Ùrachadh mu Dheireadh 21/03/2017
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TIOTAL
Iain Friseal, Gobha Inbhir Nis (4 de 39)
EXTERNAL ID
GB1796_SINCLAIR_SILVERSMITH_04
ÀITE
Inbhir Nis
SIORRACHD/PARRAIST
INBHIR NIS: Inbhir Nis 's Am Bànath
LINN
1970an
CRUTHADAIR
John Fraser
NEACH-FIOSRACHAIDH
Taigh-tasgaidh is Gaileiridh Ealan Inbhir Nis
AITHNEACHADH MAOINE
2220
KEYWORDS
seudraidh
seudan
neach-ceàirde
luchd-ciùird
obair meatailt
gobhaichean-airgid
claistinneach

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Dh'ionnsaich Iain Friseal, Gobha Airgid Inbhir Nis, a chiùird anns na 1930an aig Medlock and Craik, seudairean agus luchd-dèanamh uaireadairean aig 6 Sràid na Drochaid, Inbhir Nis. An dèidh làimhe, bha togalaichean aig a' chompanaidh ann an Exchange Place agus Geata na Bànrigh.

Anns an earrann chlaistinn seo bho na 1970an, tha Mgr. Friseal ag ràdh gun do shoirbhich e ann an gnìomhachas na seudraidh a chionn 's gun d' fhuair e an cothrom a h-uile roinn dhen ghnìomhachas ionnsachadh; a' dealbhadh, a' dèanamh agus a' gràbhaileadh. Tha an dealbh seo, a chaidh a thoirt le Taigh-tasgaidh agus Gaileiridh Ealain Inbhir Nis (IMAG), a' sealltainn fear de na h-earrannan aig Iain Friseal - bràiste Luckenbooth, air a bheil bràiste 'Màiri' air sgàth 's a' chumaidh M a tha aig bàrr a' bhràiste. Bhiodh bràistean Luckenbooth air daoine airson dìon a thoirt dhaibh fhèin. Fhuair iad an an t-ainm bho na seudan a bha air an reic ann an cùilean glaiste no 'locked booths' ann an Dùn Èideann. Bha an seòrsa fhèin ann an Inbhir nis, le lùban air an robh 'double spectacles'.

'After a short time at the engraving bench he said to me one day, he says 'Now look, John, I've been trying to make up my mind what to do with you' he says and I thought 'Well, that's strange, what's he wanting me to do now?' He says 'I would like you to come in, in the morning' he says 'and do your engraving in the morning and in the afternoon' he says 'I'd like you to do work at the jewellery bench'. And I thought, 'Well, that's strange - he's a master himself and yet he doesn't do two things'. My father was upset about it and he went in and remonstrated with him, you know, but it was no use. And my father threw it at him, you know, he says 'Well you yourself' he said 'have said to the boy you can't be master at two things'. But we didn't appreciate it at the time but he went further than that, he said 'You know, John, you get a man who - you make the templates for him and he makes it for you, to your design', and he said 'Let's say he's perhaps not on form - we'll not say he's a bad craftsman but he's just not on form. And there's a few scratch lines on it, and perhaps the scale is off a wee bit at one end. Now' he says 'you've got to go and engrave it, you've got to embellish it. Well' he says 'How would you feel?' 'Oh' I said 'I would feel annoyed' I said 'It would always stick out. I would keep looking and I'd keep saying to myself 'Well the thing's not accurate' . 'Well' he says 'if it's not accurate' he says 'how are you going to do a good job on it? Wouldn't it be better' he said 'if you could do it yourself and then embellish it? Cos' he said 'you wouldn't allow it to do that'.

And so from that, by making them yourself, you made an extra effort because you knew you had to go on and engrave it and you wanted to make sure that when you did any ornamental work on the corners, especially if it was a square job or an oblong, that they matched. And if it wasn't, you know, symmetrically buffed up to begin with, that you couldn't make them match, with the gravers. So that, that was the beginning of the change, where I started on the two things. I would say the whole of my success has been due to that - that move that was made away back in the early days when he decided that he would give me the opportunity - if I could do it - of making the article. In other words, designing it on paper, making it up to the design, ornamenting it as an engraver, and then finishing it and putting it into the case'

Airson stiùireadh mu bhith a’ cleachdadh ìomhaighean agus susbaint eile, faicibh duilleag ‘Na Cumhaichean air Fad.’
’S e companaidh cuibhrichte fo bharantas clàraichte ann an Alba Àir. SC407011 agus carthannas clàraichte Albannach Àir. SC042593 a th’ ann an High Life na Gàidhealtachd.
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Iain Friseal, Gobha Inbhir Nis (4 de 39)

INBHIR NIS: Inbhir Nis 's Am Bànath

1970an

seudraidh; seudan; neach-ceàirde; luchd-ciùird; obair meatailt; gobhaichean-airgid; claistinneach

Taigh-tasgaidh is Gaileiridh Ealan Inbhir Nis

Bill Sinclair Audio: John Fraser, Silversmith

Dh'ionnsaich Iain Friseal, Gobha Airgid Inbhir Nis, a chiùird anns na 1930an aig Medlock and Craik, seudairean agus luchd-dèanamh uaireadairean aig 6 Sràid na Drochaid, Inbhir Nis. An dèidh làimhe, bha togalaichean aig a' chompanaidh ann an Exchange Place agus Geata na Bànrigh.<br /> <br /> Anns an earrann chlaistinn seo bho na 1970an, tha Mgr. Friseal ag ràdh gun do shoirbhich e ann an gnìomhachas na seudraidh a chionn 's gun d' fhuair e an cothrom a h-uile roinn dhen ghnìomhachas ionnsachadh; a' dealbhadh, a' dèanamh agus a' gràbhaileadh. Tha an dealbh seo, a chaidh a thoirt le Taigh-tasgaidh agus Gaileiridh Ealain Inbhir Nis (IMAG), a' sealltainn fear de na h-earrannan aig Iain Friseal - bràiste Luckenbooth, air a bheil bràiste 'Màiri' air sgàth 's a' chumaidh M a tha aig bàrr a' bhràiste. Bhiodh bràistean Luckenbooth air daoine airson dìon a thoirt dhaibh fhèin. Fhuair iad an an t-ainm bho na seudan a bha air an reic ann an cùilean glaiste no 'locked booths' ann an Dùn Èideann. Bha an seòrsa fhèin ann an Inbhir nis, le lùban air an robh 'double spectacles'.<br /> <br /> 'After a short time at the engraving bench he said to me one day, he says 'Now look, John, I've been trying to make up my mind what to do with you' he says and I thought 'Well, that's strange, what's he wanting me to do now?' He says 'I would like you to come in, in the morning' he says 'and do your engraving in the morning and in the afternoon' he says 'I'd like you to do work at the jewellery bench'. And I thought, 'Well, that's strange - he's a master himself and yet he doesn't do two things'. My father was upset about it and he went in and remonstrated with him, you know, but it was no use. And my father threw it at him, you know, he says 'Well you yourself' he said 'have said to the boy you can't be master at two things'. But we didn't appreciate it at the time but he went further than that, he said 'You know, John, you get a man who - you make the templates for him and he makes it for you, to your design', and he said 'Let's say he's perhaps not on form - we'll not say he's a bad craftsman but he's just not on form. And there's a few scratch lines on it, and perhaps the scale is off a wee bit at one end. Now' he says 'you've got to go and engrave it, you've got to embellish it. Well' he says 'How would you feel?' 'Oh' I said 'I would feel annoyed' I said 'It would always stick out. I would keep looking and I'd keep saying to myself 'Well the thing's not accurate' . 'Well' he says 'if it's not accurate' he says 'how are you going to do a good job on it? Wouldn't it be better' he said 'if you could do it yourself and then embellish it? Cos' he said 'you wouldn't allow it to do that'.<br /> <br /> And so from that, by making them yourself, you made an extra effort because you knew you had to go on and engrave it and you wanted to make sure that when you did any ornamental work on the corners, especially if it was a square job or an oblong, that they matched. And if it wasn't, you know, symmetrically buffed up to begin with, that you couldn't make them match, with the gravers. So that, that was the beginning of the change, where I started on the two things. I would say the whole of my success has been due to that - that move that was made away back in the early days when he decided that he would give me the opportunity - if I could do it - of making the article. In other words, designing it on paper, making it up to the design, ornamenting it as an engraver, and then finishing it and putting it into the case'