Did you know that the first custom-designed silversmith studio in Scotland was built in Lundin Links at Mill Wynd back in 1973? This blog will tell the story of how that came about and the man behind it. Alistair Norman Grant, pictured below, was born on 18 November 1943 in Forres, Moray. After school, he attended Gray's School of Art in Aberdeen, where he studied under silversmithing lecturer David Hodge, who Norman later credited with fostering his "interest in nature in its many forms as a source of designs". Leaving in 1966 with a D.A. in Silversmithing, initially Norman took a teacher training course in Dundee, followed by a teaching job at Auchmuty High School in Glenrothes. Continuing to make jewellery in his spare time, in 1967 he started his own business, from his garden shed.
Early in 1968 a house named Largo Lea was advertised for sale in Lundin Links. Accessed from Emsdorf Street and backing onto Hillhead Lane this 1907-built semi-detached dwelling was adjacent to its mirror-image Highclere. The "large basement" and and proximity to the sea must have been especially attractive for Norman, who bought the house, set up home there with his wife and young daughter and created a workshop in the basement. In fact, the seller and previous occupant of the house had been another artist - James Hardie, a painter and poet.
Largo Lea was renamed Silverwells and from the house Norman ran a summer school programme from the workshop each July, from 1969 for seven years, which attracted students from around the world. The advert above appeared in the Scotsman newspaper of 3 May 1969 and the one below in the same newspaper on 13 February 1973. The latter notes that Norman appeared on a BBC1 programme called Scope that same week (a monthly BBC Scotland arts TV series that began in 1970).
In an interview in 1969 for Scottish Field Norman explained "enamelling really is my first love. I'd be perfectly happy to concentrate entirely on this but obviously to produce a wide range I must include pieces which are wholly silver with some half silver and half enamel." Silver was preferred to gold as its white light qualities showed through the enamels better that the yellow hue of gold. Having always lived near the coast, many of Norman's jewellery designs reflected the natural shapes and details seen by the sea, as well as in the wider natural environment - from flowers and petals, to seed heads and microscopic plant cell structures, from seaweed and driftwood to fish and waves.
The piece above appeared in the 16 October 1970 Dundee Courier. In this article Norman jokes about being destined to be a silversmith because his initials were AG - silver's symbol in the periodic table. He also talks about his efforts to establish his fledgling company, having to work seven days a week and having more requests than he could cope with. In the early 1970s interest in contemporary jewellery was flourishing and Norman's work in great demand. He took on two apprentices - Don Beaton and Robin Mackie. Soon he was in need of larger premises for the team to work in.
Norman's father had retired to Lundin links and it was upon a plot that he owned (which had previously had garages on it) that a new workshop was built. Working closely with a local architect on the design, Norman ensured that the new workshop was perfectly suited to the needs of his business. Being located where it was on Mill Wynd, it was handily located close to Silverwells - a couple of minutes walk away.
In the planning for around a year, the workshop was completed in April 1973 and became Scotland's first custom-built silversmith workshop. The premises had a practical and efficient split-level design. This comprised an upper gallery level which incorporated an office, and a showroom. From there, visitors could browse designs, while also viewing members of the team at work below in the workshop, which had large south-facing windows. The new facility cost £8,000.
The above item from the 18 July 1973 East Fife Mail an early silver and enamel design made in the Mill Wynd workshop, which was taken down to London to go on display at the Design Centre. The new workshop and growing business went from strength to strength - employing 15 people by 1975. The following year, 1976, saw the founding of 'Dust Jewellery' - a joint venture between Norman Grant and John Flegg. In 1977, the firm designed and made the silver match box from which came the match that Queen Elizabeth II lit the first of a nationwide chain of 102 beacons to mark her Silver Jubilee.
'Dust' combined the traditional skills of the silversmith with new technology and a new range of titanium pieces was developed. The firm's workspace expanded into the buildings across the street and elsewhere in the village. As the above insert states "the colours on the titanium are achieved by causing an electric current to pass through the metal creating an illusion as changeable as a peacock's feather or as subtle as the iridescence from oil on water".
In the early 1980s, Norman Grant left to work for DeBeers, however, Dust Jewellery continued. The 6 September 1986 Dundee Courier item above reported on their imminent move to a new 10,000 square feet factory on the Eastfield Industrial Estate in Glenrothes. Meanwhile, the workshop in Lundin Links was taken over by Genesis Creations where dragon egg ornaments were produced by Carol Lynn Penny from May 1988. More on that in the next blog.
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