W.A.S.Benson 1854 – 1924
The Metalwork Lighting of W.A.S.Benson 1854 – 1924
by William Clegg
The Influences
William Arthur Smith Benson was born in 1854 the son of a stockbroker. He was educated at Winchester College. His maternal grandfather, William Arthur Smith, was a talented Victorian amateur engineer and metal turner; he and Benson were very close from early days spending hours in the metal shop together. After Winchester, Benson studied Politics and Philosophy at New College, Oxford. He came into contact with John Ruskin hearing the importance of naturalistic and Gothick ornament in the Arts. Benson had been observant and curious from an early age. The failure of his subject to inspire him made him restless to become self-employed making artefacts; he left Oxford prematurely to live in London, eventually graduating many years later.
From 1877 he worked in the office of the pre-eminent London architect of the “Queen Anne style” Basil Champneys whose influence can clearly be seen in his turned metalwork. Oxford proved a wonderful introduction to London society, especially the Ruskinian Art World! Through his future brother-in-law Heywood Sumner he met Edward Burne-Jones who in turn introduced him to William Morris.
Thus started a long association where Benson exchanged ideas and enthusiasm, initially. Then he designed furniture for Morris from 1878 and Morris, encouraging him to start his metalwork business in 1880, stocked his wares in his Oxford Street shop and encouraged Philip Webb, his architect, to use both his lighting and metalwork in his houses. Morris, the decorator, also recommended his clients to use Benson lighting in their newly appointed interior. Benson was adept at networking, soon joining the Arts & Crafts Exhibition Society as a founder member in 1887; at a meeting, if bored, he would jot down designs on a scrap of paper! His energy is frightening for us to contemplate as he expanded quickly from Chiswick to a large works in Hammersmith by 1890, at 82-83 New Bond Street with a retail outlet and a trade warehouse in Dering St [opened in 1887]. He also exhibited throughout Europe.
Benson’s enthusiasm and drive cannot be overestimated and his interest was sincere, especially his belief in the Arts & Crafts as a solid philosophy with discussion between like minds becoming the flint-stone of inspiration. He married Venetia the daughter of the artist Alfred William Hunt in 1886, who was an excellent consort.
Benson Lighting
When it comes to lighting, Benson was without peer; this was partly his technical prowess but also his understanding of the properties of light, reflection, refraction and, lastly, balance of illumination of which he was the foremost master and innovator; whether in the domestic home or the sepulchral spaces of a church or hall. An illustration of the esteem Benson was held internationally was his commission to light Samuel Bing’s Maison L’Art Nouveau in Paris from the outside entrance to room-sets by architects of the status of Van de Velde.
Part of his success in lighting was being in the right place [London] at the right time. His working career spanned the turn of the century [1880-1914], a period of constant innovation. In 1880 light was provided by paraffin lamps, which Benson designed in plenty of forms, [see plate 1], using the superior “Hinks” burner, and gas for bracket and hanging lamps; here the quality of Benson’s engineering must have proved crucial [for warming kettles and hotplates he used methylated spirits].
Very soon electricity was available in the form of generators and Benson was quick to realise its huge potential in providing superior light and an adaptability and convenience previously undreamt of. This extended the range considerably with wall, table, standard and reflecting lamps to name but a few.
His writing on electric lighting, a) Notes on electrical wiring and b) On the Lighting of Churches and other Public Buildings, reveals a total confidence in his ability to exploit the medium with its firm advice to builders on the positioning of lights and plugs or sources. However, electricity, being relatively expensive initially, was slower to penetrate the market than we can realise, allowing oil and gas appliances to sell well at the same time!
His lighting features cast brass of an austere nature juxtaposed with sinuous naturalistic decorative details in copper and brass which contrast with and complement the form. Some of the copper was repousse leaf work whilst the reflectors used plain leaves. For shades he sometimes used finest pleated silk in brass frames, but more often opaline glass, which was usually made by his friend Harry Powell at Whitefriars Glass, London. Powell understood the technical and decorative possibilities of glass as Benson did metalwork, and apart from there being a meeting of minds, it also benefited both to collaborate, as each were innovators who believed in the highest quality in all they did. This combination suited both for support and reliability Powell blowing opaline and cut frosted shades for special Benson lamps and Benson designing bronze stands for glass amphora that Powell exhibited.
Having met through Morris, they shared stands at exhibitions like 1901 Glasgow and 1902 Turin; they both sold through Morris and Bing as well as having their own showrooms. The combination of their products is unsurpassable as decoration and has a period feeling, whose quality gives it a place in our houses today, [see plate 4]. Benson applied for lighting patents in 1880 for the distribution and reflection of light [see plate 5] in 1886 for a lantern for electric arc lamps, in 1888 for a grip for adjusting slides to standard lamps and also lamp shades in 1901 and 1908. In 1889 for roses for electric lamps, in 1892 for electric switches – his lamp switch is distinctive [see plate 2]. 1903-4 gas burners, pendant gas and lamps. No patent was applied for his counter weight which was so much part of his “ouvres” [see plate 3]. From the above list we can see Benson was at the cutting edge of the new revolution. This allowed his manufacturing work force to expand to around 100 by 1895.
The Style
So what was the style that W.A.S.Benson worked in? His quality was akin to Arts & Crafts and many of his colleagues were exponents of that movement. The style relied on top quality metalwork to show the crisp lines and contrasting materials, even silver plated, originally sealed with lacquer [articles with old lacquer are particularly sought after]. It is interesting that Benson lamps sold for two – three times the price of his rivals poorer products with 300-400 different models. He was an officer of the Arts & Crafts Exhibition Society and a keen participator. He also used lighting as a decoration, which also qualifies as honest construction and decoration. At its most flamboyant his style can border on Art Nouveau with sinuous whiplash and tendril designs; a good example of this is a chandelier in the board room of the V & A Museum!
But his manners of design are in general too well ordered to pin him to either movement.
Perhaps the closest influence is the Queen Anne revival style whose pinciples he learnt from the pioneering architect, Basil Champneys; certainly there is usually an infallible and consistent restraint and good proportion to all he did. There is also the inspiration of nature and the Japanese movement initially, but hardly ever any unnecessary surface decoration.
In short, his designs have stood the test of time as has his quality, and in both he remains the benchmark of the period – a truly idiosyncratic Englishman, who still defies stylistic definition!
The Marks
Benson stamped nine varying marks on his metalwork and lighting, however, after much comparison of marks our conclusion is the marks, along with the components themselves, were to a degree interchangeable, with the earliest being the Shield of 3 Hammers punctuated by W.A.S.B. and the latest W.A.S.Benson Ltd after 1901; the subsidiary letter marks remain a mystery alas, especially as they occur randomly.
The Epilogue
When he moved to Sussex he designed his own house in the Queen Anne style. Between 1914-1918 he and his works were used because of their quality of production and manufacturing for the war effort. Benson continued to invent and improvise for the general good of his country!
Although he may not have made a fortune, he lived well, gave noble employment and survived when many London furnishing businesses failed or merged. He kept his integrity and standards throughout. All his designs apart from looking very good, actually work, and still have a place in a functional world!
by
William Clegg
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