Provenance
Acquired by George Howard Williams (1893-1975) directly from Omar Ramsden at the time of production. By family repute, it was originally commissioned from Ramsden by the Williams family as a presentation trophy for the YMCA Sporting Association. Williams was closely connected with the Young Men's Christian Association, as his Grandfather Sir George Williams (1821–1905) had founded the association on the 6th of June, 1844. However, this trophy was never presented, as war broke out in 1939 and the family thought it was inappropriate to present it at such a difficult time.
Henceforth kept within the family, and thence by descent to the present owner.
Other close examples
The only similar bowl to the 'Lotus Bowl' on offer, is the 'Rose Bowl' also created in 1939 by Ramsden, which is recorded in his workbook as 'Seven Lobed Rose Bowl 2350', sold as Lot 83 at Christie's, King Street, London, 20 April 2005, in the 'Omar Ramsden: Silver from David and Vivian Campbell Collection'. It has a similar treatment to the 'Water Lily Bowl' designed nearly a decade earlier in 1930, identified as '1387' in Ramsden's workbooks (1555 in the Library index), and sold at Christie's (at the auction cited above), as Lot 76.
Lot Research
This is an exciting item of presentation silver to re-emerge from Omar Ramsden's remarkable body of work, resurfacing after many years hidden from view. As such, this beautiful bowl is being offered to the open market for the first time since its original creation in 1938/39, and subsequent acquisition by George Williams shortly thereafter. It is an important piece, as it was created at the end of Ramsden's life, and was one of the last large commissions on which he worked. Ramsden died on August 9th, 1939 at the age of sixty five.
Within the Library Holdings held by the Goldsmiths' Company are nineteen of Ramsden's workbooks, alongside five portfolios of working drawings and contemporary record photographs of his work. They cover the period 1921 to 1939, but are not wholly complete or totally in date order. Interestingly, Ramsden devised a secret code which he used in his workbooks in order to keep his costings a secret from prying eyes. This code took a while to crack, but a key to the code is fortunately now available from the Library. The design archive was donated by the silversmith Leslie Durbin, who trained in Ramsden's workshop, along with thirty four boxes containing small artefacts from the workshop.
On searching Ramsden's archive, the eureka moment came when leafing through his Workbook 'O'. Page 121 clearly specifies the bowl currently on offer, illustrating a rough sketch in pen and ink by Ramsden, with the title 'Lotus Bowl' and numbered 2306, the approximate measurements and weight of silver to be used, the pricings in his unique code, and mysteriously at the top of the page the following wording 'Finished for show 1938'. What did this mean in terms of this bowl? It was possibly created as an exhibition piece for 'The Exhibition of Modern Silverwork, Goldsmiths' Hall, July 4 to 16, 1938'. It was the first exhibition of its kind at Goldsmiths' Hall to show off modern silverwork, 'and the Court of the Company thought it fitting to arrange for an elaborate display which would show the exhibits to the best possible advantage inside the framework of the Hall.' Omar Ramsden had several pieces on show within this landmark exhibition in 1938, and it is quite possible that this is the 'finished for show 1938' he is referring to in his workbook.
However, this would mean that it was not especially commissioned by George Howard Williams as the family believes, but rather Williams acquired the bowl after the exhibition, for the intention of presenting it to the YMCA Sporting Association. This theory could be backed up by the discovery of Ramsden's design drawing in Portfolio 'D', number 1562, which clearly states 'George Williams Chinese Bowl plinth. Please return this drawing to O.R. I have no copy. 0.6396', with a design drawing of a presentation plinth. Given 'Lotus Bowl' could feasibly be the 'Chinese Bowl' to which Ramsden is referring, through its Lotus petal iconography, was this the YMCA presentation plinth commissioned for this bowl? Presumably it was never made, as the bowl was not presented in 1939 as originally intended. George Williams instead kept the bowl within the family, and notably there are various orders for Williams within the archive. He was obviously an Omar Ramsden devotee!
George Howard Williams (1893-1975) was a wealthy gentleman, having inherited the family firm of Hitchcock, Williams & Co., the well known fabric manufacturers, with factories and outbuildings centred around St Paul's Churchyard in London. His father, Howard Williams, was one of five sons of Sir George Williams. Sir George (1821-1905) joined the drapery firm of Hitchcock and Rogers, and became a partner in what became Hitchcock, Williams & Co. In 1844 he founded the Young Men's Christian Association, and he was active in many movements for social and moral welfare. George Howard Williams entered the family firm and from 1914 to 1919 served in the R.A.M.C., becoming Sergeant in 1915 and serving in Mesopotamia in 1916. Williams travelled extensively, both for business and pleasure. His extensive travel diaries and Williams family correspondence were originally given to the Museum of London in August 1984, who in turn presented the archive to Cambridge University Library. George Howard Williams passed away on 13th December 1975.
OMAR RAMSDEN (1873–1939)
Omar Ramsden was one of the most successful silversmiths of his generation, producing high quality silver distinguishable by his commitment to craftsmanship, innovative design, and his role in the British Arts and Crafts movement. Coming from Sheffield, a city with a rich history in metalwork, Omar Ramsden was well placed to develop his skills in silversmithing. In 1898, Ramsden established a partnership with Alwyn Carr (1872-1940), another like-minded silversmith, and together they founded the firm Ramsden and Carr based in London.
The Arts and Crafts movement in Britain was born out of an increasing understanding that society needed to adopt a different set of priorities in relation to the manufacture of objects. Artistic creatives such as Ramsden wanted to develop products that not only had more integrity, but were also made in a less dehumanising way. He therefore championed handcrafted goods over mass-produced items, believing in the inherent artistic expression of the craftsman, and the intrinsic value of simplicity, utility and beauty. Known for his inventive designs, he often drew inspiration from medieval, Celtic, and Norse art. He was adept at combining various materials and techniques to create pieces that were both beautiful and functional. Many of his pieces feature hand-hammered surfaces, which became his signature technique.
Ramsden and Carr therefore maintained a workshop that was aligned with the ideals of the Arts and Crafts movement, employing skilled craftsmen, ensuring fair working conditions, and fostering a collaborative environment. Even after his partnership with Alwyn Carr ended in 1919, Ramsden's success continued to grow while still maintaining these ideals. His innate business sense and ability to develop such an appealing house style, led his workshop to be remarkably productive, producing a variety of silver items including jewellery, tableware, ecclesiastical pieces, and decorative objects.
Ramsden's work therefore is instantly recognisable by its high quality workmanship, attention to detail, and unique design. Pieces created by Ramsden bear his hallmark, and often include the inscription 'Omar Ramsden Me Fecit' (Omar Ramsden Made Me). During his lifetime, Ramsden's work was exhibited widely, garnering national and international acclaim, and winning various prestigious awards. His silver career was marked by his dedication to his craft, his innovative approach and his influential role in the Arts and Crafts movement. This commitment to quality and artistic expression, set a high standard for future generations of craftsmen.
Literature
Cambridge University Library Repository, 'Travel diaries of George Williams, 1893-1975', Fonds Ref Code: GBR/0115/RCS/RCMS 53, accessed via https://archivesearch.lib.cam.ac.uk/repositories/2/resources/152
Goldsmiths' Company, 'Library Holdings', accessed via https://www.thegoldsmiths.co.uk/craft/library-research/library-holdings/
Image courtesy © Ramsden Design Archive. The Goldsmiths' Company Library & Archive, 'Lotus bowl', Workbook O, page 121.
Ramsden Design Archive, held at The Goldsmiths' Company Library and Archive, Workbook 'O', 'Lotus Bowl', page 121 and 'Plinth for George Williams', Portfolio 'D', reference number 1562.
Lynn Springer Roberts and Eric Turner, 'Masterpieces by Omar Ramsden from the Campbell Collection', (David A Hanks & Associates: New York, 1992), p.59 and p.79.