The Work

Two traditions meet in every piece. The first is ancient: the bezel, the granule, the cast surface. Ways of holding stones and working gold that go back millennia, used here as working methods, not references. The second is modern: form reduced to its essentials. The circle, the stack, the drawn line. The result sits somewhere between a museum case and a sketchbook.

The Place

Some of the earliest gold ever worked in Britain came out of Cornish ground: the Rillaton cup, found in a barrow on Bodmin Moor; the Harlyn Bay lunulae, crescent collars of beaten gold, found near Padstow. The same era raised the stone circles and quoits of the far west.

Four thousand years later, St Ives became the centre of British modernism: sculptors and painters drawn, by their own account, to the light and the standing stones.

We work between the two: the goldsmith's oldest methods, and the modernist's eye.

The Making

Every piece begins at Alice's bench, formed by hand in metal or wax. What can't be done in the studio is done by small UK specialists, and every piece returns to the bench to be finished by the hands that started it.

The originals are formed by hand, their irregularities celebrated. Nothing is polished into silence.

Gold is recycled and stones are ethically sourced. Pieces are made to order in 9ct or 18ct, and hallmarked. The collections grow slowly, a few considered pieces at a time, not by season.