MADE TO LAST.....................

For those who have seen my website http://www.celticempire.com/ , you may have seen under Celtic Leather, a card case that was purchased 27 years ago by "Robb" and was lost several times in some very remote places but always returned. Well this Christmas Robb decided that replicas or similar card cases would make nice gift for a number of associates and friends.

I should like to share with you the steps in making these "CC's". The leather pieces are cut in large numbers from 6oz calfskin. Once cut the edges are airbrushed in tightly packed bundles, then burnished before the thin line is added just for a finishing touch.

The next step is to emboss or rather impress a design onto the leather. In this case the "Newgrange" spirals, adapted from the burial mound on the banks of the river Boyne in Ireland, was the inspiration for this design. Today access is rather limited to this megalithic tomb, but in August 1984 people were allowed into the tomb with little or no restrictions. On the left is a picture of the design pressed into the leather beside the actual engraved block used in this instance.

Next we have the inscription or lettering that 'Robb' wanted on the inside of the card cases for his friends. The lettering used is moveable type set in a "Halvorfold-Kwikprint" machine and is changed for each separate name. Needless to say the type has to be choosen to fit within the limited area of the inside pocket.

Next the front part of the card case are airbrushed in the desired colour.

Here you see burgundy or 'Cordovan' a name derived from the city in Spain called Cordoba, which was given to it by the Moors when they occupied Spain and brought their skills in leather craft with them.

Now the assembly of the parts are glued together and then sewn with matching colours of thread. Burgundy on top and natural on the bottom. In large 'Machination" versus 'Manufacturers' ( manu = hand, facture= make), these are fed into a machine and sewn a precise distance from the edge. No hands needed to guide the the pieces through the machine.

Once sewn the edges are buffed and the corners are put on individually. In many commercially produced leather items there are only corners on the front for appearance sake. I prefer to put corners on all sides so as to ensure that the item will last for a lifetime. For me it is very rewarding that someone like Robb came back after all these years to show me that although well worn, the function of the card case he bought so long ago was mantained.

Through the magic of the digital camera, I am able to post an image ( on the left) of one of the finished card cases that Robb is going to give to his friends and associates. I sincerely hope that many years hence they will also look back upon Christmas 2008 with fond memories and enjoy the function of this simple but most useful of leather articles.

Evolution of "Mother and Child" Pendant.

The evolution of this design is a perfect example of serendipity. To follow the steps it begins with the selection of the stone. I choose from a number of 30x22mm ovals and once selected traced a proportional oval upon which to set the stone: using a template I choose a 60mm long axis to go with the 30mm long axis of the stone. It is then positioned at the lower end of the larger oval and I start to work out the design which Is then traced in ink before being transferred to the metal.

Now we have the design which is done in pencil until we have one that meets with our design criteria, and that will be rendered in ink. This in turn will be traced onto Mylar before being transferred to the silver blank.

The next step in the evolution is the cutting of the Sterling silver blank and making the bezel for the stone and it will immediately be noticed that there are stamps on the oval. Originally these were applied to prevent fraudulant manufacturers from selling metal that did not conform to the standard of 925/1000 part pure silver and 75/1000 copper, tin or lead in some instances . Here you see the ster mark as well as my registered trade mark RD, plus a further mark which I apply to indicate that it has been made in Canada .

On the right is the design traced onto the sterling silver blank with a tungsten-carbide scriber. Although this is very faint it is enough to guide the engraver. The process of transferring the design is a very simple one that I learned from an engraver who had learned his craft/trade in the large manufacturing firms of England, producing silverware for the wealthy clients who would commission whole tea services with their family crest engraved on each piece. These sets would consist of a simple "Tea Service" of a tea pot, milk, sugar, sugar tongs, strainer and tray. The process is to trace the design on the reverse side with a pointed stylus, not sharp, but enough to leave an indentation. You roll soft wax or plasticine over this and then align the work underneath and burnish with a bone or smooth piece of plastic so as to transfer all the wax to the work and leave a faint line that has no wax. This then is scribed onto the work.

Eh, voila we have the finished pendant in a lovely presentation box along with a photograph for insurance records as well as a card with the story of the evolution.

It started out as a simple Celtic knotwork to fit the shape of the stone and the blank, however once I started the engraving it became clear to me that this looked very much like a mother in times gone by who might squat at the riverside to give birth to her child. Arms out to catch and enfold, with knees projecting on either side. Not till later did it occur to me that even the shape of the piece and the position of the stone were also really indicative of the child bearing process. It is with humility and wonder that I think of my mother who went through this process which has brought me to this.

You may or may not have noticed the Triple question on my Tee-shirt, "Who are you calling a Celt ?" and "Who are you ? Calling a celt."or "Who are you calling? A Celt."

The map from the National Geographic May 1977 gives a perfect overview of all the peoples of Europe that are considered to be of Celtic origin.It also shows many of the artifacts had been uncovered up until then. As archeaology continues in many places all over Europe, more and more is coming to light.The Hochdorf princely grave site being one, and the discovery of the body of "Otzi" in high Alps of Austrian- Italian border has given us a much clearer insight into who and what these people were and how they lived.

More currently it has been my privelege to meet with some of the more reknown Celtic Artist of the 20th century.In alphabetical order Courtney Davis, whom I met for the first time at Scrif Celt in London,and the on another occasion we met during the "Work of Angels" exhibition at the British Museum at the time that we both met Janet Backhouse, author of "The Lindisfarne Gospels". And again in Cornwall at the Royal Swanery near Abbotsbury after visiting Maiden Castle, one of the largest Celtic hillforts in the U.K.You can check out Courtney's art in the many books that he has published by Blanford Press.

Next is Jim Fitzpatrick, whose art I fell in love with many years before I met him.Posters and cards used to abound in many stores along Oxford street in London. However it was the books that he published through Paper Tiger, a division of Dutton Books, that really caught my attention. "Erin Saga", "The Book of Conquests" and "The Silver Arm" making reference to "Nuada" a Celtic hero who lost his arm in a battle and then had an artificial arm made.

The image you see here is from one of the most famous of his books, "Celtia",in this book you can clearly see how Mucha influenced him."Macha" and "Morrigan" are not unlike "Music" and "Poetry" both from Mucha in 1898.The Art Nouveau is replaced with some very intricate Celtic art work and faces from Celtic mythology. In the same book is a cover for a record album for Alen Stivell with his harp. Then "Thin Lizzy" with" Johnny the Fox and a real break from tradition with Jailbreak also for "Thin Lizzy" A clear indication of a definite evolution of art styles.I'll come back to Alan further on in my disertation.

Earlier on in one of my first 'posts' I made mention of Aidan coming into my shop and inviting me to join his Celtic Art classes. I have to say that along with George Bain, he has been the strongest influence on my development with Celtic art. Since he lived in Vancouver like myself, it was a natural that I should attend his classes for quite a period of time. Upon reflecting on this period I find I have some of the very early class notes that Aidan gave his students.The original "Coracle" Vol.1 #1 dates from January 1983 typed in 8.5x5.5 inch carried on till the following year in Vol.2 when he started to do the lovely hand scripted Coracles that eventually evolved into the series on Celtic art that were published by Thames and Hudson.

On a couple of occasions I was priveleged to carry the original works for delivery to T&H in London. The last one that I took over, I was allowed to add a punctuation mark to one of the pages. Not unlike the feeling that I got when I took my children on a hike through Germany and we stopped at the Gutenberg Museum in Mainz and was asked to press one of the pages using the press that was used to create the Gutenberg Bibles.

Last but not least, as the music of Alan Stivell plays in the background,I recall the Celtic Festival in Vancouver, July 6-8-1990. I had the pleasure of hosting Alan's visit whilst he was here. On a subsequent occasion he and his wife played host to Gretchen and I while we were in France. We had a personal tour of Rennes and the Brociliande Forest, from whence Lancelot is said to hail.

Lindisfarne Bracelet

In the broadest general terms, inspiration come from the work of others. In this case I was so absorbed in the book by Janet Backhouse, "The Lindisfarne Gospels" from Phaidon Press,Oxford, in association with the Britsh Museum.

I admired the original book on display which is opened to one page only.

This is also the case with the Book of Kells, at Trinity College, Dublin, which by the way does turn the pages on a daily basis. Trinity College Press also has some magnificent plates of the illuminated pages.

Having studied the Lindisfarne Gospels, I admit that the tiny panel on the right hand side of folio 27, the opening of St.Matthew, escaped my attention.

In the book it measures a mere 7x45mm, it is right besides the R of "Liber Generationis Iesu Christi filii David.....".

Scanning the page and enlarging that section I was able to make it fit the measurements of the bracelet, 80x20mm. It is made from 16 gauge or 0.05mm sterling silver. The problem is that to transfer the design to the metal prior to engraving requires a new transfer for each bracelet, this being the case it does make each one rather uinique in that minor differences in the tracing also transfers to the engraving.

To the left you can clearly see the end result, a 2cm wide brcelet in sterling silver with the two dogs and birds deeply engraved and the stippled background to make the design standout.

It is with regret that between the time that I met Ms.Backhouse and the time that I made the bracelets, she passed away. I believe that she would have been very pleased to see how her book has inspired me and many others.

The Mandolin Project

When first I started I started on this buckle I had no idea where it would sell or the type of belt it would go with. I just loved the colouring in the Turquoise, a 30x22mm cabochon, it required something special. So my thinking was along the lines of a simple Celtic knotwork to flank the stone and then wait for some inspiration. Well.............,inspiration like money does not grow on trees. So the best thing is to leave well enough alone, and get on with something else.

As luck would have it, I did not have to wait very long. Alan Martin came to me some time ago for a hand bound book to write his music in, that's a story for another day, but he asked if I could make him a strap for a mandolin. Not just any mandolin, as soon as he opened the case, I was struck with the excuisite workmanship of this instrument.

It did not take long for us to decide on a pattern and colour for the strap, but the fastener was a wee bit of a problem. It had to be adjustable, but when in use it should not move. Alan caught site of the buckle and it was just a matter of deciding how best to attach it and still make fully adjustable. The pin on the buckle was adequate, but it was not inconceivable that it could slip out during a performance. After Alan left I started to ponder the problem and decided that a screw would best ensure that it did not come out of the hole on the belt. As is the case with most small things, they are easily lost and often fiddly to handle. Tap the pin, make a screw, put a bow on the screw and attach a chain. Well as might be expected the chain twists with the screw. So a lobster catch and a bit more chain and all is secure and ship shape.

Here is Alan with Mandolin ans strap in my workshop. The colourof the strap blends very nicely with the stock on the mandolin and my buckle is prominently displayed. Another happy customer and what a pleasure it was find such a novel way of securing the belt.

Celtic Origins

The constantly re-occuring question is "What is Celtic".

The answer to that is complex and elusive, as were the Celts. Most publications on the subject will mention that they were the people who inhabited Europe west of the river Danube all the way to the west coasts of the British Isles and Ireland. Based on what you might ask?Archeology has over the last centuries found links among many different locations and these all based on materials that have survived burial for thousands of years. There are few things that survive interment for that long, pottery and gold being among the best. Rock carvings are another, but all are subject to the wear and tear of time and weather.

In all of the things that do survive there has been a link in the decoration of the items that are found. They were given names like "Hallstatt","LaTene" early and late "Bronze Age", "Iron Age", etc, etc.

Having been born in the Netherlands, you might think my schooling would have exposed me to countless bits of information about the early inhabitants of the area. Well, on the contrary, a brief reference to the Cannifates and Batavi is all that I remember. Subsequent schooling in Belgium, France and Scotland did little to enlarge my knowledge on the subject of Celtic art, history, music or legends.

Not till many years later whilst running a craft shop and working on leather did a request for a music bag with an image of three interlaced figures to be tooled on the flap ignite my interest. This ostensibly was to represent three musicians for whom the bag was to be made. To me the image looked rather lonely, so after a little research I found a suitable design to enhance the flap of the bag. I still had no idea about Celtic art and this was a Greek key pattern that intertwined. It turns out the musicians decided to call themselves the "Celtic Circle", and to close this circle I received a dalmatian puppy that we called "Celtic", with a soft C rather that the usual hard C as in Celtic, since it was a female puppy.

From there I found George Bain's book on Celtic Art, and a wee while later Aidan Meehan wandered into the shop with his baby daughter because he saw a book cover of mine in the window with a Celtic design. The bairn went straight for the dogs ears, but the dog was not having any of that. She continued to evade the little girl and I finally called the dog into the workshop that was separated by a railing from the set of the Robert Altman's film "McCabe & Mrs.Miller" that had been filmed nearby. "Celtic here" and the dog was glad to escape, but Aidan hearing the soft rather than the hard C, asked my about my designs and before long invited me to join his Celtic Art classes.

Well, I'm still using the lessons that he taught and I have since traveled to most of the Celtic sites in the world, from Hallstatt to Neuchatel, Bibracte, Bobbio, Lutetia, Alesia, Rennes, Kells, Durrow, Dun Aengus and many more. My library on Celtic books now exceeds 350 volumes and hundreds - if not thousands of slides and pictures from museums and sites all over Europe.

I am now inextricably enmeshed in the pursuit of all things Celtic, and I hereby warn others, once you enter this maze, you may never leave.