From the recovery after the Irish Potato Famine in the 1840s to the booming Celtic Tiger of the 1990s, a revival of the ancient traditions of Celtic jewelry have become a part of how the Irish, as well as the Scots, Welsh and other Celts have expressed their cultural identity. Usually the story of this tradition focuses on very old prototypes, the museum pieces turned up by archaeologists or the legend of the original Claddagh ring. In our imagination, we connect the popular Celtic jewelry of today with the distant past. But that link with the ancient style was very much influenced by what others had done in more recent history. The story of is told by four authors. Tara Kelly writes of the early Celtic Revival manufacture of facsimiles of medieval Irish metalwork in Victorian Dublin and how the success of that enterprise lead to historical Celtic jewellery to become iconic symbols of Irish identity. Mairi MacArthur tells the story of Alexander and Euphemia Ritchie who created the foundation for modern Scottish Celtic jewellery on the Isle of Iona in the early 20th century. Aidan Breen, himself a pioneer of the late 20th century Celtic Renaissance, recalls his career beginning with an apprenticeship with Dublin silversmiths which trained him in the traditions of the older Celtic Revival. Stephen Walker, craftsman and collector, brings the story together as it spans 150 years, from Scottish pebble jewellery to the innovative modern Celtic creations of the Arts and Crafts Movement. 69 color photographs and 29 black and white illustrations.

Through the centuries, the distinctive character of Scottish jewelry has enchanted collectors from around the world. In the mid-nineteenth century, demand for the Highland specialties was so high that the supply from local craftsmen had to be supplemented by English imitations. In this spectacular, authoritative volume, leading jewelry historian Diana Scarisbruck presents 360 treasures from the renowned Ghysels collection. Examples include brooches, kilt pins, bracelets, earrings, tie pins, buttons, and belt buckles, many made by legendary designers such as Rettie & Sons of Aberdeen, Jamieson, and Ellis. One hundred beautiful illustrations highlight the exquisite craftsmanship of traditional Scottish designs executed in local materials--agates, cairngorms, amethysts, garnets, freshwater pearls--set in silver or gold to harmonize with the bright colors of the clan tartans. The book also traces the history of jewelry in Scotland and explains the significance of the various motifs--Celtic, heraldic, sporting, religious, naturalistic, military, and sentimental.

E. Mairi MacArthur looks at the work of renowned Scottish artisans and jewellers Alexander and Euphemia Ritchie.

Shortlisted for the History Book Award in Scotland's National Book Awards, 2023 During the long 19th century, Scotland was home to an established body of skilled jewellers who were able to access a range of materials from the country's varied natural landscape: precious gold and silver; sparkling crystals and colourful stones; freshwater pearls, shells and parts of rare animals. Following these materials on their journey from hill and shore, across the jeweller's bench and on to the bodies of wearers, this book challenges the persistent notion that the forces of industrialisation led to the decline of craft. It instead reveals a vivid picture of skilled producers who were driving new and revived areas of hand skill, and who were key to fostering a focused cultural engagement with the natural world – among both producers and consumers – through the things they made. By placing producers and their skill in cultural context, the book reveals how examining the materiality of even the smallest of objects can offer new and multifaceted insights into the wider transformations that marked British history during the long 19th century. Uniting a vast array of jewellery objects with a range of other sources – including paintings, engravings, newspaper reports, letters, inventories of big houses and small workshops, sketchbooks, novels, works of literary geology and early travel writings – this book provides a deep dive into the cultural history of jewellery production through accessible thematic studies. In doing so, it sets out innovative methodologies for writing about the histories of craft production, the natural environment and the material world. Now available in a paperback edition, it will be an important addition to the bookshelf of cultural historians and those interested in Scotland's wild landscapes and natural objects.

As evidenced by the famed Book of Kells and monumental high crosses, Scotland and Ireland have long shared a distinctive artistic tradition. The story of how this tradition developed and flourished for another millennium through survival, adaptation and revival is less well known. Some works were preserved and repaired as relics, objects of devotion believed to hold magical powers. Respect for the past saw the creation of new artefacts through the assemblage of older parts, or the creation of fakes and facsimiles. Meanings and values attached to these objects, and to places with strong early Christian associations, changed over time but their 'Celtic' and/or 'Gaelic' character has remained to the forefront of Scottish and Irish national expression. Exploring themes of authenticity, imitation, heritage, conservation and nationalism, these interdisciplinary essays draw attention to a variety of understudied artworks and illustrate the enduring link that exists between Scottish and Irish cultures.