Important Jewelry
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Jun 1 5 2006 Libraries Rotch
The Prison of Regina Coeli: A Laboratory of Identity in the Post-Risorgimento Italy by Olga Touloumi B.Arch Aristotle University of Thessaloniki, 2003 SUBMITTED TO THE DEPARTMENT OF ARCHITECTURE IN PARTIAL FULLFILMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF SCIENCE IN ARCHITECTURE STUDIES AT THE MASSACHUSETTS INSTITUTE OF TECHNOLOGY MASS ACHUSETTS INSTfTUTE 1 OF TECHN01LO)3Y JUNE 2006 JUN 15 2006 @2006 Massachusetts Institute of Technology. All rights reserved. LIBRARIES 1| ROTCH Signature of Author: D,6 artment of Architecture May 25, 2006 Certified by: Mark Jarzombek Professor and Director of the History, Theory and Criticism of Architecture and Art Thesis Supervisor Accepted by: A t Julian Beinart Professor of Architecture Chairman, Department Committee for Graduate Students The Prison of Regina Coeli: A Laboratory of Identity in the Post-Risorgimento Italy by Olga Touloumi Submitted to the Department of Architecture on May 25, 2006 in partial fulfillment of the requirements for the Degree of Master of Science in Architecture Studies. ABSTRACT In my thesis I am studying the prison of Regina Coeli in Rome. Completed in 1892, it occupies the space of the convent after which it was named: the convent of Santa Maria Regina Coeli. The particular prison was built in the aftermath of the Italian unification when national identity was still formulated and the economy industrialized. At the same period, the discussion on prison architecture was shifting from an interest in the panopticon-centered structures to the architecture of the cell. Penitentiaries were transformed from sites of mere constrain, to sites of correction, to later develop into laboratories of identity. -
If the Hat Fits, Wear It!
If the hat fits, wear it! By Canon Jim Foley Before I put pen to paper let me declare my interests. My grandfather, Michael Foley, was a silk hatter in one of the many small artisan businesses in Claythorn Street that were so characteristic of the Calton district of Glasgow in late Victorian times. Hence my genetic interest in hats of any kind, from top hats that kept you at a safe distance, to fascinators that would knock your eye out if you got too close. There are hats and hats. Beaver: more of a hat than an animal As students for the priesthood in Rome the wearing of a ‘beaver’ was an obligatory part of clerical dress. Later, as young priests we were required, by decree of the Glasgow Synod, to wear a hat when out and about our parishes. But then, so did most respectable citizens. A hat could alert you to the social standing of a citizen at a distance of a hundred yards. The earliest ‘top’ hats, known colloquially as ‘lum’ hats, signalled the approach of a doctor, a priest or an undertaker, often in that order. With the invention of the combustion engine and the tram, lum hats had to be shortened, unless the wearer could be persuaded to sit in the upper deck exposed to the elements with the risk of losing the hat all together. I understand that the process of shortening these hats by a few inches led to a brief revival of the style and of the Foley family fortunes, but not for long. -
Application of Jingchu Cultural Symbol in Design of Turquoise Jewelry
2020 3rd International Conference on Interdisciplinary Social Sciences & Humanities (SOSHU 2020) Application of Jingchu Cultural Symbol in Design of Turquoise Jewelry Wang Xiaoyue Department of Jewelry, College of Jewelry, China Univercity of Geosciences, Wuhan, Hubei, 430074, China email: [email protected] Keywords: Jingchu Cultural Symbol, Turquoise, Jewelry Design, Connotation Features, Chutian God Bird, Creative Expression Abstract: Turquoise is one of the four famous jades in China, which carries the Chinese jade culture for thousands of years. Jingchu culture is a strong local culture represented by the Hubei region of our country. It has a long history and is an important branch of the splendid local history and culture in our country. The combination of Jingchu cultural symbols and turquoise culture to create jewelry has a long history. This paper discusses the application of Hubei Jingchu cultural symbol in the design of turquoise jewelry under the guidance of these two cultural contents. 1. Jingchu Culture Symbol and Turquoise Culture Jingchu culture is the representative of the local culture of our country. It is a special cultural content formed in a specific historical period and a specific region. At that time, in order to inherit the cultural content of Chinese vinegar, carry forward the long history, integrate the Jingchu culture into many treasure jewelry, and form the characteristic jewelry type with the cultural symbol of Jingchu as the background, it is the turquoise jewelry which combines the Jingchu culture. Turquoise, as one of the four great jades in China, has a profound cultural background which can not be underestimated. 1.1. Jingchu Culture and Its Symbols The culture of jingchu is named after the state of chu and the people of chu. -
Diamonds & Emeralds & Rubies, Oh My: Gem Lore in Baum's Wonderful
Diamonds and Emeralds and Rubies, Oh My: Gem Lore in Baum's The Wonderful World of Oz From the ruby-studded land of the Quadlings to ubiquitous references to glittering emeralds and diamonds, gemstones play a crucial role in Baum’s iconic Wonderful World of Oz. For over a century, critics have focused primarily on biographical and allegorical explanations for the choices of specific gems and metals without thoroughly exploring other possibilities. Instead, a bimetallic discourse on gold and silver introduced in the 1960s has been accepted as fact by academics and readers alike, as have gem choices linked to everything from Baum’s birthstone and Irish roots to Chicago’s Crystal Palace. I propose to take a new, archetypal approach, arguing, by contrast, that the selection of emerald (rather than, for example, topaz) as the featured gemstone links Oz to centuries of mythology. An examination of alchemy and its cultural influences, as well as Baum’s undisputed belief in Theosophy, furnish additional connections. Thus in nearly all ancient and sacred thought, esoteric gem lore has traditionally played integral roles in life and religious beliefs. A connection between emeralds and vision, for example, is associated with the Emperor Nero, Apostle John, Pliny the Elder, and even Napoleon. Moreover, this connection between the emerald and the human eye, which plays such a prominent role as the Emerald City where everyone must wear locked-on green goggles, has its roots in the Hindu Vedas, Sanskrit mantras, the Koran, and Judeo-Christian beliefs. This substantial precedent is echoed in the history of ruby lore and the connection of the red stone to female rulers who possess ruby thrones and a ruby-encircled cap (Glinda) to a ruby palace (Gaylette). -
School District of Marshfield Course Syllabus
School District of Marshfield Course Syllabus Course Name: Jewelry & Metal Arts Length of Course: Semester Credits: ½ credit Course Description: Students will explore and create a variety of handmade wearable art jewelry from copper, brass, nickel and sterling silver. Through investigation of multiple techniques and the study of cultural uses of jewelry, students will learn soldering, torch work, metal sawing & piercing, cabochon stone-setting, patina applications, oxidation, and color treatments on metal. Students will use fabrication techniques to create wearable pieces of art, including necklaces, rings, and earrings. Learning Targets: Investigate traditions of jewelry making across time and cultures Research cultures that have used sophisticated jewelry techniques Learn about the jewelry design process and create 2-dimensional plans for 3-dimensional models Demonstrate the techniques of sawing and piercing metal Demonstrate the techniques of soldering metals together using a jeweler’s torch Demonstrate final finishing techniques, including buffing, oxidation and patina application Demonstrate alternative connection methods, such as cold-connections Create jewelry that includes a cabachon stone using a bezel setting Create fabricated jewelry designs, including rings, pendants, earrings and pins Topic/Content Outline-Units and Themes: 1. Understanding Metallurgy (1 week) A. History of Metals and Jewelry B. Metals: What are they? Understanding copper, brass and sterling silver C. Understanding Melting Points, Properties & Malleability D. Learning the Difference Between Ferrous & Non-Ferrous Metals 2. Basic Fabrication Techniques and Safety (2 weeks) A. Sawing and Piercing Metal: Safety, Process and Technique B. Pattern-Making C. Filing and Sanding Metal Page 1 of 3 D. Creating Texture: Hammering, Stamping, Embossing, Chasing E. -
CHARON KRANSEN ARTS 817 WEST END AVENUE NEW YORK NY 10025 USA PHONE: 212 627 5073 FAX: 212 663 9026 EMAIL: [email protected]
CHARON KRANSEN ARTS 817 WEST END AVENUE NEW YORK NY 10025 USA PHONE: 212 627 5073 FAX: 212 663 9026 EMAIL: [email protected] www.charonkransenarts.com AUGUST. 2020 A JEWELER’S GUIDE TO APPRENTICESHIPS: HOW TO CREATE EFFECTIVE PROGRAMS suitable for shop owners, students as well as instructors, the 208 page volume provides detailed, proven approaches for finding , training and retaining valuable employees. it features insights into all aspects of setting up an apprenticeship program, from preparing a shop and choosing the best candidates to training the apprentice in a variety of common shop procedures. an mjsa publication. $ 29.50 ABSOLUTE BEAUTY – 2007catalog of the silver competition in legnica poland, with international participants. the gallery has specialized for 30 years in promoting contemporary jewelry. 118 pages. full color. in english. $ 30.00 ADDENDA 2 1999- catalog of the international art symposium in norway in 1999 in which invited international jewelers worked with jewelry as an art object related to the body. in english. 58 pages. full color. $ 20.00 ADORN – NEW JEWELLERY - this showcase of new jewelry offers a global view of exciting work from nearly 200 cutting-edge jewelry designers. it highlights the diverse forms that contemporary jewelry takes, from simple rings to elaborate body jewelry that blurs the boundaries between art and adornment. 460 color illustrations. 272 pages. in english. $ 35.00 ADORNED – TRADITIONAL JEWELRY AND BODY DECORATION FROM AUSTRALIA AND THE PACIFIC adorned draws on the internationally recognised ethnographic collection of the macleay museum at the university of sidney and the collections of individual members of the oceanic art society of australia. -
Spinel and Its Treatments: a Current Status Report
GEMOLOGY Spinel and its Treatments: A Current Status Report By Christopher P. Smith, American Gemological Laboratories Introduction and they are only rarely encountered Clarity Enhancement by the major labs around the world. Spinel has historically been one of However, the author has noticed a The practice of filling fissures to reduce the most highly revered gemstones. general increase in the attempts to their visibility and improve the apparent However, over an extended period improve spinel quality and color, clarity of a gemstone is probably of time, its popularity had suffered utilizing a variety of treatment the single most prevalent treatment as a result of many factors, including practices. applied to gemstones. Oils and other its classification as “semi-precious” and a general confusion with another dominant red gemstone: ruby. More recently though, spinel has been making a strong comeback and so its popularity is once again on the rise. Articles of important new sources and even a book devoted to this beautiful and colorfully diverse gemstone have helped to focus attention back onto spinel (see e.g. Smith et.al., 2007; Senoble, 2008; Pardieu et.al., 2009; Krzemnicki, 2010; Yavorskyy and Hughes, 2010). In addition to exhibiting a vibrant array of shades and nuances of color, spinel has also traditionally been spared the controversy of treatments that have encumbered many other gem varieties, such as ruby, sapphire, emerald, quartz, topaz and tanzanite among others. Fortunately, spinel remains a gemstone that is generally free of treatment considerations. However, today some treatments are starting to be encountered (Robertson, 2012). This article is a review of those treatments and the gemological characteristics that help to distinguish them. -
JEWELS of the EDWARDIANS by Elise B
JEWELS OF THE EDWARDIANS By Elise B. Misiorowski and Nancy K. Hays Although the reign of King Edward VII of ver the last decade, interest in antique and period jew- Great Britain was relatively short (1902- elry has grown dramatically. Not only have auction 1910), the age that bears his name produced 0 houses seen a tremendous surge in both volume of goods distinctive jewelry and ushered in several sold and prices paid, but antique dealers and jewelry retail- new designs and manufacturing techniques. ers alikereportthat sales inthis area of the industry are During this period, women from the upper- excellent and should continue to be strong (Harlaess et al., most echelons of society wore a profusion of 1992). As a result, it has become even more important for extravagant jewelry as a way of demon- strating their wealth and rank. The almost- jewelers and independent appraisers to understand-and exclusive use of platinum, the greater use of know how to differentiate between-the many styles of pearls, and the sleady supply of South period jewelry on the market. African diamonds created a combination Although a number of excellent books have been writ- that will forever characterize Edwardian ten recently on various aspects of period jewelry, there are jewels. The Edwardian age, truly the last so many that the search for information is daunting. The era of the ruling classes, ended dramatically purpose of this article is to provide an overview of one type with the onset of World War I. of period jewelry, that of the Edwardian era, an age of pros- perity for the power elite at the turn of the 19th century. -
Newsletter/Fall 2016 the DAS DAS the Decorative Arts Society, Inc
newsletter/fall 2016 Volume 24, Number 2 Decorative Arts Society The DAS DAS The Decorative Arts Society, Inc. in 1990 for the encouragement of interest in, the appreciation of and the exchange of information about the decorative arts. To, is pursuea not-for-profit its purposes, New theYork DAS corporation sponsors foundedmeetings, Newsletter programs, seminars, tours and a newsletter on the decorative arts. Its supporters include museum curators, academics, collectors and dealers. Please send change-of-address information by e-mail to [email protected]. Board of Directors Editor President Gerald W. R. Ward Gerald W. R. Ward Senior Consulting Curator & Susan P. Schoelwer Senior Consulting Curator Katharine Lane Weems Senior Curator Robert H. Smith Senior Curator Katharine Lane Weems Senior Curator of of American Decorative Arts and George Washington’s Mount Vernon American Decorative Arts and Sculpture Emeritus Mount Vernon, VA Sculpture Emeritus Museum of Fine Arts, Boston Museum of Fine Arts, Boston Boston, MA Boston, MA Treasurer Stewart G. Rosenblum, Esq. Robert C. Smith Award Committee Coordinator Jeannine Falino, Chair Ruth E. Thaler-Carter Secretary Independent Curator Freelance Writer/Editor Moira Gallagher New York, NY Rochester, NY Research Assistant Metropolitan Museum of Art Lynne Bassett New York, NY Costume and Textile Historian Program Chairperson Dennis Carr Emily Orr Carolyn and Peter Lynch Curator of The DAS Newsletter is a publication Assistant Curator of Modern and American Decorative Arts and of the Decorative Arts Society, Inc. The Contemporary American Design Sculpture purpose of the DAS Newsletter is to serve as Cooper Hewitt, Smithsonian Design Museum of Fine Arts, Boston, MA a forum for communication about research, Museum Boston, MA exhibitions, publications, conferences and New York, NY other activities pertinent to the serious Emily Orr study of international and American deco- Margaret Caldwell Assistant Curator of Modern and rative arts. -
Ruby and Diamond Wedding Ring, RG-3553 Rasberry Red Rubies Are
Ruby and Diamond Wedding Ring, RG-3553 Rasberry red rubies are interspersed with round brilliant cut diamond ice in this anniversary style wedding ring. The 18k white gold band of this wedding ring is etched in a wheat and wave pattern that extends three-quarters of the way around the band. Seven rubies and six diamonds are set amidst the wheat and wave pattern. Details: 18k white gold. Round brilliant cut diamonds; 0.39 carats. Round rubies; 0.59 carats. Antique style (New). Options None Item # rg3553 Metal 18k white gold Weight in grams 3.3 Condition New Diamond cut or shape round brilliant Diamond carat weight 0.39 Diamond mm measurements 2.55 Diamond color G-H Diamond clarity VS2 Diamond # of stones 6 Gemstone name natural ruby Gemstone cut or shape round Gemstone carat weight 0.59 Gemstone mm measurements 2.50 Gemstone type Type II Gemstone clarity VS Gemstone hue slightly purplish Red Gemstone tone 6-Medium Dark Gemstone saturation 5-Strong Gemstone # of stones 7 MM width for wedding bands 2.96 mm [0.12 in] Width of shank at base 2.30 mm [0.09 in] Ring Size 6.25 Important Jewelry Information Each antique and vintage jewelry piece is sent off site to be evaluated by an appraiser who is not a Topazery employee and who has earned the GIA Graduate Gemologist diploma as well as the title of AGS Certified Gemologist Appraiser. The gemologist/appraiser's report is included on the Detail Page for each jewelry piece. An appraisal is not included with your purchase but we are pleased to provide one upon request at the time of purchase and for an additional fee. -
Misuse Ofthe Words "Ruby," "Sapphire," "Emerald," "Topaz," "Stone," "Birthstone," "Gem," "Gemstone," Etc
AG~ Accrrditrd Grmologists Association 33 15 Juitnila St.. San Diego. C/\ 92105 May 31,2016 Secretary Donald S. Clark Federal Trade Commission Office of the Secretary 600 Pennsylvania Avenue, NW, Suite CC-5610 (Annex-O) Washington, DC 20580 RE: Jewelry Guides, 16 CFR, Part 23, Project No. G7110001 Dear Secretary Clark: This following recommendations are being submitted by the Accredited Gemologists Association (AGA) in response to the request for additional public comments regarding the proposed revisions to the Guides for Jewelry, Precious Metals and Pewter. First, we applaud the commission's work on preparing this much-needed revision to address the many changes in the gem and jewelry field since the last updates were made. We also appreciate your giving us another opportunity to review your draft for the revisions and provide additional comments to this draft before they are finalized. Specifically, these comments will focus on Note 23.25: Misuse ofthe words "ruby, " "sapphire/' "emerald," "topaz," "stone," "birthstone," "gem," "gemstone," etc.; and Note 23.12: "Definition and misuse ofthe word "cultured diamond." Note 23:25: Misuse ofthe words "ruby," "sapphire," "emerald," "topaz," "stone," "birthstone," "gem," "gemstone," etc: As the FTC has already acknowledged in its proposed revisions, the practice of mixing lead glass with non-gem grade corundum to create products that look like transparent and semi transparent "rubies," "blue sapphires" and "fancy color sapphires" and selling them as treated gems, at highly inflated prices, -
Gemmology Bulletin Summer 2020 the First Identification of Spinel
Summer 2020 Gemmology Bulletin Published: 17 May (revised 30 June) www.LustreGemmology.com/research By Lustre Gemmology ® All rights reserved The First Identification of Spinel By James Evans, FGA The credit for the first identif ication of ‘Spinel’ is commonly given to Jean-Baptiste Louis de Romé de L'Isle. Within his 1783 work Crystallography, De Romé de L'Isle identified ‘Spinel Ruby’ through its octahedral and macle forms. But is this credit warranted? After all, The octahedral and macle today’s gemmologists would be ill- forms of ‘Spinel Ruby’.1 advised to rely on crystal form alone. Historically, all red gemstones were considered varieties of ‘Ruby’. Nevertheless, the ‘True Ruby’ (also known as ‘Oriental Ruby’) was commonly separated from other varieties by its hardness.2 As such, Anselme Boece de Boot gave a practical account of the identification of ‘True Ruby’ in 1644: The RUBY is a transparent gem of a reddish colour, with a small portion of blue, and cannot be touched by a file. The redness is not like that of vermillion3 but of blood, or rather of cochineal4, or kermess5; but the less blue it has in it the better it is […]. In Pegu [Myanmar] they are found in a river of that name and the inhabitants try their goodness with their teeth and tongue, for they judge those that are coldest and hardest are the best. (De Boot, 1644. As summarised by Brookes, 1763, pp.133-134) De Boot thus described ‘True Ruby’ as: a transparent gem of purple-red colour; extremely hard; and a good conductor of heat… all useful information in examining a water-worn stone.