Born in Geelong, Victoria, Australia in 1931, Devlin knew by the age of 14 that he was destined to be a designer. At the tender age of 13, he won his first scholarship with the Gordon Institute of Technology, which then spurred him on to study at the Royal Melbourne Institute of Technology, where he was presented with an Art Diploma, bearing the highest marks ever awarded to any student. Devlin achieved this accolade after only just one year of study, compared with the standard three. By 1958 he had earned three scholarships which eventually found him at the Royal College of Art in London where he was the only student ever to obtain diplomas in Light Engineering Design and gold and silversmithing. No mean feat by any standards. A whole slew of accolades would follow Devlin throughout his career, and he would become one of the most decorated silversmiths of modern times. In 1966, he was made a Freeman of the Worshipful Company of Goldsmiths and in 1972 they elected him as Liveryman.
In 1964, Devlin won a competition to design the first decimal coinage for Australia, which catapulted him into the spotlight, although he nearly said no, stating ‘I considered designing coinage a graphic design problem. Because the relief of the coin is so low, there is so little scope for the third dimension’.* By 1965, he had moved to London and in 1979 he opened a small workshop and a reputable showroom in Conduit Street. His move to London marked the beginning of his signature style and he began a series of limited releases of Easter Eggs and Christmas boxes. Each season he would release a new collection of limited-edition pieces which became highly sought after. In 1982, Devlin was granted a Royal Warrant of Appointment as Goldsmith and Jeweller to Queen Elizabeth II.
With such a unique style, one might look to the past to find where Devlin’s influences may have originated from, however, there does not appear to be any obvious point of reference. His early work had echoes of the post-war Scandinavian styles, though it could be argued that Devlin was a kind of Renaissance figure, a man unto himself. Inventing an aesthetic entirely of his own. He has said that ‘the Bauhaus and Scandinavian influences were alien to me.’* Although Devlin’s work appears ornate and richly decorated, there seems to be a minimal elegance that is present. Mixing textures with biomorphic forms, gives his work an almost otherworldly feel, unable to place it in any stylistic or temporal period. You almost gain the sense that his objects could belong to a far-flung ancient civilization from a bygone era, perhaps even one on another planet. This look is evident in pieces such as his candelabras, letter openers, goblets and water pitchers. This was mainly characterised by his use of filigree work, unusual textures and the mixing of silver and silver-gilt to create two tone items.
Although many of his pieces were for decorative or collecting purposes, Devlin also believed that day-to-day household objects could also be filled with romance and pleasure. This idea was illustrated in his furniture designs, which he experimented with over the years. Predominantly, he used rosewood as his material of choice, because not only did he consider it beautiful but also strong and durable. The darker colour proved an excellent background for gilding and Devlin crafted his own techniques of filigree and carving which created a distinct and signature style, harmoniously complimenting his works in silver and gold.
After closing his London workshop and showroom, Devlin retired to the seaside town of Littlehampton in West Sussex. Still teeming with creativity, he purchased an Intergraph system in 1992 and became one of the first artists to utilise computer-aided design in his work. Throughout the history of design, characters such as Stuart Devlin are rare. Working across so many disciplines and with a vast array of materials, he certainly cemented his name amongst the likes of other greats in the field such as Benvenuto Cellini and Paul Storr. He may have passed away in 2018, but he left such a profound legacy and continues to inspire and influence generation after generation of silversmiths and designers. The world of silver may be small, but Devlin’s Midas touch is ubiquitous.
*John Andrew and Derek Styles. Designer British Silver from studios established 1930-1985. ACC Art Books. 2014.
