I have been looking for regarding galuchat (stingray
leather).
I am very intersted in learning how to use this material in order to
make jewelry, but I have only found a couple of books in French
language ('Galuchat’by Lison de Caunes and Jean Perfettini and ‘Le
Galuchat’ by Jean Perfettini).
Any resource with about this subject in English or
Spanish would be more than welcome: books, video tutorials. any
suggestions?
Check with boot makers. Cowboy boots in particular.
Tim Blades
Look for 'Shagreen' which is what it is known as in the UK,
Many thanks for the suggestions. I have found a book to be released
in January 2014 which seems to fit my needs, at least by the look of
the pendant on the cover. I’ll have to wait then!
In case you are interested, the book is Beautiful Leather Jewelry:
Timeless Techniques for Today’s Trends
Anyway, if anyone knows about resources about using leather (in
general, not specifically galuchat) in making jewelry (advanced use,
such as covering metal surfaces), do not hesitate to share it with
us.
I’ve only caught bits-and-pieces of this whole thread, but I’ve
worked with ray leather in the context of Japanese sword handles.
The rayskin on the old sword handles is tanned in a way that reminds
me of rawhide. It’s white/ivory colored, and hard as hell. Looks a
lot like a rawhide dog chew with a knobby texture. Utterly
inflexible.
The modern stuff that I’ve seen has been chrome tanned. Still
knobby, but leather-jacket kind of flexible. it is available, but in
limited quantities. Rays aren’t that big, you see. The one I have
left in my hoard is about the size of a small dinner plate.
Noralie, I checked the leather bracelet on Lapidary Journal Jewelry
Artist and it seems nice. Although my intention is to use galuchat to
cover a metallic surface to be set in a silver frame or bezel, I want
to get all the possible before working in it, so many
thanks for the recommendation!
Shagreen covered items, especially boxes, were very popular in the
18th and 19th centuries. I’d suggest getting in touch with a museum
conservator, who should be able to give you guidance as to the
historical methods of working with the material.
I’m sure the conservators or curators in the decorative arts
department at the Prado would be able to advise you as to what the
best resources are for practical in these techniques.