prince’s School of Traditional Arts. She graduated with distinction and was presented with the Barakat Prize for Islamic Art by HRH The Prince of Wales. She has kept a connection with the School, returning as a tutor, and four of Natasha’s traditional Moroccan paintings and accompanying geometric construction drawings have been selected for Prince and Patron, an exhibition for visitors to the Summer Opening of the State Rooms at Buckingham Palace (until 30th September) to mark His Royal Highness’s 70th birthday. natasha-mann.com natashamann_zouaq_artroyalcollection.org.uk

Prince and Patron exhibition at the Summer Opening of Buckingham Palace

Phot

ogra

ph: R

oyal

Col

lect

ion

Trus

t/© H

er M

ajes

ty Q

ueen

Eliz

abet

h II

201

8

A QEST Hedley Foundation Scholarship in 2013 provided funding for Flett Bertram’s MA at the Royal College of Art where she specialised in mixed media textiles. She moved to Paris to be an embroidery and weave designer for Lesage, a prestigious house known for its traditional work in Haute Couture. All work is done by hand and Flett designs by making swatches rather than through drawing. She is also a keen illustrator. As a personal project, Flett combined illustration and embroidery samples gathered during her time in the fashion industry for a summer exhibition at the Primavera Gallery in Cambridge.

flett-bertram.com flett_bertram

QEST Garfield Weston Foundation Scholar Jamie Coreth (2012), winner of the Young Artist Award at the BP Portrait Award in 2016, has been selected again for the 2018 exhibition. This year’s entry, Mark Jackson: Broken Bodies, is a painting of Jacko, who was in the Parachute Regiment before a shattered hip ended his military career and brought forward his plans to study in Florence to become a sculptor. Jamie noticed one of his sculptures had fractures across the hips and thought this would make an apposite composition, with Jacko’s shadow cast across the legs of the sculpture. The jawbone on the floor to his left is a reference to Cain and Abel as the origin of conflict. The BP Portrait Award 2018 exhibition is at the National Portrait Gallery until 23 September.

jamiecoreth.com jcorethnpg.org.uk

Mark Jackson: Broken Bodies by Jamie Coreth

QEST Alumni News

Phot

ogra

ph: N

aill

Mac

Dai

rmid


A solo exhibition of headpieces by Deirdre Hawken at the Halcyon Days store in The Royal Exchange coincided with the run up to Royal Ascot. Deirdre studied couture millinery with Rose Corey, milliner to Queen Elizabeth The Queen Mother,

for her QEST Scholarship in 1999. Her work features in collections at the V&A Museum, The Metropolitan

Museum of Art in New York and Kyoto Costume Institute. The eight hats on display at Halcyon Days, typical of Deirdre’s fascination and playfulness with

food, included pods of painted leather borlotti beans and bright yellow lemons with segments of fresh silk.

deirdrehawken.com

deirdrehawkenmillinery

Nasturtium headpiece by Deirdre Hawken

At the turn of the 20th century, the Jewellery Quarter in Birmingham was alive with over 30,000 workers. Today, just a few hundred makers remain. Many are self-employed or work in micro-companies, but together they represent one of the last manufacturing strongholds in Britain - 40% of all jewellery made in the UK originates here – and Europe’s largest concentration of manufacturing jewellers. This historic square kilometre in the heart of the city is undergoing redevelopment to create a new community and hub for creative industries. Whilst bringing about positive change, this is creating a challenging environment for the remaining craft businesses that earn the Jewellery Quarter its name and reputation and rely on the network of skills in the area. QEST Johnnie Walker Scholar Craig Struthers (2017) and Dr Rebecca Struthers, bespoke watchmakers in the Quarter, worked with photographer Andy Pilsbury to raise awareness and give a voice to the talented craftspeople – last-of-their-kind to new apprentices – in centuries-old heritage firms to start-ups who are working to ensure the Jewellery Quarter remains synonymous with British manufacturing excellence. The exhibition, We’re Still Here, ran at the Argentea Gallery in July. strutherswatchmakers.co.uk strutherswatchmakers

Craig and Dr Rebecca Struthers, Struthers Watchmakers

Phot

ogra

ph: A

ndy

Pilsb

ury

QEST Alumni News

AWARDS

The Goldsmiths’ Craft & Design Council Competition, now in its 110th anniversary year, promotes excellence in craftsmanship in silversmithing, goldsmithing, jewellery and allied crafts in the UK. The only peer reviewed awards in the industry’s calendar, judges include QEST Scholars Zoe Harding FIPG (2004) and Elizabeth Peers (2012). The 2018 Awards Ceremony at Goldsmiths’ Hall celebrated 45 winners from around 900 entrants, including six QEST Scholars.

In the Special Awards, Jabot Arrow Pin and Bow brooch by Jessica Poole (2009) won the Boodles Award for ‘an exclusive piece of jewellery elegantly designed and beautifully made’ and a Silver in Jewellery Craft. Jessica received a second Silver in 3D Craft Setting for her Trumpet Rings and Bronze for the brooch.

Wayne Meeten took home four Awards, most notably Gold for Silversmiths in the Design section for 3D finished pieces. His winning piece, Spirit of Energy, was a commission from a client for a centrepiece that reflected the wonders of the sun. Wayne, QEST Pamela de Tristan Scholar (2014), is a master of the expressive qualities of silver and his originality, artistry and skill were all evident, with sunrise, sunrays, sunset and aurora borealis all captured beautifully.

QEST Dengie Crops Scholar Naomi Nevill (2016), a specialist in vitreous enamelling, collected five Awards, including Silver in Jewellery Design for A Piece of Eden. There were two options for Enamellers and Enamel Painters to encourage both traditional techniques and those who explore and seek fresh visual qualities and striking aesthetics. Naomi was successful in each with Reversible Birds of Paradise Necklace and Enamelled Butterfly Necklace.

Fractal Undulating Vase, electroformed by Ryan McClean (2013), resulted in Gold for Technological Innovation. In the Modellers category, Wally Gilbert won Bronze for his trio of wax models. They began as a commission for a single unicorn, but after research to make

Jabot Arrow Pin and Bow brooch by Jessica Poole

Spirit of Energy by Wayne Meeten

A Piece of Eden by Naomi Nevill Fractal Undulating Vase by Ryan McClean

Phot

ogra

ph: R

icha

rd V

alen

cia


Kayo will exhibit during week one of Goldsmiths' Fair 25th-30th September 2018, alongside other QEST Scholars including Ryan McClean, Louise Parry, Hazel Thorn, Ruth Tomlinson, Zoe Watts. Manasi Depala will exhibit in week two from 2nd-7th October.

kayosaito.com kayosaitojewellerygoldsmithsfair.co.uk

the creature convincing and finding out about their symbolic meaning, he became fascinated and carved three Beasts. He had them cast into bronze in Philadelphia by friends he made through his QEST Scholarship in 2001.

In the Junior Awards, Manasi Depala (2016), a contemporary silversmith based in Leicester, won Gold for Chasers and Silver for Silversmiths with Twisted Floral Vase that she made during her QEST Clarins Scholarship with Rod Kelly (2000) at his workshop on Shetland.

jessicapoole.co.uk wvmstudio.comnnjewellery.com ryanmccleansilver.co.ukwallygilbert.co.uk manasidepala.comcraftanddesigncouncil.org.uk

Beasts by Wally Gilbert

Twist

ed F

lora

l Vas

e by

Man

asi D

epal

a

In 1926, The Goldsmiths’ Company decided to begin a collection of modern silver to improve design and craftsmanship in the industry. By naming the silversmiths acquired, the Company helped the profile of the maker and the collectability of their work. The Modern Collection numbers over 1,000 pieces today, with up to 10 items added annually. In April, QEST Scholar Kayo Saito (2016) delivered her commission, The Blossom Necklace, accompanied by its drawing. Kayo's work is influenced by plants and organic forms. Inspired by flowers about to open, she applied layers of hammered texture to turn the metal into a soft, tactile surface for irregular, ripple-edged petals - organic, delicate and ephemeral.

The Blossom Necklace by Kayo Saito

Fractal Undulating Vase by Ryan McClean

QEST Alumni News

CAMPAIGNS

Francesca Levey, QEST J Paul Getty Jr Charitable Trust Scholar (2016) and metals conservator, has been photographed by Paula Moore for a social media campaign that focuses on emerging heritage workers. Paula is striving to make heritage visible, accessible and engaging by showing young, pioneering conservation professionals and their craft in a new light. Francesca, who has established her own practice specialising in arms and armour, also recently presented a mini-documentary on mail making with restorer Nick Checksfield at Caerphilly Castle. flmetalconservation.com flevey talkinculture

Scottish cashmere house Brora places great importance on British manufacturing and craftsmanship. Its latest campaign, Meet the Wearers, features QEST Finnis Scott Foundation Scholar and sculptor Poppy Field. She sculpts in the tradition of the Old Masters, working from life under natural north light, modelling in clay and casting in bronze. Poppy is pictured in her studio at the Florence Academy of Art, midway through her graduation piece, Everything is Now. Her second year of study here was made possible by QEST (in the accompanying interview she lists the QEST Scholarship as her proudest achievement) and the final year through a Leverhulme Trust Study Abroad Studentship. Upon graduation this summer, Poppy was awarded the Florence Academy of Art's inaugural Graduate in Residence prize for sculpture and is delighted to be remaining for another year.

poppyfieldfineart.com poppy.field

Francesca Levey cleaning a silver military figurine

Poppy Field in Brora’s Meet the Wearers campaign

Phot

ogra

ph: P

aula

Moo

re

Naval officer’s sword before and after treatment

Phot

ogra

ph: B

asili

o D

e San

Juan

for B

rora

QEST My QEST

How did you become involved with QEST? My first encounter was through Diamond Jubilee by John Walker & Sons, a special edition Scotch whisky presented by more than 60 craftspeople to celebrate the occasion and raise funds for QEST. It has been a pleasure to work with the annual QEST Johnnie Walker Scholars since, supporting their creative endeavours and on trips to Scotland to experience our craft. Spending time with them, and the many other QEST Scholars and Apprentices I have met since becoming a Trustee last year, is a privilege - the powerful combination of talent, passion and commitment is truly inspiring. johnniewalker.com nicholasjmorgan Which recent work by a QEST Scholar or Apprentice has caught your eye? In April, green woodworker Steve Tomlin (2013) won the inaugural Heritage Crafts Association (HCA) Marsh Endangered Craft Award for a practitioner of one of the 62 crafts identified as most at risk on the HCA Radcliffe Red List of Endangered Crafts. Steve, a spoon carver and scything tutor, is learning to make Devon stave baskets from records at the Museum of English Rural Life and time with Mark Snellgrove (the only remaining teacher - there are no full-time makers). Seeing the picture of his first attempt, I think my father had one, originally my grandfather’s, in his greenhouse. The Red List is an important piece of research and needs action like this to secure the future of crafts at risk. I am pleased to see coopering (spirits) and coppersmithing (stills) as ‘currently viable’. These traditional

skills are at the heart of Johnnie Walker whisky making and we invest in a healthy number of apprenticeships in both disciplines every year – our whisky wouldn’t exist without them. stevetomlincrafts Which QEST Scholar would you most like to commission? Commissioning is an enjoyable and illuminating way to support QEST Scholars that I would encourage anyone to consider. I now have a pair of Carréducker Tor Boots, two wonderful Mia Sabel (2010) watch straps and very soon a jacket – one fitting to go - made by QEST Johnnie Walker

Scholar Jennie Adamson (2016) with tweed from the Islay Woollen Mill. It’s not just buying something. The

whole idea of having something made for you, whether it is a dry martini at Dukes

or a bespoke watch strap, is about becoming thoroughly engaged with

the process. And when you drink that drink (Tanqueray, very dry, one olive) or wear the watch, it is invested with all that care and attention. Personal details too. One of the watches belonged to

my cricket-playing father, so Mia made the new strap from cricket

ball leather produced by Clayton & Sons in Chesterfield. I love the discreet

glimpse of red and the simplicity of the perfectly placed, single hole to fasten it.

My main weakness is for buying guitars. I have a number – a mixture of very old and modern – all of which I like to play. I have thought for some years that the ultimate indulgence would be to have a guitar made for me. For now, I find myself following the Instagram feed of Tom Sands (2014), who is making some of the most responsive, custom acoustic guitars in the world at his studio in North Yorkshire. One day. carreducker sabelsaddlery jennie_adamson tom_sands_guitars Whose apprentice would you like to be? Childhood memories of trips to the Stratford-upon-Avon Mop Fair every year have stayed with me, along with a love of fairgrounds and their art. Amy Goodwin (2016) is a purist. She grew up with a travelling fairground, immersed in its visual language. This is evident in the wagons she painted recently for Giffords Circus, with all the signwriting undertaken by hand. Amy, who like me is also a historian, is at the halfway point in her PhD enquiry supported by QEST to trace the stories of generations of show-women. She is working to construct an archive and tell their stories through authentic, crafted signs. In collaboration with fellow QEST Scholar Emily Juniper, she has presented an exhibition of her research into one character, Martha. This entailed making 528 folds across 48 printed sheets and testing a hanging system with threads that brings to life beautifully the depth and complexity of her findings. The folded works on paper series of all five of her subjects is on display at Dingles Fairground Heritage Centre in Devon until the end of September. a__goodwin junipersees

DR NICHOLAS MORGAN QEST Trustee

Head of Whisky Outreach, Diageo Addressee, John Walker & Sons

MY QEST

Commissioning is an enjoyable and illuminating

way to support QEST Scholars that I would encourage

anyone to consider.


Islay tweed jacket by Jennie Adamson

Hand-stitched, bespoke and fitted watch strap in cricket ball leather by Mia SabelLuthier Tom Sands

Carréducker London Tor Boots Amy Goodwin signwriting for Giffords Circus

Steve Tomlin’s first Devon Stave Basket

Phot

ogra

ph: V

icto

ria B

aker

Pho

togr

aphy

QEST Events

In March, The Earl of Snowdon hosted the third annual QEST fundraising dinner at the Victoria and Albert Museum. Moët & Chandon Champagne and Johnnie Walker, Tanqueray and Gordon’s cocktails were served under

the spectacular V&A Rotunda Chandelier as guests wandered around meeting

the 24 QEST craftspeople showcasing their skills.

There were

conversations about the intricacies of basket weaving with QEST D’Oyly Carte Charitable Trust Scholar Annemarie O’Sullivan (2016),

milliner Jane Fryers (2005) was both

wearing and displaying her colourful, fish leather

hats, and Libby Kates (2015), head woven designer at Dash +

Miller, worked at a hand loom.

Through in The Raphael Gallery, guests were welcomed by Master of Ceremonies Christopher Biggins and QEST Chairman Nick Crean. Lance Patterson, CEO of principal sponsor Penhaligon’s, spoke about the values shared by QEST and his 147-year-old brand that relies on and is proud to support British craftsmanship. Thomas Merrett was invited to tell the story of his QEST Garfield Weston Foundation Scholarship that enabled him to study figurative sculpture at the Florence Academy of Art. During the evening, he also completed a torso sculpture in clay for the auction conducted by Hugh Edmeades. The lot sold twice: once to be cast in bronze, another in resin. Also in the live auction, bidding was strong on a willow stag head by Bob Johnston, one of the first five wrist watches to be made with QEST Johnnie Walker Scholar Craig and Dr Rebecca Struthers’ in-house movement,

A CELEBRATION OF CRAFT

EVEN

TS

The Victoria and Albert Museum, the home of ‘manufactures’, was

the perfect setting to showcase the importance of British craftsmanship. It was great to see so much generous support and enthusiasm for QEST

from so many people. British craftsmanship has a bright future.

–Lord Snowdon

Sculptor Thomas Merrett

Milliner Jane Fryers


Lance Patterson, CEO, Penhaligon’s

a tour of the Royal Opera House with Dame Darcey Bussell and an outing on The Queen’s Rowbarge Gloriana for 20 guests, arranged by Lord Sterling. Further lots made by QEST alumni, luxury goods, bespoke tours and masterclasses and a silent auction combined to raise over £100,000 towards supporting the education and training of more talented and aspiring craftspeople.

Basketmaker Annemarie O’Sullivan

The CHI Royal Windsor Horse Show celebrated its 75th anniversary in May. While Britain’s best dressage riders Charlotte Dujardin and Carl Hester were on winning form in the ring, 14 QEST alumni gave top-class demonstrations of British craftsmanship over five days in the Castle grounds. QEST Worshipful Company of Saddlers Scholar Clare Barnett (2013) travelled from her Bearhouse Saddlery in Hampshire with QEST Alborada Trust Apprentice Joanna Murphy, in her first year of training with Clare. Other makers working in the Royal Warrant Holder Association & QEST Pavilion included cordwainer Adele Williamson (2016), braidmaker Jacqui Carey (2005) and five 2017 Scholars: fine artist Anton Cataldo, stone carvers Lily Marsh and John Sutcliffe, enameller Harry Forster-Stringer and leatherworker Candice Lau.

rwhs.co.uk

ROYAL WINDSOR HORSE SHOW

QEST Kirby Laing Foundation Scholar John Sutcliffe (2017)

Saddlery Apprentice Joanna Murphy (2017) and Master Clare Barnett with QEST Chairman Nick Crean

Woven designer Libby Kates

QEST Events

London Craft Week returned to the capital for its fourth edition in May 2018. The festival brought together over 200 established and emerging makers, designers, brands and galleries from around the world for five days of city-wide events showcasing exceptional craftsmanship.

LONDON CRAFT WEEK

EVEN

TS

Mario Sierra and Karen Hay-Edie of Mourne Textiles

QEST Rokill Scholar Mario Sierra (2016) of Mourne Textiles was invited to represent Northern Ireland alongside London Craft Week founder Guy Salter at a Downing Street reception hosted by Prime Minister Theresa May on the eve of London Craft Week. The evening celebrated the UK's Creative Industries, which contribute £92 billion to the UK economy and provide work for more than two million people across the country.

On the opening day, QEST and The Heritage Crafts Association gathered 20 accomplished craftspeople for Making It! at Carpenters’ Hall on London Wall. Wood turner and sculptor Joey Richardson, who learned to cast her wooden forms in glass on a QEST Carpenters’ Company Scholarship in 2012, presented alongside sculptor and QEST NADFAS Scholar Jessica Wetherly (2015), and Clare Pattinson (2014) with a collection of the automata

and mechanical creations that she makes as Turner Handel Traditional Toys. Other heritage craft skills on display included leatherwork, basketry, letter cutting and spoon carving. Following the open house, John Makepeace OBE gave a talk on the making of the bog oak Master’s Chair for The Worshipful Company of Carpenters. An evening reception brought a wonderful day to a lively conclusion as QEST & HCA guests interacted with the talented makers they support.

David Snowdon hosted an event at the LINLEY showroom in Belgravia on the art of experiential retail. Scott Simpson, QEST Ambassador, welcomed guests and introduced the custodians of four luxury brands for a discussion with author and journalist Nick Foulkes on how they bring sensory appeal to their clients. Laurent Feniou, MD of Cartier, talked about the role of sight; Nick Crean,

Lora Avedian at HOWE 36 Bourne Street


QEST alumni featured in other events too. Multidisciplinary artist Lora Avedian set up a studio in HOWE at 36 Bourne Street to create pieces using the store’s leathers, new and vintage textiles, trimmings and wallpapers. Embroiderer and textile artist Aurora

Pettinari York worked with architecture practice Atelier Y A O to present Rhapsody on Wheels, an exhibition inspired by Greco-Roman mythology that travelled to three venues: Kallos Gallery, Sans Pere and William Morris Gallery. Over at the National Army Museum Graham Ashford showed the importance of armour, how it is made to its evolution over time.

There is still time to enjoy An Elixir of Letters by The Lettering Arts Trust at The Chelsea Physic Garden until 31 October. The exhibition is inspired by plants grown in the Garden that are ingredients in wines, teas, cordials, beers and herbal brews. During his research for Olive Branch, Wayne Hart (2011) discovered a Corsican proverb ‘olive flowers in June, olives in the hand’ about an early bloom leading to a bountiful harvest. He carved these words into a stone sphere using a free style of lettering to direct flow around the work and a deep cut to create a strong contrast of light and shadow. Thomas Sargeant’s piece Husk is a Purbeck green marble cedar seed made to stand where the first cedars of Lebanon to be planted in Britain once grew. londoncraftweek.com londoncraftweekheritagecrafts.org.uk linleylondonletteringartstrust.org.uk

Chairman of QEST and Co-owner of Prestat Chocolates, spoke on taste; Celia Bosch, Global Marketing Director, Penhaligon's gave an insight into smell; and David Snowdon, Founder and Chairman of LINLEY fine furniture, explored touch. Three QEST Scholars - silversmith Wayne Meeten, luthier Tom Sands and watchmakers Craig and Rebecca Struthers - were invited to exhibited their crafts alongside a demonstration of LINLEY marquetry, Penhaligon's fragrance profiling and a Prestat chocolate tasting.

Olive Branch by Wayne Hart

Medusa by Aurora Pettinari York

Frank by Jessica Wetherly

Nick Crean, Celia Bosch, Nick Foulkes, Laurent Feniou, Scott Simpson and David Snowdon at LINLEY

Phot

ogra

ph: D

aisy

Tem

pest

QEST About QEST

QEST sustains Britain’s cultural heritage by funding the training and education of talented and aspiring craftspeople through traditional college courses, vocational training, apprenticeships or one-on-one training with a master craftsperson. This helps to ensure the continuation of craftsmanship within the UK, enhancing and nurturing essential crafts skills that make a vital contribution to Britain’s cultural identity and the economy.

Since 1990, the Trust has awarded over £4 million to more than 440 craftspeople of all ages and backgrounds in at least 130 skill sectors, from rural to cutting-edge craft and conservation. Testament to

QEST is the charity of the Royal Warrant Holders Association, established in 1990 to celebrate the 90th birthday of Queen Elizabeth The Queen Mother and the 150th anniversary of the Association by supporting excellence in British craftsmanship.

Supp

ortin

g Ex

celle

nce In British Craftsmanship

SPECIAL EDITIONS Pledge 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. The Cambridge Satchel Company QEST Collection is available in all stores (Brighton, Cambridge, Edinburgh, London and Oxford) and at cambridgesatchel.com.

QEST MAGAZINE Advertise in the bi-annual QEST Magazine, which spreads the word about the work of QEST, its craft alumni and supporters.

the selection process and support, 93% of the QEST Alumni are still working in their craft today - many acknowledged leaders in their field - and passing on their skills to the next generation.

Funding is available to individuals for Scholarships (£5,000 to £18,000) for a specialist course or training and to businesses (in particular smaller companies) to employ Apprentices (up to £18,000 over 2-3 years).

The charity, however, is only able to support around 10% of applicants and relies on the continued generosity of supporters to maintain and grow its far-reaching, vibrant network to promote excellence in British craftsmanship.

There are many ways to get involved and help raise these much-needed funds. To find out more, contact Deborah Pocock on 020 7798 1531 or [email protected]


QEST FUNDRAISING GALA DINNER Support the annual QEST fundraising dinner, A Celebration of Craft, at the Victoria and Albert Museum on 13th March 2019 as a sponsor, book a table or donate lots for auction. Contact [email protected]

LEGACY Remembering QEST when making a will means that vital craft skills can be handed down to successive generations.

SPONSOR A QEST SCHOLAR OR APPRENTICE The minimum donation for a named Scholarship is £15,000 and for an Apprenticeship £18,000 (typically over three years). Other donations will be allocated to general grant funds and recognised on the QEST website and in the QEST Magazine.

I am halfway through a three-year architectural leatherwork apprenticeship at Bill Amberg Studios. Drawing on the age-old disciplines of casemaking, saddlery and bookbinding, I am learning to make wall panels, flooring, handrails, desks, seating, doors and boxes, and have been fortunate to be involved in making leather curtains for a new gallery at Westminster Abbey. This training has been made possible by QEST and Allchurches Trust. I am grateful to be gaining the knowledge and skills to make and repair leather for churches and old buildings when I graduate.Matt Jacques, QEST Allchurches Trust Apprentice (2016)

CONTACT QEST 020 7798 1535 or [email protected] justgiving.com/QEST

QEST Book

Decorative artist Melissa White (2007) is one of over a hundred QEST alumni who will feature in Celebrating British Craftsmanship, a book of remarkable photographic portraits by Julian Calder with accompanying craft stories by QEST Magazine editor Karen Bennett.

It will represent a journey of thousands of miles around the country, from a Cornish coppersmith to silversmiths on Shetland, willow and glass artists in Northern Ireland to a gem carver in Norfolk. The QEST Scholars and Apprentices have been pictured at their work benches, places of inspiration, and with the tools, materials and finished pieces that define their practice. The conversations have revealed a wealth of skill and knowledge, respect for traditions and an abundance of innovative spirit. The result is a glimpse into the vibrant, richly storied world of British craftsmanship today, apprentices to masters, that QEST has supported and nurtured since 1990. Celebrating British Craftsmanship, designed by Prof. Phil Cleaver of et al design consultants, will be published by impress-publishing.com in October 2018 and sold to raise funds for QEST. Price and stockist information will be confirmed in the autumn. To register your interest, email [email protected]

Melissa White, decorative artist and QEST Scholar 2007, photographed by Julian Calder

CELEBRATING BRITISH CRAFTSMANSHIP

The 29th May 1961 Charitable Trust

The Alborada Trust

Allchurches Trust

Andrew Lloyd Webber Foundation

The Antiques Dealers Fair

The Arts Society

The Ashley Foundation

The Aurelius Trust

Lady Carole Bamford

Bendicks (Mayfair)

The Battersea Power Station Foundation

The Blagrave Trust

The Cambridge Satchel Company

CHK Charities

The D'Oyly Carte Charitable Trust

The Dulverton Trust

Donald Russell

Jenifer Emery

Ernest Cook Trust

The Edith Murphy Foundation

The Finnis Scott Foundation

Garfield Weston Foundation

The Gosling Foundation

The Hedley Foundation

Heritage Crafts Association

The Hobson Charity

Howdens Joinery

The John Apthorp Charity

John Lyon's Charity

Thank you to the Royal Warrant holders, livery companies, trusts, foundations, brands and individuals who generously support QEST.

John Walker & Sons

The Kirby Laing Foundation

Launer London

Lock Hatters

The London Art History Society

Moët et Chandon

Parker Pen Company

Penhaligon's

The Pennies Foundation

The PF Charitable Trust

The Pilgrim Trust

The Radcliffe Trust

The Robertson Trust

Royal Warrant Holders Association

Sleepeezee

The Stanley Picker Trust

Tanqueray Gordon & Co

Thomas Fattorini

The Worshipful Company of Arts Scholars

The Worshipful Company of Broderers

The Worshipful Company of Carpenters

The Worshipful Company of Cordwainers

The Worshipful Company of Drapers

The Worshipful Company of Leathersellers

The Worshipful Company of Pewterers

The Worshipful Company of Saddlers

The Worshipful Company of Turners

The Wren Press

Donors, Supporters & Sponsors

Q E S T. O R G . U K J U S T G I V I N G . C O M / Q E S T

S-ch

air b

y Q

EST

How

dens

Sch

olar

Tom

Vau

ghan

(201

8) at

Obj

ect S

tudi

o. P

hoto

grap

h: sa

mba

rker

phot

o.co

m

in this issue - kaja upelj€¦ · neil stevenson, n.e.j. stevenson ambassadors caroline...

Documents