40,000 Years of Ancient Jewelry Amulets Talisman Egypt India Rome Asia 400 Pix

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Seller: ancientgifts (4,570) 100%, Location: Lummi Island, Washington, Ships to: Worldwide, Item: 122692197650 "Jewelry Through the Ages" by Guido Gregorietti. NOTE: We have 75,000 books in our library, almost 10,000 different titles. Odds are we have other copies of this same title in varying conditions, some less expensive, some better condition. We might also have different editions as well (some paperback, some hardcover, oftentimes international editions). If you don’t see what you want, please contact us and ask. We’re happy to send you a summary of the differing conditions and prices we may have for the same title. DESCRIPTION: Hardcover with dustjacket. Publisher: American Heritage (1969). Pages: 319. Size: . Summary: Jewelry is as old as superstition, prejudice, and social rank. Worn as often by men as by women for thousands of years, jewels, until the French Revolution, were forbidden as the "pure" ornaments we know them today. They were amulets, talisman, indications of status, or had commemorative value, and were tightly linked to caste, intrinsic significance, joy, sorrow, pride, fear, or submission. The great Italian publishing house of Arnoldo Mondadori Editore, in conjunction with Guido Gregorietti, Director of the Poldi Pezzoli Museum in Milan for 30 years, have put all the author's love for, and knowledge of, a so-called "minor" art into this 328-page book, with 400 illustrations, more than half of them in full color. The book explores the recorded history of jewelry which goes back 40,000 years to cave and rock paintings which show paleolithic man wearing ornaments of mammoth tusk, reindeer horn, amber and lignite. It delves into the artistic sense of jewelers as well as into their extraordinary technical development via experiment; describes the reverence for color, surface and sheen which contributed as much to the finished product as did workmanship. Follow a scholarly and fascinating pilgrimage through personal ornament from pre-history to modern wonders in a book frankly calculated to seduce lovers of beauty. The author, born in Palermo, completed his studies in Rome at the Academy of Fine Arts, where he concentrated on painting. He collaborated on the reconstruction of the Museo Poldi Pezzoli which had been damaged during WWII and was then named Director. The museum is very unique. In 1850 Gian Giacomo Poldi Pezzoli began the decoration of his apartment within the family palace. The result was a series of rooms inspired to various artistic styles of the past (Baroque, Medieval period, Early Renaissance, Rococo), designed and decorated by some of the most innovative artists of the time including jewelry. CONDITION: GOOD. HUGE hardcover with replacement dustjacket. American Heritage (1969) 319 pages. Looks as if it has been flipped through a few times, but is basically unread. If it has been read through, it was by someone who had an extremely light hand. Inside the book is pristine; pages are clean, crisp, unmarked, unmutilated, tightly bound, seemingly started once or twice, perhaps then flipped through a few times, then put away essentially unread. There's no significant reading wear beyond the first ten or twelve pages. Outside however the book evidences some bemishes/shortcomings. First, the book came to us without a dustjacket (evidently the original was lost or discarded), so photo-copying the dustjacket from another identical book in our library, we produced a full-color replacement printed on high-gloss photographic quality paper, enclosed in a mylar cover. It's not unattractive, and is very durable. Beneath the facsimile dustjacket the cloth covers evidence a "prior life" without the protection of a dustjacket. There's moderate soiling to the cloth covers, and a coffee/tea stain to both the front as well as the back covers. Of course this is not evident unless you remove the dustjacket, however nonetheless in the interest of full disclosure, the cloth covers do evidence considerable soiling and staining. Given this fact, and the as well that the dustjacket is not the original, the book certainly lacks the "sex appeal" of a "shelf trophy". Nonetheless it is a lightly read/merely flipped through copy of a fairly scarce title. For those not concerned with whether the book will or will not enhance their social status or intellectual reputation, it's a solid reading copy at an attractive price. Satisfaction unconditionally guaranteed. In stock, ready to ship. No disappointments, no excuses. PROMPT SHIPPING! HEAVILY PADDED, DAMAGE-FREE PACKAGING! Meticulous and accurate descriptions! Selling rare and out-of-print ancient history books on-line since 1997. We accept returns for any reason within 14 days! #3107.1a. PLEASE SEE DESCRIPTIONS AND IMAGES BELOW FOR DETAILED REVIEWS AND FOR PAGES OF PICTURES FROM INSIDE OF BOOK. PLEASE SEE PUBLISHER, PROFESSIONAL, AND READER REVIEWS BELOW. PUBLISHER REVIEWS: REVIEW: The author, born in Palermo, completed his studies in Rome at the Academy of Fine Arts, where he concentrated on painting, and at the British Academy of Art where he was awarded the Calderon Prize for portraiture. He devoted himself to painting until 1939 when he was named Professor of Figure Art at the Licei Artistici. He remained in Milan after World War II and because of his growing interest in museums and the restoration of works of art, he was invited to collaborate on the reconstruction of the Museo Poldi Pezzoli, which had been damaged during the fighting. Before the museum’s reopening, Mr. Gregorietti was named Director. He began extensive studies in art history and the decorative arts and made frequent trips not only in Europe but throughout the world. Editorial Director of a 12-volume series on the decorative arts, he has written for other learned publications, including “Encyclopedia of the Arts”. TABLE OF CONTENTS: Part 1. Gold: Its Physical Properties and Methods of Working. -The Use of Gold in the Ancient World. -The Use of Gold in Pre-Columbian America. -The Use of Gold in Africa. Part 2. Colored Stones in Jewelry: India. -Pearls. -Precious Stones in Ancient Egypt. -Precious Stones in Greece and Rome. -Archaeological Discoveries. Part 3. The Middle Ages: Byzantium. -Early Medieval Europe. -Superstition, Amulets and Talismans. -The Gothic Era. Part 4. The Renaissance: The age of Elaborate Jewels. Part 5. The Baroque period: The Age of Stone Cutting. -The Diamond. -Coral. -The Far East. Part 6. The 18th century: The Period of French Influence. Part 7. The 19th century: The Industrial Revolution. -Diamonds. Part 8. 1870 to the Present Day. Table of Precious Stones. Bibliography. PROFESSIONAL REVIEWS: REVIEW: An exceptional vintage examination of the ancient art of goldsmithing and jewelry making. Exquisite photography. Not to be missed by the collector of books pertaining to the history of jewelry, and high recommended to all enthusiasts and academics interested in the subject. READER REVIEWS: REVIEW: A gorgeously illustrated history of jewelry! No photograph can capture the true beauty and fire of the world's most beautiful gems, but "Jewelry through the Ages" comes close. Whenever I visit a museum, I always spend at least part of my day drooling over the jewelry exhibits, and this coffee-table-sized, 328-page book (published in 1969) comes close to satisfying that same desire. There are over 400 illustrations, more than half of them in color, and the text (much more dense than in a 'normal' coffee-table book) is an erudite and satisfying read. The author, himself a painter, is the Director of the Poldi Pezzoli Museum in Milan, and he takes the reader on a journey that starts in human pre-history and ends with a chapter on the jewelry produced by 20th Century artists such as Max Ernst and Salvador Dali. Fabergé, Lalique, and Gautriat are also represented by some of the most beautiful jewelry in this book. Many of the illustrations are taken from Renaissance and Baroque paintings, although the majority are photographs of necklaces, earrings, crowns, diadems, bodice ornaments, hat pins, bracelets, hair nets, and complete parures. One of my favorites is the crown made for the coronation of the empress Farah Diba of Iran, fashioned of diamonds, emeralds, rubies, and pearls by Van Cleef and Arpels. "Jewelry through the Ages" is divided into eight chapters: "Gold;" "Colored stones in Jewelry;" "The Middle Ages;" "The Renaissance;" "The Baroque Period;" "The 18th Century;" "The 19th Century;" and "1870 to the Present Day." Although European jewelry dominates, ancient Egypt, India, pre-Columbian America, Africa, and the Far East are also represented in these pages. One of my favorite chapters tells of the discovery of diamond deposits in 19th Century South Africa. The son of a Boer farmer discovered one of the first diamonds in the Orange River, and used it to play the children's game of five-stones--"colored stones thrown up and caught on the back of the hand..." The boy's mother gave the stone to a neighbor who eventually sold it to the lion hunter and trader, Jack O'Reilly. He took it to a mineralogist, "who pronounced it a genuine diamond weighing twenty-one carats." Then another 83.5 carat diamond, later named the 'Star of Africa' was discovered, and the rush was on. There is an appendix of precious stones at the back of the book, along with a bibliography and index. Personal note--my favorite museums for jewelry-browsing: the Smithsonian in Washington D.C; the Victoria and Albert in London; the Schoenbrunn Palace in Vienna; and the Hermitage Museum in St. Petersburg. REVIEW: Covers a vast period of jewelry history w/lots of pictures. This book talks the jewelry history from antiquity (different Locality (African, Greek, Etruscan, Indian, Chinese, etc.) to early 20th century modern jewelry design. It contains a lot of information about fabrication, the available of gems, and the motif and styles of jewelry for particular period. It has a lot of beautiful specimen pictures to support the narrative. If anyone would like to learn more about the western jewelry history, this will be a good book to start with. REVIEW: I bought this book as a reference for my jewelry and metal art class. I definitely found some inspiration in its pages. REVIEW: Five stars! Very pleased with the book. Superb photography. ADDITIONAL BACKGROUND: REVIEW: The art of the jeweler. Metalsmiths' shops were the training schools for many of the great artists of the Renaissance. Brunelleschi, Botticelli, Verrocchio, Ghi-berti, Pollaiuolo, and Luca della Robbia all were trained as goldsmiths before they embarked upon the higher arts. The goldsmith made silver vases for the dinner tables of cardinals; knights sent sword blades to be mounted in rich hilts; ladies came to have their jewels set; princes needed medals to commemorate their victories; popes and bishops wished to place chased reliquaries on the altars of their patron saints; and men of fashion ordered medallions to wear upon their hats. Although many materials-including iron-have been used for jewelry, gold is by far the most satisfactory. One could not expect the same results from any other metal, for the durability and the extraordinary ductility and pliancy of gold and its property of being readily drawn out or flattened into wire or leaf of almost infinite fineness have led to its being used for works in which minute-ness and delicacy of execution were required. Gold may be soldered, it may be cast, and any kind of surface, from the rough to the highest possible polish, given to it. It is the best of all metals upon which to enamel. Gold was easily retrieved from the gravel of river beds, where it was washed from the eroded rocks; hence it is one of the oldest metals known. Unlike most metals, gold does not tarnish on exposure to the air but remains brilliant. Pure gold is too soft for general use, but it can be hardened and toughened by alloying with most of the other metals. Color is one of its important qualities. When the metal is pure, it is nearly the orange-yellow of the solar spectrum. When it contains a little silver, it is pale yellow, or greenish yellow; and when alloyed with a little copper, it takes a reddish tinge-all so effective in varicolored jewelry. These alloys have an ancient history, electrum, an alloy of gold and silver which assured beautiful hues, having been used by the Egyptians, Greeks, and other ancient peoples. The ancients, from the most remote times, were acquainted with the art of beating gold into thin leaves, and this leaf was used for other purposes besides personal adornment. Gold leaf was used in buildings for gilding wood, and Egyptians, Greeks, and Romans were adepts in applying it. It was no great departure to introduce gilded backgrounds to paintings or figures in mosaic and finally to illuminated manuscripts. In the use of gold Byzantium went beyond Rome or Athens. When more skill was attained by painters, backgrounds in perspective took the place of those in gold. Early examples of leaf work in this exhibition may be seen in the headdress and jewelry of Queen Shubad's ladies-in-waiting from the excavations of the royal tombs at Ur in Mesopotamia. They date from a period between 3500 and 2800 B.C. A second step was the cutting of gold leaf into thin strips to make wire. It is still a question whether the art of wire-drawing was known to the ancients. Plaited wire-work, as used in many places and over a wide period of time, is well represented in ancient history. Fusing and soldering are also ancient techniques. Granular work, the soldering of minute grains of gold one beside the other in a line or disposed ornamentally over a surface, was known to the ancient Egyptian jewelers, as well as to the classical, oriental, and barbarian gold-smiths. This traditional technique can be traced through the centuries, splendid granular work of the ancient and modern civilizations being well represented in archaeological finds. Filigree, the arranging of wires in patterns, usually soldered to a base, is often associated with granular work. The oriental nations, especially the Moors, knew how to execute filigree with rare delicacy and taste, this technique adapting itself particularly to their designs. Embossing and chasing are techniques of widespread use. The relief effect of embossing is produced by various means. A thin pliable sheet of metal may be pressed into molds, between dies, or over stamps, or it may be molded free hand. An excellent example of an embossed gold sheet which was pressed or hammered may be seen in the Greek sword sheath from South Russia. In handwork the sheet of metal is placed against a ground with a yielding surface and the design is raised from the back by a series of punches. The work of the chaser is closely related to that of the sculptor, the ornament on the face of a casting or an embossed work being finished with chisels or chasing tools. Jewelry was often enriched by stamping, a simple process by which a design is made in depression with a punch., and the gold fixed by heating to redness; and the surface finally burnished. In all countries the work of the lapidary was combined with that of the goldsmith. Much jewelry depended for its splendor of effect chiefly upon its inlay of brilliantly colored stones, jaspers, agates, lapis lazuli. Much of the commoner kinds of jewelry, such as buckles for the belts of warriors or brooches for the vestments of ecclesiastics too poor to buy silver or gold, were made of bronze, enameled and mercury-gilded. Mercury-gilding is a process of great antiquity. The object was first carefully polished and rubbed with mercury; thin gold was then laid on and pressed down, the mercury being subsequently volatilized, and so forth, or upon colored glass inlays. The Egyptians and Greeks were incomparable artists in intaglio (cutting concave designs or figures) in gold, and one notes with astonishment the mastery they possessed over the stubborn hard stones, including the sapphire. A Greek gold ring with an intaglio engraving of a girl stretching herself is one of the finest in ancient history. The engraver's art both in cameo and in intaglio attained a high degree of excellence about 500 B.C., which lasted until about the third or fourth century A.D. The classical artists used rich and warm-tinted oriental stones, the increased intercourse with the East after the death of Alexander the Great having a marked influence on the development of the art. In gem-engraving the ancients used essentially the same principle that is in use today, that is, drilling with a revolving tool. They also used a sapphire or diamond point set in a handle and applied like a graver. In early medieval times gem-engraving was little practiced, but antique cameos were held in peculiar veneration on ac-count of the belief, then universal, in their potency as medicinal charms. With the Renaissance, the art of gem-engraving was revived, and engravers from that time onward have produced results equal to the best ancient work. Glass in ancient times was so precious that some nations demanded tribute in this fragile material instead of gold. It is said that a citizen invented a method for making malleable glass and was invited to visit the Roman Emperor Tiberius. He brought a vase, which was thrown to the ground but only dented. A hammer again rounded it into shape. Tiberius then asked whether any other man knew the secret of manufacture. The artisan answered no, whereupon the emperor ordered him beheaded. Glass inlay, widely used from Egyptian times, is often wrongly called enamel. It is not enamel, which, although a vitreous material, is employed in the powdered state and always fused into position by heat, whereas the glass inlay was always cut or molded and cemented into position. This glass inlay is often referred to as paste, which in the modern sense means glass with a high refractive index and high luster employed to imitate the diamond. Good examples of paste may be seen in some eighteenth-century English and French. For centuries Egypt was the “promised land” of the ancient civilized world, for the Pharaohs had at their disposal enormous stores of gold. The Egyptians excelled in metal-work, especially in gold, and many techniques employed by goldsmiths today can be seen in ancient Egyptian jewelry, particularly for instance the treasure of el LThuin, which was recovered in its entirety and in nearly the same perfect condition in which it had been placed in the tomb; or the jewelry which had once graced the person of the Princess Sit Hathor Yuinet, daughter of King Se'n-Wosret II, who reigned from 1906 to 1887 B.C. and near whose pyramid, at el Lahfin, she was buried. Her girdle, one of the outstanding pieces of ancient jewelry, is of amethyst beads and hollow gold panther-head ornaments, inside which pellets tinkled whenever the wearer moved. From the same treasure there is the neck-lace with a pectoral of King Se'n-Wosret II. On either side of the pectoral the hawk of the god Horus supports the cartouche of the king and a group of hieroglyphics which signify, "May King Se'n-Wosret II live many hundreds of thousands of years." The pectoral is gold inlaid with lapis lazuli, car-nelian, and turquoise, and the eyes of the shape made of actual flowers, fruits, and leaves, which were presented to guests to wear at banquets and other festivities. Brilliant color is one of the most attractive characteristics of Egyptian jewelry. It had its origin in the beads, both of semi-precious stones and of faience, which were widely worn during the Old Kingdom (2800-2270 B.C.). Beads of faience of different colors were also in fashion during the XVIII Dynasty. The composition of the broad collars of faience of this period was derived from ornaments of the same engraving, soldering, and metal intaglio. The Greek jeweler, like the Egyptian, excelled in the arts of embossing and chasing. Greece had little access to precious stones before Alexander's Eastern conquests, and so from the sixth to the fourth century B.C. the jeweler specialized in metalwork. He was a master of both granulated and filigree decoration, and he did exquisite work in plaiting gold into chains and in modeling it into little figures, both human and animal. Much of the best of Greek jewelry is sculpture in little. Ornamental goldwork naturally required more minute workman ship than sculpture in bronze and marble, and excellent modeling often makes little objects impressive as well as intricate. A few famous examples of ancient Greek jewelry, such as an earring in the form of a siren, is a charming example of Greek jeweler's modeling. Other examples include a pair of earrings of the fourth century B.C. from Madytos on the Hellespont, as well as an eagle and a palmette made of hammered gold sheets; the feathers of the eagle are incised; each leaf is edged with beaded wire; and the fruit is covered with granulation. Another example might be a bracelet, of rock crystal, with gold finials, each finely embossed with a ram's head, which shows skillfully modeled figures, as well as plaited chains, and filigree and granular work of rare minuteness. The Ganymede jewelry, made soon after 350 B.C., is one of the most precious sets that have come out of antiquity. Most techniques are represented on the earrings, bracelets, brooches, necklace, and emerald ring. On the earrings the figures of Ganymede are solid castings; Ganymede's drapery, the wings and tail. The technique of Etruscan goldwork is much the same as that of the Greek. The metal is thin, it is pressed or beaten out in designs in low relief, and it is further decorated by the surface application of filigree and small granules of gold. Several molds of stone have been discovered, and it is probable that the thin gold was pressed into the mold by means of a metal or agate style, solder being used to fix the separate pieces of gold together whenever necessary. Some of the granulated work is so fine that without a magnifying glass it is almost impossible to believe that the patterns are actually laid on with an infinite number of minute spherical grains. The burial chamber of an Etruscan lady, near Vulci, opened over a century ago, yielded a rich parure. Archaeologists have recovered several headdresses reflecting the custom Chinese women had of decking their hair with floral ornaments. These are richly colored, and some of the materials used in them, besides gold, are amber, coral, seed pearls, and an exclusively Chinese material-bright blue kingfisher feathers. In Chinese jewelry the art of the metal-worker achieves an exquisite delicacy. A famous golden phoenix crown shows perhaps most clearly of all the works in the exhibition the ability of the goldsmith to take infinite pains. It has more than thirty separate ornaments, made of different con-formations of gold wire and decorated with pearls and other stones. Many of the ornaments are set on tiny springs so that they quiver with the slightest movement. jade, exquisitely carved. With the exception of pearls, the Chinese did not use precious stones. The prettiness and color of Chinese jewelry tempt one to describe it at length, but according to a Chinese proverb, "A thousand words do not compare with one look." The Japanese also rank high as metalworkers, their sword furniture, the jewelry of the Japanese nobleman, especially showing the subtle skill of the artist in manipulating hard and soft metals. In enriching the fittings many processes of metal ornamentation-relief carving, relief inlay or applique, overlay, incised and recessed carving-are employed. It is the combination of techniques and alloys which makes their work of outstanding interest to jewelers as well as to the amateur. Today these fittings are often worn as jewelry in the West. In Japan sword furniture is frequently signed by masters as well known as famous painters. The Greek jeweler, like the Egyptian, excelled in the arts of embossing, chasing, A glance at the magnificent weapons from Persia, Turkey, and India will remove any impression that the love of personal adornment is a purely feminine attribute. Orientals often wear daggers embellished with silver and semiprecious stones even over their most ragged clothes, which shows that they take life with a gesture. In India perhaps more than anywhere else, jewelry has played a vital role in the life of the people, from the lowest rank to the highest. Although none of the Indian jewelry is much older than the eighteenth century, it represents designs and methods of decoration that go back to much earlier periods, some of them reflecting the influence of Hellenistic civilization. Some pieces are made of gold or silver alone, others are richly set with diamonds, rubies, and emeralds or decorated with enamel. The Greek jeweler, like the Egyptian, excelled in the arts of embossing, chasing, Much of this jewelry was made in Jaipur, which was particularly famous for its enamelwork. A gold bracelet with dragon-head terminals is an outstanding example of combined jeweled and enameled work. The backs of jeweled ornaments were often enameled with fine patterns, so that the reverse of a necklace or pendant would be as fine in effect as the right side. The jewelry of the nomadic Iranian tribes is represented by a few choice pieces cast in gold and chased. These include many Scythian ornaments, winged griffins, stags, and rosettes, which were used as decoration on clothing; and two clasps of about the first century A.D., Sarmatian and Parthian in origin. The Middle Ages are perhaps best represented by an extensive collection of jewelry from the Morgan collection, of the period of the barbarian migrations and of the Byzantine period. The gold ornaments in the Albanian Treasure (seventh-ninth century) are thought to be the work of nomad craftsmen in the train of barbarian tribes migrating through the Balkans from Central Asia. The splendid collections of Gallo-Roman, Germanic, and Merovingian jewelry, distinctive features of which are the colored glass inlays and the filigree and beaded work in gold, need only be mentioned, for they have been described and illustrated in the catalogues of Seymour de Ricci. They were made from the fourth to the eighth century A.D., the latest probably not exceeding the reign of Charlemagne (742- 814). It was Charlemagne who stopped the custom of burying the dead with their weapons and jewelry because all the wealth was going into the ground instead of into the treasury. The result is that much fine jewelry was melted down. The Eastern influence which had come westwards after the year 330, when Constantine transferred his court from Rome to Byzantium (Constantinople), is seen in many pieces of ancient jewelry. The goldsmiths followed the Emperor Constantine to Byzantium, and from there came many marvels of art and beauty as presents to the Western churches. The jewelry in the treasure (sixth century) found on the island of Cyprus is in the Eastern style. It was probably buried during the Arab invasion of the island. About the beginning of the eleventh century the Byzantine influence had been largely spent, and new styles were introduced. Families of monks, animated by one spirit and educated in the same way, lived in monasteries which were schools of ecclesiastical goldsmiths. They built and adorned their churches; they hammered, chased, and enameled gold, silver, and bronze. Altar fronts, pyxes, lamps, patens, chalices, crosses, candlesticks, and reliquaries were made, and most of their motives of design, methods of working, and chemical processes were the common property of the abbeys. Lay craftsmen, too, devoted more of their energies than previously to building cathedrals and creating ecclesiastical art, and there is consequently a close connection between the work of the architect and the mediaeval goldsmith. This ecclesiastical influence is seen in a late eleventh-century book cover of silver-gilt, ivory, cabochons, and enamel, from the cathedral of Jaca. Before the multiplication of books by printing, their covers had more to do with the goldsmith's art than with that of the binder. Architectural influence is shown in the French thirteenth-century reliquary of Saint Margaret. Reliquaries like this were master-pieces of work in precious metals. They were built up of innumerable plates soldered together, with buttresses, pinnacles, and traceried windows, like little models of churches or small chapels. During the Renaissance, During the Renaissance, everything that could be gold was gold, not only jewelry but plate; and dresses for men and women and even horse trappings were made of cloth of gold. It was an age when the setting of a gem or the molding of a goblet was a matter that would occupy a grave potentate to the exclusion of affairs of state. In order to satisfy the demands of the time Columbus set out not to discover another continent but to find a convenient route to India, the land of gold, pearls, and spices. The Renaissance goldsmiths made the most of the mediaeval tradition in technique and in due course they developed perfection in workmanship. The rich and varied pendants are splendid examples of the renaissance jeweler’s art. This type of ornament originated in devotional usage, and during the Middle Ages its decoration was almost always of religious significance. The pendant was a conspicuous ornament and was usually of fine workmanship. Portrait medallions, especially those of historical personages, were made by distinguished masters. A splendid pendant, representing Bona Sforza, Queen of Poland, is signed by Jacobus Veron (Gian Jacopo Caraglio) and is dated 1554. The cameo portrait of the queen is sardonyx, her chain and hair ornament gold. The Visconti-Sforza arms on the reverse are enameled gold. Among the enseignes, ornaments worn on the turned-back brim of the hat or cap, one superb historical example is one in gold skillfully embossed. Cellini, in his “Treatise on Goldsmithing,” explains how such embossing was done. In principle, a sheet of gold is beaten from the back with punches until it is bossed up much like the wax model. He completes the explanation by telling of a visit to his workshop by Michelangelo, who complimented him on a gold medal embossed in high relief. Michelangelo reputedly said: “If this work were made in great, whether of marble or of bronze, and fashioned with as exquisite design as this, it would astonish the world; and even in its present size it seems to me so beautiful that I do not think ever a goldsmith of the ancient world fashioned aught to come up to it!” Another technique explained by Cellini is the “beautiful art of enameling.” A splendid example of this technique may be seen on a fine cups, of red jasper mounted with enameled gold and precious stones. It should be compared with the Cellini cup in the Altman collection. Personal jewelry of the late seventeenth and eighteenth centuries can be characterized by snuffboxes and carnets de bal (dance programs), precisely executed, showing the quality of the era’s workmanship. Such boxes, of varicolored gold, jeweled, and set with miniature portraits of their donors, were the favorite gifts of kings and princes. They were enormously costly in their day and they have always been precious collectors’ items. Some of them be- longed to persons famous in history, some are signed by famous jewelers, and all illustrate the extravagant vanities of the time. During the seventeenth century, there developed an increasing fondness for faceted gems set close together to produce glittering masses. Gradually the setting was subordinated to the precious stones, and this is the modern style. I always ship books Media Mail in a padded mailer. This book is shipped FOR FREE via USPS INSURED media mail (“book rate”). All domestic shipments and most international shipments will include free USPS Delivery Confirmation (you might be able to update the status of your shipment on-line at the USPS Web Site) and free insurance coverage. A small percentage of international shipments may require an additional fee for tracking and/or delivery confirmation. If you are concerned about a little wear and tear to the book in transit, I would suggest a boxed shipment - it is an extra $1.00. Whether via padded mailer or box, we will give discounts for multiple purchases. International orders are welcome, but shipping costs are substantially higher. Most international orders cost an additional $12.99 to $33.99 for an insured shipment in a heavily padded mailer, and typically includes some form of rudimentary tracking and/or delivery confirmation (though for some countries, this is only available at additional cost). There is also a discount program which can cut postage costs by 50% to 75% if you’re buying about half-a-dozen books or more (5 kilos+). Rates and available services vary a bit from country to country. You can email or message me for a shipping cost quote, but I assure you they are as reasonable as USPS rates allow, and if it turns out the rate is too high for your pocketbook, we will cancel the sale at your request. ADDITIONAL PURCHASES do receive a VERY LARGE discount, typically about $5 per book (for each additional book after the first) so as to reward you for the economies of combined shipping/insurance costs. Your purchase will ordinarily be shipped within 48 hours of payment. We package as well as anyone in the business, with lots of protective padding and containers. All of our shipments are sent via insured mail so as to comply with PayPal requirements. We do NOT recommend uninsured shipments, and expressly disclaim any responsibility for the loss of an uninsured shipment. Unfortunately the contents of parcels are easily “lost” or misdelivered by postal employees – even in the USA. That’s why all of our domestic shipments (and most international) shipments include a USPS delivery confirmation tag; or are trackable or traceable, and all shipments (international and domestic) are insured. We do offer U.S. Postal Service Priority Mail, Registered Mail, and Express Mail for both international and domestic shipments, as well United Parcel Service (UPS) and Federal Express (Fed-Ex). Please ask for a rate quotation. We will accept whatever payment method you are most comfortable with. If upon receipt of the item you are disappointed for any reason whatever, I offer a no questions asked return policy. Send it back, I will give you a complete refund of the purchase price (less our original shipping costs). Most of the items I offer come from the collection of a family friend who was active in the field of Archaeology for over forty years. However many of the items also come from purchases I make in Eastern Europe, India, and from the Levant (Eastern Mediterranean/Near East) from various institutions and dealers. Though I have always had an interest in archaeology, my own academic background was in sociology and cultural anthropology. After my retirement however, I found myself drawn to archaeology as well. Aside from my own personal collection, I have made extensive and frequent additions of my own via purchases on Ebay (of course), as well as many purchases from both dealers and institutions throughout the world - but especially in the Near East and in Eastern Europe. I spend over half of my year out of the United States, and have spent much of my life either in India or Eastern Europe. In fact much of what we generate on Yahoo, Amazon and Ebay goes to support The Hermitage Museum in St. Petersburg, as well as some other worthy institutions in Europe connected with Anthropology and Archaeology. I acquire some small but interesting collections overseas from time-to-time, and have as well some duplicate items within my own collection which I occasionally decide to part with. Though I have a collection of ancient coins numbering in the tens of thousands, my primary interest is in ancient jewelry. My wife also is an active participant in the "business" of antique and ancient jewelry, and is from Russia. I would be happy to provide you with a certificate/guarantee of authenticity for any item you purchase from me. There is a $2 fee for mailing under separate cover. Whenever I am overseas I have made arrangements for purchases to be shipped out via domestic mail. If I am in the field, you may have to wait for a week or two for a COA to arrive via international air mail. But you can be sure your purchase will arrive properly packaged and promptly - even if I am absent. And when I am in a remote field location with merely a notebook computer, at times I am not able to access my email for a day or two, so be patient, I will always respond to every email. Please see our "ADDITIONAL TERMS OF SALE." TRANSLATE Arabic Chinese French German Greek Indonesian Italian Hindi Japanese Korean Swedish Portuguese Russian Spanish Condition: See detailed condition description below., Material: Paper, Title: Jewelry Through the Ages

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