Rose Bowl
1914-1915 (made)
| Artist/Maker | |
| Place of origin |
Omar Ramsden (1873-1939), son of a successful Sheffield manufacturer, had met Alwyn Carr (1872-1940) as a fellow design student at the Sheffield School of Art. In 1897, Ramsden won First Prize in the open competition for the design of a mace for the Sheffield City Council and turned to Carr for help with its execution leading to their formal partnership in 1898.
Business flourished and the workshop, now enlarged to include specialist chasers, engravers and enamellers as well as general silversmiths in new premises and showroom in Fulham. The character of the wide range of silver produced, domestic, ceremonial and religious, is linked by its apparent hand made appearance and an English decorative quality of historic reference to medievalism as well as occasionally, a subtle awareness of the sinuous lines of contemporary Art Nouveau. The partnership was dissolved in 1918, after which, Ramsden and Carr ran independent studios until their respective deaths.
Business flourished and the workshop, now enlarged to include specialist chasers, engravers and enamellers as well as general silversmiths in new premises and showroom in Fulham. The character of the wide range of silver produced, domestic, ceremonial and religious, is linked by its apparent hand made appearance and an English decorative quality of historic reference to medievalism as well as occasionally, a subtle awareness of the sinuous lines of contemporary Art Nouveau. The partnership was dissolved in 1918, after which, Ramsden and Carr ran independent studios until their respective deaths.
Object details
| Categories | |
| Object type | |
| Materials and techniques | Silver, raised, chased and repoussé on cast feet |
| Brief description | Rose bowl, silver, London hallmarks for 1914-15, mark of Ramsden and Carr. |
| Physical description | Rose bowl, hammered silver with chased and repoussé decoration and cast feet. Circular with incurved side decorated with a stem of roses and a ribbon bearing the engraved inscription, resting on six cast, arched feet. |
| Dimensions |
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| Style | |
| Production type | Unique |
| Marks and inscriptions |
|
| Credit line | Bequeathed by Henry Louis Florence. |
| Subject depicted | |
| Summary | Omar Ramsden (1873-1939), son of a successful Sheffield manufacturer, had met Alwyn Carr (1872-1940) as a fellow design student at the Sheffield School of Art. In 1897, Ramsden won First Prize in the open competition for the design of a mace for the Sheffield City Council and turned to Carr for help with its execution leading to their formal partnership in 1898. Business flourished and the workshop, now enlarged to include specialist chasers, engravers and enamellers as well as general silversmiths in new premises and showroom in Fulham. The character of the wide range of silver produced, domestic, ceremonial and religious, is linked by its apparent hand made appearance and an English decorative quality of historic reference to medievalism as well as occasionally, a subtle awareness of the sinuous lines of contemporary Art Nouveau. The partnership was dissolved in 1918, after which, Ramsden and Carr ran independent studios until their respective deaths. |
| Collection | |
| Accession number | M.220-1917 |
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| Record created | February 9, 2009 |
| Record URL |
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