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Academic literature on the topic 'Jewelry – Private collections'
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Journal articles on the topic "Jewelry – Private collections"
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Макаренко, Зоя, Zoya Makarenko, Юлия Жилкова, Yuliya Zhilkova, Марина Бережная, and Marina Berezhnaya. "Items of jewelry art of pre- Mongolian Russia in the collections of Russian museums." Services in Russia and abroad 10, no. 4 (September 22, 2016): 122–31. http://dx.doi.org/10.12737/20189.
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The article deals with the question of exhibiting of jewelry art items of pre-Mongolian Russia in Russian museums. Public and private museums that were opening in the Russian Empire contributed to preservation of the cultural heritage of the country. When they were emerging, many private collectors donated part or all of their collections to state. This was especially promoted by opening of the Historical Museum in 1883 for the general public. Exhibits of public museum were replenished by the collections of Uvarovs, Kropotkins, Shcherbatovs, Golitsyns. The fate of collection of the outstanding collector M. Botkin is noteworthy.
Masterpieces of jewelry art of ancient Russia may be exhibited in only a few museums in the country, including two sites in the Moscow Kremlin, which show such kind of items. Collection "Russian gold and silverware of beginning of XII-XVII centuries" is located in the exposition hall 1 of Armory Chamber. The glass case 2 presents gold and silver items, made by goldsmiths of Kiev, Chernigov, Ryazan, Suzdal, Novgorod.
Museum affair after the October Revolution in the country was significantly reformed. Museums and collections of the palaces were declared as the national property. For registration, accounting and secure of all artistic and cultural treasures, the artistic and historical commissions and the State Museum Fund were created. Majority private collections were nationalized.
Russian Museum, located in the Mikhailovsky Palace in Sankt Petersburg has one of the largest collections of pre-Mongolian Russian treasures and individual items of jewelry art of X-XIII centuries.
Thousands of works of jewelry art of ancient Russia are collected in the expositions and funds of Russian museums. Today collections of not only central but also local museums are multiplied, facilities and exhibitions are quality improving.
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Rudenko, Konstantin A. "Treasures of the Elite of the Bulgharian Ulus of the Golden Horde." Golden Horde Review 9, no. 3 (September 29, 2021): 520–46. http://dx.doi.org/10.22378/2313-6197.2021-9-3.520-546.
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Research objectives: To analyze the materials of the most famous hoards of the Golden Horde era found on the territory of the Bulgharian ulus on the basis of a comprehensive analysis. To identify the coincidence of jewelry that they contained. To determine the similarities and differences with other finds from this territory, as well as to identify the possible place of their manufacture and their connection with archaeological sites. Research materials: Preserved jewelry from the Karasham and Juketau hoards. The former was found in 1950 near the village of Karasham in the Zelenodolsk district of the Republic of Tatarstan. The latter was found in 1924 on the outskirts of the city of Chistopol in the Chistopol district of Tatarstan, next to the medieval settlement – the remnants of the Bulgharian city of Juketau which existed from the tenth to early fifteenth centuries. In addition to jewelry, both hoards contained silver and gold coins which made it possible to determine the time when these hoards were buried. The hoard near the village of Karasham was deposited at the beginning of the fifteenth century. The Juketau hoard was deposited in the 1350–70s. Both hoards are not fully preserved. The author carefully studied jewelry from the hoards that are now stored in the National Museum of the Republic of Tatarstan, as well as in the State Hermitage. Items from other hoards of this time found in the territory of Tatarstan, as well as published materials from private collections, are also involved in the study. Results and novelty of the research: The author investigated, for the first time ever, the surviving part of the Karasham hoard, including jewelry that was not considered in the studies of other scholars. A comparative analysis of the jewelry was carried out. To find out the distribution of such jewelry, a search was made for analogies and similar jewelry that was found in other hoards as well as among the archaeological materials from settlements of the Golden Horde era. It was found that the most significant part of the Karasham hoard’s jewelry was made in the jewelry workshops of the city of Bolghar, and partly by the jewelers from other craft centers in the Golden Horde. It should be noted that jewelry was made in both gold and silver in Bolghar. The most popular products were bracelets with images of the lion’s muzzle on the ends of objects, as well as bracelets with stylized images made using niello. Such bracelets were found both in the hoard from Karasham and from Juketau. The existence of jewelry workshops in Bolghar is also confirmed by archaeological excavations. In the second half of twentieth and at the beginning of the twenty-first centuries, archaeologists found several jewelry workshops in the central part of the city dated to the fourteenth century. Crucibles, jewelry tools, and more than hundred foundry molds were discovered here. The author assumes that a famous jeweler from Bolghar named Shagidulla worked here at the beginning of fourteenth century. It was also found that the hoard from Karasham was most likely collected by several generations of the same family. In contrast, the hoard from Juketau was a personal treasure.
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Клубков, А. А. "Russian enamel in the collection of Orthodox art of the State Art Museum of the Altai Krai." Iskusstvo Evrazii [The Art of Eurasia], no. 2(25) (June 30, 2022): 94–103. http://dx.doi.org/10.46748/arteuras.2022.02.009.
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Статья посвящена меднолитой пластике XVIII – начала XX века. Предметом исследования является художественная эмаль главных центров старообрядческого искусства. Источниковой базой выступила коллекция Государственного художественного музея Алтайского края. В качестве вспомогательного материала также привлечены произведения из частных коллекций. В исследовании использованы сравнительно-исторический и сравнительно-стилистический методы. Описаны отличия старообрядческой эмали от древнерусской. Установлено влияние некоторых тенденций ювелирного искусства второй половины XIX века на эмальерное дело московских старообрядческих меднолитейных мастерских. The article is devoted to copper-cast plastic of the 18th – early 20th centuries. The subject of the study is the artistic enamel of the main centers of Old Believer art. The source base was the collection of the State Art Museum of the Altai Krai. Works from private collections are also used as auxiliary material. Comparative-historical and comparative-stylistic methods were used. The differences between the Old Believers' enamel and the Old Russian are described. The influence of some trends in jewelry art of the second half of the 19th century on the enamel work of Moscow Old Believers copper foundries has been established.
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Velychko, Ye O., and Yu B. Polidovych. "ITEMS FROM THE OGUZ KURGAN IN THE VARVARA AND BOHDAN KHANENKO COLLECTION (BASED ON THE MATERIALS OF THE MUSEUM OF HISTORICAL TREASURES OF UKRAINE)." Archaeology and Early History of Ukraine 40, no. 3 (November 3, 2021): 104–21. http://dx.doi.org/10.37445/adiu.2021.03.05.
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Twenty six precious items from the Varvara and Bohdan Khanenko collection discovered in the Oguz kurgan (Lower Dnieper region) are analyzed in the paper. These items were found by peasants in the fall of 1901 in the destroyed part of the kurgan and ended up to the hands of antiquities traders. Now these items are kept in the Museum of Historical Treasures of Ukraine.
The study of objects made us possible to conclude that only decorative items for horse equipment were of unconditional origin from Oguz kurgan (fig. 1—2). These items complement the finds that are kept in the State Hermitage (Sankt-Peterburg, Russia) and also come from the Oguz kurgan. Together they are four completes sets of decoration of horse bridle of so-called Chertomlyk type. Some round plaques (fig. 1: 4—5) were used for saddles decoration. The total number of such plaques indicates that 9 or 10 saddles were found. This determines the total number of horses buried in the Central tomb of the Oguz kurgan. The cone (fig. 2) served as a decoration for the horse’s neck. Five more such items are kept in the State Hermitage. They were found only in the Oguz kurgan.
The significant part of other items (upholstery of a wooden bowl, jewelry, appliquйs (fig. 3) were probably found by peasants in other steppe kurgans which were robbed by diggers at the beginning of the 20th century. Two small appliquйs (fig. 3: 5—6) probably come from the necropolises of ancient Greek colonies, possibly Chersonesos.
Unfortunately, almost all items from old or modern private collections lose the historical context in which they were found. Probably, some items (fig. 1: 6—9; 3: 3—4, 7—8) were «restored» by antiquities dealers and, as a result, lost their authentic appearance.
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Hejzlarová, Tereza, Libor Dušek, Ján Vančo, Michal Čajan, and Zdeněk Trávníček. "Kuchi Jewellery." Annals of the Náprstek Museum 40, no. 2 (November 1, 2019): 27–48. http://dx.doi.org/10.2478/anpm-2019-0013.
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Abstract This article focuses on jewellery made by the Kuchi people, which is still one of the marginalized topics. It presents the best-known types of Kuchi jewellery, the way it is worn, the most commonly used materials for its production and the most utilized jewellery techniques. With respect to the date of origin, the focus is mainly on the second half of the 20th century, but also on the present, with regard to the growing trade in these types of jewellery. For a more comprehensive illustration of design, material and jewellery techniques, a collection of jewellery from the 20th century and the present from the collections of the Náprstek Museum in Prague and a private collection was examined. The X-ray fluorescence (XRF) spectroscopy was used to find out the elemental composition of the materials used in the making of the jewellery.
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Ristić, Slavica, Suzana Polić, and Bojana Radojković. "Laser cleaning of unwanted jewelry patina." Tehnika 77, no. 3 (2022): 287–92. http://dx.doi.org/10.5937/tehnika2203287r.
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Women's necklace-filigree with patina, of unknown age, owned by a private collection was cleaned with a Nd:YAG laser. Laser parameters were varied during the experiment; wavelength, fluence and number of pulses, ie irradiation time. The influence of the mentioned factors on the efficiency of laser cleaning of the patina was investigated. The ablation results were examined by optical microscopy. The test results showed that the most efficient cleaning is with l = 1064 nm. The choice of fluence has the greatest influence on the efficiency of laser cleaning, for the mentioned subject, and the influence of the number of laser pulses has a smaller influence.
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Nováková, Kateřina Nora. "Sklo je mým drahokamem." Fontes Nissae 21, no. 2 (June 2021): 64–79. http://dx.doi.org/10.15240/tul/007/2020-2-005.
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Jaroslav Kodejš senior (* September 9, 1938) belongs to the pioneers of Czech designer jewellery with the use of glass. For more than 50 years, he has been ranked among the world‘s recognized artists in this field, and his works are represented in the world‘s best public and private collections. He based his work on the traditional production of glass jewellery components from wound glass over atorch. He experienced his first successes at domestic and international exhibitions in the mid-1960s. From the position of designer for the Jablonec jewellery industry, he moved only to his own free creation since the end of the 1960s. Since then he has created for example dozens pieces of jewellery, drawings and also paintings. He was successful thanks to his own diligence and creativity, unceasing life optimism and enthusiasm. In the individual stages of his jewellery work, he almost always used coiled or fused glass in combination with silver and gold. He always respected glass in its unique properties, which he supported with the morphology of jewellery, which he still deals with despite his age.
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Prygov, V. I. "Первый и единственный в России частный музей флорентийской мозаики Б. и Л. Ошкуковых." Iskusstvo Evrazii [The Art of Eurasia], no. 2(21) (June 30, 2021): 104–17. http://dx.doi.org/10.46748/arteuras.2021.02.009.
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The article is devoted to the only private museum of Florentine mosaics in Russia by B. and L. Oshkukovs. The basis of its funds was the personal collection of the founders. It represents all the main forms of mosaics using: from easel decorative panels to inserts in jewelry. The museum's exposition reflects the achievements of all the major art centers of Florentine mosaics in Russia — the works of stone-cutting masters from Khabarovsk, Ufa, St. Petersburg, Moscow, etc. The greatest artistic value is represented by mosaic paintings made both according to well-known pictorial originals, and according to the authors’ sketches. The principal materials for such mosaics are jaspers and other types of hard stones. A separate group in the museum collection consists of mosaic panels made according to the projects of B.L. Oshkukov, inspired by the works of masters of the Russian Avant-garde. On the basis of an interdisciplinary approach, including an art history, cultural and mineralogical analysis of the works of stone-cutting art, the author identifies the features of the main regional centers and kinds of Florentine mosaics. Статья посвящена единственному в России частному музею флорентийской мозаики Б. и Л. Ошкуковых. В основу данного собрания была положена личная коллекция основателей, в которой представлены все основные формы использования мозаик: от станкового декоративного панно до вставок в ювелирные украшения. В экспозиции музея отражены достижения всех основных художественных центров флорентийской мозаики в России — работы мастеров-камнерезов Хабаровска, Уфы, Санкт-Петербурга, Москвы и других городов. Наибольшую художественную ценность представляют мозаичные картины, выполненные как по общеизвестным живописным оригиналам, так и по авторским эскизам из яшм и других видов твердых камней. Отдельную группу в музейном собрании составляют мозаичные панно, выполненные по проектам Б.Л. Ошкукова, вдохновленного работами мастеров русского авангарда. На основе междисциплинарного подхода, включающего искусствоведческий, культурологический и минералогический анализ произведений камнерезного искусства, автор выделяет особенности основных региональных центров и форм флорентийской мозаики.
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Verbytska, V., and V. Bredikhin. "ASSET DIVERSIFICATION THROUGH APPLICATION HOARDING INVESTMENTS." Series: Economic science 5, no. 158 (September 25, 2020): 46–51. http://dx.doi.org/10.33042/2522-1809-2020-5-158-46-51.
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The current state and tendencies of development of hoarding investment by legal entities and the population of the country are considered in the article. It is especially important that these investments are available not only for legal entities, but also for the population, where there is a clear relationship between changes in the share of savings hoarded by private individuals and fluctuations in uncertainty, and growing investment and hoarding demand are the consequences of the financial crisis. inflation expectations, geopolitical instability and growing needs for diversification. On the basis of economic-theoretical analysis the essence, character of behavior, types and conditions of realization of hoarding investments (TI) in crisis economy are analyzed. The concept of "hoarding investments" has been clarified. The main subjects and objects of hoarding investments are identified. The objects of hoarding investments are bank metals (and coins from them) precious stones, jewelry, art objects and antiques. Available types, modern tendencies, methods and conditions of realization of hoarding investments are investigated. Coins issued by both Ukrainian and foreign banks were found to be numismatically valuable. However, foreign coins entering our market are usually issued in large numbers and, accordingly, have less numismatic value. In the United States, consumption of diamond jewelry is constantly growing due to the combination of domestic market unsaturation with well-established lending mechanisms, Europe is characterized by stagnation in the consumption of diamond jewelry, and for some countries, such as Germany, even a reduction. Hoarding investments in collectibles are specific in nature, due to their complexity, the relatively narrow market for each type of collection, the need for special knowledge and skills for proper investment. Keywords: hoarding investments, banking institutions, crisis economy, risk diversification, coins, precious stones, collectibles, profitability, interest.
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Степанова, Юлия Владимировна. "SETS OF CLOTHES AND DECORATIONS IN THE LISTS OF THE DOWRY OF THE XVII CENTURY FROM THE COLLECTION OF THE TVERSKY STATE JOINT MUSEUM." Тверского государственного университета. Серия: История, no. 3(55) (December 25, 2020): 146–56. http://dx.doi.org/10.26456/vthistory/2020.3.146.
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В статье рассматриваются описи приданого второй половины XVII в., выявленные в коллекции документов столбцового делопроизводства Тверского государственного объединенного музея. Документы относятся к частным архивам семейств служилых людей, территориально связанных в Верхневолжьем и Подмосковьем: Теприцких, Скорятиных, Киреевских, Суворовых. Описи выявлены в составе сговорных и рядных грамот, и как самостоятельные документы. Перечни движимого имущества включают украшения и предметы одежды, характеризующие владельцев как сравнительно обеспеченных людей. Это обязательные элементы гардероба: меховые шубы и шапки. Более вариативным является набор остальных вещей: охабней, ферязей, кафтанов, однорядок, телогрей. В обязательный набор ювелирных изделий входили предметы личного благочестия: кресты с цепочками, а также серьги и перстни. Описи приданого отражают характерные явления моды последней четверти XVII в. Источники демонстрируют высокую ценность предметов одежды и украшений в материальном обиходе провинциального дворянства конца XVII в., вне зависимости от материальной стоимости изделий, так как в них наряду с престижными дорогими вещами включались и детально описывались и предметы менее ценные, изготовленные из недорогих материалов. The article is devoted to the records of the dowry of the second half of the 17th century, revealed in the collection of documents of the column office work ( stolbtsy ) of the Tver State Joint Museum (TSJM), No. 1431. The documents relate to private archives of families of service class, geographically connected with Upper Volga region (Tverskoi, Jarovskii, Uglichskii, Bezhetskii, Kashinskii uezds, etc.) and Moscow region (Dmitrovskii uezd): Tepritskiуe, Skoryatny, Kireevsky, Suvorov. The lists are revealed both as part of collusion and contract records, and as independent documents. Lists of movable property include decorations and garments characterizing owners as comparatively well-off people. These are the mandatory elements of the wardrobe: fur coats and caps. More variable is the set of other things: okhaben’, feras, kaftan, odnoryadka, telogreia . The mandatory set of jewelry included items of personal piety: crosses with chains, as well as earrings and finger rings. The descriptions of the dowry reflect the characteristics of fashion of the last quarter of the 17th century. The sources demonstrate the high value of clothing and jewelry in the material environment of the provincial nobility of the late 17th century, regardless of the cost of the things. Along with prestigious expensive things, items of less valuable, made from inexpensive materials were included and described in detail.
Books on the topic "Jewelry – Private collections"
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Duncan, Sherri R. Jewels of passion: Costume jewelry masterpieces. Atglen, PA: Schiffer Pub., 2008.
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Aschengreen, Cristina Piacenti. Ancient and modern gems and jewels: In the collection of Her Majesty The Queen. London: Royal Collection, 2008.
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Borel, France. Ornamenti del corpo: Gioielli di una collezione : Africa, Asia, Oceania e Americhe. Milano: Skira, 2001.
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Michel. Les joyaux des tsars. Paris: Presses de la renaissance, 2006.
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Mauro, Magliani, ed. A world of necklaces: Africa, Asia, Oceania, America : from the Ghysels Collection. Milano: Skira, 2003.
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Wentholt, Arnold. Glittering as gold: The Harry and Miep Schillings collection of West and Central African bronze adornments. Leiden: Uitgeverij C. Zwartenkot, 2017.
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Junior, Itamar Musse, Terra José, Ana Passos, and Paolo Vigna. Joias na Bahia dos séculos XVIII e XIX: Jewelry in Bahia from the 18th and 19th centuries. São Paulo: Capivara, 2017.
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Pagella, Enrica. Gioielli fantasia =: Costume jewelry : Patrizia Sandretto Re Rebaudengo's collection. Cinisello Balsamo, Milano: Silvana, 2010.
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Leurquin, Anne. Collane etniche: D'Africa, d'Asia, d'Oceania e d'America dalla collezione Ghysels. Milano: Skira, 2003.
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Borel, France. Gioielli etnici: Africa, Asia, Americhe, Oceania : dalla collezione di Colette e Jean-Pierre Ghysels. Milano: Skira, 1996.
Find full textBook chapters on the topic "Jewelry – Private collections"
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Lo, Betty. "Decorative Techniques in Oriental Swords: Savoir Faire in Craftsmanship and Artistry." In Martial Culture and Historical Martial Arts in Europe and Asia, 239–79. Singapore: Springer Nature Singapore, 2022. http://dx.doi.org/10.1007/978-981-19-2037-0_8.
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AbstractOne important aspect in the study and appreciation of arms is the techniques and methods for their decoration. The wide range of materials and techniques used in the creation of swords and daggers were intended to add to the aesthetic qualities of functional items, either for everyday or ceremonial use. Throughout the ages, beautiful swords and daggers were worn by the elite and were presented to warriors and courtiers as gifts to symbolize victory, honor, virility, and to reinforce the bond of loyalty. They were also worn by men as jewelry of prestige and status. Techniques used by artisans to embellish these swords and bladed weapons are the subject of this paper. Examples from museums and private collections are selected to demonstrate the exquisite craftsmanship of gilding and coloring, inlay and damascening, stone and gem-setting, embossing, chasing and engraving, enameling, 3D carving, wiring and filigree, etching and openwork. This chapter focuses on how these techniques were used to produce distinctive details of decorated antique swords and daggers of Eastern origins from the Ottoman empire, Persia, and India.
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Damen, Giada. "Two Palaces, a Chapel, and an Art Collection on the Grand Canal." In A View of Venice, 250–59. Duke University Press, 2023. http://dx.doi.org/10.1215/9781478023807-020.
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Domenico di Piero (1406–97) was a jeweler, an antiquarian, and a collector active in Venice during most of the fifteenth century. By the end of his life, he had amassed a huge fortune consisting of a collection of precious objects, cash, and real estate holdings. Chapter 19 establishes that archival documents attest to Domenico di Piero’s prominence in the city and shed light into his business dealings in Venice and throughout Europe with the most important collectors of the time. Jacopo de’ Barbari’s View of Venice, completed just a few years after Domenico di Piero’s death, clearly depicts the world in which the jeweler lived and worked. By following clues provided by archival documents, it is possible to accurately identify on the View the spaces in which Domenico’s life took place: his home, the private chapel he had built, and other architectural buildings he had commissioned during his lifetime.