Beth Linton from Linton Silver

Perth Silversmith Beth Linton is the 4th generation to work in the Linton Silver Workshop, originally founded in 1908 by her ancestor James Walter Linton.
Beth Talks to us about the history of the company, her Australian influences and of course the new Linton Gallery in the centre of Perth.

The Linton Workshop was established in 1908, in the family for a whopping 4 generations. That
is quite a legacy, especially for a city as young as Perth. Tell us about the history of such a place.
The workshop has moved location a few times over the hundred odd years. It was started by James Walter Robert Linton, who landed in Perth in the late 1890’s looking after his dad’s gold mining interests. He brought a master jeweller named Arthur Cross who was suffering tuberculosis over to sunny Perth to convalesce and they started taking on commissions for jewellery and objects. The workshop blossomed from there, and JWR continued to produce after Arthur died. JWR was also a painter, an architect and a furniture maker; applied arts in Perth at the turn of the century was a necessity because of isolation which fed into a rich DIY culture supported and fueled by the Arts and Craft movement in Europe. JWR was a big fish in a small pond in those days, his formal roles included a post as president of Perth Technical School and curator of the WA Art Gallery and Museum.
His Son, James Alexander Barrow Linton, trained with JWR and also studied in Europe. JAB is largely responsible for the range of cutlery and tableware that we continue to make. JAB took control of the workshop in the 1930s. During his reign he employed and trained a number Perth Silversmiths including my father John Linton, Terry Walsh and my uncle George Lucas who all continue to practice.
My father John runs the workshop proper now, in Maylands WA, we still have a lot of the equipment made or procured by JWR and JAB. John also trained in Linton Workshop and studied in England as well as with his father.
The workshop has moved through a number of incarnations, we’ve had employees and then scaled back. My father and I continue to make Linton Silver, as does my uncle George.

Growing up you must have been influenced by your predecessors. How would you describe your
style and how does it differ from those before you?
I have a great deal of respect for the work done by my family over the years, both aesthetically and technically. Traditional Linton silver-ware has a strong arts and crafts aesthetic. I sometimes reference design motifs from the 19th and early 20th century and I think there is a strong link between my design aesthetics and the environment I have been brought up in. My most recent body of work has referenced Australian Wildflowers, which is a very Linton thing, although in a very different way than my forebears would have done.
I am drawn to classic imagery and techniques, but I also love complex form. I guess there are two streams of work that I create; one that is driven aesthetically which I keep quite simple and graphic, and another in which I use traditional silver-smithing techniques such as raising and chasing within a contemporary jewellery paradigm which concentrates on form.

What is the process in creating a new design?
I go through a pretty exhaustive design process when creating a new range of work both on paper and through models. I work back and forth in drawings and metal until I am confident that the forms I am working with communicate my themes and the techniques I use are going to do the job satisfactorily.

Who are your typical clients?
All sorts. Linton Silver (cutlery and tableware) is widely recognised and respected; it has been presented to the Queen among other visiting dignitaries and is held in the collection of most state galleries as well as the National Gallery of Australia. I have a lot of clients from overseas and interstate who buy for gifts and mementos. I also have corporate clients and local collectors whose families have often been collecting Linton Silver for generations, while the jewellery that I make has a predominantly local audience.
I think attitudes are changing slightly – there seems to be a swing back to the idea of “craft” and a growing appreciation for hand-made work. It used to be mostly people in their 40’s and 50’s that were interested in the work we do, but now I see a lot of women in their early20’s and their 30’s seeking out unique contemporary jewellery and even the traditional silverware.

You recently opened a gallery in your shop. How is that going?
Great!
The gallery is our way of supporting and promoting local craftspeople and artists. We have a wealth of talent in Perth, and relatively few places dedicated to local craftspeople creating contemporary jewellery and objects. The gallery has a studio on site where I make my jewellery which is also available for the use of contributing craftspeople. The intention is to connect the audience with the maker and re-establish a respect for the handcrafted object.
So far the reaction has been fantastic; we have had two shows and are looking forward to our Christmas show “Gifted” opening on November 28.

Which local artists are you showing in your gallery?
Our regulars are; Des Ryan, Jessica Jubb, Helena Bogucki, Lina Linton, Cesar Arrisueno and myself. In November we are also welcoming Leah Tarlo, Carrie Mc Dowell and Nicole Lance for the “Gifted” show. We hope that other artists will be cycling in and out as we find them and they us.

Where do you find inspiration?
The act of making something; raising an object from a flat sheet of silver. The natural and architectural environments and how they interact.
I am also inspired by beautiful craftsmanship.

Do you have a favourite artist, or artists?
So many!
Within Australia; Julie Blyfield and Mari Funaki.
Internationally; Hiroshi Suzuki.

What can we expect to see from you in the future?
I am currently working on pieces for an exhibition with FORM (our state crafts org) for April next year. The exhibition is themed around the Midland Railway workshops which is set to house an artists atelier for woodworkers, jewellers and glass artists.
I have plans in the pipeline for a retrospective of work from the Linton workshop from the turn of the century to date which I hope to open in 2010. I also have plans for a range of vessels which I hope to start working on next year.
And many jewellery exhibitions at Linton Studio of course! Rings, bracelets, bangles and things; so much to make, so little time.

Links:
www.lintonsilver.com

Linton Studio
Shop 12 Bon Marche Arcade,
80 Barrack Street Perth,
Western Australia.