"Collecting antique jewelry can bring you endless hours of enjoyment, for it not only satisfies a love of days gone by but also brings a yearning to learn more about other times and places. The collector shows a desire to be unique in setting, rather than following, fashion trends." Roseann Ettinger's book reads like a treasure hunt. In six chapters, she takes the reader on a tour of antique jewelry from the 1840s to the 1940s, covering the Victorian era through Art Nouveau, Transitional, and Art Deco. Fascinating details on various pieces, their origins, and their makers make the jewelry come alive. Beautifully arranged full-color photographs of cameos, hair combs, hat pins, necklaces, buckles, chokers, lockets, and many other pieces handsomely complement the text. Popular Jewelry aids the reader in identifying period jewelry and the materials used in their manufacture. It also provides invaluable information for the novice collector who cannot always tell a genuine antique from a copy. The effects of history, culture, and materials on jewelry, and the effects of jewelry on culture, are intricately interwoven. An updated price guide and index are included.
From the recovery after the Irish Potato Famine in the 1840s to the booming Celtic Tiger of the 1990s, a revival of the ancient traditions of Celtic jewelry have become a part of how the Irish, as well as the Scots, Welsh and other Celts have expressed their cultural identity. Usually the story of this tradition focuses on very old prototypes, the museum pieces turned up by archaeologists or the legend of the original Claddagh ring. In our imagination, we connect the popular Celtic jewelry of today with the distant past. But that link with the ancient style was very much influenced by what others had done in more recent history. The story of is told by four authors. Tara Kelly writes of the early Celtic Revival manufacture of facsimiles of medieval Irish metalwork in Victorian Dublin and how the success of that enterprise lead to historical Celtic jewellery to become iconic symbols of Irish identity. Mairi MacArthur tells the story of Alexander and Euphemia Ritchie who created the foundation for modern Scottish Celtic jewellery on the Isle of Iona in the early 20th century. Aidan Breen, himself a pioneer of the late 20th century Celtic Renaissance, recalls his career beginning with an apprenticeship with Dublin silversmiths which trained him in the traditions of the older Celtic Revival. Stephen Walker, craftsman and collector, brings the story together as it spans 150 years, from Scottish pebble jewellery to the innovative modern Celtic creations of the Arts and Crafts Movement. 69 color photographs and 29 black and white illustrations.
A visual tour of antique jewelry covering the Victorian and Edwardian eras, through Art Nouveau and Art Deco designs. Identifies makers and styles, with hundreds of color images of cameos, hair ornaments, hat pins, necklaces, bracelets, pins, and more. A proven reliable source of information, with updated value references, expanded text, and new images. Fascinating details on the origins, materials, and makers bring this jewelry to life.
The lively and innovative jewelry of this era is presented in thousands of examples, including costume and semi-precious pieces with identifying text and current market values. Organized by styles and materials to aid collectors and dealers in identifying their items.
Beyond the great exhibitions, expositions universelles and world fairs in London, Paris or Chicago, numerous smaller, yet ambitious exhibitions took place in provincial cities and towns across the world. Focusing on the period between 1840 and 1940, this volume takes a novel look at the exhibitionary cultures of this period and examines the motivations, scope, and impact of lesser-known exhibitions in, for example, Australia, Japan, Brazil, as well as a number of European countries. The individual case studies included explore the role of these exhibitions in the global exhibitionary network and consider their ?marginality? related to their location and omission by academic research so far. The chapters also highlight a number of important issues from regional or national identities, the role of modernisation and tradition, to the relationship between capital cities and provincial towns present in these exhibitions. They also address the key topic of colonial exhibitions as well as the displays of arts and design in the context of the so-called marginal fairs. Cultures of International Exhibitions 1840-1940: Great Exhibitions in the Margins therefore opens up new angles in the way the global phenomenon of a great exhibition can be examined through the prism of the regional, and will make a vital contribution to those interested in exhibition studies and related fields.
Mike Savage and Andrew Miles provide a comprehensive introduction to the working class in Britain in the years after 1840. This textbook: * Includes a provocative, timely and clear defence of class analysis * Breaks new ground in showing how social mobility and urban change affected working class formation * Demonstrates how the history of the working class is politically reconstructed * Shows how class and gender interact in mediating social and political change
Shortlisted for the History Book Award in Scotland's National Book Awards, 2023 During the long 19th century, Scotland was home to an established body of skilled jewellers who were able to access a range of materials from the country's varied natural landscape: precious gold and silver; sparkling crystals and colourful stones; freshwater pearls, shells and parts of rare animals. Following these materials on their journey from hill and shore, across the jeweller's bench and on to the bodies of wearers, this book challenges the persistent notion that the forces of industrialisation led to the decline of craft. It instead reveals a vivid picture of skilled producers who were driving new and revived areas of hand skill, and who were key to fostering a focused cultural engagement with the natural world – among both producers and consumers – through the things they made. By placing producers and their skill in cultural context, the book reveals how examining the materiality of even the smallest of objects can offer new and multifaceted insights into the wider transformations that marked British history during the long 19th century. Uniting a vast array of jewellery objects with a range of other sources – including paintings, engravings, newspaper reports, letters, inventories of big houses and small workshops, sketchbooks, novels, works of literary geology and early travel writings – this book provides a deep dive into the cultural history of jewellery production through accessible thematic studies. In doing so, it sets out innovative methodologies for writing about the histories of craft production, the natural environment and the material world. Now available in a paperback edition, it will be an important addition to the bookshelf of cultural historians and those interested in Scotland's wild landscapes and natural objects.
In preparing a book of etiquette for ladies, I would lay down as the first rule, "Do unto others as you would others should do to you." You can never be rude if you bear the rule always in mind, for what lady likes to be treated rudely? True Christian politeness will always be the result of an unselfish regard for the feelings of others, and though you may err in the ceremonious points of etiquette, you will never be impolite. Politeness, founded upon such a rule, becomes the expression, in graceful manner, of social virtues. The spirit of politeness consists in a certain attention to forms and ceremonies, which are meant both to please others and ourselves, and to make others pleased with us; a still clearer definition may be given by saying that politeness is goodness of heart put into daily practice; there can be no _true_ politeness without kindness, purity, singleness of heart, and sensibility.
Today, attitudes about costume jewelry include respect and enjoyment from the growing number of collectors who search for pieces made by important designers from the sixties, seventies, and eighties. Today's teenagers are wearing vintage Hippie and Mod jewelry. Prices are escalating. Over 615 color photographs and 60 advertising pieces are presented to display the variety in these popular adornments. Fashion and political trends are explained to show that they were reflected in the jewelry designs.