Silverware — Chris Knight Metalwork

Sketch On A Bowl 1

Hallmarked Silver.

Edition of 2.

Exhibited: Design Collective II, Maison Gerard NYC and Contemporary Applied Arts, London; 'Resonance'

1/1 Private Collection New York City.

Hand Raised vessel with tig welded. soldered and oxidised 'nest'

Dia 500mm approx.

Chris’ latest work (Sketch on a Bowl) captures the spontaneity of a rough, casual sketch. These pieces are his purest physical representation of Chris’s belief in making room for the object to speak for itself. They started from nothing more than a sketch, with no more concept than the pleasure of drawing and making. Through skilled craft in CAD and metalwork they gradually come into focus as a 3 dimensional objects; giving clarity of form but ambiguity of meaning.

Sketch On A Bowl 2

Hallmarked Silver. Hand Raised vessel with tig welded. soldered and oxidised 'nest'.

Edition of 1.

Exhibited at Sladmore Contemporary, London.

Dia 360mm approx.

Sketch On A Bowl 3 'Yunnan'

Hallmarked Silver.

Exhibited: Making Connections - Notions of Beauty , Curated by Maria Hanson, BR Gallery, Dali Intangible Heritage Craft Workstation, Heqin, Yunnan. 2019

Hand Raised vessel. soldered and oxidised 'base grille'

Dia 500mm approx.

Sketch on A Bowl #3 ‘Yunnan’ is the gentlest piece so far in an ongoing series where I start from a very relaxed and spontaneous sketch. In this case whilst recalling a quiet stroll amongst the lakes of Heqin. The sketch represented a cluster of fallen leaves floating on the surface of the clear water, creating a shadow on the bottom of the pool and reflecting back the sunlight in an array of colours. It is only when I select materials and processes that I start to design these pieces. At the beginning of making the piece remains as a rough idea. Through the use of traditional hand craft processes the final qualities are realised.

Candelabra no.11

Spun and fabricated silver. TIG welded and soldered.

The Keatley Collection

Candelabra no.10

Silver and anodised aluminium.

National Museums of Northern Ireland; Ulster Museum Collection.

Image curtesy of Adrian Sassoon.

Candelabra no.9

Silver. Edition of 2 pairs.

Commissioned and exhibited at the Jerwood Applied Arts Prize Exhibition.

1/2: Private Collection New York

2/2: Private Collection Kuwait.

Candelabra no. 4

Silver, Gilt, Resin.

Commissioned by The Friends of the Victoria and Albert Museum

Candelabra Number 8

Silver.

Museums Sheffield Collection

Photograph Curtesy of Adrian Sassoon

Candelabra no.7

Silver.

Private Collection UK

Candelabra no.3

Silver, Gilt and slate.

The Goldsmiths Company Collection

Lest We Forget

Chalice. Integrally cast silver & stainless steel.

Winner of the Museums Sheffield Metalwork Award 2010.

‘Lest We Forget’ Chalice, although, not designed for everyday use at an altar, is a sacramental vessel which expresses its function both practically and symbolically? Its expected function strengthens the visual metaphor. The heavy rough cast body of silver studded with hundreds of stainless steel crosses presents a strong visual image, yet creates a conflict in its utility. The form of the cross is veiled by contemporary concerns, attitudes, scandal and prejudice.

‘It was my intention to echo the muddy battlefields of the First World War and the mass cemeteries that commemorate them, evoking connotations of war, death and religion.’

The Earth Has Taken Them

Integral Cast silver and stainless steel vessel.

‘The Earth Has Taken Them’ (bowl) references WW1 through it's title, but is intended to represent all war.

The starting point for this was not the battlefield memorials, it was an exploration of how a multitude of symbols transforms our perception of the intended subject matter – a vessel with a single cross or 3 crosses draws an exclusive reference to Christianity, whereas a multitude draws an overwhelming reference to unnatural death - suffering, loss and sacrifice.

For me, between these vessels (Lest We Forget, The Earth has Taken Them and St. Sebastian) there lies a discussion on belief and conviction verses blind faith..

Image curtesy of Adrian Sassoon.

St Sebastian

Integral Cast silver and stainless steel vessel.

'Historically the vessel form was a vehicle to express and communicate something about the time and culture from which it belonged. Chris Knight’s recent work uses integrally cast stainless steel elements in silver objects which create a platform for provocation and narrative commentary. The precious nature of material is subverted; creating dialogue, making comment, and setting up conflict and confrontation.'

Maria Hanson for 'Beneath The Skin'

Image curtesy of Adrian Sassoon.

Nurture

Integral Cast silver and stainless steel vessel.

These artefacts extend initial research undertaken in the 1990's into the production of sculptural site specific and smaller decorative objects, employing the integral casting of CNC stainless steel components into cast bronze forms. Early works are in a private collection in London and the Musee-des-Arts-Decoratifs in Paris.

Research reflects on this early exploration; exploiting the ancient process of integral casting by combining precious and non-precious metals

Image curtesy of Adrian Sassoon.

Integral Casting Process

These objects are realised through a combination of old and new technologies, hand and machine, primitive and complex, tolerant and precise.

Bullet Casket (St Sebastian)

Integrally cast silver and stainless steel casket with spun silver lining.

'The brutality of the steel penetrating the silver vessel references Nkisi nkondi of Zaire (19thC) in both the physical and conceptual sense. '

Bullet Casket (Nurture)

Integrally cast silver and stainless steel casket with spun silver lining.

‘These pieces form the start of an exploration of historical and contemporary iconography through a series of decorative vessels. By combining the pristine stainless steel elements with the rough cast silver I am aim to visually devalue the precious and concentrate the viewer on meaning.

Spiked Bowl no.1

Integrally cast bronze and stainless steel, patinated.

Private collection, London.

'Historically the vessel form was a vehicle to express and communicate something about the time and culture of which it belonged; ‘a carrier of civilised society’. '

The Ladbrokes St Leger Stakes 2016

Winners Centre. Silver, Gilt

Commissioned by Doncaster Racecourse and Sheffield Hallam University 2016.

Since 2007 Chris has been the design consultant for this annual commission, nominating and supporting a different silversmith to produce a new design to be awarded to the winning owner of the oldest classic horserace in the UK. In celebration of the 10th anniversary Chris was asked by Doncaster Racecourse to design and make the 2016 version.

Chris chose to build on the original theme of the main trophy; the Yorkshire Rose. The result is a bold double layered silver rose with gold plated details. The rose is surrounded by a gold plated crown of twigs each carrying three leaves. This year a graphic image of the design has also been engraved on the awards for the winning trainer, jockey and groom.

The St Leger Stakes Perpetual Trophy

Silver and Gold plating.

Commissioned in 2007 by Doncaster Racecourse and SHU in celebration of the opening of the newly developed Town Moor Racecourse. One of many collaborative projects that Chris has instigated, organised or participated in, this one included a design partnership between Chris, Sarah Denny and Owen Waterhouse who were joined by recent graduates of Sheffield Hallam University J&M course; Nick Palmer, Stefan Tooke and Sarah Stevenson to make up the manufacturing team.

The overall concept behind the new St. Leger Stakes Trophy was to produce a classic yet modern piece of silverware that had the ability to be re-designed or reinvigorated each year. Composed of a large rose water dish with a central rose bowl, the large dish is the permanent trophy of the St. Leger Stakes whilst the central, removable, rose bowl is the ‘gift’ to the winner of the race. Each year a new contemporary designer silversmith will be commissioned to design a new centre, thus re-interpreting and invigorating the main trophy through the coming years.

The St Leger Stakes Perpetual Trophy

The main dish represents a large white (silver) Yorkshire Rose with gold detailing, the rim of which is engraved with the names of the winning horse, Owner, Trainer and Jockey. The main dish has been hand wrought from a large disc of silver taking over five weeks to produce using traditional hand skills. Five petals have been formed from the dish through simple hand piercing and growing from the centre are three rings of flames made of gold plated silver. These flames were inspired by and represent the industry of the region.

These 3 rings are not only symbolic of the race being for three year old thoroughbred colts and fillies, and the final leg of the triple crown, but was inspired by an old Yorkshire flag that illustrated a white rose encircled by flames.

The visual language used within the form and decoration is both figurative and abstract. It draws on the movement and strong muscular forms of the thoroughbred horse. The overall circular form defines a sense of continuity and celebrates the races 231 year history.

The trophy weighs approximately ten kilos and is constructed from 122 components.

The 250 Doncaster Gold Cup

On Friday 9th September 2016 at 3.40pm the racing industry and visitors alike will be poised ready to watch the world’s oldest classic horse race, as this year celebrates the Doncaster Cup’s 250th anniversary.

“This is such a momentous occasion and one that will be celebrated the world over,” said Abby Chandler, Marketing Manager at Doncaster Racecourse. “In order to mark this incredible milestone we have commissioned Sheffield silversmiths Chris Knight and Chris Perry to create a striking trophy that depicts the historic importance of this race yet symoblises horse racing in a modern era.”

The gilt trophy pays homage to its origin as the Gold Cup. Its grandiose goblet shape is born from a Yorkshire Rose base that encircles the stem and culminates in a smooth gilt gold circular chalice designed by Christopher and his colleague Christopher Knight, the lead designer and manufacturer of the St. Leger Stakes Perpetual Trophy.

“The Doncaster Cup is a fantastic commission for us. Being from Yorkshire and already having worked with Doncaster Racecourse on a previous project we were delighted to be given this important assignment to design a whole new cup in celebration of the races’ 250th anniversary,”

“The design was created with a strong Yorkshire theme in mind, wherever this cup ends up, whether it adorns a trophy cabinet in the Far East or a stable yard in Ireland we want people to instantly recognise where this cup was won and in what great race,”

The Lincoln Heritage Handicap Perpetual Trophy

The new perpetual trophy and winners replicas have been designed by Sheffield based silversmiths Chris Knight and Chris Perry and uses iconic images of Doncaster Racecourse along with those of Lincoln Cathedral and the Fleur de Lys from the city’s flag.

The trophy which forms part of a series of commissions to create race day memorabilia for Doncaster Racecourse. It is formed from copper, silver plated and then oxidised to emphasise the visually intricate graphic design. Elements from this design will also be featured in other trophies for the Lincoln Race Meeting to create a uniform collection.

“This perpetual trophy represents a new vigour for the Lincoln Handicap and meeting at Doncaster in 2017 as we work with our partners to elevate the status of the occasion in the racing calendar,” said Roderick Duncan Clerk of the Course Doncaster Racecourse.

“I believe this is one of the strongest renewals for quite some years, it will be a pleasure to present this trophy to our 2017 winner.”

The Yorkshire Vase, Doncaster Race Course

A new perpetual trophy designed and made in collaboration with Chris Perry for Doncaster Racecourse in 2018

The Vertem Futurity Trophy

A new perpetual trophy designed and made in collaboration with Chris Perry for sponsors Vertem Asset Management and Doncaster Racecourse in 2018

The Ladbrokes Trophy, Newbury

A collaboration with Lee Simmons. Designed in 2017 for Ladbrokes to replace the Hennessy Gold Cup at Newbury Racecourse.

Mirage Teapot

Chrome plated gilding metal.

Designed and produced in the RCA Production Unit Project

RCA Collection, London

Kamm Teapot Foundation, USA

Spinning Tea Set

Silver and Polyetholene.

Exhibited in Masters of the 20th Century, Christies New York.

Private Collection, USA.

Rocking Teaset

This tea-set was commissioned by the Crafts Council for their public collection and exhibited in the Goldsmiths’ Company exhibition 'Creation’ in 2004 and the Crafts Council ‘Making it Yours’ exhibition in 2005.

White Metal and anodised aluminium.

Rocking Tea Set 2

Hand raised White Metal, silver and Anodised Aluminium.

Part of Jerwood Applied Arts Exhibition

Norwich Castle Museum Collection

'After You' Tea Set

Silver and Anodised Aluminium.

Artists Collection.

Image curtesy of Adrian Sassoon

Winged Coffee Set

White Metal and Anodised Aluminium.

Aberdeen Art Gallery

Image curtesy of Adrian Sassoon

Winged Tea Set

Silver and Anodised Aluminium.

Private Collection.

Image curtesy of Adrian Sassoon

Chalice and Paten

'If You Seek Me With All Your Heart..'

Commissioned by Fr. Andrew O'Connor on his ordination to the Catholic Church New York USA.

Silver and Anodised Aluminium

El Christo Roto

Processional Cross.

Anodised Aluminium, Bronze, White Metal and Holly.

St Mary Church NY USA

Slant 6

Communion Set.

Silver and anodised aluminium

St Mary Church. NY USA

Communion

Communion Cups and Paten.

Silver, Gilt and Anodised Aluminium

Collaborative commission with Maria Hanson

Private Collection New York USA

Communion

Communion Cups and Paten.

Silver, Gilt and Anodised Aluminium

Collaborative commission with Maria Hanson

Private Collection New York USA

Tinsley Towers Chalice and Ciborium

Silver and Anodised Aluminium.

Commissioned by Sheffield Cathedral.

Pascal Candle, Processional Cross and Alter Candles

Bronze, Brass, Anodised aluminium, holly, gold leaf.

St Augustine Church, New City NY USA

'Mother'

Communion Set.

Silver and anodised aluminium.

Exhibited as part of the Jerwood Applied Arts Prize Exhibition.

St Mary Church NYC.

The Mistress Cutlers Mace

Silver, 18t gold and ebony.

Commissioned by Mistress and Master Cutler 2006.

For the Company of Cutlers of Hallamshire Collection.

Designed and fabricated in partnership with Owen Waterhouse

Caged Vase

Spun and fabricated silver.

Image curtesy of Adrian Sassoon

Leaf Dish

Spun, fabricated and oxidised silver.

Image curtesy of Adrian Sassoon.

Pair of Water Pitchers

Silver and Anodised Aluminium.

Image curtesy of Adrian Sassoon

Tequila Shots

Silver. Press formed, spun and fabricated.

Classic CK design

Statement: 'Damn stupid cup for a child!'

Question in reply: 'Do you give your kids Tequila?'

'Initially my work was concerned with relationships between the visual and tactile qualities. Through the use of a common form, the spike, I explored the emotions or anxiety created by visually aggressive objects.'

Musee des Art Décoratifs, Contemporary Art Society: Birmingham City Museum, Contemporary Art Society: Museums Sheffield, The Shipley Collection, Tyne & Wear Museums, Gateshead.

Loving Cups

Hand raised and fabricated silver.

Objects and Ritual

Designed and made in collaboration with Maria Hanson.

One piece carries Maria's hallmarks and the other Chris's

'The objects shown in this joint exhibition by Maria Hanson & Chris Knight explore the role of contemporary artefacts within both identified rites of social passage (birth and death) and ritual acts found within domestic contexts.'

‘Fountain cup with ring’ & ‘Fountain cup with cross’

Hand raised, spun and fabricated silver.

Objects and Ritual

Designed and made in collaboration with Maria Hanson.

One piece carries Maria's hallmarks and the other Chris's

‘Fountain cup with ring’ & ‘Fountain cup with cross’

Wearable drinking cups #1&2

'These were the first pieces Chris and I did in this body of work; not so much in collaboration but more in response to each other. They build on an assured sense of a joint visual vocabulary. The dual function of wearing and using enabled us to cross between the two genres of working that we are known for; Jewellery and domestic tableware. The intimacy of the cups suggest they are very personal objects, the chains that they should be worn and carried , transient objects; not fixed to a specific domestic environment but used in various circumstances. The decision to refer to them as fountain cups relates to the notion of transience of place; passing through. Taking your cup that you can always use for drinking water from fountain, river, or tap. Not being reliant on having another vessel.'

Maria Hanson

Nurture Cups

Spun, cast and fabricated silver.

Objects and Ritual

Designed and made in collaboration with Maria Hanson.

One piece carries Maria's hallmarks and the other Chris's

The exhibition questioned whether artefacts can cross boundaries in terms of their intended use? What are the physical and spiritual actions we engage in that go beyond sentimentality? How relevant today are ‘rites of passage’ and what part do objects play within them?

Nurture

Nurture Cups and Decanter.

Objects and Ritual

Designed and made in collaboration with Maria Hanson.

One piece carries Maria's hallmarks and the other Chris's

Stations of Life

Tumblers. Hand raised Fine silver and keum boo.

Objects and Ritual

Designed and made in collaboration with Maria Hanson.

One piece carries Maria's hallmarks and the other Chris's

Corked Bottle

Silver and Cork.

Musee des Arts Décoratifs collection, Paris

Corked bottle is intended to be a playful piece that explores the boundaries and language of functional objects. I designed it to be a fine balance between the communication and disguise of its use

Millennium Punch Cup

Spun, press formed and fabricated silver.

Designed to accompany the Sheffield Assay Office Punch Bowl. The cup was required to hold one ladleful of punch; Chris designed this piece so that the tip of the central spike remains dry due to the surface tension of the liquid.

Soup Tureen

Silver and Holly.

The Pearson Collection & Birmingham City Museum Collection

Exhibited at A Feast Of Silver, Contemporary Applied Arts, London and A Sterling Adventure, British Silver Design 1957-2018, SFO Museum, San Francisco Airport, USA.

Image curtesy of The Pearson Collection

Drinking Set

Silver and anodised aluminium.

Protect and Serve, Scottish Gallery

Designed and made in collaboration with Maria Hanson.

The Shipley Collection, Tyne and Wear Museums.

Flaming Brandy Ladle

Silver and walnut.

Loving Cups

Hand raised silver and keum boo.

Objects and Ritual

Designed and made in collaboration with Maria Hanson.

One piece carries Maria's hallmarks and the other Chris's

Water Pitcher / Wine Carafe

P&O Makower Trust / Crafts Council Commission.

Chris was the first silversmith to receive this ongoing commission which has gone on to help launch an impressive cohort of silversmiths at the early stages of their careers.

Silver, gilt. Hand raised, scored/folded and fabricated.

The collection is now housed at the National Museum Wales.

Water Pitchers

Fabricated Silver, gilt.

Designed and made at the RCA.

RCA Collection / Private Collection.

Salt and Pepper Mills

Classic batch production design.

Silver, gilt

Musee des Arts Décoratifs collection, Paris.

Round Drinking Set

Silver and anodised aluminium.

Objects and Ritual

Designed and made in collaboration with Maria Hanson.

Silver piece carry either Maria's or Chris's hallmarks.

Spiked dish no.3

Spun Silver (patinated gilding metal).

Designed for the Crafts Council 'Living Silver' initiative.

Vodka Shot

Fabricated silver.

Museums Sheffield Collection.

Fish Slice

Silver.

Seymour Rabinovitch Collection. (V&A)

Salad Knife and Fork

Silver and Stainless Steel.

Sheffield Millennium Canteen. Museums Sheffield Collection

Commissioned by Paul Swales Sheffield City Council

Contemporary British Silversmiths Collaborative piece involving 37 different silversmiths

Sheffield Assay Office Millennium Punch Bowl

Silver, gilt. 2001.

Commissioned by Sheffield Assay Office to celebrate the Millennium and the opening of the Millennium Galleries at Museums Sheffield.

This large celebratory piece was designed and made as a collaboration between Chris Knight, Keith Tyssen, Alex Brogen and Brett Payne. Each Silversmith produced their own individual punch cup and 6 other silversmiths were subsequently commissioned to produce a cup over the following years. These include Michael Rowe, Maria Hanson and Andreas Fabian.

Double Ended Drinking Vessels

Silver Gilt. RCA

Serving Spoons

Press formed Silver.

Designed and made for the CBS CONNECT COLLECTION

Carafe and Four Goblets

Silver Gilt.

The Pearson Collection

Design and made for ‘A Sparkling Party’ Provinciaal Veligheidsinstituut, Antwerp, Belgium. Juried commission and exhibition

Recently Exhibited at A Sterling Adventure, British Silver Design 1957-2018, SFO Museum, San Francisco Airport, USA.

Image curtesy of The Pearson Collection

Spiked Sauce Boat

Sterling Silver

The Pearson Collection.

This is the original Chris Knight spiky silverware.It started as a piece of 'hammer therapy' at the RCA in 1990 and evolved to incorporate the spiked theme I had been using for jewellery whilst working as a goldsmith in the USA.

Originally called Spiked Ladle, in gained a lot of attention and often derogatory comments until I renamed it a sauce boat. This was the beginning of my exploration into the visual language of functional objects, of how we are programmed to expect things to look and how this can confuse and even insult our senses.

Perfect for keeping the kids away from the chocolate sauce!

Image curtesy of The Pearson Collection

Recently Exhibited: A Sterling Adventure, British Silver Design 1957-2018, SFO Museum, San Francisco Airport, USA.

Pair of bowls

Silver and Cast Iron

Pair of hand raised silver bowls set on cast iron bases. Designed for and made in partnership with a Sheffield cast iron foundry.

Sketch On A Bowl

An ongoing series of vessels exploring the generation of 3D through CAD modelling of hand drawings. These large centrepieces are made using both the traditional techniques of hand raising and more industrial practice of TIG welding.

Candelabra

An ongoing series of candelabra, started in 1992 whilst at the RCA. Materials include silver, anodised aluminium and patinated base metals. These pieces are included in the collections of the Victoria and Albert Museum, the Goldsmiths Company, Museums Sheffield, National Museum of Northern Ireland; Ulster Museum, the Shipley Collection; Tyne and Wear Museums and in private collections in the UK, USA and Middle East.

Integral Casting

This work re-engages with integral casting techniques that Knight developed whilst studying at the Royal College of Art. Using a combination of silver and stainless steel these pieces are an absolute partnering of his ideas and experience previously expressed through the separate strands of silverware and public art.

Trophies

From large scale prestigious commissions in solid silver to limited edition runs for events with smaller budgets, Chris is able to design original and striking trophies that add to the excitement and prestige of your event. Chris works independently from his own studio or in partnership with small manufacturing companies in Sheffield to produce hand made quality objects that reflect, celebrate and reward the expertise and dedication needed to win.

Tea and Coffee

Tea and coffee pots form part of Chris's enquiry as a silversmith making functional, domestic objects. These pieces centre on his interest in the relationship between everyday functions and the expectations that usually accompany them. Through references to traditional form, and the subversion of them, these pieces are designed to function well yet not conform to our expectations.

Ecclesiastical and Ceremonial

The ecclesiastic silverware has enhanced my design approach through the engagement with traditional ritual and belief systems and the personal habits formed from regular participation of a community.

Vessels and Implements

My work is often concerned with relationships between visual and tactile qualities; I explore the emotions or anxieties established through visually aggressive objects and endeavouring to create objects that induce questions through their visual and functional dichotomy.

I am equally interested in how such language affects the functional nature of a design. Thus I have broadened my investigation into exploring our understanding of the relationship between form and function and our programmed recognition of this partnership. Our familiarity with everyday objects, the common formal language they have carried throughout history, enables me to design ambiguity or tension into their perceived utility.