Silver mounted with chrysoprase, London hallmarks for 1924-5, mark of Sibyl Dunlop.

Silver bowl in the form of a Scottish quaich, the softly planished surface hammered and set with chrysoprases. The bowl rests on a plain circular rim with a wire strip applied to form a simple moulding, similar to the rim of the bowl itself. The body of the bowl, just below the rim, has a band of interlaced applied wire ornament of linked diamond pattern, interspersed at regular intervals with a lozenge framing a diamond cut chrysoprase set in a plain mount. The handles are two 'ears' with concave edges and a straight lip at each end and are attached to the rim diametrically opposite each other. The upper surfaces of the handles are decorated with a Celtic cross design of applied wire, set within a circle with each centre, set with a diamond shaped chrysoprase.

Quaich is probably from the Gaelic word for cup, cuach, and is a two handled, shallow bowl derived from a wooden or sometimes silver banded original. It appears to be a purely Scottish form though it is possible that there is some French influence. It resembles a mazer in as much it too was originally carved out of solid wood.

Given by the American Friends of the V&A through the generosity of Edith Alpers

Edith Alpers Gift through the American and International Friends of the V&A
Sibyl Dunlop presided in caftan and Russian boots over a workshop in Kensington Church Street in the 1920s and 1930s. This bowl is an example of late Arts and Crafts metalwork with its hammered finish and Celtic influences, but it also takes a step towards Art Deco with its applied, geometric silver band. The latter is likely to have been the work of W. Nathanson, Sibyl Dunlop's principal craftsman, who was a master of the piercing saw and held the firm belief that the reason some Arts and Crafts metalworkers rejected the saw was that they lacked the skill to use it.

You can see the influence of two decorative styles on this bowl. Its hammered finish, Celtic-inspired motifs and gemstones are features of later examples of metalwork in the Arts and Crafts style. The applied pierced geometric silver band is a step towards the Art Deco style.

The designer, Sibyl Dunlop, presided in caftan and Russian boots over a workshop in Kensington Church Street, London, in the 1920s and 1930s. Her principal craftsman, W. Nathanson, probably made the pierced silver band. He was a master of the piercing saw and firmly believed that some Arts and Crafts metalworkers rejected the saw because they lacked the skill to use it.

M.30-1999