Charger, about 1902

This large copper charger was designed  by Isobel McBean, a principal designer at Keswick School of Industrial Art. The floral cross in the centre is formed from convolvulus flowers surrounded by a twisting circle of flowers and leaves. It cleverly fuses Norse and Celtic motifs and has affinities with the drumhead cross and the Celtic ‘Tree of Life’. Stylised natural forms were much used by Arts and Crafts designers.

Large copper charger, made around 1902 by the Keswick School of Industrial Art. Designed by Isobel McBean. 

The charger has a floral cross at the centre formed from convolvulus flowers surrounded by a twisting circle of flowers and leaves.  It cleverly fuses Norse and Celtic motifs and has affinities with the drumhead cross and the Celtic ‘Tree of Life’. Stylised natural forms were much used by Arts and Crafts designers. The charger has been decorated using the repoussé method.

The charger was designed by Isobel McBean, one of the principal designers at Keswick School of Industrial Art. It was exhibited at the Home, Arts and Industries Exhibition in London in 1902. This association was established to support and show the work of many of the local classes and held annual selling exhibitions which became an important showcase.

Keswick School of Industrial Art was the brainchild of Canon and Edith Rawnsley who established it in 1884. Rawnsley wanted to relieve seasonal unemployment, develop craft skills and revive interest in the area’s ancient traditions of woodcarving and copper mining.  Evening classes for up to 100 students took place at Crosthwaite Parish Room. Drawing, design, woodcarving, metalwork, spinning flax and linen weaving were taught. The School became well known for its copper and silver metalwork with repoussé decoration – produced by skillful punching, hammering and pressing techniques.

Designs were often inspired by historic examples in museums and by natural forms. The Scandinavian serpent design found on traditional Lakeland furniture was often used, as were local Norse and Viking motifs. The School made a wide range of household items but became more innovative when designers were appointed.  The School exhibited nationally from 1891 and later became more commercial and concentrated on high quality pieces and special commissions. Stainless steel products were first produced in 1930.Lack of new designs, insistence on hand-production, and competition from cheaper machine-made items sadly forced the School to close in 1984, its centenary year.

There are these inscriptions on the exhibit:

  • KSIA [monogram]
  • 9415 3/3/-

Tullie House Museum and Art Gallery Collection, purchased by the Friends of Tullie House 2010

Image © Tullie House Museum and Art Gallery

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