(Scottish Silver & Applied Arts, 14th August 2019) A COLLECTION OF MODERN SCOTTISH ENAMEL EARRINGS comprising three pairs of earrings, each with black ground enamel, one disc shaped with gold baton inlay; an interchangeable pair of black and white zig zag with removable central domed stud (comes with smaller studs to replace), and a pair of curved with white snake skin detail, all in original boxes (8)INTRODUCTION TO JEWELLERY SECTION Maureen Edgar is arguably Scotland's most important enameller and while her name is not yet known to as many collectors as it should the appreciation of her work is becoming widespread. Her work can be found in the collections of The National Museum Scotland, Incorporation of Goldsmiths of the City of Edinburgh, The Goldsmiths Company London and likely the largest grouping within The Pearson Silver Collection. Artistic from an early age, Maureen Edgar started her art training with an evening class at Glasgow School of Art and was latterly accepted to Duncan of Jordanstone College of Art in Dundee. Here she moved from painting to the silver and jewellery department where she found her passion. Like many of the period, she trained under the eye of Bernard Harrington. It was in 1977 that she applied, and to her own surprise, was accepted to the Royal College of Art and would further her training under Gerald Benney for three years. In Maureen's own words about working with Benney 'This was my biggest opportunity'. Building from her training at Duncan of Jordanstone College of Art this would prove to be the final link in the chain turning Maureen fully into an enameller. Her work was almost immediately a success and even early in her career she was gaining a reputation and large commissions. This early success perhaps explains the relative rarity of her jewellery as she immediately found work in larger commissions such as goblets, eggs and napkin rings. Sadly, due to ill health her career was cut short prematurely and she retired from working in 1999, with her final commission being the cruet set for The Millennium Collection of silver for Bute House. For a full biography and illustrations of much of her important work see 'Designer British Silver' John Andrew and Derek Styles page 194 - 199.
(Scottish Silver & Applied Arts, 14th August 2019) A COLLECTION OF MODERN SCOTTISH ENAMEL EARRINGS comprising three pairs of earrings, each with black ground enamel, one disc shaped with gold baton inlay; an interchangeable pair of black and white zig zag with removable central domed stud (comes with smaller studs to replace), and a pair of curved with white snake skin detail, all in original boxes (8)INTRODUCTION TO JEWELLERY SECTION Maureen Edgar is arguably Scotland's most important enameller and while her name is not yet known to as many collectors as it should the appreciation of her work is becoming widespread. Her work can be found in the collections of The National Museum Scotland, Incorporation of Goldsmiths of the City of Edinburgh, The Goldsmiths Company London and likely the largest grouping within The Pearson Silver Collection. Artistic from an early age, Maureen Edgar started her art training with an evening class at Glasgow School of Art and was latterly accepted to Duncan of Jordanstone College of Art in Dundee. Here she moved from painting to the silver and jewellery department where she found her passion. Like many of the period, she trained under the eye of Bernard Harrington. It was in 1977 that she applied, and to her own surprise, was accepted to the Royal College of Art and would further her training under Gerald Benney for three years. In Maureen's own words about working with Benney 'This was my biggest opportunity'. Building from her training at Duncan of Jordanstone College of Art this would prove to be the final link in the chain turning Maureen fully into an enameller. Her work was almost immediately a success and even early in her career she was gaining a reputation and large commissions. This early success perhaps explains the relative rarity of her jewellery as she immediately found work in larger commissions such as goblets, eggs and napkin rings. Sadly, due to ill health her career was cut short prematurely and she retired from working in 1999, with her final commission being the cruet set for The Millennium Collection of silver for Bute House. For a full biography and illustrations of much of her important work see 'Designer British Silver' John Andrew and Derek Styles page 194 - 199.
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.jpg "Quelle: Christie's")
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