Celtic Revival Styles - By: blog.RubyLane.com

One of the great recurring influences on decorative arts and jewelry over the last 150 years is the Celtic culture.

Celtic culture is most associated with Ireland and Scotland, although the culture is more widespread. Celt was a term first applied to various peoples of continental Europe. United by common language and some cultural traits, they were not a unified monolithic group of people, but a conglomeration of various tribes, often warring against each other. Originally occupying central and Western Europe including modern day Austria, Switzerland, Spain, and portions of France, the Celt's began to spread throughout Europe during the Iron Age, arriving in the British Isle's around 500 B.C.E. With them, they brought iron implements, such as plows, doing quite well as farmers when they were not warring with others or amongst themselves. They were excellent metalsmiths, mastering the skills of working in bronze and iron. The term Celtic applies at least to the cultures of Ireland, Scotland, Wales, Cornwall, Brittany, and the Isle of Man, all of which share cultural traits and, to some extent, language.

Like Britain’s culture, which is known to have been influenced by other migrations and invasions, including the Roman occupations and invasions of Germanic tribes after the fall of Rome, the various Celtic groups were also influenced by these same groups, but were never able to develop a strong, unified identity, despite there shared areas in language, culture, and religion. The Picts of Scotland are considered related to the Celtic culture, at least as a close cousin.

The Iron Age Celts of the Isles produced wonderfully decorated metal objects, including weapons, helmets, shields, and drinking vessels and other items, as well as jewelry. Elements of Anglo-Saxon design merged with Celt designs creating a unique form, which flourished, often under the direction of the Church. The illuminated manuscripts and high crosses were the last great flourishes of the movement, from the 7th to 9th centuries C.E.

In the early 19th century, Ireland was looking for its artistic voice and a distinctive style that it could call its own. The Irish Revival lasted from approximately 1830 to 1930. This movement, while creating new forms and expressions, drew quite heavily on Ireland’s past.

At the start of this period, several artists dedicated themselves to preserving images of Ireland’s archeological past. One of these artists and scholars, George Petrie, helped organize the museum collection for the Royal Irish Academy. They acquired two of the great treasures of 8th century work, the Tara Brooch and the Ardagh Chalice. These stone-set pieces, decorated with the interwoven knot-work, typify Celtic design. This heightened the renewed interest of the last several decades in Celtic jewelry reproductions. The Tara Brooch spent some time under the ownership of Waterhouse and Sons, a Dublin jeweler, before its acquisition by the National Museum of Ireland for its collection. They made a number of reproductions, several of which were acquired by Queen Victoria in 1852. Waterhouse made reproductions of a number of older Celtic pieces, as well as new pieces, which were adapted from the older styles.

Other Irish jewelers, some with connections to Waterhouse also made outstanding Celtic reproductions and pieces in the Celtic style. Hopkins and Hopkins, West and Sons, and Joseph and Edmund Johnson were some of the best known, and their 19th century work is highly prized today.

Other traditional Irish and Scottish motifs became popular during the 19th century. The round tower, shamrock, harp and Irish wolfhound became popular elements. Agate set Scottish silver work, “pebble jewelry,” became very popular and was favored by Queen Victoria.

The Arts and Crafts movement drew heavily on Celtic styles, and many artists and works can be considered part of the Irish Revival, Celtic revival, and Arts and Crafts movement. At the end of the century, two incredible families helped give voice to the Celtic soul in the arts: The Yeats family and the Ritchies.

William Butler Yeats, winner of the Noble Prize in Literature and co-founder of the Abbey Theater, was best known. His father, John Butler Yeats, and his brother, Jack, were well-known artists and painters. His sisters, Elizabeth and Susan, both had associations with William Morris. Returning to Ireland, they were involved in the start of the Dun Emir Guild, the Dun Emir Press, and Cuala Press. Evelyn Gleeson was also involved in these ventures.

Husband and wife, Alexander and Euphemia Ritchie, met at the Glasgow School of Art. Moving to Iona in 1889, they set up shop and created designs inspired by the carvings of Celtic and Viking designs on Iona and the other islands. Alexander was made custodian of Iona in 1900. While best known perhaps for his silver jewelry, Ritchie worked in a variety of materials and produced non-jewelry items. When they died in 1941, Iian MacCormack carried on their work. The tradition of Iona silver work is still being carried on today.

Others associated with the Glasgow School have been influenced by traditional Celtic styles and have influenced modern Celtic styles, including Archibald Knox and Charles Rennie Mackintosh. Mackintosh, perhaps best known for his architectural work, incorporated some traditional Scottish motifs into his work, and is claimed by the Arts and Crafts movement, where he incorporated these traits along with elements of Art Nouveau and Asian influences. Knox, born on the Isle of Man, wrote about the inspiration he received from the old stone crosses of the island. Working with London’s famed Liberty and Company, his designs for their Tudric pewter and Cymric silver draw heavily on ancient Celtic styles.

Knox worked in a great deal of mediums and his design work was used by Liberty and Company on items created by others. Compton Pottery produced Knox Celtic designs on garden pottery. Clutha Glass from James Couper and Sons used Knox designed pewter liners. H. C. Craythorn of W. H. Hasler , producer of the Cymric pieces, also contributed to the design of some pieces in the line. Rex Silver of Silver Studio, and Jessie King also contributed to the Cymric designs, and Silver studios did much of the production of pewter and silver jewelry items for the line.

The popularity of Celtic styles has waxed and waned since the start of the revivals of the early 19th century. Sometimes it comes to us as a faithful reproduction of a historic style, and sometimes as a new design, inspired by past design. Many small smiths and studios produce quality pieces. Aosdana, under the direction of Mhairi Killin, continues the great tradition of Iona silverwork and crafts. Several larger contemporary firms such as Miracle and Kit Heath produce pieces today, which draw on traditional Celtic, Irish and Scottish styles. The last 20 years have seen the popularity of Celtic design reach a level where many lower quality mass-produced pieces from sources far removed from Ireland and the United Kingdom are on the market.

Celtic culture is most associated with Ireland and Scotland, although the culture is more widespread. Celt was a term first applied to various peoples of continental Europe. United by common language and some cultural traits, they were not a unified monolithic group of people, but a conglomeration of various tribes, often warring against each other.

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