Ùrachadh mu Dheireadh 22/05/2017
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TIOTAL
Iain Friseal, Gobha Inbhir Nis (23 de 39)
EXTERNAL ID
GB1796_SINCLAIR_SILVERSMITH_23
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
2247
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 a' cuimhneachadh air na dòighean air cumaidhean a dhèanamh le gainmheach agus tha e a' toirt iomradh air iomadh seòrsa prìomh phàtran. 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 ceannard Clann Hannah leis an t-suaicheantas, 'Per Laborem Ad Alta'.

'It could be made from lead, it could be made from wood, ceramics, ivory, any of those materials. But the best pattern really, to my way of thinking, was a metal pattern: a brass, bronze or silver pattern because of the fact that you could put a lot of pressure on it with the sand and when you pulled it away you didn't have anything clinging to it, you know, if it was dusted properly, whereas with some of the materials that you would use in casting, as a master pattern, you would have a - lifting it out, you would have a certain draw of very fine particles and those fine particles would be missing on the finished job.

Sometimes you got some excellent castings, you know, and apart from that you could, with sand casting, you could use an ordinary file, you didn't have to have very sophisticated files that you have for the centrifugal casting because the fire stain you had on it was minimal and it could be taken off: it was surface, there was no depth in it. Your casting was bright, very bright.

A lot of that was done and one of the advantages really was that you could, you could spend a morning or an afternoon and you could get so many castings off something if you didn't want to do a production line, you only wanted six, well you could do the six in the quiet hours of the morning. Then all you had to do was give it to the apprentice and he would cut off the sprue and he would file it and dress it all up because it would have a lot of bits and pieces hanging on to it all the way round which you don't have in centrifugal casting. In sand casting, therefore, you would say you had a lot of waste. But in those days waste was nothing, it wasn't counted. It was just one of those things'

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 (23 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 a' cuimhneachadh air na dòighean air cumaidhean a dhèanamh le gainmheach agus tha e a' toirt iomradh air iomadh seòrsa prìomh phàtran. 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 ceannard Clann Hannah leis an t-suaicheantas, 'Per Laborem Ad Alta'.<br /> <br /> 'It could be made from lead, it could be made from wood, ceramics, ivory, any of those materials. But the best pattern really, to my way of thinking, was a metal pattern: a brass, bronze or silver pattern because of the fact that you could put a lot of pressure on it with the sand and when you pulled it away you didn't have anything clinging to it, you know, if it was dusted properly, whereas with some of the materials that you would use in casting, as a master pattern, you would have a - lifting it out, you would have a certain draw of very fine particles and those fine particles would be missing on the finished job. <br /> <br /> Sometimes you got some excellent castings, you know, and apart from that you could, with sand casting, you could use an ordinary file, you didn't have to have very sophisticated files that you have for the centrifugal casting because the fire stain you had on it was minimal and it could be taken off: it was surface, there was no depth in it. Your casting was bright, very bright. <br /> <br /> A lot of that was done and one of the advantages really was that you could, you could spend a morning or an afternoon and you could get so many castings off something if you didn't want to do a production line, you only wanted six, well you could do the six in the quiet hours of the morning. Then all you had to do was give it to the apprentice and he would cut off the sprue and he would file it and dress it all up because it would have a lot of bits and pieces hanging on to it all the way round which you don't have in centrifugal casting. In sand casting, therefore, you would say you had a lot of waste. But in those days waste was nothing, it wasn't counted. It was just one of those things'