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Книги з теми "Jewelry wares"

Автор: Grafiati

Опубліковано: 30 травня 2022

Оновлено: 31 травня 2022

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1

Desai, Kalpana. Jewels on the crescent: Masterpieces of the Prince of Wales Museum. Ahmedabad: Mapin Pub., 2003.

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2

Goldsmiths, Worshipful Company of. Recent acquisitions by the Goldsmiths' Company 1975-1985. London: Goldsmiths' Company, 1985.

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3

Goldsmiths, Worshipful Company of. Recent acquisitions by the Goldsmiths' Company 1975-1985. London: The Company, 1985.

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4

Sotheby, Parke-Bernet, London. Wemyss-ware, Scottish silver and jewels, Scottish and sporting paintings, drawings and watercolours. London: Sotheby's, 1987.

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5

Sotheby, Parke-Bernet, London. Wemyss-ware, Scottish silver and jewels, Scottish and sporting paintings, drawings and watercolours. London: Sotheby's, 1988.

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6

Xinwu, Cao, ed. Wan ci pian. Nanjing: Dong nan da xue chu ban she, 2011.

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7

Sotheby, Parke-Bernet, London. Silver, jewels & Wemyss ware: Day of sale Monday, 28th August, 1995 at Gleneagles Hotel Auchterarder, Perthshire. London: Sotheby's, 1995.

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8

(Firm), Charles Stark. Charles Stark, importer, wholesale and retail dealer in watches, jewellery, plated-ware and fire arms at rock bottom cash prices. [Toronto?: s.n., 1986.

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9

Desai, Kalpana. Jewels on the crescent: Masterpieces of the Chhatrapati Shivaji Maharaj Vastu Sangrahalaya fromerly Prince of Wales Museum of Western India. Mumbai: Chhatrapati Shivaji Maharaj Vastu Sangrahalaya in association with Mapin Pub., 2002.

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10

Desai, Kalpana. Jewels on the crescent: Masterpieces of the Chhatrapati Shivaji Maharaj Vastu Sangrahalaya formerly Prince of Wales Museum of Western India. Mumbai: Chhatrapati Shivaji Maharaj Vastu Sangrahalaya in association with Mapin Pub., 2002.

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11

Chhatrapati Shivaji Maharaj Vastu Sangrahalaya. Jewels on the crescent: Masterpieces of the Chhatrapati Shivaji Maharaj Vastu Sangrahalaya formerly Prince of Wales Museum of Western India. Mumbai: Chhatrapati Shivaji Maharaj Vastu Sangrahalaya in association with Mapin Pub., 2002.

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12

Jewels on the Crescent: Masterpieces of the Chhatrapati Shivaji Maharaj Vastu Sangrahalaya formerly Prince of Wales Museum of Western India. Middletown, NJ: Mapin Publishing Pvt. Ltd., 2002.

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13

Desai, Kalpana. Jewels on the crescent: Masterpieces of the Chhatrapati Shivaji Maharaj Vastu Sangrahalaya formerly Prince of Wales Museum of Western India. Mumbai: Chhatrapati Shivaji Maharaj Vastu Sangrahalaya in association with Mapin Pub., 2002.

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14

Sotheby, Parke-Bernet, London. Wemyss-ware, Scottish silver and jewels, Scottish and sporting paintings, drawings and watercolours: Days of sale, Monday 31st August and Tuesday 1st September 1987 ... . London: Sotheby's, 1987.

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15

Kwang-sŏp, Sin, ed. Kobun misul. Sŏul: Sol, 2005.

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16

The World Market for Gold, Silver, or Platinum Jewelry and Wares of Goldsmiths and Silversmiths Excluding Watches and Watch Cases: A 2004 Global Trade Perspective. Icon Group International, Inc., 2005.

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17

Parker, Philip M. The World Market for Gold, Silver, or Platinum Jewelry and Wares of Goldsmiths and Silversmiths Excluding Watches and Watch Cases: A 2007 Global Trade Perspective. ICON Group International, Inc., 2006.

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18

Parker, Philip M. The World Market for Articles of Goldsmiths or Silversmiths Wares Made of Precious Metal or Clad with Precious Metal and Parts Thereof Excluding Jewelry ... Watch Cases: A 2007 Global Trade Perspective. ICON Group International, Inc., 2006.

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19

The World Market for Articles of Goldsmiths' or Silversmiths' Wares Made of Precious Metal or Clad with Precious Metal and Parts Thereof Excluding Jewelry ... Watch Cases: A 2004 Global Trade Perspective. Icon Group International, Inc., 2005.

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20

Burglary - Or Unconscious Influence. Honno Welsh Women's Press, 2009.

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21

Kelleher, Richard. Old Money, New Methods. Edited by Christopher Gerrard and Alejandra Gutiérrez. Oxford University Press, 2018. http://dx.doi.org/10.1093/oxfordhb/9780198744719.013.23.

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Анотація:

This chapter discusses the relationship between numismatics and archaeology in the later medieval period. It begins by tracing the beginning of the serious study of medieval coins in the eighteenth and nineteenth centuries and discusses the estranged relationship between the disciplines of archaeology and numismatics into the modern period. It demonstrates the vital role that coin hoards have played in the study of the monetary economy of medieval England and Wales and the growth of numismatics as a discipline. However, the emergence of single find evidence (principally metal-detector finds recorded with the Portable Antiquities Scheme) provides us with a new dataset that has the potential to rewrite what we can say about monetization, especially in rural contexts. Imported coins and those used as jewellery or as votive objects are discussed.

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22

Desai, Kalpana. Jewels on the Crescent: Masterpieces of the Prince of Wales Museum of Western India. Mapin Publishing Pvt, Ltd., 2003.

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23

Sotheby, Parke-Bernet, London. Silver, jewels and wemyss ware: Auction: Monday, 19 August, 1996 ... Gleneagles Hotel, Auchterarder,Perthshire .... London: Sotheby's, 1996.

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24

Sotheby, Parke-Bernet, London. Jewels, early Scottish pottery, Wemyss ware and silver: Auction: Tuesday 29 August 2000 ... Gleneagles Hotel, Perthshire .... London: Sotheby's, 2000.

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25

Sotheby, Parke-Bernet, London. Silver,jewels and Wemyss ware: Day of sale Monday, 29th August, 1994 at Gleneagles Hotel, Auchterarder, Perthshire. London: Sotheby's, 1994.

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26

Sotheby, Parke-Bernet, London. Silver and jewels, Wemyss ware, Scottish and sporting paintings, drawings and watercolours: Gleneagles Hotel, Monday, 31st August and Tuesday, 1st September 1992. London [England]: Sotheby's, 1992.

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27

London, Sotheby Parke-Bernet. Silver and jewels, Wemyss ware, Scottish and sporting paintings, drawings and watercolours: Days ofsale Monday 30th August and Tuesday 31st August 1993 ... . London: Sotheby's, 1993.

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28

Sotheby, Parke-Bernet, London. Silver and jewels, Wemyss Ware, Scottish and sporting paintings, drawings and watercolours: Day of sale Monday 31st August and Tuesday 1st September 1992 ... . London: Sotheby's, 1992.

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29

(Firm), Sotheby's, ed. Silver and jewels, Wemyss ware, Scottish and sporting paintings, drawings and watercolours: {sale at} Gleneagles Hotel, Monday 31st August and Tuesday 1st September 1992. London: Sotheby's, 1992.

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30

(Firm), Sotheby's, ed. Wemyss ware, silver and jewels, Scottish and sporting paintings, drawings and watercolours: [sale at] Gleneagles Hotel, Monday 28th and Tuesday 29th August 1989. London: Sotheby's, 1988.

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31

Gunn, Steven. Henry VII’s New Men and the Making of Tudor England. Oxford University Press, 2017. http://dx.doi.org/10.1093/acprof:oso/9780199659838.001.0001.

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Анотація:

The reign of Henry VII is important but mysterious. He ended the Wars of the Roses and laid the foundations for the strong governments of Henry VIII and Elizabeth I. Yet his style of rule was unconventional and at times oppressive. At the heart of his regime stood his new men, low-born ministers with legal, financial, political and military skills who enforced the king’s will and in the process built their own careers and their families’ fortunes. Some are well known, like Sir Edward Poynings, governor of Ireland, or Empson and Dudley, executed to buy popularity for the young Henry VIII. Others are less famous. Sir Robert Southwell was the king’s chief auditor, Sir Andrew Windsor the keeper of the king’s wardrobe, Sir Thomas Lovell the chancellor of the exchequer so trusted by Henry that he was allowed to employ the former Yorkist pretender Lambert Simnel as his household falconer. Some paved the way to glory for their relatives. Sir Thomas Brandon, master of the horse, was the uncle of Henry VIII’s favourite Charles Brandon, duke of Suffolk. Sir Henry Wyatt, keeper of the jewel house, was father to the poet Sir Thomas Wyatt. This book, based on extensive archival research, presents a kaleidoscopic portrait of the new men. It analyses the offices and relationships through which they exercised power and the ways they gained their wealth and spent it to sustain their new-found status. It establishes their importance in the operation of Henry’s government and, as their careers continued under his son, in the making of Tudor England.

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32

Dino, Nelson, Baharudin Arus, Lokman Abdul Samad, and Jul-Amin Ampang. Suluk Ukkil on the Barong Expressions, motifs and meanings. UMS Press, 2022. http://dx.doi.org/10.51200/sulukukkilnelsonums2021.

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With its origin dating back to as early as the 500 BC, the ukkil forms part of a centuries-old woodcarving art and tradition of the Suluk, one of the many indigenous ethnic groups of Nusantara (Southeast Asia). Suluk ukkil bears striking resemblance to the Malay ukir, both featuring similar patterns and motifs. The ukkil is often used to decorate jewellery, boats, houses, grave markers, and mosques. It is also used to decorate the hilts and sheaths of bladed weapons such as the barung. The barung refers to the thick, leaf-shaped sword of the Suluk. A barung with beautifully carved hilt and sheath, especially those using expensive wood, is considered high value and usually reserved for Suluk aristocrats. This book narrates the expressions, motifs and meanings behind ukkil carved on the barung. It is based on the results of a two-year field research conducted in different districts of Sabah. It presents data gathered through various interviews with owners, elders, and subject-matter experts. It also presents data from direct observations of heirloom barung that are still found in the hands of a few Suluk and individuals from other indigenous ethnic groups. It presents new insights from analysis made using the Theory of Iconology, a framework of analyzing art popularized by German art historian Erwin Panofsky. The predominant themes of ukkil found on ancient barung in Sabah are Islamic; zoomorphic such as birds, lizards, snakes, and squids; plantomorphic such as vines, flowers, and leaves; and cultural such as those depicting local myths, culture, values and traditions of the Suluk. Each of these images and themes represent realities that shaped the daily lives of the Suluk from the past until today, including the wind, the ocean waves and sea currents, all of which are essential for travel and navigation. They also depict concepts, beliefs and practices important to the Suluk such as freedom, livelihood, aristocracy, harmony within the community, leadership, spirituality, and Islamic principles. The Suluk are a sea-faring people who have a deep relationship with their immediate environment, especially the sea. Suluk carvers draw inspiration from nature, the environment around them, their local culture, their religious practices, and their own values and ideals in life. Both the ukkil and the barung are an embodiment of their rich past, their livelihood, creativity, their faith, their principles and their values in life. Sadly, the practice of ukkil-carving is fast declining nowadays, with only very few practitioners left and so few individuals interested in learning about it. The barung too, where the ukkil is often carved on, is no longer being produced in large numbers. As the ukkil, like all forms of art, constitute an integral part of a nation’s culture and identity, it is important for it to be understood, preserved, and protected. This book provides fresh knowledge and insights that will help the Suluk and other indigenous tribes of Malaysia and Nusantara in the understanding and preservation of the ukkil as an essential aspect of their country’s or their region’s culture and heritage. This book offers historical background that will help explain the identity of the Suluk as a culturally and artistically advanced people with deep interconnection with other indigenous ethnic groups in Malaysia and the rest of Nusantara as early as the pre-colonial period. Knowledge about the ukkil can help people connect and correct their thoughts about the Suluk while at the same time promote cultural awareness and diversity among Malaysians and other people in Southeast Asia. This book will hopefully pave the way for more research to be done on the arts and culture, not just of the Suluk but also of other indigenous ethnic groups in the region as well. That knowledge will serve as a medium for keeping harmony and cultural links among each and every Malaysian and Nusantaran.

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