This story was written by Mark Crick — a photographer, a writer, and a cherished friend and customer. Our shop is based in London, and while we are fortunate to have customers around the world, not everyone is able to visit us in person. We hope this story brings you a little closer to us, and that you can imagine the atmosphere of our Notting Hill workshop as you read — and if it makes you wish to visit us someday, we would be very pleased.
The gentle sound
of a hammer shaping gold on olive wood is not one that is most readily associated with London’s foremost Carnival destination, Notting Hill.
But for the sharp-eared fortunate enough to take their morning coffee on the terrace of Sally Clark’s eponymous cafe, it is a reassuring reminder of the creativity that flourishes in this corner of Kensington.
The gentle sound
of a hammer shaping gold on olive wood is not one that is most readily associated with London’s foremost Carnival destination, Notting Hill.
But for the sharp-eared fortunate enough to take their morning coffee on the terrace of Sally Clark’s eponymous cafe, it is a reassuring reminder of the creativity that flourishes in this corner of Kensington.
The source of the sound is the workshop of Malcolm Betts, the world renowned jeweller, who for nearly three decades has made this neighbourhood, where the galleries and antique dealers of Kensington Church Street make way for the cosmopolitan buzz of Notting Hill, home to his studio and gallery.
Malcolm’s have not been the only hammers to have serenaded this corner of London, Not so long ago the sound might have been caused by the nailing of canvas to stretchers signalling the start of a new painting by former neighbour, Lucian Freud, whose studio sits within view on the other side of Kensington Church Street.
Or in times past from the felted hammers of Mendelssohn’s piano, as he practised in his home a few doors away.
There is a profusion of hammers
to be found in Malcolm Betts’ workshop: ball-pein hammers; repoussé hammers; round head hammers; planishing hammers, some hung orderly on hooks, others lying ready on workbenches, a few clustered like artists’ brushes in an old can.
At least one of the hammers belonged to Malcolm’s grandfather, and was used by him to shape the aluminium bodies of the Hurricane aircraft on which he worked during the second world war. Metal shaping, it seems, is in the Betts DNA.
There is a profusion of hammers
to be found in Malcolm Betts’ workshop: ball-pein hammers; repoussé hammers; round head hammers; planishing hammers, some hung orderly on hooks, others lying ready on workbenches, a few clustered like artists’ brushes in an old can.
At least one of the hammers belonged to Malcolm’s grandfather, and was used by him to shape the aluminium bodies of the Hurricane aircraft on which he worked during the second world war. Metal shaping, it seems, is in the Betts DNA.
The rare and precious metals
in which Malcolm has chosen to work are by a magnitude more responsive and expressive than aluminium. And it is in the extreme malleability of these noble materials that Malcolm Betts’s style finds its fullest expression. The marks, hollows and facets made by the jeweller’s hammer are here celebrated and refined until they become as distinctive in gold as are Van Gogh’s brush strokes in paint, or Rodin’s thumbprints in clay.
The rare and precious metals
in which Malcolm has chosen to work are by a magnitude more responsive and expressive than aluminium. And it is in the extreme malleability of these noble materials that Malcolm Betts’s style finds its fullest expression. The marks, hollows and facets made by the jeweller’s hammer are here celebrated and refined until they become as distinctive in gold as are Van Gogh’s brush strokes in paint, or Rodin’s thumbprints in clay.
While so many jewellers focus on a polished and perfect framework, Malcolm Betts’s work, by contrast, unashamedly allows each precious metal to reveal its fuller character, so that it is allowed to compete on equal terms with the antique and rare jewels that have been a hallmark of the Malcolm Betts house since its beginnings.
When Malcolm was making jewellery back in the nineties most contemporary jewellery was made using modern, brilliant cut, diamonds.
“I loved the imperfections of the antique stones,”
says Malcolm. I began seeking out diamond dealers who specialised in antique jewellery; old tiaras, brooches, estate jewellery, often damaged. I gave the pieces a new life and used their diamonds in bespoke engagement rings for my clients in the UK and the US. The diamonds’ hand cut character meant every piece we made had to be unique.
The idea that the vintage stones
have lived a life many times over, yet are still timeless - is a compelling one. Over the years Malcolm has built a collection of antique stones waiting to repurposed and once again take their place in the limelight. These stones are one offs that can only be found with a discerning eye and a lot of patience.
Worthy of mention also is the peerless work of the network of stone hunters with whom Malcolm has built lasting relationships. Whether seeking out sapphires from Ceylon, emeralds from Columbia or rubies from Burma, their local knowledge is invaluable. Not unlike the company of talented jewellers who work at the bench alongside Malcolm in his workshop.
The team Malcolm
has built have been together a long time. So long that there seems to be an almost telepathic understanding between them.
An atelier like those one might imagine run by the old masters of Flanders or Florence.
Everything produced here is hand made, using tools and techniques that would not have looked out of place in the workshops of ancient Egypt or Rome.
The team Malcolm
has built have been together a long time. So long that there seems to be an almost telepathic understanding between them.
An atelier like those one might imagine run by the old masters of Flanders or Florence.
Everything produced here is hand made, using tools and techniques that would not have looked out of place in the workshops of ancient Egypt or Rome.
The same can be said of Malcolm’s artful combinations of old cut stones and precious metals and of his unerring eye for colour and form. In an age of technology and AI it is the hand beaten surfaces, and hand-cut stones that they compliment, that are so distinctive, so timeless and so reassuringly human.
After nearly three decades
crafting hand made jewellery for clients all around the world we are honoured to be so capably represented by our stockists in the US and Japan. For clients elsewhere our online experience makes it possible to view our collection and to commission bespoke pieces.
But there is still something special about coming into the Notting Hill gallery where a warm welcome and a highly personal service await you. And, of course, the sound of hammers shaping precious metals in the workshop below.
After nearly three decades
crafting hand made jewellery for clients all around the world we are honoured to be so capably represented by our stockists in the US and Japan. For clients elsewhere our online experience makes it possible to view our collection and to commission bespoke pieces.
But there is still something special about coming into the Notting Hill gallery where a warm welcome and a highly personal service await you. And, of course, the sound of hammers shaping precious metals in the workshop below.
— The photographs accompanying this story were also taken by Mark Crick.