Andrew Grima
Andrew Grima’s designs are totally unique and instantly recognisable. This is perhaps due to his unorthodox education. He came late to jewellery design, initially studying mechanical engineering at Nottingham University.
After serving in the 7th Indian Division in Burma through the Second World War, he returned to England intent on furthering his artistic education. His plan was thwarted, however, as all the arts schools were still closed. Instead, he began a secretarial course. Here he met, Helene who he would later marry.
The Beginnings
Grima began his career in jewellery, working in the accounts department of his father-in-law’s jewellery firm, H. J .Company Ltd.
1948 was a pivotal moment for Grima. He recounts that one day: “two dealer brothers arrived at our office with a suitcase of large Brazilian stones – aquamarines, citrines, tourmalines, and rough amethysts in quantities I had never seen before. I persuaded my father-in-law to buy the entire collection and I set to work designing. This was the beginning of my career.”
Britain’s Foremost Jeweller
Grima’s father-in-law died in 1951, but he continued designing. By 1961 Grima had established a name for himself as a designer. The Worshipful Company of Goldsmiths asked Grima to lend his own and assist in the creation of works by Kenneth Armiage and Elisabeth Frink from wax model to jewelled objects. These works were displayed in the Goldsmiths Exhibition of Modern Jewellery. Along side Grima’s designs was jewellery created by Pablo Picasso, Alexander Calder and Henry Moore.
This exhibition marked the launch of Grima’s career as Britain’s foremost jeweller. He revolutionised 1960-70s jewellery. Grima valued his status as a pure designer, with no formal bench training. He felt it not as a limitation, but that it placed him as an artist, focused on pure form. His bold, abstract pieces do bare similarities to contemporary artists, such as Henry Moore. Both artists glorify raw materials.
Grima spent the last years of his life living and working in Switzerland. He died in 2007 leaving his second wife, Jojo and daughter Francesca custodians of his legacy to British jewellery.
Free from formal training, Grima let his imagination run free, guided loosely by the drawing skills he learnt studying engineering.
Rough Forms and Organic Arrangements
He channelled his natural love of Art into his designs. Grima’s pieces are characterised by an emphasis on organic arrangements of metal and precious or, more often than not, semi-precious stones. After his first encounter with the suitcase from Brazil, Grima continue to favour semi-precious stones in his designs. From agate, rutilated quartz to watermelon tourmalines and fire opals Grima focused on the unique patterns and colours of these stones. Although they had a relatively low worth, he valued their originality.
Rough forms are central to his designs. Grima favoured uncut stones and raw metal settings. He even cast directly from bark or lichen. A family portrait taken in 1967 of Princess Margaret shows her wearing the lichen brooch Grima cast from a piece found on her in Scotland. Lord Snowdon was an admirer and great patron of Grima, who introduced him to the Queen.