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Alexander and Euphemia Ritchie

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culture and produced jewelry with Celtic designs. They also sold textiles, woodcarvings, and brassware. Some of their designs were taken from carved stones found on Iona. They produced souvenirs for visiting tourists, for which there was much demand as visitors to Iona grew. They also produced works
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they spawned generate authentic connections with Iona, seamlessly linking the object, gift-giver, place, recipient and any new home to which they are given." They maintained a large library on the island, with books on
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and history published during the 19th-century. In 1928 they published a map of the island that helped visitors learn the Gaelic names of various sites.
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According to the scholars Sally M. Foster and Siân Jones, "the Ritchies are perceived as belonging firmly to the islanders’ heritage, while the
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Holt, Ysanne; Martin-Jones, David; Jones, Owain (2018). "Introduction". In Holt, Ysanne; Martin-Jones, David; Jones, Owain (eds.).
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and opened a shop and silversmithing workshop. Their business was successful. The couple eventually created the
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Alexander Ritchie (1856–1941) and Euphemia Ritchie (1862–1941) met at the
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Visual Culture in the Northern British Archipelago: Imagining Islands
107: 105: 166: 102: 308:"A Place of Community: "Celtic" Iona and Institutional Religion" 126: 124: 122: 120: 90: 59: 48: 367:
Iona Celtic Art: The Work of Alexander and Euphemia Ritchie
117: 44: 28: 156: 154: 268:"Artisans and Aristocrats in Nineteenth-century Scotland" 191:"The Untold Heritage Value and Significance of Replicas" 151: 334: 111: 225: 172: 141: 139: 43:, marrying in 1898. They then moved to the island of 246: 195:
Conservation and Management of Archaeological Sites
96: 136: 298:20.500.11820/c59b280d-b002-4ab4-a6f5-372e28137b63 385: 248:"Iona Celtic Art and Euphemia Ritchie, ca. 1900" 265: 130: 188: 160: 364: 336:"Ritchie's riches on display in Sterling" 325: 296: 216: 206: 63:of art later deemed "significant" by the 266:Nenadic, Stana; Tuckett, Sally (2016). 386: 189:Foster, Sally M.; Jones, Siân (2019). 305: 145: 54:The Ritchies were active during the 173:Holt, Martin-Jones & Jones 2018 13: 358: 14: 415: 1: 399:20th-century Scottish artists 394:19th-century Scottish artists 208:10.1080/13505033.2019.1588008 84: 365:MacArthur, E. Mairi (2003). 7: 112:Antiques Trade Gazette 2003 34: 10: 420: 276:Scottish Historical Review 131:Nenadic & Tuckett 2016 327:10.1080/00155870500479919 27:craft entrepreneurs from 306:Power, Rosemary (2006). 250:. Artisans in Scotland. 56:Arts and Crafts movement 252:University of Edinburgh 161:Foster & Jones 2019 97:University of Edinburgh 341:Antiques Trade Gazette 66:Antiques Trade Gazette 289:10.3366/shr.2016.0296 41:Glasgow School of Art 404:Scottish jewellers 369:. New Iona Press. 239:978-0-8153-7427-5 23:(1862–1941) were 17:Alexander Ritchie 411: 380: 353: 351: 349: 331: 329: 302: 300: 272: 262: 260: 258: 243: 222: 220: 210: 176: 170: 164: 158: 149: 143: 134: 128: 115: 109: 100: 94: 21:Euphemia Ritchie 19:(1856–1941) and 419: 418: 414: 413: 412: 410: 409: 408: 384: 383: 377: 376:978-095389380-5 361: 359:Further reading 356: 347: 345: 270: 256: 254: 240: 179: 171: 167: 159: 152: 144: 137: 129: 118: 110: 103: 95: 91: 87: 37: 12: 11: 5: 417: 407: 406: 401: 396: 382: 381: 375: 360: 357: 355: 354: 344:. 24 July 2003 332: 303: 283:(2): 203–229. 263: 244: 238: 223: 185: 184: 183: 178: 177: 165: 150: 135: 116: 101: 88: 86: 83: 79:Celtic studies 36: 33: 9: 6: 4: 3: 2: 416: 405: 402: 400: 397: 395: 392: 391: 389: 378: 372: 368: 363: 362: 343: 342: 337: 333: 328: 323: 319: 315: 314: 309: 304: 299: 294: 290: 286: 282: 278: 277: 269: 264: 253: 249: 245: 241: 235: 232:. Routledge. 231: 230: 224: 219: 214: 209: 204: 200: 196: 192: 187: 186: 181: 180: 175:, p. 20. 174: 169: 162: 157: 155: 148:, p. 39. 147: 142: 140: 133:, p. 23. 132: 127: 125: 123: 121: 113: 108: 106: 98: 93: 89: 82: 80: 75: 70: 68: 67: 61: 57: 52: 50: 46: 42: 32: 30: 26: 22: 18: 366: 346:. Retrieved 339: 320:(1): 33–53. 317: 311: 280: 274: 255:. Retrieved 228: 198: 194: 168: 163:, p. 7. 92: 71: 64: 53: 38: 31:, Scotland. 20: 16: 15: 201:(1): 1–24. 182:Works cited 388:Categories 348:6 February 257:6 February 218:1893/29396 146:Power 2006 85:References 313:Folklore 35:Artistry 74:crosses 373:  236:  60:Celtic 25:Celtic 271:(PDF) 49:brand 371:ISBN 350:2020 259:2020 234:ISBN 45:Iona 29:Iona 322:doi 318:117 293:hdl 285:doi 213:hdl 203:doi 390:: 338:. 316:. 310:. 291:. 281:95 279:. 273:. 211:. 199:21 197:. 193:. 153:^ 138:^ 119:^ 104:^ 69:. 379:. 352:. 330:. 324:: 301:. 295:: 287:: 261:. 242:. 221:. 215:: 205:: 114:. 99:.

Index

Celtic
Iona
Glasgow School of Art
Iona
brand
Arts and Crafts movement
Celtic
Antiques Trade Gazette
crosses
Celtic studies
University of Edinburgh


Antiques Trade Gazette 2003




Nenadic & Tuckett 2016


Power 2006


Foster & Jones 2019
Holt, Martin-Jones & Jones 2018
"The Untold Heritage Value and Significance of Replicas"
doi
10.1080/13505033.2019.1588008
hdl

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