A Victorian Arts and Crafts silver dish

Gilbert Marks, London 1899, Britannia standard, also signed 'Gilbert Marks 1899'

Footnotes

The Property of a Private European Collector. 'The Seawolf Collection'

The Seawolf Collection.
Published in 'The Seawolf Collection, a personal touch, late 19th and 20th century silver', illustrated on pages 68-69, published by Rotterdam: Museum Boijmans Van Beuningen: NAi Publishers in Association with Veena Duncker, VD Private Collections, Munich, 2003. Published to accompany a travelling exhibition.


Gilbert Leigh Marks (1861-1905) was born into a family with artistic and commercial traditions. The artists were his two uncles, Henry Stacey Marks R. A. and Frederick Walker, along with his great-grandfather, William Walker. The commercial influence came from his grandfather, jeweller W. H. Walker.

On leaving school, Marks worked for a period (1878-1885) in a manufacturing silversmiths' workshop, possibly the firm of Johnson, Walker & Tolhurst, although another firm could be considered: Holland, Aldwinckle and Slater, suppliers of silver to Johnson, Walker & Tolhurst.

Between 1885 and 1895, Marks was employed by Masurel & Fils, and when he married Florence Elizabeth Ford in 1888, his profession was recorded as 'wool broker's manager'. However, in 1896, the Art Journal refers to Marks as 'something in the city' and points out that he already had two assistants.

The Magazine of Art reviewed Marks' work in January 1897 at an exhibition of his work at 80 Aldersgate Street: 'Going direct to nature, he skilfully transfers the blossoms of wild flowers to his graceful cups and other cups.' A further glowing review came in The Morning Post for an exhibition of Marks' work in 1898: 'Mr Marks is one of those who by their persevering efforts during the last few years have succeeded in reviving interest in silver decoration worked after the manner of the craftsmen of the past. Machinery plays no part in the production of the beautiful objects; they are all the result of pure handcraft... It is impossible to overstate the individuality of Mr Mark's designs, which are original and often highly pleasing.'

In the initial period of collaboration with Johnson, Walker & Tolhurst, the objects bore their sponsor's mark and had Marks' facsimile signature. Gilbert Marks registered his own maker's mark of 'GM' at Goldsmiths' Hall in 1896 and he continued the practice of the facsimile. It is clear that some association with Johnson, Walker & Tolhurst continued after Marks had left the firm as they continued to hold his exhibitions at their showrooms. The earliest recorded piece bearing Marks' signature dates from 1895/6 and the latest from 1902.

Gilbert Marks' death in 1905 was recorded with an obituary in The Burlington Magazine (Vol 7, No 27): '...an artist of delicate grace and charm, whose name will probably take high rank in the estimation of the collector and connoisseur...'

Literature:
F. Miller, 'Some Gold, Silver, and Coppersmiths', Art Journal, November 1896, p.347ff.
'Gilbert Marks: An Artist in Silver', The Magazine of Art, January 1897, p.158ff.
Obituary, The Burlington Magazine, Vol 7, no 27, June 1905, p.243ff.
Culme, 'The Directory of Gold & Silversmiths' (London 1987), page 312-313.