Given by the American Friends of the V&A through the generosity of Professor B. Seymour Rabinovitch
Silver, London hallmarks for 2000, mark of David Bromilow.
Length: 30.5 cm, Weight: 775 g
The Rabinovitch Collection (Victoria and Albert Museum 01/01/2005-31/12/2006)
The Rabinovitch Collection of Fish and Cake Servers (Fairfax House, York)
Fish & Cake slice exhibition RF.2004/419
This collection of silver slices, all commissioned over a period of twenty years by Professor Benton Seymour Rabinovitch FRS, is proof of the skill and diversity of contemporary silversmiths. Each artist craftsman has responded to the familiar functional form of the slice in an individual way, producing an astonishingly diverse range of interpretations. Each piece becomes an enchanting, decorative work of art. Professor Rabinovitch established a close rapport with each artist, always encouraging a freedom of creative expression. The response of these silversmiths has been not only to be strikingly imaginative but also to honour him by giving him their best work.
This collection is testimony to the significant contribution that one individual can make to supporting the craft of silversmithing. After commissioning work from some of the most illustrious names in British and North American silversmithing, Professor Rabinovitch has very generously donated his entire collection to the Victoria and Albert Museum, through the American Friends of the V&A. 
The artist has provided his own critique. "My concern when designing the slice was to create a dynamic piece whose shape exploited fluid curves and volume., whilst conforming to the notional function of the piece. By introducing a third form between the blade and the handle, I created sinusoidal lines that broke up the symmetry of the piece. These lines then suggested the shape of the blade. The broad sweep of the outer edge continues the sinusoidal dynamic with the upper element of the handle. I was concerned that the blade needed to have similar reference to volume to continue the energy throughout the piece. A double-skinned blade gave greater volume and allowed the fluid lines to extend to the under side of the blade to create a truly three dimensional piece. When the upper surface of the blade is flat the eye does not rest at any point when viewing the piece."