Rosalinde and Arthur Gilbert’s silver collection
Rosalinde and Arthur Gilbert collected over 300 pieces of gold and silver between the 1960s and 1990s. They were captivated by the beauty of the material, the rarity of individual objects, and exquisite examples of craft and techniques.
The very first objects that Arthur and Rosalinde collected passionately were stone and glass mosaics, which formed the core of the Gilbert Collection. While silver was a defining category of the art market in the 1970s and 80s, it was only after receiving encouragement and advice from art dealers and curators that Arthur began acquiring silver. The Gilberts developed a network of trusted agents who helped them identify and acquire the best pieces on the market.
Most of the Gilbert’s silver collection is comprised of European silver made between 1500 and 1900. However, Arthur’s ever-growing curiosity sometimes steered him towards rare objects from global origins and traditions. The silver Indian howdah and gold Peruvian cup are two such examples. Arthur and Rosalinde went on to build one of the world’s most iconic private collections of silver in the 20th century.
The Partridge Drinking Cup
One of Arthur’s favourite objects was a silver-gilt drinking cup in the shape of a partridge, with feathers carved naturalistically from mother-of-pearl. It was made in the early 17th century (hallmarked 1598 – 1602) by German goldsmith Georg Rühl, who was known for mounting precious materials such as shell in silver. Only two other comparable examples of partridge cups are known to exist, one being in the prestigious collection of the Green Vaults in Dresden.
The removable head is set with garnet eyes, and miniature silver lizards and frogs sit at the partridge’s feet. The bird perches on top of an octagonal plinth decorated with scrollwork. The partridge cup displays a wide variety of silversmithing skills, including casting, piercing, chasing, and silver-gilt.
Arthur’s Grant of Arms
Although Arthur’s advisors initially had to persuade him to buy it, the partridge cup later became an icon of the Gilbert Collection. When Queen Elizabeth II awarded Arthur a knighthood in 1999 to honour the transfer of the Gilbert Collection to the UK, he was granted permission to design a personal coat of arms, crest and badge. He selected one of his most prized possessions to be his heraldic symbol: the partridge cup.
Each motif included in the design of the arms was chosen for its personal significance to Arthur:
- The embattled border of the crest refers to his business enterprises in property and construction.
- The three central chalices are stylised examples of the objects in his silver collection which he transferred to the nation.
- The partridge is taken as a symbol of his collection. It stands on two brick steps as another emblem of building and construction.
Both the partridge and Arthur’s coat of arms can be seen on display side-by-side in Room 70b.
Interpreting silver in Room 72b
Room 72b displays gold and silver objects from the Gilbert Collection. It celebrates silver by showing examples made by revered makers and grouping objects together based on the exceptional silversmithing skills demonstrated.
To make these objects more accessible, the interpretation and curatorial teams produced three films to explain three key silversmithing processes: engraving, chasing and embossing. Whilst many of the Gilbert Collection objects are decorated using a combination of these techniques, each skill has here been individually identified, allowing the visitor to look closer at the objects and understand the variety of skills used to make them.
The techniques on display in the Gilbert Galleries are still being used by contemporary goldsmiths and silversmiths today. The V&A therefore partnered with Goldsmiths Centre and Bishopsland Educational Trust to create the three films, showcasing the skills of talented young makers at the early stages of their careers. Inspired by Arthur’s coat of arms, the image of the partridge was used by the makers.
The result of this collaboration is the multisensory station, where visitors are invited to select a technique on the touch screen (engraving, chasing or embossing) and witness the process from start to finish. By listening to the chaser or engravers voice, hearing the tool sounds, and watching detailed footage of the making process, the films highlight the distinct effects they make on metal. To the right of the audio and digital screen, the finished silver partridge plaques are also on display. Visitors are encouraged to touch, to trace the tool marks and feel the silver for themselves.
Engraving: Harry Stokes
Harry Stokes, of St Oakes, is a designer-craftsman specialising in engraved silverware, using traditional methods and hand tools. Harry engraves by hand and is known for his illustrative style, which is particularly well suited to bespoke work. Harry produced the silver touch plaque demonstrating the technique of engraving for the Gilbert Galleries.
Apprenticed at the age of 17 as a goldsmith, Harry spent several years making jewellery at a firm associated with his grandfather, also his namesake, before embracing the specialist skillset of silversmithing and engraving, beginning with two years at Bishopsland Educational Trust. Harry’s designs have a strong sense of enduring tradition, passed on and developed for the world of modern British silver.
Watch Harry engrave the partridge on a sheet of silver
Chasing and embossing: Charlie Lewis
Charlie Lewis made the silver touch plaques that display the techniques of embossing and chasing. He continues a family tradition of silversmithing – his grandfather being a chaser for over 45 years. Charlie first started helping him in the workshop when he was 15.
In 2019, Charlie participated in the Goldsmiths’ Company Apprenticeship Scheme. As the first apprentice for chasing in 30 years, Charlie’s work demonstrates how crucial it is to support the future of this ancient and increasingly scarce technique. His apprenticeship at Stuart Ray Ltd (manufacturer of bespoke silverware and sporting trophies in Faversham) eventually led to his long-term employment with the company.
“It’s very important to keep the craft of chasing alive – because it’s done entirely by hand, it’s very out of the ordinary. Chasing is a form of art… [that] very few people know and understand.” (Charlie Lewis)
Watch Charlie emboss the outline of the partridge onto the sheet of silver
Watch Charlie chase the previously embossed sheet of silver
A collaboration between the V&A, Goldsmiths’ Centre and Bishopsland Educational Trust
Harry and Charlie exemplify the lasting impact that Bishopsland and Goldsmiths’ Centre educational programmes and apprenticeships schemes can have on the career trajectory of makers.
Angela Cork, silversmith and Principal of Bishopsland Educational Trust, describes the work of the trust as, “a charity offering a residential programme for emerging silversmiths and jewellers as they begin to establish themselves professionally and set up their own creative businesses. Through training, mentoring, masterclasses, exhibition opportunities and industry engagement, we support them in bridging the gap between education and working practice, building networks and developing sustainable careers. Our aim is to nurture the future of silversmithing and jewellery by giving makers the confidence, technical knowledge and encouragement they need, while continuing to value the hand skills, care and precision at the heart of the craft”.
The ongoing relationship between Bishopsland and the V&A is incredibly special to both parties because, in Angela’s words, “it gives our cohort the rare opportunity to take part in handling sessions with exceptional pieces from the collections. There is nothing quite like learning directly from historic objects: appreciating their weight, studying the precision of a hinge, or seeing the care that has gone into a surface or hidden detail. This kind of access offers a depth of understanding that simply cannot be replicated through photographs or display cases. The finished plaques act as touch plates, inviting visitors to engage more closely with the work by feeling the surface, seeing the detail up close and gaining a better sense of the techniques involved. For Bishopsland, this project reflects something much wider: a commitment to protecting specialist hand skills, celebrating craftsmanship, and helping people connect with the care, patience and knowledge behind beautifully made objects. We hope it encourages greater awareness of these crafts and inspires others to explore making. We are hugely grateful to the V&A for their generosity and ongoing support”.
The V&A is also incredibly grateful to the Goldsmiths’ Centre for their role in the collaboration. Located in central London, the Goldsmiths’ Centre supports the jewellery, silversmithing and allied industries to embrace learning as an essential lifelong practice. They offer technical training, affordable workspace, business support and funding opportunities to foster a nurturing community and close the jewellery industry’s skills gap.
After visiting the Gilbert Galleries, we hope that visitors will feel more connected to historic silver objects through understanding the skills that are still used today. Perhaps it will inspire people to consider silver beyond the museum, motivate others to learn silversmithing, or simply appreciate and identify the application of techniques.
